This miniature portrait of Anne Boleyn is one of three, depicting figures from Tudor history, displayed in a black ebonised frame. All three miniatures measure 1 ¾ inches in diameter and are executed with the use of watercolour and gouache on card. The sitter’s are depicted in front of a plain blue background with a gold boarder. Anne Boleyn is depicted to just below the chest, she is turned slightly to the viewers left.
Her face is oval, with a high forehead. Her hair is brown in colour, appears straight, and is worn parted in the centre of the crown and pulled back over her ears and under her coif. Her eyes are large and brown in colour and her eyebrows are thin and arched. The nose is rather large with a high bridge and her lips are full.
Her costume includes her trademark French Hood, ending just below the jawline, which is constructed of black fabric and pearls. At her neck, she wears two strings of pearls with the large letter B pendant of goldsmith work seen in other images based on the B pattern. The gown itself is constructed of a black fabric, cut square at the neck and a chemise, embroidered with blackwork protrudes along the entire bodice margin.
Unfortunately, I have been unable to locate a high-resolution image of this portrait, so, I am unable to comment in any great detail as to its condition. From the low-resolution image provided by the auction house, all three miniature portraits appear to be in rather good condition, with a clear surface and bright colours. The ebonized frame, in which all three miniatures are stored, does appear to show some signs of general age.
The Moseley Miniature, named in this study after its first documented owner, is certainly one of the lesser-known depictions of Anne Boleyn, based on the B Pattern. As with a lot of the information regarding the iconography of Anne Boleyn, the documentation concerning the Mosely Miniature is fragmented, and its exact date of creation was for a short period of time thought to have been the sixteenth century.
The first actual piece of evidence which can be associated with this particular portrait appears in 1857. This small miniature, along with the two others displayed within the same frame was exhibited in the ‘Art Treasures Exhibition,’ Manchester. The Catalogue entry for this exhibition lists the owner as a William Moseley, esq and describes the sitters as
Three Miniatures: Henry VIII, Anne Boleyn, and Charles V (when 19)
Unfortunately, no artist had been associated with the creation of the three portraits in the exhibition catalogue and no information concerning the portraits provenance was also provided. No inscriptions detailing the sitter’s names or ages can be viewed on the portrait’s surfaces. So, we must then presume that either the portrait set contained a label on the back, or that the information about the sitter’s and their so-called ages was provided by Moseley himself.
William Moseley’s principal seat was Leaton Hall, near Enville, Southbridge. He had inherited the hall from his father Walter Henry Moseley, on his death in 1827. No documentation has, yet, been located to inform us exactly when the Moseley family acquired and sold the portrait set. Walter Moseley began extensive remodelling of Leaton Hall in 1817, and it may be possible that the set was purchased around this time. On the death of William Moseley, the estate then passed to his son William Henry Moseley, and remained in the family until it was eventually sold off in 1916.
By the early 1920’s, the portrait set appears to have travelled overseas and was in the collection of socialite and antique collector Edith Mary Kingdon Gould.  On her death in 1921, the family began selling off large amounts from the collection she had acquired. Between the years of 1925 – 1938, many auctions took place containing items once belonging to Edith Gould and on 12th January 1929, the portrait set was once again up for sale. The auction catalogue for this sale does give us our first piece of photographic evidence. The portrait set was noted to be a featured lot in the sale and placed next to its lot description was an early black and white photograph showing the collection of three miniatures in all their glory.
Unfortunately, again, this catalogue description gives us no details as to the provenance of the set, and by this point all three portraits had been wrongly associated with the hand of sixteenth century artist Hans Holbein. During this period, many sixteenth century portraits, and in some cases more modern creations, held in private collections or sold at auction were simply associated with the hand of Hans Holbein. Due to lack of access to documented information and provenance details, portraits were simply associated with artists due to some slight similarities in style, the fame attached to a name, or as a way of adding value to a painting. Several other supposed sixteenth century miniature portraits described in the same catalogue, today, certainly have some questionable identifications when it comes to both sitter and artist associated to them. As with the Moseley Miniature, little, or no evidence to support the associations was provided by the auction house at the point of sale.
The stylistic approach used by the artist who created the Moseley miniatures is most certainly not consistent with any other sixteenth century miniature portrait. It is also most definitely missing that fine quality of brushwork seen in other miniatures that can truly relate to the hand of Hans Holbein. The approach is more consistent with that used by the nineteenth century British Miniaturist, George Perfect Harding (1781-1853).
During the nineteenth century, artists would often revisit the works of some of the more prominent sixteenth century artist’s and produce copies of their portraits to satisfy the high demand in the public’s fascination with English History.
In some cases, many of these newly created copies would often be so realistic that at times it would be extremely difficult to establish the genuine artifact from the newly created version. Some of the more modern copies would, at times be sold off as a genuine sixteenth century portrait due to the quality of the copy. George Perfect Harding was a prolific copyist of historical portraiture and would often go to extreme lengths to locate works which had not, as yet been reproduced by other peers of his day. Harding was certainly an exceptionally talented artist, who would never attempt to pass his own works off as the genuine artifact. Examples of his work are stored today within private and public collection’s all show his stylistic approach of a sixteenth century portraits, rather than a direct copy created to mislead viewer.
By 1971, the portrait set was once again back in England and was sold by Sotheby’s auction house on 18th of October. During this sale the set was rightfully described as ‘after Hans Holbein, probably by George Perfect Harding’ and sold for the sum of one hundred and fifty pounds. It finally appeared, once again in America, when it was sold from the collection of Dr Virginia Armentrout, in 2006, by Freeman’s auction house, Philadelphia. The set was purchased for the sum of one thousand six hundred dollars, and I am now informed that it is currently in a private collection in Pennsylvania.
Though undoubtably a beautiful portrait of Anne Boleyn, it appears that the portrait is most certainly a nineteenth century copy, rather than that produced by the hand of Hans Holbein. It can therefore be eliminated from any possible list of sixteenth century portraits associated with the name Anne Boleyn. If anything, this article has attempted to document and put some order to the provenance relating to this item.
 Catalogue of Art Treasures of The United Kingdom, Manchester, 1857, item 23, P.208
 Burke, Bernard, (1879) A Genealogical and Heraldic History of the Landed Gentry of Great Britain & Ireland, Harrison. Pall Mall, Vol 2 P: 1134
 Shropshire Archives, SC/1/50, Sales Catalogue for the Leaton and Whittimere estate, July 1916
 This was not to be the only portrait of Anne Boleyn owned by the Gould family, and a second portrait was purchased by Anna Gould in June of 1940 and can still be seen at the Family seat of Lyndhurst Manor toady. For more information on the Lyndhurst portrait see: The Lyndhurst Portrait – Lady Jane Grey Revisited
 For more information on the historic portrait copyists and their production see: Reynolds. Graham, (1999) The Sixteenth and Seventeenth Century Miniatures in The Collection of Her Majesty the Queen, Royal Collection Enterprises Limited
 Sotheby’s Sales catalogue, 18th October 1971, lot 79
 Electronic communication with Raphael Chatroux of Freeman’s Auctions, 20th August 2020
This painting is executed in oil on a wooden panel and measures in whole 22 ¾ x 17 ¼ inches. The portrait depicts an adult female’s head and upper torso who appears sitting before a plain brown background. She is turned slightly to the viewers left, and in her right hand, she holds a red rose.
Her face is long and oval in shape, with a high forehead. Her hair is brown in colour, appears straight, and is worn parted in the centre of the crown and pulled back over her ears and under her coif. Her eyes are brown in colour, and her eyebrows are thin and arched. The nose is slightly arched with a high bridge, and her lips are small and thin. The use of a pink tone has been added to the sitter’s cheekbones and bridge of her nose.
The sitter’s costume includes a French hood, ending just below the jawline. This is constructed of black fabric that includes the use of an upper and lower billiment of pearls; thirty-four pearls can be seen in the lower billiment, and forty-three pearls have been depicted on the upper billiment. A black veil is also seen hanging down at the back of the hood, and under this, the sitter wears a gold coif. At her neck, she wears two strings of pearls with a large letter ‘B’ pendant of goldsmith work with three hanging pearls suspended from the upper necklace. A gold chain constructed of circular loops is also seen at the neck, which falls and disappears into the front of the sitter’s bodice. The gown itself is constructed of black fabric, cut square at the neck, and a chemise embroidered with blackwork protrudes along the entire bodice margin. The hint of a kirtle made of brown fabric and embellished with forty-four pearls and twenty-three buttons of goldsmith work is also seen around the neckline of the bodice.
An inscription applied across the top of the panel in a bright yellow pigment identifies the sitter as ANNA BOLINA. ANG. REGINA
Labels and other inscriptions:
Access to the back of the panel is unfortunately restricted due to the presence of a supporting cradle. No assessment could be made of any other possible labels or inscriptions attached to the back of the panel surface at the time of writing.
In 2000, restoration work was carried out on the painting by the conservator, Claudio Moscatelli. The most significant part of this conservation work was removing overpaint added at some point in the painting’s history. A series of three images held in Hever Castle’s archive, taken immediately before, during and after the restoration process gives us a lucid understanding of the works completed.
With the overpaint carefully removed, it became clear that the overpaint had been likely applied because of past damage to the panels. Subsequently, significant alterations to the facial features had been made. Most of the revealed damage appeared to have occurred on the left of the three panels, with substantial losses evident along the joint between the left-hand and central panel. Indeed, it is likely that the left-hand panel had completely detached from the central one at some point in its history. As this damage ran through the sitter’s face, it is perhaps not surprising that the overpaint was most heavily applied upon the chin, mouth, and nose. What became evident with the removal of this later overpaint was that it had also acted to ‘smooth’ out these features into perhaps more flattering ones than were originally intended. Indeed, it is evident that overpaint had also been added to areas without paint losses which contributed to this ‘beautification’. Claudio Moscatelli’s efforts to replace losses were subsequently much closer to the original pattern revealed when the overpaint had been removed.
Similar to NPG 668, The Hever Rose Portrait is arguably one of the more famous paintings of Anne Boleyn based on the B Pattern. Today, the painting is one of four significant portraits believed to depict Anne Boleyn hanging on the walls of Hever Castle in Kent. The portrait has become a treasured artefact that holds a special place in both the hearts of the staff and the public who view it; however, despite its widespread popularity, we appear to know very little about it. This is not uncommon when researching historical portraiture with a history of over four hundred years behind it. In many cases, almost nothing has survived in terms of historical documentation for most of our surviving Tudor portraits. In the past, the Hever Rose portrait has been mistaken for that once owned by Mrs K. Radclyffe. A close study of the Radclyffe portrait against the Hever Rose portrait shows several clear differences, perhaps most noticeably in the size of the links that make up the chain around her neck (see below). Moreover, in his study of the portraiture of Anne Boleyn, celebrated art historian Sir Roy Strong noted that the Radclyffe Portrait had no inscription upon it, unlike the Hever Rose version. When the Hever Rose Portrait was exhibited at Philip Mould’s Lost Faces exhibition in 2007, it was described as “… the finest and most probably the earliest” of the ‘corridor portraits’ of Anne Boleyn.
No record of the Hever Rose Portrait has been located within any of the files relating to the iconography of Anne Boleyn in the Witt Library, Paul Mellon Centre, British Museum, or the Heinz Archive. No scientific investigation has yet, taken place on this portrait to establish an accurate date of its creation. The exact date the portrait entered Hever castle’s collection has always remained a mystery. A date of c.1550 has been added to the portrait at some point in its history at Hever Castle, however, it is uncertain when this date was attached to it and by whom. We know via dendrochronological analysis that the NPG 668 portrait of Anne Boleyn was created in c.1584, during the reign of Anne Boleyn’s daughter, Queen Elizabeth I; a period when Anne’s image underwent a period of rehabilitation. It is considerably less likely that a portrait of Anne Boleyn would have been painted in 1550 during the reign of Elizabeth’s brother, Edward VI, whose mother, Queen Jane Seymour, superseded Anne. It may be, therefore, that in lieu of any scientific analysis that date of c.1550 was added. This would have allowed for a period of approximately fifteen years on either side of that central ‘circa’ date; straddling the possibility, therefore, of it having been painted during Anne’s own lifetime, or during the reign of her daughter, Elizabeth.
To truly understand the Hever Rose Portrait as an object, we first need to look at the castle’s history on which walls the portrait hangs today. Located in the small village of Hever in Kent, Hever Castle has a long, rich history dating back to the twelfth century. Arguably more famous today for being the childhood home of Anne Boleyn, the castle is a cherished time capsule that takes us, the public, closer to its most famous inhabitant than any other historic building associated with her.
The Boleyn family purchased the castle in 1462, and by 1505, Thomas Boleyn, father of Anne Boleyn, inherited Hever and various other lands and properties on his father’s death. Today, with the assistance of architectural historians, we are beginning to understand better how the castle was developed and added to across its history. Unfortunately, we have almost nothing in terms of documentary evidence to inform us what was used to furnish the building when the Boleyn family were in residence. No sixteenth-century reference to a portrait of Anne Boleyn at Hever castle has also been located.
The castle subsequently passed through various owners, including the Waldegrave family from 1557 to 1715, the Humphreys family to 1749 and the Meade-Waldo Family from 1749 to 1903. A rather run-down Hever Castle was purchased by an American billionaire, William Waldorf Astor, in 1903. Astor had already been captivated by the story of Anne Boleyn and had already started to acquire a collection of objects related to her story; the fact that he now had her childhood home was the icing on the cake. William Astor immediately started the restoration work to take the castle back to its former glory and use the building as his principal residence. Much of what is seen today within the walls of the building is thanks to this restoration work which took place between 1903 and 1908. Astor himself immediately set about acquiring period pieces and furnishing the rooms with artefacts connected to the castle’s rich history. This period of development was also continued by his son, John Jacob, when he inherited the castle on his father’s death in 1919. His great- grandson, Gavin Astor, inherited the castle in 1961 and eventually opened the castle up partially to the public in 1963.
Hever Castle does, in fact, have a long history associated with the documentation of a portrait of Anne Boleyn. During the nineteenth century, it became popular for various tourists to publish detailed notes taken during their tours of the historic houses across England. In a small number of these publications, a portrait of Anne Boleyn is described as hanging on the walls at Hever Castle. However, it appears that several visitors were less than impressed by the image seen of this infamous Queen. This sense of dislike, and other clues, suggests that it was not the current portrait seen by the visitors but another painting altogether.
Our first positive archival reference to a portrait of Anne at Hever dates to 1801 when the Meade-Waldo family owned the castle. In his study of The Beauties of England and Wales, Reverend Hodgson observed a portrait of Anne Boleyn at Rufford Abbey:
“In the attic story… a portrait of Anne Bullen on wood, but by no means as handsome as Holbein has painted her in which is preserved at Loseley in Surrey; yet as this one bears a great resemblance to a portrait of her at Hever Castle in Kent, the seat of her family, one is almost led to suspect that Henry’s taste for beauty would not have been much followed at the present day.”
Similarly, a visitor in 1823 viewed the portrait that had been pointed out to him as an image of Anne; however, he was noted to be unimpressed with the picture seen. He later recorded that:
‘At Hever Castle is still preserved a small picture in oil, which is an heirloom, and is said to be the Queen; it is a very stiff performance, and if a likeness of Ann Bolen, we look in vain for those captivating charms which are generally supposed to have enslaved the affections of the despotic monarch, and even urged him to overthrow the religion of his country, in order to compass the fulfilment of his ungovernable desires.’
Writer James Thorne also appears to have viewed the same portrait supposed to depict Anne in 1847, and he was again less than impressed by the image he viewed:
‘One is pointed out as the family portrait if Anne Boleyn, and it’s added that it was painted shortly before her execution. To us, it seems to bear little resemblance to the authentic portrait of her. We do not believe it is even a copy of her portrait, we need barely add, it’s not an original.
While no detailed description of this portrait of Anne Boleyn at Hever Castle exists, Reverend Hodgson’s observation that the painting he observed at Rufford Abbey was unlike that held at Loseley Hall – but like that at Hever Castle – is an intriguing one. A portrait of Anne Boleyn, which derives from the ‘B’ necklace pattern, still hangs at Loseley, and if it is the same portrait that Reverend Hodgson observed at Loseley in the early 1800s, the portrait of Anne at Hever Castle at that time most likely differed from the ‘B’ pattern model. More intriguing still is the existence of a painting that is still in the collection of the Meade-Waldo family, and which was removed from Hever Castle when they opted to sell the castle to the Astor family in 1903. This particular portrait is painted with the use of oil on the panel and includes the inscription identifying the sitter as ‘Anna. Regina. AD. 1534.’
One of the main reasons for the uncertainty surrounding the purchase of the Hever Rose Portrait is due to the castle being flooded on 15th September 1968. It does appear that the Astor family did keep detailed records of items purchased for display purposes, however, due to damage caused by the flooding, which overwhelmed the castle’s cellars and library, a considerable amount of the family’s archival information was unfortunately lost or destroyed.
Until recently, the first surviving document relating to the portrait’s actual existence at Hever castle was when it was listed among other paintings and furniture in a valuation catalogue compiled by Christie, Manson, and Woods in 1965. No description of the portrait appeared in an earlier inventory made of the collection in 1919, at the time of William Astor’s death and it had always been presumed that the portrait was purchased between 1919 and 1965, however, no surviving documentation had surfaced to prove this theory. 
During a search of the current archive for this article, a pamphlet produced for an open day for employees of the Times Newspaper in 1939 was discovered. In this, an early image of the portrait was located and was listed as being among the collection at Hever Castle. The discovery of this pamphlet pushes back the timeline in which the portrait was possibly purchased, and it appears that the painting was in the castle’s collection prior to 1939.
A very interesting description of a portrait, published in a book from 1908, may possibly give us a clue as to the previous provenance of the Hever Rose Portrait. In 1904, Edmund Ferrer documented that he visited Assington Hall in Suffolk and came across a portrait of Anne Boleyn in that collection. Assington Hall was the family estate of the Gurdon family, who had lived within the manor house at Assington since it was purchased by Robert Gurdon from Sir Miles Corbert in the early sixteenth century.
Ferrer later published a detailed description of the portrait seen, and the details given in his description appear to be a perfect match to the Hever Rose Portrait.
‘Queen Anne Boleyn. H(ead) and S(soulders). Body and face both turned slightly to the dexter, hair dressed in the pedimental style. Dress: Black, with pearls round the neck, supporting a jewelled B; there is also a gold chain; the hands are forward holding a rose. Above it “Ang. Regina”’
During my research into the many portraits of Anne Boleyn associated with the B Pattern, I have only come across three surviving copies of the distinctive Rose pattern. Both the Rawlinson and the Radclyffe copy do not include the distinctive inscription identifying the sitter as seen in the Hever copy and, unless another unknown copy does exist, then the only plausible option is that the portrait seen by Ferrer in 1904 is now in the collection of Hever Castle.
One final piece of evidence to back this theory up is the auction catalogue for the sale of the contents of Assington Hall in 1937. Unfortunately, no specific portrait identified as being that of Anne Boleyn is listed among the paintings sold on the 6th of October. The descriptions give
n of the fifty-one paintings to appear in the catalogue are noted to be very vague and only a small number of portraits are identified by the sitter’s name are listed. Item 171, ‘portrait of a lady of the Elizabethan period with a black headdress and pearl necklace’ could possibly be the portrait of Anne and it is also noted that it was painted on panel and measures 22 x 17 inches. If indeed the portrait was measured by the auction house in its frame, then this would be a perfect fit for the Hever Rose Portrait and would suggest that the portrait was presumably purchased by John Jacob Astor for display at Hever Castle
Further research does need to take place to try and establish once and for all if the portrait of Anne seen at Assington Hall in 1904, is indeed the portrait we all see when visiting Hever Castle today. Moreover, the absence of any scientific analysis on this portrait leaves many unanswered questions. It is often stated that the are no extant painted portraits of Anne Boleyn that date to her lifetime. Yet few of the panel portraits which bear Anne’s likeness have been subjected to either paint or dendrochronological analysis which would help to determine a likely date of their creation. Considering that the Hever Rose Portrait was appraised and exhibited by art historians Philip Mould and Bendor Grosvenor as “… the finest and most probably the earliest” of the ‘corridor portraits’ of Anne Boleyn, the desire to satiate the unanswered questions surrounding this portraits age has never been more acute. What is clear from this article is that the Hever Rose Portrait is now, finally, starting to shed some of its secrets and we are now starting to find out a little more about such a treasured and renowned artefact.
NPG 668 is arguably the most famous portrait of Anne Boleyn that derives from the B Pattern. Once acquired by The National Portrait Gallery, London this image has continuously been reproduced in books, magazines, movies and even on the occasional t-towel and cushion. This portrait has become an icon in its own right, to many individuals across the globe, it has become a symbol of British history.
During my last visit to the National Portrait Gallery, I spent approximately forty-five minutes stood in front of NPG 688, listening, and observing what other visitors had to say about the image. It was only during this visit that I first became aware of the power the painting appears to hold over people. NPG 668 as an historical artifact is a bit of an enigma, a view into the past that inspires debate which, as yet, has not been truly resolved. Some believe that the portrait depicts the true identity of one of King Henry VIII’s most famous queens, whilst others were noted to discuss the fact that no known portrait of Anne exists and that this particular copy was painted after her death, so therefore must be a made up image and cannot be relied on. The National Portrait Gallery themselves note that the portrait was ‘based on a work of circa 1533-1536, when Anne was Queen’, however have produced little documentary evidence to back this theory up.
The painting is executed in oil on a wooden panel. Two vertical panels have been used to construct the support on which the image is painted on and the portrait measures in whole 21 3/8 x 16 3/8 inches. The painting depicts the head and torso of an adult female who appears before a plain green background. She is turned slightly to the viewers left, though her eyes engage the viewer directly. Her face is oval in shape, with a high forehead. Her hair is brown in colour, appears straight, and is worn parted in the centre of the crown and pulled back over her ears and under her headwear. Her eyes are brown in colour and her eyebrows are thin and arched. The nose is straight with a high bridge and her lips are small and thin.
The sitter’s costume includes a French hood, ending just below the jawline. This is constructed with the use of black fabric that includes the use of an upper and lower billiment of pearls. A black veil is also seen hanging down at the back and under this the sitter wears a gold coif. At her neck she wears two strings of pearls with a large letter B pendant of goldsmith work and three hanging pearls suspended from the upper necklace. A gold chain is also seen at the neck, that falls and disappears into the front of the sitter’s bodice. The gown itself is constructed of a black fabric, cut squared at the neck and a chemise, embroidered with blackwork protrudes along the entire bodice margin. Large brown fur sleeves can be seen at the bottom edge of the panel.
An inscription across the top of the panel identifies the sitter as ANNA BOLINA VXOR HENRI. OCTA otherwise translated Anna Bolina, wife of Henry 8. The inscription has been heavily restored over the course of time and the first two letter of ‘Anna’ have been entirely repainted when a twenty-centimetre addition was added to the left-hand side of the panel.
Recent photographs showing the reverse of the painting indicate that there are no labels or other inscriptions located on the back of the panel surface. During conservation work on the portrait in 1967, it was identified that the surface of the wooden panel had been thinned down at some point during its history and any inscription would have been removed during this process.
Documented as unknown English Artist.
Little information is known regarding the portrait’s early provenance. It was acquired by the National Portrait Gallery in 1882, from the Reynolds Gallery. No information concerning the portraits provenance prior to the sale was provided and no other information regarding the history of this painting has been located during modern research. The portrait has been on public display at the National Portrait Gallery since its purchase and has only briefly left its walls to undergo conservation work or to be included in other temporary exhibitions across the globe.
This portrait, of all the others associated with the B Pattern has certainly been subject to the most scientific investigation. Museums and galleries around the world can use several techniques on a painting to identify information such as date of creation, origin and the techniques and sequencing used by the artist to create it. Several of these techniques have taken place on NPG 668 and a large amount of information has already been documented regarding the gallery’s findings. Due to the fact that of all the paintings associated with the B-Pattern, NPG 668 is the portrait that has undergone the most scientific investigations I have opted to take a fresh look at what we know about this portrait, so far.
As highlighted above, the portrait was examined in 1967, where it was noted to be in a rather bad state of preservation. An early photographic image taken of the portrait during this period identifies that the panel surface contained a large vertical crack down the right-hand side. 
This is not uncommon in portraits that have a history of approximately four hundred and fifty years behind them. The damp climate of the British Isles has taken its toll on many of our historical images painted on wood. Most have succumbed to clumsy restoration techniques of past generations; structural renovations, overpainting, excessive cleaning and often the panel surface itself has expanded and contracted during time which results in the paint layers becoming weakened. Today, very few portraits painted on a wooden support cannot be described as being in an immaculate state of preservation.
In an attempt to strengthen the fragile panel of NPG 668, a cradle support was added to the back of the panel surface in 1967. During a recent examination of the panel as part of the National Portrait Gallery’s ‘Making Art in Tudor Britain’ project, it was established that the cradle added was now having a dramatic impact on the portraits condition.
A fundraising campaign was established by the gallery to help raise the money to stabilise the historic portrait and due to the generosity of public donor’s, conservation work began in the autumn of 2011. The cradle was removed from the back of the panel allowing the portrait to sit in its natural warped position. Splits in the panel surface were secured and filled with a conservation adhesive and filler. A specially designed frame was also constructed to allow the portrait to sit in its natural position when exhibited to enable the public to view the portrait without causing further damage to its support.
Due to the removal of the wooden cradle, dendrochronological testing took place on the portrait in 2012. A previous attempt had been made in 2010, however, the thick wooden cradle attached to the back of the panel made this awkward to complete and an accurate date was unable to be obtained. On completion of the 2012 tests, it was established that NPG 668 was painted no earlier than 1584, confirming the theory that this copy was indeed a later copy and was probably produced as part of a larger set of paintings.
NPG 668 has also undergone x-radiography and infrared reflectography. Both these techniques are used by The National Portrait Gallery to see under the painted surface, identify possible changes in composition and reveal underdrawings produced by the artist prior to the painting process. Images taken during the infrared reflectography show the B Pattern in all its glory. It was established that the artist who created NPG 668 used a pattern to transferer a pre-existing image of Anne onto the panel prior to painting the portrait. The graphite under drawing can clearly be seen in the image below and this closely follows the painted outline of the subsequent layers. Some minor adjustments to the outline of the sitter’s face and shoulders have been made during the painting process however the physical features of the sitter’s face have been followed exactly.
To truly understand the demand for Anne’s image and the evolution and use of the B Pattern we first need to understand the complex matter of portrait sets within Tudor England.
A large amount of information has been written over the course of time regarding sixteenth century art and the production of portraits by some of the more famous artists working within the Royal court and across Tudor England. However, very little information has been documented regarding some of the lesser-known artists who produced portraits sets on a large scale to meet the public demand for imagery.
One main reason for this lack of information is that very little is known and therefore not documented about some of the lesser-known artists and the work produced by them. In the past, most portrait sets produced by some of these lesser-known artists have unfortunately been branded as poor quality with little historical significance. Museums and galleries around the world have only recently started to take these portraits seriously and use modern technology to truly understand some of the works of art created on a mass scale to fulfil a high demand from Tudor society.
The wooden panel portraiture created in Tudor England that we view today in galleries and country houses across the globe formed a small part of the visual artifacts viewed by the men and women who lived in sixteenth century England. Houses of the rich and elite members of society were filled with tapestries, painted cloths, and furnishings depicting imagery of some kind. Clothes, books, and jewellery also became more prominent during the sixteenth century and were also filled with images of significance to the individual who may have commissioned them. The use and demand for visual imagery did not only exist within domestic settings but town halls, schools and colleges across England were filled with portrait images of political and state figures from history and reformers of the protestant faith. Art was not only used for decoration purposes but could also be used to demonstrate an individual’s commitment to a specific cause.
From the beginning of the sixteenth century there appears to have been a keen interest for information concerning historical events from the past. Several plays, ballads, pamphlets, and published works were created throughout this century documenting the stories of either historical royal figures or famous contemporary individuals who had made their mark on history. With this also came the demand for images of some of the figures promoted.
One of the earliest examples of historical printed text from the sixteenth century is Robert Fabyan’s The New Chronicles of England and France. This book details events from the legendary arrival of Brutus of Troy to the death of King Henry VII and was first published in 1516. The book was subsequently republished in 1533, 1542 and 1559 demonstrating the high demand for the subject. In 1563, John Foxe’s Acts and Monuments was first published in England detailing the stories of men and women from the fourteenth to the sixteenth century who were martyred for their faith. 
By the end of the sixteenth century and beginning of the seventeenth century plays about historical figures such as those written by William Shakespeare, were being staged in both the Royal Court and playhouses. Books containing engraved portraits of historical figures started to appear and in 1597 Thomas Tablot’s “Booke Containing the True Portraiture of the Kings of England” was printed followed by Henry Holland’s “Baziliologia” in 1618 and his “Herowlogia Anglica” two years later. All three books contained many engraved images of Kings, Queens, and prominent figures from the sixteenth century which had been claimed by the authors to be based on authentic likenesses.
Holland’s “Baziliologia” did contain an engraved portrait depicting Anne Boleyn, however this was not based on the B-Pattern which would have been a relatively common image by 1618 and much debate has taken place over the authenticity of this image. The “Baziliologia” engraving of Anne does look remarkably similar to a depiction of Jane Seymore from the Whitehall mural, by Hans Holbein. Several other engravings produced in Holland’s book’s such as the well-known Van da Passe engraving of Lady Jane Grey have also now been proven to be based on portraits of other sitters, so we do need to air on the side of caution when it comes to this particular engraving of Anne.
Portrait sets depicting Kings and Queens of England survive today, however the majority have been broken up and only a small amount survive in some sort of entirety. Anne Boleyn was generally one of three of King Henry VIII’s queens depicted within sets of English monarchs and their consorts along with Katherine of Aragon and Jane Seymour. These three wives were included in the sets because they all produced a child during their marriage and therefore a future monarch. Anne herself was Queen Mother to the reigning monarch Queen Elizabeth I and although Anne’s marriage was never officially legitimised during the reign of her daughter her image was often included within portrait sets and Elizabeth herself, does appear to have acknowledged both her parents within her own iconography during her long reign.
Many portraits depicting Anne which where once part of a larger set and derive from what I refer to as the B Pattern, survive in public and private collections around the world. Today, those that have been published and are well known to us have often been grouped together and referred to as “posthumous” dating to “the later period of the sixteenth century”
When creating portrait sets, artists appear to have gone to every effort in attempts to locate written descriptions, previous portraits, illustrations, and effigies to support them to create panel portraits of individuals both past and present. We know for example that the many later portrait patterns depicting Elizabeth of York was based on another painting which was probably painted from life currently held in the Royal Collection.
Initially, the Royal Collection portrait was thought to date to the late sixteenth century, however current research has identified that this portrait may have been painted in the late fifteenth century. Subsequent copies of this portrait indicate that a pattern was created and used by workshops when producing further copies. A large majority of the surviving copies all show the same characteristics, brown eyes, light red hair, pale complexion, and a red gown with ermine trim. This suggest that the patterns created also contained notes or visual reminders for the artists of how the final portrait should be finished, much like the provisional drawings produced by Hans Holbein for some of his major works.
One perfect example of an early portraits set is a small group of portraits again held within the royal collection. These painting’s depict King Henry V, Henry VI and Richard III and all are of similar format and size and include the characteristic red demask background.
Initially, as seen with the portrait of Elizabeth of York these painting’s where again thought to date to the latter half of the sixteenth century. Recent dendrochronology testing has identified that all three paintings were actually constructed from the same tree which was cut down no earlier than 1504. This once again demonstrates the importance of modern technology within the world of art history and the possibility that some of the portraits created for the use of sets could date to an earlier period than initially thought.
When looking at the surviving portraits depicting Anne Boleyn, two specific portrait patterns begin to emerge. The first is the bust length pattern seen in NPG 668, NGI.549 and the Rosse Portrait.
The second is a pattern that has been slightly extended to incorporate Anne’s hands and a rose which can be seen in the alternative version on display at Hever Castle, the Radclyffe portrait and the Shindler portrait. Multiple copies of both patterns survive today, however paintings derived from the second pattern appears to be scarcer than that of the first.
Only a small amount of the portraits depicting Anne have undergone dendrochnology testing to establish an accurate date of creation. Some can easily be dismissed as later copies, produced during the seventeenth and early eighteenth centuries. A large proportion of the portraits depicting Anne remain untested which makes it difficult to determine what order of dates each portrait was produced and the possibility that one of the portraits may be an earlier copy possibly painted from life.
Unfortunately, to date, I have been unable to locate any written documentation relating to the production of a portrait of Anne Boleyn during her actual lifetime. There does appear to be a number of sixteenth century references regarding the use and collection of her image after her death. Unfortunately, these references are vague, and it is hard to distinguish if any of these portraits were in fact an authentic image or one of the many portraits based on the B pattern that where apparently created at a later period.
The first reference to an image of Anne dates from 1559, and is taken from several written descriptions regarding the events that took place during the coronation of Anne’s daughter Queen Elizabeth I. All descriptions refer to a large stage being built and used as part of the pageant at the upper end of Gracechurch Street. It appears that this stage was designed to represent Queen Elizabeth I’s lineage and not only included an image of her royal grandparents King Henry VII and Elizabeth of York but also an image representing her father and mother King Henry VIII and Anne Boleyn. Unfortunately, these descriptions provide little detail as to what the images of the figures looked like, however, they do provide evidence that there was, at least, a recognisable image of Anne in 1559.
The second reference is taken from 1577 and is listed within an inventory of the possessions of Archbishop Matthew Parker at the time of his death at Lambeth Palace. The inventory lists thousands of items within the palace including a portrait of “Quene Anne Bolleyn” displayed in the gallery. Matthew Parker was in fact Anne’s personal Chaplain and it would be difficult to believe that an individual who was such a close associate of Anne would have owned a portrait that was not a reasonable likeness of her.
The third and probably most famous reference comes from a collection of inventories documenting the extensive collection of paintings, sculptures, furniture, and books collected by the 1st Baron of Lumley (John Lumley 1533-1609). Lumley’s collection consisted of over one hundred and ninety portraits scattered across his residences of Lumley Castle, Nonsuch Palace and Harts Street. His walls were not only hung with paintings of family members, but portraits of royals and nobilities demonstrating a list of who’s who, in England. In an inventory made in 1590 there is a reference to a portrait of “Queen Anne Bulleyne.” As the portrait is listed among other portraits described as “Statuary” we may then presume that the painting was in fact full-length as portraits of half-length or small in size are referred to as “scantling.” Upon John Lumley’s death some of his collection passed to his nephew Thomas Howard Earl of Arundel though the vast amount remained at Lumley Castle were the collection eventually passed to the Earls of Scarborough. Some of the collection was subsequently sold through auction in 1785 and 1807, however no portrait of Anne Boleyn is listed among the entries for either auction, and this particular portrait remains lost today.
As this article demonstrates the use of modern technology is now answering some of the unanswered questions regarding the production and use of portrait sets from Tudor England. We are now finally starting to get a good understanding of the techniques and processes used to create these images. From the references discussed above regarding the use of Anne’s image we can see that there was at least some sort of recognisable image of Anne Boleyn used from 1557 onwards. It would certainly be of high interest to locate all surviving examples of the B Pattern and have them undergo some of the testing which has taken place on NPG 668. Modern science will enable us to identify once and for all what order these images came in and if there is any possibility that one may be a life portrait.
The Belmont Portrait is one of the more vague and seldom seen images of Anne Boleyn based on the B Pattern. This specific portrait is named in this study after one of its documented owners and as far as I am aware, it has never before been published, nor has it ever been exhibited in any gallery or museum.
The portraits existence is purely known through a selection of old black and white images held in the Frick Art Reference Library, New York. This is probably the first ever effort to study this painting and its connection to other portraits utilising the B Pattern in a scholarly manner.
The painting is executed in oil on a wooden panel and measures 20 x 14 ½ inches. The portrait depicts the head and upper torso of an adult female who appears before a plain dark background. She is turned slightly to the viewers left, though her eyes engage the viewer directly. Her face is oval in shape, with a high forehead. Her hair is dark in colour, appears straight, and is worn parted in the centre of the crown and pulled back over her ears and under her headwear. Her eyes appear dark in colour and her eyebrows are thin and arched. The nose is straight with a high bridge and her lips are small and thin.
The sitter’s costume includes a French hood, ending just below the jawline. This is constructed with the use of black fabric that includes the use of an upper and lower billiment of pearls. A black veil is also seen hanging down at the back. At her neck she wears two strings of pearls with a large letter B pendant of goldsmith work and three hanging pearls suspended from the upper necklace. A gold chain is also seen at the neck, that falls and disappears into the front of the sitter’s bodice. The gown itself is constructed of a dark fabric with what appears to be the hint of large fur sleeves, seen at the bottom edges of the portrait. The upper edge of the bodice is cut squared and a chemise, embroidered with blackwork protrudes along the entire bodice margin.
There are no identifying inscriptions readily visible on the painted surface and no photograph of the reverse of the painting is available.
Documented as Flemish School
As highlighted above, very little is known regarding the early provenance for this particular portrait. An information sheet, stored along with the old photographic images in the Frick Library does inform us that the portrait was once in the collection of a Mrs Belmont and that it was purchased form her by a Malcom Sands Wilson of New York. It is also recorded that the old black and white photographic images of this portrait were acquired for the Frick Collection in the April of 1936 form Mrs Belmont.
This portrait’s current location remains unknown, at this point in time. As far as I am aware the painting has not undergone any scientific investigation to establish a date of production or place of origin, so no precise date can be documented. From the records held in the Frick Collection it does appear that the painting was deemed significant enough to undergo some restoration techniques. The restoration work was completed by William Hisgrove of New York in 1936 and a photographic image which was taken of the portrait before this took place clearly shows the that later overpaint, and old varnish was removed were removed during this process. This suggests that the portrait was possibly of a significant age when the restoration work was completed.
In my opinion, what is significant about the Belmont Portrait it that, of the many copies related to the B pattern, this, is probably the closest in comparison to the portrait in the collection of the National Portrait Gallery, London.
This copy, Known as NPG668, was purchased by the Gallery in 1882 and will be discussed in later part of this study. All portrait relating to the B pattern have significant differences in the finer details which are applied by the artist. Though slightly bigger in size, the facial feature seen in NPG668 are noticeably similar to those depicted in the Belmont Copy. The blackwork design depicted on the chemise, worn under the sitter’s bodice is also depicted in an identical manner.
It is my opinion that, the Belmont portrait is of significant interest, due to it similarities to NPG668. It would certainly be interesting if The National Portrait Gallery where able to locate the Belmont paintings current whereabouts and attempt to clarify if indeed there is any possible connection between the two portraits.
Anne Boleyn was the second Queen of Henry VIII, she was executed in 1536, and she is arguably one of the more popular figures in Tudor history today. Similar to Lady Jane Grey, many portraits have been associated with Anne’s name over the course of time. None have produced the documentation to conclusively prove an identification and Anne continues to go without a portrait painted from life to this day.
One of the most famous depictions of Anne is what I refer to as the B pattern. This image has been extensively reproduced in history books when discussing Anne’s story. The B pattern depicts a lady wearing a black French Hood and a pearl necklace with a gold letter ‘B’ hanging from it. All surviving portraits were probably produced as part of portrait sets illustrating Kings and Queens of England, but what I find interesting about these portrait’s, is, we know so little about them.
During the latter half of the sixteenth century it had become popular for ‘portrait sets’ to be produced. These sets were often displayed in public places, in galleries, in homes across Tudor England and in some of the royal palaces occupied by the Monarch. Portrait sets were not only produced to document historic figures, but also demonstrated loyalty to a specific cause. As the mother of the Reigning Monarch, Elizabeth I, Anne was often depicted within the sets as the wife of Henry VIII.
Portrait sets were created in workshops and required a lesser skilled artist than the Great Masters who were probably commissioned to paint the original, thus making them cheaper and more accessible to the individual living in Tudor England. An image was often derived from a standard pattern of an individual, based on an existing image, description, engraving or in some circumstances a tomb effigy. These could be used by the workshops to quickly trace the desired image on to a wooden panel so that the portrait could be produced as quickly and effectively as possible.
A small number of portraits based on the B pattern and dated to the end of sixteenth century still exist today. Some are in public galleries whilst others remain in private collections across the world. Most of the individual portraits depicting Anne, first appear in documentation during the turn of the twentieth century, with little known regarding there provenance prior to this.
The B pattern was most certainly accepted as an image of Anne Boleyn during the latter half of the sixteenth century. As for what source it was based on, in truth, we do not really know today. The purpose of this study is to look at the surviving collection of portraits depicting Anne that derive from the B pattern. In compiling this study, I hope to establish a better understanding about the production of ‘portrait sets’, and the use of Anne’s image. I hope to Look at each portrait as an individual, in the hope of establishing some sort of database of information concerning each portrait. Where possible I will attempt to document information relating specifically to the date and provenance of each image in the hope of ascertaining more information and identifying a possible sequence in which the portraits were painted.
 For more information on the production and use of portrait sets see: Daunt. Catherine, Portraits Sets in Tudor and Jacobean England, May 2015