Wealthy Search over 215,000 works, 150,000 of which are illustrated from the 16th Century to the present day. This was a conceit quite unlike any other seen in English portraits at the time, and which, as Ellis Waterhouse noted ‘could vie in modernity with those produced anywhere in northern Europe’. Edward VI as a Child In England, he followed Hans Holbein as King's Painter to Henry VIII in 1546, with a substantial annual salary of £62 10s, over twice as much as Holbein's thirty pounds a year. It is based on an earlier version of Edward as Prince (now in the royal collection). These purges, along with the anti-iconoclastic destruction of paintings and sculpture, soon saw the rich pictorial heritage of medieval Christianity largely obliterated. This sitting was the likely source for all the subsequent variants, in all shapes and sizes, … The profile portrait, initially inspired by ancient medallions, evolved in Italy in the 15th century and spread throughout Europe in the early 16th century. This is very useful when thinking about which version of a portrait was made first and which others are later copies. Only days later on the 6 July 1553, he was dead. These 2 Scrots is first heard of when appointed a court painter to Mary of Habsburg, Regent of the Netherlands, in 1537. Portraits were often copied as Post was not sent - check your email addresses! [1] Tree-ring Edward VI and the Protestant Reformation, pp.26–7. During Elizabeth’s reign a significant market developed for sets of painted portraits of notable people. [6] Also known as Guillim Scrots (or Scrotes or Stretes). This panel was probably part of an Elizabethan set of portraits of English monarchs, commissioned to demonstrate the owner's loyalty to the Crown. Anamorphic portrait of Edward VI by William Scrots. During Edward's lifetime the ownership and display of his portrait became important also as a way of showing allegiance to the new Protestant faith. The heir to the throne, ‘His Majesty’s most noble jewel’, was brought up with every precaution to ensure his good health. The style, paint handling and pigments of the landscape differ considerably from those within the oval. The costliness and dating of this portrait point to it being a contemporary likeness and commission from the Studio of William Scrots. When viewed from a specific point, the features resolve into a circular portrait suspended above a landscape; with the correct perspective, the inscription becomes legible and reads 'ÆTATIS SUÆ 9' and 'ANo DNI … For example NPG 442 (above) shows Edward VI as Prince of Wales just before he succeeded his father in 1547 aged nine. Portraits of Edward in full-length format, (for example NPG 5511), date from around 1547 and at least four contemporary versions exist. The frontal portrait (NPG 1132), shows Edward as a very young prince and was probably painted around 1542. The original appearance would have thus been dramatically different to the image we see today, and Edward's features would have stood out more strongly in correct perspective. portraits by Holbein. This week’s guest blog accompanies November’s Tudor Travel Show and is written by Florence Evans, Director of The Weiss Gallery in London.
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