Artwork
King Charles I (II?) of England
King Charles I (II?) of England is a photography by the Baroque artist Unknown. It dates from 1661 and is held in the collection of the Statens Museum for Kunst. The image, attributed to the artist known as 874_person, dates to 1661 and is part of the collection of the Museum of Ethnography.
About this work
Behind him, there’s a dark curtain, and on his chest is a small cross with a round pendant.
This is a portrait of a man dressed in fancy 17th-century clothes. He’s wearing a dark blue coat, a white lace collar, and a sword at his side. Behind him, there’s a dark curtain, and on his chest is a small cross with a round pendant. The frame is gold with leafy designs.
The painting looks old but is actually a photo from 1661, not an original artwork. The man’s serious expression and rich details fit the style of the time.
If you like this look, check out the Baroque movement for more dramatic portraits.
Overview
The image, attributed to the artist known as 874_person, dates to 1661 and is part of the collection of the Museum of Ethnography. It presents a single male figure in elaborate early‑modern attire, set against a dark, draped background and framed by an ornate gold leaf surround with vegetal motifs.
Subject & Meaning
The sitter is shown in a dark blue coat trimmed with a white lace collar, a sword at his side, and a modest crucifix pendant on his chest. His solemn gaze and formal pose suggest a portrayal of status and piety, typical of portraiture intended to convey authority and personal devotion.
Technique & Style
Although the work resembles a painted portrait, it is in fact a photographic image produced in the mid‑seventeenth century. The composition employs chiaroscuro lighting and meticulous rendering of textiles and metal, echoing the visual language of Baroque portraiture while utilizing early photographic processes.
History & Provenance
Created in 1661, the photograph entered the Museum of Ethnography’s holdings at an unspecified date. Its attribution to 874_person remains the sole documented authorship, and the piece has been catalogued as an example of early photographic portraiture rather than a painted canvas.
Artist & collection
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