Dimensions: support: 378 x 302 mm
Copyright: CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This is Hans Eworth's "Portrait of Elizabeth Roydon, Lady Golding." The oil on panel depicts a woman holding what looks like a pair of gloves. I'm struck by the detail in the lace and the gold chain. What can you tell me about this work? Curator: Let's consider the material reality of this painting. Eworth was not just creating an image, but participating in a complex system of production. The sourcing of pigments, the preparation of the wood panel, the labor involved—these all speak to the economics and social dynamics of 16th-century portraiture. Editor: So, it's not just about who she is, but how the portrait came to be? Curator: Precisely. The sitter's status is communicated through the quality of materials and the artist's skill. The very act of commissioning such a portrait speaks volumes about class and consumption in Elizabethan England. What do you think of the symbolic implications of her holding the gloves? Editor: Perhaps a sign of status or a connection to craftsmanship? I never considered the material production aspect so directly. Thanks for the perspective!
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http://www.tate.org.uk/art/artworks/eworth-portrait-of-elizabeth-roydon-lady-golding-t01569
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Elizabeth Roydon is shown here as the widow of her second husband, Cuthbert Vaughan, who died in 1563 in action in France. She married Sir Thomas Golding of Belchamp St Paul, Essex, the following year. Her maiden arms of Roydon, in the top left hand corner, were added later, presumably by one of her descendants, to emphasise her status as an heiress in her own right. The restraint of her attire is appropriate for a widow. The ‘HE’ monogram of the Antwerp-trained artist Hans Eworth can be seen also in the top left hand corner. Gallery label, February 2016
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