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the floor. The attribution to Larkin is supported by later technical analysis comparing these portraits to the documented portrait of Lord
Herbert at Charlecote Park, although various hands are identified in the backgrounds of the full-length portraits, indicating that Larkin employed assistants in his workshop or studio to paint these repetitive details, a common practice at the time.
110:. Married before 1612, he buried a stillborn son in that year; a son, William, in 1613; and a daughter, Mary, in January 1614/15, all at St Anne Blackfriars. Another daughter called Mary was alive at the time of his death. He died sometime between the witnessing of his will on 10 April 1619 and its
217:
identified Larkin with the artist formerly known as the "Curtain Master" based on Larkin's patronage by the Earl of Dorset. The works of the
Curtain Master are characterized by identically draped, silk-fringed curtains framing the sitter, rendered in various colours, and one of several carpets on
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in which the sitter is painted in flat, lightly modelled fashion, surrounded by meticulously rendered wardrobe and props, with each detail of lace, embroidery, and gilding carefully delineated. Writing in 1960, Sir David Piper said of the paintings now in the
Suffolk collection and their ilk
175:, a "Coppy of a Picture which one Larkin a Painter drew for mee, the Originall whereof I intended ... for Sir Thomas Lucy," Cleaning revealed portions of inscriptions that Lees-Milne suggested showed that the oval portraits had been cut down from rectangular originals.
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About 40 portraits by Larkin have been identified, of courtiers and gentry, but he seems never to have painted members of the royal family. A series of nine full-length portraits by Larkin formerly owned by the
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Traditionally called
Dorothy Cary, later Viscountess Rochford, c. 1614–1618, but now re-identified as Elizabeth Cary (née Tanfield), Viscountess Falkland
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235:"Artistically, they are a dead end, but they have a strange and fascinating splendour." The deaths of Hilliard, Larkin, and fellow-portraitist
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Although Larkin's role as a portrait painter is recorded in contemporary documents, no surviving works were attributed to him until 1952, when
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Larkin's work marks the last stage in a tradition of
English portraiture traceable from the later work of
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on 14 May. The date of his burial is unknown because the parish records were destroyed in the
416:; he inherited Charlecote Park on the death of his father in 1606. Lees-Milne (1952), p. 352
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London: Paul Mellon
Foundation for British Art; New York: Pantheon Books, 1969 (Strong 1969)
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The portrait of Sir Thomas Lucy III, misidentified as his grandfather, can be seen
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and Sir Thomas Lucy III which had formerly been assumed to be the work of
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Lees-Milne, James, "Two
Portraits at Charlecote Park by William Larkin",
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identified Larkin as the painter of two portraits in oil on copper at
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Hilliard and Oliver: The Lives and Works of Two Great
Miniaturists.
341:, Richard's younger brother, later 4th Earl of Dorset. See Hearn,
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Fashion and
Fiction: Dress in Art and Literature in Stuart England
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An added inscription on this painting misidentifies the sitter as
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in 1619 mark the end of this insular tradition in
British art.
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active from 1609 until his death in 1619, known for his iconic
582:, Vol. 94, No. 597 (Dec., 1952), pp. 352 & 354–356,
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Dynasties: Painting in Tudor and Jacobean England 1530–1630.
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Other documentary evidence of Larkin's work is found in the
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A baby traditionally called Lady Waugh, who has yet to be "
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which capture in brilliant detail the opulent layering of
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No. 61, April 1993, Franco Maria Ricci Int., New York,
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Strong, Roy: "The Surface of Reality: William Larkin",
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The English Icon: Elizabethan and Jacobean portraiture.
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Thomas Lucy III (d. 1640) was the grandson of the Sir
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Edward Herbert, 1st Baron Herbert of Cherbury, 1609–10
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and now known as the Suffolk Collection is housed in
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556:Edmond, Mary. "New Light on Jacobean Painters".
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412:(1532–1600) who is associated with the young
399:Edmond, "New Light on Jacobean Painters", 74.
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560:, Vol. 118, No. 875 (February 1976): 74–83.
102:on 7 July 1606 under the patronage of Lady
455:Strong 1993, p. 70; see also Strong 1969
76:oriental carpets in Renaissance painting
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291:, later convicted of the murder of Sir
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28:by William Larkin, 1613, standing on a
525:25 artworks by or after William Larkin
100:Worshipful Company of Painter-Stainers
173:Richard Sackville, 3rd Earl of Dorset
26:Richard Sackville, 3rd Earl of Dorset
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207:Philip Herbert, 4th Earl of Pembroke
108:Edward Seymour, 1st Earl of Hertford
319:Isabella Rich, Mrs Rogers, 1614–18
192:Frances Carr, Countess of Somerset
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39:(early 1580s – 1619) was an
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639:17th-century English painters
500:Quoted in Strong, 1993, p. 74
295:in a famous scandal, c. 1615
289:Howard, Countess of Somerset
92:St Sepulchre-without-Newgate
586:, retrieved 20 January 2008
545:London: Robert Hale, 1983.
50:of members of the court of
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567:New York: Rizzoli, 1995.
228:Hans Holbein the Younger
190:including a portrait of
165:Lord Herbert of Cherbury
580:The Burlington Magazine
558:The Burlington Magazine
213:In 1969, art historian
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644:English male painters
379:Hilliard & Oliver
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198:The "Curtain Master"
116:Great Fire of London
446:Strong 1969, p. 313
222:Critical assessment
96:St Anne Blackfriars
86:Larkin was born in
563:Hearn, Karen, ed.
437:Lees-Milne (1952).
354:Strong 1993, p. 66
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184:Lady Anne Clifford
182:of Dorset's wife,
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52:James I of England
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72:Jacobean era
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30:Lotto carpet
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649:1619 deaths
491:Strong 1993
414:Shakespeare
410:Thomas Lucy
272:", ca. 1615
270:shortcoated
143:Rediscovery
633:Categories
536:References
215:Roy Strong
60:embroidery
623:0747-6388
343:Dynasties
209:, c. 1615
118:in 1666.
48:portraits
377:Edmond,
230:through
56:textiles
243:Gallery
112:proving
70:in the
68:fashion
44:painter
41:English
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529:Art UK
381:, 170.
137:London
88:London
584:JSTOR
325:Notes
180:Diary
122:Works
619:ISSN
598:ISBN
569:ISBN
547:ISBN
531:site
427:here
106:and
82:Life
64:lace
615:FMR
287:née
163:of
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359:^
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