Artist: Sir John Everett Millais, 1st Baronet, (English, 1829-1896)
Title: The Princes in the Tower
Medium: Antique Engraving on wove paper after the original oil on canvas by master engraver Lumb Stocks (English, 1812 – 1892).
Signature: Signed in the plate.
Dimensions: Image Size 6 1/4 x 10 3/8 inches.
Framed Dimensions: Image Size 15 x 19 inches.
Framing: This piece has been professionally matted and framed using all new materials.
“The Princes in the Tower” is an expression frequently used to refer to Edward V, King of England and Richard of Shrewsbury, Duke of York. The two brothers were the only sons of Edward IV of England and Elizabeth Woodville surviving at the time of their father’s death in 1483. When they were 12 and 9 years old, respectively, they were lodged in the Tower of London by the man appointed to look after them, their uncle, the Lord Protector: Richard, Duke of Gloucester. This was supposedly in preparation for Edward’s forthcoming coronation as king. However, Richard took the throne for himself and the boys disappeared. It is unclear what happened to the boys after they disappeared in the Tower. It is generally assumed that they were murdered; a common hypothesis is that they were killed by Richard in an attempt to secure his hold on the throne. Their death may have occurred some time in 1483, but apart from their disappearance, the only evidence is circumstantial. As a result, several other hypotheses about their fates have been proposed, including the suggestion that they were murdered by Henry Stafford, 2nd Duke of Buckingham or Henry VII, among others. It has also been suggested that one or both princes may have escaped assassination. In 1487, Lambert Simnel initially claimed to be Richard, Duke of York, but later claimed to be Edward Plantagenet, 17th Earl of Warwick. From 1491 until his capture in 1497, Perkin Warbeck claimed to be Richard, Duke of York, having supposedly escaped to Flanders. Warbeck’s claim was supported by some contemporaries (including the aunt of the disappeared princes, Margaret of York). In 1674, workmen at the Tower dug up a wooden box containing two small human skeletons. The bones were found in the ground near the White Tower, which is close to one reported site of their burial. The bones were widely accepted at the time as those of the princes, but this has not been proven and is far from certain. King Charles II had the bones buried in Westminster Abbey.
Millais was born in Southampton, the son of John William Millais, a wealthy gentleman from an old Jersey family. His mother’s family were prosperous saddlers. Considered a child prodigy, he came to London in 1838. He was sent to Sass’s Art School, and won a silver medal at the Society of Arts at the age of nine. In 1840 he was admitted to the Royal Academy Schools as their youngest ever student, winning a silver medal in 1843 for drawing from the antique, and a gold medal in 1847 for his painting The Tribe of Benjamin Seizing the Daughters of Shiloh. He first exhibited at the Royal Academy in 1846, with Pizarro Seizing the Inca of Peru (Victoria and Albert Museum, London). At the Royal Academy he became friendly with fellow student William Holman Hunt, and contributed with Hunt and Dante Gabriel Rossetti to the Cyclographic Society. In 1848 the three helped form the Pre-Raphaelite Brotherhood. His first Pre-Raphaelite painting was Isabella (1848-9, Walker Art Gallery, Liverpool), which he exhibited at the Royal Academy in 1849. His entry for the following year, Christ in the House of His Parents (‘The Carpenter’s Shop’) (1849-50, Tate Gallery N03584), was received unfavourably. In 1855 he married Effie Chalmers, Ruskin’s former wife, with whom he had fallen in love while he was holidaying with the Ruskins in Scotland. The couple settled in Perth, where he painted Autumn Leaves (1855-6, City of Manchester Art Galleries). Between 1855 and 1864 Millais made illustrations for numerous publications, including the Moxon edition of Tennyson’s poems (1857), the magazine Once a Week (1859 onwards) and several novels by Trollope. He moved back to London in 1861, where he achieved popular success as a painter of child subjects such as Bubbles (1886, A. & F. Pears Ltd.), which became famous as an advertisement for Pears soap. Also popular were his paintings of beautiful young women, such as Stella (1868, Manchester City Art Gallery). He built up a practice as a portraitist from the early 1870s, his sitters including Thomas Carlyle (1877), Lillie Langtry (1878), Gladstone (1879 and 1885), Disraeli (1881) and Tennyson (1881). Millais was made an Associate of the Royal Academy in 1853, and a full member in 1863. In 1885 he was created a baronet and in 1896 was elected President of the Royal Academy, but died shortly thereafter in London. He is buried in St Paul’s Cathedral.