_-_Google_Art_Project.jpg "Henry Brandon, 2nd Duke of Suffolk"){kind=small}
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Alma mater. St John's College, Cambridge. Henry Brandon, 2nd Duke of Suffolk (18 September 1535 – 14 July 1551), styled Lord Henry Brandon before 1545, was an English nobleman, the son of Charles Brandon, 1st Duke of Suffolk, by his fourth wife, Catherine Willoughby . His father had previously been married to Mary Tudor, sister of King Henry ...
- 18 September 1535
- Charles Brandon
Henry Brandon, 2nd Duke of Suffolk (18 September 1535 – 14 July 1551), styled Lord Henry Brandon before 1545, was an English nobleman, the son of Charles Brandon, 1st Duke of Suffolk, by his fourth wife, Catherine Willoughby. His father had previously been married to Mary Tudor, sister of King Henry VIII.
Henry Brandon, 2nd Duke of Suffolk (18 September 1535 – 14 July 1551) Charles Brandon, 3rd Duke of Suffolk (1537 – 14 July 1551) In 1553, two years after suffering the death of both her sons on the same day, Brandon's widow, Katherine, married Richard Bertie. They would have two children.
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HENRY BRANDON, 2nd DUKE OF SUFFOLK. BORN: c. 1535. DIED: 1551. Miniature by Hans Holbein the Younger, painted in 1541. Vellum mounted on playing card, 5.7 cm in diameter. Royal Collection at Windsor Castle. Son of Charles Brandon and his fourth wife, Catherine Willoughby. He died, along with his younger brother Charles, of the sweating sickness ...
Sep 18, 2023 · On this day in Tudor history, 18th September 1535, in the reign of King Henry VIII, Henry Brandon, 2nd Duke of Suffolk, was born. Henry would not have a long life, dying at the age of fifteen from sweating sickness.
Henry and Charles, Suffolk’s two sons by his fourth wife, Katherine Willoughby, were jointly educated at an early age with the young Edward VI. They were renowned scholars but died of the sweating sickness within half an hour of each other in 1551, Henry aged 16 and Charles aged 14 or 15.
Henry Brandon wears a doublet made of shot silk (also known as ‘changeant’ fabric). Constructed using warp and weft threads of differing colours, it has a characteristic iridescent appearance. Holbein skilfully layers the paint to show how the silk on the sitter’s arm changes colour, from red to green, as it rotates away from the viewer.
