A Man, possibly Edward Seymour, 1st Earl of Hertford and 1st Duke of Somerset

Physical description

Portrait miniature of an unknown man, head and shoulders, in a circular frame; inscriptions in gold on either side of the head.

Place of Origin

England, Great Britain (painted)

Date

ca. 1600 (painted)

Artist/maker

Hilliard, Nicholas, born 1542 - died 1619 (artist)
Levina Teerlinc, born 1505 - died 1576 (probably after, artist)

Materials and Techniques

Watercolour on vellum stuck to plain card

Marks and inscriptions

'Anno Dni 1550 / Aetatis suae'

Dimensions

Diameter: 34 mm

Descriptive line

Portrait miniature of an unknown man, possibly Edward Seymour, 1st Earl of Hertford and 1st Duke of Somerset, watercolour on vellum, a copy by Nicholas Hilliard, probably after Levina Teerlinc, ca. 1600.

Bibliographic References (Citation, Note/Abstract, NAL no)

Strong, Roy. Artists of the Tudor Court: the Portrait Miniature Rediscovered 1520-1620.. London: The Victoria and Albert Museum, 1983.
Cat. 110, p. 87. Full Citation:

“NICHOLAS HILLIARD PROBABLY AFTER LEVINA TEERLINC

110 ?Edward Seymour, 1st Earl of Hertford and 1st Duke of Somerset, c. 1600, probably after a miniature by Levina Teerlinc, 1550

Victoria & Albert Museum (P.25-1942)
Vellum stuck to plain card, circular, 34 mm, 1 3/16 in. diam.
See no. 51

A superb late miniature by Hilliard unfortunately in a very damaged state, the blacks of the costume having severely flaked. The manner of painting is identical to that used in the portraits in the Bosworth jewel (nos. 105/108) and in the Elizabeth robes of state (no.211). The sitter must be someone of great importance and the circular format and composition of the portrait would suggest that this is Hilliard copying a lost miniature by Teerlinc. This importance is emphasised in the use of the ultramarine fo the background, a pigment reserved for the grandest commissions. If it were not for the date 1550 clearly inscribed upon it the resemblance to Thomas Seymour, Earl of Hertford is more than striking (Strong, Tudor and Jacobean, II, pls. 683-84). Seymour was executed, however, in March 1548/9. A miniature of him was recorded in the Stowe sale March 15 1849 (lot 145) which descended directly in the Seymour family. This must be the one formerly in the Buccleuch Collection (Kennedy, Buccleuch, pl. VIII). Miniatures up until Hilliard were only painted of those of the highest rank and the sitter who would fit neatly is a far more important man, Thomas’s brother, Edward Seymour, Duke of Somerset, Edward VI’s uncle and Lord Protector. The only certain portrait is the miniature painted by Hilliard aged thirteen and dated 1560 (no.51), which is posthumous. It is a feeble work but the Seymour features are certain enough to identify him in the group portrait of Edward VI and the Pope )Strong, Tudor and Jacobean, II, pl. 678 to the King’s immediate left). A portrait at Longleat (ibid. pl. 575), an early copy of a lost original, is probably rightly him and bears and early inscription which there seems no reason to doubt.

Somerset actually fell from power in January 1549/50 and was consigned to the Tower for a short period being released in February, re-admitted to the Privy Council in April and his property restored. Optimism returned when his eldest daughter, Anne, was married to Warrick’s son, in June.

Somerset was a massive patron of the art and to sit for Teerlinc would be entirely comprehensible. His son, Edward, married into the GREY family, who were also painted by her. The Grey family were part of the royal family by extension through Henry VIII’s sister, Mary, Duchess of Suffolk. The Seymours were related through the protector’s sister, Jane, Henry VIII’s third queen.

INSCRIBED: On either side of the head: Anno Dni 1550 / Aetatis suae (no age given).

COLLECTIONS: Transferred to the V&A from the British Museum, 1942.”

Exhibition History

Artists of the Tudor Court: the portrait miniature rediscovered, 1520-1620 (Victoria and Albert Museum 09/07/1983-06/11/19833)

Production Note

This miniature is probably a copy after an original painted by Levina Teerlinc in 1550.

Materials

Watercolour; Cardboard; Vellum

Techniques

Painting

Subjects depicted

Man; Fur

Categories

Portraits; Paintings

Collection code

PDP