• IntroductionArtists, Patrons and the Contexts for the Production of Painted Images in Tudor and Jacobean EnglandPart I Material PracticesIntroduction1: Aviva Burnstock: Interpreting the Results of Technical Analysis2: Ian Tyers: Panel Making, Sources of Wood, Construction 'Trademarks' and Conclusions on the Making and Trade in the UK3: Sophie Plender: Materials, Techniques and Practice: The Relationship between Artists' Treatises and Painting Methods and Techniques in Tudor and Jacobean England4: Libby Sheldon: Palette, Practice and Purpose: Pigments and their Employment by Native and Anglo-Netherlandish Artists in Tudor and Jacobean Paintings5: Rachel Billinge: Artists' Underdrawing and the Workshop Transfer Process6: Klaas Jan van den Berg, Katrien Keune, Suzan de Groot and Henk van Keulen: Binding Media in Tudor and Jacobean Paintings7: Marie Louise Sauerberg: The Conservation of Paintings from the Tudor Era in the Context of Portraits of Elizabeth I8: Caroline Rae: Marcus Gheeraerts the Younger, John de Critz the Elder, Robert Peake the Elder and William LarkinPart 2 Tudor and Jacobean Painters and Their WorkshopsIntroduction9: Lucy J. Wrapson: A Medieval Context for the Artistic Production of Painted Surfaces in England: Evidence from East Anglia (c.1400-50)10: Susan Foister: Distinctive or Different? English Artistic Practices in a European Context11: Victoria Button: 'Pictures by the Life': The Materials and Techniques of Holbein's Portrait Drawings12: Hope Walker: Talent and Adversity: A Reassessment of the Life and Works of Hans Eworth of Antwerp and London (active 1540-74)13: Katherine Coombs and Alan Derbyshire: . Nicholas Hilliard's Workshop Practice Reconsidered14: Edward Town: 'A Good Eye, and Steadfast Hand': Painting in London 1547-162515: Elizabeth Goldring: Heraldic Drawing and Painting in Early Modern England16: Karen Hearn: Migrant Artists in Jacobean London17: Catharine MacLeod: Robert Peake: Portraits, Patrons and Technical Evidence18: Anita Jansen and Johanneke Verhave: The Ambassador and the Painter: Sir Dudley Carleton Painted by Michiel van Mierevelt19: David Taylor: Gesture Recognition: Adam de Colone and the Transmission of Portrait Types from the Low Countries and England to ScotlandPart 3 Patronage, Markets and AudiencesIntroduction20: Frederick Hepburn: 'pintor Ynglés': The Earliest Evidence for Portraiture at the Court of Henry VII21: Charlotte Bolland: SAT SUPER EST': A Portrait of Henry Howard, Earl of Surrey22: Catherine Daunt: Heroes and Worthies: Emerging Antiquarianism and the Taste for Portrait Sets in England23: Robert Tittler: Painters' and Patrons' Circles in Provincial England, c.1580-164024: Susan Bracken: Collectors in England 1580-1630 - Evolutions in Taste

It is difficult to overstate the magnitude of the scholarship represented in this volume, the skill with which the essays deal with a large corpus of data in with such clarity and concision, and the attractive presentation of the book as a whole. Nicholas Grindle, The British Art Journal an essential source for those working in the fields of art history, conservation and material science, and of interest to lovers of British Tudor and Stuart painting. Comments from the Historians of British Art Book Prize Committee no redundancy, no repetition here, but rather twenty-four well-written essays, each generously illustrated, to present an organic account of picture making in the English Renaissance. David Howarth, The Burlington

• IntroductionArtists, Patrons and the Contexts for the Production of Painted Images in Tudor and Jacobean EnglandPart I Material PracticesIntroduction1: Aviva Burnstock: Interpreting the Results of Technical Analysis2: Ian Tyers: Panel Making, Sources of Wood, Construction 'Trademarks' and Conclusions on the Making and Trade in the UK3: Sophie Plender: Materials, Techniques and Practice: The Relationship between Artists' Treatises and Painting Methods and Techniques in Tudor and Jacobean England4: Libby Sheldon: Palette, Practice and Purpose: Pigments and their Employment by Native and Anglo-Netherlandish Artists in Tudor and Jacobean Paintings5: Rachel Billinge: Artists' Underdrawing and the Workshop Transfer Process6: Klaas Jan van den Berg, Katrien Keune, Suzan de Groot and Henk van Keulen: Binding Media in Tudor and Jacobean Paintings7: Marie Louise Sauerberg: The Conservation of Paintings from the Tudor Era in the Context of Portraits of Elizabeth I8: Caroline Rae: Marcus Gheeraerts the Younger, John de Critz the Elder, Robert Peake the Elder and William LarkinPart 2 Tudor and Jacobean Painters and Their WorkshopsIntroduction9: Lucy J. Wrapson: A Medieval Context for the Artistic Production of Painted Surfaces in England: Evidence from East Anglia (c.1400-50)10: Susan Foister: Distinctive or Different? English Artistic Practices in a European Context11: Victoria Button: 'Pictures by the Life': The Materials and Techniques of Holbein's Portrait Drawings12: Hope Walker: Talent and Adversity: A Reassessment of the Life and Works of Hans Eworth of Antwerp and London (active 1540-74)13: Katherine Coombs and Alan Derbyshire: . Nicholas Hilliard's Workshop Practice Reconsidered14: Edward Town: 'A Good Eye, and Steadfast Hand': Painting in London 1547-162515: Elizabeth Goldring: Heraldic Drawing and Painting in Early Modern England16: Karen Hearn: Migrant Artists in Jacobean London17: Catharine MacLeod: Robert Peake: Portraits, Patrons and Technical Evidence18: Anita Jansen and Johanneke Verhave: The Ambassador and the Painter: Sir Dudley Carleton Painted by Michiel van Mierevelt19: David Taylor: Gesture Recognition: Adam de Colone and the Transmission of Portrait Types from the Low Countries and England to ScotlandPart 3 Patronage, Markets and AudiencesIntroduction20: Frederick Hepburn: 'pintor Ynglés': The Earliest Evidence for Portraiture at the Court of Henry VII21: Charlotte Bolland: SAT SUPER EST': A Portrait of Henry Howard, Earl of Surrey22: Catherine Daunt: Heroes and Worthies: Emerging Antiquarianism and the Taste for Portrait Sets in England23: Robert Tittler: Painters' and Patrons' Circles in Provincial England, c.1580-164024: Susan Bracken: Collectors in England 1580-1630 - Evolutions in Taste

It is difficult to overstate the magnitude of the scholarship represented in this volume, the skill with which the essays deal with a large corpus of data in with such clarity and concision, and the attractive presentation of the book as a whole. Nicholas Grindle, The British Art Journal an essential source for those working in the fields of art history, conservation and material science, and of interest to lovers of British Tudor and Stuart painting. Comments from the Historians of British Art Book Prize Committee no redundancy, no repetition here, but rather twenty-four well-written essays, each generously illustrated, to present an organic account of picture making in the English Renaissance. David Howarth, The Burlington

• IntroductionArtists, Patrons and the Contexts for the Production of Painted Images in Tudor and Jacobean EnglandPart I Material PracticesIntroduction1: Aviva Burnstock: Interpreting the Results of Technical Analysis2: Ian Tyers: Panel Making, Sources of Wood, Construction 'Trademarks' and Conclusions on the Making and Trade in the UK3: Sophie Plender: Materials, Techniques and Practice: The Relationship between Artists' Treatises and Painting Methods and Techniques in Tudor and Jacobean England4: Libby Sheldon: Palette, Practice and Purpose: Pigments and their Employment by Native and Anglo-Netherlandish Artists in Tudor and Jacobean Paintings5: Rachel Billinge: Artists' Underdrawing and the Workshop Transfer Process6: Klaas Jan van den Berg, Katrien Keune, Suzan de Groot and Henk van Keulen: Binding Media in Tudor and Jacobean Paintings7: Marie Louise Sauerberg: The Conservation of Paintings from the Tudor Era in the Context of Portraits of Elizabeth I8: Caroline Rae: Marcus Gheeraerts the Younger, John de Critz the Elder, Robert Peake the Elder and William LarkinPart 2 Tudor and Jacobean Painters and Their WorkshopsIntroduction9: Lucy J. Wrapson: A Medieval Context for the Artistic Production of Painted Surfaces in England: Evidence from East Anglia (c.1400-50)10: Susan Foister: Distinctive or Different? English Artistic Practices in a European Context11: Victoria Button: 'Pictures by the Life': The Materials and Techniques of Holbein's Portrait Drawings12: Hope Walker: Talent and Adversity: A Reassessment of the Life and Works of Hans Eworth of Antwerp and London (active 1540-74)13: Katherine Coombs and Alan Derbyshire: . Nicholas Hilliard's Workshop Practice Reconsidered14: Edward Town: 'A Good Eye, and Steadfast Hand': Painting in London 1547-162515: Elizabeth Goldring: Heraldic Drawing and Painting in Early Modern England16: Karen Hearn: Migrant Artists in Jacobean London17: Catharine MacLeod: Robert Peake: Portraits, Patrons and Technical Evidence18: Anita Jansen and Johanneke Verhave: The Ambassador and the Painter: Sir Dudley Carleton Painted by Michiel van Mierevelt19: David Taylor: Gesture Recognition: Adam de Colone and the Transmission of Portrait Types from the Low Countries and England to ScotlandPart 3 Patronage, Markets and AudiencesIntroduction20: Frederick Hepburn: 'pintor Ynglés': The Earliest Evidence for Portraiture at the Court of Henry VII21: Charlotte Bolland: SAT SUPER EST': A Portrait of Henry Howard, Earl of Surrey22: Catherine Daunt: Heroes and Worthies: Emerging Antiquarianism and the Taste for Portrait Sets in England23: Robert Tittler: Painters' and Patrons' Circles in Provincial England, c.1580-164024: Susan Bracken: Collectors in England 1580-1630 - Evolutions in Taste

It is difficult to overstate the magnitude of the scholarship represented in this volume, the skill with which the essays deal with a large corpus of data in with such clarity and concision, and the attractive presentation of the book as a whole. Nicholas Grindle, The British Art Journal an essential source for those working in the fields of art history, conservation and material science, and of interest to lovers of British Tudor and Stuart painting. Comments from the Historians of British Art Book Prize Committee no redundancy, no repetition here, but rather twenty-four well-written essays, each generously illustrated, to present an organic account of picture making in the English Renaissance. David Howarth, The Burlington