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  • Henry VIII period carved oak portrait panel of a bearded man
  • Henry VIII period carved oak portrait panel of a bearded man

Henry VIII period carved oak portrait panel of a bearded man

Period
Circa 1530
Origin
England
Dimensions
W 10 1/4"" × H 11 1/2"" × D 3/4""
Reference
#Marh3775

Price on application

Description

A Henry VIII period carved oak portrait panel of a bearded man, retaining extensive early polychromy.

The sitter is represented in right-facing profile, wearing a broad, angular cap over short hair, with a prominent moustache and long, carefully delineated beard. His dress consists of a dark outer garment with a broad turned-back collar, beneath which is visible the scalloped edge of his shirt, highlighted in ochre-gold. The strongly modelled profile, with pronounced brow, nose and jaw, is cut in comparatively high relief.

The portrait is set against a carved ground of overlapping scale ornament and contained within a round-headed architectural frame. The arch is enriched with a repeated leaf-like motif and flanked in the upper spandrels by stylised foliate carving. The whole is enclosed within its substantial moulded oak frame.

Especially notable is the survival of the early polychrome surface, with deep red, black, brown and ochre-gold decoration remaining across the cap, costume, architectural surround and facial details. The colour is integral to the conception of the carving, articulating individual elements of dress and ornament and giving a valuable impression of the original decorative character of the panel.

The sitter’s identity is presently unknown. His costume and the manner of representation, however, belong to the portrait vocabulary of Henrician England, when profile likenesses of distinguished secular figures were employed across a range of media. The directness of the profile and strongly characterised physiognomy suggest that the carving was intended as a portrait rather than a generic figure.

The reverse retains historic handwritten labels and earlier hanging fittings. Of particular interest is a nineteenth-century inscription recording an earlier provenance and the panel’s exhibition at a meeting of the Somerset Archaeological Society in 1887, providing an important documentary record of the panel’s history and antiquarian appreciation.

Provenance:
Traditionally recorded as from Burton Abbey, according to historic handwritten labels preserved on the reverse;
exhibited at a meeting of the Somerset Archaeological Society, 1887, as recorded on an old manuscript label;
subsequently in an unidentified private collection, according to a further early label on the reverse.

The survival of early polychromy on Tudor carved woodwork is of particular significance. Our modern perception of sixteenth-century interiors is inevitably conditioned by the appearance of oak after centuries of ageing, cleaning and wear. In its original context, however, carved woodwork was frequently enlivened with colour, gilding and other surface decoration, conceived as an integral part of the object rather than as an embellishment added to a finished carving.

Surviving painted surfaces are consequently important evidence for understanding how such objects were intended to be seen. On the present panel, the remaining reds, blacks and ochre-gold tones articulate the sitter’s costume and headdress while distinguishing the portrait from its patterned ground and architectural surround. Colour and carving work together, increasing the legibility and visual depth of the composition.

Such survivals are particularly valuable because polychromy is inherently vulnerable. Painted and gilded surfaces may be diminished through handling and environmental exposure, but have also frequently been removed by later cleaning, stripping and refinishing as changing tastes came to favour the appearance of unpainted, darkened oak. As a result, much Tudor woodwork now survives without an important component of its original visual character.

The preservation of substantial early colour on this panel therefore adds considerably to its historical and art-historical interest. It allows the object to be understood not simply as a piece of Tudor carving, but as a surviving fragment of the coloured visual environment of sixteenth-century England.

Curator's Note

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  • Henry VIII period carved oak portrait panel of a bearded man
  • Henry VIII period carved oak portrait panel of a bearded man

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