Read the gallery guide - Compton Verney

7. Follower of Hans Holbein the Younger
(about 1497-1543), German: Edward, Prince
of Wales, later King Edward VI. Oil on panel,
about 1542. 53 x 41.5 cm
Prince Edward, the only son of Henry VIII
and his third wife Jane Seymour, was born at
Hampton Court Palace, London, in October 1537.
His mother died within twelve days of his birth and he was given a
separate household from the age of two. This portrait was painted
when he was five and depicts him as a small but powerful figure,
wearing a red doublet with gold thread and a black feathered cap.
8. Attributed to William Scrots (active
1537-53), Flemish: King Edward VI.
Oil on panel, about 1550. 58 x 68 cm
Edward VI became King in 1547 at the age
of ten and ruled for six years until his death
in 1553. This important profile portrait
includes both the red and white rose,
emblems of the Houses of Lancaster and York respectively, which
were the two dynasties united by Edward’s grandfather, Henry
VII (1457-1509) in 1485. Edward is shown with a group of plants
that, instead of turning toward the sun, face the young King. Rich
in symbolism, they include (from left to right) calendula officinalis
(Pot Marigold), known as the herb of the sun; dianthus caryophyllus
(Clove Pink), associated with the Roman god Jupiter; viola tricolor
(Heartsease), a symbol of thought and remembrance; and tall blue
wild chicory, a plant that only flowers in sunlight. The inscription
beneath, in both Italian and Latin, reiterates the power of the
King as mightier than the sun and establishes him as a ‘second
Jupiter’ – a worthy successor to his father, Henry VIII.
9. After Hans Holbein the Younger
(about 1497-1543), German: King Henry VIII.
Oil on panel, about 1560. 98.2 x 72.5 cm
This portrait is a version of the last official
portrait painted of Henry VIII (reigned
1509-47). The King employed court painters
to fulfil the many demands for his likeness and
used these images as a propaganda tool to
inspire loyalty and devotion in his subjects. Holbein’s original
painting was copied many times, and the demand for images of
Henry VIII lasted well beyond his reign. This version dates from
the reign of Queen Elizabeth I (reigned 1558-1603) and would
have been designed to assert the legitimacy of the Protestant
succession.
10. Sir William Beechey R.A. (1753-1839)
British: Mirza Abu’l Hassan Khan. Oil on
canvas, 1809-10. 144.2 x 137.8 cm
Mirza Abu’l Hassan Khan was sent to the
court of King George III in 1809 by the
Shah of Persia, to help negotiate a treaty of
alliance between Great Britain and Persia
(Iran). He became a figure of fascination,
and many parties were held in his honour. By this time Beechey
was known as one of the foremost portrait painters of his day
and painted two recorded portraits of this sitter. In his diplomatic
diary Abu’l Hassan describes visiting Beechey’s house in Harley
Street and his joy at meeting the artist’s children. On arrival back
in Persia in 1811, he was given the honorary title of Khan, in
recognition of the role he had played in the treaty negotiations.