Regal Portraiture at the London Exhibition ‘Elizabeth I: Queen and Court’

The exhibition’s assemblage of rare Tudor-era paintings demonstrates the development of portraiture as a significant art genre in Britain.

A rare compilation of Queen Elizabeth I portraits on display at London's Philip Mould & Company. Courtesy of Philip Mould & Company

An assemblage of rare Tudor-era portraits has been brought together by the London gallery Philip Mould & Company for the extraordinary exhibition “Elizabeth I: Queen and Court.” It’s on view through July 10, 2026. Included are portraits of important courtiers and statesmen—Robert Dudley, Earl of Leicester; his stepson Robert Devereux, 2nd Earl of Essex; William Cecil, Lord Burghley; and his son Robert Cecil, 1st Earl of Salisbury—as well as the contemporaneous sovereigns Mary Stuart, Queen of Scots; and King Henri III of France.

At the exhibit’s core is Queen Elizabeth I (1533–1603). The presentation of four portraits, ranging from a depiction of her as a youthful princess to a Virgin Queen in the latter part of her reign, demonstrates the evolution of her public image. Elizabeth is still famous for the rich symbolism of her portraits, among the most extensive of any British ruler. She constructed strategically a symbolic persona for political purposes, which coincided with the development of portraiture as a significant art genre in Britain.

Most of Elizabeth’s portraits were commissioned by her prominent subjects. The provenance specifics are sometimes only known today by repute. Approved face patterns used as templates were passed between artists’ workshops. As a result, attributes of costume, setting, and motto can vary between portraits, along with the painter’s skill. Exceptional examples are on display in the exhibit.

The Queen’s Early Portrait

The "Clopton" portrait of Queen Elizabeth I, circa 1558, by the English School. Oil on panel; 26 1/2 inches by 19 1/8 inches. Private collection. Courtesy of Philip Mould & Company

The earliest likeness of Elizabeth after her ascension to the throne in 1558 at age 25 is a simple composition. Known as  the “Clopton” portrait, Elizabeth’s modeled face is less mechanical than that found in typical mid-16th century English portraiture. She stands rigidly in a modest black surcoat and holds a prayer book. The young queen is portrayed without the heightened feminine aspects of later portraits, perhaps because at this point the population was distrustful of a female monarch.  The identity of the capable artist remains unknown, but scholars think that either William Clopton, courtier of Elizabeth’s sister Queen Mary, or his son commissioned the portrait. The Cloptons were leading citizens in Stratford-upon-Avon.

Details in this three-quarter length painting are meticulous, from the queen’s ermine collar (a material reserved for royalty) to her gold-trimmed ruff and cuffs. Realistic rendering is also found in the representations of Elizabeth’s jewelry. Her most prominent piece is a large, square-cut jewel suspended from a double chain around her neck. While pearls became her most emblematic attribute, this jewel, believed to be the “The Mirror of France,” was likely one of her favorite and oldest pieces. It had belonged to her father King Henry VIII and is recognizable in several later portraits of the queen.

Earliest Known Full Portrait

The "Hampden" portrait, circa 1563–1567, attributed to George Gower. Oil on panel, transferred onto canvas;
77 1/4 inches by  55 1/4 inches. Private collection. Courtesy of Philip Mould & Company

The large “Hampden” portrait from circa 1563 to 1567 is one of the most sumptuous portrayals of Elizabeth. It is the earliest known full-length portrait of her as queen. Done in oil and featuring real gold, the “Hampden” portrait has been recently reattributed to the court artist George Gower (circa 1540–1596), who went on to become Elizabeth’s Sergeant Painter in 1581. Elizabeth, in her early 30s here, wears a resplendent gown of crimson satin bedecked with jewels and a white chemisette. She is a blooming embodiment of the Tudor rose, a red and white heraldic emblem of her family’s dynasty.

The portrait was made during a critical time in Elizabeth’s reign. After she nearly died of smallpox in 1562, her advisors were eager for her to marry and produce an heir. It is debatable as to how serious Elizabeth was about embarking on matrimony. Famously, she never married, but Elizabeth entertained various matches for almost two decades. She ended her last serious courtship, which was with Henri III’s brother, in 1581.

The “Hampden” portrait is the only portrait that evokes Elizabeth’s potential as both a wife and mother. In the background at right, there is a lush tapestry of flowers and ripened fruit, including pomegranate and peas. These motifs, which appear in this vignette almost always in pairs, imply fertility and union.

Opulent Portraiture

Queen Elizabeth I portrait, 1590s, by the English School. Oil on panel; 43 inches by 33 1/2 inches. Philip Mould & Company, London. Courtesy of Philip Mould & Company

The exhibit’s 1590s portrait of the queen is perhaps the most recognizable type of image for today’s viewer. In this work, Elizabeth is shown as authoritative, opulent, and impressive. As was typical with her sophisticated and imperious later portraits, richly colored and detailed clothing and jewels dominate the composition. The magnificent standing ruff gives Elizabeth an ethereal quality, while her gown’s sleeves and skirt are rife with symbolism. Some embroidered motifs have a clear meaning, as in the case of the Tudor roses, but there are abundant potential interpretations of the honeysuckles, acorns, and birds.

Around Elizabeth’s neck are long strings of her famous pearls. This organic gemstone is traditionally associated with purity and virginity. These attributes were key to the cult of “Gloriana,” begun in the late 1570s, that elevated Elizabeth to the status of a virgin goddess. In this portrait, the queen wears what appears to be “The Mirror of France,” as she did in the “Clopton” portrait painted over 30 years before—a testament to the symbolic weight of jewelry.

It is fitting that such a show as “Elizabeth I: Queen and Court” should be held at Philip Mould & Company, a leading specialist in the last 500 years of British art. Many of the paintings lent for the exhibition from private collectors have previously passed through the gallery’s hands. Viewers of the exhibit are immersed in one of the most quintessential eras of British history, which was filled with a cast of colorful characters, none more so than the indomitable Elizabeth herself.

“Elizabeth I: Queen and Court” exhibition at Philip Mould & Company in London is on view through July 10, 2026. To learn more, visit philipmould.com.

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