When it comes to the iconography of Queen Elizabeth, we have a plethora of surviving portraits from the sixteenth century. In today’s modern society, it must be hard to find an individual who is not familiar with the many images of the pale faced, Queen, decked out in her red wig and trademark pearls.
Many of these portraits are ingrained in the minds of many history lovers as the images of the confident virgin Queen, however these all relate to a period later in her reign when there was a huge demand for her likeness. It is well documented that during the latter part of her reign Elizabeth herself, became more aware of the power connected to the use of her image. The painting’s viewed today in galleries and stately homes across the globe are a symbol of royal authority, and in many cases were produced with the use of symbolism to demonstrate that, despite being a woman, Elizabeth was the natural and legitimate ruler of England. Rarely, do we get a glimpse of the human Elizabeth, stripped of all the makeup and regalia, who ascended to the throne in 1558 at the young age of just twenty-five years old. The iconography relating to the early part of her life and reign is a complex subject and portraits of the young Queen are scarce. In terms of pictorial evidence there is very little available to inform us what the young Queen looked like.
The Philip Portrait was discovered in the late 1970’s, by London art dealer Richard Philip, little has been discussed or documented regarding the history of this painting and its significance as an early image of the young Queen Elizabeth. In this painting, Elizabeth is depicted as the young fresh-faced monarch, who, by this period had not established the pomp and regalia associated with her later images but, was being represented by artists as the plainly dressed queen, devoted to the matter of religion. Does this rarely seen portrait tell us anything about the young Elizabeth and does its possible connection to a small number of other paintings, in which the sitter has for many years been debated, tip the balance in favour of these also depicting the young Queen?
The Philip portrait was originally discovered leaning against the back wall in a picture shop in Cheltenham. Due to significant overpainting the sitter in the portrait had lost its identity altogether and the painting was simply referred to as a portrait of a 1920’s flapper girl. Art Dealer, Richard Philip recalls its discovery in a later article on the portrait. He informs us that ‘upon examining the painting he noticed that a small section of the paint on the bottom left-hand side of the panel had begun to fall away. On closer examination he then noted that the exposed underpaint was harder and much older than the modern paint coving the rest of the panel’. Philip then opted to take a gamble and purchased the portrait immediately
On returning to London, Philip sent the portrait to a picture restorer who immediately began cleaning tests. What was revealed beneath the modern paint layers both astonished Richard Philip and the restorer. Once fully stripped of its modern overpaint the image of a sixteenth century lady, standing full frontal and seen three quarter length appeared.
The portrait was immediately thought, by Philip, to be a painting of the young Queen Elizabeth, however, as with all portrait research, evidence was required, and he began his research to attempt to prove his theory. The portrait was first sent to Doctor John Fletcher, a pioneer in the use of dendrochronology, who attempted to establish a date of creation. Though, dendrochronology testing was in its infancy in the 1970’s, Doctor Fletcher was able to establish that the panel was constructed with the use of four boards: one board was of similar pattern to two of the three boards used in the portrait of Richard Wakeman by Hans Eworth which was inscribed with the date of 1566. On further research Doctor Fletcher confirmed that the boards seen in both these paintings were ‘almost certainly’ from the same tree, and he dated the creation of the Philip portrait to the 1560’s. 
With an estimated date of creation Philip then approached Roy Strong, Director of the Victoria and Albert Museum. Strong had published a book in 1963, entitled Portraits of Queen Elizabeth I, in which he documented a lifelong interest in the iconography relating to Elizabeth I. According to later reports by Philip, Roy Strong was ‘impressed and astonished’ by the discovery referring to it as ‘a major find in the art world’. Similarities were immediately recognised between the Philip Portrait and other iconography related to the early part of Queen Elizabeth’s reign and this apparent similarity has continued to be referred to during subsequent sales of the Portrait.
As for what specific iconography the Philip Portrait relates to is anyone’s guess. As discussed above, very little has survived in terms of portraiture of the young queen. Unlike her predecessors, who had employed artists of immense talent such as Hans Holbein, William Scots and unofficially, Hans Eworth to produce portraits. Elizabeth never officially employed a court painter during the first period of her reign, other than continuing the service of miniaturist and illustrator Levina Teerlinc. The most famous painted image of the young Queen depicted full-frontal, similar to that seen in the Philip Portrait is known as the Coronation miniature. In this, Elizabeth is depicted wearing her coronation robes and holding the royal regalia, however, recent research into this miniature and the subsequent larger copy, now in the collection of the National Portrait Gallery suggests that both were painted circa 1600, towards the end of Elizabeth’s life and possibly in celebration of her long reign.
In 1978, the costume Historian, Janet Arnold suggested that both the coronation portraits were, in fact, based on a ‘now lost’ portrait depicting Elizabeth at the time of her coronation in 1559. Arnold’s evidence for this theory was derived from the fact that the artists representation of the clothing worn by Elizabeth in both images matching contemporary documented evidence describing the items in Elizabeth’s wardrobe. It was therefore suggested that either the portrait was related to an earlier portrait pattern or that the artist was given access to the clothing worn by Elizabeth on the day of her coronation.
The fact that Elizabeth did not employ an official court painter does not necessarily mean that the demand for her portrait had declined. Documentary evidence suggests that her image was in high demand from the period of her accession. Elizabeth herself, appears to have been rather embarrassed about the production of her early images. For this reason, her secretary, Sir William Cecil drafted a proclamation in 1563. The draft proclamation announced that a portrait of the new Queen would be made by ‘some special cunning painter’ and that this image must be used when producing copies of the Queen’s likeness. Cecil also acknowledges that the Queen ‘hath bene allwise of her own right disposition very unwilling’ to sit for a portrait and asks that all ‘painters, printers, and engravers to cease production’ of her image until a portrait displaying ‘the natural representation of her Majesties person, favour or grace’ can be completed.
Over the years it has been suggested that the 1563 proclamation refers to a particular portrait known as the ‘Clopton type’ however, it is possible that it could relate to an entirely different version of this portrait altogether. The proclamation suggests that due to a lack of access to the young Queen, artists, printers and engravers were creating images of Elizabeth to an unsatisfactory standard.
Named after Clopton Hall, the previous location of the largest version known to exist. In this portrait, Elizabeth is depicted in a simple black gown with ermine trim and holds a pair of gloves in one hand and a prayer book in the other, a gold pendant containing a large cut gemstone is suspended from a chain of goldsmith work around her neck. Several versions of this pattern exist, and those that have undergone scientific investigation have all are dated to the 1560’s.
The recent discovery and research into an early example of this pattern by London Art Dealer Philip Mould, brings about some very interesting questions. Mould acquired a copy of this portrait in 2010, and, during scientific investigations on his copy he discovered that hidden under the painted surface was an entirely different image. An x-ray of the portrait was taken that revealed that the composition of this copy had been changed from full frontal, like the Philip portrait, to the image facing the viewers left. Changes in the position of the sitter’s hands, ruff and sleeves where also noted. Mould’s copy was also dendrochronological tested, and the most plausible date of creation was established as 1552, which does suggest that his copy was probably the first example of this pattern to be created.
It is hard to ignore the similarities in the features depicted in the Philip portrait and the small number of other paintings associated with the young Elizabeth. The most prominent of these paintings are known as the Soule and Hever portraits and much debate regarding the identity of the sitter depicted in both these painting has been had over the course of time.
Both the Soule and Hever portraits display striking similarities to the Philip Portrait, especially in terms of the face pattern used by the artist. Both paintings also display a similar costume as that depicted in both the Philip and Clopton portraits. The sitter in the Hever Portrait is also shown holding what appears to be a pair of gloves which again is seen in the Clopton Pattern. The hoods worn by the sitter do appear to be similar in style, however the hood worn in the Philip portrait is of a different colour and a billament of goldsmith work and pearls has been added.
In preparation for the publication of his book A Queen of a New Invention Portraits of Lady Jane Grey/Dudley Historian, John Stephan Edwards complied intensive research into both the Soule and Hever Portrait’s. As the Philip portrait had never actually been associated with Lady Jane Grey, Edwards was noted not to mention this copy in his book During his research, both the Hever and Soule paintings underwent dendrochronology testing, and it was again established that both portraits dated to the late 1550’s. Edwards also suggests the theory that both the Hever and Soule portraits derive from an earlier, finer detailed painting known as Berry-Hill portrait and that all depict the same individual. Unfortunately, the Berry-Hill portrait is currently listed as lost and was last seen in 1956, when it was purchased by the Berry-Hill Galleries, New York. Edwards rules out the identification of the sitter being that of Elizabeth in favour of Lady Catherine Grey. During his research he notes that no other potential sitter had been discussed and that the possibility of the portrait representing Elizabeth would have been of greater interest to potential buyers.
Roy strong was also noted to refer to the portraits as ‘Borderline cases’ in terms of fitting in with other iconography relating to the young Queen Elizabeth in his 1963 book, and it perhaps these painting in which Strong refers to on viewing the Philip portrait in the 1970’s . Many illuminated documents relating to the first period of her reign have also been discussed when suggesting Elizabeth as the possible sitter in the Berry-Hill, Soule and Hever Portrait’s. Though yes, some similarities can be seen in these manuscript illustrations It must be remembered that the figures of monarchs created on these documents were meant to be a representation and not a direct likeness. 
The first pictorial image we have available today, relating to the period when Elizabeth first ascended to the throne is an illustration produced on a document related to the Michaelmas Celebrations of 1558. This illustration has been associated with artist Levina Teerlinc and in this, the figure of Elizabeth is inconsistent with the figure depicted in the Philip portrait. The young Queen is not, yet, crowned and is depicted with the crown suspended above her head. Her face is turned to the viewers left and, on her head, she wears a black French hood similar in style to that worn by her sister, during her reign.
A small number of other illuminated manuscripts produced after Elizabeth’s Coronation in 1559, are, again, all associated with Levina Teerlinc, show an image of the full-frontal young queen, with a small figure-of-eight ruff surrounding her face, very similar to that seen in the Philip, Berry Hill, Soule and Hever portraits. This may suggest that there was some sort of full-frontal pattern produced of the young Queen which may have been the initial source for these representations during the early part of her reign.
It is my theory that the Clopton portrait type did, in fact, evolve from an earlier image depicting the young Princess Elizabeth, placed full-frontal like that seen in the Berry-Hill, Soule and Hever portrait’s. The Philip portrait appears to sit directly in the middle of both the Berry-Hill and Clopton portraits, and it could be argued that Clopton portrait was an altered version of the Philip portrait. The x-ray of Philip Mould’s copy, which shows a slightly altered full-frontal version beneath the painted surface only strengthens this claim.
It may also be possible that the Philip portrait was in turn a ‘pimped up’ version of the Berry-Hill portrait, created by an artist from an early portrait, possibly taken when Elizabeth was still Princess, to make Elizabeth look more regal due to a lack of access to the new Queen and a high demand for her image. If indeed all the sitters in the Berry-Hill, Soule and Hever portrait are the same individual then this would most defiantly tip the scales towards them all depicting Elizabeth. It could also be argued that 1563 proclamation refers to the Philip and Berry-Hill type rather the Clopton pattern. If Stephan Edwards theory is correct, and the Berry-Hill portrait is the earliest example then there does appear to be a dramatic decline in artistic detail with the subsequent later copies. The 1563 proclamation may possibly be the reason why so fewer copies exist of the full-frontal pattern. Further research and discussion is most definitely needed into this small group of portraits to identify once and for all if there is any possible connection to Queen Elizabeth and the true identity of the sitter in the Berry-Hill portrait.
 Christie’s Auction Catalouge, Friday March 23rd 1979, lot 155, page 103
 The Philip Portrait first appeared at Christie’s auction in March of 1979. It was subsequently sold again by Sotheby’s in December 2008. Both catalogues for the sales list similarities between the Philip Portrait and other early iconography of Queen Elizabeth I.
Arnold. Janet, The Coronation Portrait of Queen Elizabeth I, The Burlington Magazine, Vol.120, No. 908, Page 727. See also Golding. Elizabeth, Nicholas Hilliard Life of An Artist, Yale University Press, 2019, Page :244-247
 O’Donoghue. Freeman, A Descriptive and Classified Catalogue of Portraits of Queen Elizabeth, Dryden Press, 1894, Page ix-x
 NPG 4449; Queen Elizabeth I – conservation research – National Portrait Gallery, accessed July 2021
 Grosvenor. Bendor, Philip Mould Fine Paintings Catalogue, London 2010
 Edwards. John Stephan, A Queen of a New Invention The Portraits of Lady Jane Grey/Dudley, old John Publishing, Page: 157-167
 Edwards. John Stephan, A Queen of a New Invention The Portraits of Lady Jane Grey/Dudley, old John Publishing, Page: 157-167
 Strong. Roy, Portraits of Queen Elizabeth, Oxford Press, 1963, Page: 53-54