by Dr Jennifer Melville, art advisor on the Heritage Committee for the Royal College of Physicians and Surgeons of Glasgow and Head of Exhibitions & Creative Programmes, National Trust for Scotland
1. Circle or studio of Paulus van Somer (1576-1621) James VI and I c.1618
2025 marks the 400th anniversary of the death of King James VI and I. A new exhibition at National Galleries of Scotland The World of King James VI and I, running from 26 April to 14 September 2025, charts his remarkable reign through stories of friendship, family, feuds and ambition. King James lived through a period of enormous colonial expansion and 2025 also marks the 400th anniversary of the founding of the Baronets of Nova Scotia. This heraldic order was created by King James, as a way of funding the colony in Nova Scotia. A series of events, organised by Kirk of the Holy Rude, the Standing Council of the Baronetage, and the University of Stirling, will take place 30 June and 1 July 2025.
The Royal College of Physicians and Surgeons Glasgow was also founded by Royal Charter from King James and in its collections has a portrait of the King. We know that it was acquired at auction by the College’s first Honorary Art Curator, Dr T. J. Honeyman (1891-1971), who was elected as a fellow of the College when it celebrated its 350th Anniversary in 1949. Tom Honeyman studied medicine but chose to follow a career in the art world, becoming an art dealer in Glasgow with Alex Reid & Lefevre before moving three years later to London to be based at the Lefevre Gallery. In 1952 he returned to Glasgow as Director for their Kelvingrove Art Gallery & Museum. His dynamic tenure was confirmed by his brave purchase that year of Salvador Dali’s iconic Christ of St John of the Cross).
His impact at RCPSG was also felt that year, with his instrumental role in the College acquiring a fine portrait of its founder King James (pl. 1). Kate Anderson, Senior Curator, at the National Galleries of Scotland, has recently discovered that this portrait was sold at Sotheby’s on 27th February 1952 – it was Honeyman who spotted it and encouraged another fellow of RCPSG, Professor Geoffrey Balmanno Fleming (1882-1952), to present it to the College later that year.
Over the years there has been some debate over who painted the portrait. When acquired, it was attributed to Flemish artist Paulus van Somer (c.1577–1621), who became one of the leading painters of the royal court of King James, but in 1993 Glasgow art dealer Ewan Mundy suggested the circle of David Mytens instead.
2. Paulus van Somer (1576-1621) James I of England (James VI of Scotland) c.1618 Yale Center for British Art
Kate Anderson has confirmed that the College’s portrait is not an authenticated work by van Somer, but most probably from his circle or studio. She also believes that it is likely to be a reduced version of Van Somer’s full-length portrait of James VI now at the Yale Center for British Art in New Haven, Connecticut (pl.2), with the addition of the hat and jewel seen in de Critz’s portrait of King James (pl.3), but with colour variations of the doublet and hose, and a tighter arrangement of the regalia on the table to his right.
3. John de Critz (c.1552-1642) James VI and I 1604 National Galleries of Scotland
Kate, who has curated the National Galleries exhibition and wrote the accompanying book Art & Court of James VI and I, points out that in 1617 King James made his one and only return to Scotland following his accession, so it may explain why so many versions were made based on this pattern type, as noble Scottish families may have thought it wise to be seen to have a recent portrait of the King hanging in their properties in and around the date of the progress north, and subsequently south so we can safely give the College painting a date of c.1618.
A new blog post about 400th anniversary of the founding of the Baronets of Nova Scotia and its links to the National Trust for Scotland is coming soon on the NTS stories blog
Find out more about the College portrait of King James here