A portrait believed to be of Lady Jane Grey will be displayed alongside six new historic paintings at Wrest Park from today. 

While details of the sitter are yet to be confirmed, exciting new research by English Heritage points in favour of a royal identity.

The evidence includes dendrochronology (tree-ring dating) which determines the age of the wood and provides insights into past environmental conditions, XRF (X-ray fluorescence) identifies the elements in the materials used, and infrared reflectography that reveals what lies beneath the surface of a painting.

Experts, including renowned historical author Dr Philippa Gregory, say details found in the painting provide compelling evidence that Lady Jane was the original sitter.

If correct, the findings could shed new light on what we know about the ill-fated 'Nine Days Queen.'

Who was Lady Jane Grey?

Lady Jane Grey is often remembered as an innocent victim and a pawn in the ruthless ambition of others in the Tudor court. Following the death of Edward VI, son of Henry VIII, Lady Jane reigned as Queen of England for just nine days (10 July-19 July 1553). But her life — and legacy — was cut short with the uprising of Mary I. Lady Jane was convicted of treason and sentenced to death by beheading.

One of the most enduring images of Lady Jane is Paul Delaroche's famous painting, The Execution of Lady Jane Grey. In it, a 17-year-old Jane is blindfolded in front of the execution block. The portrait is displayed at The National Gallery. However this depiction — and the few known representations of Lady Jane in existence — share something in common; they were all painted after her death.

New research by English Heritage, the Courtauld Institute of Art and dendrochronologist Ian Tyers has confirmed that, if this portrait is Lady Jane Grey, it would be the only known depiction to have been painted during her lifetime. It also suggests significant alterations were made to the painting later, possibly to portray Lady Jane as the Protestant martyr we know her to be.

Is this the 'Nine Days Queen'?

Peter Moore, English Heritage’s Curator at Wrest Park, said: “For many years this painting was part of the historic collection at Wrest Park, having been acquired by Anthony Grey, 11th Earl of Kent, in 1701, as an image of Lady Jane Grey. It remained the defining image of the ‘Nine Days Queen’ for over 300 years, until its attribution was thrown into doubt and its identity rejected. On loan from a private collection, it is thrilling to have this painting back at Wrest and the new research provides tantalising evidence which brings us much closer to the assertion that this could be Lady Jane Grey.”

Rachel Turnbull, English Heritage’s Senior Collections Conservator, said: “Working alongside the Courtauld Institute of Art, and dendrochronologist Ian Tyers, English Heritage has undertaken remarkable research in an effort to determine the identity of this portrait. While we can’t confirm that this is definitely Lady Jane Grey, our results certainly make a compelling argument! From the newly discovered evidence of a once perhaps more elaborate costume and the dating of the wooden panel from within her lifetime, to the deliberate scratching of her eyes, it is possible that we are looking at the shadows of a once more royal portrait of Lady Jane Grey, toned down into subdued, Protestant martyrdom after her death. Regardless of her identity, the results of our research have been fascinating.”

After viewing the portrait, Dr Philippa Gregory, Historical Author, said: “I was so excited to see this portrait when it was in the English Heritage conservation studio, especially as they have a tentative identification of Jane Grey. Certainly, the features are similar to those of her portrait at the National Portrait Gallery. This is such an interesting picture posing so many questions, and if this is Jane Grey, a valuable addition to the portraiture of this young heroine, as a woman of character – a powerful challenge to the traditional representation of her as a blindfolded victim.”

What the evidence tells us

The new research provides much evidence in favour of identifying the sitter as Lady Jane Grey. Research highlights include:

• Dendrochronological analysis of the painted panel (comprised of two Baltic oak boards from two different trees) suggests a likely usage date for the panel between 1539 and circa 1571. The back of the panel displays a merchant or cargo mark, identical to a mark used on a royal portrait of King Edward VI.
• Infra-red reflectography shows that the sitter’s costume was significantly changed after the initial portrait was completed. Many changes can be seen around the sleeves and it is likely that the white scarf on the shoulders is a later addition. In the sitter’s right arm, bands can be seen encircling the arm under the scarf. This could be part of a wider decorative sleeve, now obscured, or the top of a previous scarf worn draped over the lower arms, similar to outfits worn by Lady Jane Grey in other depictions.
• The coif (a linen cap worn over the hair) has also been altered significantly – in scanning, a different shaped coif and potentially a hood (a more decorative head piece worn over the coif) with delicately depicted stitching can be seen framing the face. Although indistinct, it might be possible to suggest the presence of a veil from the hood to the proper left of the head in the background also now painted out.
• A striking change is visible in the eyes. Currently positioned looking to the sitter’s left, the eyes were previously looking to the sitter’s right looking past the viewer. At some point in the painting’s lifetime, the eyes, mouth and ears were also deliberately scratched out – this is likely an iconoclastic attack (the destroying of images for religious or political reasons) and an image of Lady Jane Grey in the National Portrait Gallery bears the same mark.

Including the possible portrait of Lady Jane Grey, seven historic paintings have been returned to Wrest Park and are also on display from today.

All six portraits have been loaned from a private collection (with a further thirteen to be hung in the coming seasons), while the portrait of Jemima Marchioness Grey was recently acquired with a generous grant from Art Fund and a contribution from the site’s second-hand bookshop. This important portrait, depicting one of Wrest Park’s most notable eighteenth century owners, will be returned to the library where it was displayed until 1917 when the Wrest Park estate was sold.