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Royal Collection Trust/© Her Majesty Queen Elizabeth II 2015

Queen Henrietta Maria (1609-1669)


Creator: John Hoskins (c. 1590-1665) (artist)
Creation Date: 
Materials and techniques: 
Watercolour on vellum
9.2 x 7.9 cm
Reynolds 1999 81
XQG 2002 Treas 52
XQG 2002 Treas 52
XQG 2005 Treas
XQG 1983 K&Q 32
XQG 1968 Stuart 128
Acquirer: HM Queen Elizabeth II (b. 1926)
Collection of Charles I by c.1639; left the Royal Collection after the King's death; Dowager Countess of Gosford; her sale, Sotheby's 14 May 1925 (302); Rev.d EMWO and Major RMO de la Hey; the latter's sale, Sotheby's 27 May 1968 (51); purchased by HM Queen Elizabeth II

John Hoskins was the most successful miniature painter at the English court between the death of Nicholas Hilliard (1547-1619) and the emergence of his own nephew, Samuel Cooper (?1608-1672) as his natural successor. This is the finest surviving work by Hoskins and shows him at the height of its powers. It has not always been acknowledged as a work by Hoskins, on the grounds of the 'S.C.' monogram which is written in pencil on the cracked, gessoed reverse of the miniature, and which has suggested to some that the miniature might date to the period of Samuel Cooper's apprenticeship in Hoskins's studio. However, the miniature was recorded by Charles I's Surveyor of Pictures, Abraham van der Doort, c. 1640, during the lifetime of both artists, as 'Done by the life by Haskins'. As van der Doort is unlikely to have overlooked the evidence of Cooper's signature, the signature can be supposed to have been added at a later date.

Van der Doort describes the elaborate costume in some detail: 'the Queenes Picture in liming with a white feather and in a white laced dressing about her breast in a blewish purple habitt and Carnacon sleeves and a part of goulden Tissue Curteine'. Henrietta Maria wears masque costume, possibly the bue star-spangled dress which she wore to perform in the masque Tempe Restored in 1632. Microscopic examination reveals the extent to which Hoskins encrusted the surface of the vellum with thick touches of pigment in order to create the textured appearance of the gem-set headdress, necklace and earrings. He must have learned this technique from Nicholas Hilliard, either in person, or through familiarity with the latter's 'Treatise concerning the Arte of Limning'.

Further details

Additional Creators: Previously attributed to Samuel Cooper (1609-1672) (artist)