Highlights from the Research
The Queen’s Likeness: Portraits of Elizabeth I
During the course of her reign, Queen Elizabeth I became a public icon. Her likeness appeared on a large number of objects - from the coins in purses to large-scale painted portraits. These images were carefully designed and served as a tool to manipulate the public image of the queen.
Hidden: Unseen Paintings Beneath Tudor Portraits
Research undertaken as part of the Making Art in Tudor Britain project has revealed unexpected information about some of the Gallery’s sixteenth-century portraits.
The Portrait of Sir Henry Unton (c. 1558 - 1596)
One of the Gallery’s most unusual portraits has recently undergone technical analysis as part of the Making Art in Tudor Britain project.
Double Take: Versions and Copies of Tudor Portraits
In the sixteenth century, multiple versions and copies of portraits were frequently produced in order to satisfy demand for images of monarchs and prominent courtiers that often lasted long after the sitter’s death. Technical analysis has provided fascinating insight into the process by which these works were made.
Picturing History: A portrait set of early English kings and queens
This portrait set of English kings and queens is one of the most important surviving sets of its type. Probably painted between 1590 and 1620, it includes portraits of English rulers from William the Conqueror (1027-87) to Mary I (1516-58).
Portraits of Henry VIII
Three of the Gallery’s portraits of Henry VIII have recently undergone technical examination in order to explore the techniques used in their production.
Two Portraits of Robert Dudley, 1st Earl of Leicester
Considered side by side, these two portraits can be seen to represent the two major motivations for the production of Dudley’s portrait. Moreover, new technical analysis has done much to further our understanding of how these portraits were made, where they originally came from and what they looked like when they were first painted.
Portrait of Sir Henry Lee (1533 - 1611)
Research on this very skilfully painted portrait of Elizabeth I's favourite has revealed some of the techniques employed by the artist.
Designs by Hans Holbein the Younger (1497/8 - 1543)
Hans Holbein the Younger was Henry VIII's painter. Research on portraits based on his designs has shown that copies or versions of his paintings were being commissioned into the 17th century.
Portrait of Bishop Foxe
Recent research revealing that the portrait must now be considered as a nineteenth century copy of an earlier work.
Portrait of Sir Thomas Gresham (c.1518 - 79)
Technical analysis has uncovered that several changes were made to the composition of this portrait during the painting process.
Portrait of John Astley (c.1507 - 96)
Analysis of the pigments used for this portrait has confirmed that it was painted in 1555 and is therefore an early example of a painting on canvas.
Gallery's earliest portrait: Henry VII
The Gallery's 1505 portrait of Henry VII probably painted as part of an unsuccessful marriage proposal by Henry to Margaret of Savoy.
The Phoenix and the Pelican
Recent technical analysis undertaken on these two renowned portraits of Elizabeth I has revealed they must have been painted in the same studio around the same time.
Two medieval kings
These two portraits were produced towards the end of Henry VIII's reign by an unknown English workshop. Recent technical analysis has found out more about how the pictures were made and what they might have looked like when first painted.
16th century double portrait
This small painting depicts the German artist Gerlach Flicke (1545-1558) when resident in London, with his friend the English gentleman-privateer Henry Strangwish (died 1562).
Edward VI's reign was characterised by popular discontent, political turmoil and the introduction of Protestant worship into England. As the only son of Henry VIII (by his third wife Jane Seymour) Edward VI succeeded to the throne in 1547, at the age of nine.