In an unexpected twist worthy of a Shakespearean plot, a window cleaner named Steven Wadlow believes he may have uncovered the only surviving portrait of William Shakespeare painted during the playwright’s lifetime. This revelation, which could be worth an astounding £200 million, finds Wadlow navigating the choppy waters of academia, where his working-class background often leaves his voice drowned out by the established elite.
The tale began in 2012 when Wadlow’s father, Peter, now 92, caught a documentary on the Bard and remarked, “He looks like our bloke above the telly.” This comment sparked a journey of inquiry that has consumed Wadlow for over a decade. The painting, purchased by Peter from the Great Tew estate in Oxfordshire during the 1960s, has remained a familial artifact—its true significance obscured until now.
Experts have verified that the artwork dates back to around 1595, aligning with a time when Shakespeare was 31, and preliminary analyses indicate it is not a mere copy. Yet, the debate continues about whether this painting can truly be attributed to the playwright. One art dealer even suggested that should Wadlow succeed in proving its authenticity, the piece could command a staggering price tag.
Yet for Wadlow, the quest extends beyond potential riches. “I want to widen the discussion,” he explains, lamenting the barriers a working-class tradesman faces in an academic world filled with gatekeepers. “They don’t want to find this out from a no-one.”
Now, with the painting safely stored and surrounded by layers of scientific and historical scrutiny, Wadlow is determined to bring this potential treasure into the light. He acknowledges that the truth may remain elusive but hopes that his efforts will spark a broader dialogue about the authenticity of Shakespearean portraits, a subject already fraught with contention.
In a world where the majority of existing Shakespeare portraits are shrouded in debate over their legitimacy, Wadlow’s discovery could serve as a new chapter in the ongoing narrative of the Bard’s visual legacy. “Let’s get it out and talk about it,” he urges, embodying the very spirit of inquiry and debate that Shakespeare himself would have appreciated.
