An Unknown Man
Portrait Miniature
ca. 1600 (painted)
ca. 1600 (painted)
| Artist/Maker | |
| Place of origin |
Object Type
The medium and techniques of miniature painting, or limning as it was traditionally called, developed from the art of illustrating sacred books (also called limning). Nicholas Hilliard first trained as a goldsmith and introduced to this watercolour art innovative techniques for painting gold and jewels. In this miniature we see his characteristic curling and scrolling calligraphy, painted in real gold and then burnished.
Subjects Depicted
This work beautifully illustrates the role of the miniature in the chivalrous atmosphere of dalliance and intrigue at the court of Elizabeth I, where secret gestures of allegiance could become public display depending on the whim of the wearer. Here the young man turns a picture box, the image concealed, towards his heart. This was a gesture of devotion, presumably made to the wearer of his miniature.
Ownership & Use
Unlike large-scale oil paintings, which were painted to be displayed in public rooms, miniatures were usually painted to be worn, to be held, and to be owned by one specific owner. Although we do not know who this miniature was painted for, it is a very intimate image as the gentleman is depicted effectively in a state of undress.
The medium and techniques of miniature painting, or limning as it was traditionally called, developed from the art of illustrating sacred books (also called limning). Nicholas Hilliard first trained as a goldsmith and introduced to this watercolour art innovative techniques for painting gold and jewels. In this miniature we see his characteristic curling and scrolling calligraphy, painted in real gold and then burnished.
Subjects Depicted
This work beautifully illustrates the role of the miniature in the chivalrous atmosphere of dalliance and intrigue at the court of Elizabeth I, where secret gestures of allegiance could become public display depending on the whim of the wearer. Here the young man turns a picture box, the image concealed, towards his heart. This was a gesture of devotion, presumably made to the wearer of his miniature.
Ownership & Use
Unlike large-scale oil paintings, which were painted to be displayed in public rooms, miniatures were usually painted to be worn, to be held, and to be owned by one specific owner. Although we do not know who this miniature was painted for, it is a very intimate image as the gentleman is depicted effectively in a state of undress.
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Object details
| Categories | |
| Object type | |
| Title | An Unknown Man (generic title) |
| Materials and techniques | Watercolour on vellum stuck onto card |
| Brief description | Portrait miniature of an unknown man against a flame background, watercolour on vellum, painted by Nicholas Hilliard, ca. 1600. |
| Physical description | Portrait miniature of a man, oval, half-length, and standing against flames. |
| Dimensions |
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| Content description | Portrait of a man, half-length, looking to front and holding a pendant, suspended from a chain round his neck, in his right hand; behind him are the flames of a fire. |
| Styles | |
| Gallery label |
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| Credit line | Purchased with the assistance of the Murray Bequest |
| Object history | COLLECTIONS: W.C. Morland of Lamberhurst, Sussex by 1865 when lent to the South Kensington Exhibition as a portrait of Edward Courtney, Earl of Devon; Henry J. P. Pfungst collection; sold Christie’s 14th June 1917 (lot 59); purchased from the funds of the Capt. H. B. Murray Bequest. |
| Production | This miniature was acquired in 1917 as a work attributed to Isaac Oliver. It was reattributed to Nicholas Hilliard in 1943 by Carl Winter. In the 1983 exhibition 'Artists of the Tudor Court' it was attributed to Isaac Oliver by Roy Strong, but in subsequent publications it is still attributed to Nicholas Hilliard. |
| Subjects depicted | |
| Summary | Object Type The medium and techniques of miniature painting, or limning as it was traditionally called, developed from the art of illustrating sacred books (also called limning). Nicholas Hilliard first trained as a goldsmith and introduced to this watercolour art innovative techniques for painting gold and jewels. In this miniature we see his characteristic curling and scrolling calligraphy, painted in real gold and then burnished. Subjects Depicted This work beautifully illustrates the role of the miniature in the chivalrous atmosphere of dalliance and intrigue at the court of Elizabeth I, where secret gestures of allegiance could become public display depending on the whim of the wearer. Here the young man turns a picture box, the image concealed, towards his heart. This was a gesture of devotion, presumably made to the wearer of his miniature. Ownership & Use Unlike large-scale oil paintings, which were painted to be displayed in public rooms, miniatures were usually painted to be worn, to be held, and to be owned by one specific owner. Although we do not know who this miniature was painted for, it is a very intimate image as the gentleman is depicted effectively in a state of undress. |
| Bibliographic references |
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| Collection | |
| Accession number | P.5-1917 |
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| Record created | December 15, 1999 |
| Record URL |
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