Portrait of Elizabeth I (1533-1603) early 1560s

Anglo-Flemish School, Attributed to the Dutch artist 'Steven' c.1563

Oil on panel, transferred onto canvas

77 ¼ x 55 ¼ inches; 196 x 140 cm

Provenance:

By descent through the Hampden family and the Earls of Buckinghamshire at Hampden House

Literature:

J.B. Burke, A Visitation of the Seats and Arms of the Noblemen and Gentlemen of Great Britain, 1852, Vol. I, p. 186;
James Sheahan, History and Topography of Buckinghamshire, 1862, p.145;
F. O'Donoghue, A Drescriptive and Classified Catalogue of Portraits of Queen Elizabeth, 1894, no.9;
Alison Uttley, Buckinghamshire, 1950, p.198;
R. Strong, Portraits of Queen Elizabeth I, 1963, p. 57, no. 15;
R. Strong, Tudor and Jacobean Portraits, 1969, text volume, p. 110;
R. Strong, Gloriana, 1987, p.61

This picture is unique in the portraiture of Elizabeth I; it is the only image of the ‘Virgin Queen’ that alludes to her becoming a wife and a mother.  The fruit and flowers in the background (perhaps the first serious attempt at still life in England), portray the Queen as fertile and ready for marriage.  The portrait was painted in the early 1560s, when Elizabeth was forced to address the issue of her marriage during the succession crisis of 1562/3.  It is the only surviving visual record of the moment when Elizabeth’s hand in marriage was sought as the greatest prize in Europe, and is the earliest individual full-length of her.

This picture has never been exhibited in public before, and until now its purpose has eluded historians.  Research undertaken by this gallery has suggested that it was a visual statement designed to echo one of the most important speeches Elizabeth ever gave.  In 1563, faced with growing discontent over her refusal to name an heir, Elizabeth confounded her critics by saying that she would not name her successor – because she was still capable of having her own children.  In the House of Lords on 10 April 1563, Elizabeth scolded those who mentioned ‘my succession… for I had thought it had been so desired as none other tree's blossoms should have been minded or hope of my fruit had been denied you.’  These sentiments are clearly referred to here, not least in the blossoms and fruit seen in the background, but also because it presents the Queen in the Parliament chamber.