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This old master engraving is a rare full-length portrait of Queen Elizabeth I, depicted in a commanding pose that emphasizes her regal authority and divine right to rule. The composition places Elizabeth between two ornate Corinthian columns, symbolic of the Pillars of Hercules, which historically marked the entrance to the Mediterranean near Gibraltar. This imagery directly references the 1596 English naval expedition to Cadiz, a celebrated victory over Spanish forces. The background further reinforces the maritime theme, featuring English ships in a strategic display of naval strength.

Elizabeth wears a richly decorated brocade gown adorned with pearls and jewels, complemented by an elaborate lace-trimmed ruff. Her hair is crowned, and she is further ornamented with necklaces and additional jewels that highlight her status and power. In her left hand, she holds an orb, the emblem of sovereign authority, while in her right, she grasps a scepter, a traditional symbol of monarchical rule. The presence of these objects, alongside an open book displaying the motto Posui Deum adiutorem meum ("I have made God my helper," from Psalm 88), presents Elizabeth as a divinely appointed ruler, guiding her kingdom with wisdom and strength.

The columns flanking the queen carry dynastic and imperial symbols. One column features a phoenix, a metaphor for Elizabeth’s enduring reign and the Tudor dynasty’s resilience. The other holds a pelican in piety, an emblem of self-sacrifice, often associated with Elizabeth’s role as the Protestant protector of England. These elements, combined with the naval backdrop, underscore England’s growing power and Protestant ascendancy over Catholic Spain.

This particular engraving is a near-contemporary pirated version of Crispin van de Passe’s original print. It closely follows the original composition but omits the publication line by the bookseller Hans Woutneel, who played a crucial role in distributing Dutch Protestant prints in London. The existence of another known example of this impression (British Museum, 1937-3-12-1) suggests that this pirated copy was produced around the same time as van de Passe’s version, likely in the late 16th or early 17th century.

This print is part of a series of three portraits of Elizabeth I produced by the collaboration of Crispin van de Passe and Hans Woutneel. The first, a half-length portrait, was published in 1592, while a later full-length, posthumous portrait appeared around 1603. Woutneel, a Dutch Protestant bookseller, is believed to have commissioned these works, providing initial designs that van de Passe executed in engraving. Since no copies printed in London are known, it is likely that van de Passe retained control of the plates in Cologne, sending the completed prints to Woutneel for distribution.

The engraving serves as both a celebration of Elizabeth’s rule and a piece of Protestant propaganda, positioning her as the divinely favored ruler who successfully defended England against Catholic aggression. It remains a significant artifact of Elizabethan iconography, reflecting the political and religious tensions of the late 16th century. 

The Latin title and text translate as follows:

"Elizabeth, by the Grace of God, Queen of England, France, Ireland, and Virginia, the sole bulwark of the Christian faith."

"The immortal honor of kings, whom no age has brought forth before, nor will any future age produce an equal,
By whose protection the British lands shall never cease to be inhabited,
Nurturing Peace, Justice, and Faith."

"Through whom alone all other kingdoms are surpassed,
As much as you are greater than other kings,
May you live happily, I pray, in the rule of your realm,
While the King of Kings prepares the heavenly kingdoms for you."

Rarity

The engraving is very rare on the market.

We locate two known examples.  British Museum and Herzog Anton Ulrich-Museum, Braunschweig.