Label
In this portrait, Henry wears a jewelled cloth of gold doublet, fashionably slashed to show his white shirt. He wears a red surcoat, with a fine black cap with jewel and feather. A plain black ribbon is tied around his neck, and he wears a ring on his right hand which is placed on a cushion. On the cushion before him he unfurls a scroll on which is written:
MARCI 16 ITE IN MVDVM VNIVERSV ET PREDICATE EVANGELIVM OMNI CREATVRE (Mark 16 - Go into the whole world and preach the gospel to every creature)
This portrait was gifted to the Company by past Master John Vernon in 1616, however it was likely painted much earlier. Some suggest that as the inscription on the scroll was included by Hans Holbein on the title page for the Coverdale Bible produced on Henry's orders in 1535, this reference in the portrait dates the painting's production to around 1535. However, others think that as the verse is written in Latin rather than English (thus more aligned with Henry's beliefs before he broke from Rome in 1533) the quotation points to Henry's title of Defender of the Faith, given to him by the Pope in 1521. As we have no definitive attribution for this portrait, but it bears such strong similarities to the painting in the Royal Collection, it was likely produced sometime between 1521 and the end of the century.
A very similar portrait is owned by the Royal Collection, which is firmly attributed to Joos van Cleve. Although the frame of the portrait at Merchant Taylors' Hall reads Paris Bordone, it is more likely that it was painted by a follower of Joos van Cleve due to the closeness in composition and style to the Royal Collection portrait. Over the years, other suggested contenders have been Hans Holbein, Girolamo da Treviso, Gerard and Luca Horebout and Lucas Cornelissen (all painters in the King's employ around the time this portrait was likely painted). Another possible attribution for this portrait is Joos van Cleve's son, Cornelis, known as Sotte (or Mad) Cleve, who is known to have lived and worked in England.
This portrait was lent to the Tudor Exhibition at the New Gallery, London, in 1890 and was number 120 in the catalogue.