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List of portrait drawings by Hans Holbein the Younger: Difference between revisions

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It is possible that the drawing is a study for a roundel or a circular miniature, now lost, but recorded in a 1647 etching by [[Wenceslaus Hollar]].<ref name=unidentified.man.912258>Foister 2006, p. 148; Parker 1945, p. 44</ref>
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The portrait is recorded in a circular format in a 1647 etching by [[Wenceslaus Hollar]].<ref name=toronto.hollar.p1549>{{cite web|title=Plate Number: P1549|url=http://link.library.utoronto.ca/hollar/digobject.cfm?Idno=Hollar_k_1455&query=Hollar_k_1455&size=large&type=browse|publisher=[[University of Toronto Libraries]]|accessdate=9 February 2015}}</ref>
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Revision as of 12:05, 9 February 2015

The following is a list of portrait drawings by Hans Holbein the Younger that are generally accepted as by his own hand.

Royal Collection

Work Title Date Medium Size Notes Related works
Simon George[1] c. 1535 Black and coloured chalks, pen and ink, brush and ink, and metalpoint on pale pink prepared paper. 27.9 × 19.1 cm Simon George of Cornwall was an English nobleman.[2]

The drawing is related to a circular painting by Holbein in the Städel Museum, Frankfurt.[2]

William Reskimer[3] c. 1532 – c. 1534 Black and coloured chalks, pen and ink, and metalpoint on pale pink prepared paper. 29.0 × 21.0 cm William Reskimer held a number of minor positions at Henry VIII's court.[3]

The drawing is a study for a painted portrait by Holbein, also in the Royal Collection.[4]

An unidentified woman[5] c. 1532 – c. 1543 Black and coloured chalks, white bodycolour, and pen with black and brown ink on pale pink prepared paper which has been trimmed to outlines and pasted onto another sheet. 27.1 × 16.9 cm Formerly identified as Amalia of Cleves, sister of Anne of Cleves, the fourth wife of Henry VIII.[6]
Elizabeth Audley[7] c. 1538 Black and coloured chalks, pen and ink, and metalpoint on pale pink prepared paper. 29.3 × 20.8 cm Elizabeth, Lady Audley was the second wife of Thomas Audley, 1st Baron Audley of Walden and daughter of Thomas Grey, 2nd Marquess of Dorset.[7]

The drawing relates to a circular miniature by Holbein, also in the Royal Collection.[8]
A drawing of her mother Margaret Wotton, Marchioness of Dorset, by Holbein, is also in the Royal Collection.[9]

Anne Boleyn[10] c. 1533 – c. 1536 Black and coloured chalks on pale pink prepared paper. 28.2 × 19.3 cm Traditionally believed to be Anne Boleyn, the second wife of Henry VIII and mother of Elizabeth I.[10][11]

Another drawing by Holbein, formerly identified as that of Anne Boleyn, is in the British Museum, London.[12]

James Butler[13] c. 1537 Black and coloured chalks, white bodycolour, red, blue-grey, and brown wash, pen and ink, and brush and ink on pale pink prepared paper. 40.1 × 29.2 cm The sitter is James Butler, 9th Earl of Ormond and 2nd Earl of Ossory.[13]

Formerly identified as his cousin Thomas Boleyn, 1st Earl of Wiltshire (father of Anne Boleyn, the second wife of Henry VIII).[14]

Lady Borough[15] c. 1532 – c. 1543 Black and coloured chalks on pale pink prepared paper. 27.2 × 19.6 cm The precise identity of the sitter is unknown.[15]
Nicholas Bourbon[16] 1535 Black and coloured chalks, and pen and ink on pale pink prepared paper. 30.8 × 25.9 cm Nicholas Bourbon was a French poet at the court of Henry VIII.[16] He was a friend of Holbein and described him in a letter as "the royal painter, the Apelles of our time".[17] He also wrote verses for the an edition of Holbein's Historiarum veteris instrumenti icones ad vivum expressae.[18]

The drawing is a study for a painted portrait by Holbein, now lost, but possibly recorded in a 1535 woodcut.[18]

George Brooke[19] c. 1532 – c. 1543 Black and coloured chalks, pen and ink and metalpoint, on pale pink prepared paper. 28.9 × 20.3 cm The sitter is George Brooke, 9th Baron Cobham.[19]

A painting by a follower of Holbein, tentatively dated to the 1540s, closely following the drawing, formerly in a German private collection, was sold at auction in 2011.[20]

Margaret Butts[21] c. 1541 – c. 1543 Black and coloured chalks, pen and ink, brush and ink, and metalpoint on pale pink prepared paper. 37.7 × 27.2 cm Margaret, Lady Butts was a lady-in-waiting to Princess Mary and belonged to the circle of Catherine Parr, the sixth wife of Henry VIII.[21]

The drawing is a study for a portrait by Holbein in the Isabella Stewart Gardner Museum, Boston.[22]
A painted portrait of her husband, Henry VIII's physician Sir William Butts, by Holbein, is also in the Isabella Stewart Gardner Museum.[23] He also appears in the group painting King Henry VIII and the Barber Surgeons, by Holbein, preserved by the Worshipful Company of Barbers, London.[24]

Gavin Carew[25] c. 1532 – c. 1543 Black and coloured chalks, pen and ink, and metalpoint on pale pink prepared paper. 27.2 × 21.3 cm The sitter is Sir Gavin Carew.[25]

A drawing of his nephew[26][27] Admiral Sir George Carew, by Holbein, is also in the Royal Collection; a related circular painting by Holbein is in Weston Park, owned by the Earls of Bradford.[28] A drawing of his kinsman[27] Nicholas Carew, by Holbein, is in the Kunstmuseum Basel in Basel, Switzerland; a related painting by Holbein is in the Drumlanrig Castle, part of the Buccleuch collection.[29]
A drawing of his wife[26] Lady Mary Guildford, by Holbein, is in the Kunstmuseum Basel;[30] a related painting by Holbein is in the Saint Louis Art Museum.[31]

George Carew[28] c. 1532 – c. 1543 Black and coloured chalks, and metalpoint on pale pink prepared paper. 31.6 × 23.3 cm Admiral Sir George Carew was the commander of the Royal Navy flagship Mary Rose when it sank in 1545.[28]

The drawing is related to a circular painting by Holbein in Weston Park, owned by the Earls of Bradford.[28]
A drawing of his uncle[26][27] Sir Gavin Carew, by Holbein, is also in the Royal Collection. A drawing of his kinsman[27] Nicholas Carew, by Holbein, is in the Kunstmuseum Basel in Basel, Switzerland; a related painting by Holbein is in the Drumlanrig Castle, part of the Buccleuch collection.[29]

Edward Fiennes de Clinton[32] c. 1532 – c. 1543 Black and coloured chalks on pale pink prepared paper. 22.0 × 14.5 cm The sitter is Edward Clinton, 1st Earl of Lincoln.[32]
John Colet[33] c. 1535 Black and coloured chalks, pen and ink, brush and ink, and metalpoint on pale pink prepared paper. 26.8 × 20.5 cm John Colet was the Dean of St Paul's Cathedral and the founder of St Paul's School, London. He died in 1519, years before Holbein's first visit to England.[33]

The drawing is based on a lost bust attributed to Pietro Torrigiano.[34] A 16th-century cast is preserved in St. Paul's School.[35] Another cast is in the National Portrait Gallery.[36]

Anne Cresacre[37] c. 1527 Black and coloured chalks. 37.2 × 26.6 cm Anne Cresacre, aged 15, was the ward of Thomas More, later the wife of his son John More the Younger.[37][38]

The drawing is one of the eight individual portrait studies for a group portrait of Thomas More's family preserved in the Royal Collection.[39] Destroyed by fire at the Kremsier Castle (Czech Republic) in 1752,[40][41] its appearance is preserved in an annotated drawing by Holbein, now in Kunstmuseum Basel.[39] There are also several later copies, including three 1592–1594 versions by Rowland Lockey: a watercolor miniature in the Victoria and Albert Museum[42] and two oils on canvas, one in the National Portrait Gallery,[43] and one at the Nostell Priory, West Yorkshire.[44]
A drawing of her husband, by Holbein, from the same series, is also in the Royal Collection.[45]

Elizabeth Dauncey[46] c. 1526 – c. 1527 Black and coloured chalks. 36.7 × 26.0 cm Elizabeth Dauncey, aged 21, was the daughter of Thomas More.[38][46] In 1525, she married William Dauncey, son of Sir John Dauncey, Privy Councellor and Knight of the Body to Henry VIII.[38]

The drawing is one of the eight individual portrait studies for a group portrait of Thomas More's family preserved in the Royal Collection.[39] Destroyed by fire at the Kremsier Castle (Czech Republic) in 1752,[40][41] its appearance is preserved in an annotated drawing by Holbein, now in Kunstmuseum Basel.[39] There are also several later copies, including three 1592–1594 versions by Rowland Lockey: a watercolor miniature in the Victoria and Albert Museum[42] and two oils on canvas, one in the National Portrait Gallery,[43] and one at the Nostell Priory, West Yorkshire.[44]
The series also includes two drawings of her siblings, one of John More,[45] and one of Cicely Heron;[46] a further one depicts her grandfather John More the Elder.[47] Another drawing, and one similar to it, also from the series, depict her father;[48][49] a related painted portrait is in the Frick Collection, New York.[50] The compositional sketch in Basel also records the likenesses of her sister Margaret Roper (a portrait miniature of her, by Holbein, is in the Metropolitan Museum of Art, New York).[51]

Margaret, Marchioness of Dorset[9] c. 1532 – c. 1535 Black and coloured chalks, pen and ink, and metalpoint on pale pink prepared paper. 33.2 × 23.6 cm The sitter is Margaret Wotton, Marchioness of Dorset.[9] In 1533, she was one of the two godmothers to the future Queen Elizabeth I of England.[52] Her husband was Thomas Grey, 2nd Marquess of Dorset, a prominent courtier at the court of Henry VIII, key witness in favour of the King's divorce of Catherine of Aragon.[53] One of their many grandchildren was Lady Jane Grey, the Nine Day Queen.[52]

A drawing and a related circular miniature of her daughter Elizabeth, Lady Audley, both by Holbein, are also in the Royal Collection.[7][8]

Edward, Prince of Wales[54] 1538 Black and coloured chalks, and pen and ink on pale pink prepared paper. 26.4 × 22.4 cm The sitter is the future King Edward VI, son of Henry VIII and Jane Seymour, aged 1.[54]

The drawing is a study for a painting by Holbein in the National Gallery of Art, Washington.[55] Holbein gave the painting to the King as the 1539 New Year's gift.[54][55]
Another drawing of Edward by Holbein, produced only a few years later, is also in the Royal Collection.[56]

Edward, Prince of Wales[56] c. 1540 – c. 1543 Black and coloured chalks, and pen and ink on pale pink prepared paper. 27.3 × 22.7 cm The sitter is the future King Edward VI, son of Henry VIII and Jane Seymour, aged 3–5.[56]

Another drawing of Edward, aged 1, by Holbein, is also in the Royal Collection;[54] a related painting by Holbein is in the National Gallery of Art, Washington.[55]

Margaret Elyot[57] c. 1532 – c. 1534 Black and coloured chalks, white bodycolour, and pen and ink on pale pink prepared paper. 27.8 × 20.8 cm Margaret à Barrow, Lady Elyot was the wife of the English diplomat and scholar Sir Thomas Elyot.[57]

A drawing of her husband, by Holbein, is also in the Royal Collection.[58]

Thomas Elyot[58] c. 1532 – c. 1534 Black and coloured chalks, white bodycolour, and brush and ink on pale pink prepared paper. 27.8 × 20.8 cm Sir Thomas Elyot was an English diplomat and scholar.[58] His best-known work is The Boke Named the Governour, a humanist book of political instruction dedicated to Henry VIII.[59] He served as an ambassador to Charles V, Holy Roman Emperor.[58]

A drawing of his wife Margaret à Barrow, Lady Elyot, by Holbein, is also in the Royal Collection.[57]

John Fisher[60] c. 1532 – c. 1534 Black and coloured chalks, brown wash, pen and ink, brush and ink on pale pink prepared paper. 38.2 × 23.2 cm John Fisher, the Bishop of Rochester and Chancellor of the University of Cambridge, was beheaded on the order of Henry VIII for refusing to accept the King as Supreme Head of the Church of England; he is now recognized as Saint by both the Catholic Church and the Church of England.[61][62]
William Fitzwilliam[63] c. 1536 – c. 1540 Black and coloured chalks, and metalpoint on pale pink prepared paper. 38.3 x 27.0 cm William FitzWilliam, 1st Earl of Southampton was a part of Henry VIII's inner circle since before accession.[63] He went on to serve as the Ambassador to France, Treasurer of the Household, Lord High Admiral, and Lord Privy Seal.[64]

The drawing is a study for a painting by Holbein, now lost; a copy is in the Fitzwilliam Museum, Cambridge.[65]

John Gage[66] c. 1532 – c. 1543 Black and coloured chalks, pen and ink, and metalpoint on pale pink prepared paper. 39.4 × 29.0 cm John Gage was an English courtier at the courts of Henry VIII, Edward VI, and Mary I.[67][68]
Margaret Giggs[69] c. 1526 – c. 1527 Black and coloured chalks. 38.5 × 27.3 cm Margaret Clement (née Giggs), aged 19, was the foster daughter of Thomas More.[69][70] In 1526, she married John Clement, tutor to the More children and future President of the Royal College of Physicians.[70]

The drawing is one of the eight individual portrait studies for a group portrait of Thomas More's family preserved in the Royal Collection.[39] Destroyed by fire at the Kremsier Castle (Czech Republic) in 1752,[40][41] its appearance is preserved in an annotated drawing by Holbein, now in Kunstmuseum Basel.[39] There are also several later copies, including three 1592–1594 versions by Rowland Lockey: a watercolor miniature in the Victoria and Albert Museum[42] and two oils on canvas, one in the National Portrait Gallery,[43] and one at the Nostell Priory, West Yorkshire.[44]

John Godsalve[71] c. 1532 – c. 1534 Black and red chalks, pen and ink, brush and ink, bodycolour, white heightening, on pale pink prepared paper. 36.2 × 29.2 cm Sir John Godsalve was an English politician.[71]

A 16th-century painting by an imitator of Holbein, sometimes thought to be based on this drawing, is in the Philadelphia Museum of Art.[71][72]
An earlier 1528 double portrait of John Godsalve and his father Sir Thomas Godsalve by Holbein is in the Gemäldegalerie Alte Meister, Dresden.[73]
A painting by Holbein, formerly identified as Godsalve's wife Agnes Widmerpole, is at the Oskar Reinhart Collection, Winterthur.[74][75][76]

Henry Guildford[77] 1527 Black and coloured chalks, and pen and ink. 38.3 × 29.4 cm Sir Henry Guildford was one of Henry VIII’s closest friends.[77] At different times, he held the positions of an Esquire of the Body, Master of the Revels, Master of the Horse and Comptroller of the Royal Household.[78]

The drawing is a study for a painted portrait by Holbein, also in the Royal Collection.[79]
A drawing of his wife Lady Mary Guildford, by Holbein, is in the Kunstmuseum Basel in Basel, Switzerland;[30] a related painting by Holbein is in the Saint Louis Art Museum.[31]

Cicely Heron[41] c. 1526 – c. 1527 Black and coloured chalks. 37.8 × 28.1 cm Cicely Heron, aged 20, was the daughter of Thomas More.[41][80] In 1525, she married Giles Heron, a ward of More.[80]

The drawing is one of the eight individual portrait studies for a group portrait of Thomas More's family preserved in the Royal Collection.[39] Destroyed by fire at the Kremsier Castle (Czech Republic) in 1752,[40][41] its appearance is preserved in an annotated drawing by Holbein, now in Kunstmuseum Basel.[39] There are also several later copies, including three 1592–1594 versions by Rowland Lockey: a watercolor miniature in the Victoria and Albert Museum[42] and two oils on canvas, one in the National Portrait Gallery,[43] and one at the Nostell Priory, West Yorkshire.[44]
It has long been noted that the pose of Cicely Heron, both in this drawing and especially in the annotated compositional sketch, is notably similar to that of Cecilia Gallerani in Leonardo da Vinci's Lady with an Ermine, although if this is a conscious reference or a mere coincidence remains uncertain.[41]
The series also includes two drawings of her siblings, one of John More,[45] and one of Elizabeth Dauncey;[46] a further one depicts her grandfather John More the Elder.[47] Another drawing, and one similar to it, also from the series, depict her father;[48][49] a related painted portrait is in the Frick Collection, New York.[50] The compositional sketch in Basel also records the likenesses of her sister Margaret Roper (a portrait miniature of her, by Holbein, is in the Metropolitan Museum of Art, New York).[51]

Mary Heveningham[81] c. 1532 – c. 1543 Black and coloured chalks, white bodycolour, pen and ink, and brush and ink on pale pink prepared paper. 30.3 × 21.1 cm Mary, Lady Heveningham was the first cousin of Anne Boleyn, the second wife of Henry VIII.[81][82] The main editor of and a major contributor to the famous compilation of poetry known as Devonshire Manuscript, she was romantically linked with poets Thomas Clere, Thomas Wyatt, and Henry Howard, Earl of Surrey; she may also have been a mistress of Henry VIII.[82]

A painting by Holbein, formerly thought to be of Mary, is at the Oskar Reinhart Collection, Winterthur.[74][76][83]

Elizabeth Hoby[84] c. 1532 – c. 1543 Black and coloured chalks, pen and ink, and brush and ink on pale pink prepared paper. 27.5 × 20.1 cm Elizabeth, Lady Hoby was a member of Queen Catherine Parr's circle.[84] She was the daughter of Sir Walter Stonor, the Lieutenant of the Tower of London, and the wife of Sir Philip Hoby, the ambassador to the Holy Roman Empire and Flanders.[85][86]

A drawing of her husband, by Holbein, is also in the Royal Collection.[87]

Philip Hoby[87] c. 1532 – c. 1543 Black and coloured chalks, and grey bodycolour on pale pink prepared paper. 30.1 × 22.3 cm Sir Philip Hoby was the ambassador to the Holy Roman Empire and Flanders; he and Holbein travelled together on missions to find Henry VIII a fourth wife.[86]

A drawing of his wife Elizabeth, Lady Hoby, by Holbein, is also in the Royal Collection.[84]

An unidentified woman[88] c. 1532 – c. 1543 Black and coloured chalks, and metalpoint on pale pink prepared paper. 27.7 × 19.7 cm Formerly identified as Catherine Howard, the fifth wife of Henry VIII.[89] As such, it was associated with two circular miniatures by Holbein, also formerly thought to be of Howard, one in the Royal collection[90] and one in the Strawberry Hill House, part of the Buccleuch collection;[91] an additional painting by Holbein, also formerly thought to be of Howard, is at the Toledo Museum of Art in Toledo, Ohio.[92]
Henry Howard, Earl of Surrey[93] c. 1533 – c. 1536 Black and coloured chalks, and pen and ink on pale pink prepared paper. 29.0 × 21.0 cm Henry Howard, Earl of Surrey was an English aristocrat, and one of the founders of English Renaissance poetry, introducing blank verse into the English language in his translation of Virgil’s Aeneid.[93] He was also a childhood friend of Henry VIII's illegitimate son Henry Fitzroy.[94]

The Royal Collection has two more drawings of Henry Howard, one by Holbein[94] and one by a follower.[95] A painted portrait of Henry Howard, by Holbein, is in the São Paulo Museum of Art, Brazil.[96]
A portrait painting of his father Thomas Howard, 3rd Duke of Norfolk, by Holbein, is also in the Royal Collection.[97] A drawing of his wife Frances Howard, Countess of Surrey, by Holbein, is in the Royal Collection as well.[98]

Henry Howard, Earl of Surrey[94] c. 1532 – c. 1533 Black and coloured chalks, and pen and ink on pale pink prepared paper. 25.1 × 20.5 cm Henry Howard, Earl of Surrey was an English aristocrat, and one of the founders of English Renaissance poetry, introducing blank verse into the English language in his translation of Virgil’s Aeneid.[93] He was also a childhood friend of Henry VIII's illegitimate son Henry Fitzroy.[94]

The Royal Collection has two more drawings of Henry Howard, one by Holbein[93] and one by a follower.[95] A painted portrait of Henry Howard, by Holbein, is in the São Paulo Museum of Art, Brazil.[96]
A portrait painting of his father Thomas Howard, 3rd Duke of Norfolk, by Holbein, is also in the Royal Collection.[97] A drawing of his sister Mary FitzRoy, Duchess of Richmond and Somerset, wife of Henry FitzRoy, is in the Royal Collection, too.[99] A drawing of his wife Frances Howard, Countess of Surrey, by Holbein, is in the Royal Collection as well.[98]

Frances, Countess of Surrey[98] c. 1532 – c. 1533 Black, white and coloured chalks, white bodycolour, and pen and ink, on pale pink prepared paper. 31.0 × 21.0 cm Frances Howard, Countess of Surrey was the daughter of John de Vere, 15th Earl of Oxford and the wife of Henry Howard, Earl of Surrey.[98]

The Royal Collection has three drawings of her husband, two by Holbein, one in three-quarters and one frontal, and another one by a follower;[93][94][95] an additional painting, by Holbein, is in the São Paulo Museum of Art, Brazil.[96]

Mary, Duchess of Richmond and Somerset[99] c. 1532 – c. 1533 Black and coloured chalks, and brush and ink on pale pink prepared paper. 26.6 × 19.9 cm Mary FitzRoy, Duchess of Richmond and Somerset was the wife of Henry VIII's only acknowledged illegitimate son Henry FitzRoy, 1st Duke of Richmond and Somerset.

A portrait painting of her father Thomas Howard, 3rd Duke of Norfolk, by Holbein, is also in the Royal Collection.[97] The Royal Collection also has three drawings of her brother Henry Howard, Earl of Surrey, two by Holbein, one in three-quarters and one frontal, and another one by a follower;[93][94][95] an additional painting, by Holbein, is in the São Paulo Museum of Art, Brazil.[96]

Lady Lister[100] c. 1532 – c. 1543 Black and coloured chalks, pen and ink and brush and ink on pale pink prepared paper. 29.0 × 21.0 cm The precise identity of the sitter is unknown.[100] One suggestion is Lady Jane Lister, the wife of Sir Richard Lyster, Lord Chief Justice.[101]
Princess Mary[102] c. 1536 Black and coloured chalks, and pen and ink on pale pink prepared paper. 38.6 × 29.1 cm The sitter is traditionally identified as the future Queen Mary I.[102]
An unidentified man[103] c. 1532 – c. 1543 Black and coloured chalks, and pen and ink on pale pink prepared paper. 28.5 × 23.3 cm Formerly identified as the theologian Philipp Melanchthon, one of the founders of Lutheranism.[103] A portrait miniature of Melanchton, by Holbein, is in the Lower Saxony State Museum in Hanover, Germany; it is unlikely Holbein ever met him, so the miniature is probably based on pictures by other artists, like those by Lucas Cranach the Elder or Albrecht Dürer.[104]
Joan Meutas[105] c. 1536 – c. 1543 Black and coloured chalks on pale pink prepared paper. 28.1 × 21.0 cm The sitter is Lady Joan Meutas[105] She was a lady of the privy chamber of Queen Jane Seymour, Henry VIII's third wife. In 1537, she married courtier and diplomat Peter Meutas.[106]

Lady Meutas's oval medallion is similar to a design for a Penitent Mary Magdalene medallion in the Kunstmuseum Basel in Basel, Switzerland.[107]

Mary Monteagle[108] c. 1538 – c. 1540 Black and coloured chalks, pen and ink, and brush and ink on pink prepared paper. 29.7 × 20.0 cm Lady Mary Brandon, Baroness Monteagle was a lady-in-waiting to Jane Seymour, third wife of Henry VIII.[109] She was the daughter of Charles Brandon, 1st Duke of Suffolk and wife of Thomas Stanley, 2nd Lord Monteagle.[108]

She was formerly identified as the sitter for two portrait miniatures by Holbein, one in the Royal collection[90] and one in the Strawberry Hill House, part of the Buccleuch collection.[91]

John More[47] c. 1526 – c. 1527 Black and coloured chalks. 35.1 × 27.3 cm Sir John More, aged 76, was the father of Thomas More.[38][47] He was a lawyer and a judge.[38][110]

The drawing is one of the eight individual portrait studies for a group portrait of Thomas More's family preserved in the Royal Collection.[39] Destroyed by fire at the Kremsier Castle (Czech Republic) in 1752,[40][41] its appearance is preserved in an annotated drawing by Holbein, now in Kunstmuseum Basel.[39] There are also several later copies, including three 1592–1594 versions by Rowland Lockey: a watercolor miniature in the Victoria and Albert Museum[42] and two oils on canvas, one in the National Portrait Gallery,[43] and one at the Nostell Priory, West Yorkshire.[44]
The same series includes three drawings of his grandchildren: one of Cicely Heron,[41] one of Elizabeth Dauncey,[46] and one of John More the Younger.[45] Another drawing, and one similar to it, also from the series, depict his son Thomas More;[48][49] a related painted portrait is in the Frick Collection, New York.[50] The compositional sketch in Basel also records the likenesses of his granddaughter Margaret Roper (a portrait miniature of her, by Holbein, is in the Metropolitan Museum of Art, New York).[51]

John More[45] c. 1526 – c. 1527 Black and coloured chalks. 38.1 × 28.1 cm John More, aged 19, was the son of Thomas More.[45][80]

The drawing is one of the eight individual portrait studies for a group portrait of Thomas More's family preserved in the Royal Collection.[39] Destroyed by fire at the Kremsier Castle (Czech Republic) in 1752,[40][41] its appearance is preserved in an annotated drawing by Holbein, now in Kunstmuseum Basel.[39] There are also several later copies, including three 1592–1594 versions by Rowland Lockey: a watercolor miniature in the Victoria and Albert Museum[42] and two oils on canvas, one in the National Portrait Gallery,[43] and one at the Nostell Priory, West Yorkshire.[44]
The series also includes a drawing of his wife Anne Cresacre[37] and two drawings of his sisters, one of Cicely Heron,[41] and one of Elizabeth Dauncey;[46] a further one depicts his grandfather John More the Elder.[47] Another drawing, and one similar to it, also from the series, depict his father;[48][49] a related painted portrait is in the Frick Collection, New York.[50] The compositional sketch in Basel also records the likenesses of his sister Margaret Roper (a portrait miniature of her, by Holbein, is in the Metropolitan Museum of Art, New York).[51]

Thomas More[48] c. 1526 – c. 1527 Black and coloured chalks, the outlines pricked for transfer. 39.8 × 29.9 cm The sitter is Sir Thomas More.[48]

This drawing is a study for a painted portrait by Holbein in the Frick Collection, New York.[50] Another drawing similar to this one is also in the Royal Collection.[49] The painting and the drawings relate to a group portrait of Thomas More's family.[39] Destroyed by fire at the Kremsier Castle (Czech Republic) in 1752,[40][41] its appearance is preserved in an annotated drawing by Holbein, now in Kunstmuseum Basel.[39] There are also several later copies, including three 1592–1594 versions by Rowland Lockey: a watercolor miniature in the Victoria and Albert Museum[42] and two oils on canvas, one in the National Portrait Gallery,[43] and one at the Nostell Priory, West Yorkshire.[44]
Six more drawings executed by Holbein in preparation for the group portrait survive, all in the Royal Collection. One is of Thomas More's father Sir John More;[47] another is of his son John More the Younger;[45] the third records the likeness of his ward and daughter-in-law, John's wife Anne Cresacre;[37] the fourth and the fifth — that of his daughters Cicely Heron and Elizabeth Dauncey;[41][46] finally, there is one of his foster daughter Margaret Giggs.[69] The compositional sketch in Basel also depicts his wife Lady Alice More[111](a related painted portrait, attributed to Holbein's studio, is at the Weiss Gallery in London),[112] his daughter Margaret Roper (a portrait miniature of her, by Holbein, is in the Metropolitan Museum of Art, New York),[51] and his household fool Henry Patenson.[113]

Thomas More[49] c. 1526 – c. 1527 Black and coloured chalks, and brown wash. 37.6 × 25.5 cm The sitter is Sir Thomas More.[49]

This drawing is very similar to another one, also in the Royal Collection, which is thought to be a study for a painted portrait by Holbein in the Frick Collection, New York.[50] The painting and the drawings relate to a group portrait of Thomas More's family.[39] Destroyed by fire at the Kremsier Castle (Czech Republic) in 1752,[40][41] its appearance is preserved in an annotated drawing by Holbein, now in Kunstmuseum Basel.[39] There are also several later copies, including three 1592–1594 versions by Rowland Lockey: a watercolor miniature in the Victoria and Albert Museum[42] and two oils on canvas, one in the National Portrait Gallery,[43] and one at the Nostell Priory, West Yorkshire.[44]
Six more drawings executed by Holbein in preparation for the group portrait survive, all in the Royal Collection. One is of Thomas More's father Sir John More;[47] another is of his son John More the Younger;[45] the third records the likeness of his ward and daughter-in-law, John's wife Anne Cresacre;[37] the fourth and the fifth — that of his daughters Cicely Heron and Elizabeth Dauncey;[41][46] finally, there is one of his foster daughter Margaret Giggs.[69] The compositional sketch in Basel also depicts his wife Lady Alice More[111] (a related painted portrait, attributed to Holbein's studio, is at the Weiss Gallery in London),[112] his daughter Margaret Roper (a portrait miniature of her, by Holbein, is in the Metropolitan Museum of Art, New York),[51] and his household fool Henry Patenson.[113]

Grace Parker[114] c. 1540 – c. 1543 Black and coloured chalks on pale pink prepared paper. 29.8 x 20.8 cm The sitter is probably Lady Grace Parker, the wife of the politician Sir Henry Parker.[114]

Formerly identified as Jane Parker, sister-in-law to Anne Boleyn, Henry VIII's second wife.[115]

William Parr[116] c. 1538 – c. 1542 Black and coloured chalks, white bodycolour, pen and ink, and brush and ink on pale pink prepared paper. 31.7 × 21.2 cm William Parr, 1st Marquess of Northampton was the brother of Catherine Parr, the sixth wife of Henry VIII.[116][117]

A drawing sometimes identified as of his sister Anne Herbert, Countess of Pembroke,[118] by Holbein, is also in the Royal Collection.[119]

Thomas Parry[120] c. 1532 – c. 1543 Black and coloured chalks, and pen and ink on pale pink prepared paper. 25.1 × 18.5 cm Sir Thomas Parry was an English courtier who went on to become the Comptroller of the Household to Elizabeth I.[120][121]
John Poyntz[122] c. 1532 – c. 1543 Black and coloured chalks, pen and ink, and brush and ink on pale pink prepared paper. 29.5 × 23.3 cm John Poyntz was an English courtier and politician.[122][123]

A similar drawing, attributed to Holbein, is in the Metropolitan Museum of Art, New York.[124] A drawing of his nephew[123] Nicholas Poyntz, by Holbein, is also in the Royal Collection.[125]

Nicholas Poyntz[125] c. 1533 – c. 1543 Black and coloured chalks, and pen and ink on pale pink prepared paper. 28.4 × 18.3 cm The sitter is Sir Nicholas Poyntz.[125] He was a prominent courtier during the later part of Henry VIII's reign and commanded the warship the Great Galley during the war of the Rough Wooing.[126]

This drawing is a study for a painted portrait, now lost; several 16th-century copies survive, including a reduced version in the National Portrait Gallery, London,[127] and a full one at the Sandon Hall, Staffordshire, owned by the Earls of Harrowby.[128]
Another drawing in the Royal Collection, by a follower of Holbein, was formerly thought to be by Holbein and of Poyntz.[129][130]
A drawing of his uncle[123] John Poyntz is also in the Royal Collection;[122] a similar drawing, attributed to Holbein, is in the Metropolitan Museum of Art, New York.[124]

Lady Ratcliffe[131] c. 1532 – c. 1543 Black and coloured chalks, pen and ink, brush and ink, and metalpoint on pale pink prepared paper. 30.1 × 20.3 cm The precise identity of the sitter is unknown.[131] Robert Radcliffe, 1st Earl of Sussex had three wives, the third one, prominent courtier Mary Arundell being the most likely candidate.[132] The wife of the Earl's third son Sir Humphrey Radcliffe has also been suggested.[131]
Elizabeth Rich[133] c. 1532 – c. 1543 Black and coloured chalks, pen and ink, and metalpoint on pale pink prepared paper. 37.4 × 30.3 cm Elizabeth, Lady Rich was the wife of Richard Rich, 1st Baron Rich.[133]

A related painted portrait by the workshop of Holbein is in the Metropolitan Museum of Art, New York.[134]
A drawing of her husband, by Holbein, is also in the Royal Collection.[135]

Richard Rich[135] c. 1532 – c. 1543 Black and coloured chalks, and pen and ink on pale pink prepared paper. 32.2 × 26.2 cm The sitter is Richard Rich, 1st Baron Rich.[135] A prominent court official, he eventually rose to become the Lord Chancellor during the reign of Edward VI.[136]

A drawing of his wife, Lady Elizabeth Rich, by Holbein, is also in the Royal Collection;[133] a related painting by Holbein's workshop is in the Metropolitan Museum of Art.[134]

Francis Russell[137] c. 1534 – c. 1538 Black and coloured chalks, and pen and ink on pale pink prepared paper. 23.9 × 17.9 cm The sitter is Francis Russell, 2nd Earl of Bedford.[137]

A drawing of his father, John Russell, 1st Earl of Bedford, by Holbein, is also in the Royal Collection.[138]

John Russell[138] c. 1532 – c. 1543 Black and coloured chalks, and white bodycolour on pale pink prepared paper. 34.9 × 29.2 cm John Russell, 1st Earl of Bedford was an important court official, serving as Lord High Admiral and later Lord Privy Seal; in 1520, he was present at the embassy of the Field of the Cloth of Gold and lost an eye during the Siege of Morlaix of 1522.[138][139]

A drawing of his son, Francis Russell, 2nd Earl of Bedford, by Holbein, is also in the Royal Collection.[137]

Jane Seymour[140] c. 1536 – c. 1537 Black and coloured chalks, pen and ink, and metalpoint, on pale pink prepared paper. 50.0 × 28.5 cm Jane Seymour was the third wife of Henry VIII and the mother of Edward VI.[140]

The drawing is a study for a painted portrait by Holbein in the Kunsthistorisches Museum, Vienna, Austria;[141] a workshop copy, sometimes attributed to Holbein himself, is in the Mauritshuis, The Hague.[142] The portrait also matches the description of Jane in the so-called Whitehall Mural, the now lost Holbein's wall-painting of the Tudor dynasty in the Privy chamber of the Palace of Whitehall; destroyed by fire in 1698, its appearance is recorded in an oil-on-canvas copy by Remigius van Leemput in the Royal Collection.[143]
The pear-shaped pendant is the same as seen in two miniatures by Holbein, worn by an unknown sitter, formerly thought to be Jane's lady-in-waiting Mary Brandon, Baroness Monteagle or Henry VIII's fifth wife Catherine Howard;[140] one miniature is preserved in the Royal Collection,[90] while the other is in the Strawberry Hill House, part of the Buccleuch collection.[91]

William Sharington[144] c. 1532 – c. 1543 Black and coloured chalks, and brush and ink on pale pink prepared paper. 30.1 × 20.3 cm Sir William Sharington was an English courtier, best remembered for his involvement in the Bristol Mint embezzlement scandal.[145]
Richard Southwell[146] 1536 Black and coloured chalks, pen and ink, and metalpoint on pale pink prepared paper. 36.6 × 27.7 cm Sir Richard Southwell was an English courtier and politician.[146]

The drawing is a study for a painted portrait by Holbein in Uffizi, Florence.[147]

Edward Stanley[148] c. 1532 – c. 1543 Black and coloured chalks, pen and ink, and brush and ink on pale pink prepared paper. 28.1 × 19.7 cm The sitter is Edward Stanley, 3rd Earl of Derby, cup-bearer to Anne Boleyn.[148][149]
Thomas Lestrange[150] c. 1536 Black and coloured chalks, pen and ink, and metalpoint, on pale pink prepared paper. 24.3 × 21.0 cm The sitter is Sir Thomas Lestrange, a minor courtier and wealthy landowner.[150][151]

The drawing is related to a painted portrait of Lestrange, by Holbein, in the Kimbell Art Museum, Fort Worth, Texas;[152] a copy by a follower is in a private collection.[153]
Royal Collection also has two drawings of his brother-in-law Thomas Vaux, 2nd Baron Vaux of Harrowden, by Holbein, one with short hair[154] and one with long hair.[155]

An unidentified man[156] c. 1532 – c. 1543 Black and coloured chalks, white bodycolour, pen and ink, and brush and ink on pale pink prepared paper. 27.1 × 18.9 cm The identity of the sitter is unknown.[156] One suggestion is John Dudley, 1st Duke of Northumberland,[157] the man behind the unsuccessful attempt to install Lady Jane Grey as a Queen.[158]
An unidentified man[159] 1535 Black and coloured chalks, white bodycolour, pen and ink, and metalpoint on pale pink prepared paper. 29.8 × 22.2 cm The identity of the sitter is uncertain; one suggestion is Sir Ralph Sadler, who served as Privy Councillor, Secretary of State and ambassador to Scotland.[159][160][161]

The drawing is related to a painted portrait, by Holbein's workshop, in the Metropolitan Museum of Art, New York.[160]

An unidentified man[162] c. 1532 – c. 1543 Black and coloured chalks on pale pink prepared paper. 25.9 × 20.1 cm The identity of the sitter is unknown.[162]
An unidentified man[163] c. 1535 Black and coloured chalks, pen and ink, and brush and ink on pale pink prepared paper. 27.2 × 21.0 cm The identity of the sitter is unknown.[163]

It is possible that the drawing is a study for a roundel or a circular miniature, now lost, but recorded in a 1647 etching by Wenceslaus Hollar.[164]

An unidentified woman[165] c. 1526 – c. 1528 Black and coloured chalks. 35.6 × 24.8 cm The identity of the sitter is unknown.[165]
An unidentified woman[166] c. 1532 – c. 1543 Black and coloured chalks, pen and ink, and brush and ink on pale pink prepared paper. 28.9 × 21.0 cm The identity of the sitter is unknown.[166]
An unidentified woman[167] c. 1532 – c. 1543 Black and coloured chalks, white bodycolour, black and brown wash, pen and ink, and brush and ink on pale pink prepared paper. 27.8 × 19.4 cm The identity of the sitter is unknown.[167]
An unidentified woman[168] c. 1532 – c. 1543 Black and coloured chalks, and pen and ink on pale pink prepared paper. 28.8 × 22.8 cm The identity of the sitter is unknown.[168]
An unidentified woman[119] c. 1532 – c. 1543 Black and coloured chalks on pale pink prepared paper. 28.5 × 21.8 cm The identity of the sitter is unknown.[119] One suggestion is Anne Herbert, Countess of Pembroke,[118] lady-in-waiting to all six wives of Henry VIII and sister to the last wife Catherine Parr.[169]

A drawing of Anne Herbert's brother William Parr, 1st Marquess of Northampton, by Holbein, is also in the Royal Collection.[116]

An unidentified woman[170] c. 1532 – c. 1543 Black and coloured chalks, and pen and ink on pale pink prepared paper. 27.4 × 20.1 cm The identity of the sitter is unknown.[170]

The portrait is recorded in a circular format in a 1647 etching by Wenceslaus Hollar.[171]

See also

Notes

  1. ^ "Simon George". Royal Collection Trust. Inventory no. 912208.
  2. ^ a b "Portrait of Simon George of Cornwall, ca. 1535–40". Städel. Retrieved 29 January 2015.
  3. ^ a b "William Reskimer (d.1552)". Royal Collection Trust. Inventory no. 912237. RCIN 912237.
  4. ^ "William Reskimer (?-1552)". Royal Collection Trust. Inventory no. 404422. RCIN 404422.
  5. ^ "An unidentified woman". Royal Collection Trust. Inventory no. 912190. RCIN 912190.
  6. ^ Oliver at al 2006, p. 168, p.171 text + fn. 20.
  7. ^ a b c "Elizabeth, Lady Audley (d.1564)". Royal Collection Trust. Inventory no. 912191. RCIN 912191.
  8. ^ a b "Elizabeth, Lady Audley (? - 1564)". Royal Collection Trust. Inventory no. 422292. RCIN 422292.
  9. ^ a b c "Margaret, Marchioness of Dorset (d. in or after 1535)". Royal Collection Trust. Inventory no. 912209.
  10. ^ a b "Queen Anne Boleyn (c.1500-1536)". Royal Collection Trust. Inventory no. 912189.
  11. ^ Rowlands and Starkey 1983
  12. ^ "Portrait of a lady, formerly thought to be Anne Boleyn". British Museum. Retrieved 29 January 2015.
  13. ^ a b "James Butler, later 9th Earl of Ormond and 2nd Earl of Ossory (c.1496-1546)". Royal Collection Trust. Inventory no. 912263.
  14. ^ Starkey 1981
  15. ^ a b "Lady Borough". Royal Collection Trust. Inventory no. 912193.
  16. ^ a b "Nicholas Bourbon (c.1503-1549/50)". Royal Collection Trust. Inventory no. 912192.
  17. ^ Rowlands and Starkey 1983, p. 92
  18. ^ a b Eric Ives. "Bourbon, Nicholas". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/70782. (Subscription or UK public library membership required.)
  19. ^ a b "George Brooke, 9th Baron Cobham (c.1497-1558)". Royal Collection Trust. Inventory no. 912195.
  20. ^ "Auction 977, Old Masters, 14.05.2011, 00:00, Cologne. Lot 1014. Hans Holbein the Younger, follower of. Portrait. George Brooke, Ninth Baron Cobham". Lempertz(de). Retrieved 29 January 2015.
  21. ^ a b "Margaret, Lady Butts (c.1485-1545)". Royal Collection Trust. Inventory no. 912264.
  22. ^ "Portrait of Lady Margaret Butts". Isabella Stewart Gardner Museum. Retrieved 29 January 2015.
  23. ^ "Portrait of Sir William Butts, M.D." Isabella Stewart Gardner Museum. Retrieved 29 January 2015.
  24. ^ "The Holbein". Worshipful Company of Barbers. Retrieved 29 January 2015.
  25. ^ a b "Sir Gavin Carew". Royal Collection Trust. Inventory no. 912196.
  26. ^ a b c "Carew family". tudorplace.com.ar. Retrieved 29 January 2015.
  27. ^ a b c d J. P. D. Cooper. "Carew, Sir George". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/38895. (Subscription or UK public library membership required.)
  28. ^ a b c d "Sir George Carew (c.1504-1545)". Royal Collection Trust. Inventory no. 912197.
  29. ^ a b Griener and Bätschmann 2012, p. 199, p. 203 fig. 203, p. 326 fn. 42
  30. ^ a b Griener and Bätschmann 2012, p. 239 fig. 239, p. 240 fig. 240
  31. ^ a b "Mary, Lady Guildford". Saint Louis Art Museum. Retrieved 1 February 2015.
  32. ^ a b "Edward Fiennes de Clinton, 9th Lord Clinton, 1st Earl of Lincoln (1512-1585)". Royal Collection Trust. Inventory no. 912198.
  33. ^ a b "John Colet, Dean of St Paul's (1467-1519)". Royal Collection Trust. Inventory no. 912199.
  34. ^ Grossmann, 1950
  35. ^ "what-when-how: Colet, John". Archived from the original on 15 August 2013. Retrieved 31 January 2015.
  36. ^ "John Colet by Pietro Torrigiano". National Portrait Gallery, London. Retrieved 31 January 2015.
  37. ^ a b c d e "Anne Cresacre (c.1511-1577)". Royal Collection Trust. Inventory no. 912270.
  38. ^ a b c d e Lewis 1998, p. 16
  39. ^ a b c d e f g h i j k l m n o p Button 2013, p. 14
  40. ^ a b c d e f g h Ainsworth 1990, p. 196
  41. ^ a b c d e f g h i j k l m n o "Cicely Heron (b.1507)". Royal Collection Trust. Inventory no. 912269.
  42. ^ a b c d e f g h "Sir Thomas More, his household and descendants". Victoria and Albert Museum. Retrieved 31 January 2015.
  43. ^ a b c d e f g h "Sir Thomas More, his father, his household and his descendants". National Portrait Gallery, London. Retrieved 30 January 2015.
  44. ^ a b c d e f g h "Sir Thomas More and his Family (after Hans Holbein the Younger)". National Trust. Retrieved 31 January 2015.
  45. ^ a b c d e f g h "John More". Royal Collection Trust. Inventory no. 912226.
  46. ^ a b c d e f g h "Elizabeth Dauncey (b.1506)". Royal Collection Trust. Inventory no. 912228.
  47. ^ a b c d e f g "Sir John More (c.1451-1530)". Royal Collection Trust. Inventory no. 912224.
  48. ^ a b c d e f "Sir Thomas More (1478-1535)". Royal Collection Trust. Inventory no. 912268. RCIN 912268.
  49. ^ a b c d e f g "Sir Thomas More (1478-1535)". Royal Collection Trust. Inventory no. 912225. RCIN 912225.
  50. ^ a b c d e f "Sir Thomas More, 1527". Frick Collection. Retrieved 4 February 2015.
  51. ^ a b c d e f "Margaret More (1505–1544), Wife of William Roper". Metropolitan Museum of Art. Retrieved 4 February 2015.
  52. ^ a b Aikin 1826, p. 9
  53. ^ "Thomas Grey, second Marquis of Dorset". Luminarium. Retrieved 31 January 2015.
  54. ^ a b c d "Edward, Prince of Wales (1537-1553)". Royal Collection Trust. Inventory no. 912200. RCIN 912200.
  55. ^ a b c "Edward VI as a Child". National Gallery of Art. Retrieved 31 January 2015.
  56. ^ a b c "Edward, Prince of Wales (1537-1553)". Royal Collection Trust. Inventory no. 912201. RCIN 912201.
  57. ^ a b c "Margaret, Lady Elyot (c.1500-1560)". Royal Collection Trust. Inventory no. 912204.
  58. ^ a b c d "Sir Thomas Elyot (c.1490-1546)". Royal Collection Trust. Inventory no. 912203.
  59. ^ Thomas Elyot (1531). The Boke named The Governour. full text online
  60. ^ "John Fisher, Bishop of Rochester (c.1469-1535)". Royal Collection Trust. Inventory no. 912205.
  61. ^ Richard Rex. "Fisher, John". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/9498. (Subscription or UK public library membership required.)
  62. ^ "Holy Days". Church of England. Retrieved 31 January 2015. July 6: Thomas More, Scholar, and John Fisher, Bishop of Rochester, Reformation Martyrs, 1535
  63. ^ a b "William Fitzwilliam, Earl of Southampton". Royal Collection Trust. Inventory no. 912206.
  64. ^ William B. Robison. "Fitzwilliam, William". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/9663. (Subscription or UK public library membership required.)
  65. ^ "William Fitzwilliam, Earl of Southampton". Fitzwilliam Museum. Retrieved 31 January 2015.
  66. ^ "Sir John Gage (1479-1556)". Royal Collection Trust. Inventory no. 912207.
  67. ^ David Potter. "Gage, Sir John". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/10272. (Subscription or UK public library membership required.)
  68. ^ David Porter (2002). "Sir John Gage, Tudor Courtier and Soldier (1479–1556)". The English Historical Review. 117 (474): 1109–1146. doi:10.1093/ehr/117.474.1109. JSTOR 3490799. {{cite journal}}: |access-date= requires |url= (help)
  69. ^ a b c d "Margaret Giggs (1508-1570)". Royal Collection Trust. Inventory no. 912229.
  70. ^ a b Lewis 1998, pp. 15–16
  71. ^ a b c "Sir John Godsalve (c.1505-1556)". Royal Collection Trust. Inventory no. 912265.
  72. ^ "Portrait of John Godsalve". Philadelphia Museum of Art. Retrieved 1 February 2015.
  73. ^ "Thomas Godsalve (1481-1542) und sein Sohn Sir John (etwa 1510-1556)". Staatliche Kunstsammlungen Dresden. Retrieved 1 February 2015.
  74. ^ a b "Hans Holbein the Younger, Portrait of an Unknown English Lady c. 1535". Oskar Reinhart Collection 'Am Römerholz', Winterthur. Retrieved 1 February 2015.
  75. ^ "Bildnis der Elizabeth Widmerpole, Gattin des Sir John Godsalve". Europeana. Retrieved 1 February 2015.
  76. ^ a b Rowlands 1985, p. 142
  77. ^ a b "Sir Henry Guildford (1489-1532)". Royal Collection Trust. Inventory no. 912266. RCIN 912266.
  78. ^ Keith Dockray. "Guildford, Sir Henry". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/11721. (Subscription or UK public library membership required.)
  79. ^ "Sir Henry Guildford (1489-1532)". Royal Collection Trust. Inventory no. 400046. RCIN 400046.
  80. ^ a b c Lewis 1998, p. 17
  81. ^ a b "Mary, Lady Heveningham (1510/15-1570/71)". Royal Collection Trust. Inventory no. 912227.
  82. ^ a b Herman 2004
  83. ^ Michael 2013, p. 482
  84. ^ a b c "Elizabeth, Lady Hoby (c.1500-1560)". Royal Collection Trust. Inventory no. 912211.
  85. ^ Hewerdine 2012, p. 200
  86. ^ a b P. S. Edwards. "Hoby, Sir Philip (1504/5-58), of Leominster, Herefs., Bisham, Berks. and the Blackfriars, London". The history of Parliament. Retrieved 1 February 2015. {{cite web}}: External link in |website= (help)
  87. ^ a b "Sir Philip Hoby (1504/5-1558)". Royal Collection Trust. Inventory no. 912210.
  88. ^ "An unidentified woman". Royal Collection Trust. Inventory no. 912218. RCIN 912218.
  89. ^ Parker 1945, p. 53
  90. ^ a b c "Portrait of a Lady, perhaps Katherine Howard (1520-1542)". Royal Collection Trust. Inventory no. 422293.
  91. ^ a b c "Portrait Miniature of Katherine Howard". Strawberry Hill House. Retrieved 2 February 2015.
  92. ^ "Portrait of a Lady, probably a Member of the Cromwell Family". Toledo Museum of Art. Retrieved 2 February 2015.
  93. ^ a b c d e f "Henry Howard, Earl of Surrey (1516/17-1547)". Royal Collection Trust. Inventory no. 912216. RCIN 912216.
  94. ^ a b c d e f "Henry Howard, Earl of Surrey (1516/17-1547)". Royal Collection Trust. Inventory no. 912215. RCIN 912215.
  95. ^ a b c d "Henry Howard, Earl of Surrey (1516/17-1547)". Royal Collection Trust. Inventory no. 912213. RCIN 912213.
  96. ^ a b c d "Hans Holbein, o Jovem. O Poeta Henry Howard, Conde de Surrey". São Paulo Museum of Art. Retrieved 2 February 2015.
  97. ^ a b c "Thomas Howard, Third Duke of Norfolk (1473-1554)". Royal Collection Trust. Inventory no. 404439.
  98. ^ a b c d "Frances, Countess of Surrey (1517-1577)". Royal Collection Trust. Inventory no. 912214.
  99. ^ a b "Mary, Duchess of Richmond and Somerset (c.1519-c.1555)". Royal Collection Trust. Inventory no. 912212.
  100. ^ a b "Lady Lister". Royal Collection Trust. Inventory no. 912219.
  101. ^ Parker 1945, p. 41
  102. ^ a b "Princess Mary, later Queen (1516-1558)". Royal Collection Trust. Inventory no. 912220.
  103. ^ a b "An unidentified man". Royal Collection Trust. Inventory no. 912221. RCIN 912221.
  104. ^ Buck 1999, p. 71
  105. ^ a b "Joan, Lady Meutas (d.1577)". Royal Collection Trust. Inventory no. 912222.
  106. ^ D. M. Ogier. "Mewtas [Mewtis], Sir Peter". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/68013. (Subscription or UK public library membership required.)
  107. ^ Foister 2006, p. 81; Parker 1945, pp. 41–42
  108. ^ a b "Mary, Lady Monteagle (1510-before 1544)". Royal Collection Trust. Inventory no. 912223.
  109. ^ Weir 1991, p. 365
  110. ^ Eric Ives. "More, Sir John". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/19183. (Subscription or UK public library membership required.)
  111. ^ a b Retha Warnicke. "More [née Harpur; other married name Middleton], Alice, Lady More". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/46912. (Subscription or UK public library membership required.)
  112. ^ a b "Lady Alice More (c.1474 - c.1551)". Weiss Gallery, London. Retrieved 4 February 2015.
  113. ^ a b Hall 1990
  114. ^ a b "Grace, Lady Parker (1515- by 1549)". Royal Collection Trust. Inventory no. 912230.
  115. ^ Parker 1945, p. 56
  116. ^ a b c "William Parr, later Marquess of Northampton (1513-1571)". Royal Collection Trust. Inventory no. 912231.
  117. ^ Susan E. James. "Parr, William". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/21405. (Subscription or UK public library membership required.)
  118. ^ a b James 2009, p.133, p. 322 fn. 56, "She may also have been the subject of one of Holbein's most expressive drawings, executed during the period Anne served as a gentlewoman of the queen's privy chamber. [56] <...> R.L. 12256"
  119. ^ a b c "An unidentified woman". Royal Collection Trust. Inventory no. 912256. RCIN 912256.
  120. ^ a b "Sir Thomas Parry (c.1515-1560)". Royal Collection Trust. Inventory no. 912232.
  121. ^ Jonathan Hughes. "Parry, Sir Thomas". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/21433. (Subscription or UK public library membership required.)
  122. ^ a b c "John Poyntz (c.1485-1544)". Royal Collection Trust. Inventory no. 912233.
  123. ^ a b c T. F. T. Baker. "Poyntz, John (c.1485-1544), of Alderley, Glos". The history of Parliament. Retrieved 4 February 2015. {{cite web}}: External link in |website= (help)
  124. ^ a b "Portrait of John Poyntz". Metropolitan Museum of Art. Retrieved 4 February 2015.
  125. ^ a b c "Sir Nicholas Poyntz (c.1510-1556)". Royal Collection Trust. Inventory no. 912234.
  126. ^ Alasdair Hawkyard. "Sir Nicholas Poyntz". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/70798. (Subscription or UK public library membership required.)
  127. ^ "Sir Nicholas Poyntz". National Portrait Gallery, London. Retrieved 4 February 2015.
  128. ^ Grossman 1951, p. 41 fig.3, pp. 43–44
  129. ^ "An unidentified man". Royal Collection Trust. Inventory no. 912235. RCIN 912235.
  130. ^ Parker 1945, p. 58
  131. ^ a b c "Lady Ratcliffe". Royal Collection Trust. Inventory no. 912236.
  132. ^ Parker 1945, p.41
  133. ^ a b c "Elizabeth, Lady Rich (d.1558)". Royal Collection Trust. Inventory no. 912271.
  134. ^ a b "Lady Rich (Elizabeth Jenks, died 1558)". Metropolitan Museum of Art. Retrieved 6 February 2015.
  135. ^ a b c "Sir Richard Rich, later 1st Baron Rich (1496/7-1567)". Royal Collection Trust. Inventory no. 912238.
  136. ^ P. R. N. Carter. "Rich, Richard, first Baron Rich". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/23491. (Subscription or UK public library membership required.)
  137. ^ a b c "Francis Russell, later 2nd Earl of Bedford (1526/7-1585)". Royal Collection Trust. Inventory no. 912240.
  138. ^ a b c "John Russell, 1st Earl of Bedford (1485-1555)". Royal Collection Trust. Inventory no. 912239.
  139. ^ Diane Willen. "Russell, John". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/24319. (Subscription or UK public library membership required.)
  140. ^ a b c "Queen Jane Seymour (1508/9-1537)". Royal Collection Trust. Inventory no. 912267.
  141. ^ Bischoff 2010; quoted at the Google Cultural Institute profile for the Vienna portrait: Jane Seymour, Queen of England, 1536
  142. ^ "Portrait of Jane Seymour (1509?-1537), c. 1540". Mauritshuis, The Hague. Retrieved 7 February 2015.
  143. ^ "Henry VII, Elizabeth of York, Henry VIII and Jane Seymour". Royal Collection Trust. Inventory no. 405750.
  144. ^ "Sir William Sharington (c.1495-1553)". Royal Collection Trust. Inventory no. 912241.
  145. ^ C. E. Challis. "Sharington, Sir William". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/25205. (Subscription or UK public library membership required.)
  146. ^ a b "Sir Richard Southwell (1502/3-1564)". Royal Collection Trust. Inventory no. 912242.
  147. ^ "Sir Richard Southwell". Uffizi. Retrieved 7 February 2015.
  148. ^ a b "Edward Stanley, 3rd Earl of Derby (1509-1572)". Royal Collection Trust. Inventory no. 912243.
  149. ^ Parker 1945, p. 50
  150. ^ a b "Sir Thomas Lestrange (c.1490-1545)". Royal Collection Trust. Inventory no. 912244.
  151. ^ Joy Rowe. "Lestrange, Sir Thomas". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/16515. (Subscription or UK public library membership required.)
  152. ^ Pillsbury and Jordan 1985, p. 409
  153. ^ Oestmann 1994, frontispiece
  154. ^ "Thomas, 2nd Baron Vaux (1509-1556)". Royal Collection Trust. Inventory no. 912246. RCIN 912246.
  155. ^ "Thomas, 2nd Baron Vaux (1509-1556)". Royal Collection Trust. Inventory no. 912245. RCIN 912245.
  156. ^ a b "An unidentified man". Royal Collection Trust. Inventory no. 912260. RCIN 912260.
  157. ^ James 2009, p. 179 fig. 18
  158. ^ David Loades. "Dudley, John". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/8156. (Subscription or UK public library membership required.)
  159. ^ a b "An unidentified man". Royal Collection Trust. Inventory no. 912259. RCIN 912259.
  160. ^ a b "Portrait of a Man (Sir Ralph Sadler?)". Metropolitan Museum of Art. Retrieved 9 February 2015.
  161. ^ Gervase Phillips. "Sadler, Sir Ralph". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/24462. (Subscription or UK public library membership required.)
  162. ^ a b "An unidentified man". Royal Collection Trust. Inventory no. 912262. RCIN 912262.
  163. ^ a b "An unidentified man". Royal Collection Trust. Inventory no. 912258. RCIN 912258.
  164. ^ Foister 2006, p. 148; Parker 1945, p. 44
  165. ^ a b "An unidentified woman". Royal Collection Trust. Inventory no. 912217. RCIN 912217.
  166. ^ a b "An unidentified woman". Royal Collection Trust. Inventory no. 912253. RCIN 912253.
  167. ^ a b "An unidentified woman". Royal Collection Trust. Inventory no. 912254. RCIN 912254.
  168. ^ a b "An unidentified woman". Royal Collection Trust. Inventory no. 912255. RCIN 912255.
  169. ^ James 2009, p. 81
  170. ^ a b "An unidentified woman". Royal Collection Trust. Inventory no. 912257. RCIN 912257.
  171. ^ "Plate Number: P1549". University of Toronto Libraries. Retrieved 9 February 2015.

References

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