Portrait of a Lady of the Wentworth Family (Probably Jane Cheyne)

CC0 Public Domain Designation

Painting and Sculpture of Europe

1563

Hans Eworth
Netherlandish, active England 1545–73/74

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Hans Eworth
Title: Portrait of a Lady of the Wentworth Family (Probably Jane Cheyne)
Place: Flanders (Artist's nationality)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1563
Medium: Oil on panel
Inscriptions: Inscribed: AETATIS 24 / 1563 / HE (on tablet at upper right), coat of arms of the Wentworth (upper left)
Dimensions: 110.6 × 79.5 cm (43 9/16 × 31 5/16 in.)
Credit Line: Gift of Kate S. Buckingham
Reference Number: 1920.1035
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/93554/manifest.json

Galleries and Bays of the National Portrait Exhibition, 1866, Shown in Seventy-seven Photographs, London, 1867, pl. showing nos. 305–42.
Lionel Cust, “Notice of the Life and Works of Lucas D’Heere,” Archaeologia 54 (1894), p. 79.
Lionel Cust, “The Painter H E,” Walpole Society 2 (1912–13), pp. 16, 33–34, pl. 17b.
C. H. Collins-Baker, “Ewoutsz., Hans,” in Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, ed. Ulrich Thieme and Felix Becker, vol. 11, 1915, p. 119.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 168.
C. H. Collins Baker and W. G. Constable, English Painting of the Sixteenth and Seventeenth Centuries, Flor-ence and New York, 1930, pp. 25, 77.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 152.
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection, Chicago, 1961, p. 158.
Roy Strong, Hans Eworth: A Tudor Artist and His Circle, exh. cat., City of Leicester Museums and Art Gallery, 1965, p. 7, no. 15, pl. 22a (not exhibited).
Roy Strong, “Hans Eworth Reconsidered,” Burlington Magazine, Studies in British Art, London and New York, 1969, p. 96, no. 38.
Roy Strong, Tudor and Stuart Monarchy, vol. 1, Woodbridge and Rochester, N.Y., 1995, pp. 115, 142, no. 15, pl. 98.
Karen Hearn, ed., Dynasties: Painting in Tudor and Jacobean England, 1530–1630, exh. cat., London, Tate Gallery, 1995, pp. 71–72.
Susan Frances Jones in Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 320-24, ill.

London, South Kensington Museum, The First Special Exhibition of National Portraits, Ending with the Reign of King James the Sec-ond, 1866, no. 310, as Mary Stuart, Queen of Scots.
Peterborough, The Tercentenary of Mary Queen of Scots Exhibition, 1887, no. 3, as Portrait of Queen Mary.
London, Grosvenor Gallery, Second Na-tional Loan Exhibition: Woman and Child in Art, 1913–14, no. 39.

Probably Thomas Wentworth, Lord Raby, 1st Earl of Strafford of the second creation (d. 1737), Wentworth Castle. Barnsley, North Yorkshire, as part of the settlement of the Toddington estate inherited by his wife, Anne Johnson (d. 1754) [see William Loftie Rutton, Three Branches of the Family of Wentworth, London, 1891, p. 116 and Jones in Wolff et al., 2008, pp. 320, 323]; presumably by descent to Frederick William Thomas Vernon-Wentworth (d. 1885), Wen-tworth Castle, Barnsley, North Yorkshire, by 1866 [lent by him to London 1866]; by descent to Captain Bruce C. Vernon-Wentworth; sold, Christie’s, London, Nov. 13, 1919, no. 53, to Mr. Sulley, a dealer of Grosvenor Street [according to Ellis Waterhouse’s notation in copy of London 1866 at Getty Research Center]; Knoedler, London and New York, 1920 [letter from Knoedler dated Dec. 21, 1920 in Art Institute Archives]; sold to Kate S. Bucking-ham for £2,000, 1920; given to the AIC, 1920.

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