Artwork
Thomas Howard, Second Earl of Arundel and Surrey
Thomas Howard, Second Earl of Arundel and Surrey is an ink print by the Renaissance artist Simon van de Passe. It dates from 1621 and is held in the collection of the National Gallery of Art.
About this work
Overview
A dark, unadorned background concentrates attention on the sitter, while an inscription encircles the image, identifying his name and titles.
This 1621 engraving, executed by the Dutch-born printmaker Simon van de Passe, depicts Thomas Howard, the second Earl of Arundel and Surrey. Rendered in black ink on paper, the portrait presents the nobleman in a formal pose, his features framed by long hair and a ruffled collar. A dark, unadorned background concentrates attention on the sitter, while an inscription encircles the image, identifying his name and titles.
Subject & Meaning
Thomas Howard (1585–1646) was a prominent English aristocrat and patron of the arts, known for his extensive collection of paintings and antiquities. The engraving emphasizes his status through sumptuous dress, a large medallion, and a solemn expression, reflecting contemporary conventions of portraiture that linked visual grandeur with social rank and intellectual authority.
Technique & Style
Van de Passe employed fine line work and cross‑hatching to model the folds of the Earl’s clothing and the texture of his hair, creating a sense of depth on a flat surface. The chiaroscuro effect, achieved by dense shading against the dark background, highlights the three‑dimensionality of the figure, a hallmark of early 17th‑century Northern European engraving.
History & Provenance
The print was likely produced for distribution among the Earl’s network of collectors and fellow nobles, serving both as a commemorative image and a means of promoting his cultural influence. Surviving copies are held in several major libraries and museum collections, indicating its wide circulation in the period following its creation.
Context
Created during the early Stuart era, the portrait aligns with a broader trend of aristocratic self‑representation in print form, a medium that could be reproduced more widely than painted portraits. Van de Passe’s workshop was renowned for portrait engravings of European elites, situating this work within a transnational exchange of artistic styles and patronage.
Artist & collection
