This may be remains of a paper facing applied before the lining process. A second, warmer layer was then applied in the lower portion of the sky, using lead white and azurite. The blocks of the ruined wall behind the sitter are much clearer in the infrared image. 14)MacLeod, Catharine, ‘Guillim Scrots in England’, Unpublished MA thesis, University of London, 1990, pp. Red lake (with a little red ochre and black) was applied above for the deepest shadows. A technique used to identify changes in composition beneath the surface of the paint layers and to understand the physical structure of a panel or canvas. This is particularly evident around the edges and in the upper left-hand corner, where it covers seemingly intact original paint. Pure lead white was then applied for the highlights. The canvas has two glue-paste linings, carried out at different times. 3 p. 795. vol. Investigation into microscopic pigment samples or samples of other media in order to help with dating, to reveal the order of the paint layers and help to understand the painting techniques used. Henry Howard, Earl of Surrey (1517-1547). Henry Howard, Earl of Surrey, KG,, was an English nobleman, politician and poet. Notes on attributionThis portrait has previously been associated with the artist Guillim Scrots on the basis of the payment of 50 marks to the artist in 1551 for ‘iii great tables’, one of which depicted ‘the late earle of Surrey attainted’. The bright blue layer consists of large particles of bright blue azurite mixed with lead white. Numerous minor losses to gilt/gesso. ���G��e?�4�*(� �3N�E�E���5:}.. fǣ|�};�7f�����;U�N��ŵ)��~/� ]*_6V?�j 30-31Godwin, Francis, Bishop of Hereford, Annales des choses plus memorable, translated by Loigny, 1647, pp. In 1532, he married Lady Frances de Vere, the oldest daughter of the Earl of Oxford, but due to both their young ages, they only started to live together in 1535. Henry Howard, Earl of Surrey (6 generations) 1. Compare high-resolution images against the painting - mainly x-ray and infra-red photography images, but sometimes UV or raking light images - side by side with the ability to zoom in on details. Order of construction - Ground - Priming - Underlayer to flesh - Figure - Grisaille figures and architecture - Sky - Rocky landscape - Foliage - Legs strengthenedPigmentsCarbon black, lead white, azurite, smalt, vermilion, red lake, red ochre, earth colours, yellow ochre, lead-tin yellow, verdigris, red leadChanges in composition/pentimentiThe legs were moved slightly to the left and made a little thicker.Restoration observations Large areas have been heavily and unnecessarily overpainted. As a member of the Tudor court, he was encouraged to display his learning, wit, and eloquence by writing love poems and translating continental and classical works. The paint appears stable. An opaque layer can be seen in the cross-section in ultra violet light which could be a varnish layer. It is composed of a mixture of lead white, charcoal black, vermillion and some yellow ochre. His father was Thomas Howard. This is particularly evident in the porphyry surround and architectural elements. A mid-tone grey, composed of lead white, azurite and smalt was brushed on for the shadowed parts of the embroidery, followed by pure lead white for the highlights.Lower hose and garterThe shape and position of the costume appears to have been marked out in very dark paint at an early stage, before the background elements were applied. Various contradictory reports describe paintings presented as evidence during the trial but the survival of this work attests to the fact that it was not one of them, as the reports note that the offending images had been ordered to be destroyed. The lower hose were then painted using lead white, black and a little red pigment. Nonetheless, although the painting contains no treasonous heraldry, it probably informed the rumours that surrounded the trial and by the early seventeenth century it had come to be identified as part of the reason for Surrey’s downfall.The distinctive shield-shaped Garter jewel worn by the sitter passed to Henry VIII following the earl’s attainder, and subsequently to Edward VI. �= �.�P�lk�CUM�.�*��#�d�P=tM�⬰�@j6P�f -�D��. National Portrait Gallery, St Martin's Place, London, WC2H 0HESwitchboard: +44 (0) 20 7306 0055, Find out more about the Inspiring People project, National Portrait Gallery, St Martin's Place, London, WC2H 0HE He was born in either 1516 or 1517 into a wealthy family: his father became the Duke of Norfolk in 1524, at which point Henry Howard assumed the title of the Earl of Surrey. View Henry Howard, earl of Surrey Research Papers on Academia.edu for free. An aristocrat with a humanistic education, Henry Howard, earl of Surrey, considered literature a pleasant diversion. The pattern consists predominantly of red lake with vermilion or red ochre, high quality azurite, lead white and the occasional particle of yellow ochre. The canvas was prepared with a chalk ground and a grey priming. A technique used to observe the layers beneath the paint surface which can reveal underdrawing and changes to the initial design. The azurite has an extraordinary intensity. The frame has been built-up to the reverse, making disassembly of the frame problematic. His life later became closely tied with the ruthless Tudor king Henry VIII; … This method provides important evidence concerning an artist’s technique and paint handling and can reveal a specific artist’s characteristic painting style. ?—died Jan. 13, 1547, London), poet who, with Sir Thomas Wyatt (1503–42), introduced into England the styles and metres of the Italian humanist poets and so laid the foundation of a great age of English poetry. Only the duke would survive. His name is usually associated in literature with that of Sir Thomas Wyatt, who was the older poet of the two. Henry Howard, Earl of Surrey $ 1.99 One of the most influential and important figures of the Renaissance, Henry Howard, Earl of Surrey was the first poet to use blank verse in English literature, later influencing the works of Shakespeare, Spenser and Milton. Surrey’s now well-established status, with Sir Thomas Wyatt (b. Henry Howard was born in Hunsdon, Hertfordshire in 1517, during the reign of Henry VIII. Historical contextSurrey was the eldest son of the 3rd Duke of Norfolk, the premier nobleman in England. By 1524 he became known as the Earl of Surrey, upon the death of his grandfather. An examination of the construction of paint layers, glazes and condition often using a microscope. Dispersion shows azurite, vermilion and red lake particles.Drapery on a grey stone puttoThe sample was taken in order to investigate the date of the greenish drapery.Sample 2: Cross-section shows a grey layer (which could be the priming) with an opaque yellowish-grey layer above, which is the surface of the stone sculpture. The motto ‘SAT SUPER EST’ (Enough survives) is inscribed on the pillar. Parallel hatching is visible in the grisaille surround; this is particularly evident in the legs of the seated putto to the left of the standing male grisaille figure. It passed by descent to Arundel’s daughter-in-law, Viscountess Stafford and was bought in 1720 by Sir Robert Walpole at the sale of the Arundel Collection at Stafford House and presented by him to Thomas 8th Duke of Norfolk. The x-ray shows the extent of damage to the edges of the original canvas, as well as evidence of original tack holes and cusping along the lower edge. HOWARD, see Henry Charles, Henry Charles, earl of Surrey (1791-1856), of 21 St. James's Square, Mdx. There is extensive restoration along the central join and along the lower edge. In the sample the upper part of the grey layer contains azurite and carbon black but black and white predominate lower in the sample.Blue skySample 5: Cross-section shows only the bright blue layer with a slightly paler blue layer on top. This elongation has made the composition and perspective in this area appear very awkward. x�\�r��}�W�qX%�h`�L�$/�(��∕T*΃$Z�k��L;��UWv����C]��X~qY�2uՔ���ˏ�g���t��rW����,���4K[We��ݡt���ʿ���S�Ԯi1wU�s��{j�b��൫h��%_��\H�mj�*$�������?�{(��U� 9�zVb�[��J���1l(�-w_�����Y�����Yq�_A��� Microscopy has shown that much of the restoration extends beyond areas of damage, over seemingly intact original paint. The canvas tension is poor. 557-83Strong, Roy, Tudor and Jacobean Portraits, 1969, pp. 352-61Camden, William, Remaines Concerning Britaine, 1605, p. 165Galansino, Arturo and Simone Facchinetti, Giovan Battista Moroni, Royal Academy, 2015, pp. Justification for datingThe integrity of the inscription in the archway has been questioned, but microscopic examination demonstrated that it is original to the composition and has not been altered. w�!T�_a����Gy�{�����L"�'p5�eB���#�D�}�& 6��HY��.��C����0��X/���ds�n��`Sf���I��1� Y�C��� All wedges are present. 307–308Wells-Cole, Anthony, Art and Decoration in Elizabethan and Jacobean England: The Influence of Continental Prints, 1558-1625, 1997, p. 35Exhibition history'Le Roi et l''Artiste: Francois Ier et Rosso Fiorentino', Chateau de Fontainebleau, France, 2013'Dynasties: Painting in Tudor and Jacobean England', Tate Britain, London, 1995-1996. The decoration on the ledges on which the grisaille figures stand, was loosely 'drawn' by incising into the grey paint whilst it was still wet, and the details were added above. Drawing and transfer techniqueThis large-scale portrait was carefully planned and executed. At the right edge there are residues of the first lining tacking edge and blue paper can been seen beneath the brown tape. EyesIt appears that the flesh paint was first laid in, followed by the features, which were detailed when the flesh paint was still wet. There is extensive overpaint in many parts. The second lining tacking edges are covered with brown paper tape. HENRY HOWARD SURREY, Earl Of (1518?-1547), English poet, son of Lord Thomas Howard, afterwards 3rd duke of Norfolk, and his wife Elizabeth Stafford, daughter of the duke of Buckingham, was born probably in 1518.1 He succeeded to the courtesy title of earl of Surrey in 1524, when his father became duke of Norfolk. The conception of the archway shares similarities with the designs for English palace interiors that are attributed to Bellin (Louvre), and also with a small painting Abundance that is attributed to Penni’s other brother, Giovanni Francesco (Louvre). Close examination of the inscription does not provide any indication that this is the case (see micro 24).Porphyry backgroundThe porphyry surround was applied after the monochrome architectural elements. The yellowish-grey paint in the sculpture contains lead white, yellow ochre, brown earth pigments and a little carbon black. Lead -tin-yellow, yellow ochre, lead white, black and azurite pigments were used (see micro 20 and detail 15).Architectural background and grisaille figuresThe architectural detail and grisaille figures were first blocked in using a dark grey paint mixture. Subscribe Now English poet and translator. 1516/17–d. Switchboard: +44 (0) 20 7306 0055, This functionality requires javascript to be enabled, The Gallery in London is currently closed until 2023 for major redevelopment works, NT 129952, on loan from the Trustees of the Sackville Estate, / conservation research - NPG 5291; Henry Howard, Earl of Surrey. The Gallery holds the most extensive collection of portraits in the world. The flesh paint is considerably abraded, exposing the tops of the canvas weave in many areas. (see X-ray and Infrared reflectography). The poet who cultivated an elegant style was admired and imitated by… Henry Howard, Earl of Surrey possibly by Wenceslaus Hollar, after Hans Holbein the Younger etching, possibly 17th century 9 in. An examination of tree rings, which can help to provide the earliest possible felling dates for the wood used for the panel. The second lining is in sound condition and the tacking edges remain. Infrared reflectography also reveals that the position and shape of the legs was changed slightly during painting, and that the grisaille figures were originally nude; the drapery that covers them is a later addition, possibly from as early as the seventeenth century.
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