CONCLUSION
Holbein’s many-sided art—The destruction of all his larger decorative
works—The fertility of his invention and his power of dramatic
composition—The influence of the Italian Renaissance upon his art,
both in his mural and historical paintings and in his designs for
jewellery and the decorative arts—His sacred paintings—His genius in
portraiture and his perfection as a draughtsman—A comparison between
the art of Dürer and Holbein.
HOLBEIN’S art was many-sided, but, through the cruel caprice of Fate, he
is known to-day to most people merely as a great portrait-painter, and,
in a lesser degree, as a designer of woodcut illustrations of remarkable
power and imagination. It is true, of course, that during the latter
part of his life, after he had settled more or less permanently in
England, his time was almost entirely occupied with portraiture, and
that, beyond portraits, little or nothing of his work remains in this
country upon which to form a judgment of the versatility of his genius;
and it is true also that his stupendous gifts in this field of art were
bound to find free expression. That portrait-painting, however, became
in the end his chief occupation was due much more to his environment
than to his own personal choice. There was little demand in this country
for any other form of art, and the painter, as was only natural,
supplied what his patrons asked of him. It is not to be supposed that
the master who was capable of producing such great works as the “Meyer
Madonna,” or the various altar-pieces and glass designs illustrating the
“Passion,” would have abandoned painting such compositions had he
received any encouragement to continue; but such encouragement came to a
more or less abrupt conclusion during the stormy days of the Reformation
in Basel, and for the remainder of his life Holbein produced little or
nothing in the field of sacred art. The few examples of this nature from
his brush which remain place him in the front rank of sixteenth-century
painters, and had his birthplace been south instead of north of the
Alps, and his life spent amid surroundings more sympathetic to this side
of his genius, there can be little doubt that he would have given to the
world a series of sacred works as fine as those of any of the great
Italians of the Renaissance.
[Sidenote: DISAPPEARANCE OF DECORATIVE WORKS]
It is with respect to those larger decorative works, however, upon which
he was engaged from time to time throughout his life, both in
Switzerland and England—works for which in his own day he was so justly
celebrated—that Fate has treated him most unkindly. The total
disappearance of his great wall-paintings and monumental decorations is
not only an immense loss to art, but has rendered it difficult for all
but close students of his work to appreciate to the fullest extent the
wide range of his artistic powers. Not a single example of his skill as
a mural decorator remains. The passage of time, the carelessness of
those whose duty it was to preserve them, and the ravages of fire and of
the weather, gradually obliterated these paintings, while such of their
faded glories as endured until more modern days were finally swept away
by the clumsy hand of the restorer or the building schemes of private
owners and civic authorities. Just as it seems practically certain that
some at least of his sacred pictures were destroyed by the fury of the
rioters in the religious disturbances which finally drove Holbein to
Henry’s court, so the mural paintings and pictured stories with which he
covered the outer and inner walls of a number of houses in Basel and
Lucerne have vanished through causes which, though different, have been
equally effective in their powers of destruction. Damp, dirt, and
neglect brought about the gradual fading away of his great series of
wall-paintings in the Council Chamber of the Basel Town Hall; while
similar works of his English period, the wonderful “Triumphs” painted
for the banquet-hall of the German Steelyard, and the great fresco of
Henry VIII with his parents and Jane Seymour in Whitehall, have
disappeared, the former on the final breaking up of the German trade
monopoly in this country, and the dispersal of the contents of the
Steelyard buildings, and the latter in the fire of 1698. Gone, too, is
the large canvas of “The Battle of Spurs,” painted for the festivities
at Greenwich in 1527, one of the first of Holbein’s important
undertakings in England. No trace of this painting now remains, and a
similar fate has befallen the great picture of Sir Thomas More and his
family, though in this case it is not absolutely certain that Holbein
himself ever completed it. Finally, death cut him down as he was engaged
upon the most elaborate portrait group he ever undertook, which was not
half finished when he fell a victim to the plague. This list of lost or
ruined masterpieces is a long one. Unfortunately, the tale is by no
means uncommon in the history of art, but Holbein has suffered in this
way more severely than most. Of their beauty and their imaginative power
it is now only possible to judge from a few fragments of some of the
original frescoes, some inferior copies of certain of them, and a number
of masterly sketches and preliminary studies from Holbein’s own hand
preserved in the Basel Gallery, the British Museum, the Louvre, and
elsewhere. These latter, scanty as they are, remain priceless treasures,
for only by means of them is it possible to gain some idea, though it is
a pale reflection at the best, of the greatness of Holbein’s achievement
in the higher branches of art, the loftiness of his ideals in his
monumental paintings, and the wide range of his genius.
In all these large decorative works Holbein displayed the greatest
fertility of invention, and a power of dramatic composition of a very
high order. The extraordinary energy of conception, the sense of life
and movement in all his figures, the truth and expressiveness of their
gestures, are all alike admirable. This dramatic power is at its finest
in his wall-paintings for the Basel Town Hall—the “Rehoboam” and the
“Samuel and Saul”; while in dignity and grandeur of composition, and the
noble rhythm of its stately movement, the “Triumph of Riches” panel for
the Steelyard is unsurpassed. The extraordinary fertility and exuberance
of his imagination is to be seen in the architectural details and
decorative settings in which these mural paintings and designs were
placed. These settings show how quickly and completely he made the new
ideas and decorative motives of the Renaissance his own, while the
pictures themselves, for which they formed the background and the frame,
breathe the lofty spirit of Raphael and Mantegna. Though there is no
slavish copying of the art and architecture of Northern Italy, their
influence is to be seen so plainly in the work of his younger days that,
as pointed out in earlier chapters, at least a short visit to Lombardy
on his part seems to have been absolutely certain.
[Sidenote: HIS FERTILE IMAGINATION]
The same qualities and the same influences are to be discerned in his
designs for painted windows and the decoration of books; though smaller
in scale, they are conceived with an equal grandeur and dramatic
intensity. Indeed, in his “Dance of Death” woodcuts and illustrations to
the Old Testament his imaginative and dramatic powers reached their
highest manifestation. Minute as they are in execution, they produce the
same effects of largeness and dignity of composition as his great
wall-paintings must have done. In the “Dance of Death” in particular the
wideness of Holbein’s range of vision, the greatness of his style in
design, and the intense vitality of his art are seen to the best
advantage. These little pictures, a few inches square, express within
their borders almost the whole range of the emotions, from the tender
sympathy of the lovely “Death and the Ploughman,” and the poignant grief
of “Death and the Little Child,” down to the terror, horror, and
violence which is encountered in others of the series in which Death
suits his coming to the character of his victims. Such works as these
show the greatness of Holbein as an imaginative artist. Another side of
his nature and his art appears in such a design as his “Peasants’ Dance”
on the façade of the Haus zum Tanz in Basel, in which the Teutonic
element in his character finds full play. The boisterous, even brutal,
merriment of these fellow-countrymen of his, as they fling themselves
into the pleasures of the dance with the utmost abandon, made an
undoubted appeal to him, and in depicting them he expressed the joy of
living which animates every movement with the utmost frankness and
realism.
In this wide field of mural decoration and historical painting Holbein
was the first and the greatest of those painters north of the Alps who
came under the influence of the Italian revival of art. In him the
Renaissance found very complete expression. This is also to be seen in
his innumerable designs for jewellery and the smaller decorative arts,
of which, happily, there still remain many examples. Both in book
ornamentations and illustrations, in work for the goldsmith and
silversmith, the jeweller, and the maker of stained and coloured glass,
he showed himself to be in closest sympathy with the new movement. In
his earlier works the effect of this influence appears in the exuberant
use he made of the models which he had recently studied, some of the
glass designs being overloaded with fantastic reminiscences of the
details of Lombardic architecture. Later on, when he had completely
grasped the full beauty of the Renaissance forms, his taste became
purer, and he adapted them to his uses with the happiest results. In his
drawings for personal ornaments and jewellery, most of the best of which
were done in London, the earlier exuberance is restrained, and the
design is of the purest Renaissance taste, in the practice of which he
became an absolute master. These working drawings show infinite
invention kept within the true limitations of the materials to be used,
frequently combined with very skilful adaptation of the human figure to
decorative purposes. It would be difficult to find a more beautiful
design in the Renaissance style than the one of the so-called Jane
Seymour Cup, in which Holbein more than holds his own with the best
Italian workers in this field.
[Sidenote: BRILLIANCE OF HIS DRAUGHTSMANSHIP]
His sacred paintings, in so far as can be judged from those which
remain, most, if not all, of which were done before he had reached the
age of thirty, possess similar qualities to those of his mural and
historical works, and had he but received some little encouragement from
the English court, he was capable of producing even finer masterpieces
than the “Meyer Madonna” during the seventeen or eighteen remaining
years of his life. In his “Passion” and kindred pictures the composition
is usually admirable, and the subject treated with that strong dramatic
sense which has been noted already as one of the chief characteristics
of his frescoes, while in depth and earnestness of feeling they fall but
little short of the work of the greatest of the Italians. In the Meyer
and the Solothurn Madonnas there is an air of divine tranquillity, and a
loftiness and purity in the expression of spiritual beauty, which are
combined in the happiest and most exquisite way with remarkable truth to
nature, and vividness of accurate and sympathetic portraiture in the
figures both of the Virgin and the Divine Child, and those, in the one
case, of the kneeling donor and his family, and, in the other, of the
attendant saints. Added to these qualities, the rich, subdued, and
harmonious colour gives a still greater truth and beauty to the whole.
In the panel at Darmstadt, indeed, the painter has reached the full
perfection of his art, and that he painted nothing more of this nature
must always be a source of deep regret to all who admire him.
In portraiture Holbein’s genius reached its highest manifestations. This
gift was largely inherited from his father, but was carried to a much
greater pitch of excellence by the son. His technical methods, too, were
those of his father, and here again were developed by him to a far
greater refinement of touch and skill in modelling; and to these methods
he remained constant throughout his life. There is a striking contrast
between the rapidity and brilliance of the draughtsmanship of the
preliminary studies for his portraits and the patient, concentrated,
minute, and delicate brush-work of the finished portraits themselves. In
all his completed work he spared himself no pains in the painting of the
accessories and details, though in none of it, brilliant and absolutely
truthful as it is, is there any sense of mere display, any boastful
attempt to show the world how clever he was. He painted all such details
with a loving care and an evident delight in their beauty, and wrought
them with a perfection and fidelity which has rarely if ever been
surpassed. This finish is carried in some of his pictures to a point
beyond which no Dutchman or Fleming of his own or succeeding generations
ever reached. Yet the elaboration of subordinate things is never
overdone; his portraits are never overcrowded with details of this
nature in a way to draw the spectator’s attention from the main purpose
of the work. This manipulative skill delights and attracts, but is
forgotten when the portrait itself is examined. Without any apparent
effort on the part of the painter, the sitter looks out from the panel
just as he did in life, set down without flattery, with no harsh
features softened, and with his character, seized with such penetrative
and imaginative power by Holbein, fixed for ever with unerring truth and
errorless draughtsmanship for succeeding generations to see and to
admire. This effect of absolute truth of portraiture and revelation of
character, the one due to the wonderful delicacy, subtlety, and
expressiveness of his line, and the other to his sympathetic insight, is
obtained by what appear to be the simplest and most straightforward
methods. There is a dignity and reticence about the portraits which is
admirable. Without thought of self, he occupies himself entirely with
the truth as he sees it, and with his desire to realise it as completely
as possible; no brilliance of technical skill mars the self-restraint
with which he approaches his sitter. He puts little of himself into his
portraits, and leaves out little that is worth knowing about the
subjects of them. No great subtleties of light and shade are attempted,
and his colour, beautiful and true as it is, helps but does not
overpower his chief purpose—the complete realisation of the man both in
body and soul. Holbein was a painter whose keenness of observation was
extraordinary; he missed little or nothing, and saw much that lesser
painters would have ignored. With his smooth, fusing methods of painting
he reached to most marvellously delicate and accurate modelling of form,
which in its expressiveness is beyond all words.[757]
Footnote 757:
The writer finds it impossible to agree with a recent critic, M. de
Wyzewa, who, in a review of Dr. Ganz’s _Holbein_, in the _Revue des
Deux Mondes_, January 15, 1912, speaks of the “half-confidences” of
Holbein’s portraiture, and holds that although the painter himself
sees clearly the inmost depths of his sitters’ characters, he yet
refrains from revealing them to us. When the moment comes for laying
bare their deepest feelings “the prudent Swabian workman, through his
instinctive reserve, holds back.” In this respect, therefore, he
compares him unfavourably with such masters as Dürer, Rembrandt, and
Velazquez, “who abandon themselves to their genius for psychological
divination,” whereas Holbein refuses us access to the souls of his
sitters, though at the same time indicating that he himself has
penetrated to the mysterious depths. He speaks of this as his
“professional hypocrisy,” and says that he cannot be excused for thus
concealing the exact truth of the characters of the great personages
who sat to him. He sees similar traits in Holbein’s sacred paintings,
and this insensibility he regards as not real, but feigned, springing
from the intelligence rather than from the heart. Lovers of Holbein’s
art, however, will find it difficult to follow him in his contention.
As a draughtsman pure and simple he stands among the very highest; in
some of the qualities of his line he has never been surpassed or even
equalled. In the Windsor and kindred drawings, preliminary studies for
his portraits, his genius finds its most perfect expression, and these
are, in many ways, the greatest of his works. Slight as most of them
are, they contain all the elements of great art. Every fine quality,
except colour, that is to be found in his finished portraiture is to be
found here also, and more plainly to be seen, and produced without
apparent effort or hesitation. The swiftness yet sureness of his touch,
the wonderful delicacy yet strength of his supple, forceful line, its
subtlety and flexibility, the penetrative insight, the freedom from all
traces of mannerism, and the perfect unity of brain, eye, and hand shown
in these drawings, combine to produce the most vivid effect of truthful,
living portraiture. His complete mastership is revealed in every touch.
[Sidenote: HOLBEIN AND DÜRER]
In the German school of painting Dürer was the last and the greatest of
the mediævalists; Holbein was the first and the greatest of those who
came completely under the sway of the new influences in art and life
which reached Germany from beyond the Alps. The art of these two great
masters is, in consequence, in many ways so divergent that it is
difficult to make any comparison between them. Holbein was the first of
the painters of northern Europe who was modern in the sense of the term
as we understand it to-day. Dürer was steeped in the spirit of the older
schools, both of thought and of art, a dreamer of dreams, a weaver of
fantasies, and much of his work had a spiritual passion which Holbein’s
lacked, while his art was imbued through and through with the feeling of
the Middle Ages. On the other hand, one of the characteristic features
of Holbein’s work was its serenity and saneness. As already pointed out,
he had great imaginative power, which he could use at times with
dramatic intensity. Realism in his painting reached a very high and at
the same time a very noble development. His delight in nature is evident
in all that he did; he observed her minutely, and took the utmost
pleasure in reproducing her manifold beauties down to the smallest
details, while his work was filled with a frank delight in life and
close sympathy with all things, animate and inanimate, in the world
around him. Philosophical thought or theological subtleties left him
untroubled. That he was on the side of the Reformation is made clear by
more than one of his woodcut designs, but his share in the controversy
was after all a minor one, and marked by little or none of that passion
which swayed the more eager partisans on either side.
True child of the Renaissance as Holbein was, he was yet one of the most
original of artists. His strong individuality stamped everything that he
touched; for though the influences under which he was trained can be
traced throughout his career, they in no way dominated his genius, which
found its own true expression. Circumstances combined to give this
originality the fullest play. Both in Basel and in London there was no
school of painting worthy of the name, and the artists who worked there
had little or nothing to teach him. In both these cities it was he who
was the master who towered head and shoulders above his fellow-painters.
In this way his art developed upon personal and original lines until it
attained that greatness of style which is so marked a feature of
everything that he touched.
The art and character of these two great masters of the German school is
very happily contrasted by the late Lord Leighton in one of his
published addresses to the students of the Royal Academy. “Albert
Dürer,” he says, “may be regarded as _par excellence_ the typical German
artist—far more so than his great contemporary, Holbein. He was a man of
a strong and upright nature, bent on pure and high ideals, a man ever
seeking, if I may use his own characteristic expression, to make known
through his work the mysterious treasure that was laid up in his heart;
he was a thinker, a theorist, and, as you know, a writer; like many of
the great artists of the Renaissance, he was steeped also in the love of
Science. His work was in his own image; it was, like nearly all German
Art, primarily ethic in its complexion; like all German Art it bore
traces of foreign influence—drawn, in his case, first from Flanders and
later from Italy. In his work, as in all German Art, the national
character asserted itself above every trammel of external influence.
Superbly inexhaustible as a designer, as a draughtsman he was powerful,
thorough, and minute to a marvel, but never without a certain almost
caligraphic mannerism of hand, wanting in spontaneous simplicity—never
broadly serene. In his colour he was rich and vivid, not always unerring
as to his harmonies, not alluring in his execution—withal a giant.... In
Holbein we have a complete contrast to the great Franconian of whom I
have just spoken; a man not prone to theorise, not steeped in
speculation, a dreamer of no dreams; without passion, but full of joyous
fancies, he looked out with serene eyes upon the world around him;
accepting Nature without preoccupation or afterthought, but with a keen
sense of all her subtle beauties, loving her simply and for herself. As
a draughtsman he displayed a flow, a fullness of form, and an almost
classic restraint which are wanting in the work of Dürer, and are,
indeed, not found elsewhere in German Art. As a colourist, he had a keen
sense of the values of tone relations, a sense in which Dürer again was
lacking; not so Teutonic in every way as the Nuremberg master, he formed
a link between the Italian and the German races. A less powerful
personality than Dürer, he was a far superior painter. Proud may that
country be indeed that counts two names so great in art.”[758]
Footnote 758:
Leighton, _Addresses delivered to the Students of the Royal Academy_,
2nd edition, 1897, pp. 305-6. (Dec. 9, 1893.)
[Sidenote: RUSKIN ON HOLBEIN]
It is quite true that he was a better painter than Dürer, for his
mastery of the technical side of his art was complete, while his
artistic temperament found expression in many different branches of the
decorative arts and crafts. He was thus much more than a great painter:
he was a great artist and a great craftsman as well, for though he did
not actually cut the wood blocks he designed, or fashion the actual cups
of gold and silver for which he made the working drawings, he had so
perfect a knowledge of the practical side of the crafts, and of the
artistic capabilities and the limitations of the mediums in which his
designs were to be carried out, that he was indeed the “notable workman”
which Erasmus called him. In all that he did, the greatness and the
individuality of his style, his power of dramatic composition, the
versatility of his imagination and his restraint in the use of it, his
serene outlook upon life, and the perfect and unerring unison of his eye
and hand, combine with his insight into character and technical skill of
the rarest quality to make him one of the few great masters of the
world.
Ruskin’s judgment of him, when comparing him with Sir Joshua Reynolds,
is so true and so just, that, although so well-known, a sentence from it
may be quoted here in conclusion. “The work of Holbein,” he says, “is
true and thorough, accomplished in the highest, as the most literal
sense, with a calm entireness of unaffected resolution which sacrifices
nothing, forgets nothing, and fears nothing. Holbein is complete; what
he sees, he sees with his whole soul; what he paints, he paints with his
whole might.”[759]
Footnote 759:
Ruskin, “Sir Joshua and Holbein,” in _Cornhill Magazine_, March 1860.
------------------------------------------------------------------------
APPENDIX
(A) EARLY DRAWING BY HOLBEIN IN THE MAXIMILIANS MUSEUM, AUGSBURG. (Vol.
i. p. 43)
THE drawing of “Calvary” in the Maximilians Museum, Augsburg (Woltmann,
3), is probably the earliest one by Holbein of which we have any
knowledge. It is a silver-point drawing, touched with the brush in
brown, white being used for the high lights and red for the
representation of Christ’s wounds. It is a carefully wrought, youthful
piece of work, at the same time showing considerable feeling in its
rendering of the sacred subject. The Cross rises on the left, turned
away from the spectator, so that the body of Christ is seen almost in
profile against the sky. Mary and John stand below on the right, the
former with hands clasped in prayer and head bent in grief. Lower down
the rock, in the centre, kneels Mary Magdalen with uplifted arms, and on
the left of the Cross a man is standing with his back to the spectator,
wearing a tall hat of “beaver” pattern. In the background beyond him is
a second cross with one of the thieves, the ladder still placed against
it. Down below the heights there is a glimpse of a mountain and
buildings. This interesting early example has been recently reproduced
in the important publication of facsimiles of the complete series of
Holbein’s drawings, now in the course of appearing under the editorship
of Dr. Ganz—_Die Handzeichnungen Hans Holbeins des Jüngeren_, viii. 1.
(B) DESIGNS FOR PAINTED GLASS OF THE LUCERNE PERIOD. (Vol. i. p. 79)
[Sidenote: EARLY GLASS DESIGNS]
The design for painted glass with the arms of Hans Fleckenstein, of
Lucerne, in the Ducal Gallery, Brunswick (not in Woltmann), is the
earliest in date of the series of designs for this purpose in which
Holbein made such fine decorative use of the landsknechte with their
picturesque costumes as supporters of the shield bearing the coat of
arms of the patron for whom the glass was ordered. In the Fleckenstein
design the warrior on the left is bearded, and wears a hat with very
large feathers, and a great sword, while a long lance is held aloft in
his right hand, his left resting on the top of the shield, towards which
he leans, and behind which his left leg is hidden. The man on the right
is younger and beardless. His head is turned over his shoulder towards
the right, and his flat black cap is worn jauntily over one ear and
covers one side of his face, while a large hat with a huge mass of
feathers is slung upon his back. His right hand rests on his sword-hilt,
and his left on the top of the shield. The background is one of plain
architecture, in striking contrast to the highly elaborated ones to be
seen in most of Holbein’s glass designs produced after his visit to
Italy. A barrel-roof is supported by flat columns with a round arch,
across which two iron bars run, as in the Solothurn Madonna picture. On
either side of this arch, on the top of the columns, stand figures of
St. Barbara and St. Sebastian. The shield contains in two of the
quarterings the Fleckenstein “house-sign” surmounted by a bar, the other
two being filled with lozenge-shaped divisions. On the band at the
bottom, left empty for an inscription, is written “hans Fleckenstein,
1517,” and “J. Holbain,” the signature not being in the artist’s own
handwriting. It is reproduced by Dr. Ganz in _Die Handzeichnungen Hans
Holbeins des Jüngeren_, v. 4.
The fact that the landscape backgrounds in several of Holbein’s glass
designs afford evidence of a journey across the Alps has been touched
upon in the text (see vol. i. p. 77), and further proof of this is to be
found in another design of this period, made, in all probability, during
a leisurely journey from Lucerne to Lombardy in 1518. This is the
striking design representing the Banner-bearer of the Urseren Valley, in
the Uri district—the valley watered by the Reuss, in which Andermatt is
the chief village. This drawing, which is in the Royal Print Room,
Berlin, is mentioned by Woltmann, ii. p. 120, as, in his opinion, not by
Holbein, but by some “good Swiss master.” The landsknecht, a bearded
man, stands full-face, with legs stretched wide apart, and the banner
held aloft in his right hand. His left rests on his hip, and he carries
a great sword. This animated, vigorously drawn figure is evidently a
portrait. The banner, an important part of the design, bears on the left
the figure of a bishop with crozier in the act of benediction, and on
the right a church, with the bull of Uri in the sky above it, one hoof
resting on the steeple. In the background is represented the old
pack-horse road over the St. Gotthard, up which men are climbing with
horses and mules loaded with barrels and bales. On the summit rises the
small church which is depicted on the banner. The landscape is evidently
one actually seen by the artist. The setting is a very effective one,
consisting of plain pillars and an arch, the former with vine branches
and bunches of grapes trained round them in spirals, the leaves forming
the capitals and bases, while other branches stretch across the archway.
Above the latter is a representation of the Judgment of Paris, with the
three nude goddesses on the right, and Paris reclining on the ground on
the left. Mercury, holding the apple, and Venus, the outer figures of
this group, are placed upon the tops of the pillars on either side. The
outlines have been put in with a pen in brown, while the banner-bearer’s
face has been finished in water-colours, and the background slightly
washed with green. Reproduced in _Handzeichnungen Hans Holbeins des
Jüngeren_, iv. 4.
The glass design containing the coat of arms of the Lachner family, of
Basel, in the Print Room of the National Museum, Stockholm (not in
Woltmann), is a year or two later in date, the elaborately imagined
architectural background indicating that it must have been made shortly
after Holbein’s return from Italy, when the recollections of the
Lombardic buildings he had studied with such keen interest were still
fresh in his memory. On one side stands a young, beardless warrior as
shield-bearer, his face in profile to the right, his lance over his
shoulder, and his right hand on his hip. Opposite to him is the
completely nude figure of a woman, her face turned towards the
spectator, and both hands resting on the shield. Her hair hangs down her
back in two great plaits, which are fastened together at the ends with a
long loop. This is a realistic study from the life, and one of the very
few drawings of the nude by Holbein which remain. The coat of arms on
the curved Italian shield consists of a pair of outstretched wings, and
these are repeated on the helmet which forms the crest, from which
masses of finely designed scroll-work fall on either side. The two
figures stand on a platform, below which are two crouching fauns holding
a tablet for an inscription. The background, as already stated, is very
elaborate, consisting of an open loggia with a roof like the later “St.
Elizabeth” glass design (see vol. i. p. 149 and Pl. 44), and friezes and
a semicircular arch supported by pairs of columns with grotesque
capitals, the arch being decorated with a band of ox-heads and foliage.
Other friezes are covered with carved leaf and scroll-work, and above
them are grotesque sculptured figures and roundels with heads. Through
the openings at the back only the sky is indicated. This is a fine
design, more particularly in the figure of the man, and in the helmet
with its scroll-work. It is a washed drawing, with the knight’s face and
hands and the body of the woman put in with water-colour. Reproduced in
_Handzeichnungen Hans Holbeins des Jüngeren_, iv. 6.
(C) EARLY DRAWINGS FOR WALL-PAINTINGS. (Vol. i. p. 101)
In addition to the studies for wall-paintings made by Holbein shortly
after his return from Lucerne to Basel, described in vol. i. pp. 98-101,
there is another in the Ducal Gallery, Brunswick (Woltmann, 127),
representing the Virgin Mary, as Queen of Heaven, with the Infant Christ
in her arms, which is signed and dated “1520, H. H.” Her long hair falls
in curls over her shoulders, and a plain circular halo is placed behind
her crown. She is looking down upon the Child, whom she holds with both
hands, and he is smiling back at her. She is placed in a perfectly plain
architectural niche, with two empty circles for medallions on either
side. According to an inscription on the back, this drawing, which is in
black chalk washed with grey, was, towards the end of the sixteenth
century, in the possession of Daniel Lindtmeyer, the glass painter of
Schaffhausen. Reproduced in _Handzeichnungen Hans Holbeins des
Jüngeren,_ iv. 3.
(D) GLASS DESIGNS WITH THE COATS OF ARMS OF THE VON ANDLAU AND VON HEWEN
FAMILIES. (Vol. i. p. 145)
A third design for painted glass, representing the martyrdom of the Holy
Richardis, wife of the Emperor Carl the Big, is of about the same date,
and very probably belongs to the same series, as the two designs bearing
the coats of arms of the Von Andlau and Von Hewen families, the second
of which is dated 1520. St. Richardis, wrongfully accused of
unfaithfulness, proved her innocence by submitting herself to the ordeal
by fire. She was the patron saint of the convent of Andlau in Alsace,
which, according to the legend quoted by Dr. Paul Ganz, was erected upon
ground which had been scraped up by a bear. It is most probable,
therefore, that Holbein’s design was commissioned for the decoration of
this particular religious house. The drawing, which is in the Basel
Gallery (Woltmann, 50), shows the saint kneeling on the funeral pyre,
her hands clasped in prayer, her head bent, and her long curls falling
below her waist. She wears a large cross at her breast, and has a
circular halo inscribed “S. RIGARDIS VIRGO.” On the right is a small
kneeling figure of an abbess or nun, with open prayer-book, and on the
left the bear of the legend. Two flying angels, with draperies very
effectively arranged, hold the martyr’s crown above her head. The ordeal
takes place beneath a cupola, with an opening in the centre, supported
by pillars of fantastic design, the bases of the nearer ones being
decorated with medallions hanging from chains. Below is the customary
blank tablet for an inscription, held by two grotesque sea-monsters with
human heads. At the back, seen through the open arcading of the
building, there is a view of a small walled town in a hilly country,
with church and cloisters and watch-towers, and, lower down, the red
roofs of a cluster of houses. This is one of the most charming of the
numerous landscape backgrounds which Holbein introduced into his glass
designs and book illustrations. The drawing is washed with grey, and the
background lightly touched in with water-colours. It is reproduced in
_Handzeichnungen Hans Holbeins des Jüngeren_, xi. 8.
THE GLASS DESIGNS OF “THE PASSION OF CHRIST”
(Vol. i. p. 156)
Miss Mary F. S. Hervey, in her _Holbein’s Ambassadors_ (p. 22, _note_),
draws attention to some cartoons for tapestry representing scenes from
the Passion designed by Holbein. The reference occurs in a letter from
Carlos de la Traverse, written from St. Ildefonse in Spain in 1779 to M.
d’Angeviller, in which he proposes that the latter should buy the
cartoons. The offer, however, was declined on the ground that Holbein
was “un peintre sec et demi-gothique” (See _Nouvelles Archives de l’Art
Français_, 2nd series, vol. i. pp. 258-62). It is possible that these
designs were not for tapestry but for glass, and they may even have been
the set in Sir Thomas Lawrence’s collection, now in the British Museum.
(E) THE FAESCH MUSEUM. (Vol. i. pp. 88, 166-8, 180, and 239-41)
[Sidenote: THE FAESCH MUSEUM]
Among the miscellaneous contents of the Faesch Museum, formed by Dr.
Remigius Faesch, or Fäsch, the most important are the few works by and
after Holbein. Most of these came to him by inheritance from his
grandfather, the earlier Remigius Faesch, burgomaster of Basel, who
married Rosa Irmi, the granddaughter of Jakob Meyer zum Hasen, and so
became possessed, not only of the double portrait of Meyer and his wife,
Dorothea Kannengiesser, painted in 1516, and the two fine silver-point
studies for the same, but also the famous Meyer Madonna now at
Darmstadt. This last picture, unfortunately for the Basel Public Picture
Collection, he sold to Lucas Iselin in 1606. Dr. Faesch’s father, Johann
Rudolf Faesch (1574-1660), also burgomaster of Basel, became in turn the
owner of the Meyer portraits and drawings, and he added a number of
other pictures to the collection. He was acquainted with the painter
Bartholomäus Sarburgh, who from 1620 to 1628 was busily occupied in
painting portraits in Basel, and to whom, in 1621, he gave a commission
for a likeness of his son Remigius, an excellent work now in the Basel
Gallery. (Reproduced by Dr. Emil Major in the sixtieth annual report of
the Basel Picture Collection, 1908.) From Sarburgh, when that painter
was in Holland, Johann Rudolf Faesch obtained the copies of Holbein’s
series of Prophets, nine pairs (see vol. i. p. 88). The originals were
in water-colour, but were copied by Sarburgh in oil. He is said to have
taken the originals with him to the Netherlands, since which time all
traces of them have disappeared. These copies are in the depot of the
Basel Gallery; two of the pairs are reproduced by Dr. Ganz in _Holbein_,
p. 191.
[Sidenote: THE FAESCH MUSEUM]
Remigius Faesch the second (1595-1667) became a doctor of law and a
professor in the Basel University. He was an ardent collector throughout
his life, not only of pictures, but of books, medals, examples of
goldsmiths’ art, and antiquities. On the death of his father he became
the possessor of the Meyer portraits and the Sarburgh “Prophets.” To
these he added a small square portrait of Erasmus of the Holbein school,
and in 1630, Johannes Lüdin, a pupil of Sarburgh, then in Belgium,
copied for him the heads of Jakob Meyer’s son and daughter from the
Meyer Madonna picture; apparently not from the original, but from the
copy now in the Dresden Gallery, which, according to Dr. Major, was most
probably the work of Sarburgh (see vol. i. pp. 239-41). In 1648 Johann
Sixt Ringlin copied for him one of the versions of the double portrait
of Erasmus and Froben (see vol. i. pp. 166-8). Again, in 1667, the year
of Faesch’s death, Lüdin presented him with a small portrait of Holbein
which he had painted from Hollar’s etching dated 1641. Faesch also
possessed a second small portrait of Erasmus, copied from the roundel in
the Basel Gallery, several drawings of the Holbein school, and, among
other things, the original wood-block of the “Erasmus im Gehäuse.” On
his death Faesch left his collections and the mansion containing them in
trust as a Museum, with usufruct to his descendants for so long as there
should be a doctor of law among the members of his family, failing which
everything was to become the property of the Basel University. The last
of these doctors of law was Johann Rudolf Faesch, who died in 1823, when
the Museum and its contents were handed over to the University, the
pictures, drawings, and engravings eventually finding a permanent home
in the Basel Public Picture Collection.
Dr. Remigius Faesch spent many years in the compilation of a manuscript,
in Latin, now in the University Library of Basel, which he called
“Humanæ Industriæ Monumenta.” One section of this deals briefly with the
life of Holbein and with his chief works then in Basel in the Amerbach
Cabinet and Faesch’s own possession, to which reference has been made
more than once in these pages. The original text is given by Woltmann,
ii. pp. 48-51, and extracts from it in _Das Fäschische Museum und die
Fäschischen Inventare_, by Dr. Emil Major, which forms part of the
Annual Report (1908) of the Basel Gallery, already mentioned. It is from
this exhaustive and highly interesting account of the Faesch collections
and the various inventories and lists, printed in full, that the facts
in this note have been taken.
The reference to the double portrait of Erasmus and Froben in the
“_Humanæ Industriæ Monumenta_” is as follows:
“Erant 2 tabulæ junctæ, ligamentis ferreis ut aperiri et claudi
potuerint, in tabula dextra Effigies Johan. Frobenii Typographi,
in altera Erasmi sine dubio ab ipso Erasmo in gratiam et honorem
Frobenii, quem impense amabat, curatæ, et eidem ab Erasmo
oblatæ, unde et eidem dextram cessit: Ex his tabulis nobis
exempla paravit pictor non imperitus Joh. Sixtus Ringlinus
Basil, An. 1648, quæ extant inter effigies nostras.”
Faesch’s account of the sale of the Meyer Madonna runs thus:—
[Sidenote: THE FAESCH MUSEUM]
“An. 163 . . . suprad. pictor Le Blond hic à vidua et hæredibus
Lucæ Iselii ad S. Martinum emit tabulam ligneam trium circiter
ulnarum Basiliensium tum in altitud. tum longitud. in qua
adumbratus prædictus Jac. Meierus Consul ex latere dextra una
cum filiis, ex opposito uxor cum filiabus omnes ad vivum depicti
ad altare procumbentes, unde habeo exempla filii et filiæ in
Belgio à Joh. Ludi pictore ex ipsa tabula depicta. Solvit is Le
Blond pro hac tabula 1000 Imperiales, et postea triplo majoris
vendidit Mariæ Mediceæ Reginæ Galliæ viduæ Regis Lud. 13 matri,
dum in Belgio ageret, ubi et mortua: Quorsum postea pervenerit
incertum. Tabula hæc fuit Avi nostri Remigii Feschii Consulis,
unde Lucas Iselius eam impetravit pro Legato Regis Galliarum,
uti ferebat, et persolvit pro ea Centum Coronatos aureos
solares. An. circ. 1606.”
In this paragraph Faesch speaks of Johannes Lüdin as Ludi, but in an
earlier one, describing the portrait of Holbein after Hollar which Lüdin
sent him, apparently as a new year’s gift, he calls the painter Joh.
Lydio.
In an inventory drawn up early in the nineteenth century by the last
keeper of the Museum, Johann Rudolf Faesch, the Sarburgh “Prophets” are
described as follows:
“13 a 21. Ferners befinden sich in dem Faeschischen Museo noch
hienach-folgende Neun Gemählde auf Tuch, welche von Bartholomäus
von Saarbrücken nach Holbeinischen Original Gemählden copirt
worden sind, solche werden von Patin in dem Eingangs gemeldten
Indice also beschrieben:
“‘Prophetæ omnes majores & minores, in novem tabulis
bicubitalibus, ita ut binos quævis illarum exhibeat, coloribus
aqueis nullo admixto oleo depicti. Has tabulas Bartholomæus
Sarbruck, Pictor eximius, in Belgium Basilea detulit, atque hic
illarum apographa manu sua depicta reliquit, quæ servantur in
Musæo Feschiano.’
“Nach dieser Beschreibung wären also die Originalien mit
Wasserfarb, die Copien von Barth. v. Saarbrücken aber, so sich
im Faeschischen Museo befinden, sind in Oehl gemahlt. Die sämtl.
Propheten sind ganze Figuren u. die Tableaux sind 3 Schuh 1¼ Z.
hoch u. 2 S. 3½ Z. breit.”
(F) HANS HOLBEIN AND DR. JOHANN FABRI. (Vol. i. p. 175)
[Sidenote: HOLBEIN AND DR. J. FABRI]
It is very probable that Holbein’s absences from Basel in search of work
during his second sojourn in that city (1519-1526) were more frequent
than has been generally supposed. It is not to be expected that many
records of such journeys should remain, and for this reason the recent
discovery, by Dr. Hans Koegler, of such an absence during 1523 is of
exceptional interest. His article, describing this discovery, entitled
“Hans Holbein d. J. und Dr. Johann Fabri,” was published by him in
_Repertorium für Kunstwissenschaft_, vol. xxxv. pts. 4 and 5, (1912),
pp. 379-84. Fabri was Vicar-General of Constance, and afterwards Bishop
of Vienna, and a friend and correspondent of Erasmus. During the autumn
of 1523, at some place not yet identified, but evidently in the
neighbourhood of Constance, Holbein and Dr. Fabri became acquainted, or
renewed an earlier intercourse, for the Vicar-General made use of him as
the bearer of some letter, message of greeting, or gift to Erasmus, and
from the latter’s reply in acknowledgment it is to be gathered that the
relationships between the painter and the author of _The Praise of
Folly_ were very friendly ones. The letter from Erasmus to Fabri,
written in November or December 1523, begins:
“Reverendo Domino, Joanni Fabro, Canonico et Vicario
Constantien. domino plurimum observando.—Salutem, vir
amantissime, ex tua salutatione quam mihi per Olpeium misisti,
melius habui. Erat enim accurata, et veniebat ab amico, et per
hominem amicum. Spongiarum rursus tria milia sunt excusa, sic
visum est Frobenio...,” &c.
In this letter Fabri’s messenger is spoken of as “Olpeius,” and the
point for decision is whether this refers to Hans Holbein, or to a
second Olpeius occasionally mentioned in the correspondence of
Erasmus—one Severinus Olpeius, who acted as letter-carrier for Erasmus
more than once, and appears to have been in the employ of the bookseller
Koberger of Nuremberg. In one or two of the letters of Erasmus the name
“Olpeius” is undoubtedly intended for Holbein, as in the one conveying
his thanks to Sir Thomas More for the drawing of the Family Group which
More had sent to him by the hands of the painter. In this letter, which
is dated from Freiburg, September 1529 (see vol. i. p. 341), Erasmus
says:
“Utinam liceat adhuc semel in vita videre amicos mihi
charissimos, quos in pictura quam Olpeius exhibuit, utcunque
conspexi summa cum animi mei voluptate. Bene vale cum tibi
charissimis omnibus.”
[Sidenote: HOLBEIN AND DR. J. FABRI]
Again, in a second letter from Erasmus to Bonifacius Amerbach written
from Freiburg on April 10, 1533 (wrongly dated 1535 in the manuscript),
first published by Dr. C. Chr. Bernoulli in 1902 (see below, Appendix
(J)), the “Olpeius” of whom the sage speaks so severely was almost
certainly Holbein. Dr. Koegler brings forward convincing arguments to
prove that the artist was also the “Olpeius” of the letter to Dr. Fabri,
and that the place of encounter was somewhere in the Lake of Constance
district. He also suggests that as Dr. Fabri was connected in his
official capacity with the Maria-Wallfahrts Church in Rickenbach, for
which Holbein’s earliest known picture, the Virgin and Child of 1514,
was painted, and as he was also the personal friend of the orderer of
that little work, Canon Johann von Botzheim of Constance, he must have
been already acquainted with Holbein. In any case, it seems certain
that, thanks to Dr. Kœgler, we have here definite, though scanty,
information of one more of the painter’s wanderings in search of work.
(G) THE TRADE-MARK OF REINHOLD WOLFE. (Vol. i. p. 202)
The charming device of boys throwing sticks at an apple tree, which
Holbein made for the publisher Reinhold Wolfe, seems to have been
familiar to most English schoolboys in the sixteenth and seventeenth
centuries, as it was to be found in a Latin Grammar much in use. There
is an amusing reference to it in Henry Peacham’s _Compleat Gentleman_
(reprint of the 1634 edition, Clarendon Press, 1906, pp. 126-7). He
says:
“Painting is a quality I love (I confesse) and admire in others,
because ever naturally from a child, I have beene addicted to
the practice hereof: yet when I was young I have beene cruelly
beaten by ill and ignorant Schoolemasters, when I have been
taking, in white and blacke, the countenance of some one or
other (which I could doe at thirteene and foureteene yeeres of
age: beside the Mappe of any Towne according to Geometricall
proportion, as I did of _Cambridge_ when I was of _Trinity
Colledge_, and a Junior Sophister), yet could they never beate
it out of me. I remember one Master I had (and yet living not
farre from _S. Albanes_) tooke me one time drawing out with my
penne that peare-tree and boyes throwing at it, at the end of
the Latine Grammar: which hee perceiving, in a rage strooke me
with the great end of the rodde, and rent my paper, swearing it
was the onely way to teach me to robbe Orchards; beside, that I
was placed with him to be made a Scholler and not a Painter,
which I was very likely to doe; when I well remember he
construed me the beginning of the first _Ode_ in _Horace_,
_Edite_, set ye forth, _Maecenas_, the sports, _atavis Regibus_,
of our ancient Kings: but leaving my ingenious Master, to our
purpose.”
(H) NICOLAS BELLIN OF MODENA. (Vol. i. pp. 282-4)
(i.) _Extract from a Letter from Sir John Wallop, ambassador to France,
to Henry VIII, respecting the extradition of “Blanche Rose” from
France, and of Nicolas Bellin from England, dated Mantes, 27 September
1540._ (_State Papers_, vol. viii. pt. v. cont., No. dcxxviii., p.
439.)
[Sidenote: NICOLAS BELLIN OF MODENA]
“... Which the Cardynall of Tornon confessed to be true, saying,
‘his (_i.e._ Blanche Rose) mother was Englissh, and duelled in
Orleance, and in the Cardynalles tyme of Yorke being brought
uppe in England’; and with stayed, saing that the said fellowe
shoued hym many other thinges, that he cauled not to
remembraunce: and so left that pourposse, and axed me why Your
Majestie delivered not Modena, when he was send for, showing me
what was the cause why they desired hym so much, being uppon
acompte of a houndreth thousand crownes, that the President
Jentill had begiled the King, not yet ended. ‘Whye,’ quod I,
‘then, if ye dyd extyme hym so moch, wherfore dyd ye not kipe
hym (_i.e._ Blanche Rose), that I demaunded, in prison, till ye
had knowledge, what aunswar should be made for the said Modena;
whom if ye had extymed, ye would have so doon? but I perceyve,’
quod I, ‘that ye thinke to have a greate personnaige of the said
noughty fellowe, who I ensure you to be of as ill qualities as
canbe, and his father a poore man; and fourthre ye considre not
howe gentelly the King my maister deliverd you of late Adryan
Cappes.’”
(ii.) _Extract from a Letter from Sir John Wallop to Henry VIII,
referring to the work done at Fontainebleau by Nicolas Bellin, dated
Mélun, 17th November 1540._ (_State Papers_, vol. viii. pt. v. cont.,
No. dcxlii., p. 484.)
“... and from thense browght me into his (_i.e._ Francis I)
gallerey, keping the key therof Hym self, like as Your Majestie
useth, and so I shewed Hym, wherewith He toke plesur. And after
that I had wel behold the said gallerey, me thought it the most
magnifique, that ever I sawe, the lenght and bredthe _no man
canne better shewe Your Majestie then Modon, who wrought there
in the begynnyng of the same_, being at that tyme nothing in the
perfection, as it is nowe. The rowff therof ys seeled with
walnott tree, and made after an other forme then Your Majestie
useth, and wrought with woode of dyvers cullers, as before I
have rehersed to Your Majestie, and is partly gilt; the pavement
of the same is of woode, being wrought muche after that sort;
the said gallerey is seeled rownde abowte, and fynely wrowght
three partes of it; _upon the fourthe parte is all antique of
such stuff as the said Modon makith Your Majesties Chemenyes_;
and betwixt every windowe standes grete anticall personages
entier, and in dyvers places of the said gallerey many fayre
tables of stories, sett in, very fynely wrowgth, as Lucretia,
and other, _as the said Modon can muche better declare the
perfytnes of the hole to Your Majestie, then I_. And in the
gallerey at St. James the like wold be wel made, for it is bothe
highe and large. Yf your pleasure be to have the paterne of this
here, I knowe right wel the Frenche King woll gladly geve it
me.”
(I) THE MORE FAMILY GROUP. (Vol. i. pp. 291-302)
[Sidenote: THE MORE FAMILY GROUP]
There is a very interesting manuscript book, dated 1859, in the
possession of Lord St. Oswald, which contains a descriptive catalogue of
the pictures at Nostell Priory, together with “Some brief Notices of the
sundry pictures of the Family of Sir Thomas More, Knt., Lord High
Chancellor of England, Temp. Henry VIII,” from which, through the
courtesy of the owner, the writer is enabled to give some extracts. It
was written by Lord St. Oswald’s grandfather, Mr. Charles Winn, whose
chief purpose seems to have been to controvert Horace Walpole’s adverse
criticism, based on George Vertue’s manuscript notes, of the Nostell
picture. Mr. Winn gives a short history and description of the various
versions of the Family Group. Speaking of the Nostel Priory version,
called throughout his notes the “Roper” picture, he says:
“This picture formerly belonged to William Roper, Esqre., son of
William Roper, Esqre., Prothonotary of the Court of King’s
Bench, temp. Henry VIII, who married Margaret, the oldest, and
favourite daughter of the celebrated Sir Thos. More, Knt., Lord
High Chancellor of England; and was painted for him by that
renowned artist Hans Holbein in the year 1530, as appears from
the monogram and date on the picture. It remained in this family
till the death of Edwd. Roper, the last in the direct male line
of the Ropers of Well Hall, nr. Eltham, Co. of Kent, and of St.
Dunstans, nr. Canterbury; he had only one child, a daughter, who
married Charles Henshaw, Esqre., who on her father’s death
inherited all his property. The issue of this marriage was three
daughters, the eldest of whom married Sir Edward Dering, Bart.,
of Surrenden Dering in the County of Kent; the second married
Col. Strickland of Beverly, in the East Riding of the Co. of
York; and the third, Susannah, married my great-grandfather, Sir
Roland Winn, Bart., of Nostel, in the West Riding of the Co. of
York. Mrs. Strickland died without leaving issue, and on the
death of Mr. Henshaw, his two surviving daughters succeeded to
his real, as well as personal property. The Holbein picture was
valued at £3000, and Sir Edward Dering preferring to have his
share in money, my ancestor paid him a moiety of the valuation,
and thus became possessed of the picture, which was conveyed to
Nostel, where it still remains.”
[Sidenote: THE MORE FAMILY GROUP]
Mr. Winn was of opinion that the version, with life-size figures,
painted in distemper, which belonged to Andries de Loo, was not the
picture at Nostell, the latter being painted in oil. He considered that
the De Loo version was the one formerly at Heron in Essex (afterwards at
Thorndon—see vol. i. p. 300), and that it was purchased at De Loo’s
death by Giles Heron, who married Sir Thomas More’s second daughter,
Cecilia. Heron Hall was the seat of his family, and the property passed
into the possession of the Tyrrell family by the marriage of Sir John
Tyrrell with Margaret, daughter and heiress of Sir William Heron, of
Heron, Kt. Quoting Walpole’s statement that the Heron picture “having
been repainted, it is impossible to judge of its antiquity,” he goes on
to say that this “appears to me to go very far in proof of the
correctness of the opinion I have hazarded, as to who was the purchaser
of the De Loo picture, for it is hardly to be credited that had this
(Heron) picture been painted in oil colour it would have become so
injured as to require its being repainted to an extent to render it
_impossible to judge of its antiquity_.” Mr. Winn thought that Holbein
himself must have sold the distemper version to De Loo—though why he
should do so it is not easy to imagine, as it is natural to suppose that
Sir Thomas More or some member of his family would have retained it—and
that the East Hendred picture, in Mr. Winn’s time at Barnborough Hall
(see vol. i. p. 300), was the actual work painted by Holbein for the
Chancellor, either from the Basel sketch or the De Loo example. It is
not likely, he says, that Sir Thomas
“would have allowed the picture in _Distemper_ to be disposed of
to De Loo, ‘till he had secured a copy of it. I can hardly
therefore entertain a doubt that Sir Thomas _did_ possess one of
these large Family pieces, and that the picture at Barnborough
Hall is the identical one. John More had this picture conveyed
to Barnborough, when he took up his abode there on the death of
Mr. Cresacre, his wife’s father.”
The inference is that John More, as head of the family, inherited the
version of the Group expressly painted for his father. Mr. Winn says of
this picture that it is
“in the _number_ and _arrangement of the persons represented_ a
_facsimile_ of the _original sketch_, or drawing, and I deem it
far from improbable that it may be the picture which was
painted, by Holbein, for Sir Thomas; for although it is now in a
very deplorable state, caused by most unpardonable neglect, yet
there are parts which shew that the picture, in its original
state, was painted by no ‘prentice hand.’ It is now in a low
room panelled with oak, and has unfortunately been curtailed,
both in width, and depth, to fit it into the panel where it is
placed, and this may probably account for the absence of the
monogram of the painter, and the date. The present size of the
picture is length, ten feet; height, eight feet. The figures
represented are the size of life.”
Of the Burford picture (see vol. i. pp. 301-2 and Pl. 76) he says:
“This picture was formerly in the possession of a branch of the
More family, who resided at Gobions, or Gubbins, not far from
Barnet, in Hertfordshire, for whom I have no doubt it was
painted, and probably by Zuccaro, as it bears the date 1593—some
of the figures are copied from one of the pictures already
alluded to (most likely from that at Barnborough); these are Sir
John More, Knt., Sir Thomas More, Knt., John More, Margaret
Roper, Cecilia Heron, Elizabeth Dancey, and Anne Cresacre. The
other figures (four in number, whose names I have given at page
12) are represented in the costume of the period in which the
picture was painted, viz. temp. Eliz. How this picture came into
the possession of the Lenthall family is not certain, but the
last possessor of it, of that name, told a relative of mine that
it had been purchased by their ancestor the Speaker Lenthall, on
the sale of Gobions and its contents.”
After pointing out the differences between the Roper picture, the other
versions, and the Basel sketch, Mr. Winn concludes by saying:
“There are other differences observable between the Sketch and
the Roper picture which though unimportant in themselves, yet
when considered in connection with those I have named, do I
think afford most satisfactory proof that the Roper picture is
_no copy_, but that it is, as Vertue asserts, an _original_
production by _Hans Holbein_.”
It is not possible, however, to follow Mr. Winn in every one of his
conclusions, which would necessitate the belief that Holbein himself
painted no less than three versions of the Family Group—the one in
distemper, which was sold by the artist to De Loo, and afterwards
purchased by Giles Heron, now so injured that “it is impossible to judge
of its authenticity”; the one in oil painted for Sir Thomas, which
remained at Barnborough in the possession of John More and his
descendants, and has been cut down and subjected to “unpardonable
neglect”; and the Roper picture now at Nostell Priory. It seems almost
certain that Holbein had no hand in the painting of the two first, and
that they are merely early copies or adaptations from the Nostell
picture, though at the same time it should be pointed out that they
follow the Basel sketch more closely than the latter, and do not show,
as it does, various alterations in the design, such as the introduction
of the figure of the secretary Harris. This affords some support to the
contention that they are of earlier date, or copied from some earlier
version, than the Roper canvas. The Basel sketch would not be available
for the purpose, as it was taken with him by Holbein when he left
England in 1528. Still, in spite of this, the fact remains that the
Nostell Priory version is the only one that has any pretensions to be
regarded, even in a small part, as an original work by Holbein, and
until further proof is forthcoming it is safest to conclude that
[Sidenote: THE MORE FAMILY GROUP]
Holbein, after making his preliminary studies, began a large canvas
which for some unknown reason was left by him in a very incomplete
state, and that Sir Thomas More had it finished by some other hand in
1530, and that this picture was the one which came into De Loo’s
possession, and is now at Nostell Priory.
One other point remains to be touched upon. Mr. Winn asserts that in
Vertue’s opinion the Roper picture is an original work by Holbein, and
he quotes in support of this statement from a manuscript by Vertue in
his possession which he bought at the Walpole sale. He gives several
extracts from it, among them the following, upon which, apparently, he
bases his contention:
“But the original painting by Holbein of this family (More) has
long been preserved by the family of Roper at Eltham in Kent,
and was till of late years there to be seen, but of late at
Greenwich in the King’s House in the Park inhabited by Sir John
Jennings, the family of Roper having desired leave to place it
there till their house at Eltham was rebuilt.”
There is, however, a second account of this picture by Vertue in his
diaries preserved in the British Museum (Add. MSS. 25071, f. 4), first
published by Mr. Lionel Cust in the _Burlington Magazine_, October 1912,
pp. 43-4; and in this memorandum, in which the picture is described in
greater detail, there is no suggestion made that it is an original work.
Mr. Winn’s manuscript appears to be rather earlier in date. In it Vertue
speaks of his examination as having been made at Greenwich (“I compared
the first sketch and the large picture together at Greenwich”—the “first
sketch” he speaks of being Caroline Patin’s engraving of the Basel
drawing), but in the British Museum memorandum he states that he
examined it, at the request of the Earl of Oxford, after it had been
removed from Greenwich to Sir Roland Winn’s house in Soho Square, when
he “in a more particular manner observd that the picture differs from
the others, this seeming to be the most compleated.” He goes on to say:
“First that design at Basil, presented to Erasmus by Sr. Th.
More, I conceive to be the first sketch on lines on a sheet of
paper, or Holbein’s first draught, and in this large painting of
the Family containd the picture of Sir John Mores wife, a young
Lady to whom he was then lately married (and there is left out
Margaret Giggs) as in the design of the first, she only being a
companion to his daughters and a favorite of Mrs. More Sr.
Thomas Lady. Then there is also another person comeing in the
room with srole in his hand—whose name is ... Harisius ...
famulus, and behind a person setting reading on a desk—at bottom
are _two dogs_ favorites, probably put in afterwards by another
hand.... There really does not appear to be that certainty of
drawing, strength of colouring, as in many other pictures of
Holben. Therefore in the oppinion of several judges & professors
of painting it is doubtfull.”
He goes on to say:
“Upon another review of the Family peice of Sr. Thomas More—I
observe that the light & shade of the persons represented are
various, which is not consistent to nature nor practice in the
art of painting, for as it is a view of this Family represented
at once, the light ought to proceed from one point throughout
the whole picture, which it doth not but some of the figures
there represented, the light proceeds from the right side and
others from the left side. And the light on the face of Sr.
Thomas proceeds from the left and his father Sr. John is from
the right. And also the Lady of Sr. Tho. the light on her face
proceeds from the left so in several there is a disagrement of
light and shade.”
Vertue’s explanation of the painting of the picture is that Holbein,
after taking various portraits of members of the More family, drew, at
Sir Thomas’s request, a design for a big Family Group, but that before a
start could be made on the picture by the artist Henry VIII paid a visit
to Chelsea, and was at once so captivated by the examples of Holbein’s
art which he saw there that he carried the painter off to Court at once,
and gave him so much to do that More’s commission had to be abandoned.
Sir Thomas, therefore, “after 1530” employed someone else to paint the
picture from the original design and the finished family portraits,
“perhaps, and not unlikely, some scholar of Holbein’s with his knowledge
and consent,” this pupil “so forwarding it with as much skill as he was
able ready for Holbein to go over again and review and finish it.” This
would be a matter of time, and during the progress of the work several
alterations and additions were made, such as the introduction of the
figure of Harris, which figure, in Vertue’s opinion, showed “most
visible difference in painting and drawing,” so that it could not be
copied from any painting by Holbein, but was the original work of the
assistant, who in this “ventured to show all his skill with full
liberty.” In conclusion he remarks that “Raphael made many designs in
small which were executed in large by his scholars, some before his
death and some after,” and suggests that Holbein made the design for
this Family Group with the same intention—“Especially as it may be
observd none of these faces, hands coppyd from Holben’s painted pictures
are not labouriously finishd, but left broad and light, fitly disposed
to receive any improvments by Holbens hand—when, on the contrary, all
the still life in the picture, the jewells, ornaments, gold are highly
finished.”
[Sidenote: THE MORE FAMILY GROUP]
Since the Nostell Priory picture was photographed, thanks to the
kindness of Lord St. Oswald, for the purposes of this book, it has
undergone a thorough and very careful cleaning, with the result that
many details, previously almost obscured, can now be seen quite clearly,
while the general effect of the work as a whole has been greatly
enhanced. As noted in the text (see vol. i. pp. 295-6), the chief points
in which this picture differs from the Basel sketch is in the change of
position in the figures of Elizabeth Dancey and Margaret Gigs, and the
introduction of John Harris. Elizabeth Dancey, who now stands next to
Sir John More, is in exactly the same position and dress as in the
sketch, whereas Margaret Gigs, who now forms the outer figure of the
group on the left, is wearing a plain white head-dress, as in the
preliminary study at Windsor, in place of the angular hood with black
fall of the sketch; and she now stands upright, instead of stooping,
with her right hand resting on the book, indicating a passage with her
forefinger. The secretary, John Harris, on the opposite side of the
picture, has been brought from within the inner room, in which he was
indicated with another person in the sketch, and now leans against one
of the posts of the “porch” within the larger chamber, having a roll
with seals in his right hand; while his companion is shown standing at
the distant window, his back to the spectator, reading a book he holds
in both hands. The cleaning of the picture has made clear the details of
the furniture and various objects placed about the room. The chief
changes in these have been already noted. The most important occurs in
connection with the large fitting or buffet on the left, which in the
sketch appears as a sideboard reaching to the ceiling, with panels of
linen-work surmounted by a carved canopy. In the picture this has been
changed to a more simple fitting or table, such as is shown in “The Two
Ambassadors,” covered with a Turkish cloth or carpet, the lower part of
which forms a cupboard, with a bottle and glass visible through one of
the open doors. Upon this, some of the plate, including the dish and the
jug with the cloth over it, have been retained, but pushed into the
background, with the two musical instruments placed in front of them,
while to the single vase with flowers another has been added. One of
these holds lilies and carnations, and the other iris and columbines,
while the window-ledge on the extreme right, behind Lady More, has now a
large vase with flowers, instead of the jug, book, and flickering
candle. The clock is seen to be an astronomical one.
In the foreground, where rushes are roughly indicated, the small
footstool and the scattered books have been removed, their place being
taken by the two feebly-painted dogs. Happily, during the recent
cleaning, the larger and more painful of these has been carefully
removed, to the very great advantage of the picture. Finally, Lady More
no longer kneels at a _prie-dieu_, but is seated, and the chained
monkey, instead of scrambling against her skirts, is placed on its perch
at her feet, looking at the spectator. The name and age of each sitter
is written over the head or across the dress, the one over Margaret Gigs
being in a different style of lettering from the others. This last-named
is merely “Uxor Johannes Clements,” whereas in the East Hendred version,
which seems to have been based more directly on the original design than
that at Nostell Priory, it is “Margareta Giga Mori Filiabus condiscipula
et cognata, A^o 22.” This has been taken to indicate that the East
Hendred picture was painted first, before the lady married John
Clements.
THE PORTRAIT OF SIR THOMAS MORE. (Vol. i. pp. 303-4)
This celebrated portrait, which has been in the possession of the Huth
family for so many years, is no longer in England. It was purchased last
year (1912) by Messrs. Knoedler, of Old Bond Street, London, and is now
in the collection of Mr. H. C. Frick, of New York. It is deeply to be
regretted that this fine example of Holbein’s art, and one of such great
historical importance, has not found a final resting-place in the
National Gallery. According to report, the purchase price was £50,000.
(J) HOLBEIN’S RETURN TO ENGLAND IN 1532. (Vol. i. p. 352)
[Sidenote: LORD ARUNDEL AND REMBRANDT]
A letter from Erasmus to Bonifacius Amerbach, preserved among the Basel
manuscripts, appears to have reference to Holbein’s second journey to
England, and at the same time to show that the relationships between the
philosopher and the painter were not, at that period at least, entirely
amicable ones. This letter, already referred to in Appendix (F), was
first published by Dr. C. Chr. Bernoulli in the Basel _Nachrichten_, No.
296, 1902, and is dated Freiburg, 10th April 1535, but the year-date, it
is stated, is wrong, and should be 1533. The exact meaning of the letter
is not quite clear, but in it Erasmus complains somewhat bitterly of
foolish behaviour and needless delay of more than a month in Antwerp on
the part of “Olpeius,” and of reprehensible conduct on his part towards
certain people in England to whom Erasmus had given him letters of
introduction. It seems almost certain that in the “Olpeius” of this
letter Holbein is intended. The long stay in Antwerp of which Erasmus
complains must have been in 1532, and apparently it was not until the
following spring that he heard of it, after receiving letters of
complaint about the painter from one or more of his English
correspondents. There is nothing in the letter to indicate in what way
Holbein deceived these unnamed friends of Erasmus. The original text of
the letter is as follows:
“Subornant te patronum, cui uni sciunt me nihil posse negare.
Sic Olpeius per te extorsit litteras in Angliam. At is resedit
Antuerpiæ supra mensem, diutius mansurus, si invenisset fatuos.
In Anglia decepit eos, quibus fuerat commendatus.”
(K) LORD ARUNDEL AND REMBRANDT AS COLLECTORS OF HOLBEIN’S PICTURES.
(Vol. ii. p. 66)
Several important pictures by Holbein appear to have been in the
Netherlands during the seventeenth century, and the Earl of Arundel,
through his friends and agents, made serious efforts to add them to his
collection, though in some instances the price asked was too high for
him. In this search for examples of Holbein’s art he received
considerable assistance from Sir Dudley Carleton, English minister at
the Hague, to whom the Earl wrote, on 17th September 1619: “I hear
likewise, by many ways how careful your lordship is to satisfy my
foolish curiosity in inquiring for the pieces of Holbein.” Two years
later, as already noted (see vol. i. p. 241), Carleton was endeavouring
to obtain for him a picture by Holbein which may have been the Meyer
Madonna; and in 1628 another fruitless attempt was made to purchase the
portrait of Morette (see Vol. ii. p. 65-66). Again, on 25th April 1629,
the Earl wrote to Sir Henry Vane respecting “a book of Holbein.” In the
course of this letter he says:
“I must likewise give you very many thanks for your care
concerning Bloome’s (Bloemaert’s) painting and book of Holbein,
and the King protests against any meddling with it, at 600_l._,
which he says cost him but 200_l._ For the drawings I hoped to
have had them for 30_l._, but rather than fail, as I told you, I
would go to 50_l._, but never think of 100_l._, nor 50_l._
offered without sure to have it; if he would let it come, upon
security to send it back, I should be glad, if not, let it
rest.”
[Sidenote: SIR NICHOLAS POYNTZ]
What this book was it is now impossible to say, but it cannot have been
the one containing the Windsor drawings, which came to the Arundel
Collection from the Earl of Pembroke at about this time (see Sainsbury’s
_Original Unpublished Papers_, &c., 1859, Nos. 44, 53, 55, and 57 in
Appendix). It may have been the little book of twenty-two designs of the
Passion of Christ which Lord Arundel showed to Sandrart (see Vol. ii. p.
77).
Another seventeenth-century collector of pictures, the great painter
Rembrandt, was an admirer of Holbein’s work, and at the end of his life,
when his fine collection had been sold and scattered for the benefit of
his creditors, and his monetary troubles were thick upon him, we find
him, nevertheless, offering the large sum of one thousand gulden for
some picture by the master. The document referring to this offer, dated
15th October 1666, three years before Rembrandt died, is quoted by Dr.
Bode in his _Complete Works of Rembrandt_, 1906, vol. viii. pp. 296-7.
It is a letter written by Anna de Witt, of Dordrecht, in the course of
which she says: “Whereas the picture is by one of the greatest painters
of his time, Holbein, who also painted the picture of their ancestor;
for this Rembrandt offered 1000 gulden.” This ancestor was Willem
Schijverts van Merode, and the picture appears to have been a votive
one, in which he was represented as the kneeling donor. Dr. Bode,
however, suggests that in all probability the picture which Rembrandt
was said to be so anxious to possess was not by Holbein at all.
THE PORTRAITS OF SIR NICHOLAS POYNTZ. (Vol. ii. p. 71-72)
Holbein’s original painting of Sir Nicholas Poyntz, from which various
copies were made, appears to be the picture in the collection of the
Earl of Harrowby, at Sandon Hall, Stafford. This picture is in close
agreement with the one described by Woltmann, which was exhibited in
Paris, at the Exposition du Palais Bourbon, in 1874, by the Marquis de
la Rosière, and photographed on that occasion by Braun, but has since
disappeared. Lord Harrowby’s picture, which bears the same inscription
and three-line motto in French as the examples mentioned in the text, is
a good and undoubtedly genuine work.
(L) HOLBEIN’S VISIT TO JOINVILLE AND NANCY IN 1538.
(Vol. ii. p. 148-149)
[Sidenote: VISIT TO JOINVILLE]
_Letter from Anthoinette de Bourbon, Duchess of Guise, to her daughter
Marie, Queen of Scotland, respecting the visit of Hoby and Holbein to
Joinville, dated 1st September (1538)._ _Balcarres MSS._, _Advocates’
Library_, _Edinburgh_, vol. ii., No. 20.
(_Kindly transcribed by Mr. James Melville_)
“A la royne descosse.
“Madame Rouvray a este ycy quelque tans pour meyder a pourvoir
aus affaire de vous et de vostre filz ou fesons le myeux que
povons Depuis que vous ay escrit par vostre argentier franceis
ny a ryens change fors la mort du bailly de Dunoys Son filz a eu
sa place du grant conseil et pourchast fort pour avoir le dit
baillyage Mons. vostre pere men a escrit affin je lavertyse
comme il en pouret faire Mon avys a este en escrire au presydent
a Chateaudum affin quil luy manda son avys et sy le dit filz
estet capable pour lestre ou syl en connest aultre pleus propre
Je luy ay mende ansy que je ne connests le dit filz mais que
javes fort oŭy louer lavocat de Chateaudum savent et de bon
conseil et quyl conet pourpos Je _retires_ (?) ailleurs qui
seret gros daumage pour la meson et que se pouret arestet par
sete offyce de bailly penses seret le proufit du lieu et des
juges veu quy ly est resydent et le filz du trespase nen et que
laustre partission que lon recommendet pour mestre au servyce de
la meson que lon dit ausy homme de bien et de savoir et
demeurant a Chateaudum fut avocat set ung pour quy le presydent
vous parllet mais jen ay houblie le non Je ne ses encore quyl en
ara este feit ledit Rouvray sen retourne paser par Paris quy
sara se quy ara este feit et vous escrira de tout bien au long
Sy croie il ne vous sara dire chose quy vous soit plus agreable
que la sente de nostre petit filz quy est ausy bonne que ly
foystes onques touiours bien rongneus mais il nen leyse a bien
dormyr combien que quelquefois il vouldret estre grate mais
cella se pase legerement et sy menge fort bien lon le mayne
souvent a lesbat quy me senble ly fait grant bien Je le vous
souhete souvent il me senble le trouvariez creu et devenu gros
quant au reste de nostre menage vostre seur y est touiours
mallade de sa fievre et a este sete semayne pasee bien mal dung
fleux de ventre quy la fort afeyblie il y a bien huit jours puis
elle bouge pleus du lyst depuis hier le dit flux se comense a
paser de la fievre je ny seu pas grant amendement combien les
mesdesins soyet davys elle sabregera pour se fleux vostre frere
Claude a este ausy mallade jusques a la mort dung fleux de sanc
avesques la fievre continue dont il lest renchent par deus fois
et estant en chemyn pour revenyr ycy ou Mons. son pere le
renvoyet a cuyde demeurer pres daultun ou il est encore Je luy
ay envoye ma litiere pour lamener lon ma mande il est en tout
hors de denger et prest a senvenyr Vostre seur Anthoinette est
ausy mallade dune fievre et dung rume sy croie elle se portera
bien les aultres se portet bien Je vous avyse que madame vostre
tante est mandee pour aller a la court a la venue de la royne de
Hongrie quy doit bientost estre a Compiegne ou le roy et toute
la court doit estre en pen de jours de moy jen seus _escupee_
pour lamour de mes mallades _il ny a que deus jours que le
gentilhomme du roy dengletere quy fut au Havre et le paintre ont
este ycy le gentilhomme vynt vers moy fesent senblant venyr de
devers lenpereur et que ayent seu Louisse mallade navet voullu
paser sens lavoir affin en savoir dire des nouvelles au roy son
mestre me priant il la puisse voir se quy fit et estet le jour
de sa fievre il luy tint pareil pourpos qua moy puys ma dit
questant sy pres de Lorrayne avet envye daller jusques a Nency
voir le paiys Je me doute incontynent il y allet voir la
demoyselle pour la tirer comme les aultres et pour se envoye a
leur logis voir quy y estet et trouve le dit paintre y estet et
de fait ont este a Nency et y ont seiourne ung jour et ont este
fort festus et venet tous les repas le mestre dostel menger
avesques luy avesque force presans et bien trestes Volla se que
jen ay encore seu au pis alle sy navyes pour voysine vostre seur
se pouret estre vostre cousine_ il se tient quelque pourpos
lenpereur offre reconpence pour la duche de Gueldres et que se
fesant se pouret faire quelque mariage de la fille de Hongrie et
de Mons. le marquys Mons. vostre pere entent bien se fesant
avoir sa part en la dite recompence Je vouldreis il en fusset
bien recompenses voila tout se que jay seu de nouveau depuis
vous escryvys Je vous mes tant de lettres a laventure que croy
quelcune vous en pouront venyr Je baille seus ycy a Rouvray pour
les bailler au bausquyer de Paris affin les vous faire tenyr Je
me doute que ne feres sy bonne diligence den mestre par pays que
moy car je ses bien que tenes de Mons. vostre pere et questes
pareseuse a escrire sy lair descosse ne vous a change Je nay
encore eu que vos premyeres lettres il me tarde bien savoir
comme depuis vous seres portee Il me sera grant joye pover oŭyr
se set touiours bien Nostre Seigneur le veuille, et vous doint
Madame longue et bonne vie (set) se premyer de Sebtenbre de
vostre humble et bonne mere
ANTHOINETTE DE BOURBON
(M) HOLBEIN’S STUDIO IN WHITEHALL. (Vol. ii. p. 185)
[Sidenote: HOLBEIN IN WHITEHALL]
It was probably in Holbein’s painting-room in Whitehall that the
incident occurred which set going the story told by Van Mander—a story
for which, no doubt, there was some foundation in truth—of Holbein’s
violence towards a nobleman who insisted upon forcing his way into the
studio when the artist was engaged upon the portrait of a lady, and who
was, in consequence, thrown downstairs by the infuriated painter. This
story Walpole tells as follows:
The writers of his life relate a story, which Vermander, his
first biographer, affirms came from Dr. Isely of Basil and from
Amerbach.... The story is, that one day as Holbein was privately
drawing some lady’s picture for the king, a great lord forced
himself into the chamber. Holbein threw him downstairs; the peer
cried out; Holbein bolted himself in, escaped over the top of
the house, and running directly to the king, fell on his knees,
and besought his Majesty to pardon him, without declaring the
offence. The king promised to forgive him if he would tell the
truth; but soon began to repent, saying he should not easily
overlook such insults, and bade him wait in the apartment till
he had learned more of the matter. Immediately arrived the lord
with his complaint, but sinking the provocation. At first the
monarch heard the story with temper, but broke out, reproaching
the nobleman with his want of truth, and adding, ‘You have not
to do with Holbein, but with me; I tell you, of seven peasants I
can make as many lords, but not one Holbein—begone, and
remember, that if ever you pretend to revenge yourself, I shall
look on any injury offered to the painter as done to myself.’
Henry’s behaviour is certainly the most probable part of the
story.” (See Walpole, _Anecdotes_, &c., ed. Wornum, vol. i. pp.
71-2.)
Wornum gives a more elaborate account of the adventure (_Holbein_, pp.
319-20), and it is also introduced by Richard Lovelace into his poem
called “Peinture: a Panegyrick to the Best Picture of Friendship, Mr.
Pet. Lilly” (Sir Peter Lely), included in _Lucasta_, first published in
1649. The lines are as follows:
“When to our huffling Henry there complain’d
A grieved earl, that thought his honor stain’d:
Away (frown’d he), for your own safeties hast!
In one cheap hour ten coronets I’l cast:
But Holbeen’s noble and prodigious worth
Onely the pangs of an whole age brings forth.
Henry! a word so princely saving said,
It might new raise the ruins thou hast made.”
(See _Lucasta_, ed. W. Carew Hazlitt, 1864, pp. 225-6.)
Another seventeenth-century poet who makes reference to Holbein—in this
instance it is the Dance of Death which is in question—is Matthew Prior,
who, in his _Ode to the Memory of George Villiers_, says:
“Our term of life depends not on our deed,
Before our birth our funeral was decreed;
Nor aw’d by foresight, nor misled by chance,
Imperious Death directs the ebon lance,
Peoples great Henry’s tombs, and leads up Holbein’s Dance.”
[Sidenote: BARBER-SURGEONS’ PICTURE]
It has been suggested that Holbein’s painting-room at Whitehall was over
the so-called Holbein Gate. Numerous engravings of this gate were made
in the seventeenth and eighteenth centuries, and reproductions of
several of these will be found in _Whitehall: Historical and
Architectural Notes_ (Portfolio Monograph), by W. J. Loftie, F.S.A.,
1895, and in _The Old Royal Palace of Whitehall_, by Dr. Edgar Sheppard,
1901. Mr. Loftie reproduces an engraving of Whitehall showing the Gate
after a drawing by Hollar in the Pepysian Library, Cambridge; the
“Banqueting Hall, Holbein’s Gate, and Treasury,” from the engraving by
J. Silvestre, 1640; “Whitehall in 1724,” from the engraving by J. Kip;
“Holbein’s Gate,” from an engraving by G. Vertue, 1725; and “Whitehall,
from King Street,” from an engraving by R. Godfrey, 1775, after a
drawing by T. Sandby, R.A. Dr. Sheppard reproduces the engraving after
Hollar, and the Kip and Vertue engravings, and also “Whitehall,” from a
picture by Canaletto in the possession of the Duke of Buccleuch; and “A
View of Whitehall with the Holbein Gateway,” from a drawing by Paul
Sandby in the possession of Mr. E. Gardner.
THE BARBER-SURGEONS’ PICTURE. (Vol. ii. p. 294)
A further proof of the high value placed upon this picture by the
Company in earlier days is to be found in John Strype’s additions to
John Stow’s _Survey of the Cities of London and Westminster_, in the
folio edition published in 1720. He says (Book iii. p. 128), in speaking
of “Barber-Chirurgeons’ Hall”:—“In this Hall also is a large and very
curious Piece of K. Henry VIII reaching the Chirurgeons their Charter;
with many other Persons of the said Company delineated. It is said to be
done by _Hans Holben_; and some say, as many Broad Pieces have been
offered for the purchase of it as would cover it.”
------------------------------------------------------------------------
SUMMARY LIST OF HOLBEIN’S CHIEF PICTURES AND PORTRAITS
(_Alphabetically arranged under the various countries_)
The following list of Holbein’s pictures and portraits in public and
private collections in England and abroad consists merely of the title
of each work, the date whenever known, and the number in Woltmann’s
list, together with a reference to the page or pages and the plates in
the present book in which the particular picture is described or
reproduced. Holbein’s very numerous drawings, studies, and designs are
not included. For these the reader must be referred to the second volume
of Dr. Woltmann’s book, and, more particularly, to the important
publication, now in course of issue, under the editorship of Dr. Paul
Ganz, which is to include a facsimile reproduction of every one of the
master’s drawings. Nor does this list include Holbein’s woodcuts and
book illustrations, for which the student is referred to Woltmann,
Passavant, Butsch, and others.
AMERICA
BOSTON: COLLECTION OF MRS. GARDNER
Portrait of Sir William Butts, 1542-3.
Portrait of Lady Butts, 1542-3.
Until recently in the possession of the Pole-Carew family. W. 204,
205. See Vol. ii. p. 209-210.
NEW YORK: METROPOLITAN MUSEUM
Portrait of Benedikt von Hertenstein, 1517.
See vol. i. pp. 72-4, Pl. 24. Not in Woltmann.
Portrait of Erasmus.
Recently purchased by the late Mr. J. Pierpont Morgan from the
Howard of Greystoke family. See vol. i. pp. 177-8. Not in Woltmann.
NEW YORK: COLLECTION OF MR. BENJAMIN ALTMAN
Portrait of a Lady, probably Margaret Wyat, Lady Lee.
Until recently in the collection of Major Charles Palmer, Windsor.
See Vol. ii. p. 82-83; Pl. 15, vol. ii. Not in Woltmann.
NEW YORK: COLLECTION OF MR. H. C. FRICK
Portrait of Sir Thomas More, 1527.
Until recently in the possession of Mr. Edward Huth. See vol. i. pp.
303-4, and Vol. ii. p. 340. W. 207.
NEW YORK: COLLECTION OF THE LATE MR. J. PIERPONT MORGAN
Portrait of Mrs. Pemberton.
Miniature. See Vol. ii. p. 228-289; Pl. 33, vol. ii. Not in
Woltmann.
Portrait of Henry VIII.
Miniature. See Vol. ii. p. 235-236. W. 157.
Portrait of Sir Thomas More.
Miniature. See vol. i. pp. 306-7. Not in Woltmann.
Portrait of Thomas Cromwell.
Miniature. See Vol. ii. p. 231-232; Pl. 31, vol. ii. Not in
Woltmann.
NEW YORK: COLLECTION OF MR. W. C. VANDERBILT
Portrait of Lady Guldeford.
Formerly in the collection of Mr. T. Frewen. See vol. i. pp. 320-1.
W. 206.
Portrait of Lady Rich.
Now in an American collection. Until recently in the collection of
Captain H. R. Moseley, Buildwas Park, Shropshire. See Vol. ii. p.
212. W. 128.
CANADA: COLLECTION OF MR. JAMES H. DUNN
Portrait of Queen Catherine Howard, 1540-41.
See Vol. ii. p. 194-196. Not in Woltmann.
AUSTRIA-HUNGARY
PRAGUE: RUDOLPHINUM
Portrait of Lady Elizabeth Vaux.
Badly damaged, but possibly an original. See Vol. ii. p. 86-87. W.
243.
VIENNA: IMPERIAL GALLERY
Portrait of Derich Tybis, of Duisburg, and the London Steelyard, 1533.
See Vol. ii. p. 20-21; Pl. 4, vol. ii. W. 251.
Portraits of an Official of the Court of Henry VIII, and his Wife, 1534.
Two small roundels. See Vol. ii. p. 70-71. W. 256, 257.
Portrait of Queen Jane Seymour, 1536.
Good copies at The Hague, Woburn Abbey, and elsewhere. See vol. ii.
pp. 111-2; Pl. 20, vol. ii. W. 252.
Portrait of a Young Man, aged 28, 1541.
See Vol. ii. p. 202-203; Pl. 27, vol. ii. W. 254.
Portrait of Dr. John Chamber, 1541-3.
See Vol. ii. p. 208-209; Pl. 30, vol. ii. W. 255.
Portrait of an Unknown English Lady.
See Vol. ii. p. 207; Pl. 29, vol. ii. W. 253.
VIENNA: COLLECTION OF COUNT LANCKORONSKI
Portrait of an Unknown English Lady.
See Vol. ii. p. 211-212. W. 260.
VIENNA: COLLECTION OF COUNT SCHÖNBORN
Portrait of a Member of the Wedigh Family of Cologne, and of the London
Steelyard, 1532.
See Vol. ii. p. 15-16. W. 262.
BELGIUM
BRUSSELS: COLLECTION OF FRAU L. GOLDSCHMIDT-PRZIBRAM
Portrait of a Young Man holding a Carnation, 1533.
See Vol. ii. p. 57. W. 261.
BRITISH ISLES
LONDON: NATIONAL GALLERY
The Two Ambassadors: Jean de Dinteville and George de Selve, 1533.
See vol. ii. chap. xvii.; Pl. 9, vol. ii. W. 215.
Portrait of the Duchess of Milan, 1538.
See vol. ii. chap. xx.; Pl. 21, vol. ii. W. 2.
HAMPTON COURT PALACE
Portrait of John Reskimer of Cornwall.
See vol. i. pp. 333-4. W. 162.
Christ appearing to Mary Magdalen (“Noli Me Tangere”).
See vol. i. pp. 95-8, Pl. 32. Not in Woltmann.
Portrait of Johann Froben, printer of Basel.
Probably only a good old copy. See Vol. ii. p. 183-184. Not in
Woltmann.
Portrait of Lady Elizabeth Vaux.
Probably only a good old copy. See Vol. ii. p. 86-87. W. 163.
WINDSOR CASTLE
Portrait of Sir Henry Guldeford, 1527.
See vol. i. pp. 317-20; Pl. 80. W. 264.
Portrait of Hans of Antwerp, 1532.
See Vol. ii. p. 8-14; Pl. 2, vol. ii. W. 265.
Portrait of Derich Born of Cologne, and of the London Steelyard, 1533.
See Vol. ii. p. 18-20; Pl. 4, vol. ii. W. 266.
Portrait of Thomas Howard, Duke of Norfolk, about 1538-9.
See Vol. ii. p. 197-199; Pl. 25, vol. ii. W. 267.
Portrait of Henry Brandon.
Miniature. Date doubtful. See Vol. ii. p. 223-226; Pl. 31, vol. ii.
W. 268.
Portrait of Charles Brandon, 1541.
Miniature. See Vol. ii. p. 223-226; Pl. 31, vol. ii. W. 269.
Portrait of Lady Audley.
Miniature. See Vol. ii. p. 222-223; Pl. 31, vol. ii. W. 270.
Portrait of Queen Catherine Howard.
Miniature. See Vol. ii. p. 192-193; Pl. 31, vol. ii. W. 271.
King Solomon and the Queen of Sheba.
Miniature painting in grisaille, touched with colour and gold. See
vol. ii. pp. 262-3; Pl. 40, vol. ii. W. 272.
VICTORIA AND ALBERT MUSEUM, SOUTH KENSINGTON: SALTING COLLECTION
Portrait of Hans of Antwerp.
Small roundel. See Vol. ii. p. 14. Not in Woltmann.
Portrait of Anne of Cleves.
Miniature. See Vol. ii. p. 181-182, and 236. W. 158.
NATIONAL GALLERY OF IRELAND, DUBLIN
Portrait of Sir Henry Wyat.
Replica of the portrait in the Louvre, Paris. See vol. i. p. 335.
Not in Woltmann.
LAMBETH PALACE
Portrait of William Warham, Archbishop of Canterbury, 1527.
See vol. i. pp. 322-3. W. 208.
WALLACE COLLECTION, HERTFORD HOUSE
Self-Portrait of Hans Holbein, 1543.
Miniature. See Vol. ii. p. 230; Pl. 33, vol. ii. See Woltmann, vol.
ii. pp. 167-8.
BARBER-SURGEONS’ HALL, LONDON
Henry VIII granting a Charter of Incorporation to the Barber-Surgeons,
1543.
See Vol. ii. p. 289-244; Pl. 94, vol. ii. W. 202.
DUKE OF BEDFORD, K.G., WOBURN ABBEY
Portrait of Sir John Russell, afterwards Earl of Bedford.
Attributed to Holbein. W. 358.
Portrait of Queen Jane Seymour.
Old copy. See Vol. ii. p. 112. BERLIN, KAISER FRIEDRICH MUSEUM DUKE
OF BUCCLEUCH, K.G., K.T., DALKEITH HOUSE
Portrait of Sir Nicholas Carew.
See Vol. ii. p. 88-89. W. 142.
Portrait of Queen Catherine Howard.
Miniature. See Vol. ii. p. 193-194. Not in Woltmann.
Other fine miniatures of Sir Thomas More, George Nevill, Lord
Abergavenny, Self-portrait of Holbein, 1543, Jane Seymour, Henry
VIII, &c., attributed to Holbein.
See vol. ii. chap. xxv. BERLIN, KAISER FRIEDRICH MUSEUM MR. AYERST
H. BUTTERY, LONDON
Portrait of an Unknown English Lady.
Formerly in the possession of the Bodenham family. See vol. i.
Postscript to Chapter xiv. and Pl. 95.
EARL OF CALEDON, TYTTENHANGER PARK
Portrait of Thomas Cromwell, 1532-34.
See Vol. ii. p. 58-61. W. 249.
DUKE OF DEVONSHIRE, G.C.V.O., CHATSWORTH
Henry VII and Henry VIII.
Cartoon for the left-hand half of the Whitehall Wall-painting. Until
recently at Hardwick Hall. See Vol. ii. p. 97-99; Pl. 18, vol. ii.
W. 167.
MISS GUEST, OF INWOOD
Portrait of Sir Bryan Tuke.
Formerly in the Collection of the Duke of Westminster. See vol. i.
pp. 331-3. W. 213.
According to report, this picture is no longer in Miss Guest’s
possession, having been sold during the present year (1913).
LORD LECONFIELD, PETWORTH
Portrait of Derich Berck of Cologne, and of the London Steelyard, 1536.
See Vol. ii. p. 22-23; Pl. 5, vol. ii. W. 241.
MR. HAMON LE STRANGE
Portrait of Sir Thomas le Strange, 1536.
See Vol. ii. p. 85-86. Not in Woltmann.
DUKE OF NORTHUMBERLAND, K.G., SYON HOUSE
Portrait of Edward, Prince of Wales.
Attributed to Holbein. See Vol. ii. p. 166. W. 246.
MESSRS. PARKENTHORPE, LONDON
The More Family Group.
The Burford version, recently in the possession of Sir Hugh P. Lane.
Copy, with later additions, of the original painting. See vol. i.
pp. 301-2; Pl. 76.
EARL OF RADNOR, LONGFORD CASTLE
Portrait of Erasmus, 1523.
See vol. i. pp. 169-71; Pl. 54. W. 214.
SIR JOHN RAMSDEN, BT., BULSTRODE PARK
Portrait of a Musician.
Formerly regarded as a portrait of Sir Nicholas Vaux. Considered by
Dr. Ganz to represent Jean de Dinteville. See Vol. ii. p. 52-53; Pl.
10, vol. ii. Not in Woltmann.
LORD SACKVILLE, KNOLE PARK
Portrait of Margaret Roper.
Inscribed “Queen Cathrine.” Old copy of a lost original by Holbein,
or of the figure in the More Family Group. See vol. i. pp. 308-9.
Portrait of Queen Jane Seymour.
Good old copy of the portrait in Vienna. See vol. i. p. 112.
LORD ST. OSWALD, NOSTELL PRIORY
The More Family Group, 1527-30.
This picture, among the various existing versions of the More Family
Group, has the greatest claims to be regarded, at least in parts, as
the original work by Holbein. See vol. i. pp. 295-8; and vol. ii,
pp. 334-40; Pl. 75.
EARL SPENCER, G.P.V.O., ALTHORP PARK
Portrait of Henry VIII, about 1537.
See Vol. ii. p. 107-109; frontispiece, vol. ii. W. 1.
Portrait of Hans of Antwerp (?)
Small roundel. Attributed to Holbein. See Vol. ii. p. 14-15. Not in
Woltmann.
MR. VERNON WATNEY
Portrait of an English Lady.
Miniature. Said to represent Queen Jane Seymour. See Vol. ii. p.
237. Not in Woltmann.
EARL OF YARBOROUGH
Portrait of Edward, Prince of Wales.
Fine old copy of the portrait at Hanover. See Vol. ii. p. 165; Pl.
22, vol. ii.
FRANCE
PARIS, THE LOUVRE
Portrait of Erasmus, 1523.
See vol. i. pp. 172-3; Pl. 56. W. 224.
Portrait of William Warham, Archbishop of Canterbury, 1527.
See vol. i. p. 322; Pl. 83. W. 225.
Portrait of Niklaus Kratzer, the Astronomer, 1528.
See vol. i. pp. 327-30; Pl. 86. W. 226.
Portrait of Sir Henry Wyat, 1527-28.
See vol. i. pp. 335-6; Pl. 88. W. 227.
Portrait of Anne of Cleves, 1539.
See Vol. ii. p. 181-182; Pl. 24, vol. ii. W. 228.
Portrait of Sir Richard Southwell, 1536.
Attributed to Holbein, but probably only a fine old copy. See vol.
ii. p. 85. Not in Woltmann.
F. ENGEL-GROS COLLECTION, CHÂTEAU DE RIPAILLE, THONON, SAVOY
Portrait of a Man wearing the livery of Henry VIII.
Small roundel. See Vol. ii. p. 71. Not in Woltmann.
GERMANY
BERLIN, KAISER FRIEDRICH MUSEUM
Portrait of Georg Gisze, member of the London Steelyard, 1532.
See Vol. ii. p. 4-8; Pl. i. vol. ii. W. 115.
Portrait of Hermann Hillebrandt Wedigh of Cologne, member of the London
Steelyard, 1533.
See Vol. ii. p. 16-17; Pl. 3, vol. ii. W. 116.
Portrait of an Unknown Man, aged 37, 1541.
Possibly a Member of the Dutch family of Vos van Steenwyck. See vol.
ii. p. 202. W. 117.
Portrait of an Unknown Man, aged 54.
Formerly in the Collection of Sir J. E. Millais, Bt. See Vol. ii. p.
205-206; Pl. 29, vol. ii. W. 211.
BRUNSWICK, ROYAL MUSEUM
Portrait of Cyriacus Fallen, member of the London Steelyard, 1533.
See Vol. ii. p. 22. W. 126.
DARMSTADT, GRAND-DUCAL PALACE
The Madonna and Child with the Family of Jakob Meyer, Burgomaster of
Basel, about 1526.
Commonly known as the Meyer Madonna. See vol. i. pp. 232-45; Pl. 71.
W. 143.
DRESDEN, ROYAL PICTURE GALLERY
Double Portrait of Thomas and John Godsalve, of Norwich, 1528.
See vol. i. pp. 325-7; Pl. 84. W. 144.
Portrait of Charles de Solier, Sieur de Morette, ambassador to the
English Court, about 1534.
See Vol. ii. p. 63-70; Pl. 12, vol. ii. W. 145.
The Madonna and Child with the Family of Jakob Meyer.
Long regarded as an original work by Holbein. Fine old copy of the
picture at Darmstadt. See vol. i. pp. 232-45. Not in Woltmann.
FRANKFURT, STÄDELSCHES KUNSTINSTITUT
Portrait of Simon George, of Quocote.
See Vol. ii. p. 207. W. 151.
FREIBURG IM BREISGAU, UNIVERSITY CHAPEL, MINSTER
The Adoration of the Shepherds.
The Adoration of the Kings.
Inner sides of the wings of the Oberried altar-piece. See vol. i.
pp. 88-91; Pl. 29. W. 155, 156.
HANOVER, PROVINZIAL MUSEUM
Portrait of Philip Melanchthon.
Small roundel. See vol. i. pp. 184-5; Pl. 58. W. 164.
Portrait of Edward, Prince of Wales, 1538-9.
See Vol. ii. p. 165. W. 165.
KARLSRUHE, GRAND-DUCAL PICTURE GALLERY
Christ Bearing the Cross, 1515.
On the back the remains of a “Crowning with Thorns.” See vol. i. pp.
38-9. W. 168.
St. George, 1522.
St. Ursula, 1522.
Wings of an altar-piece. See vol. i. pp. 111-2. W. 169, 170.
MUNICH, ALTE PINAKOTHEK
Portrait of Derich Born, member of the London Steelyard, 1533.
Small oval, almost miniature in size. See Vol. ii. p. 20. W. 220.
Portrait of Sir Bryan Tuke, with Death holding a Scythe and Hour-glass.
Probably a good old copy of the picture until recently in the
possession of Miss Guest of Inwood. See vol. i. pp. 331-3. W. 219.
Portrait of Derich Berck, member of the London Steelyard.
Copy of the picture belonging to Lord Leconfield, Petworth. See vol.
ii. p. 23. Not in Woltmann.
MUNICH, BAVARIAN NATIONAL MUSEUM
Portrait of a Man, aged 27.
Miniature, with the initials H. M. on either side of the head. See
vol. ii. pp. 241-2. Not in Woltmann.
HOLLAND
THE HAGUE, ROYAL PICTURE GALLERY
Portrait of a Young Lady, said to be Holbein’s Wife.
See vol. i. pp. 106-8; Pl. 37. W. 161.
Portrait of Robert Cheseman, 1533.
See Vol. ii. p. 54-57; Pl. 11, vol. ii. W. 159.
Portrait of an Unknown Man with a Falcon, aged 28, 1542.
See Vol. ii. p. 203; Pl. 28, vol. ii. W. 160.
Portrait of Queen Jane Seymour.
Good old copy of the picture at Vienna. See Vol. ii. p. 113. Not in
Woltmann.
THE HAGUE, ROYAL PALACE
Portrait of a Boy.
Miniature. See Vol. ii. p. 229-230; Pl. 31, vol. ii. Not in
Woltmann.
ITALY
FLORENCE, UFFIZI GALLERY
Portrait of Sir Richard Southwell, 1536.
See Vol. ii. p. 84-85; Pl. 16, vol. ii. W. 149.
Self-portrait of Hans Holbein, 1543.
See Vol. ii. p. 213. W. 150.
PARMA, PICTURE GALLERY
Portrait of Erasmus, 1530.
Probably only a good old copy. See vol. i. p. 179. W. 240.
ROME, NATIONAL GALLERY
Portrait of Henry VIII, about 1539.
See Vol. ii. p. 102-103; Pl. 19, vol. ii. Not in Woltmann.
SPAIN
MADRID, PRADO
Portrait of an Old Man.
Attributed to Holbein by some writers. Not by him according to Dr.
Ganz. See vol. i. pp. 334-5. W. 217.
SWITZERLAND
BASEL, PUBLIC PICTURE COLLECTION
Madonna and Child, 1514.
See vol. i. pp. 33-5; Pl. 7. Not in Woltmann.
Head of the Virgin.
Head of St. John.
See vol. i. pp. 37-8; Pl. 8. W. 7, 8.
The Lord’s Supper.
Christ on the Mount of Olives.
Christ taken Prisoner.
The Scourging.
Pilate Washing his Hands.
The above five paintings, on canvas, formed part of a larger
“Passion” series, probably for some Basel church, and are among the
earliest works upon which Holbein was engaged after he settled in
that city. See vol. i. pp. 39-42; Pls. 9 and 10. W. 24-8.
Schoolmaster’s Sign, 1516.
Painted on both sides. See vol. i. pp. 51-2; Pl. 14. W. 5, 6.
Double Portrait of the Burgomaster, Jakob Meyer, and his Wife Dorothea
Kannengiesser, 1516.
See vol. i. pp. 52-5; Pl. 15. W. 11.
Adam and Eve, 1517.
See vol. i. pp. 55-6; Pl. 17. W. 9.
Portrait of Bonifacius Amerbach, 1519.
See vol. i. pp. 85-7; Pl. 28. W. 10.
The Dead Christ in the Tomb, 1521.
See vol. i. pp. 101-3; Pl. 35. W. 14.
Seven Fragments of three of the Wall-paintings in the Council Chamber of
the Basel Town Hall:—
Heads of the Samnite Ambassadors, 1521-2.
Head of Zaleucus of Locri, 1521-2.
Head of a Spectator in the same painting, 1521-2.
Head of King Rehoboam, 1530.
Hand of King Rehoboam, 1530.
Two groups of Heads in the same painting, 1530.
See vol. i. pp. 129-31 and 348; Pls. 40 and 92. W. 21.
Portrait of Erasmus, in profile, writing, 1523.
See vol. i. pp. 173-4. W. 12.
The Last Supper.
See vol. i. pp. 75-6; Pl. 25. W. 16.
The Passion of Christ.
In eight scenes. The outer sides of the wings of an altar-piece. See
vol. i. pp. 91-5; Pl. 30. W. 20.
Christ as the Man of Sorrows.
Mary as Mater Dolorosa.
Diptych, monochrome, with blue backgrounds.
See vol. i. pp. 98-9; Pl. 33. W. 19.
Organ Doors formerly in Basel Minster.
See vol. i. p. 113. W. 4.
Magdalena Offenburg as Laïs Corinthiaca, 1526.
See vol. i. pp. 246-52; Pl. 73. W. 17.
Magdalena Offenburg as Venus, 1526.
See vol. i. pp. 246-52; Pl. 73. W. 18.
Holbein’s Wife and Children, 1528-29.
See vol. i. pp. 343-6; Pl. 90. W. 15.
Portrait of an Unknown Man.
See Vol. ii. p. 211. W. 22.
Portrait of Erasmus.
Small roundel. See vol. i. p. 180; Pl. 58. W. 13.
Portrait of a Young Woman, about 1528.
Unfinished. See vol. i. pp. 346-7; Pl. 91. W. 46.
Printer’s Mark of Johann Froben.
Portrait of Johann Froben.
Old copy. See vol. i. pp. 183-4.
BASEL, UNIVERSITY LIBRARY
Coat of Arms of Petrus Fabrinus, Rector of Basel University, 1523.
Coloured drawing in the University Matriculation Book. See vol. i.
pp. 145-6. W. 112.
BASEL, COLLECTION OF DR. RUDOLPH GEIGY-SCHLUMBERGER
Portrait of a Man, said to be Holbein himself.
Water-colour drawing. See Vol. ii. p. 213. Not in Woltmann.
LUCERNE, KUNSTVEREIN
Fragments of the original wall-painting on the façade of the Hertenstein
House in Lucerne: part of the subject of the Death of Lucretia, 1517.
See vol. i. p. 68. W. 216.
SOLOTHURN, STADT MUSEUM
Madonna and Child, with St. Nicholas (or St. Martin) and St. Ursus,
1522.
See vol. i. pp. 103-11; Pl. 36. W. 247.
ZÜRICH, SCHWEIZERISCHES LANDESMUSEUM
Table painted with the legend of St. Nobody, hunting and jousting
scenes, &c., for Hans Baer, of Basel, 1515.
See vol. i. pp. 35-7. W. 359.
------------------------------------------------------------------------
PICTURES BY AND ATTRIBUTED TO HOLBEIN AND OF HIS SCHOOL AND PERIOD
EXHIBITED AT VARIOUS EXHIBITIONS BETWEEN 1846 AND 1912
_In almost all cases the attributions are those of the owners of the
pictures_
_The spelling of the names is that of the original Catalogues_
I. THE BRITISH INSTITUTION, 1846
120 │Charles Brandon, Duke of │ Hans │Lord Willoughby d’Eresby
│Suffolk d. 1545 │ Holbein │
122 │Henry VIII │ " │Mrs. Nicholl
131 │The Infant Son of Charles │ " │Lord Willoughby d’Eresby
│Brandon, Duke of Suffolk │ │
133 │Edward VI when Prince of │ " │Earl of Hardwick
│Wales │ │
135 │George Brooke, Lord of │ " │F. L. Popham, Esq.
│Cobham d. 1558 │ │
138 │Queen Mary │ " │Hon. C. C. Cavendish M.P.
155 │Thomas Howard, Duke of │ " │Duke of Norfolk
│Norfolk, │ │
161 │Ambrose Dudley, Earl of │ " │Marquess of Salisbury,
│Warwick, d. 1589 │ │K.G.
162 │William Warham, Archbishop│ " │Archbishop of Canterbury
│of Canterbury, d. 1532 │ │
163 │The Family of Henry VII │ " │Lord Willoughby d’Eresby
│and Henry VIII, &c. │ │
176 │Catherine de Bore, wife of│ " │Duke of Sutherland, K.G.
│Martin Luther │ │
178 │Erasmus, d. 1536 │ " │Duke of Sutherland, K.G.
200 │Lady Elizabeth Gray, wife │ " │Lord Baybrooke
│of Thomas, Lord Audley of │ │
│Warden, Lord Chancellor │ │
205 │Henry VIII granting the │ " │Barber-Surgeons’ Company
│Charter to the │ │
│Barber-Surgeons │ │
II. ART TREASURES OF THE UNITED KINGDOM COLLECTED AT MANCHESTER IN 1857
_Old Masters_
454 │Portrait of Francis I │ Hans │Her Majesty (Hampton
│(considered by some to be│ Holbein │Court)
│a Janet) │ │
455 │King Henry VIII │ " │Earl of Warwick
456 │Dr. Stokes (Bishop of │ " │Her Majesty (Windsor
│London) │ │Castle)
457 │King Edward VI │ " │A. Barker, Esq.
459 │Portrait of a Young Man │ " │Lord Ward
│holding a Book │ │
460 │Portrait of Francis I, │ " │H.R.H. Prince Albert
│dated 1509, No. 40 of │ │
│Kensington Palace │ │
│Catalogue │ │
466 │Portrait of Erasmus. A │ Georg │Her Majesty (Windsor
│copy of a picture by │ Pentz │Castle)
│Holbein │ │
533 │The Root of Jesse │ Gerard │Sir Culling Eardly, Bt.
│ │ Lucas │
│ │ Horebout │
_British Portrait Gallery_
10 │Anne Boleyn │ Unknown │Earl of Denbigh
11 │Anne Boleyn │ “ │Earl of Warwick
12 │Mary Boleyn │ “ │“
13 │Lord Darnley and his │ Lucas │Her Majesty (Hampton
│Brother, Charles Stuart │ d’Heere │Court)
14 │Mary Tudor and Charles │ Unknown │Duke of Bedford
│Brandon, Duke of Suffolk │ │
16 │Queen Katherine Parr │ Holbein │Earl of Denbigh
17 │Earl of Surrey (Henry │ “ │Her Majesty (Hampton
│Howard), the poet, in a │ │Court)
│red habit │ │
26 │Sir Nicholas Carew, K.G., │ “ │Duke of Buccleuch
│in armour │ │
27 │Sir Walter Raleigh │ “ │J. Gibson Craig, Esq.,
│ │ │M.P.
28 │Lady Raleigh │ “ │“
29 │The Darnley Cenotaph │ “ │Duke of Richmond
30 │Littleton │ “ │Lord Lyttelton
31 │Earl of Southampton (Henry│ “ │Duke of Portland
│Wriothesley), │ │
│Shakespeare’s patron, with│ │
│his Cat │ │
32 │Countess of Southampton │ “ │“
│(Elizabeth Vernon), wife │ │
│of above │ │
33 │Bess of Hardwick (Building│ “ │“
│Bess) │ │
34 │William Camden in his │ “ │Painter-Stainers’ Company
│dress as Clarencieux │ │
48 │King Henry VIII │ “ │Duke of Manchester
49 │Cardinal Wolsey │ “ │Christ Church, Oxford
50 │Queen Jane Seymour │ “ │Duke of Bedford
51 │The Father of Sir Thomas │ “ │Earl of Pembroke
│More holding a legal │ │
│document │ │
52 │Sir Henry Guildford │ “ │Her Majesty (Windsor
│ │ │Castle)
SOUTH KENSINGTON, 1862
53 │Lady Grey (Margaret │ Holbein │Duke of Portland
│Wooton) │ │
53A │Lady Jane Grey │ “ │Earl of Stamford and
│ │ │Warrington
54 │King Edward VI. A │ “ │Her Majesty (Windsor
│knee-piece │ │Castle)
55 │King Edward VI at age of │ “ │Earl of Yarborough
│six │ │
55A │King Edward VI │ “ │Duke of Northumberland
56 │King Edward VI. Miniature │ “ │Duke of Portland
│full-length │ │
57 │The Three Children of King│ Mabuse │Earl of Pembroke
│Henry VII │ │
58 │Queen Mary I and Philip │ “ │Duke of Bedford
│II. Small full-lengths, │ │
│dated 1558 │ │
59 │Queen Mary I, 1544 │ Lucas │Society of Antiquaries
│ │ d’Heere │
62 │Queen Elizabeth. Miniature│ “ │Duke of Portland
│full-length │ │
66 │William Warham, Archbishop│ Holbein │Archbishop of Canterbury
│of Canterbury │ │
67 │The Princess Elizabeth, │ “ │Her Majesty (Hampton
│holding a book │ │Court)
67A │Sir Thomas Gresham │ “ │Earl of Stamford and
│ │ │Warrington
173 │Lucius Cary, Viscount │ “ │Earl of Clarendon
│Falkland │ │
Frame │Miniatures of the time of │ — │Duke of Buccleuch
7 │Henry VII and Henry VIII, │ │
│&c. │ │
Frame │Henry VIII │ Holbein │Col. Meyrick
17 │ │ │
Frame │Anne of Cleves │ “ │“
17 │ │ │
III. SPECIAL EXHIBITION OF WORKS OF ART, SOUTH KENSINGTON MUSEUM, JUNE
1862. SECTION XI. PORTRAIT MINIATURES
1901 │Mary Tudor, Queen of │ Sir A. │S. Addington, Esq.
│England (oil) │ More │
1905 │Thomas Cromwell, Earl of │ Holbein │“
│Essex │ │
1932 │Edward VI (sculptured in │ Unknown │T. L. Barwick Baker, Esq.
│wood) │ │
1933 │Henry VIII “ │ “ │“
1934 │Henry, Duke of Richmond │ “ │C. Sackville Bale, Esq.
1935 │Jane Seymour │ Hans │“
│ │ Holbein │
1936 │Mary Tudor │ “ │“
2018 │Henry VII │ “ │Duke of Buccleuch, K.G.
2021 │Henry VIII │ “ │“
2022 │“ │ “ │“
2023 │“ │ “ │“
2024 │Catherine of Aragon │ “ │“
2025 │“ │ “ │“
2026 │“ │ “ │“
2027 │Mary Tudor │ Sir A. │“
│ │ More │
2029 │Catherine Howard │ Hans │“
│ │ Holbein │
2030 │“ │ “ │“
2039 │Prince Edward │ “ │“
2040 │King Edward VI │ Hans │Duke of Buccleuch, K.G.
│ │ Holbein │
2041 │“ │ “ │“
2042 │“ │ “ │“
2061 │Sir Thomas More │ “ │“
2216 │The Three Children of │ Ascribed │J. C. Dent, Esq.
│Henry VII │to Mabuse │
2217 │Jane Seymour │ Hans │“
│ │ Holbein │
2218 │Queen Catherine Parr │ “ │“
2219 │Henry VIII, full-length │ — │“
│(carved in honestone) │ │
2220 │Henry VIII (carved in │ Hans │“
│boxwood) │ Holbein │
2265 │An Unfinished Portrait │ “ │Sir Wentworth Dilke, Bt.
2341 │Henry VIII │ Unknown │Earl of Gosford
2405 │Queen Catherine Howard │ Hans │Duke of Hamilton
│ │ Holbein │
2458 │Sir Thomas More │Attributed│Sir W. T. Holburne. Bt.
│ │to Holbein│
2459 │Erasmus │ “ │“
2477 │Thomas Howard, 3rd Duke of│ Hans │R. S. Holford, Esq.
│Norfolk │ Holbein │
2478 │Thomas Howard, 4th Duke of│ Sir A. │“
│Norfolk │ More │
2544 │Henry VIII, 1526 │ Hans │Hollingworth Magniac, Esq.
│ │ Holbein │
2545 │Catherine of Aragon │ “ │“
2581 │Henry VIII and Jane │ “ │H. Danby Seymour, Esq.,
│Seymour │ │M.P.
2598 │Mary Tudor, Queen of │ Luis de │Rev. Walter Sneyd
│England │ Vargas │
2599 │Philip II of Spain │ “ │“
2641 │Leonhardus Bur, aged 20, │ Hans │Charles Sotheby, Esq.
│1549 │ Holbein │
2651 │Henry VIII (oil on panel) │ “ │Earl Spencer
2652 │Sir John Boling Hatton and│ Lucas │“
│his Mother, 1525 │ d’Heere │
2726 │Catherine, Duchess of │ Hans │Lady Willoughby de Eresby
│Suffolk, d. 1580 │ Holbein │
2727 │Thomas Cromwell, Earl of │ Unknown │“
│Essex │ │
IV. SPECIAL EXHIBITION OF PORTRAIT MINIATURES ON LOAN AT THE SOUTH
KENSINGTON MUSEUM, JUNE 1865
273 │Henry VIII (oil) │ Unknown │Duke of Richmond
307 │Mary Tudor, Queen of │ Sir A. │S. Addington, Esq.
│England (oil) │ More │
601 │Sir Thomas More (enamel) │ H. Bone, │R. G. Clarke, Esq.
│ │ R.A. │
629 │Mary, Queen of England │ Luis de │Rev. W. Sneyd
│(oil). Dated 1555 │ Vargas │
630 │Philip II of Spain (oil) │ “ │“
648 │Katherine of Aragon (on │ Hans │Hollingworth Magniac, Esq.
│vellum) │ Holbein │
652 │Henry VIII. Painted in │ “ │“
│1526 │ │
763 │Sir Nicholas Poyntz │ “ │R. S. Holford, Esq., M.P.
│(vellum) │ │
950 │Sir John Boling Hatton and│ Lucas │Earl Spencer, K.G.
│his Mother. Dated 1525 │ d’Heere │
1029 │Earl of Kildare (oil on │ Hans │Lord Boston
│panel) │ Holbein │
146 │Alicia, wife of Sir Thomas│ “ │J. Heywood Hawkins, Esq.
│More (on card) │ │
1282 │Mary Tudor, Queen of │ Unknown │“
│England │ │
1381 │Henry VIII (on ivory) │Copy after│Earl of Gosford
│ │ Holbein │
1388 │John Calvin (oil on panel)│ Hans │Earl Spencer, K.G.
│ │ Holbein │
1392 │Henry VIII (oil on panel) │ “ │John Jones, Esq.
1554 │Thomas Howard, Duke of │ “ │Philip Henry Howard, Esq.
│Norfolk (on panel) │ │
1590 │Katherine of Aragon (on │ “ │Duke of Buccleuch, K.G.
│vellum) │ │
1603 │Thomas, Lord Seymour of │ “ │“
│Sudeley (on vellum) │ │
1643 │Henry, Duke of Richmond │ Unknown │C. Sackville Bale, Esq.
│(on card) │ │
1645 │Lady Jane Seymour │ Hans │“
│ │ Holbein │
1651 │Queen Mary I of England │ “ │“
1708 │Margaret Tudor, Queen of │ Unknown │Duke of Marlborough
│Scotland │ │
1810 │Ann of Cleves. Signed “H. │ Hans │David Laing, Esq.
│H.” (oil on panel). │ Holbein │
2082 │Henry VIII (oil) │ “ │Earl Spencer, K.G.
2093 │Portrait of a Gentleman in│ “ │Earl of Shaftesbury, K.G.
│a furred gown │ │
2347 │Henry VIII and Edward VI │ Ascribed │Miss Wilson
│ │ to N. │
│ │ Hilliard │
2627 │Portrait of a Lady, aged │ Hans │J. Heywood Hawkins, Esq.
│23 (on card) (Mrs. │ Holbein │
│Pemberton) │ │
2655 │Hans Holbein, the Painter │ “ │Earl Spencer, K.G.
│(oil) │ │
2664 │Edward VI. Dated 1547 │ “ │Henry F. Holt, Esq.
2946 │Charles V, Emperor of │ Ascribed │William Mosely, Esq.
│Germany │to Holbein│
2947 │Anne Boleyn │ “ │“
2948 │Henry VIII │ “ │“
V. FIRST SPECIAL EXHIBITION OF NATIONAL PORTRAITS ENDING WITH THE REIGN
OF KING JAMES THE SECOND, ON LOAN TO THE SOUTH KENSINGTON MUSEUM, 1866
46 │Richard Fox, Bishop of │ Johannes │Corpus Oxford Christi
│Winchester. 30” × 19” │ Corvus │College,
49 │Arthur, Prince of Wales. │ Hans │Her Majesty (Windsor
│15” × 11” │ Holbein │Castle)
50 │Richard Fox. 15” × 12” │ Unknown │Richard Cholmondeley, Esq.
52 │Henry VII. 23” × 18” │ Jan de │Hon. Mrs. Greville Howard
│ │ Mabuse │
53 │Margaret Tudor, Queen of │ Unknown │Her Majesty (Hampton
│Scotland. 94” × 55” │ │Court)
54 │Henry VII and Ferdinand of│ Hans │Henry Musgrave, Esq.
│Aragon. 32” × 31” │ Holbein │
55 │Henry VII. 22” × 17” │ Unknown │Her Majesty (Windsor
│ │ │Castle)
56 │Henry VII. 20” × 16” │ “ │Christ Church, Oxford
57 │Queen Elizabeth of York. │ Ascribed │Mrs. B. J. P. Bastard.
│21” × 16” │to Mabuse │
58 │The Three Children of │ Jan de │Her Majesty (Hampton
│Henry VII. 13” × 17” │ Mabuse │Court)
59 │Henry VII. 22” × 25” │ Unknown │Charles Winn, Esq.
60 │John Colet, Dean of St. │ “ │University Library,
│Paul’s. 34” × 24” │ │Cambridge
62 │Henry VII. 15” × 11” │ “ │Christ Church, Oxford
63 │James IV of Scotland. 14” │ Hans │Marquis of Lothian
│× 11” │ Holbein │
68 │Sir Thomas Wyat the Elder.│ Unknown │Bodleian Library, Oxford
│17” × 13” │ │
71 │Edward Stafford, 3rd Duke │ Hans │Marquis of Hastings
│of Buckingham. 23” × 18” │ Holbein │
72 │Nicolas Kratzer. 34” × 27”│ " │Viscount Galway, M.P.
73 │Hans Holbein, signed “H. │ " │Her Majesty (Hampton
│B., A.D. 1539.” 16” × 11½”│ │Court)
74 │Queen Catherine of Aragon │ " │Walter Moseley, Esq.
│(Portrait of Lady Rich). │ │
│17” × 13” │ │
75 │Henry VIII. 35” × 25” │ " │Duke of Manchester
76 │Charles Brandon, Duke of │ " │Mrs. Branfill
│Suffolk, and his wife, │ │
│Princess Mary Tudor. 30” ×│ │
│22” │ │
77 │Henry VIII. 35” × 27” │ Unknown │Her Majesty (Windsor
│ │ │Castle)
78 │Queen Katherine of Aragon.│ Hans │Countess Delawarr
│26” × 20” │ Holbein │
79 │Queen Katherine of Aragon.│ Unknown │National Portrait Gallery
│23” × 17” │ │
80 │Charles Brandon, Duke of │ Jan de │Earl of Yarborough
│Suffolk, and the Princess │ Mabuse │
│Mary Tudor. 28” × 18” │ │
84 │Henry VIII. 25” × 22” │ Hans │Lady Sophia Des Vœux
│ │ Holbein │
86 │William Warham, Archbishop│ " │Archbishop of Canterbury
│of Canterbury. 32” × 26” │ │
88 │John Fisher, Bishop of │ " │Major J. H. Brooks
│Rochester. 13” × 10” │ │
89 │Sir John More, Kt. 16” × │ " │W. B. Smythe, Esq.
│12” │ │
90 │Margaret Tudor, Queen of │ " │Marquis of Lothian
│Scotland. 14” × 11” │ │
91 │Sir Thomas Wyat the Elder.│ Unknown │Marquis of Hastings
│Circular, diameter 19” │ │
92 │John Fisher, Bishop of │ Hans │St. John’s College,
│Rochester, aged 74. 28” × │ Holbein │Cambridge
│24” │ │
93 │Thomas Cranmer, Archbishop│ " │Jesus College, Cambridge
│of Canterbury. │ │
95 │Henry Howard, Earl of │ " │Bodleian Library, Oxford
│Surrey. 8½” × 6½” │ │
96 │Thomas Linacre, M.D., │Holbein or│Her Majesty (Windsor
│dated 1527. 18” × 13” │ Metsys │Castle)
97 │Queen Anne Boleyn. 25” × │ Unknown │Hon. Mrs. Greville Howard
│10” │ │
98 │Sir Thomas Wyat the Elder.│ “ │John Bruce, Esq.
│15½” × 12” │ │
99 │Henry VIII. 36” × 35” │ " │Earl of Warwick
101 │Sir Thomas Boleyn, Earl of│ Hans │W. B. Stopford, Esq.
│Ormonde and Wiltshire, │ Holbein │
│K.G., aged 60. 20” × 17” │ │
102 │Henry Howard, Earl of │ " │Her Majesty (Hampton
│Surrey, K.G. 76” × 52” │ │Court)
103 │Queen Anne Boleyn. 14” × │ Unknown │Earl of Warwick
│12” │ │
104 │Christina of Denmark, │ Hans │Her Majesty (Windsor
│Duchess of Milan. 17” × │ Holbein │Castle)
│13” │ │
105 │Mary Boleyn. 14” × 12” │ Unknown │Earl of Warwick
106 │James V of Scotland and │ “ │Duke of Devonshire, K.G.
│his second Queen, Mary of │ │
│Guise. 57” × 43” │ │
107 │Queen Anne Boleyn, dated │ Hans │Sir Montague J. Cholmeley,
│1530, “H. B.” 33” × 23” │ Holbein │Bt., M.P.
108 │Sir Richard Southwell, Kt.│ " │H. E. Chetwynd-Stapylton,
│18” × 14” Esq. │ │
109 │Henry VIII. 39” × 29” │ " │Her Majesty (Windsor
│ │ │Castle)
110 │Sir William Butts, Kt. 18”│ " │W. H. Pole-Carew, Esq.
│× 14” │ │
111 │Sir Nicholas (called │ Unknown │Marquis of Ormonde
│“William”) Poyntz, dated │ │
│1535. Canvas. 27” × 18” │ │
112 │Sir Richard Southwell, │ Michell, │Ralph N. Wornum, Esq.
│painted in 1835. 22” × 18”│ after │
│Holbein │ │
113 │Thomas Cromwell, Earl of │ Hans │Duke of Manchester
│Essex. 14” × 11” │ Holbein │
114 │Queen Anne Boleyn. 10½” × │ " │Earl of Denbigh
│8” │ │
115 │Lady Butts. 18” × 14” │ " │W. H. Pole-Carew, Esq.
118 │Henry VIII. 35” × 27” │ " │Viscount Galway, M.P.
119 │Queen Jane Seymour. 14” × │ Unknown │Duke of Northumberland
│11” │ │
120 │Mary Tudor, Queen of │ Unknown │Earl Brownlow
│France. 6½” × 5½” │ │
121 │Henry Howard, Earl of │ Hans │Countess Delawarr
│Surrey. Dated 1546. │ Holbein │
│Canvas, 81” × 51” │ │
122 │Joanna Fitz-Alan, Lady │ " │John Webb, Esq.
│Abergavenny. She died │ │
│before 1519. 16” × 22” │ │
123 │Charles Brandon, Duke of │ Unknown │Earl Brownlow
│Suffolk. 7” × 6” │ │
124 │Henry VIII. 28” × 22” │ Hans │Her Majesty (Hampton
│ │ Holbein │Court)
125 │Queen Jane Seymour. 24” × │ Unknown │Countess Delawarr
│19” │ │
126 │Thomas Cromwell, Earl of │ Hans │“
│Essex. 30” × 24½” │ Holbein │
129 │Sir Henry Guildford, Kt. │ " │John Webb, Esq.
│34” × 25” │ │
131 │Queen Katherine Parr. 70” │ Hans │Richard Booth, Esq.
│× 34” │ Holbein │
132 │Queen Anne of Cleves. 28” │ " │Charles Morrison, Esq.
│× 22” │ │
133 │Sir Henry Wyat, Kt. 30” × │ Unknown │Earl of Romney
│24” │ │
134 │Henry VII and Henry VIII. │ Hans │Duke of Devonshire, K.G.
│Cartoon, 102” × 54” │ Holbein │
135 │Henry VIII and Jane │Van Remée,│Her Majesty (Hampton
│Seymour, &c. 39” × 36” │ after │Court)
│ │ Holbein │
138 │Will Somers. 28” × 23½” │ Hans │“
│ │ Holbein │
141 │Sir William Sidney, Kt. │ " │Lord De L’Isle and Dudley
│“Holbein f. 1523.” 48” × │ │
│38” │ │
142 │Thomas Cranmer. Canvas, │ " │Captain Byng
│36” × 29” │ │
143 │Erasmus. Dated 1537. 23” ×│ G. Pencz │Her Majesty (Windsor
│18” │ │Castle)
144 │Henry VIII. 92” × 53” │ Hans │H. Danby Seymour, Esq.,
│ │ Holbein │M.P.
146 │Henry VIII. 24” × 19” │ Unknown │Royal College of Surgeons
149 │Sir Henry Guildford, Kt. │ Hans │Her Majesty (Windsor
│32” × 26” │ Holbein │Castle)
150 │Sir John More and Sir │ " │Sir Henry Ralph Vane, Bt.
│Thomas More. Dated 1530. │ │
│Canvas, 55” × 48” │ │
151 │Sir Thomas Pope. 47” × 33”│ " │Countess of Caledon
152 │Henry VIII, Princess Mary,│ Unknown │Earl Spencer, K.G.
│and Will Somers. Canvas, │ │
│63” × 50” │ │
153 │Edward Stanley, 3rd Earl │ Hans │Earl of Derby, K.G.
│of Derby, K.G. 13” × 10” │ Holbein │
154 │Sir John Cheke, Kt. 13” × │ " │Duke of Manchester
│9½” │ │
156 │Henry VIII. 30” × 24” │ Unknown │Christ Church, Oxford
157 │Sir Thomas More. 29” × 23”│ Hans │Henry Huth, Esq.
│ │ Holbein │
159 │William, 1st Lord Paget. │ " │Duke of Manchester
│12½” × 9½” │ │
161 │Sir John Thynne, Kt. Dated│ " │Marquis of Bath
│1566. 50” × 39” │ │
162 │Sir Nicholas Carew. 42” × │F. Pourbus│Earl of Yarborough
│32” │ │
163 │Sir Thomas More and his │ Hans │Charles Winn, Esq.
│Family. Canvas, 138” × 99”│ Holbein │
165 │Thomas Howard, 3rd Duke of│ " │Her Majesty (Windsor
│Norfolk, K.G. 30” × 22” │ │Castle)
167 │Henry VIII. Oval, 29” × │ Unknown │Andrew Fountaine, Esq.
│24” │ │
170 │Henry VIII and his Family.│ Hans │Her Majesty (Hampton
│Canvas, 138” × 66” │ Holbein │Court)
172 │Edward VI. 40” × 32” │ " │"
173 │Sir Thomas Smith, Kt. │ P. │Eton College
│1856. 29” × 23½” │ Fischer, │
│ │ after │
│ │ Holbein │
175 │Edward VI. Dated 1546. 11”│ Hans │Earl of Hardwicke
│× 11” │ Holbein │
176 │Edward VI. 22½” × 16½” │ " │Earl of Yarborough
177 │Edward VI. Aged 9. 20” × │ " │Christ’s Hospital
│16” │ │
179 │Edward VI. 40” × 30” │ " │“
180 │Edward VI. Dated 1547. 28”│ " │Duke of Manchester
│× 21” │ │
181 │Thomas, Lord Seymour of │ Hans │Marquis of Bath
│Sudeley, K.G. 23” × 17” │ Holbein │
182 │Sir Thomas Wyat the │ Unknown │Earl of Romney
│Younger. Circular, 15” │ │
│diam. │ │
187 │Edward VI. Canvas, 26” × │ " │King’s College, Cambridge
│21” │ │
192 │Edward VI presenting │ Hans │Bridewell Hospital
│Charters. Canvas, 106” × │ Holbein │
│115” │ │
202 │Stephen Gardiner, Bishop │ " │Lord Taunton
│of Winchester. 13” × 10” │ │
208 │Princess Mary Tudor, │ " │Marquis of Exeter, K.G.
│afterwards Queen Mary. │ │
│Dated at back 1544. 12” × │ │
│9” │ │
236 │Margaret Douglas, Countess│ " │Her Majesty (Hampton
│of Lennox. Dated 1572. 92”│ │Court)
│× 54” │ │
247 │Queen Elizabeth. Aged 16. │ " │Her Majesty (St. James’s
│42” × 31” │ │Palace)
302 │Ambrose Dudley, Earl of │ " │Marquis of Salisbury, K.G.
│Warwick. 37” × 28” │ │
364 │Sir William Harris. Dated │ Gerard │Rev. J. M. St. Clere
│1596. 34” × 28” │ Lucas │Raymond
│ │ Horebout │
371 │Sir John Spencer. Dated │G. Stretes│Earl Spencer, K.G.
│1590. Canvas, 35” × 28” │ │
373 │Admiral Sir John Wallop, │ Hans │Earl of Portsmouth
│K.G. 24” × 17” │ Holbein │
374 │Lady Harris. 34” × 27” │ Gerard │Rev. J. M. St. Clere
│ │ Lucas │Raymond
│ │ Horebout │
VI. THIRD AND CONCLUDING EXHIBITION OF NATIONAL PORTRAITS ON LOAN TO THE
SOUTH KENSINGTON MUSEUM, APRIL 1868
625 │Sir Brian Tuke, Kt. 19” × │ Hans │Marquis of Westminster
│15” │ Holbein │K.G.
626 │Henry Howard, Earl of │ Ascribed │Lord Taunton
│Surrey, and a Lady, │to Holbein│
│supposed to be the Fair │ │
│Geraldine. 6½” × 4½” │ │
627 │Edward Seymour, Duke of │ Hans │Duke of Northumberland
│Somerset, K.G. 8½” × 7 │ Holbein │
628 │John Reskimer. 18” × 13” │ “ │Her Majesty (Hampton
│ │ │Court)
629 │William West, Lord │ “ │R. S. Holford, Esq., M.P.
│Delawarr. 52” × 31” │ │
639 │Queen Katherine Parr. 14” │ Ascribed │Sir G. R. Osborn, Bt.
│× 10” │ to │
│ │ Amberger │
651 │Edward VI. Aged 2. 52” × │ Hans │Duke of Northumberland
│30” │ Holbein │
655 │Sir John Bourchier, 2nd │ “ │Lord Berners
│Baron Berners. 24” × 20” │ │
656 │John Stokesley, Bishop of │ “ │Her Majesty (Windsor
│London, 20” × 15” │ │Castle)
657 │Edward VI. 51” × 32” │ “ │Sir G. R. Osborn, Bt.
659 │Lady Guildeford. Dated │ “ │Thomas Frewen, Esq.
│1527. 34” × 27” │ │
VII. ROYAL ACADEMY OF ARTS: WINTER EXHIBITIONS OF WORKS BY THE OLD
MASTERS, 1870-1912
=1870=│ │ │
23 │The First Lord De la Warr.│ Hans │R. S. Holford, Esq.
│Panel, 52” × 30½” │ Holbein │
108 │Portrait, with a │ “ │Her Majesty (Windsor
│Manuscript. Panel, 24” × │ │Castle)
│18” │ │
111 │Portrait of John, Elector │ “ │R. S. Holford, Esq.
│of Saxony. Panel, 24” × │ │
│18½” │ │
120 │Portrait of Sir Thomas │ “ │Henry Huth, Esq.
│More. Panel, 29” × 23½” │ │
147 │Portrait of Edward VI. │ “ │Duke of Northumberland
│Panel, 51” × 29” │ │
152 │Portrait of a Youth. │ “ │Her Majesty (Windsor
│Panel, 23½” × 17½” │ │Castle)
=1871=│ │ │
153 │Portrait of Thomas Howard,│ “ │“
│3rd Duke of Norfolk. │ │
│Panel, 31” × 24” │ │
292 │Portrait of Geronimo │ “ │J. H. Anderdon, Esq.
│Deodati, murdered at │ │
│Antwerp 1551. Panel, 12” ×│ │
│8½” │ │
296 │Portrait of Francis I. │ “ │Earl of Dudley
│Panel, 28” × 23” │ │
=1872=│ │ │
52 │A Portrait of a Man. │ “ │J. E. Millais, Esq., R.A.
│Panel, 20” × 15” │ │
66 │Portrait of Lady Heneage, │ “ │J. C. Hanford, Esq.
│Cousin of Ann Boleyn. │ │
│Panel, 16½” × 13” │ │
82 │Portrait of Warham, │ “ │Archbishop of Canterbury
│Archbishop of Canterbury. │ │
│Panel, 32” × 25¼” │ │
94 │Portrait of Sir William │ “ │W. H. Pole-Carew, Esq.
│Butts, Kt., principal │ │
│Physician to Henry VIII. │ │
│Panel, 18” × 14¼” │ │
96 │Portrait of Lady Butts. │ “ │“
│Panel, 18” × 14¼” │ │
138 │Portrait of Sir Henry │ “ │Her Majesty (Windsor
│Guildford, K.G., Master of│ │Castle)
│the Horse to Henry VIII. │ │
│Panel, 32” × 26” │ │
213 │Portrait of John │ “ │Her Majesty (Hampton
│Reskimeer, a Cornish │ │Court)
│Gentleman. Panel, 17½” × │ │
│12¼” │ │
214 │Portrait of Dr. Thomas │ “ │W. Fuller Maitland, Esq.
│Linacre, Physician to │ │
│Henry VII and Henry VIII. │ │
│Founded the College of │ │
│Physicians, and was its │ │
│First President. Panel, │ │
│10⅞” × 8½” │ │
225 │“Noli Me Tangere.” Panel, │ “ │Her Majesty (Hampton
│29½” × 36¾” │ │Court)
=1873=│ │ │
114 │The Two Ambassadors. │ Hans │The Earl of Radnor
│Panel, 81” × 83” │ Holbein │
175 │Ægidius, the Friend of │ “ │“
│Erasmus. Panel, 29” × 20” │ │
178 │Portrait of Erasmus, │ “ │“
│signed “Johannes Holbein, │ │
│1523.” Panel, 29” × 20” │ │
198 │Portrait of a Young Man in│ “ │George P. Boyce, Esq.
│a Green Striped Dress. │ │
│Panel, 17½” × 13” │ │
=1875=│ │ │
167 │William Tell, an imaginary│ “ │Sir W. Miles, Bt.
│Portrait. Panel, 31” × 27”│ │
=1876=│ │ │
66 │Portrait of Mary Queen of │ Lucas │Earl of Radnor
│Scots. Panel, 39” × 30” │ d’Heere │
173 │Portrait of the Three │ Mabuse │“
│Children of Christian II │ │
│of Denmark. Panel, 14” × │ │
│18½” │ │
=1877=│ │ │
146 │Portrait of Anne Roper │ Hans │Lord Methuen
│(also thought to be a │ Holbein │
│portrait of Margaret, │ │
│Countess of Richmond and │ │
│Derby, mother of Henry │ │
│VII, by Mabuse). Panel, │ │
│14” × 10” │ │
171 │Portrait of Queen Mary. │ Lucas │Society of Antiquaries
│Signed and dated 1554. │ d’Heere │
│Panel, 41” × 31” │ │
184 │Portrait of King Edward │ Hans │W. More Molyneux, Esq.
│VI. Panel, 27½” × 20” │ Holbein │
232 │Portrait of a Gentleman, │ “ │Sir John Neeld, Bt.
│aged 48. Dated 1547. │ │
│Panel, 31” × 25” │ │
249 │Portrait of King Henry │ “ │St. Bartholomew’s Hospital
│VIII. Canvas, 46” × 37” │ │
=1878=│ │ │
217 │The Wheel of Fortune. │ Hans │Duke of Devonshire, K.G.
│Dated 1533. Distemper on │ Holbein │
│canvas. 28” × 18¾” │ │
224 │Portrait of Geronimo │ “ │J. H. Anderdon, Esq.
│Deodati. Panel, 12½” × 8½”│ │
=1879=│ │ │
212 │Portrait of Queen Mary. │Attributed│Lord Chesham
│Panel, 8” × 6” │ to Hans │
│ │ Holbein │
Case │Queen Katherine of Aragon.│ Unknown │Duke of Buccleuch, K.G.
F. 1 │Miniature │ │
“ 2 │Edward VI. Miniature │ From a │“
│ │picture by│
│ │ Holbein │
“ 5 │Queen Katherine of Aragon.│ Holbein │“
│Miniature │ │
“ 8 │Queen Elizabeth. Miniature│ John │“
│ │ Bettes │
“ 9 │Edward VI as a Boy. │ Hans │“
│Miniature │ Holbein │
Case │Henry VIII. Miniature │ Unknown │Duke of Buccleuch, K.G.
F. 10 │ │ │
“ 11 │Henry VII. Miniature │ “ │“
“ 12 │Henry VII. Miniature │ “ │“
“ 13 │Queen Katherine of Aragon.│ “ │“
│Miniature │ │
“ 14 │Queen Mary. Miniature │ Sir │“
│ │ Antonio │
│ │ More │
“ 15 │Henry VIII. Miniature │ Hans │“
│ │ Holbein │
“ 16 │Edward VI. Miniature │ Unknown │“
“ 20 │Queen Catherine Howard. │ “ │“
│Miniature │ │
“ 21 │Queen Katherine of Aragon │ “ │“
│holding a Monkey. │ │
│Miniature │ │
“ 22 │Queen Catherine Howard. │ After │“
│Miniature │ Holbein │
“ 25 │Portrait of the Painter. │ Hans │“
│Signed “H. H., 1543, │ Holbein │
│_ætat._ 45.” Miniature │ │
“ 27 │Henry VIII. Miniature │ From a │“
│ │picture by│
│ │ Holbein │
“ 28 │Queen Katherine of Aragon.│ Hans │“
│Miniature │ Holbein │
“ 29 │Hans Holbein. Miniature │ Unknown │“
“ 30 │Edward VI. Miniature │ “ │“
Case │Catherine Howard. │ Hans │Her Majesty
I. 3 │Miniature │ Holbein │
“ 4 │Henry Grey, Duke of │ “ │“
│Suffolk. Miniature │ │
“ 5 │Charles Brandon, Duke of │ “ │“
│Suffolk. Miniature │ │
Case │Sir Thomas More. Miniature│ After │Duke of Buccleuch, K.G.
L. 4 │ │ Holbein │
218 │Head of a Man, perhaps │ Hans │Duke of Devonshire, K.G.
│Francis North, Earl of │ Holbein │
│Guildford. Drawing signed │ │
│“H. H.” │ │
219 │A Theological or Legal │ “ │Edward J. Poynter, Esq.,
│Discussion. Eng. by Tobias│ │R.A.
│Stimmer. Drawing │ │
231 │Full-length Figures of │ “ │Marquis of Hartington,
│Henry VII and Henry VIII. │ │M.P.
│Cartoon │ │
217, │The Windsor “Heads” │ │Her Majesty
200-21,│" │ " │
223-30,│" │ " │
232-45│" │ " │
=1880=│ │ │
147 │Head of an Old Man. Panel,│ “ │Duke of Devonshire, K.G.
│13½” × 10” │ │
149 │Portrait of Lady Vaux. │ “ │Her Majesty (Hampton
│Panel, 14½” × 11” │ │Court)
150 │Portrait of a Man. Panel, │ “ │Duke of Devonshire, K.G.
│14” × 9” │ │
152 │Portrait of Henry Howard, │ “ │Charles Butler, Esq.
│Earl of Surrey. Dated │ │
│1534. Panel, 15½” × 11” │ │
155 │Portrait of Henry Grey, │School of │G. P. Boyce, Esq.
│Duke of Suffolk. Panel, │ Holbein │
│13½” × 10½” │ │
157 │Portrait of Lady Heneage. │ Hans │G. C. Handford, Esq.
│Panel, 16” × 11” │ Holbein │
161 │Portrait of Henry VIII. │ “ │Duke of Devonshire, K.G.
│Panel, 16½” × 12½” │ │
162 │Portrait of a Child. │ “ │Sir Henry Ainslie Hoare
│Panel, 8” × 6” │ │
163 │Portrait of Edward VI when│ “ │Duke of Northumberland
│Prince of Wales │ │
165 │Sir Thomas Gresham. Panel,│School of │The Gresham Committee
│71” × 42” │ Holbein │
167 │Portrait of William West, │ Hans │R. S. Holford, Esq.
│First Lord Delawarr. │ Holbein │
│Panel, 52” × 31” │ │
168 │Portrait of a German Lady.│ “ │Earl Spencer
│Panel, 23” × 19” │ │
169 │The Wheel of Fortune. │ “ │Duke of Devonshire, K.G.
│Distemper on canvas, 27” ×│ │
│18”. Dated 1533 │ │
170 │Portrait of a Man. Panel, │ “ │J. E. Millais, Esq., R.A.
│20” × 14½” │ │
171 │Portrait of Lady │ “ │Edward Frewen, Esq.
│Guildford. (Inscribed │ │
│“Anno 1527. Ætatis Suae │ │
│27.”) Panel, 32” × 26” │ │
172 │Portrait of Derek Berck. │ “ │Lord Leconfield
│Panel, 20” × 16” │ │
173 │Portrait of Thomas Howard,│Attributed│Duke of Norfolk
│3rd Duke of Norfolk. │to Holbein│
│Panel, 30” × 23” │ │
174 │Portrait of Sir Henry │ Hans │Her Majesty (Windsor
│Guildford. Panel, 32” × │ Holbein │Castle)
│26” │ │
175 │Sir W. Butts. Panel, 18” ×│ “ │W. H. Pole-Carew, Esq.
│14” │ │
176 │Portrait of Clement Newce,│School of │W. M. Martin-Edmunds, Esq.
│Esq., of Much Hadham. │ Holbein │
│Panel, 32” × 26”. Dated │ │
│1559. │ │
177 │Portrait of Christina of │ Hans │Duke of Norfolk
│Denmark, Duchess of Milan │ Holbein │
178 │Portrait of Lady Butts. │ “ │W. H. Pole-Carew, Esq.
│Panel, 18” × 14” │ │
179 │Portrait of W. Warham, │ “ │Archbishop of Canterbury
│Archbishop of Canterbury. │ │
│Panel, 32” × 26” │ │
180 │Portrait of Thomas Howard,│ “ │Her Majesty (Windsor
│Third Duke of Norfolk. │ │Castle)
│Panel, 31” × 24” │ │
181 │Portrait of John, Elector │ “ │R. S. Holford, Esq.
│of Saxony. Panel, 25” × │ │
│28½” │ │
182 │Portrait of Sir John More.│ “ │Earl of Pembroke
│Panel, 29” × 24” │ │
183 │Portrait of a Merchant of │ “ │Her Majesty (Windsor
│the Stahlhof or Steelyard.│ │Castle)
│Panel, 23½” × 18” │ │
184 │Portrait of a Young Man. │ “ │G. P. Boyce, Esq.
│Panel, 17” × 13” │ │
185 │Portrait of John Reskimer.│ Hans │Her Majesty (Hampton
│Panel, 17” × 12½” │ Holbein │Court)
186 │Portrait of a Gentleman. │School of │Duke of Buccleuch, K.G.
│Panel, 13” × 11” │ Holbein │
187 │“Noli Me Tangere.” Panel, │ Hans │Her Majesty (Hampton
│29½” × 37” │ Holbein │Court)
188 │Sir Bryan Tuke. Panel, │ “ │Marchioness of Westminster
│18½” × 14½” │ │
190 │Portrait of Anton Fugger │ “ │Francis Cook, Esq.
│of Augsburg. Panel, 14½” ×│ │
│11” │ │
191 │Portrait of John Herbster.│ “ │Earl of Northbrook
│Panel, 16” × 11” │ │
192 │Portrait of Sir Nicholas │ “ │Duke of Buccleuch, K.G.
│Carew. Panel, 36” × 40” │ │
195 │Portrait of the Princess │ “ │Her Majesty (St. James’s
│(afterwards Queen) │ │Palace)
│Elizabeth. Panel, 42” × │ │
│31½” │ │
198 │Portrait of a Young Man. │ “ │Duke of Marlborough
│Panel, 17” × 13” │ │
203 │William Tell (an imaginary│ “ │Sir P. Myles
│portrait). Panel, 31” × │ │
│26” │ │
204 │Thomas Cromwell, Earl of │ “ │Duke of Devonshire, K.G.
│Essex, Panel, 6” × 5” │ │
205 │Portrait of Thomas Howard,│ “ │“
│Duke of Norfolk. Panel, 6”│ │
│× 5” │ │
237 │Portrait of Edward VI on │ “ │Duke of Buccleuch, K.G.
│horseback. Canvas, 66” × │ │
│59” │ │
=1881=│ │ │
194 │Portrait of Sir Thomas │ “ │Mrs. Henry Huth
│More. Panel, 29” × 23½” │ │
201 │Portrait of a Lady. Panel,│ “ │Mrs. Herbert Blackburne
│14½” × 10” │ │
=1882=│ │ │
198 │Christ Mocked. Panel, 30” │ Holbein │C. Magniac, Esq., M.P.
│× 24” │ (?) │
216 │Portrait of a Lady. Panel,│ Hans │Mrs. Charles Fox
│7” × 6¼” │ Holbein │
222 │Portrait of Thomas │ “ │Countess of Caledon
│Cromwell, Earl of Essex. │ │
│Panel, 30” × 24½” │ │
=1884=│ │ │
288 │The Banker. Panel, 25” × │ “ │Marquis of Lansdowne
│19” │ │
=1886=│ │ │
184 │Portrait of Henry VIII. │ “ │H. R. Hughes, Esq.
│Panel, 34½” × 25” │ │
=1887=│ │ │
157 │Portrait of one of the │School of │Marquis of Bath
│Children of Sir John │ Holbein │
│Thynne. Dated 1582. Panel,│ │
│33” × 26” │ │
166 │Portrait of one of the │ “ │“
│Children of Sir John │ │
│Thynne. Dated 1574. Size │ │
│not given │ │
172 │Sir Thomas More as a Young│ Hans │Ralph Bankes, Esq.
│Man. Panel, 13¼” × 12” │ Holbein │
=1893=│ │ │
166 │Portrait of a Man. Panel, │School of │Captain G. L. Holford
│17” x 15” │ Holbein │
176 │Portrait of Sir Thomas │ “ │The Gresham Committee
│Gresham. 71” x 42” │ │
=1894=│ │ │
175 │Portrait of a Gentleman. │ Hans │Mrs. Percy Macquoid
│Panel, 14” x 11” │ Holbein │
=1895=│ │ │
175 │Portrait of a Banker. │School of │Charles L. Eastlake, Esq.
│Panel, 12” x 9” │ Holbein │
178 │The Death of the Virgin in│ Hans │Dr. J. P. Richter the
│the Presence of the │ Holbein │Elder
│Apostles. Panel, 65” x 59”│ │
D. 24 │Design for a Painted Glass│ Hans │Sir J. C. Robinson
│Panel, supposed to │ Holbein │
│represent a Meeting of the│ │
│Early Swiss Reformers. │ │
│Dated 1522. │ │
Case G│Pendant, known as the │ — │Her Majesty
51 │“Holbein George.” Made for│ │
│Henry VIII │ │
=1896=│ │ │
138 │Portrait of Sir Thomas │ Hans │Edward Huth, Esq.
│More. Dated 1527. Panel, │ Holbein │
│29” x 23½” │ │
=1902=│ │ │
155 │Portrait of John Chamber, │ School │Merton College, Oxford
│M.D. Panel, 26” x 18½” │ofHolbein │
157 │Portrait of a Man. Panel, │ Hans │Right Hon. Lewis Fry
│18” x 15½” │ Holbein │
160 │Portrait of Edward VI. │Attributed│Sir J. C. Robinson, C.B.
│Panel, 37” x 30” │to William│
│ │ Stretes │
168 │Portrait of a Man. Dated │ Hans │Worcester College, Oxford
│1566. Panel, 9½” x 10” │ Holbein │
=1907=│ │ │
13 │Portrait of a Lady. Panel,│ “ │Major Charles Palmer
│16½” x 12½” │ │
=1908=│ │ │
2 │Portrait of William West, │ William │Major G. L. Holford
│1st Lord Delawarr. Panel, │ Stretes │
│52” x 31” │ │
4 │Portrait of Queen Mary │ Lucas │Sir W. Cuthbert Quilter,
│Tudor. Panel, 30” x 22½” │ d’Heere │Bt.
=1910=│ │ │
60 │Portrait of William, 1st │ Hans │Lord Gwydyr
│Lord Paget, K.G. Panel, │ Holbein │
│18½” x 13” │ │
106 │Portrait of Mrs. Anne │ “ │Lord Methuen
│Roper. Panel, 14” x 10”. │ │
│(This picture has also │ │
│been thought to be a │ │
│portrait by Mabuse of │ │
│Margaret, Countess of │ │
│Richmond and Derby, mother│ │
│of Henry VII) │ │
=1912=│ │ │
45 │Portrait of Alderman │School of │Lord De Saumarez
│Robert Trappes. Dated │ Holbein │
│1554. Panel, 23½” x 19½” │ │
VIII. GROSVENOR GALLERY, WINTER EXHIBITION OF DRAWINGS BY THE OLD
MASTERS, 1878-9
562 │Saturn. Pen drawing │ Hans │Christ Church College,
│ │ Holbein │Oxford
563 │Study of a Pilgrim. Pen │ “ │John Malcolm, Esq.
│and bistre, touched with │ │
│red chalk │ │
564 │Portrait of a Man. │ Ascribed │“
│Silver-point, touched with│to Holbein│
│red chalk │ │
565 │A Figure of a Wild Man. │ Hans │“
│Pen, shaded with │ Holbein │
│Indian-ink and colour │ │
566 │Design for a Lamp. Pen and│ “ │Christ Church College,
│bistre │ │Oxford
567 │Two Whole-length Figures │ “ │John Malcolm, Esq.
│of Ladies. Indian-ink │ │
│touched with colour │ │
568 │Portrait Head, in profile,│ “ │“
│of a Young Man wearing a │ │
│Cap. Silver-point │ │
579 │Pieta. Probably a design │ “ │Alfred Seymour, Esq.
│for a tomb. Pen and bistre│ │
580 │A Man seated at a Table, │ “ │Christ Church College,
│with back to spectator. │ │Oxford
│Pen and bistre │ │
581 │Design for a Dagger │ “ │Earl of Warwick
│Sheath, representing a │ │
│Battle. Pen-and-wash │ │
IX. EXHIBITION OF THE ROYAL HOUSE OF TUDOR, NEW GALLERY, 1890
5 │Mary Tudor, Dowager Queen │ Johannes │Mrs. Dent of Sudeley Corvus
│ of France. Panel, 22½” x │ │
│ 18” │ │
7 │Sir Henry Wyat in Prison, │ Unknown │Earl of Romney
│ and the Cat bringing him │ │
│ a Pigeon. Canvas, 29” x │ │
│ 24” │ │
17 │Sir Henry Wyat. Panel, 15” │ “ │“
│ x 12” │ │
19 │The Three Children of Henry│ Jan de │Mrs. Dent of Sudeley
│ VII. Panel, 13” x 18” │ Mabuse │
21 │The Cat that fed Sir Henry │ Unknown │Earl of Romney
│ Wyat. Panel, 15” x 11½” │ │
30 │Arthur, Prince of Wales. │ “ │Her Majesty (Windsor
│ Panel, 14¾” x 10¾ │ │Castle)
38 │Charles Brandon, Duke of │ Hans │Lord Donington
│ Suffolk, K.G. Panel, 34” │ Holbein │
│ x 27” │ │
39 │Thomas Cromwell, Earl of │ “ │Duke of Sutherland, K.G.
│ Essex. Panel, 20” x 17” │ │
41 │Thomas Howard, 3rd Duke of │ “ │Duke of Norfolk, K.G.
│ Norfolk, K.G. Panel, 30” │ │
│ x 23” │ │
42 │Cartoon of Henry VII and │ “ │Marquis of Hartington, M.P.
│ Henry VIII. 103” x 54” │ │
43 │Queen Katherine of Aragon. │ Unknown │Merton College, Oxford
│ Panel, 23” × 17” │ │
44 │Queen Jane Seymour. Panel, │ “ │Lord Sackville
│ 24” × 18” │ │
45 │John, 2nd Lord Braye (d. │ Hans │Lord Braye
│ 1557). Panel, 40” × 32” │ Holbein │
46 │Gertrude, Lady Petre (d. │ “ │Right Rev. Monsignor Lord
│ 1541) │ │Petre
47 │Embarkation of Henry VIII │ Vincent │F. J. Thynne, Esq.
│ from Dover, 31st May │ Volpe │
│ 1520. Canvas, 121” × 63½”│ │
49 │Henry VIII. Dated 1544. │Attributed│St. Bartholomew’s Hospital
│ Canvas, 47” × 38” │ to Hans │
│ │ Holbein │
50 │Sir Anthony Browne, K.G. │ Unknown │Lord Vaux of Harrowden
│ (d. 1548). Canvas, 37” × │ │
│ 30” │ │
51 │Henry Howard, Earl of │ Guillim │Duke of Norfolk, K.G.
│ Surrey. │ Stretes │
52 │Hans Holbein. Canvas, 20½” │ Hans │Her Majesty (Windsor
│ × 18½” │ Holbein │Castle)
53 │Elizabeth Schmid, wife of │ “ │“
│ Hans Holbein │ │
54 │Charles Brandon, Duke of │ “ │W. Holman Hunt, Esq.
│ Suffolk, K.G. Panel, 8” ×│ │
│ 6½” │ │
55 │Henry VIII. Panel, 38” × │ “ │Earl of Yarborough
│ 29” │ │
57 │Meeting of Henry VIII and │ Unknown │Her Majesty (Hampton Court)
│ Francis I at Field of │ │
│ Cloth of Gold. Canvas, │ │
│ 66” × 159” │ │
59 │Henry VIII. Panel, 36” × │ Hans │Henry Willett, Esq.
│ 30” │ Holbein │
61 │Cardinal Fisher, Bishop of │ Unknown │Hon. H. Tyrwhitt-Wilson
│ Rochester Panel, 21½” × │ │
│ 16½” │ │
62 │Portrait of a Man. Panel, │School of │Charles Eastlake, Esq.
│ 23” × 15” │ Hans │
│ │ Holbein │
65 │Queen Katherine Parr. │ Unknown │Earl of Ashburnham.
│ Panel, 25½” × 20½” │ │
67 │Portrait of a Man. Panel, │ Hans │Sir J. E. Millais, Bt.,
│ 20” × 14½” │ Holbein │R.A.
69 │Edward Stafford, Duke of │ “ │Sir Henry Bedingfeld, Bt.
│ Buckingham, K.G. Panel, │ │
│ 19½” × 13½” │ │
70 │Sir John More. Panel, 33” ×│ “ │William Seward, Esq.
│ 26” │ │
71 │Queen Jane Seymour. Panel, │ Unknown │Society of Antiquaries.
│ 16½” × 14” │ │
72 │John Reskemeer of Cornwall.│ Hans │Her Majesty (Hampton Court)
│ Panel, 17½” × 12½” │ Holbein │
73 │Henry Howard, Earl of │ Unknown │“
│ Surrey. Panel, 75” × 40½”│ │
74 │Henry VIII. Panel, 17” × │ “ │Charles Butler, Esq.
│ 13” │ │
75 │Charles Brandon, Duke of │ “ │Duke of Sutherland, K.G.
│ Suffolk, K.G. Panel, 24” │ │
│ × 18” │ │
76 │Lady Butts. 35” × 26½” │ Hans │William Seward, Esq.
│ │ Holbein │
77 │Thomas Wriothesley, 1st │ “ │Major-General F. E. Sotheby
│ Earl of Southampton. │ │
│ Dated 1545. Panel, 24” × │ │
│ 18” │ │
79 │Sir Nicholas Poyntz, Kt. │ “ │Marquis of Bristol
│ Dated 1535. Panel, 24” × │ │
│ 17” │ │
80 │Queen Jane Seymour. Panel, │ Unknown │Marquis of Hertford
│ 21” × 13½” │ │
81 │Queen Anne Boleyn. Canvas, │ “ │Earl of Warwick
│ 14” × 12” │ │
82 │Portrait of a Man. Panel, │ Hans │Duke of Devonshire, K.G.
│ 14” × 9” │ Holbein │
83 │Mary Tudor, Dowager Queen │ “ │Earl Brownlow
│ of France. Panel, 7” × 6”│ │
84 │Henry Howard, Earl of │ “ │Charles Butler, Esq.
│ Surrey. Dated 1534. │ │
│ Panel, 15½” × 11” │ │
85 │Erasmus. Panel, 20” × 12” │ Lucas │Mrs. Du Buisson
│ │ Cranach │
86 │Hugo Price, LL.D., Founder │ Hans │Jesus College, Oxford
│ of Jesus College, Oxford.│ Holbein │
│ Panel, 18½” × 13” │ │
88 │Sir Anthony Denny, Kt. │ Unknown │Sir Henry Bedingfeld, Bt.
│ Panel, 15½” × 11½” │ │
89 │Portrait of a Gentleman. │Attributed│Henry Reeve, Esq., C.B.
│ Dated 1555. Panel, 25½” ×│ to Hans │
│ 20½” │ Holbein │
90 │Sir Henry Guldeford, K.G. │ Hans │Her Majesty (Windsor
│ Panel, 32” × 25½” │ Holbein │Castle)
91 │Thomas Howard, 3rd Duke of │ “ │“
│ Norfolk. Panel, 30” × 24”│ │
92 │Christina, Duchess of │ “ │Duke of Norfolk, K.G.
│ Milan. Panel, 70” × 32” │ │
93 │Charles Brandon, Duke of │ Unknown │C. W. Chute, Esq.
│ Suffolk, K.G. Panel, 34” │ │
│ × 27” │ │
94 │Sir Thomas More. Panel, 29”│ Hans │Edward Huth, Esq.
│ × 23½” │ Holbein │
95 │Sir John Cheke, Kt. Panel, │ “ │Duke of Manchester, K.P.
│ 13” × 9½” │ │
96 │William, Lord Paget, K.G. │ “ │“
│ Panel, 13” × 9½” │ │
97 │Henry VIII. Panel, 35” × │ “ │“
│ 25” │ │
98 │Katherine of Aragon. Panel,│ “ │“
│ 13” × 9½” │ │
99 │Portrait of a Spanish │ “ │“
│ Nobleman. Panel, 13½” × │ │
│ 10½” │ │
100 │Sir John More. Panel, 29” ×│ “ │Earl of Pembroke
│ 24” │ │
101 │Henry VIII and his Family. │ Guillim │Her Majesty (Hampton Court)
│ Canvas, 66” × 138” │ Stretes │
│ │ (?) │
102 │Queen Anne Boleyn. Panel, │ After │G. Milner-Gibson-Cullum,
│ 9” × 7” │ Vercolie │Esq.
104 │Queen Katherine Parr. │ “ │“
│ Panel, 9” × 7” │ │
106 │Queen Katherine Parr. │ Hans │Richard Booth, Esq.
│ Canvas, 72” × 42” │ Holbein │
107 │William Warham, Archbishop │ “ │Viscount Dillon
│ of Canterbury. Dated │ │
│ 1527. Panel, 32½” × 26” │ │
108 │Queen Anne of Cleves. │ “ │Miss Morrison
│ Panel, 28” × 21” │ │
109 │Cardinal Wolsey. Panel, 21”│ “ │T. L. Thurlow, Esq.
│ × 17” │ │
110 │Henry VIII. Panel, 13½” × │ Unknown │Sir Henry Bedingfeld, Bt.
│ 11½” │ │
111 │Queen Katherine Parr. │ Unknown │Marquis of Hertford
│ Panel, 17½” × 13” │ │
112 │Erasmus. Parchment (?). │ Hans │Her Majesty (Hampton Court)
│ 21½” × 12½” │ Holbein │
113 │Sir Thomas le Strange, Kt. │ “ │Hamon le Strange, Esq.
│ Dated 1536. Panel, 15” × │ │
│ 10½” │ │
114 │Charles Brandon, Duke of │ “ │Earl Brownlow
│ Suffolk, K.G. Panel, 7” ×│ │
│ 6” │ │
115 │Erasmus. Panel, 11” × 7” │ “ │Earl of Portarlington
116 │Mary Boleyn, Lady Carey. │ Unknown │Earl of Warwick
│ Canvas 14” × 12” │ │
117 │Queen Jane Seymour. Panel, │ “ │Sir Rainald Knightley, Bt.,
│ 10” × 8” │ │M.P.
120 │Henry VIII “with Scroll.” │ Paris │Merchant Taylors’ Company
│ Panel, 29” × 22” │ Bordone │
122 │Queen Anne Boleyn. Panel, │ Lucas │Earl of Romney
│ circular, 10” │Cornelisz │
125 │Portrait of an Englishman. │ Hans │G. P. Boyce, Esq.
│ Panel, 17¼” × 13” │ Holbein │
126 │Henry VIII. Panel, 36” × │ “ │Earl of Warwick
│ 25” │ │
127 │Sir Thomas More. No │ “ │T. L. Thurlow, Esq.
│ measurements given │ │
128 │Henry VIII. Panel, 88” × │ “ │Trinity College, Cambridge
│ 48” │ │
129 │Nicholas Kratzer. Panel, │ “ │Viscount Galway
│ 34” × 26½” │ │
130 │Portrait of a Man. Panel, │School of │Duke of Manchester K.P.,
│ 10½” × 8” │ Holbein │
131 │Sir Thomas Wyat, Kt. Panel,│ Lucas │Earl of Romney
│ circular, 11½” │Cornelisz │
132 │Queen Anne Boleyn. Panel, │ Unknown │Mrs. S. S. Gwyllim
│ 8” × 6” │ │
133 │Queen Anne of Cleves. Dated│ Barth. │Henry Willett, Esq.
│ 1534. Panel, 15” × 11” │ Bruyn │
134 │John Frobenius. Canvas, 21”│ Unknown │Sir H. B. St. John Mildmay,
│ × 13” │ │Bt.
136 │Edward Stafford, 3rd Duke │ Hans │Lord Donington
│ of Buckingham, K.G. │ Holbein │
│ Panel, 22½” × 18” │ │
137 │Erasmus. Panel, 25½” × 21½”│ Unknown │Charles Butler, Esq.
138 │Cardinal Fisher, Bishop of │ Hans │St. John’s College,
│ Rochester. Panel, 28” × │ Holbein │Cambridge
│ 24” │ │
139 │Margaret Roper. Panel, 34” │Attributed│F. L. Devitt, Esq.
│ × 2” (?) │to Sir A. │
│ │ More │
140 │Queen Anne Boleyn. Panel, │ Hans │Earl of Denbigh
│ 11” × 8½” │ Holbein │
141 │Queen Jane Seymour. Panel, │ Unknown │Duke of Northumberland,
│ 14” × 11” │ │K.G.
142 │Henry VIII. Panel, 38½” × │ Hans │Hon. H. Tyrwhitt-Wilson
│ 29” │ Holbein │
145 │Henry VIII, Anne Boleyn, │ Unknown │Major-General F. E.Sotheby
│ and Others. “The Dancing │ │
│ Picture.” Panel, 52” × │ │
│ 42” │ │
146 │Sir Henry Guideford, K.G. │ “ │Hon. H. Tyrwhitt-Wilson
│ Panel, 25½” × 20½” │ │
147 │Sir William Petre, Kt. │ Hans │Right Rev. Monsignor Lord
│ Dated 1545. No │ Holbein │Petre
│ measurements given. │ │
148 │Henry VIII. Panel, 24” × │ “ │“
│ 22” │ │
149 │Henry VIII. Panel, 33” × │ “ │T. L. Thurlow, Esq.
│ 25” │ │
150 │Sir Thomas More and his │ “ │Sir Henry Vane, Bt.
│ Father, Dated 1530. │ │
│ Canvas, 55” × 45” │ │
151 │Henry VIII. Dated 1547. │ Unknown │Viscount Galway
│ Panel, 35” × 27” │ │
152 │Henry VIII granting the │ Hans │Barber-Surgeons’ Company
│ Charter to the │ Holbein │
│ Barber-Surgeons’ Company.│ │
│ Panel, 122” × 71” │ │
153 │Francis, Prince of Thurn │ “ │Baroness Burdett-Coutts
│ and Taxis. Dated 1514. │ │
│ Panel, 21½” × 18” │ │
155 │Henry VIII. Panel, 30” × │ Unknown │Christ Church, Oxford
│ 24” │ │
157 │Henry VIII. Panel, 33½” × │ “ │Governors of Bridewell
│ 27” │ │Hospital
158 │Henry VIII. and his Family.│ Sir A. │Mrs. Dent of Sudeley
│ Panel, 51” × 71” │ More │
160 │Thomas Cromwell, Earl of │ Unknown │Corpus Christi College,
│ Essex, K.G. Panel, 22½” ×│ │Cambridge
│ 17” │ │
161 │Sir Thomas More. Panel, │ “ │Baroness Burdett-Coutts
│ 17½” × 13½” │ │
162 │Thomas Cromwell. Panel, 18”│ “ │Charles Penruddocke, Esq.
│ × 16” │ │
163 │Thomas Cromwell. 14” × 11½”│ Hans │Duke of Manchester, K.P.
│ │ Holbein │
164 │Charles Brandon. Panel, │ Unknown │Sir Henry Bedingfeld, Bt.
│ 12½” × 8” │ │
165 │Portrait of a Gentleman. │ Hans │Right Rev. Monsignor Lord
│ Panel, 18” × 13½” │ Holbein │Petre
167 │Margaret Tudor, Queen of │ Unknown │Charles Butler, Esq.
│ Scotland. Panel, 16½” × │ │
│ 12” │ │
168 │Queen Katherine Parr. │ Hans │Earl of Denbigh
│ Canvas, 70” × 50” │ Holbein │
169 │Sir Thomas Wyat the Elder. │ Unknown │Bodleian Library, Oxford
│ Panel, 17½” × 13” │ │
170 │Elizabeth, wife of Lord │ Hans │Her Majesty (Hampton Court)
│ Vaux. Panel, 14½” × 11” │ Holbein │
171 │Head of an Old Man. Panel, │ “ │Duke of Devonshire, K.G.
│ 13½” × 10” │ │
172 │Henry Grey, 3rd Marquis of │School of │G. P. Boyce, Esq.
│ Dorset. Panel, 15¾” × 11”│ Holbein │
173 │Henry VIII. Circular panel,│ Hans │Duke of Sutherland, K.G.
│ 29” │ Holbein │
173*│Robert Cheseman. Dated │ “ │Rev. Charles Shepherd
│ 1533. Panel, 30” × 22” │ │
174 │Edward VI as a Child. │ “ │Earl of Yarborough
│ Panel, 22½” × 16½” │ │
175 │Edward VI, aged 10. Panel, │ Unknown │W. More Molyneux, Esq.
│ 27½” × 20” │ │
176 │Edward VI as a Boy. Canvas,│ F. │Sir P. Pauncefort Duncombe,
│ 19” × 15½” │ Zucchero │Bt.
178 │Edward VI. Panel, 21” × 15”│ Unknown │Lord Castletown
180 │Edward VI. Panel, 16½” × │ “ │Duke of Portland
│ 10” │ │
181 │Edward VI presenting the │ Guillim │Governors of Bridewell
│ Charter to Bridewell │ Stretes? │Hospital
│ (1553). Canvas, 115” × │ │
│ 108” │ │
182 │Edward VI. Panel, 24” × 22”│ Hans │Right Rev. Monsignor Lord
│ │ Holbein │Petre
183 │Edward VI. Panel, 28” × 21”│ Unknown │Duke of Manchester, K.P.
184 │Edward VI. Panel, 32½” × │ “ │T. L. Thurlow, Esq.
│ 21” │ │
186 │Edward VI. Panel, 17” × 15”│ Hans │A. H. Frere, Esq.
│ │ Holbein │
187 │Edward VI. Panel, 18” × 13”│ Unknown │Malcolm Wagner, Esq.
188 │Edward VI. Panel, 17½” × │ “ │“
│ 12” │ │
189 │Edward VI. as a Child. │ Hans │Duke of Northumberland,
│ Panel, 50” × 29” │ Holbein │K.G.
190 │Edward VI. Panel, 46” × 34”│ “ │Earl of Denbigh
196 │Edward Seymour, Duke of │ Unknown │Mrs. Dent of Sudeley
│ Somerset. Dated 1535. │ │
│ Panel, 35” × 26½” │ │
199 │Edward Seymour, Duke of │ Hans │Duke of Northumberland,
│ Somerset. Panel, 8½” × 7”│ Holbein │K.G.
200 │Queen Mary. Panel, 41½” × │ Unknown │Earl of Ashburnham
│ 31” │ │
203 │Queen Mary. Canvas, 93” × │After Sir │Her Majesty (St James’s
│ 57” │ A. More │Palace).
204 │Queen Mary. Panel, 19½” │ Sir A. │Dean and Chapter of Durham
│ │ More │
206 │Queen Mary. Dated 1554. │ Lucas │Society of Antiquaries
│ Panel, 40” × 30” │ d’Heere │
208 │Queen Mary. Panel, 22” × │ Unknown │Trinity College, Cambridge
│ 16½” │ │
211 │Henry Fitz-Alan, 23rd Earl │Cornelius │Duke of Norfolk, K.G.
│ of Arundel. Panel, 36” × │ Ketel │
│ 28” │ │
213 │Queen Mary. Circular panel.│ Unknown │Sir William Drake, Bt.
│ 6½” │ │
214 │Queen Mary. Dated 1546. │ “ │Lord de L’Isle and Dudley
│ Panel, 28” × 22” │ │
215 │Queen Mary. Dated 1556. │ “ │H. P. Spencer Lucy, Esq.
│ Panel, 20” × 16” │ │
217 │Sir Richard Southwell. Æt. │ “ │W. H. Romaine Walker, Esq.
│ 95. Panel, 29½” × 25” │ │
222 │Sir George Penruddocke. │ Lucas │Charles Penruddocke, Esq.
│ Panel, 104” × 66” │ d’Heere │
224 │Sir Thomas Wyat the │ Unknown │Earl of Romney
│ Younger. Panel, circular,│ │
│ 15” │ │
229 │Queen Mary. Panel, 18” × │ “ │Charles Butler, Esq.
│ 15” │ │
230 │Queen Mary. “Hungad │ Lucas │Mrs. Stopford Sackville
│ Petition.” Panel, 44” × │ d’Heere │
│ 35” │ │
233 │Queen Mary. Panel, 22½” × │ Sir A. │Lord Castletown
│ 16½” │ More │
235 │Queen Mary. Panel, 8” × 6½”│ Lucas │Colonel Wynne Finch
│ │ d’Heere │
240 │Queen Mary. Panel, 28½” × │ Sir A. │Earl of Carlisle
│ 22” │ More │
242 │Portrait of a Man. Panel, │ Hans │W. Castell Southwell, Esq.
│ 6” × 5” │ Holbein │
243 │Queen Mary as a Child. │ Unknown │Duke of Norfolk, K.G.
│ Panel, 19” × 13½” │ │
246 │Thomas Cranmer, Archbishop │ Hans │Jesus College, Cambridge
│ of Canterbury. Dated │ Holbein │
│ 1547. Panel, 17½” × 12” │ │
255 │Frances Brandon, Duchess of│ Lucas │Colonel Wynne Finch
│ Suffolk, and her Second │ d’Heere │
│ Husband, Adrian Stokes. │ │
│ Dated 1559. Panel, 19½” ×│ │
│ 27” │ │
292 │Margaret Audley, Second │ “ │Duke of Norfolk, K.G.
│ Wife of Thomas, 4th Duke │ │
│ of Norfolk. Dated 1565. │ │
│ Canvas, 38” × 29” │ │
348 │William Paulet, 1st Marquis│ Hans │Duke of Northumberland,
│ of Winchester, K.G. │ Holbein │K.G.
│ Panel, 15½” × 11½” │ │
357 │Thomas Howard, 4th Duke of │ Lucas │Duke of Norfolk, K.G.
│ Norfolk, K.G. Dated 1566.│ d’Heere │
│ Panel, 12” × 10” │ │
399 │Sir William Sidney, Kt. │ Hans │Lord de L’Isle and Dudley
│ Dated 1523. Panel, 47” × │ Holbein │
│ 37” │ │
428 │Henry VIII. Panel, 21½” × │ Unknown │T. M. Whitehead, Esq.
│ 16” │ │
429 │Henry VIII. Panel, 16” × │ “ │Duke of Devonshire, K.G.
│ 12” │ │
430 │Queen Jane Seymour. Panel, │ “ │Mrs. S. S. Gwyllim
│ 7” × 5½” │ │
431 │Edward VI. Copper, 7¾” × 6”│ “ │Hon. Mrs. Trollope
432 │Henry VIII. Panel, 26½” × │ “ │C. W. Chute, Esq.
│ 19½” │ │
435 │Henry VIII. Panel, 13” × │ “ │Marquis of Hertford
│ 10” │ │
438 │Edward VI. Panel, 10” × 8” │ “ │Sir Rainald Knightley, Bt.
442 │Henry VIII. Panel, 21” × │ “ │Sir G. D. Clerk, Bt.
│ 17” │ │
455 │Margaret Clifford, Countess│ Lucas │T. F. C. Vernon Wentworth,
│ of Derby. Æt. 49. Panel, │ d’Heere │Esq.
│ 38½” × 24” │ │
486 │Queen Mary. Canvas, 35” × │ Unknown │Christ Church, O×ford
│ 27” │ │
495 │The Windsor “Heads” │ Hans │Her Majesty (Windsor
to │ │ Holbein │Castle)
573 │ │ │
906 │Edward VI. Miniature in │Attributed│Granville E. Lloyd Baker,
│ wood │ to Hans │Esq., M.P.
│ │ Holbein │
907 │Henry VIII. Miniature in │ “ │“
│ wood │ │
1066│Henry VIII. Miniature (oil)│ Hans │Her Majesty (Windsor
│ │ Holbein │Castle)
1067│Queen Catherine Howard. │ “ │“
│ Miniature │ │
1070│A Man’s Head, unfinished. │ Ascribed │Right Hon. Sir Chas. Dilke,
│ Inscribed, “A.D. 1539. │ to Hans │Bt.
│ Ætat. 30” │ Holbein │
1071│Thomas Cromwell. Miniature │ Hans │Major-General F. E. Sotheby
│ │ Holbein │
1072│Thomas Cromwell. Miniature │ “ │Lord Willoughby de Eresby
1073│Henry VIII. Miniature │ Unknown │Albert Hartshorne, Esq.
1074│Henry VIII. Carving in │ Hans │Mrs. Dent of Sudeley
│ honestone │ Holbein │
1075│Henry VIII. Miniature │ Unknown │“
1076│Queen Katherine Parr. │ Hans │“
│ Miniature │ Holbein │
1077│Thomas, Lord Seymour of │ “ │“
│ Sudeley. Miniature │ │
1078│Edward VI. Miniature │ Unknown │Mrs. Dent of Sudeley
1079│Queen Jane Seymour. │ Hans │“
│ Miniature │ Holbein │
1080│Queen Anne Boleyn. │ Unknown │“
│ Miniature │ │
1081│Henry VIII. Carving in │ Hans │“
│ boxwood │ Holbein │
1082│Edward VI. Miniature │ Unknown │Lieut.-General W. Bulwer
1083│Thomas Cromwell. Miniature │ “ │Duke of Devonshire, K.G.
1085│Henry VIII. Miniature │ “ │Mrs. Prothero
1086│Queen Anne of Cleves. │ “ │Baroness Burdett-Coutts
│ Miniature │ │
1087│Family Group of the More │ Peter │Major-General F. E. Sotheby
│ Family in Two │ Oliver │
│ Generations. Miniature │ │
1089│Queen Anne Boleyn. │ Unknown │Countess of Yarborough
│ Miniature │ │
1091│Henry VIII and Family with │ “ │Dowager Duchess of
│ Will Somers. Panel, 6” × │ │Buccleuch
│ 11” │ │
1092│William Warham. Miniature │ “ │Henry Willett, Esq.
1093│William Warham. Miniature │ “ │Henry Howard, Esq., of
│ │ │Greystoke
1094│Erasmus. Miniature │ “ │“
1095│Sir Anthony Denny. │ “ │“
│ Miniature │ │
1096│Henry VIII. Miniature │ “ │Baroness Burdett-Coutts