The art of the English portrait miniature has a distinguished history that dates back to the 14th century, particularly flourishing during the 16th, 17th and 18th centuries. This intricate form of portraiture is characterised by its small size, typically measuring between 1.5 to 4 inches, and is created with meticulous detail and precision, often framed to be worn as jewelLery or displayed in decorative cases.

Traditionally artists or ‘Limners’ employed watercolors on supports such as vellum or ivory.

Portrait miniatures not only served as cherished keepsakes but also played a vital role in social dynamics, allowing individuals to express status and identity. Figures such as Hans Holbein, Nicholas Hilliard and Isaac Oliver significantly contributed to this genre, with their works exhibiting remarkable detail, expressive poses, and intricate backgrounds that enhanced the miniature's allure.

In contemporary practice, the tradition of English portrait miniatures continues, revitalised by contemporary artists who experiment with traditional techniques while infusing new perspectives. This enduring art form remains a testament to craftsmanship and personal connection, embodying the essence of the subjects they depict.

Nicholas Hilliard 1547-1619

One of the greatest exponents of the distinctively English artform of the portrait miniature.

Proportion of portrait to playing card

The self portrait is 41 mm in diameter and painted on vellum in watercolour.

Tools of the limner

Hilliard used ‘pencils’; squirrel brushes and ground his pigments which he kept in mussel shells.

The art of the portrait miniature has its origins in the illuminated manuscripts of the Burgundian court of 14th and 15th century Flanders. The Burgundian court at this time was the most powerful and magnificent court in Europe.

Henry VII wanted to furnish his new library in his newly built palace at Richmond to rival the magnificance and beauty of the Flemish court. He engaged the finest artists from Ghent and Bruges to establish ateliers at his newly completed palace. The illuminated books and manuscripts produced by these craftsmen, and women, contained all the ingredients from which the English portrait miniature would evolve. The art flourished in England under the patronage of Henry VII, his son Henry VIII and his daughter, Elizabeth I.

During the reign of Elizabeth, the miniature came to be regarded as a particularly high-status art form due to the skill of a young goldsmith from Exeter, Nicholas Hilliard. Hilliard would become, the most notable ‘limner’ of all time, transforming this little known technique into an important contributor to the importance of Renaissance painting. Hilliard created the most exquisite jewels and painted beautiful miniatures for wealthy clients, including the Queen. These were ‘portable treasures’ that could be used as diplomatic favours; proof of identity, as intimate, more personal tokens between lovers, celebratory gifts or as momento mori. Elizabeth I had a tiny portrait of her mother, Anne Boleyn concealed in a ring.

The miniatures of Hilliard are full of symbolism; non more than ‘Young Man Among Roses’; thought to be a portrait of Robert Devereux, 2nd Earl of Essex, and Elizabeth’s favourite. The portrait epitomises the romantic Elizabethan age. The young man is dressed in black and white, Elizabeth’s personal colours whilst leaning against a tree with his hand on his heart symbolising his love and loyalty whilst clutching an eglantine rose (Sweet Briar) Elizabeth’s favourite flower. The Latin motto reads Dat poenas Laudata fides; a quote from Roman poet Lucan pointing out that ‘faith, though praised, can cause pain’.  This was certainly prophetic for Robert as he was executed for treason in 1601.

The skills needed to paint these miniature masterpieces were handed down from father to son….or daughter. It is thought that Levina Teerlinc, the daughter of Simon Bening; a master craftsman, from Flanders taught Hilliard who was also an admirer and was influenced by the work of Hans Holbein the Younger. Nicholas Hilliard is thought to have taught his son Lawrence and one of his other students, Issac Oliver, was to become an applauded limner in his own right.

‘Limnings’ flourished under the patronage of the Tudors, Stuarts and the Hanovarian monarchs with artists such as John Hoskins, who was called the ‘Van Dyck in Little’ and his nephew, Samuel Cooper. However, with the inception of the East India Company in 1600 miniatures began to be painted on ivory which is obviously not used today. During the eighteenth century miniaturists such as John Smart, George Englehart and Richard Cosway achieved incredible detail and realism in their portraits leaving a lasting legacy of portraits.

The tools, materials and techniques used have changed little from those used by Hilliard and Susan still paints on vellum (calfskin) in watercolour and body colour.

0 LikesShare