Sir Thomas More, His Father, His Household And His Descendants.
Represented work of art
Artist
Rowland Lockey
Dimensions2.274 x 3.302 (89 1/2 x 130 inches)
Provenance
- Seen by William Burton (1575-1645) in artist's studio; Thomas Moore II (1531- 1606), Cresacre More (1572- 1649), borrowed and retained c. 1642 by William Lenthall, Speaker of the House of Commons; seen by John Aubrey at Lenthall family house, Besselsleigh; seen at Burford Priory by George Vertue 1721, 1727, 1741; Lenthall sale Christie's, 26 February 1910 (105), Sir Hugh Lane; Lord Lee of Fareham; E. J. Horniham; National Portrait Gallery, London (2765)
Exhibition history
- Erasmus, 1969 (68); National Portrait Gallery, London, 'The King's Good Servant' Sir Thomas More, Nov 1977- March 1978 (1)
Publication history
- Morison and Barker, The Likeness of Thomas More, 1963, no. 404; R. Strong, NPG Tudor and Jacobean . . . , 1969, 345- 51, English Icon, 1969, No. 238; O. Kurz, 'Rowland Locky', Burlington Magazine, XCIX, 1957, 13-16; E. E. Reynolds, Moreana, LIII, 1977, 11-14; A. Lewi, the Thomas More Family Group, 1974; Essex Recusant, 1962, 1-5 and XII, 1974, 55-8.
Photographic source
Object FormatPhotographic Print
Photograph Source
National Portrait Gallery
Negative Number2765
Archival context
Object numberPA-F03907-0021
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/
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