Who painted Robert de Vere, Earl of Oxford?

Robert de Vere, Earl of Oxford was painted by Robert Vaughan in 1640.

Where can I see Robert de Vere, Earl of Oxford?

Robert de Vere, Earl of Oxford is held by National Gallery of Art.

What movement is Robert de Vere, Earl of Oxford?

Robert de Vere, Earl of Oxford is associated with Renaissance.

Can I buy a print of Robert de Vere, Earl of Oxford?

Museum-quality prints of Robert de Vere, Earl of Oxford are available made-to-order from Artifact World Gallery.

Artwork

Robert de Vere, Earl of Oxford

Robert Vaughan , 1640

Robert de Vere, Earl of Oxford is an ink print by the Renaissance artist Robert Vaughan. It dates from 1640 and is held in the collection of the National Gallery of Art.

About this work

Overview

The print is a black‑and‑white portrait of Robert de Vere, Earl of Oxford, executed as an engraving in 1640 by the London printmaker Robert Vaughan. The image presents the nobleman with curly hair, a trimmed beard, and a formal lace collar, set against a dark oval backdrop framed by ornamental molding.

Subject & Meaning

The sitter is identified as Robert de Vere, a 17th‑century English peer. Inscriptions encircling the oval, including the Latin phrases “Vero nihil verius” and “Honoratiss,” emphasize the subject’s reputation for truthfulness and honor, reinforcing the portrait’s commemorative purpose.

Technique & Style

Vaughan employed the traditional engraving method, incising fine lines into a copper plate to produce a detailed, tonal image. The careful hatching renders the texture of the lace collar and the subtle modeling of the face, while the decorative border demonstrates the period’s taste for elaborate framing within prints.

History & Provenance

Created in 1640, the engraving reflects the early modern English practice of circulating portrait prints of aristocratic figures. Though specific ownership records are scarce, such prints were often distributed among the subject’s family and allies as a means of reinforcing status and lineage.

Context

Portrait engravings of the mid‑17th century served both as personal likenesses and as political statements, situating the sitter within a network of noble identity. The inclusion of Latin mottos aligns the work with contemporary humanist conventions that linked moral virtues to aristocratic authority.