Having an hour to spare before a meeting in London this
week, I popped into the National Portrait Gallery. Unfortunately they do not
allow photography, however I have put links below to many of the paintings on
the NPG website. Although there are several of these works on Wikimedia Commons
I have not included them in this post because the NPG is extremely sensitive about
its rights in reproduction of the paintings, and Wikimedia has the comment that
“third parties have made copyright claims against Wikimedia Commons.”
One of the first rooms on the top floor in the museum has
about 15 paintings and miniatures from the period c1560-c1630, exploring the
concept “Framing the face – collars and ruffs.” This little exhibition
is on from 19 February to 31
December 2016.
First there is
the lovely portrait that was previously believed to have been Mary, Queen of
Scots, but is now listed as an unknown
woman. It dates to around 1570, apart from the ruff, it has a wonderful
sleeves and forepart set, the pattern looks almost like an old fashioned
punched card (you have to be of a certain, pre modern computer, age to get that).
There is a case
of small paintings, not small enough to be miniatures, which include a painting
thought to be Lady
Arabella Stuart, c.1595-1600, and her cousin James
VI & I, c.1590 in an incredibly tall hat. With them, to continue the
Scottish theme, is James’s mother Mary,
Queen of Scots. This painting is now considered to be from the second half
of the 16th century after tree ring dating of the wood it is painted
on. It was previously believed to be an eighteenth century copy.
There is a case of miniatures, which is covered to protect
the paintings from light. Among the paintings displayed there are a couple of
Nicholas Hilliard portraits including a 1578 Francis
Bacon, in a very austere ruff, and by contrast Mary
Herbert, Countess of Pembroke, c.1590, in a very over the top standing
collar. There is an interactive display which allows you to bring these miniatures
up and examine every tiny detail.
Among the final wall of paintings is the 1631 portrait of Edward
Cecil, Viscount Wimbledon, wearing a very fine lace edged falling band and,
military type note, a pink military scarf (sash) with silver embroidery and a
silver lace edging.
If you are in London it is worth going and having a look.
