Sir Christopher Wray (1523-1592), Lord Chief Justice of England is considered to be the founder of the Wray dynasty. He was the son of Thomas Wray of Richmond, Yorkshire. Christopher's son, William became the first Baronet of Glentworth, the family's estate. His descendants married into the Darcy family and the Rich family who were the Earls of Warwick.

Sir Christopher Wray (1523-1592), Lord Chief Justice of England is considered to be the founder of the Wray dynasty. He was the son of Thomas Wray of Richmond, Yorkshire. Christopher's son, William became the first Baronet of Glentworth, the family's estate. His descendants married into the Darcy family and the Rich family who were the Earls of Warwick.

Wray fAmily

Quarterly accession lists; beginning with Apr. 1893, the bulletin is limited to "subject lists, special bibliographies, and reprints or facsimiles of original documents, prints and manuscripts in the Library," the accessions being recorded in a separate classified list, Jan.-Apr. 1893, a weekly bulletin Apr. 1893-Apr. 1894, as well as a classified list of later accessions in the last number published of the bulletin itself (Jan. 1896)

Vol 1 905p Vol 2 961p.

A significant contribution to the understanding of sixteenth-century English art in an historical context, this study by Susan James represents an intensive rethinking and restructuring of the Tudor art world based on a broad, detailed survey of women's diverse creative roles within that world. Through an extensive analysis of original documents, James examines and clarifies many of the misperceptions upon which modern discussions of Tudor art are based. The new evidence she lays out allows for a fresh investigation of the economics of art production, particularly in the images of Elizabeth I; of strategies for influencing political situations by carefully planned programs of portraiture; of the seminal importance of extended clans of immigrant Flemish artists and of careers of artists Susanna Horenboult and Lievine Teerlinc and their impact on the development of the portrait miniature. Drawn principally from primary sources, this book presents important new research which examines the contributions of Tudor women in the formation, distribution and popularization of the visual arts, particularly portraiture and the portrait miniature. James highlights the involvement of women as patrons, consumers and creators of art in sixteenth-century England and their use of the painted image as a statement of cultural worth. She explores and analyzes the amount of time, money, effort and ingenuity which women across all social classes invested in the development of art, in the uses they found for it, and the surprising and unexpected ways in which they exploited it.