Sir Thomas More, His Father, His Household And His Descendants.
Represented work of art
Artist
Rowland Lockey
Dimensions0.246 x 0.294 (9 11/16 x 11 9/16 inches)
Work type
Provenance
- An unidentified Lady Gerrard; bought James Sotheby's, 1705 for 10. 15s; Sotheby's, family at Ecton Hall; sold Sotheby's, 11 cot 1955 (67), Rev. James Edmund Strickland, by whom widow Anne Louise Strickland bequeathed to Victoria & Albert Museum Mus. 1973; Victoria & Albert Museum, London (15- 1973)
Exhibition history
- London, New Gallery, Royal House of Tudor, 1890; National Portrait Gallery, London, 'The King's Good Servant' Sir Thomas More, Nov 1977 - March 1978 (170)
Publication history
- E. Auerbach, Nicholas Hilliard, 1962 no. 262; S. Morison, supplemented by N. Barker, The Likeness of Thomas More, 1963 no. 405
Current owner
Victoria & Albert Museum, London
Owner accession numbersP.15-1973
Owner’s online record
Photographic source
Object FormatPhotographic Print
Photograph Source
Victoria & Albert Museum, London
Negative NumberGD44512
Archival context
Object numberPA-F03907-0017
Archival context
- Fonds:Paul Mellon Centre Photographic Archive
- Series:Artists, A–Z
- Folder:PA-F03907
- Item:Sir Thomas More, His Father, His Household And His Descendants.
ClassificationsArchival Document
Scope and content This series comprises images of works by artists who were British by birth, foreign artists who worked in Britain or foreign artists who painted British sitters abroad. The works featured date from c.1500 to c.1900. The images in this series form by far the largest part of the Photographic Archive. Images remain in their original order: organised A–Z by artist name. Significant artists, or those for which there is a wealth of material, have multiple folders of images. In these cases, images are further subdivided by genre or type, depending on the artist. They may also be organised in ‘catalogue raisonné order’. The images predominantly depict oil paintings but prints and other works on paper are also included.
Acquisition information The collection has always been in the possession of the Paul Mellon Centre for Studies in British Art (or its predecessor institution, the Paul Mellon Foundation).
ArrangementThe archive has been arranged in its original order.
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/
Data Formats
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