Thomae Gresham Equi. Aura (Sir Thomas Gresham)

Delaram employed copper‑plate engraving, incising lines directly into metal to produce the image. The composition incorporates decorative cherubs flanking the portrait, a motif common in early‑17th‑century portraiture. The overall style shows Flemish influence, likely derived from Delaram’s training under Cornelis Boel, known for his work on the 1611 King James Bible.

Created in London in 1608, the print is one of the few surviving works attributed to Delaram, whose biography remains largely undocumented. It was issued shortly after Gresham’s death and circulated as a commemorative portrait, reflecting the period’s practice of disseminating images of notable public figures through prints.

The engraving belongs to a broader tradition of early modern English portrait prints that combined commercial symbolism with classical allegory. Its decorative elements, such as the cherubs and Latin inscriptions, align with contemporary visual conventions used to elevate the status of financiers within the emerging capitalist culture of early Stuart England.