At times, a mere scroll through social media can lead to an astonishing find.
This was true for British art scholar Adam Busiakiewicz, who, while scrolling through X, came across something that captured his attention. In a room at Shire Hall in Warwick, England, he spotted a portrait of King Henry VIII.
“[Tim Cox, Lord Lieutenant Warwick] shared a photo of a crowded room,” Busiakiewicz revealed to Fox News Digital during a phone conversation, emphasizing his fascination with the paintings visible in the background.
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“I noticed that painting in the corner, characterized by its distinctly rounded arched frame, and it was fortuitous because last summer I was involved in a project at Sotheby’s that focused on a painting from a remarkable collection curated by Ralph Sheldon about 400 years ago,” he continued. “This collection is renowned for its round tops, which are quite rare for portraits.”
“It immediately struck me as an intriguing piece,” the art historian added.
A portrait believed to be lost was located by a British art historian while browsing social media. (Warwickshire County Council)
After identifying the painting, Busiakiewicz embarked on a quest to determine whether this was indeed the historical portrait he suspected it to be.
He spent approximately an hour sifting through scans of books regarding Sheldon’s artwork that he had on hand.
“The portrait of Henry VIII from this notable collection has remained unidentified in modern history, so its whereabouts were unknown, which is why it was considered lost,” Busiakiewicz informed Fox News Digital.
The Henry VIII painting was among 22 portraits commissioned by Sheldon in the 1590s, as stated in a press release.
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Today, only a handful of the original 22 portraits are known to exist, displayed in the National Portrait Gallery in London, Eton College, and Knebworth House.
This latest revelation regarding the ancient painting is still wrapped in enigma, with several questions left unanswered regarding the portrait’s journey to Warwick’s Shire Hall.
Aaron Manning, a local historian from Warwick, and Dr. Adam Busiakiewicz examine the long-lost portrait at Warwick’s Shire Hall. (Adam Busiakiewicz)
“We know that the [Warwickshire County Council] acquired it in 1951 from a location known as Madingley Hall, which is currently owned by the University of Cambridge,” Busiakiewicz shared.
“However, it was sold in the late ’40s or early ’50s when most of the collection from that estate went on the market. Thus, it seems the council purchased it from that estate’s sale.”
He added, “There’s an old label on the back of the painting indicating its last sale was in 1908 at Christie’s in London, belonging to the Marchioness of Conyngham, a British aristocrat, implying it wasn’t with her collection for an extended period. I’m working to trace its history from 1908 back to 1781. There are gaps to address, and that’s the ongoing effort.”
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Tracking the movement of art, particularly pieces of this age, can be a challenging task.
Busiakiewicz noted that when art changes hands without proper documentation, the legacy of the piece may disappear.
Though the journey of this portrait is complex to unravel, Busiakiewicz is actively investigating its history. (Adam Busiakiewicz)
Nonetheless, Busiakiewicz expresses optimism that sufficient evidence supports the identification of this piece as the lost portrait.
Supporting evidence includes the distinctive frame of the portrait and an inscription concealed beneath paint, which corresponds to all of Sheldon’s known inscriptions.
When assessing art, various factors contribute to its significance and value. In this instance, the discovery holds importance due to its age, its association with a prominent collection, and the iconic figure it depicts.
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The worth of a painting can also be influenced by the reputation of its creator, especially if they are widely revered, according to Busiakiewicz. The quality and provenance of art further add to its value.
“Each of these components must be weighed to accurately determine a painting’s value,” Busiakiewicz stated.
“The intriguing aspect of auctions is that the interest of just two buyers can elevate a painting’s value dramatically—sometimes, there are no limits. It’s a rather enigmatic process.”
