Henry VIII
Represented work of art
Artist
Unidentified Creator
Dimensions0.51 x 0.38 (20 x 15 inches)
Subject
Provenance
- c. 1920 in possession of Haileybury master'; H. Clifford Smith 1924; Sotheby's 7 July 1967 (10), bought National Portrait Gallery from S. F. Sabin Galleries, London 1967; National Portrait Gallery, London (4690)
Exhibition history
- Royal Academy, London, British Primitive Paintings from the 12th to the early 16th Century, 1923-4, 44-5'; NPG, Dendrochronology, 1977 (6); NPG, London, The King's Good Servant' Sir thomas More, Nov 1977 - March 1978 (6)
Publication history
- Martin Conway, 'A Portrait of King Henry VIII, Burlington Magazine, XLV, 1924, 42; R. Strong, Cat. of NPG Tudor and Jacobean Portraits, 1969, 157-8, pl. 301; John Fletcher, Tree-ring Dates for some Panel Paintings in England, Burlington Magazine, CXVI, 1974, 258.
Photographic source
Object FormatPhotographic Print
Photograph Source
National Portrait Gallery
Negative Number4690
Archival context
Object numberPA-F00897-0023
Archival context
- Fonds:Paul Mellon Centre Photographic Archive
- Series:Unidentified Artists
- Folder:Royal Portraits: Tudor Kings, A-Z.
- Item:Henry VIII
ClassificationsArchival Document
Scope and contentThis is a collection of works by unidentified artists. The historic period covered is 1500-1900 with particular emphasis on the eighteenth century. The photographs are predominantly of oil paintings but watercolours, drawings, prints, miniature paintings and silhouettes are included. There are files on royal portraits, male portraits, female portraits, group portraits, British school miniatures and silhouettes, British landscapes, foreign landscapes, seascapes, animals, allegorical and still life, interiors, miscellaneous designs, miscellaneous engravings, miscellaneous paintings and drawings.
Acquisition informationPhotographs have been actively acquired by the archive from The Courtauld Institute of Art photographic survey, sale rooms, museums and galleries. The files include original photography commissioned from our own in-house photographer, Douglas Smith (1964-1996) for Paul Mellon Centre publications for which we still hold the negatives.
ArrangementAll photographs are dry mounted on manilla card with essential information recorded, artist, title, collection and source of photograph with a varying degree of information on provenance, literature exhibiting history, inscriptions and related prints. The archive is primarily black and white although in recent years with the development of digital photography we hold some colour material.
Conditions governing use The images in the Photographic Archive are derived from a variety of sources, so copyright in the collection is varied. The copyright status of each image is detailed at item level in the catalogue.
Accruals It is anticipated that new images may be added to the Centre’s Photographic Archive in future. These may be generated via the Centre’s everyday activities (such as the publishing programme). They may also come from external sources (such as donations by scholars or institutions).
Rights and reproductions
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Rights Statementhttps://rightsstatements.org/vocab/NoC-CR/1.0/
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