Queer Stories in the Portland Collection

In honour of LGBTQ+ Pride Month, embark on a journey through paintings and objects and discover the queer stories in the Portland Collection.

In recent times the term ‘queer’ has come to be used by historians to refer to people in the past who did not conform to prevailing concepts of sexuality or gender in the society of their time – people who might today refer to themselves as lesbian, gay, bisexual or transgender, for example.  

Here we have drawn together four famous figures in British history included in the Portland Collection, demonstrating that while queer people have always existed, their stories have often been excluded from history. 

Henry Wriothesley

 

This is one of our portraits of Henry Wriothesley, the third earl of Southampton. During his lifetime, Henry’s sexual orientation was a subject of debate, and remains so to this day.

While Wriothesley happily married Elizabeth Vernon in 1598, the earl also shared deep connections with many of his male peers, which have been interpreted as romantic, up to his death in 1624.

For instance, a spy named William Reynolds recorded the intimacy between Wriothesley and Captain Piers Edmonds. In his report, Reynolds describes that:

“[Edmonds] eate & drancke at his table and lay in his tente, the earle of Sowthamton gave him a horse […] the earle of Sowthamton would cole and huge [embrace and hug] him in his armes and play wantonly with him” [1].

Reading Reynolds’ report, we can see that boundaries were non-existent between the so-called friends. Wriothesley shares his space, belongings, and physical affections with the Captain. This indulgent generosity may hint at a romantic relationship between the pair.

While the record paints Wriothesley adoring his male companion, the earl was also the object of great passion in his time. For example, scholars have identified Wriothesley as the ‘Fair Youth’ in William Shakespeare’s Sonnets [2].

For English Professor Phillip Akrigg, Shakespeare’s collection of love poems suggests “The love which he felt for Southampton may well have been the most intense emotion of his life” [3].

We can only presume that Henry’s patronage of Shakespeare demonstrates his reciprocation of the bard’s feelings.

Further evidence for Wriothesley’s queerness lies in this portrait of the earl in our museum. The piece depicts Wriothesley imprisoned in the Tower of London, following his involvement in the Essex Rebellion.

 

Rumour has it that when his sentencer, Queen Elizabeth I, died, Wriothesley commissioned the portrait as a gift to her successor, King James I [4]. As James was reputed to be bisexual [5], this painting has been interpreted as Wriothesley’s attempt to tempt his majesty into freeing him.

James released Wriothesley immediately. Remarkably, in every portrait that followed, the Earl of Southampton resembled his monarch [6]. But it is still up for speculation whether Wriothesley was romantically involved with his King or more simply a loyal subject.

Margaret Cavendish

 Moving on to the early-17th century, we have a portrait of Margaret Cavendish, the Duchess of Newcastle. Although not currently on display, you can read more about the painting here.

 

Cavendish was a philosopher, scientist, poet, novelist, and playwright, well-known for challenging contemporary approaches to gender.

In her play, ‘The Convent of Pleasure’, Cavendish’s central character Lady Happy transforms her home into a nunnery and rebuffs all offers of male companionship. Upon the arrival of a Princess, the Lady finds herself desiring a romantic relationship for the first time.

In distress, Lady Happy fears that ‘Goddess Nature’ will punish her for her passions and questions “why may not I love a Woman with the same affection I could a Man?”. She eventually concedes that they are ‘harmless Lovers’ and kisses the Princess [7].

While, at the end of the play, Lady Happy discovers that the Princess is a man in disguise, Cavendish stages the concept of same-sex love and encourages her viewers to question the dismissal and hostility with which queer relationships were perceived.

In so doing, Cavendish carefully argued that ‘Love is Love’ in a society where queerness was kept behind closed doors.

King William III

Fast forward to the mid-17th century, and we find this painting of Prince William of Orange, later known as King William III.

 

The piece was commissioned to celebrate William’s recovery from smallpox. To the right stands Hans Willem Bentinck, the Prince’s page. Bentinck is figured in the portrait to symbolise his role in the Prince’s recovery.

As the story goes, Bentinck nursed William for sixteen days, sharing his bed and risking his own contamination with the disease to cure the Prince. The media has interpreted this moment of pure devotion as evidence of King William’s queerness [8].

Following his recovery, their closeness only grew. When William secured the throne, he transformed Bentinck from a page into Groom of the Stole (Stool) and first gentleman of the bedchamber [9]. These positions involved assisting him with his toileting and dressing needs. An intimate role, indeed.

The King later awarded Bentinck many titles and estates, anointing him the Earl of Portland, Viscount of Woodstock, and Baron of Cirencester.

While the nature of their relationship is still up for debate, it is clear that the King and Bentinck shared a deep intimacy and a great fondness for each other in sickness and in health.

Queen Mary II

 King William III is not the only royal rumoured to have been involved in a queer relationship. According to historians, his wife, Queen Mary II, may have shared his affinity for same-sex affections.

Mary displayed an amorous connection with her maid of honour, Frances Apsley. In her youth, Mary wrote letters to Frances expressing intense feelings for her [10]. The future queen refers to herself as “wife” and Frances as her “husband”.

While using such endearments could be considered child’s play, the titles and passion between the two endure. After marrying King William III, Mary wrote: “Do not think my love is so weak that crossing the sea will put it out”. And upon, becoming pregnant with William’s child, the Queen soothed Frances: “though I have played the whore a little, I love you of all the things in the world”.

Although historians remain on the fence as to the sexual orientation of Mary, her embittered response to Frances marrying leaves little room to ignore her sapphic fancies: “When the young gentleman kiss you next, think of me”.

This ring belonged to Queen Mary and is on display in our museum. You can learn more about its significance here.