Miniatures created using watercolour on vellum

Miniatures, watercolour, vellum

  • Samuel Cooper, Portrait of an Unknown Woman

    Samuel Cooper, Portrait of an Unknown Woman, about 1662–5, Museum no. 448-1892

    Samuel Cooper
    Portrait of an Unknown Woman
    about 1662–5
    watercolour on vellum, stuck to a table-book leaf
    Museum no. 448-1892.

    A table-book leaf was a piece of thick vellum coated both sides with gesso, a mixture of chalk and animal glue. It replaced playing cards as a support from the early 17th century. In this unfinished miniature the vellum is supported by a table-book leaf.

  • Nicholas Hilliard, Portrait of an Unknown Man

    Nicholas Hilliard, Portrait of an Unknown Man, dated 1572, Museum no. P.1-1942

    Nicholas Hilliard, 1547-1619
    Portrait of an Unknown Man
    Dated 1572
    Watercolour on vellum, stuck to a playing card with three hearts visible
    Museum no. P.1-1942
    Given by the National Art Collections Fund

    In all miniatures of this date the vellum was stuck to a playing card to make a 'tablet'. The artist often did this in advance. The tablets were then ready-painted with different shades of flesh colour and the artist chose one that matched the sitter's complexion.

  • Sir James Palmer, Portrait of James I

    Sir James Palmer, Portrait of James I, dated 1623, Museum no. P.12-1958

    Sir James Palmer, 1584-1658
    Portrait of James I
    Dated 1623
    Watercolour on vellum, stuck to a playing card with six hearts visible
    Signed '[J]P'lower left and dated upper left '[1]623'
    Museum no. P.12-1958
    Purchased with funds from the R.H. Stephenson Bequest

    Sir James Palmer was not a professional artist but a gentleman at James I's court. Amateurs became interested in miniature painting after the publication in 1612 of Henry Peacham's book Graphice (later The Gentleman's Exercise). It offered advice on suitable gentlemanly pastimes, including information about drawing and miniature painting.

  • Thomas Flatman, Portrait of an Unknown Woman

    Thomas Flatman, Portrait of an Unknown Woman, dated 1661, Museum no. P.14-1941

    Thomas Flatman, 1635-88
    Portrait of an Unknown Woman
    Dated 1661
    Watercolour on vellum, stuck to a table-book leaf
    Signed lower right 'TF' in monogram, and dated 1661
    Museum no. P.14-1941
    Given by Mrs Emma Joseph

    In the 16th century miniaturists tended to paint with pure colours, rather than mixing together different pigments. This gave a bright, jewel-like effect. From the 1630s miniaturists increasingly mixed pigments together and also added white. This created a more natural colour range, as in this miniature.

  • Isaac Oliver, Portrait of Sir Arundel Talbot

    Isaac Oliver, Portrait of Sir Arundel Talbot, 1596, Museum no.P.4-1917

    Isaac Oliver, About 1560 -1617
    Portrait of Sir Arundel Talbot
    1596
    Watercolour on vellum,stuck to a playing card,with an inverted heart visible Inscribed on the back by the artist in Latin 'The 13th day of May 1596 /at Venice /done by Mr Isaac Oliver /Frenchman I.O.May 14th /for £8 '.A further inscription in a later hand,in Latin,'Living and true image /of Arundel Talbot /Gilded Knight '
    Museum no.P.4-1917

    Miniaturists painted the carnation (a smooth layer of flesh coloured paint), the background and costume using more pigment and less binder. This mix created a smooth, solid surface. They then used transparent colour to model the facial features over the earlier opaque layer. This miniature is unfinished and has not been cut from its rectangular support.

  • Nicholas Hilliard, Portrait of an Unknown Woman

    Nicholas Hilliard, Portrait of an Unknown Woman, about 1575-80, Museum no. P.8-1947

    Nicholas Hilliard, 1547-1619
    Portrait of an Unknown Woman
    About 1575-80
    Watercolour on vellum, stuck to a playing card with three spades visible
    Museum no. P.8-1947
    Given by E. Peter Jones

    This unfinished miniature shows the work after two or three sittings. Hilliard has painted the face with a smooth layer of flesh coloured paint, called the carnation, and started modelling the features in transparent red and brown colour. He has sketched in the dress with brown watercolour.

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