186:(2002), holds that for 400 years the portrait was passed down in the family while knowledge of its existence remained private. Its ownership can be verified back as far as 1909 when M. H. Spielmann studied the painting – at which time it was in the possession of T. Hale Sanders, who had taken ownership of it from his uncle through his father. Thomas (T.) Hale Sanders is the great grandfather of Lloyd Sullivan. In early 1919 Agnes Hales Sanders, grandmother of Lloyd Sullivan, travelled from Montreal to London to reclaim the Sanders Portrait. Since then it has been held in Montreal and Ottawa.
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234:, the internal evidence (that is, a reading of the clothing of the sitter, the status of the sitter, the date on the portrait, and the artistic style), and a discussion of the media and cultural importance of the portrait. The day sought to renew interest in the portrait, establish it as the only portrait thought to be done in Shakespeare's own lifetime, and to act as catalyst in a sale that would move the portrait from private to public domain.
31:
139:
a family who lived in the same neighbourhood as
William Shakespeare and would have had connections through guild membership with the playwright. The portrait's presence in Canada, its currently being in the private sphere, and its limited budget for more research and publicity are all factors in the lack of attention shown to the portrait.
412:, DeWitt examined the portrait's style and oak panels, and determined them consistent with Elizabethan English Portraits. DeWitt also believes the Sanders to be a "friendship portrait", painted by someone who knew the sitter. DeWitt also concluded that the construction of the oak panel is, in all likelihood, English.
422:
The former director of theatre design at the Globe
Theatre and expert on Elizabethan and Jacobean dress inspected the clothing and hairstyles of the sitter in the Sanders Portrait and compared it with the biographical knowledge we have of William Shakespeare and his life in 1603 (when the picture was
154:
Extensive genealogical research has been undertaken by CASP researchers and
Warwickshire and Worcestershire family historian Pamela Hinks to confirm the oral history of the Sanders family provided by Lloyd Sullivan, owner of the portrait from 1972 until his death in 2019. This research suggests that
138:
The portrait's authenticity as a true likeness of
Shakespeare continues to be questioned by critics though supporters point to scientific tests, genealogical research, and historical contexts which date this portrait not only to Shakespeare's lifetime, but place it as originally painted and owned by
158:
The family of Lloyd
Sullivan was traced back directly to one John Sanders, Sullivan's ten times removed great-grandfather (thirteen generations before Sullivan). Proponents of the painting suggest that either John Sanders or his brother William painted the portrait of Shakespeare in 1603, when the
206:
A 2008 documentary by Anne
Henderson sought to tell the story of the Canadian-owned portrait of Shakespeare. The film both highlighted some of the technical and financial difficulties of caring for the painting, and showcased the controversy that surrounds the Sanders Portrait and other portraits
465:
at
Stratford-upon-Avon, both of which resemble each other, and are accepted by scholars as having been contemporary likenesses of Shakespeare. Gopnik does, however, refer to a comparison of the Sanders and Droeshout portraits that found 16 facial points in common, including the attached earlobe.
170:
The
Sanders family and Shakespeare moved in circles that would have encouraged contact between the two: both families were intermarried with the Thockmorton, Catesby, and Arden families. For instance, in 1592, Phillipi Sanders (a brother of John Sanders) married Anna Heminges, a cousin of
482:
In
December 2013 it was announced that a tentative deal was in the works for an unnamed Canadian family to purchase the portrait. The family is reported to be excited to keep the portrait in the Canadian public domain and is expected to donate the portrait to a public arts institution.
320:. The results found that all of the paint materials and colours were consistent with those used in England in the early 17th century. The red paint of the date in the top corner was tested in the paint sample analysis and does not appear to be added after the portrait was finished.
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The image has often been overlooked by scholars, with a host of subjective excuses, including that the man depicted seems too young; or that the birth date given is, or has been, used speculatively, and only after the 18th century. The label and its ink, however,
242:
The
Sanders Portrait has become the face of new editions of Shakespeare's plays targeted as teaching tools for Canadian high school and undergraduate students. Oxford University Press commissioned the texts, which have been curated by General Editor
135:(1564–1616). It is named for the man that owned (and perhaps painted) the portrait, John Sanders, whose family has owned the portrait for over 400 years – including a transatlantic voyage that resulted in its presence in Canada.
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The label has been the source of much controversy. Many claim that the wording on the label "This Likeness taken" is not consistent with 17th century practices. Others argue that the birthdate of Shakespeare (23 April) was an
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In all, thirteen tests have been done over a fifteen-year period on the Sanders Portrait, more than any other reputed portrait of Shakespeare, performed by researchers across Canada and the world. These tests include:
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Conducted by Dr. Corbeil of CCI to determine that the paint and materials used were appropriate to the date of 1603. While this cannot definitively date the paint used, it can determine if the materials are
299:(CCI), in order to determine that the likeness of Shakespeare was the first and only painting on the oak panel. The radiograph concluded there was not any other painting beneath the Sanders Portrait.
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For generations, the Sanders family has preserved a 17th-century painting that may be one of the only depictions of the Bard drawn in his lifetime. But proving its history has cost them a fortune
457:, "...the portrait has, to its doubters, one overwhelming problem: it does not look much like Shakespeare." Gopnik goes on to describe how the Sanders Portrait does not seem to resemble the
369:
concluded that the rag paper could date between 1475 and 1640. Dr. Marie Claude Corbeil suggests that the label was probably affixed within a few decades of Shakespeare's death in 1616.
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claiming to be life likenesses of William Shakespeare. Interviews with descendants of the Sanders family; researchers Marie-Claude Corbeil, Daniel Fischlin and Pamela Hinks; actors
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to within Shakespeare's life or shortly thereafter and could prove to be a final piece of evidence necessary to commit to 23 April as Shakespeare's date of birth and death.
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This elevation in status also allowed Shakespeare access to the silver thread and other elements of his dress that would have, the year earlier, been restricted from him by
333:. However, scientific tests have proven that this date was, most probably, written in the 17th century and could definitively prove 23 April as Shakespeare's date of birth.
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On 28 November 2013 all of the current information on the Sanders Portrait was made public by researchers from the University of Guelph and supplemented by discussions of
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Conducted by Dr. Corbeil of CCI which determined the label was made of rag paper from linen fibers, a product often used in the 17th century and predates pulp paper.
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Conducted by Dr. Corbeil of CCI to determine if there had been any retouching of the paint after it was finished. The result was that no retouching had occurred.
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The portrait's existence was made public in May 2001 by Lloyd Sullivan. Since then has undergone multiple tests and been shown in art galleries, including the
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are in progress. All the plays feature the Sanders Portrait on the front cover and a brief summary of the portrait's provenance and research inside.
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The analytical laboratory McCrone Associates Inc. in Chicago, Illinois conducted forensic ink tests on the label and concluded the following.:
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146:, has sought to return the portrait to the public eye and establish it as the only true likeness of Shakespeare painted in his lifetime.
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287:, Dr. Klein determined that the oak panel was from the Baltic Region and that the earliest possible date of the painting was 1597.
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Partnering with current owner, Lloyd Sullivan, recent research from the Canadian Adaptations of Shakespeare Project (CASP) at the
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175:– one of Shakespeare's closest associates. Likewise, in 1613, a Joccossa Sanders married John Heminges's cousin Thomas Heminges.
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family was living close to Shakespeare's home in London, a house owned by Christopher and Mary Mountjoy on the corner of
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The authenticity of the Sanders Portrait has not been widely accepted by scholars. As Adam Gopnik has written in
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the Sanders Portrait is the only likeness of Shakespeare which traces back directly to Shakespeare's lifetime.
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No dyes, binding mediums, or other alterations suggest any recent additions or changes to the ink on the label
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After Lloyd Sullivan's death in 2019, guardianship of the portrait passed to his nephew James Hale-Sanders.
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591:"Guardians of a mysterious Shakespeare portrait are running out of time and money to keep it in Canada"
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The glue used to affix the label was tested by Dr. Corbeil of CCI and determined to be a starch paste.
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This label was transcribed in 1909 by Marion Henry Spielmann; today, the original text is not legible.
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The materials used in the ink are consistent with the 17th century ink manufacturing practices
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Conducted by Dr. Marie-Claude Corbeil, Senior Scientist at the Analytical Research Lab of the
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945:"Canadian-owned painting purported to be only life-likeness of Shakespeare changing hands"
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Shakespeare's Face: Unraveling the Legend and History of Shakespeare's Mysterious Portrait
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The hairstyle is consistent with those styles worn by young courtiers in the 17th century.
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The undercoat is similar to those worn in other early 17th century theatre portraits.
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The ink is well-integrated into the paper fibres of the label, in the same manner as
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Conducted by Dr. Peter Klein of the University of Hamburg, Germany in 1994. Using
226:"Look here upon this picture:" A Symposium on the Sanders Portrait of Shakespeare
330:
251:
164:
30:
619:"Family Ties Strengthen Authenticity of Shakespeare Portrait - News Release"
219:
offer an interdisciplinary inside look at the Shakespeare Portrait debates.
848:"The Scientific Examination of the Sanders Portrait of William Shakespeare"
693:
1020:"The Poet's Hand: Why do we still search for relics of the Bard" from
967:"Canadian family to buy portrait at centre of Shakespeare art mystery"
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As of November 2013 a second part of the documentary is in the works.
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763:"Reputed Shakespeare portrait prepares to strut upon the world stage"
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done in his lifetime. It features a middle-aged man wearing a black
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in 1603 was likely the reason for having the portraiture painted.
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238:
The Oxford University Press – Shakespeare Made in Canada Series
107:
990:"Alleged Shakespeare Portrait Sells, But Will Stay in Canada"
850:. Ottawa, ON: Canadian Conservation Institute. Archived from
672:"Sanders Portrait of Shakespeare – Provenance and Genealogy"
163:
and Monkwell Street (a. k. a. Muggle Street), in
741:"Experts Debate, Discuss Canadian Portrait of Shakespeare"
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to provide a uniquely Canadian perspective on the works.
215:; as well as art experts Lily Koltun, David Loch, and
258:
were released in November 2013, while new editions of
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785:"OUP offers Shakespeare series with Canadian twist"
128:The Sanders portrait is one of the most researched
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576:Canadian Adaptations of Shakespeare Project (CASP)
507:"The Connoisseur Vol. XXIII; pg 101; MH Spielmann"
904:Gopnik, Adam (28 April 2014). "The Poet's Hand".
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1015:"Canadian Adaptations of Shakespeare Project"
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647:(first ed.). Toronto: Alfred A. Knopf.
357:A sample of the rag paper label was sent to
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721:. Montreal, QC, Canada: InformAction. 2009
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331:18th century mistake and not to be trusted
89:is reputed to be one of the few images of
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743:. University of Guelph. 28 November 2013
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359:Roelf Beukens at the IsoTrace Laboratory
1058:Portraits, sculptures and memorials to
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427:Shakespeare's elevation to a member of
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97:with silver ornamentation. It also has
16:Reputed portrait of William Shakespeare
969:. The Globe and Mail. 15 December 2013
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57:42 cm × 33 cm (
988:Meredith Caraher (18 December 2013).
947:. Yahoo News Canada. 16 December 2013
923:. London: National Portrait Gallery.
7:
787:. Guelph, ON: CASP. 30 November 2013
391:, which was used in the 17th century
810:"Shakespeare Made in Canada Series"
574:http://www.canadianshakespeares.ca/
303:Infrared and ultraviolet radiation
14:
812:. Canada: Oxford University Press
765:. Globe and Mail. 5 November 2013
178:An oral tradition, documented in
101:affixed to the back which reads:
1220:Portraits of William Shakespeare
1124:
589:Hannay, Chris (28 August 2020).
549:"Sanders Symposium 2013 Program"
197:Sanders, Shakespeare, and Canada
150:Genealogy and the Sanders family
29:
1199:Garrick's Temple to Shakespeare
1141:Shakespeare's funerary monument
408:Curator of European Art at the
353:Radiocarbon dating of the paper
297:Canadian Conservation Institute
71: in × 13 in)
471:
423:painted). Tiramani concluded:
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1:
1146:Heminges and Condell Memorial
716:"Press Kit – Battle of Wills"
79:Private ownership, Ottawa, ON
1230:Portraits by British artists
1194:Boydell Shakespeare Gallery
232:the scientific studies done
130:portraits claimed to depict
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921:Searching for Shakespeare
472:has been tested and dated
463:Shakespeare funerary bust
264:A Midsummer Night's Dream
191:National Portrait Gallery
28:
1167:Leicester Square, London
674:. CASP. 27 February 2011
119:This Likeness taken 1603
846:Corbeil, Marie-Claude.
1240:17th-century portraits
1235:16th-century portraits
1162:Central Park, New York
919:Cooper, Tanya (2006).
880:"The Sanders Portrait"
410:Art Gallery of Ontario
123:
121:Age at that time 39 y
621:. CASP. 17 March 2011
363:University of Toronto
103:
49:Oil on oak wood panel
384:A quill pen was used
361:associated with the
144:University of Guelph
1060:William Shakespeare
133:William Shakespeare
105:Shakspere [
91:William Shakespeare
1097:Ashbourne portrait
1081:Droeshout portrait
854:on 17 October 2013
595:The Globe and Mail
554:. Guelph, ON: CASP
459:Droeshout portrait
367:radiocarbon dating
270:Scientific testing
213:Michael Pennington
184:Shakespeare's Face
115:Died April 23-1616
113:Born April 23=1564
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878:Tiramani, Jenny.
694:"Battle of Wills"
654:978-0-307-36651-1
399:Internal evidence
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600:8 September
449:Controversy
291:Radiography
252:The Tempest
193:in London.
165:Cripplegate
1214:Categories
1134:Sculptures
996:3 February
992:. Art Info
973:2 February
951:2 February
889:3 February
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490:References
54:Dimensions
1186:Memorials
1068:Portraits
478:Ownership
324:The label
1090:Disputed
76:Location
1155:Statues
461:or the
318:too new
117:Aged 52
99:a label
95:doublet
66:⁄
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885:. CASP
696:. IMDB
651:
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260:Hamlet
883:(PDF)
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998:2014
975:2014
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925:ISBN
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649:ISBN
627:2014
602:2022
560:2014
514:2014
345:Glue
262:and
254:and
211:and
85:The
46:Type
41:1603
38:Year
373:Ink
182:'s
108:sic
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