Jacob Jacobsz de Wet II (1641, Haarlem – 1697, Amsterdam)
Mary, Queen of Scots (1542-87), c. 1684-86
Number 107 in the series. Inscribed MARIA STEWARTVS. 1543
Oil on canvas
214.0 x 137.0 cm
The Royal Collection Trust
Full-length portrait of Mary, Queen of Scots (1542-1587), wearing a green dress with a gold stomacher and crucifix, and a purple cloak trimmed with ermine; she rests her right hand on a table on which are placed the crown, orb and sceptre.
Mary, Queen of Scots is the only woman depicted in de Wet's otherwise entirely masculine, patriarchal series. This can be explained by her dynastic importance as the mother of James VI (RCIN 403303), the first king of Scotland to ascend the English throne, as well as perhaps her dramatic life story. More on this painting
Jacob Jacobsz de Wet II (1641, Haarlem – 1697, Amsterdam), also known as James de Witt, was a Dutch Golden Age painter known for a series of 110 portraits of Scottish monarchs, many of them mythical, produced for the Palace of Holyroodhouse, Edinburgh during the reign of Charles II.
According to the Netherlands Institute for Art History (RKD) he was one of five children of the painter Jacob Willemszoon de Wet. His father taught him to paint and he was first recorded in his father's notebook at age 16 when his father wrote that he sold one of his son's paintings. In 1668 he moved to Amsterdam. In 1673 he secured the patronage of Sir William Bruce, King’s Surveyor and Master of Works in Scotland, and was brought to Edinburgh to work on Charles II's restoration of the Palace of Holyroodhouse. For two years, de Wet painted decorative historical, mythical and allegorical scenes for the newly rebuilt state apartments at Holyrood, whilst also decorating his patron Bruce's house in Balcaskie, Fife.
In 1684 de Wet returned to work at Holyrood and signed a contract with Hugh Wallace which bound him to produce 110 portraits of Scottish monarchs from the legendary King Fergus to the reigning Charles II.
After completing his royal portrait series, and after a further two years in Scotland, de Wet again returned to Amsterdam. He died in Amsterdam and was buried there in the Nieuwe Kerk. More on Jacob Jacobsz de Wet II
The only surviving legitimate child of James V of Scotland, Mary was six days old when her father died and she acceded to the throne. During her childhood, Scotland was governed by regents, first by the heir to the throne, James Hamilton, Earl of Arran, and then by her mother, Mary of Guise. In 1548, she was betrothed to Francis, the Dauphin of France, and was sent to be brought up in France, where she would be safe from invading English forces during the Rough Wooing. Mary married Francis in 1558, becoming queen consort of France from his accession in 1559 until his death in December 1560.
Unknown
Mary, Queen of Scots, 1542 - 1587. Reigned 1542 - 1567 (In white mourning)
Oil on panel
32.90 x 27.40 cm
National Galleries of Scotland
Within eighteen months Mary, Queen of Scots, lost three members of her closest family - her father-in-law, Henry II of France, her mother, Mary of Guise, and finally, on 5 December 1560, her husband, Francois II of France. She is shown here in mourning, wearing a white hood and veil. According to the Venetian Ambassador to the French court, Mary was inconsolable and her 'tears and lamentations inspired a great pity' in everyone. Eight months later, having lost her position as Queen of France, Mary landed at Leith to take up her duties as Queen of Scotland. More on this painting
Widowed, Mary returned to Scotland in August 1561. In the early years of her personal rule, which followed the Scottish Reformation, Mary was tolerant in religious matters, governing as the Catholic monarch of a Protestant country, accepting the new religious settlement, and depending on trusted advisers such as James Stewart, Earl of Moray, and William Maitland of Lethington.
Charles Robert Leslie (American/British, 1794–1859)Mary Queen of Scots' farewell to France
Oil on canvas
74 x 97 cm. (29.1 x 38.2 in.)
Private collection
After she had completed her 40 days mourning for her late husband, Mary retreated to the country in France to gather her thoughts and to appoint new advisers. The most important appointment was Henri Cleutin, Seigneur d'Oysel, formely her mother's chief lieutenant . Mary then held a 3 month farewell tour of her relatives in France ending on the 25th July 1561. She accompanied her uncles and a large retinue to the channel ports. False information about her itinerary was given out to confuse the English spies. Mary was aged 18. She reached Calais on the 10th August, there she rested for four days before boarding the galley on the morning of the 14th. Her uncles arranged for the Marquis d'Elbeuf and two of his older brothers to attend her during the crossing. More on this painting
Charles Robert Leslie RA (19 October 1794 – 5 May 1859) was an English genre painter.
Leslie was born in London to American parents. When he was five years of age he returned with them to the United States, where they settled in Philadelphia. Leslie completed his education and afterwards became apprenticed to a bookseller.
He left for London in 1811, being admitted as a student of the Royal Academy, where he carried off two silver medals. At first, influenced by West and Fuseli, he essayed high art, but he soon discovered his true aptitude and became a painter of cabinet-pictures, dealing with scenes from the great masters of fiction.
In 1821, Leslie was elected an Associate of the Royal Academy, and five years later full Royal Academician. In 1827 he was elected into the National Academy of Design as an Honorary Academician. In 1833, he left for America to become teacher of drawing in the military academy at West Point, but the post proved an irksome one, and in some six months he returned to England. He was elected as a member to the American Philosophical Society in 1837. He died 5 May 1859 and is buried in Kensal Green Cemetery. More on Charles Robert Leslie
Sir William Allan
Mary Queen of Scots arriving at Leith, 1651
Oil on panel
127.5 by 197cm., 50 1/4 by 77 1/2 in.
Private collection
Sir William Allan, see below
On 19 August 1561, cannon were fired in Leith to announce Queen Mary's arrival in Scotland. When she attended Mass being celebrated in the royal chapel at Holyrood Palace five days later, this prompted a protest in which one of her servants was jostled. The next day she issued a proclamation that there would be no alteration in the current state of religion and that her servants should not be molested or troubled.
The Conference between Mary, Queen of Scots and John Knox at Holyrood Palace, 1561, c. 1875
Oil on canvas
H 123.1 x W 182.9 cm
Perth & Kinross Council
For Robert Inerarity Herdman see below
Many nobles accepted this, but not John Knox, a Scottish minister, theologian, and writer who was a leader of the country's Reformation. He was the founder of the Presbyterian Church of Scotland. As a result, just two weeks after her return, Mary summoned Knox. She accused him of inciting a rebellion against her mother and of writing a book against her own authority. Knox answered that as long as her subjects found her rule convenient, he was willing to accept her governance, noting that Paul the Apostle had been willing to live under Nero's rule. Mary noted, however, that he had written against the principle of female rule itself. He responded that she should not be troubled by what had never harmed her. When Mary asked him whether subjects had a right to resist their ruler, he replied that if monarchs exceeded their lawful limits, they might be resisted, even by force. More on Mary, Queen of Scots and John Knox
Mary married her half-cousin, Henry Stuart, Lord Darnley, in 1565, and in June 1566, they had a son, James.
Before long, Darnley grew arrogant. Not content with his position as king consort, he demanded the Crown Matrimonial, which would have made him a co-sovereign of Scotland with the right to keep the Scottish throne for himself, if he outlived his wife. Mary refused his request and their marriage grew strained.
Sir William Allan, Scottish (1782 - 1850)
The Murder of David Rizzio, c. 1833
Oil on panel
102.50 x 163.30 cm
National Galleries of Scotland
Here, Sir William Allan depicts the assassination of David Rizzio, the queen's Italian secretary, in March 1566. The artist took great care to be historically accurate, establishing the exact identity and role of all the individual conspirators and recreating the look of Mary's rooms at the Palace of Holyrood. Allan based his Earl of Morton (with black hat to the far right) on a contemporary portrait, attributed to Arnold Bronckhorst, which is in the collection of the Scottish National Portrait Gallery. To the left, Mary is being restrained by her husband, Lord Darnley, who was part of the conspiracy but later denied any involvement. More on this painting
Sir William Allan was born in Edinburgh, Allan was apprenticed to a coach painter before studying at the Trustees' Academy in the city from 1799; David Wilkie was a fellow student and became a lifelong friend. Allan went to London in 1803 to continue his studies, possibly at the Royal Academy. In 1805 he went to Russia, where he was based until 1814, travelling widely in the region. On his return, he settled in Edinburgh where he painted scenes inspired by his travels as well as subjects from Scottish history and Sir Walter Scott's novels. He was appointed Master of the Trustees' Academy in 1826, elected President of the Royal Scottish Academy in 1838 and became the Queen's Limner for Scotland in 1841, the year he was knighted. More on Sir William Allan
Sir William Allan Scottish (1782 - 1850)
A Study for 'The Murder of David Rizzio', c. 1833
Oil on panel
41.30 x 70.20 cm (framed: 48.40 x 77.30 x 3.30 cm
National Galleries of Scotland
He was jealous of her friendship with her Catholic private secretary, David Rizzio, who was rumoured to be the father of her child. On 9 March, a group of the conspirators accompanied by Darnley murdered Rizzio in front of the pregnant Mary at a dinner party in Holyrood Palace.
In February 1567, Darnley's residence was destroyed by an explosion, and he was found murdered in the garden. James Hepburn, 4th Earl of Bothwell, was generally believed to have orchestrated Darnley's death, but he was acquitted of the charge in April 1567, and the following month, he married Mary.
James Drummond
The Return of Mary Queen of Scots to Edinburgh, c. 1870
Oil on canvas
h 86.40, w 125.10 cm
Scottish National Gallery
The present-day title would suggest that this picture shows Mary's return to Edinburgh after her defeat at Carberry Hill, but Drummond actually portrayed Mary’s subsequent departure from Edinburgh at sunset on 17 June 1567 to be incarcerated in the island fortress of Lochleven Castle. She is shown encountering the banner with its hostile slogan, accusing her of Darnley's murder. The character of Mary fascinated many nineteenth-century writers and painters, and different views as to her guilt or misfortune were put forward. Drummond does not reveal his own attitude, but suggests by means of Mary's fallen glove (a glove or gage required a champion to pick it up and fight in its defence) the enigma and challenge which her story still poses. More on this painting
Twenty-six Scottish peers, known as the confederate lords, turned against Mary and Bothwell and raised their own army. Mary and Bothwell confronted the lords at Carberry Hill on 15 June, but there was no battle, as Mary's forces dwindled away through desertion during negotiations. Bothwell was given safe passage from the field. The lords took Mary to Edinburgh, where crowds of spectators denounced her as an adulteress and murderer
Antoinette Haudebourt-Lescot
Joseph Severn (1793–1879)
William Craig Shirreff (1786 - 1805) was born in Haddington, the son of an East Lothian farmer. He entered the Trustees’ Academy in Edinburgh in 1802, at the time when John Graham was master. Graham introduced oil painting into the curriculum, and also initiated a scheme of premiums for the best historical paintings. In 1805, Shirreff won the top prize for his first major attempt at history painting using oil paint. The picture is now in the National Gallery of Scotland’s collection (NG 2255). Sadly, and aged only eighteen, Sherriff died of consumption before the prize was awarded. It was bestowed posthumously. More on William Craig Shirreff
Laslett John Pott (1837–1898)
Ford Madox Brown (1821–1893)
Mary Queen of Scots
Watercolour on paper
21 1/2 x 16 inches (54.3 x 40.7 cm)
Private collection
Antoinette Haudebourt-Lescot , chose an incident probably inspired by Sir Walter Scott's The Abbot. This vividly depicted the enmity between Mary Queen of Scots and Margaret Erskine (mistress of King James V of Scotland), Lady Lochleven, the mother of James Stuart, Earl of Moray. The artist has taken narrative liberties by combining two separate scenes surrounding Mary’s forced abdication, so as to show both the unpleasant behavior of Lady Lochleven as well as Mary’s emotional response which actually occurred later. Haudebourt-Lescot ‘s highly finished watercolor technique is well suited to the depiction of the varieties of historic costume which the artist clearly enjoyed. More on this painting
Antoinette-Cécile-Hortense Haudebourt-Lescot (14 December 1784 – 2 January 1845) was a French painter, mainly of genre scenes. A native of Paris, she began studies with Guillaume Guillon-Lethière, a popular history painter and family friend, at the age of seven; when he was appointed director of the French Academy in Rome in 1807, she followed him, arriving in 1808 and remaining there until 1816. There she depicted the customs and costumes of Italian peasants in great detail. Such foreign experience was rare for a woman artist, and influenced much of her work. She regularly exhibited her work at the Paris Salon, showing some 110 paintings there between 1811 and 1840.
Haudebourt-Lescot married the architect Louis-Pierre Haudebourt in 1820, and died in Paris in 1845. More on Haudebourt-Lescot
William Baxter Collier Fyfe, 1836-1882
The Abdication Of Mary Queen Of Scots At Lochleven Castle
Oil on canvas
146 x 204.5 cm. (57.5 x 80.5 in.)
Private collection
William Baxter Collier Fyfe, see below
The Abdication of Mary, Queen of Scots, c. 1850
Oil on canvas
H 48.3 x W 33 cm
Victoria and Albert Museum
Joseph Severn (1793–1879) British portrait painter. He studied at the Royal Academy, and exhibited 'Hermia and Helena' and 'Una and the Red Cross Knight in the Cave of Despair'. His work won him a travelling scholarship to the Continent, and he accompanied his friend John Keats to Rome in 1821, writing the bitter epitaph which survives on Keats' headstone to this day. Later, as well as continuing his painting to acclaim, he turned to politics and returned to Rome as British Consul. His painting continued to draw inspiration from literary works, such as King Lear, The Tempest and the Ancient Mariner. He also designed an altarpiece for the church of St Paul in Rome. When he died he was buried next to Keats. More on Joseph Severn
William Craig Shirreff (1786 - 1805)
Mary, Queen of Scots Escaping from Lochleven Castle, c. 1805
Oil on canvas
77.20 x 92.40 cm (framed: 86.80 x 102.50 x 6.20 cm)
National Galleries of Scotland
In 1805, this painting won a student prize for Shirreff while he was at the Trustees’ Academy. He chose an episode from the life of Mary, Queen of Scots which had been related by Gilbert Stuart in his influential ‘History of Scotland’ (1783). In a letter to his father the young artist wrote: "I have taken the point of time when Lord Seaton is receiving Mary from the boat, and young George Douglas handing her on and one of the attendants holding the horse that the Queen is to ride on. I am very pleased with it myself." By the early nineteenth century, Mary was a popular romantic heroine. William Lizars, one of Shirreff’s friends, engraved this painting after the young artist’s premature death. More on this painting
Mary had once claimed Elizabeth's throne as her own and was considered the legitimate sovereign of England by many English Catholics, including participants in a rebellion known as the Rising of the North. Perceiving Mary as a threat, Elizabeth had her confined in various castles and manor houses in the interior of England.
John Calcott Horsley, R.A.
Mary Queen of Scots in captivity
Oil on canvas
137 by 190 cm., 54 by 75 in.
Private collection
John Calcott Horsley was the nephew of the landscape painter Augustus Wall Callcott and was educated at the Royal Academy. The famous Victorian engineer Isambard Kingdom Brunel was Horsley's brother-in-law.
Horsley began his career as a portrait artist but later painted frescoes for the Houses of Parliament. His style was influenced by 17th century Dutch painting. In the 1840s Horsley is credited with designing the first Christmas card, setting off a tradition we still follow today.
With fellow artists Thomas Webster, G.B. O'Neill and F.D. Hardy, Horsley formed the Cranbrook colony, meeting every summer to paint in the village of Cranbrook in Kent.
From 1875-1890 Horsley was rector of the Royal Academy, where he campaigned against French influences and the use of nude female models. This earnt him the nickname 'Clothes Horsley'. More on John Calcott Horsley
When the picture was exhibited at the Royal Academy in London in 1871, the following words accompanied it: 'Mary, at twenty-six years of age, was consigned to the charge of the Earl and Countess of Shrewsbury, and remained captive in their custody for nearly sixteen years. There was little love lost between the Countess and her loyal prisoner. The former, familiarly known as Bess of Hardwick, was a woman of strong character and imperious disposition.' Mary is dressed in black at a mullioned window of her bed chamber where she has been held captive for so many years. She is feeding doves that have flown to the open window from the world outside that she cannot return to. More on this painting
William Baxter Collier Fyfe, 1836-1882
Mary Queen of Scots at Fotheringhay Castle
Oil on canvas
145 x 114 cm. (57 x 45 in.)
Private collection
This painting illustrates a poignant moment in Scottish history. Mary, Queen of Scots, wearing dark red and black, holding a crucifix and rosary in her lap, and contemplating a miniature of her husband and a completed letter to Henri III of France, brother of her first husband waits for her death warrant.
Jane Kennedy, the Queen's attendant, and Elizabeth Curle, a noblewoman, stand in the doorway in grief and anger at the fate of their Queen. More on this painting
William Baxter Collier Fyfe (1836-1882) was a Scottish genre and portrait painter. He was born at Dundee in 1836. He became at an early age a student of the Royal Scottish Academy, and exhibited his first picture of importance, Queen Mary resigning her Crown at Loch Leven Castle, in the Exhibition of 1861; but this was surpassed in later years by The Raid of Ruthven. In 1863 he settled in London, and from that time onward was busily engaged with portraiture, which he varied with landscapes and genre subjects of interest and merit. Some of his most important portraits are those of the Earl and Countess of Dufferin, Admiral Grenfell, Alderman Sir William McArthur, Dr. Lorimer, and John Faed, R.S.A.. He died suddenly at his residence in St John's Wood, London in 1882. More on William Baxter Collier Fyfe
David Scott (1806–1849)
Mary, Queen of Scots, Receiving the Warrant for Her Execution, c. 1840
Oil on canvas
H 188 x W 269.2 cm
Glasgow Museums Resource Centre (GMRC)
David Scott (October 1806 – 5 March 1849) was a Scottish historical painter.
Scott was the brother of William Bell Scott. He was born at Edinburgh, where he attended the Royal High School, and studied art under his father, Robert Scott, the engraver.
In 1829 he became a member of the Scottish Academy, and in 1832 visited Italy, where he spent more than a year in study. While in Rome he executed a large symbolical painting, entitled the "Agony of Discord, or the Household Gods Destroyed."
Scott also executed several remarkable series of designs. Two of these—the "Monograms of Man" and the illustrations to Coleridge's Ancient Mariner—were etched by his own hand, and published in 1831 and 1837 respectively, while his subjects from the Pilgrim's Progress and Nichol's Architecture of the Heavens were issued after his death.
Scott lived at 5 Mary Place, part of Raeburn Place in Stockbridge, Edinburgh. He died at Dalry House in western Edinburgh (now called Orwell Place). Scott was buried in Dean Cemetery, and a monument designed by his brother was set in 1860. More on David Scott
After eighteen and a half years in captivity, Mary was found guilty of plotting to assassinate Elizabeth in 1586 and was beheaded the following year at Fotheringhay Castle. Mary's life, marriages, lineage, alleged involvement in plots against Elizabeth, and subsequent execution established her as a divisive and highly romanticised historical character, depicted in culture for centuries.
Mary was told on 7 February that she was to die the following morning. She began to settle her affairs and wrote to her brother-in-law, King Henry III of France. At six in the morning, Mary dressed for her final performance. She wore a skirt and bodice of black satin over a russet brown petticoat and an overmantle of black satin embroidered with gold and trimmed with fur. She wore a white crepe headdress and a long lace veil. A gold rosary hung from her waist. She spent some time at prayer.
Robert Inerarity Herdman (1829–1888)
Execution of Mary, Queen of Scots, c. 1867
Oil on canvas
H 74.9 x W 95.3 cm
Kelvingrove Art Gallery and Museum
This painting shows the execution of Mary, Queen of Scots at Fotheringay Castle, Northampton on 8 February 1587. Wearing widow's clothes and a white veil, she walks towards the executioner's block. The light captures the serenity and courage of her expression. She is watched with mixed emotions by some of her followers and by her enemies. The two ladies at the foot of the stage are her attendants Elizabeth Curle and Jane Kennedy, the man between them is Sir Andrew Melville, Master of Mary's household.In the Victorian period there was a great vogue for Scottish things. Herdman has deliberately glamorized the past by presenting the ageing Mary as a young and beautiful woman, the innocent victim of political intrigue. She has become a romantic heroine and is shown as a saintly figure. Her blood-red petticoat symbolizes her martyrdom to the Catholic faith. In reality, Mary was 44 years old when she died. Long imprisonment had left her physically frail and aged, she suffered terribly from rheumatic pain, and her famous red hair had turned grey. The drama and pathos of the scene is enhanced by the light which catches the gleam of the masked executioner's axe and the corner of the coffin lying in the right foreground. This romantic view of Mary was also reinforced by Sir Walter Scott's novels. More on this painting
Robert Inerarity Herdman RSA RSW (17 September 1829 – 10 January 1888) was a Victorian artist specialising in portraiture and historical compositions. He is also remembered for a series of pastoral scenes featuring young girls.
He received commissions from most Scottish city councils, and is work is found in many galleries including the Royal Scottish Academy and National Portrait Gallery, London.
He was elected an Associate of the RSA in 1861 and became a Fellow in 1863. He exhibited at the Royal Academy and British Institution in London 1861–1887. He exhibited in Philadelphia in 1876 and Paris in 1878. More on Robert Inerarity Herdman
Mary, Queen of Scots, Being Led to Her Execution, c. 1871
Oil on canvas
H 127 x W 182.9 cm
Nottingham City Museums & Galleries
On the right of the picture is a stone staircase, leading from Mary's room, where she has been held. The bannisters are draped with black material. At the top of the stairs are the Queen's courtiers, all in black. One of her ladies-in-waiting weeps; next to her on the wall is a tapestry. Mary herself is on the bottom step, being guided by the arm by a male courtier dressed in a breastplate and thigh-length leather boots. He carries a sword at his side. The queen looks straight at us, a look of shocked composure on her face. She wears a long black dress, with a red underdress, a long white veil, which is worn at the back, and a stiff lace ruff. Around her neck is a crucifix, and she holds another, with a lace handkerchief, in her right hand.
On the extreme left of the picture, descending the lower flight of stairs, we see the soldiers that have come to lead her away. Above them we can see Mary's room, with its window and desk. More on this painting
Laslett John Pott, RBA (1837-1898) - Born in Newark to a Nottingham family, Pott was first articled to an architect before moving to London to pursue his artistic career. His pictures were very much to the taste of Victorian collectors and at the height of his career in the 1870's, his major works commanded prices of in excess of £1000. His best known picture, Mary Queen of Scots being led to her Execution was shown at the RA the year before. Combined with a well judged appreciation of early decoration but the nouveau riche patrons of Victorian art also demanded technical skill and subjects that were plausible. More on Laslett John Pott
She walked down to the Great Hall, where the scaffold was now complete. Over 300 people had come to watch her die. She climbed the scaffold and took the pins out of her hair herself. Her outer clothes were removed, and she received fresh sleeves in russet, and so she was now dressed in red – signifying a Catholic martyr. She bade farewell to her weeping servants and forgave the executioner. A silk handkerchief was then tied over her eyes, and she laid her head down on the block. She spoke the words, “In manus tuas, domine, commendo spiritum meum” (Into your hands I commend my spirit) several times before the axe fell. It took two strikes to decapitate her except for a small part of sinew, which the executioner sawed through. He then lifted her head and declared, “God save the Queen.” Her head then fell from his grasp, leaving him holding her auburn wig. More on this painting
Execution of Mary, Queen of Scots, c. 1839–1841
Oil on canvas
H 77.9 x W 69.1 cm
The Whitworth
Ford Madox Brown, (born April 16, 1821, Calais, France—died October 6, 1893, London, England), English painter whose work is associated with that of the Pre-Raphaelite Brotherhood, although he was never a member.
Brown studied art from 1837 to 1839 in Bruges and Antwerp, Belgium. His early work is characterized by sombre colour and dramatic feeling suited to the Byronic subjects that he painted in Paris during 1840–43. Already concerned with the accurate representation of natural phenomena, he drew from corpses in University College Hospital in London when painting his Prisoner of Chillon (1843). During a visit to Italy in 1845, he met Peter von Cornelius, a member of the former Lukasbund, or Nazarenes. This meeting undoubtedly influenced both Brown’s palette and his style. His interest in brilliant, clear colour and neomedievalism first appears in Wyclif Reading His Translation of the Scriptures to John of Gaunt (1847). In 1848 Brown briefly accepted Dante Gabriel Rossetti as a pupil, and in 1850 Brown contributed to the Pre-Raphaelites’ magazine, Germ. Like William Holman Hunt, Brown painted in the open air to obtain naturalistic accuracy.
His most famous picture, Work (1852–63), which can be seen as a Victorian social document, was first exhibited at a retrospective exhibition held in London (1865), for which he wrote the catalog. He also worked as a book illustrator with William Morris; produced stained glass, at, among other sites, St. Oswald’s, Durham (1864–65); and between 1879 and 1893 completed a series of 12 murals for the Manchester town hall, depicting scenes from the city’s history. More on Ford Madox Brown
Abel de Pujol (1785–1861)
La mort de Marie Stuart, The execution of Mary, Queen of Scots, c. 1587
Oil on canvas
Height: 259.2 cm (102 in); Width: 331.6 cm (10.8 ft)
Musée des Beaux-Arts de Valenciennes
Alexandre-Denis-Abel de Pujol or Abel de Pujol (30 January 1785 in Valenciennes – 29 September 1861 in Paris) was a French painter. He was a student of David and his own students included Alexandre-Gabriel Decamps and Emile Levy. He painted the ceiling of the grand-staircase at the Louvre as well as the galerie de Diane at Fontainebleau and the ceiling of the Bourse de Paris. A member of the Institut de France, he was an officer of the légion d'honneur. More on Abel de Pujol
Unknown Artist
The Execution of Mary, Queen of Scots, 1542 - 1587, c. 1613
Watercolour on paper
21.90 x 26.40 cm
Scottish National Portrait Gallery
Mary, Queen of Scots, was executed on 8 February 1587 at Fotheringhay Castle, in Northamptonshire. After nineteen years in captivity, she was found guilty of plotting the assassination of her cousin, Queen Elizabeth I. This watercolour was made for a Dutch magistrate who compiled an album of historical prints and drawings in 1613. Not surprisingly, the costume and architecture look very Dutch, but the picture does reflect eye witness accounts of the event. Mary's clothes were burnt to prevent supporters keeping them as relics, and this scene is shown on the far left. More on this painting
Her son, King James VI of Scotland, calmly accepted his mother’s execution, and upon Queen Elizabeth’s death in 1603 he became king of England, Scotland, and Ireland. More on Mary, Queen of Scots
William Powell Frith (1819–1909)
L'adieu de Marie Stuart, c. 1893
Oil on canvas
H 30.3 x W 25.3 cm
The Mercer Art Gallery, Harrogate
William Powell Frith (Born Aldfield, nr. Ripon, Yorkshire, 9 January 1819; died London, 2 November 1909). English painter. He began his career with literary subjects (from Shakespeare, Scott, and other authors), but in the 1850s he turned to contemporary scenes, with which he had great commercial success. Three of his pictures are particularly renowned—crowded, anecdote-packed scenes that rank among the most familiar images of Victorian life: Life at the Seaside (or Ramsgate Sands) (1854, Royal Coll.), Derby Day (1858, Tate, London), and The Railway Station (1862, Royal Holloway, University of London). Derby Day was so popular when it was shown at the Royal Academy that it had to be railed off from the throng of admirers, a distinction previously accorded only to Wilkie's Chelsea Pensioners in 1822.
Frith's My Autobiography and Reminiscences (1887) and Further Reminiscences (1888) give lively accounts of the art world of his time. His reputation sank after his death but greatly revived as part of the general re-evaluation of Victorian art after the Second World War. More on William Powell Frith
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