For centuries, the mystery surrounding a large Tudor-era painting of Sir Thomas More has remained unresolved. Now, the National Trust is employing advanced imaging technology during a public exhibition to investigate the origins and history of this significant artwork.
The painting, titled *Sir Thomas More and his Family* (1592–1620), is a faithful, life-size copy measuring approximately 2.5 by 3.4 meters, based on a lost original group portrait by Hans Holbein the Younger. The original, created around 1527 and considered one of Holbein’s most innovative works from his English period, was destroyed in a fire in 1752. The copy, attributed to Rowland Lockey but possibly painted by another artist, has been housed at Nostell Priory in West Yorkshire for nearly 300 years.
Nostell Priory, a Palladian estate dating to 1733, has opened its doors to visitors for two weeks starting September 3, 2026, allowing them to observe scientific examinations taking place in a temporary studio. Experts from the University of Cambridge’s Hamilton Kerr Institute are conducting detailed scans, including macro X-ray fluorescence (MA-XRF) and infrared reflectography, to analyze the painting’s surface, pigments, and any underlying sketches.
Simon McCormack, curator at Nostell Priory, said the project aims to answer several longstanding questions about the painting: how closely it resembles Holbein’s original, its precise creation date, and whether it has been altered or retouched over time. The exhibition also marks the first time in the UK that this kind of heritage science is performed publicly rather than behind closed doors, providing visitors with direct insights into art conservation science.
The portrait depicts Sir Thomas More, Henry VIII’s Lord Chancellor who was executed in 1535 after refusing to endorse the annulment of the king’s first marriage. The group scene includes multiple generations of More’s family, along with books, musical instruments, and pets, all set in their home in Chelsea. The work is thought to have been commissioned to commemorate More’s 50th birthday and the double wedding of his daughters.
Professor Erma Hermens, deputy director of conservation at the Fitzwilliam Museum and director of the Hamilton Kerr Institute, expressed enthusiasm for applying high-tech imaging techniques onsite and sharing the process with the public. She noted that the data collected during the eight-day scanning period will help the team understand the painting’s materials and methods, shedding light on its provenance and creation.
While the painting at Nostell Priory is recognized as the most accurate surviving copy of Holbein’s lost original, its precise authorship remains uncertain. Although a related version at the National Portrait Gallery is documented as Lockey’s work, the Nostell painting may have been produced by a different hand. The ongoing analysis is expected to clarify these uncertainties by next year, when visitors will be able to explore the findings and conservation techniques in greater detail.
The project highlights the intersection of art history and modern technology, offering a deeper look at one of the Tudor period’s most important artistic and historical artifacts while engaging the public in heritage science.