British School, 16th century - Richard III (1452-85)
Richard III (1452-85) 1504-1520
This was part of a set of early portraits recorded in Henry VIII’s collection (including Henry V, Henry VI and Edward IV). Recent dendrochronological (tree-ring) analysis indicates that this panel was painted between 1504-1520. It would have been part of a set of heads of kings and queens either commissioned by Henry VII or Henry VIII. The artist is unidentified but is most likely to have been either British or Flemish, working for the royal court. The portrait was not painted from life, but was probably created by an artist following an original drawing or painting. The King is shown in a head and shoulder view, set against a patterned background. He wears a jewelled gold chain and an elaborate jewelled brooch in his cap. He places a ring onto the little finger of his left hand; the rings probably have royal significance. Shortly after its creation, or perhaps during the creation process in order to ‘complete’ the image, the outline of the King’s right shoulder (the left shoulder as we look at the painting) was extended upwards in an arch from the elbow to the neck so that one shoulder was made to seem higher than the other, creating the impression of a hunched back. It has been suggested that the artist may have turned the corners of the sitter’s mouth downwards to make the facial expression seem severe and possibly altered the colour of the eyes from brown to steely grey (for more information on this see J. Scott 'The Royal Portrait: Image and Impact', London 2010). This depiction of Richard III served as the prototype for many later copies of the portrait which were popular from the later sixteenth-century onwards, when long galleries adorned with sets of royal portraits became fashionable in private houses. The gold painted spandrels in the upper corners contain monochrome profiles of a crowned man and of a woman. Originally the painting would have been in a gilded, engaged frame which has been dismantled at some point in the painting’s history. It is now displayed in a twentieth-century reproduction Tudor frame.
ProvenanceFirst recorded in the 1542 and 1547 inventories of Henry VIII and Edward VI.
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