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131:, is undated but can be assigned to the later years of Elizabeth's reign by the style of the costume. The portrait depicts the Queen surrounded by roses, symbolising the Tudor union of the houses of
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150:. Rogers' print, of which only three impressions are known, shows Elizabeth in the updated fashions of the 1590s and adds verses at the bottom making explicit the contrast between
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75:, and presumably acquired his technique in that context. His portrait style reflects Flemish models, while his backgrounds are often "overloaded with
220:(1598): "As Lysippus, Praxiteles, and Pyrgoteles were excellent engravers, so have we these engravers: Rogers, Christopher Switzer, and Cure."
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154:'s marriage and its accompanying war on the left, and Elizabeth's virginity accompanied by Peace and Plenty on the right.
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Rogers engraved numerous portraits, title-pages, and illustrations for books, among these being the titles to
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Rogers also engraved a version of the large allegorical picture of Henry VIII and his family attributed to
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67:, though several artists from the thriving Flemish industry had worked in England already; the engraved
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Rogers' work shows him to have been a trained artist in the art of engraving. He is mentioned by
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had been invented over 150 years before Rogers began to produce them. Rogers was also a
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593:
Doran, Susan (2003). "Virginity, Divinity and Power: The
Portraits of Elizabeth I".
289:
Iohn
Huighen van Linschoten, his Discours of Voyages into ye Easte & West Indies
106:, one of the best-known Tudor engravings, is based on a drawing of the queen by the
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Henricus
Borbonius 4 Rex Franciæ et Navarræ Ordin. S. Spiritus Eques Supremus
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The coats of arms of sixty-eight kingdoms, cities and towns around the world
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681:, using a date range, and ticking "production information" – 32 images.
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638: This article incorporates text from a publication now in the
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55: – he is the first English craftsman known to have practised
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Works by
William Rogers in the National Portrait Gallery, London
572:"The Family of Henry VIII: an Allegory of the Tudor Succession"
658:. Vol. 45. London: Smith, Elder & Co. p. 145.
311:
The discription of the
Islandes and Castle of Mozambique
104:
Queen
Elizabeth Standing in a Room with a Lattice Window
30:
Queen
Elizabeth Standing in a Room with a Lattice Window
119:, of which the two surviving impressions are in the
82:
Rogers is known for his engraved portraits of Queen
43:(born c. 1545, active c. 1589–1604) was an English
163:Discours of Voyages into ye Easte and West Indies,
205:Catalogue of Honour, or Treasury of True Nobility
686:
63:. The English were extremely late in coming to
189:The Herball, or a Generall Historie of Plantes
79:" that is "redolent of the goldsmith's shop".
51:– one of his surviving engravings is signed
602:. London: Palgrave Macmillan. p. 186.
94:in 1588, shows Elizabeth surrounded by the
16:For other people named William Rogers, see
59:and the greatest portrait engraver of the
297:Beinecke Rare Book and Manuscript Library
32:, figure of the queen after a drawing by
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90:(1589), celebrating the defeat of the
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510:Grove Art Online. Oxford Art Online
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675:British Museum collection database
531:A History of Engraving and Etching
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329:Robert Devereux, 2nd Earl of Essex
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408:Emmanuel Philibert, Duke of Savoy
655:Dictionary of National Biography
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471:Getty Union List of Artist Names
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191:(1597); the cuts in Broughton's
551:"Rosa Electa by William Rogers"
53:Anglus et Civis Lond(oniensis).
18:William Rogers (disambiguation)
646:Rogers, William (fl.1580-1610)
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195:(1596); and the portraits in
644:Cust, Lionel Henry (1896). "
98:symbols of empire common to
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295:engraved by Rogers, (1598)
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677:search for William Rogers
256:Elizabeth I as Rosa Electa
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201:Honor, Military and Civile
159:Jan Huyghen van Linschoten
117:Elizabeth I as Rosa Electa
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86:, which are very scarce.
274:The Family of Henry VIII
84:Elizabeth I of England
37:
596:The Myth of Elizabeth
506:"Rogers, William (i)"
28:
375:Knights Hospitallers
203:(1602) and Milles's
193:Concert of Scripture
47:. A Citizen of the
700:English goldsmiths
169:'s translation of
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695:English engravers
609:978-0-333-93084-7
529:Hind, Arthur M.,
467:"Rogers, William"
165:1596, and to Sir
125:Oxford University
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183:and title for
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144:Lucas de Heere
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102:at this time.
92:Spanish Armada
49:City of London
41:William Rogers
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61:Tudor period
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650:Lee, Sidney
371:Grand Prior
185:John Gerard
108:miniaturist
96:allegorical
65:printmaking
689:Categories
453:References
293:title page
276:(c. 1597)
146:, now at
137:Lancaster
73:goldsmith
57:engraving
36:, c. 1592
426:(1602),
313:(1598),
240:(1589),
207:(1610).
127:and the
77:ornament
45:engraver
652:(ed.).
642::
224:Gallery
214:in his
171:Ariosto
648:". In
615:13 May
606:
577:14 May
556:14 May
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515:13 May
476:13 May
152:Mary I
600:(PDF)
69:print
617:2011
604:ISBN
579:2011
558:2011
535:ISBN
517:2011
478:2011
135:and
133:York
199:'s
187:'s
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161:'s
123:at
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486:^
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369:,
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139:.
619:.
591:*
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20:.
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