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Extended Abstracts and videos

Abstracts of papers presented at Tudor and Jacobean Painting: Production, Influences and Patronage
Funded by the British Academy and The Paul Mellon Centre for Studies in British Art

Introduction

Tarnya Cooper, Curator, Sixteenth-century collections, National Portrait Gallery

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Looking beneath the surface: infrared reflectography and the making Tudor art project

Rachel Billinge, Conservation Research Associate, National Gallery, London

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Interpreting technical and analytical evidence in historical context

Aviva Burnstock, Head of the Department of Conservation and Technology, The Courtauld Institute of Art

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From drawing to painting: an exploration of the function of Holbein’s portrait drawings

Victoria Button, PhD candidate V&A / Royal College of Art Conservation

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Hans Holbein’s ‘Hans of Antwerp’

Claire Chorley, Paintings Conservator, The Royal Collection

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Towards a history of the market for portrait painting and commissioning practices in England 1550-1610

Tarnya Cooper, Curator, Sixteenth-century collections, National Portrait Gallery

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Evidence from portrait sets and multiple copies: a portrait of Richard III in focus

Catherine Daunt, Assistant Curator, National Portrait Gallery
Sally Marriott, Assistant Research Conservator, National Portrait Gallery

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Spes kneels to the Queen: a remarkable appeal for Elizabethan royal patronage

David Evett, Professor of English Emeritus, Cleveland State University

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Native and foreign practice – distinctive or different?

Susan Foister, Director of Collections, National Gallery, London

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Elizabethan and Jacobean painter-heralds

Elizabeth Goldring, Associate Fellow, Centre for the Study of the Renaissance, University of Warwick

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Jacobean migrant artists 1603-1625

Karen Hearn, Curator of sixteenth- and seventeenth-century British Art, Tate

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The earliest evidence for portraiture at the court of Henry VII

Frederick Hepburn, Independent Scholar

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Portraits of James V of Scotland and the celebration of dynasty

Erma Hermens, Lord Kelvin-Adam Smith Fellow in Technical Art History, University of Glasgow
Sally Rush, Senior Lecturer, History of Art, University of Glasgow

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The imitation of architecture: decorative wall surfaces in Tudor interiors

Maurice Howard, Professor of Art History, University of Sussex

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‘Painting for the English’, the English portraits in the oeuvre of Michiel van Mierevelt

Anita Jansen, Art historian and Curator, Het Prinsenhof, Delft and project leader of ‘The Factory of Van Mierevelt’
Johanneke Verhave, Art historian and paintings restorer, researcher of painting technique for ‘The Factory of Van Mierevelt’

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George Gower, Serjeant Painter

Rica Jones, Senior Conservator of Paintings, Tate

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The fate of a board: four paintings from Trinity College

Christine Slottved Kimbriel, Conservator, Hamilton Kerr Institute
Spike Bucklow, Research Scientist, Hamilton Kerr Institute

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Robert Peake: technical evidence and patronage

Catharine MacLeod, Curator, Seventeenth-century collections, National Portrait Gallery

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On eighteenth-century representations of Elizabeth I – a case study of a repainted Tudor portrait

Marie Louise Sauerberg, Paintings Conservator and Assistant to the Director, Hamilton Kerr Institute

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Colour, texture and original appearance: new discoveries and re-evaluations of Tudor and Jacobean painting practices

Libby Sheldon, Lecturer in History of Art with Material Studies, University College London

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Gesture recognition: Adam de Colone and the transmission of portrait types from the Low Countries and England to Scotland

David Taylor, Senior Curator, Scottish National Portrait Gallery

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The Manteo portrait of Queen Elizabeth I

Larry E. Tise, Wilbur and Orville Wright Distinguished Professor of History, East Carolina University, Greenville
Sara N. James, Professor of Art History, Mary Baldwin College, Staunton, VA

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Circles of patrons and painters: regional portrait activity in Kent and Cheshire

Robert Tittler, 'Distinguished Professor of History, Emeritus', Concordia University, Montreal, Canada

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Understanding the trade, production and use of wooden panels for paintings in sixteenth- and seventeenth-century England

Ian Tyers, Dendrochronologist

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Exploring the London stranger-painters: Hans Eworth and his contemporaries

Hope Walker, PhD candidate, The Courtauld Institute of Art

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The Face of a “Thug”: an example of sixteenth-century portraiture or a nineteenth-century pastiche

Natasha Walker, Paintings Conservator, Tate
Jacqueline Ridge, Keeper of Conservation, National Galleries of Scotland
Karen Hearn, Curator of Sixteenth and Seventeenth-Century British Art, Tate
Joyce Townsend, Senior Conservation Scientist, Tate 

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East Anglian rood screens in the Tudor period

Lucy Wrapson, Conservator and Research Associate, Hamilton Kerr Institute

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