List of paintings by Hans Holbein the Younger
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Hans Holbein the Younger (c. 1497–1543) was a German artist and printmaker who worked in a Northern Renaissance style. He is best known as one of the greatest portraitists of the 16th century.[1] He also made a significant contribution to the history of book design, and produced religious art, satire, and Reformation propaganda.
Born in Augsburg, Holbein worked mainly in Basel as a young artist, painting murals and religious works and drawing designs for stained glass and printed books. He produced the occasional portrait, and made his international mark with portraits of the famous humanist Desiderius Erasmus of Rotterdam. When the Reformation reached Basel, Holbein produced works for reformist clients while continuing to serve traditional religious patrons. His late-Gothic style was influenced by artistic trends in Italy, France and the Netherlands, as well as by Renaissance humanism, resulting in a combined aesthetic that was uniquely his own.
Holbein travelled to England in 1526 in search of work, armed with a recommendation from Erasmus. He was welcomed into the humanist circle of Thomas More, where he soon built a high reputation. After returning to Basel for four years, in 1532 he resumed his career in England, where he worked for Anne Boleyn and Thomas Cromwell, and was appointed King's Painter to Henry VIII. In this role, he produced designs for jewellery, plate, and other precious objects, as well as for festive decorations. His portraits of the king and his family and courtiers provide a vivid record of a brilliant court, during a momentous period when Henry was assuming power as the Supreme Head of the English church.
Paintings
Work | Description | Date | Medium | Size | Location |
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Head of a Female Saint, attributed to Holbein[2] | c. 1515–16 | Oil and tempera on spruce wood | 23.5 × 21.5 cm | Kunstmuseum Basel |
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Head of a Male Saint, attributed to Holbein[2] | c. 1515–16 | Oil and tempera on spruce wood | 23.5 × 21.5 cm | Kunstmuseum Basel |
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Portrait of Jakob Meyer zum Hasen[3] | 1516 | Oil and tempera on limewood | 38.5 × 31 cm | Kunstmuseum Basel |
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Portrait of Dorothea Meyer, wife of Jakob Meyer zum Hasen[4] | 1516 | Oil and tempera on limewood | 38.5 × 31 cm | Kunstmuseum Basel |
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Signboard for the Schoolmaster Oswald Myconius (with Ambrosius Holbein)[5] | 1516 | Oil and tempera on pine panel | 55.5 × 65.5 cm | Kunstmuseum Basel |
Adam and Eve[6] | 1517 | Oil and tempera on paper mounted on pine | 30.2 × 35.7 cm | Kunstmuseum Basel | |
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Portrait of Benedikt von Hertenstein[7] | 1517 | Oil and tempera on paper mounted on wood | 52.4 × 38.1 cm | Metropolitan Museum of Art, New York |
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Portrait of Bonifacius Amerbach[8] | 1519 | Oil and tempera on pine | 28.5 × 27.4 cm | Kunstmuseum Basel |
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Oberried Altarpiece, The Adoration of the Magi, left panel[9] | c 1520 | Oil and tempera on pine | 230 × 109 cm | University Chapel of the Cathedral, Freiburg im Breisgau |
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Oberried Altarpiece, The Birth of Christ, right panel[9] | c 1520 | Oil and tempera on pine | 230 × 109 cm | University Chapel of the Cathedral, Freiburg im Breisgau |
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The Body of the Dead Christ in the Tomb[10] | 1521–22 | Oil and tempera on limewood | 30.6 × 200 cm | Kunstmuseum Basel |
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The Solothurn Madonna[11] | 1522 | Oil and tempera on limewood | 140.5 × 102 cm | Kunstmuseum Solothurn |
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Portrait of Johannes Froben[12] | c 1522-23 | Oil on panel | 48.8 × 32.4 cm | Royal Collection |
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Portrait of Erasmus of Rotterdam writing[13] | 1523 | Oil and tempera on paper mounted on pine | 36.8 × 30.5 cm | Kunstmuseum Basel |
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Portrait of Erasmus of Rotterdam writing[14] | 1523 | Oil and tempera on wood | 43 × 33 cm | Louvre, Paris |
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Portrait of Erasmus of Rotterdam[15] | 1523 | Oil and tempera on wood | 76 × 51 cm | National Gallery, London, on loan from Longford Castle |
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Printer's Device of Johannes Froben[16] | c 1523 | Tempera on canvas, heightened with gold | 44 × 31 cm | Kunstmuseum Basel |
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Allegory of the Old and New Law[17] | Unknown date between 1524 and 1535 | Oil and tempera on oak | 49 × 60 cm | National Gallery of Scotland, Edinburgh |
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The Passion altarpiece, the two left panels[18] | c. 1524–25 | Oil and tempera on limewood | 136 × 31 cm and 149.5 × 31 cm | Kunstmuseum Basel |
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The Passion altarpiece, the two right panels[18] | 1524–25 | Oil and tempera on limewood | 149.5 × 31 cm and 136 × 31 cm | Kunstmuseum Basel |
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The Last Supper[19] | c 1524–25 | Oil and tempera on limewood | 115.5 × 97.3 cm | Kunstmuseum Basel |
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Venus and Amor[20] | c. 1524–25 | Oil and tempera on limewood | 34.6 × 26.2 cm | Kunstmuseum Basel |
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Lais of Corinth[20] | 1526 | Oil and tempera on limewood | 34.6 × 26.8 cm | Kunstmuseum Basel |
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The Darmstadt Madonna (the Madonna of Jakob Meyer zum Hasen)[21] | 1526 and 1528–30 | Oil and tempera on limewood | 146.5 × 102 cm | Schlossmuseum, Darmstadt |
Noli me Tangere[22] | Unknown date, perhaps 1526 to 1528 | Oil and tempera on oak | 76.8 × 94.9 cm | Royal Collection | |
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Portrait of Sir Thomas More[23] | 1527 | Oil and tempera on oak | 74.2 × 59 cm | Frick Collection, New York |
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Portrait of William Warham, Archbishop of Canterbury[24] | 1527 | Oil and tempera on oak | 82 × 67 cm | Louvre, Paris |
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Portrait of Sir Henry Guildford[25] | 1527 | Oil and tempera on oak | 82.6 × 66.4 cm | Royal Collection, Windsor Castle |
Portrait of Mary, Lady Guildford[26] | 1527 | Oil and tempera on oak | 87 × 70.5 cm | Saint Louis Art Museum, Saint Louis, Missouri | |
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Portrait of a Lady with a Squirrel and a Starling'[27] | c. 1527–28 | Oil and tempera on oak | 54 × 38.7 cm | National Gallery, London |
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Portrait of Thomas Godsalve and his son John[28] | 1528 | Oil and tempera on oak | 35 × 36 cm | Gemäldegalerie Alte Meister, Dresden |
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Portrait of Nikolaus Kratzer[29] | 1528 | Oil and tempera on oak | 83 × 67 cm | Louvre, Paris |
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The Artist's Family[30] | c. 1528 | Oil and tempera on paper, cut out and mounted on wood | 76.8 × 64 cm | Kunstmuseum Basel |
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Rehoboam, fragment of wall painting[31] | 1530 | Painting on plaster | 28 × 41.5 cm | Kunstmuseum Basel |
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Miniature Portrait of Erasmus of Rotterdam[32] | c. 1532 | Oil and tempera on limewood | 10 cm diameter | Kunstmuseum Basel |
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Portrait of Hermann von Wedigh[33] | 1532 | Oil and tempera on wood | 42.2 × 32.4 cm | Metropolitan Museum of Art, New York |
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Portrait of the Merchant Georg Gisze[34] | 1532 | Oil and tempera on oak | 90.3 × 85.7 cm | Berlin State Museums |
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Portrait of Thomas Cromwell[35] | c. 1532–33 | Oil and tempera on oak | 76 × 61 cm | Frick Collection, New York |
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Portrait of a Man, possibly Hans of Antwerp[36] | c. 1532–33 | Oil and tempera on oak | 61 × 46.8 cm | National Portrait Gallery, London |
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Portrait of a Woman in a White Coif[37] | c. 1532–34 | Oil and tempera on oak | 23.4 × 18.8 cm | Detroit Institute of Arts |
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Portrait of William Reskimer[38] | c. 1532–34 | Oil and tempera on oak | 46.4 × 33.7 cm | Royal Collection, Windsor Castle |
Miniature Portrait of Philipp Melanchthon[39] | c. 1530–1535 | Oil and tempera on oak | 9 cm diameter | Lower Saxony State Museum, Hanover | |
Miniature Portrait of a Man in a Red Cap[40] | c. 1532–35 | Oil and tempera on wood | 9.5 cm diameter | Metropolitan Museum of Art, New York | |
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Miniature Portrait of George Nevill, 5th Baron Bergavenny[41] | c. 1532–35 | Duke of Buccleuch collection | ||
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Portrait of Derich Born[42] | 1533 | Oil and tempera on oak | 60.3 × 45 cm | Royal Collection, Windsor Castle |
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Portrait of Robert Cheseman[43] | 1533 | Oil and tempera on oak | 59 × 62.5 cm | Mauritshuis, The Hague |
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Portrait of a Member of the Von Wedigh Family (Called Hermann Hillebrandt von Wedigh)[44] | 1533 | Oil and tempera on oak | 39 × 30 cm | Berlin State Museums |
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Portrait of Dirk Tybis[45] | 1533 | Oil and tempera on oak | 48 × 35 cm | Kunsthistorisches Museum, Vienna |
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Portrait of Cyriacus Kale[46] | 1533 | Oil and tempera on oak | 60 × 44 cm | Herzog Anton Ulrich Museum, Braunschweig |
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Double Portrait of Jean de Dinteville and Georges de Selve ("The Ambassadors")[47] | 1533 | Oil and tempera on oak | 207 × 209 cm | National Gallery, London |
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Portrait Miniature of a Young Man with a Pink[48][49] | 1533 | Oil on oak | 12.4 × 12.1 cm | Upton House, Bearsted Collection |
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Portrait of Sir Brian Tuke[50] | c. 1533–35 | Oil and tempera on oak | 49.1 × 38.5 cm | National Gallery of Art, Washington, D. C. |
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E Cosi Desio me Mena, Allegory of Love[51] | c. 1533–36 | Oil on oak in lozenge format | 45 × 45 cm | J. Paul Getty Museum, Los Angeles |
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Miniature Portrait of a Court Official[52] | 1534 | Oil and tempera on limewood | 12 cm diameter | Kunsthistorisches Museum, Vienna |
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Miniature Portrait of a Court Official's Wife[52] | 1534 | Oil and tempera on limewood | 12 cm diameter | Kunsthistorisches Museum, Vienna |
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Portrait of Charles de Solier, Sieur de Morette[53] | 1534–35 | Oil and tempera on oak | 92.5 × 75.4 cm | Gemäldegalerie Alte Meister, Dresden |
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Portrait of a Man with a Lute[54] | c. 1533–36 | Oil and tempera on oak | 43.5 × 43.5 cm | Berlin State Museums |
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Solomon and the Queen of Sheba[55] | c. 1534–35 | Pen and brush in bistre and grey wash, heightened in white, gold, and oxidised silver with red and green watercolour over black chalk on vellum | 22.9 × 18.2 cm | Royal Library, Windsor |
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Portrait of Simon George[56] | c. 1534–37 | Oil and tempera on oak | Diameter 31 cm | Städelsches Kunstinstitut, Frankfurt |
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Portrait of Derich Berck[57] | 1536 | Oil and tempera transferred to canvas | 53.3 × 42.6 cm | Metropolitan Museum of Art, New York |
Portrait Miniature of William Roper[58] | c. 1536 | Bodycolour on vellum mounted on card | 4.5 cm diameter | Metropolitan Museum of Art, New York | |
Portrait Miniature of Margaret Roper[58] | c. 1536 | Bodycolour on vellum mounted on card | 4.5 cm diameter | Metropolitan Museum of Art, New York | |
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Portrait of Sir Richard Southwell[59] | 1536 | Oil and tempera on oak | 47.5 × 38 cm | Uffizi, Florence |
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Portrait of Sir Thomas Lestrange[60] | 1536 | Oil and tempera on wood | 39.4 × 26.7 cm | Kimbell Art Museum, Fort Worth, Texas |
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Portrait of Sir Henry Wyatt[61] | c. 1537 | Oil and tempera on oak | 39 × 31 cm | Louvre, Paris |
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Portrait of Henry VIII[62] | c. 1536–37 | Oil and tempera on oak | 28 × 20 cm | Fundación Colección, Thyssen-Bornemisza Museum, Madrid |
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Portrait of Jane Seymour[63] | 1537 | Oil and tempera on oak | 65 × 40 cm | Kunsthistorisches Museum, Vienna |
Mural of Henry VIII, Jane Seymour, Henry VII, and Elizabeth of York | 1536–1537 | Destroyed in Whitehall Palace fire, 1698 | |||
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Portrait of Christina of Denmark[64] | 1538 | Oil and tempera on oak | 179 × 82.5 cm | National Gallery, London |
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Hanseatic Merchant[65] | 1538 | Oil on oak panel | 49.6 x 39 cm | Yale University Art Gallery, New Haven CT |
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Portrait Miniature of Elizabeth, Lady Audley[66] | c. 1538 | Watercolour on vellum mounted on playing card | 5.6 cm diameter | Royal Collection, Windsor castle |
Portrait of Thomas Howard, 3rd Duke of Norfolk[67] | c. 1539 | Oil and tempera on oak | 80.3 × 61.6 cm | Royal Collection, Windsor Castle | |
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Portrait of Edward, Prince of Wales[68] | c. 1539 | Oil and tempera on oak | 57 × 44 cm | National gallery of Art, Washington, D. C. |
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Portrait of Anne of Cleves[69] | c. 1539 | Oil and tempera on parchment mounted on canvas | 65 × 48 cm | Louvre, Paris |
Portrait Miniature of Anne of Cleves[70] | c. 1539 | Watercolour and gum on vellum in ivory case | 4.6 cm diameter | Victoria and Albert Museum, London | |
Portrait Miniature of an Unknown Lady, possibly Queen Catherine Howard[71] | c. 1540 | Bodycolour on vellum mounted on playing card | 6.4 cm diameter | Royal Collection, Windsor Castle | |
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Portrait Miniature of Katherine Howard[72] | c. 1540 | Watercolour on vellum | 5.3 cm diameter | Buccleuch collection, Strawberry Hill House |
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Portrait of an Unknown Lady[73] | c. 1540 | Oil and tempera on oak | 74 × 48 cm | Toledo Museum of Art |
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Portrait Miniature of Jane Small, also called "Jane Pemberton"[74] | c. 1540 | Bodycolour on vellum | 5.3 cm diameter | Victoria and Albert Museum, London |
Portrait of an Unknown Man, Holding his Gloves and a Letter[75] | c. 1540 | Oil and tempera on oak | 56 × 48 cm | Private collection | |
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Portrait of an Unknown Man[76] | c. 1540–43 | Oil and tempera on oak | 44.4 × 34.2 cm | English Heritage, Audley End House |
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Portrait Miniature of Henry Brandon[77] | 1541 | Bodycolour on vellum mounted on playing card | 5.7 cm diameter | Royal Collection, Windsor Castle |
Portrait Miniature of Charles Brandon[77] | 1541 | Bodycolour on vellum mounted on playing card | 5.7 cm diameter | Royal Collection, Windsor Castle | |
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Portrait Miniature of Catherine Willoughby[78] | 1541 | Grimsthorpe Castle, collection of the Baroness Willoughby de Eresby | ||
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Portrait of an Unknown Man at his Desk[79] | 1541 | Oil and tempera on oak | 46.5 × 34.8 cm | Kunsthistorisches Museum, Vienna |
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Portrait Miniature of a Young Woman with a White Coif[80] | 1541 | Oil and tempera on panel | 11.11 cm diameter | Los Angeles County Museum of Art |
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Portrait of a Man with a Falcon[81] | 1542 | Oil and tempera on oak | 25 × 19 cm | Mauritshuis, The Hague |
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Portrait of Henry Howard, Earl of Surrey[82] | c. 1541–43 | Oil and tempera on oak | 55.5 × 44 cm | São Paulo Museum of Art, Brazil |
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Portrait of an Unknown Lady[83] | c. 1541–43 | Oil and tempera on oak | 19.2 × 15.3 cm | Kunsthistorisches Museum, Vienna |
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Self-portrait | c. 1542-1543 | Coloured chalks and pen | 32× 26 cm | Uffizi, Florence |
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Portrait of Dr John Chambers[84] | c. 1543 | Oil and tempera on oak | 51 × 44 cm | Kunsthistorisches Museum, Vienna |
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Portrait of Sir William Butts[85] | c. 1543 | Oil and tempera, formerly on oak panel, transferred to canvas in 1941 | 47 × 36.8 cm | Isabella Stewart Gardner Museum, Boston |
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Portrait of Lady Margaret Butts[85] | 1543 | Oil and tempera on oak | 46 × 37 cm | Isabella Stewart Gardner Museum, Boston |
Portrait Miniature of Johann von Schwarzwaldt[86] | 1543 | c. 5.0 cm diameter | Missing since World War II | ||
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Portrait of Antony the Good, Duke of Lorraine[87] | c. 1543 | Oil and tempera on oak | 51 × 37 cm | Berlin State Museums |
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Henry VIII and the Barber Surgeons, reworked and overpainted by other hands[88] | c. 1543 | Oil on oak | 108.3 × 312.4 cm | Worshipful Company of Barbers, London |
Copies and derivative works
Work | Description | Date | Medium | Size | Location |
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Portrait of a Woman from Southern Germany, former attribution[89] | c. 1520-1525 | Oil on panel | 45 × 34 cm | Mauritshuis, The Hague |
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Portrait of Nikolaus Kratzer, after Holbein[90] | c. 1528 | Oil on panel | 81.9 × 64.8 cm | National Portrait Gallery (London) |
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Portrait of Desiderius Erasmus of Rotterdam, Holbein's workshop[91] | c. 1530 | Oil and tempera on limewood | 18.2 × 14.5 cm | Kunstmuseum Basel |
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Portrait of Sir Nicholas Carew, workshop or follower of Holbein[92] | Probably 1530s | Oil and tempera on wood | 95.3 × 112 cm | Duke of Buccleuch, Drumlanrig Castle, Dumfries |
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Portrait of an Unidentified Gentleman, workshop or follower of Holbein[93] | 1535 | Oil on oak | 30.5 cm diameter | Metropolitan Museum of Art, New York |
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Portrait of Sir Nicholas Poyntz, after Holbein[94] | c.1535 | Oil on panel | 42.5 × 29.2 cm | National Portrait Gallery, London |
Portrait Miniature of an Unidentified Man, possibly Hans of Antwerp, workshop of Holbein[95] | c. 1535–40 | Oil and tempera on oak | 13 cm diameter | Victoria and Albert Museum, London. | |
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Portrait of Jane Seymour, after Holbein[96] | c. 1537 | Oil and tempera on oak | 26.3 × 18.7 cm | Mauritshuis, The Hague |
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Portrait Miniature of Thomas Cromwell, after Holbein[97] | c. 1537 | Watercolour and bodycolour on vellum | 4.4 cm diameter | National Portrait Gallery, London |
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Portrait Miniature of Thomas Cromwell, after Holbein[98] | c. 1537 | Watercolour and bodycolour on vellum | 4.4 cm diameter | National Portrait Gallery, London |
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Portrait of Prince Edward, after Holbein[99] | 16th century, after c. 1538 | Oil on panel | 59 × 44.5cm | Berger Collection, Denver Art Museum |
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Lady Lee (Margaret Wyatt), Holbein's workshop[100] | c. 1540 | Oil on panel | 44.1 × 34 cm | Metropolitan Museum of Art, New York |
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Portrait of Henry VIII, Holbein's workshop[101] | c 1540 | Oil on oak | 88.2 × 75 cm | Galleria Nazionale d'Arte Antica, Rome |
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Portrait of Elizabeth, Lady Rich, after Holbein[102] | c 1540 | Oil and tempera on wood (probably oak) | 44.5 × 33.9 cm | Metropolitan Museum of Art, New York |
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Portrait of Henry VIII in a Great Coat Holding a Staff, after Holbein[103] | 1542 | Oil and tempera on oak | 92.7 × 66.7 cm | Castle Howard, Yorkshire |
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Portrait Miniature of Hans Holbein the Younger, copy of Holbein's self-portrait, probably by Lucas Horenbout[104] | 1543 | Watercolour on vellum mounted on playing card | 3.7 cm diameter | Wallace Collection, London |
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Portrait of Henry VIII, after Holbein[105] | After 1537, possibly c 1567 | Oil on canvas | 233.7 × 134.6 cm | Walker Art Gallery, Liverpool |
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Portrait of Sir William Butts, after Holbein[106] | c 1543 | Oil on panel | 47 × 37.5 cm | National Portrait Gallery, London |
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Portrait of George Brooke, 9th Baron Cobham[107] | After 1544 | Oil on panel | 32 cm diameter | Private collection |
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Portrait Miniature of Thomas Wriothesley, 1st Earl of Southampton, after Holbein[108] | Probably second half of 16th century | Watercolour on vellum laid on card | Oval of 5 × 3 cm | Metropolitan Museum of Art, New York |
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The Family of Thomas More, by Rowland Lockey, after Holbein's lost painting[109] | 1592 | Oil on canvas | Nostell Priory, West Yorkshire | |
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Dresden Madonna, copy by Bartholomäus Sarburgh(de) of Holbein's Darmstadt Madonna[110] | c. 1635–37 | Oil on oak | 159 × 103 cm | Gemäldegalerie Alte Meister, Dresden |
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Portrait of Johann Froben, after Holbein[111] | 16th or beginning of 17th century, after an original of 1520–26 | Oil and tempera on oak | 39.5 × 33.5 cm | Kunstmuseum Basel |
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Portrait of Desiderius Erasmus of Rotterdam, Holbein's workshop, with later additions[112] | c. 1523–40, background c. 1629 | Oil on wood | 54.7 x 32.4 cm | Royal Collection, Windsor Castle |
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Henry VII, Elizabeth of York, Henry VIII, and Jane Seymour, copy by Remigius van Leemput of Holbein's Whitehall Mural, destroyed by fire in 1698[113] | 1667 | Oil on canvas | 88.9 × 99.2 cm | Royal Collection, Windsor Castle |
Notes
- ^ Zwingenberger, 9.
- ^ a b Müller, Kemperdick, Ainsworth, et al, 136; Rowlands, 125; Strong, 12. Cite error: The named reference "Saints" was defined multiple times with different content (see the help page).
- ^ Buck, 13–14; Strong, 18.
- ^ Buck, 13, 15; Strong, 18.
- ^ Buck, 12; Strong, 20.
- ^ Buck, 18; Strong, 20.
- ^ Buck, 20; Strong, 20.
- ^ Buck, 24–25; Strong, 26.
- ^ a b Strong, 28.
- ^ Buck, 32–33; Strong, 28.
- ^ Buck, 34; Strong, 30.
- ^ "Johannes Froben (1460-1527)". Royal Collection Trust. Inventory no. 403035.
- ^ Buck, 46; Strong, 34.
- ^ Buck, 46–47; Strong, 34.
- ^ Buck, 48–49; Strong, 34.
- ^ Müller, Kemperdick, Ainsworth, et al, 295; Rowlands, 128;
- ^ Foister, 134; Strong, 34.
- ^ a b Buck, 36; Strong, 38.
- ^ Buck, 38–39; Strong, 38.
- ^ a b Buck, 42–43; Strong, 40.
- ^ Buck, 78–79; Strong, 40.
- ^ Foister, 127; Strong, 52.
- ^ Buck, 54–55; Strong, 42.
- ^ Buck, 56–57; Strong, 44.
- ^ Buck, 59–60; Strong, 44.
- ^ Buck, 59, 61; Strong, 46.
- ^ Buck, 62–63; Strong, 40.
- ^ Buck, 64–65; Strong, 46.
- ^ Buck, 68–69; Strong, 46.
- ^ Buck, 74–75; Strong, 48.
- ^ Müller, Kemperdick, Ainsworth, et al, 412.
- ^ Sander, in Müller, Kemperdick, Ainsworth, et al, 148–49. Scholars have found it difficult to establish which of the many versions of this pattern are by Holbein and which are copies; in the view of Jochen Sander, however, "There can be no doubt that this extraordinary portrait was painted by Holbein himself".
- ^ Foister, 64; Strong, 50.
- ^ Buck, 88–89; Strong, 50.
- ^ Buck, 112; Rowlands 1985, 137–38. Some scholars view this painting as a workshop copy, but Rowlands considers that pentimenti (alterations) indicate a Holbein original.
- ^ Strong, 50; Rowlands, 136–37.
- ^ Rowlands, 142; Strong, 58.
- ^ Foister, 42; Rowlands, 137; Strong, 56.
- ^ Buck, 71; Strong, 48.
- ^ Foister, 50; Rowlands, 141; Strong, 68.
- ^ Button, 169
- ^ Buck, 94–95; Strong,
- ^ Buck, 105; Strong, 62.
- ^ Buck, 92–93; Foister, 66; Strong, 58.
- ^ Buck, 92–93; Strong, 58.
- ^ Foister, 66; Strong, 62.
- ^ Buck, 99; Strong,
- ^ Foister, p. 49
- ^ "A Young Man with a Pink". National Trust. Retrieved 3 February 2015.
- ^ Bätschmann & Griener, 177; Foister, 131.
- ^ Foister, 61; Rowlands, 238. Art historian John Rowlands rejected this painting as a Holbein: "Although its attribution is by no means a straightforward question, the stylistic grounds supporting Holbein's authorship of this panel are very slender indeed". Curator Susan Foister, however, attributed it to Holbein in the Holbein in England exhibition at the Tate in 2006, citing trademarks such as the gold arabesque design and a figure of eight mark on the reverse.
- ^ a b Foister, 47; Rowlands, 141; Strong, 64.
- ^ Buck, 102–103; Strong, 68.
- ^ Rowlands 1985, 142; Strong, 68.
- ^ Buck, 120–23; Foister, 136.
- ^ Foister, 44; Strong, 70.
- ^ Strong, 72.
- ^ a b Foister, 46; Rowlands, 151.
- ^ Buck, 125; Strong, 72.
- ^ Edmund Pillsbury; William Jordan (1985). "Recent Painting Acquisitions - II: The Kimbell Art Museum: Supplement". The Burlington Magazine. 127 (987): 409–418. JSTOR 882120.
- ^ Foister, 131; Rowlands, 134; Strong, 46.
- ^ Buck, 118–19; Strong, 74.
- ^ Buck, 117; Strong, 74.
- ^ Buck, 126–27; Strong, 78.
- ^ "Collection:European Art". Yale University Art Gallery.
- ^ Foister, 106; Rowlands, 151; Strong, 94.
- ^ Foister, 150; Strong, 80.
- ^ Buck, 120–21; Strong, 78.
- ^ Buck, 109–110; Strong, 80.
- ^ Foister, 102; Rowlands, 151.
- ^ Foister, 102; Rowlands 1985, 151; Strong, 94.
- ^ "Portrait Miniature of Katherine Howard". Strawberry Hill House. Retrieved 2 February 2015.
- ^ Rowlands, 146; Strong, 82. The sitter was formerly called Catherine Howard; she is possibly a member of Thomas Cromwell's family, perhaps his daughter-in-law Elizabeth Seymour, sister of Jane Seymour.
- ^ Buck, 124; Foister, 49.
- ^ Rowlands, 147; Strong, 80.
- ^ Foister, 147; Rowlands, 147; Strong, 82.
- ^ a b Strong, 94.
- ^ de Lisle, p. xv; Franklin-Harkrider, p. 15
- ^ Reynolds, 147; Strong, 82.
- ^ "Portrait of a Young Woman with a White Coif". Los Angeles County Museum of Art. Retrieved 3 February 2015.
- ^ Rowlands, 147; Strong, 86.
- ^ Rowlands 1985, 147–48; Strong, 134.
- ^ Reynolds, 148; Strong, 131.
- ^ Buck, 130–31; Strong, 86.
- ^ a b Rowlands, 149; Strong, 88.
- ^ "Portrait of Johann von Schwarzwaldt". Polish Ministry of Culture, The Division for Looted Art. Retrieved 3 February 2015.
- ^ Buck, 31; Strong, 90.
- ^ Buck, 127–29; Rowlands 1985, 148–49.
- ^ Mauritshuis: [1]
- ^ Rowlands, pp. 134–35.
- ^ Müller, Kemperdick, Ainsworth, et al, 418–19. 38 or more copies of this pattern are known, this being perhaps the finest.
- ^ Foister, 122; Rowlands, 233–34.
- ^ Foister, 114; Rowlands, 232.
- ^ Parker, 45; Rowlands, 232–33.
- ^ Foister, 116; Rowlands, 137.
- ^ Buck, 109; Rowlands 1985, 232; Strong, 74. Strong attributes this version to Holbein, and Buck to Holbein's workshop. Rowlands doubts it is a product of Holbein's workshop.
- ^ Rowlands, 240.
- ^ National Portrait Gallery: NPG 6311
- ^ Buck, 120; Rowlands, 116.
- ^ Metropolitan Museum of Art: Lee (Margaret Wyatt, born about 1509)
- ^ Buck, 106; Hearn, 42–43.
- ^ Parker, 50–51; Rowlands, 234; Strong, 82.
- ^ Rowlands 1985, 236; Strong, 86.
- ^ Rowlands, 239–40.
- ^ Strong, 1969, 159, suggests that this painting could be by Hans Eworth, who signed a comparable full-length version of the same pattern.
- ^ Rowlands, 149.
- ^ Hearn, 44.
- ^ Rowlands, 239.
- ^ Hearn, 128.
- ^ Buck, 78; Roskill & Hand, 211–221. This version was assumed to be Holbein's original until it was revealed as a copy (and probably a forgery) during the "Holbein Dispute" of 1863–71.
- ^ Müller, Kemperdick, Ainsworth, et al, 296–98; Rowlands, 129
- ^ Rowlands, 128
- ^ Buck, 115; Hearn, 40–41.
References
- Bätschmann, Oskar, & Pascal Griener. Hans Holbein. London: Reaktion Books, 1997. ISBN 1-86189-040-0.
- Buck, Stephanie. Hans Holbein, Cologne: Könemann, 1999, ISBN 3-8290-2583-1.
- Foister, Susan. Holbein in England. London: Tate: 2006. ISBN 1-85437-645-4.
- Franklin-Harkrider, Melissa. Women, Reform and Community in Early Modern England. Boydell Press, 2008. google books preview
- Ganz, Paul. The Paintings of Hans Holbein: First Complete Edition. London: Phaidon, 1956. OCLC 2105129.
- Hearn, Karen. Dynasties: Painting in Tudor and Jacobean England, 1530–1630. London: Tate Publishing, 1995. ISBN 1-85437-157-6.
- de Lisle, Leanda. The Sisters Who Would Be Queen. Random House Publishing Group, 2009. google books preview
- Müller, Christian; Stephan Kemperdick; Maryan W. Ainsworth; et al.. Hans Holbein the Younger: The Basel Years, 1515–1532. Munich: Prestel, 2006. ISBN 3-7913-3580-4.
- Parker, K. T. The Drawings of Hans Holbein at Windsor Castle. Oxford: Phaidon, 1945. OCLC 822974.
- Roskill, Mark, & John Oliver Hand (eds). Hans Holbein: Paintings, Prints, and Reception. Washington: National Gallery of Art, 2001. ISBN 0-300-09044-7.
- Rowlands, John. The Age of Dürer and Holbein. London: British Museum, 1988. ISBN 0-7141-1639-4.
- Rowlands, John. Holbein: The Paintings of Hans Holbein the Younger. Boston: David R. Godine, 1985. ISBN 0-87923-578-0.
- Strong, Roy. Holbein: The Complete Paintings. London: Granada, 1980. ISBN 0-586-05144-9.
- Strong, Roy. Tudor & Jacobean Portraits. London: HMSO, 1969. OCLC 71370718.
- Zwingenberger, Jeanette. The Shadow of Death in the Work of Hans Holbein the Younger. London: Parkstone Press, 1999. ISBN 1-85995-492-8.
External links
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