Hans Holbein the Younger

2458: 489: 2284: 2348: 2301: 1915: 1881: 2263: 880: 2485: 1815: 2500: 2516: 1110: 2017: 2328: 2377: 1485: 775: 2425: 954: 2401: 1263: 466: 2231: 2219: 1970: 1745: 2084: 1377: 1770: 45: 1040: 1098: 1961:, with its rich blue background, crisp outlines, and absence of shading, is considered a masterpiece of the genre. According to art historian Graham Reynolds, Holbein "portrays a young woman whose plainness is scarcely relieved by her simple costume of black-and-white materials, and yet there can be no doubt that this is one of the great portraits of the world. With remarkable objectivity Holbein has not added anything of himself or subtracted from his sitter's image; he has seen her as she appeared in a solemn mood in the cold light of his painting-room". 1803:

pink-primed paper, adding pen and brushwork in ink to the chalk. Judging by the three-hour sitting given to him by Christina of Denmark, Holbein could produce such portrait studies quickly. Some scholars believe that he used a mechanical device to help him trace the contours of his subjects' faces. Holbein paid less attention to facial tones in his later drawings, making fewer and more emphatic strokes, but they are never formulaic. His grasp of spatial relationships ensures that each portrait, however sparely drawn, conveys the sitter's presence.

2929:(1548–1606) stated that Holbein never went there. It has been argued by Peter Claussen, for example, that Italian motifs in Holbein's work might have derived from engravings, sculptures, and artworks seen in Augsburg. On the other hand, Bätschmann and Griener quote a document of 1538 in which the Basel authorities gave Holbein permission to sell his work in "France, England, Milan or in the Netherlands" as support for the view that he had travelled to Milan since he is known to have travelled to the other three places named. 588: 576: 1136:

worked directly for Anne and her circle. He designed a cup engraved with her device of a falcon standing on roses, as well as jewellery and books connected to her. He also sketched several women attached to her entourage, including her sister-in-law Jane Parker. At the same time, Holbein worked for Thomas Cromwell as he masterminded Henry VIII's reformation. Cromwell commissioned Holbein to produce reformist and royalist images, including anti-clerical woodcuts and the title page to

2111:(1545) is close in style to Holbein. Scholars differ about Holbein's influence on English art. In Foister's view: "Holbein had no real successors and few imitators in England. The disparity between his subtle, interrogatory portraits of men and women whose gazes follow us, and the stylised portraits of Elizabeth I and her courtiers can seem extreme, the more so as it is difficult to trace a proper stylistic succession to Holbein's work to bridge the middle of the century". 5760: 2122:. The influence of Holbein's "monumentality and attention to texture" has been detected in Eworths' work. According to art historian Erna Auerbach: "Holbein's influence on the style of English portraiture was undoubtedly immense. Thanks to his genius, a portrait type was created which both served the requirements of the sitter and raised portraiture in England to a European level. It became the prototype of the English Court portrait of the Renaissance period". 1205: 2126: 1618: 625: 1954:. His small panel portrait of Henry VIII shows an interpenetration between his panel and miniature painting. Holbein's large pictures had always contained a miniature-like precision. He now adapted this skill to the smaller form, somehow retaining a monumental effect. The twelve or so certain miniatures by Holbein that survive reveal his mastery of "limning", as the technique was called. 2000:

All demonstrate the precision and fluidity of his draughtsmanship. In the view of art historian Susan Foister, "These qualities so animate his decorative designs, whether individual motifs, such as his favoured serpentine mermen and women, or the larger shapes of cups, frames, and fountains, that they scintillate on paper even before their transformation into precious metal and stone".

2008:. His design work, suggests art historian John North, "gave him an unparalleled feel for the textures of materials of all kinds, and it also gave him the habit of relating physical accessories to face and personality in his portraiture". Although little is known of Holbein's workshop, scholars assume that his drawings were partly intended as sources for his assistants. 863:. For this house he paid a third in advance. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second neighboring house in 1531 for which he initially advanced only a seventh of the price and was to pay a yearly rate during the following six years. 1695:, Holbein illustrated attacks by Luther against Rome. At the same time, he continued to work for Erasmians and known traditionalists. After his return from England to a reformed Basel in 1528, he resumed work both on Jakob Meyer's Madonna and on the murals for the Council Chamber of the Town Hall. The Madonna was an icon of traditional piety, while the 920:

doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians".

2057:, have fixed their images for posterity. The same is true for the array of English lords and ladies whose appearance is often known only through his art. For this reason, John North calls Holbein "the cameraman of Tudor history". In Germany, on the other hand, Holbein is regarded as an artist of the Reformation, and in Europe of humanism. 1329:, the famous artist of Greek antiquity after whom Holbein was named in humanist circles. Whatever the case, it is likely that Holbein always supported his wife and children. When Elsbeth died in 1549, she was well off and still owned many of Holbein's fine clothes; on the other hand, she had sold his portrait of her before his death. 603:. The city's records show that on 10 December 1517, he was fined five livres for fighting in the street with a goldsmith called Caspar, who was fined the same amount. That winter, Holbein probably visited northern Italy, though no record of the trip survives. Many scholars believe he studied the work of Italian masters of 1841:, "but behind this outward placidness lies hidden a breadth and depth of inner life". Some critics see the iconic and pared-down style of Holbein's later portraits as a regression. Kenyon Cox, for example, believes that his methods grew more primitive, reducing painting "almost to the condition of medieval illumination". 758:, his wife, and his daughter. In 1523, Holbein painted his first portraits of the great Renaissance scholar Erasmus, who required likenesses to send to his friends and admirers throughout Europe. These paintings made Holbein an international artist. Holbein visited France in 1524, probably to seek work at the court of 4482:

2011 "The love for truth. Life and work of Michael Servetus", (El amor a la verdad. Vida y obra de Miguel Servet.), printed by Navarro y Navarro, Zaragoza, collaboration with the Government of Navarre, Department of Institutional Relations and Education of the Government of Navarre, 607pp, 64 of them

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at Dresden was a copy, and that the little-known version at Darmstadt was the Holbein original. Since then, scholars have gradually removed the attribution to Holbein from many copies and derivative works. The current scholarly view of Holbein's art stresses his versatility, not only as a painter but

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with copies of Holbeins and kept a Holbein room. From around 1780, a re-evaluation of Holbein set in, and he was enshrined among the canonical masters. A new cult of the sacral art masterpiece arose, endorsed by the German Romantics. This view suffered a setback during the famous controversy known as

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in tradition. It maintained an allegiance to Rome and a faith in pieties such as pilgrimages, veneration of relics, and prayer for dead souls. Holbein's early work reflects this culture. The growing reform movement, led by humanists such as Erasmus and Thomas More, began, however, to change religious

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thought her quite attractive, pleasant, and dignified, though dressed in unflattering, heavy German clothing, as were her attendants. Some of the blame for the king's disillusionment fell on Thomas Cromwell, who had been instrumental in arranging the marriage and had passed on some exaggerated claims

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were more simply designed than their predecessors. Holbein worked for traditional clients at the same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on

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9 September, Francisco González Echeverría VI International Meeting for the History of Medicine, (S-11: Biographies in History of Medicine (I)), Barcelona. New Discoveries on the biography of Michael de Villeneuve (Michael Servetus) & New discoveries on the work of Michael De Villeneuve (Michael

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Wilson, 183–86; Starkey, 496. According to historian David Starkey: "If the pageant as executed followed Holbein's surviving preparatory drawing at all faithfully, it was the most sophisticated piece of Renaissance theatrical design that London would see till the spectacular masque settings of Inigo

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Holbein's way of designing objects was to sketch preliminary ideas and then draw successive versions with increasing precision. His final draft was a presentation version. He often used traditional patterns for ornamental details such as foliage and branches. When designing precious objects, Holbein

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Study of Holbein's later portraits has been complicated by the number of copies and derivative works attributed to him. Scholars now seek to distinguish the true Holbeins by the refinement and quality of the work. The hallmark of Holbein's art is a searching and perfectionist approach discernible in

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Holbein may have visited his wife and children in late 1540, when his leave of absence from Basel expired. None of his work dates from this period, and the Basel authorities paid him six months' salary in advance. The state of Holbein's marriage has intrigued scholars, who base their speculations on

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Parker, 53–54; Wilson, 209–10; Ives, 43. A drawing at Windsor inscribed "Anna Bollein Queen" has been discounted as incorrectly labelled by K. T. Parker and other scholars, citing heraldic sketches on the reverse. Anne's biographer Eric Ives believes that there is "little to reinstate" that drawing

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Holbein's cartoon for part of the dynastic Tudor wall painting at Whitehall reveals how he prepared for a large mural. It was made of 25 pieces of paper, each figure cut out and pasted onto the background. Many of Holbein's designs for glass painting, metalwork, jewellery, and weapons also survive.

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This striving for perfection is very evident in his portrait drawings, where he searches with his brush for just the right line for the sitter's profile. The critical faculty in making this choice and his perception of its potency in communicating decisively the sitter's character is a true measure

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Holbein may have been in a hurry, because the will was not witnessed by a lawyer. On 29 November, John of Antwerp, the subject of several of Holbein's portraits, legally undertook the administration of the artist's last wishes. He presumably settled Holbein's debts, arranged for the care of his two

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stated in the early 17th century that he died of the plague. Wilson regards the story with caution since Holbein's friends attended his bedside; and Peter Claussen suggests that he died of an infection. Describing himself as "servant to the king's majesty", Holbein made his will on 7 October at his

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The result is a brilliant portrait style in which the sitters appear, in Foister's words, as "recognisably individual and even contemporary-seeming" people, dressed in minutely rendered clothing that provides an unsurpassed source for the history of Tudor costume. Holbein's humanist clients valued

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Holbein painted most of his portraits during his two periods in England. In the first, between 1526 and 1528, he used the technique of Jean Clouet for his preliminary studies, combining black and coloured chalks on unprimed paper. In the second, from 1532 to his death, he drew on smaller sheets of

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2000 "Find of new editions of Bibles and of two 'lost' grammatical works of Michael Servetus" and "The doctor Michael Servetus was descendant of jews", González Echeverría, Francisco Javier. Abstracts, 37th International Congress on the History of Medicine, 10–15 September 2000, Galveston, Texas,

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and oil, recording the tiniest detail, down to each stitch or fastening of costume. In the view of art historian Paul Ganz, "The deep glaze and the enamel-like lustre of the colouring were achieved by means of the metallic, highly polished crayon groundwork, which admitted of few corrections and,

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No certain painted portraits survive of Anne Boleyn by Holbein, perhaps because her memory was purged following her execution for treason, incest, and adultery in 1536, although there is a drawing, as made from life by Holbein preparatory to painting a portrait. It is clear, however, that Holbein

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and another of More with his family. The group portrait, original in conception, is known only from a preparatory sketch and copies by other hands. According to art historian Andreas Beyer, it "offered a prelude of a genre that would only truly gain acceptance in Dutch painting of the seventeenth

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Throughout his life, Holbein designed both large-scale decorative works such as murals and smaller objects, including plate and jewellery. In many cases, his designs, or copies of them, are the sole evidence for such works. For example, his murals for the Hertenstein House in Lucerne and for the

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For Holbein, "everything began with a drawing". A gifted draughtsman, he was heir to a German tradition of line drawing and precise preparatory design. Holbein's chalk and ink portraits demonstrate his mastery of outline. He always made preparatory portraits of his sitters, though many drawings

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reported that "Hans Holbein hath taken the effigies of my Lady Anne and the lady Amelia and hath expressed their images very lively". Henry was disillusioned with Anne in the flesh, however, and he divorced her after a brief, unconsummated marriage. There is a tradition that Holbein's portrait

1302:, one of the two chief gentlemen of the bedchamber. He became close enough to Denny to borrow money from him. He painted Denny's portrait in 1541 and two years later designed a clock-salt for him. Denny was part of a circle that gained influence in 1542 after the failure of Henry's marriage to 1188:

to Brussels in 1538 and sketched Christina for the king, who was appraising the young widow as a prospective bride. John Hutton, the English ambassador in Brussels, reported that another artist's drawing of Christina was "sloberid" (slobbered) compared to Holbein's. In Wilson's view, Holbein's

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were saved. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to a register compiled to ensure that all major citizens subscribed to the new

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which largely led to Cromwell's downfall: furious at being saddled with a wife he found entirely unattractive, the King directed all his anger at Cromwell. Granted, Cromwell had exaggerated her beauty, but there is no evidence that Henry blamed Holbein for supposedly flattering Anne's looks.

993:, one of the last mortuary rolls created. Holbein seems to have distanced himself from More's humanist milieu on this visit, and "he deceived those to whom he was recommended", according to Erasmus. The artist found favour instead within the radical new power circles of the Boleyn family and 3674:

Buck, 98; North, 7. North suggests that the identification of the figure on the right as Dinteville's brother, the Bishop of Auxerre, was a mistake in an inventory of 1589; the bulk of scholarship follows M. F. S. Hervey (1900), who first identified the bishop as de Selve. See also Foister

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Commentators differ in their response to Holbein's precision and objectivity as a portraitist. What some see as an expression of spiritual depth in his sitters, others have called mournful, aloof, or even vacant. "Perhaps an underlying coolness suffuses their countenances," wrote Holbein's

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of our time", a typical accolade at the time. Holbein has also been described as a great "one-off" in art history since he founded no school. Some of his work was lost after his death, but much was collected and he was recognized among the great portrait masters by the 19th century. Recent

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survive for which no painted version is known, suggesting that some were drawn for their own sake. Holbein produced relatively few portraits during his years in Basel. Among these were his 1516 studies of Jakob and Dorothea Meyer, sketched, like many of his father's portrait drawings, in

4193:, 13; Wilson, 253, 268. Franz Schmid, Elsbeth's son by her first husband, travelled to Berne to take possession of Sigmund Holbein's estate in 1540. This implies that Hans Holbein's finances were still shared with his wife. Franz Schmid succeeded to the estate in Berne on 4 January 1541. 1254:, but Cromwell's sudden arrest and execution on trumped-up charges of heresy and treason in 1540 undoubtedly damaged his career. Though Holbein retained his position as King's Painter, Cromwell's death left a gap no other patron could fill. It was, ironically, Holbein's portrait of 1464:, which he may have seen during his visit to France in 1524. He adopted Clouet's method of drawing with coloured chalks on a plain ground, as well as his care over preliminary portraits for their own sake. During his second stay in England, Holbein learned the technique of 3566: 3054: 4388:, 30, 317. Bätschmann and Griener are not convinced that Holbein learned this directly from Clouet; they suggest he learned it from a mixture of French and Italian models. And Müller points out that, in any case, the technique was not unknown in Augsburg and Switzerland. 3202:"For a generation or more popular and establishment piety had led to the adornment and embellishment of churches, chapels, and cathedrals. Now there were different religious priorities and the overswelled ranks of the artists' guilds were feeling the pinch." Wilson, 116. 1175:

Holbein's portrait style altered after he entered Henry's service. He focused more intensely on the sitter's face and clothing, largely omitting props and three-dimensional settings. He applied this clean, craftsman-like technique to miniature portraits such as that of

2812: 2457: 4544:, usually given as between 1524 and 1526, or whether it was painted in England, Basel, or even France. The traditional view that Henry VIII owned the painting is discounted by Strong and Rowlands. Franny Moyle, however, writes, "The evidence that this was painted for 1148:

earned more, and other continental artists also worked for the king. In 1537, Holbein painted his most famous image: Henry VIII standing in a heroic pose with his feet planted apart. The left section has survived of Holbein's cartoon for a life-sized wall painting at

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of Holbein's supreme greatness as a portrait painter. Nobody has ever surpassed the revealing profile and stance in his portraits: through their telling use, Holbein still conveys across the centuries the character and likeness of his sitters with unrivalled mastery.

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for Henry VIII. Neither portrait of these cousins has survived. Holbein found time to visit Basel, where he was fêted by the authorities and granted a pension. On the way back to England, he apprenticed his son Philipp to Basel-born goldsmith Jacob David in Paris.

420:. In this role, he produced portraits and festive decorations, as well as designs for jewellery, plate, and other precious objects. His portraits of the royal family and nobles are a record of the court in the years when Henry was asserting his supremacy over the 2902: 3275:

Strong, 4; Wilson, 157–58. Strong suggests, with others, that More sent the sketch, which is now in Basel, to Erasmus as a gift; Wilson casts doubt on this, deducing from remarks by Erasmus that the gift was a finished version of the group portrait, since

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book and the crucifix behind the curtain allude to the context of the French mission. Holbein painted few religious images in the later part of his career. He focused on secular designs for decorative objects, and on portraits stripped of inessentials.

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Holbein has been described as "the supreme representative of German Reformation art". The Reformation was a varied movement, however, and his position was often ambiguous. Despite his ties with Erasmus and More, he signed up to the revolution begun by

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Holbein's art has sometimes been called realist, since he drew and painted with a rare precision. His portraits were renowned in their time for their likeness, and it is through his eyes that many famous figures of his day are pictured today, such as

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Holbein's followers produced copies and versions of his work, but he does not seem to have founded a school. Biographer Derek Wilson calls him one of the great "one-offs" of art history. The only artist who appears to have adopted his techniques was

1172:. Holbein painted a portrait of the infant prince about two years later, clutching a sceptre-like gold rattle. Holbein's final portrait of Henry dates from 1543 and was perhaps completed by others, depicting the king with a group of barber surgeons. 3048: 2952:, 11, 47; Wilson, 69–70. Wilson cautions against too readily accepting that Ambrosius died, since other explanations for his disappearance from the record are possible. However, only Hans Holbein claimed their father's estate when he died in 1524. 1085:

who visited London the same year. The work incorporates symbols and paradoxes, including an anamorphic (distorted) skull. According to scholars, these are enigmatic references to learning, religion, mortality, and illusion in the tradition of the

1418:. By the time Holbein began his apprenticeship under Hans Herbster in Basel, he was already steeped in the late Gothic style, with its unsparing realism and emphasis on line, which influenced him throughout his life. In Basel, he was favoured by 4502:

2001 "Portraits or graphical boards of the stories of the Old Gospel. Spanish Summary", González Echeverría, Francisco Javier. Government of Navarra, Pamplona 2001. Double edition: facsimile (1543) and critical edition. Prologue by Julio Segura

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relates the "decorative formal flatness" of Holbein's late art to the style of illuminated documents, citing the group portrait of Henry VIII and the Barber Surgeons' Company. Other analysts detect no loss of powers in Holbein's last phase.

1165:. An earlier half-length portrait shows Henry in a similar pose, but all the full-length portraits of him are copies based on the Whitehall pattern. The figure of Jane Seymour in the mural is related to Holbein's sketch and painting of her. 3028: 3070: 1877:. However, some of Holbein's other portraits of Steelyard merchants, for example that of Derich Born, concentrate on the naturalness of the face. They prefigure the simpler style that Holbein favoured in the later part of his career. 1575:). These works were arranged by Holbein with Melchior & Gaspar Trechsel in about 1526, later printed and edited in Latin by Jean & Francois Frellon with 92 woodcuts. These two works also share the first four figures with the 1314:

fragmentary evidence. Apart from one brief visit, Holbein had lived apart from Elsbeth since 1532. His will reveals that he had two infant children in England, of whom nothing is known except that they were in the care of a nurse.

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Henry said that he was dismayed by her appearance at Rochester, having seen her pictures and heard advertisements of her beauty—so much that his face fell. No one other than Henry ever described Anne as repugnant; French Ambassador

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North, 13–14; Bätschmann and Griener, 11; Claussen, 47. Hans Holbein the Elder and his brother Sigmund also moved away from Augsburg at about this time, but the reasons for the Holbein family's disappointment in the city is not

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In 1519, Holbein moved back to Basel. His brother fades from the record at about this time, and it is usually presumed that he died. Holbein re-established himself rapidly in the city, running a busy workshop. He joined the

1445:. The decorative detail recedes in his late portraits, though the calculated precision remains. Despite assimilating Italian techniques and Reformation theology, Holbein's art in many ways extended the Gothic tradition. 4401:

wrote in the early 17th century that "Lucas" taught Holbein illumination, but John Rowlands downplays Horenbout's influence on Holbein's miniatures, which he believes follow the techniques of Jean Clouet and the French

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Strong, 5. Strong calls it "arguably the most famous royal portrait of all time, encapsulating in this gargantuan image all the pretensions of a man who cast himself as 'the only Supreme Head in earth of the Church of

1853:, architecture, and symbolic props. Such portraits allowed Holbein to demonstrate his virtuosity and powers of allusion and metaphor, as well as to hint at the private world of his subjects. His 1532 portrait of Sir 923:

Holbein evidently retained favour under the new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the

1402:, an accomplished religious artist and portraitist who passed on his techniques as a religious artist and his gifts as a portraitist to his son. The young Holbein learned his craft in his father's workshop in 2938:

Bätschmann & Griener, 68. Holbein worked from prints, but Bätschmann & Griener argue that Hertenstein, who presumably requested these copies, might have sent the artist to Italy to view the originals

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Apart from routine official duties, Holbein now occupied himself with private commissions, turning again to portraits of Steelyard merchants. He also painted some of his finest miniatures, including those of

2262: 1140:'s English translation of the Bible. Henry VIII had embarked on a grandiose programme of artistic patronage. His efforts to glorify his new status as Supreme Head of the Church culminated in the building of 833:, a tutor of the More family whose notes appear on Holbein's sketch for their group portrait. Although Holbein did not work for the king during this visit, he painted the portraits of courtiers such as Sir 3782:, 13, 52; Buck, 112. The precise date is unknown of Holbein's appointment, but he was referred to in 1536 as the "king's painter" in a letter from French poet Nicholas Bourbon whom Holbein painted in 1535. 3315: 2424: 4247:

Wilson, 277; Foister, 168; Bätschmann and Griener, 10. From the location of his house, scholars deduce that Holbein was buried in either the church of St Katherine Cree or in that of St Andrew Undershaft.

1996:, including King Henry's own personal tournament harnesses, were based on designs by Holbein. His style continued to influence the unique form of English armour for nearly half a century after his death. 4439:

Wilson, 96–103. The prints were not published until 1538, perhaps because they were thought too subversive at a time of peasants' revolts. The series was left incomplete by the death of the block cutter

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that had broken free of imperial rule. Many Basel citizens, however, remained proud of their imperial connections: the Madonna that Holbein painted for Jakob Meyer, for example, wears the imperial crown.

4034: 673:. The former are known from preparatory drawings. The Council Chamber murals survive in a few poorly preserved fragments. Holbein also produced a series of religious paintings and designed cartoons for 1806:

Holbein's painted portraits were closely founded on drawing. Holbein transferred each drawn portrait study to the panel with the aid of geometrical instruments. He then built up the painted surface in

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children, and sold and dispersed his effects, including many designs and preliminary drawings that have survived. The site of Holbein's grave is unknown and may never have been marked. The churches of

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Wilson, 253–54, 268, 278. Philipp and Jakob Holbein later became goldsmiths, the first moving to Augsburg, the second to London, where he died in 1552. The two daughters married merchants in Basel.

3111: 1144:, which started in 1538. By 1536, Holbein was employed as the King's Painter on an annual salary of 30 pounds—though he was never the highest-paid artist on the royal payroll. Royal "pictor maker" 3877:

Wilson, 251. The likeness met with Henry's approval, but Christina declined the offer of marriage: "If I had two heads," she said, "I would happily put one at the disposal of the King of England".

1012:, a complex of warehouses, offices, and dwellings on the north bank of the Thames. Holbein rented a house in Maiden Lane nearby, and he portrayed his clients in a range of styles. His portrait of 2207:

as a draughtsman, printmaker, and designer. Art historian Erika Michael believes that "the breadth of his artistic legacy has been a significant factor in the sustained reception of his oeuvre".

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In Basel, Holbein's legacy was secured by his friend Amerbach and by Amerbach's son Basilius, who collected his work. The Amerbach-Kabinett later formed the core of the Holbein collection at the

3306:. "This group of drawings ranks among the supreme masterpieces of portraiture and surpasses in quality the more schematic and rapidly executed drawings of Holbein's later years." Waterhouse, 18. 3295: 448:. He was never content with outward appearance, however; he embedded layers of symbolism, allusion, and paradox in his art, to the lasting fascination of scholars. In the view of art historian 2484: 5244: 3689: 2400: 5913: 743: 3715:"from an ancient original" may be based on a lost Holbein portrait of Anne. Derek Wilson, however, follows the recent scholarship of Starkey/Rowlands in arguing that the Windsor drawing 1020:

shows the merchant surrounded by exquisitely painted symbols of his trade. His portrait of Derich Berck of Cologne, on the other hand, is classically simple and possibly influenced by

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Parker, 24–29; Foister, 103. Many of these studies have been coloured in or outlined in ink by later hands ("made worse by mending"), obstructing the analysis of Holbein's technique.

3492:, part of an altarpiece. The outer boards were lost during iconoclastic riots and the surviving section, on which only nine of the apostles can be seen, was later clumsily repaired. 3688:

Buck, 103–104; Wilson, 193–97; Roskill, "Introduction", Roskill & Hand, 11–12. For a detailed online analysis of the painting's symbolism and iconography, see Mark Calderwood,

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and took out Basel citizenship. He married Elsbeth Binsenstock-Schmid 1519, a widow a few years older than he was, who had an infant son, Franz, and was running her late husband's

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business. She bore Holbein a son of his own, Philipp, in their first year of marriage a girl called Katharina in 1526 and two more children, Jacob and Küngold in later years.

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Ganz, 9. He later added the portrait of Meyer's first wife, after he returned from his first visit to London, by which time the demand for devotional art had largely dried up.

2887: 876:. Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint". 3368: 1849:

Until the later 1530s, Holbein often placed his sitters in a three-dimensional setting. At times, he included classical and biblical references and inscriptions, as well as

2157:, some of works now lost. From this time, Holbein's art was also prized in the Netherlands, where the picture dealer Michel Le Blon became a Holbein connoisseur. The first 2114:

Nevertheless, "modern" painting in England may be said to have begun with Holbein. That later artists were aware of his work is evident in their own, sometimes explicitly.

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North, 33–34; Bätschmann & Griener, 146, 199–201. Among Van Mander's dubious anecdotes is the story that Holbein angrily threw a nobleman downstairs for pestering him.

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Wilson, 273, 276; North, 31. Holbein asked in his will for "Mr Anthony, the king's servant of Greenwich", to be repaid; scholars have usually presumed this to be Denny.

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Strong, 3; Rowlands, 56–59. Many copies of Holbein's portraits of Erasmus exist, but it is not always certain whether they were produced by the artist or by his studio.

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Holbein continued to produce religious art, but on a much smaller scale. He designed satirical religious woodcuts in England. His small painting for private devotion,

523:, a centre of learning and the printing trade. There they were apprenticed to Hans Herbster, Basel's leading painter. The brothers found work in Basel as designers of 4548:

rests in part in the fact that by 1540 it was in Henry VIII's collection, and it is widely presumed that it was seized by the king at the point of More's attainder."

2118:, for example, painted two full-length copies in the 1560s of Holbein's Henry VIII derived from the Whitehall pattern and included a Holbein in the background of his 3573: 3042: 4059:

Wilson, 265; Schofield, 260–64. Cromwell's reluctance to arrange a divorce for Henry lay naked behind his fall, though the matter was not mentioned in the bill of

3971: 3350: 2624: 1189:

subsequent oil portrait is "the loveliest painting of a woman that he ever executed, which is to say that it is one of the finest female portraits ever painted".

488: 2925:

Wilson, 53–60; Buck, 20; Bätschmann and Griener, 148; Claussen, 48, 50. Doubt has been cast on the tradition that Holbein visited Italy since artists' biographer

5130:

Tudor Artists: A Study of Painters in the Royal Service and of Portraiture on Illuminated Documents from the Accession of Henry VIII to the Death of Elizabeth I.

3301: 2045:. In painting Henry as an iconic hero, however, he also subtly conveyed the tyranny of his character. Holbein's portraits of other historical figures, such as 3711:

or another at the British Museum inscribed "Anne Bullen Regina Angliæ … decollata fuit Londini 19 May 1536", though he speculates that a 17th-century copy by

1833:

individuality highly. According to Strong, his portrait subjects underwent "a new experience, one which was a profound visual expression of humanist ideals".

5896: 3487: 2550: 2068:(1504–75) observed that his portraits were "delineated and expressed to the resemblance of life". At the end of the 16th century, the miniature portraitist 997:. Cromwell became the king's secretary in 1534, controlling all aspects of government, including artistic propaganda. More was executed in 1535 along with 558: 1869:" on Tuke's crucifix are, according to scholars Bätschmann and Griener, "intended to protect its owner against ill-health". Holbein portrays the merchant 3365: 807:

welcomed him to and found him a series of commissions. "Your painter, my dearest Erasmus," he wrote, "is a wonderful artist". Holbein painted the famous

1989:

House of the Dance in Basel are known only through his designs. As his career progressed, he added Italian Renaissance motifs to his Gothic vocabulary.

452:, his portraiture "remains unsurpassed for sureness and economy of statement, penetration into character, and a combined richness and purity of style." 6261: 5871: 1552:

shows the figure of "Death" in many disguises, confronting individuals from all walks of life. None escape Death's skeleton clutches, even the pious.

5992: 4444:

in 1526, and was eventually published with 41 woodcuts by his heirs without mention of Holbein. The ten further designs were added in later editions.

2307: 1603: 1425:

During his Swiss years, when he may have visited Italy, Holbein added an Italian element to his stylistic vocabulary. Scholars note the influence of

553:. The sketches provide early evidence of Holbein's wit and humanistic leaning. His other early works, including the double portrait of Basel's mayor 381:

as a young artist. At first, he painted murals and religious works, and designed stained glass windows and illustrations for books from the printer

847:

for the visit of French ambassadors. With Kratzer, he devised a ceiling covered in planetary signs, under which the visitors dined. The chronicler

408:, where he quickly built a high reputation. He returned to Basel for four years, then resumed his career in England in 1532 under the patronage of 969:

Holbein returned to England, where the political and religious environment was changing radically. In 1532, Henry VIII was preparing to repudiate

6281: 6055: 4123: 4074: 3859:

Buck, 128–29; Wilson, 273–74; Rowlands, 118; Foister, 117. A preparatory drawing for this composition also survives, painted in by a later hand.

817:

During this first stay in England, Holbein worked largely for a humanist circle with ties to Erasmus. Among his commissions was the portrait of

362:

propaganda, and he made a significant contribution to the history of book design. He is called "the Younger" to distinguish him from his father

6266: 3734: 2988: 1706:

was about to transform religious institutions there. He was soon at work for Cromwell's propaganda machine, creating images in support of the

5891: 1366: 599:(Luzern), painting internal and external murals for the merchant Jakob von Hertenstein. While in Lucerne, Holbein also designed cartoons for 5735:. Translated from the French by Prudence Montagu-Pollock. New York: French and European Publications, Inc., Paris: The Hyperion Press, 1938. 6008: 884: 868: 2076:

of his debt to Holbein: "Holbein's manner have I ever imitated, and hold it for the best". No account of Holbein's life was written until

2224:

Hans Holbein's witty marginal drawing of Folly (1515), in the first edition, a copy owned by Erasmus himself (Kupferstichkabinett, Basel)

977:, in defiance of the pope. Among those who opposed Henry's actions was Holbein's former host and patron Sir Thomas More, who resigned as 754:

marks an advance in his style, notably in the use of unbroken colours. For Meyer, he painted an altarpiece of the Madonna which included

561:, follow his father's style. With Meyer zum Hasen, Holbein maintained a close working relationship until the latter was sacked in 1521. 5673: 393:. When the Reformation reached Basel, Holbein worked for reformist clients while continuing to serve traditional religious patrons. His 5840:

Holbein: Capturing Character in the Renaissance, exhibition at The J. Paul Getty Museum, Los Angeles, October 19, 2021–January 9, 2022.

5804: 5362: 4515: 2163:

of Holbein's work was produced by the Frenchman Charles Patin and the Swiss Sebastian Faesch in 1656. They published it with Erasmus's

1382: 404:

Holbein travelled to England in 1526 in search of work with a recommendation from Erasmus. He was welcomed into the humanist circle of

1880: 6032: 5820: 575: 1063:

Holbein also portrayed various courtiers, landowners, and visitors during this time, and his most famous painting of the period was

564:

The young Holbein, alongside his brother and his father, is pictured in the left-hand panel of Holbein the Elder's 1504 altar piece

516:, followed. Holbein the Elder ran a large and busy workshop in Augsburg, sometimes assisted by his brother Sigmund, also a painter. 6148: 1914: 591:

Hans Holbein's marginal drawing of Folly (1515), in the first edition, a copy owned by Erasmus himself (Kupferstichkabinett, Basel)

6087: 5929: 5777: 2290: 1525: 1814: 1321:

and for two portraits painted in Basel, was for a time Holbein's mistress. Others dismiss the idea. One of the portraits was of

879: 5864: 1727:

identified the Old Testament with the "Old Religion". Scholars have detected subtler religious references in his portraits. In

436:

exhibitions have also highlighted his versatility. He created designs ranging from intricate jewellery to monumental frescoes.

1606:, by the expert researcher in Servetus, González Echeverría, who also proved the existence of the other work of Holbein & 1512:, who largely made their living from religious commissions. Despite calls for reform, the church in the late 15th century was 762:. When Holbein decided to seek employment in England in 1526, Erasmus recommended him to his friend the statesman and scholar 6271: 6226: 5845:

Holbein: Capturing Character, exhibition at The Morgan Library & Museum, New York City, February 11 through May 15, 2022.

5814: 5623: 5555: 5355: 5189: 5155: 3601:

Rowlands, 81. Holbein was in England by September 1532, the date of a letter from the Basel authorities asking him to return.

2590: 1582:

It appears that the Trechsel brothers initially intended to hire Holbein for illustrating Bibles. In fact, some of Holbein's

1317:

Holbein's unfaithfulness to Elsbeth may not have been new. Some scholars believe that Magdalena Offenburg, the model for the

839: 809: 779: 3502: 872:, showing Elsbeth with the couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with 6241: 6063: 2490: 1460:, Holbein's successor as King's Painter. Holbein's portraiture, particularly his drawings, had more in common with that of 1291: 1287: 358:

style, and is considered one of the greatest portraitists of the 16th century. He also produced religious art, satire, and

6156: 2506: 2138: 1720: 1598:, printed by Juan Stelsio in Antwerp in 1540 (92 woodcuts), and also of his Spanish versification of the associated work 915:. The iconoclasts probably destroyed some of Holbein's religious artwork, though the paintings on the organ doors of the 766:. "The arts are freezing in this part of the world," he wrote, "and he is on the way to England to pick up some angels". 2723:

Wilson, 213; Buck, 50, 112. Apelles was a legendary artist of antiquity, whose imitation of nature was thought peerless.

5829: 5067:

Bätschmann & Griener, 208–209; Borchert, 191. Borchert terms this process the "Romantic sacralization of the arts".

5033: 2463: 2392: 1283: 1109: 1004:

Holbein's commissions in the early stages of his second English period included portraits of Lutheran merchants of the

728: 5815:

Fifteenth- to eighteenth-century European paintings: France, Central Europe, the Netherlands, Spain, and Great Britain

6276: 6216: 6071: 5857: 5648: 5634: 5608: 5591: 5573: 5540: 5523: 5504: 5489: 5474: 5459: 5434: 5419: 5400: 5381: 5337: 5322: 5297: 5282: 5267: 5237: 5222: 5207: 5174: 5147: 5119: 4084: 4044: 4017: 3981: 3242: 2142: 2016: 1204: 322: 261: 5817:, a collection catalog fully available online as a PDF, which contains material on Holbein the Younger (cat. no. 11) 4676:

Ganz, 11; Foister, 103. Foister, however, is doubtful, owing to "the inconsistency in the sizes of the drawn heads".

911:

and banned imagery in churches. In April 1529, the free-thinking Erasmus felt obliged to leave his former haven for

739:, poets and philosophers. Through the woodcut medium, Holbein refined his grasp of expressive and spatial effects. 6102: 5945: 5510:

Sander, Jochen. "The Artistic Development of Hans Holbein the Younger as Panel Painter during his Basel Years." In

2407: 774: 1714:, he produced a series of small woodcuts in which biblical villains were dressed as monks. His reformist painting 1484: 953: 5921: 3344: 3330: 2839: 2833: 2269: 751: 2145:, offered to buy Holbein portraits from a friend and supply faithful copies as substitutes. The Flemish artists 2064:. Although Holbein's art was also valued in England, few 16th-century English documents mention him. Archbishop 6246: 1711: 2870:"BBC - Basilica of St Paul by Holbein the Elder - BBC Arts - Paintings featured in Holbein: Eye of the Tudors" 1950:, which are small portraits worn as a kind of jewel. His miniature technique derived from the medieval art of 1890: 6231: 5723: 4540:

Wilson, 129; Foister, 127; Strong, 60; Rowlands, 130; Claussen, 49. Scholars are unsure of the exact date of

4372: 3588:

Strong, 4; Buck, 6. According to a letter written by the Basel student Rudolf Gwalther to the Swiss reformer

2177:

In the 18th century, Holbein found favour in Europe with those who saw his precise art as an antidote to the

1671:, has been taken as an expression of his personal religion. Depicting the moment when the risen Christ tells 1602:, printed by Francois and Jean Frellon in 1542 (same 92 woodcuts plus 2 more), as it was demonstrated in the 1298:. Holbein managed to secure commissions among those courtiers who now jockeyed for power, in particular from 611:, before returning to Lucerne. He filled two series of panels at Hertenstein's house with copies of works by 4561:

Wilson, 129–30; Moyle, 158. Wilson contrasts Holbein's treatment with the earlier, freer, interpretation by

6286: 6140: 6000: 5789: 5037: 4467: 3131: 2753:

Ganz, 1; Wilson, 3. The date is deduced from the age noted by Holbein's father on the portrait of his sons.

428: 5667: 3486:

Buck, 38–41; Bätschmann & Griener, 105–107; North, 25. The only known damage to a Holbein work was to

354: – between 7 October and 29 November 1543) was a German-Swiss painter and printmaker who worked in a 6236: 6040: 5984: 4099:

Foister, 76–77. A clock salt was a complex instrument, including a clock, hourglass, sundial and compass.

2190: 1262: 2137:

A fashion for Old Masters in England after the 1620s created demand for Holbein, led by the connoisseur

465: 5976: 4315: 2652: 2536: 1939: 1521:'s major works were first published, became the main centre for the transmission of Reformation ideas. 1414:

flourished. Augsburg also acted as one of the chief "ports of entry" into Germany for the ideas of the

1230: 851:

described the spectacle as showing "the whole Earth, environed with the sea, like a very map or cart".

5807:

Website with a graphical study on the three biblical works by Servetus with woodcuts of Hans Holbein,

4309:

is sometimes considered a workshop portrait. Holbein also painted his own, very different, version of

1679:

wrote that he "never saw so much reverence and kind of heavenly astonishment expressed in a picture".

6024: 5953: 5769: 3820: 2916:

Rowlands, 25; North, 13. On another occasion, Holbein was fined for his involvement in a knife fight.

1065: 1056: 958: 139: 1969: 5741:(no author named). London: The Queens Gallery, Buckingham Palace, 1978–1979 (exhibition catalogue). 5202:

edited by Mark Roskill & John Oliver Hand, 187–209. Washington: National Gallery of Art, 2001.

3538:

Doctrinal issues concerning the communion were at the heart of Reformation theological controversy.

2367: 2319: 2153:

discovered Holbein through Arundel. Arundel commissioned engravings of his Holbeins from the Czech

1744: 963: 822: 639: 385:. He also painted an occasional portrait, making his international mark with portraits of humanist 5395:

edited by Mark Roskill & John Oliver Hand, 227–46. Washington: National Gallery of Art, 2001.

859:

In August 1528, Holbein bought a house in Basel in St.Johanns-Vorstadt and became the neighbor of

6221: 6016: 5308: 5133: 4420:

Buck, 32–33; Wilson, 88, 111; Ganz, 8; Bätschmann & Griener, 88–90. Holbein knew Grünewald's

2601: 2575: 1438: 1128: 5445: 2570: 1094:, "Sciences and arts, objects of luxury and glory, are measured against the grandeur of Death". 6174: 6079: 3712: 3015: 2780: 2647: 2083: 1951: 1769: 1441:

and the use of antique motifs and architectural forms. In this, he may have been influenced by

1399: 1376: 1044: 509: 474: 363: 359: 177: 134: 17: 1675:

not to touch him, Holbein adheres to the details of the bible story. The 17th-century diarist

1524:

The gradual shift from traditional to reformed religion can be charted in Holbein's work. His

6251: 5182:

Routledge Revivals: Trade, Travel and Exploration in the Middle Ages (2000): An Encyclopedia.

3383: 2776: 2383: 2194: 2130: 2104: 2091: 2042: 1102: 732: 554: 417: 4512: 3010:

North, 17. Lutheran Protestantism was introduced in Basel in 1522. After 1529, the ideas of

2159: 6256: 6195: 6125: 5839: 5699: 5195: 2467: 2387: 2037:

Holbein's fame owes something to that of his sitters. Several of his portraits have become

1825: 1354: 1295: 1181: 1169: 1162: 1115: 1087: 990: 928:

instead of the previous stories from classical history and allegory. Holbein's frescoes of

912: 482: 398: 397:

style was enriched by artistic trends in Italy, France, and the Netherlands, as well as by

394: 367: 355: 151: 4441: 2619: 1750: 1687:, which called for a return to the Bible and the overthrow of the papacy. In his woodcuts 1594:). Holbein woodcuts appear in several other works by Servetus: his Spanish translation of 903:

Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of

696: 44: 8: 5662: 4422: 4368: 3379: 2164: 1857:, for example, alludes to the sitter's poor health, comparing his sufferings to those of 1415: 1250:

Holbein had deftly survived the downfall of his first two great patrons, Thomas More and

1238: 1220:, posing her square-on and in elaborate finery. This was the woman whom Henry married at 1161:. It was destroyed by fire in 1698, but is known from engravings and from a 1667 copy by 1097: 1074: 1039: 970: 837:

and his wife Lady Mary, and of Anne Lovell, identified in 2003 or 2004 as the subject of

759: 747: 537: 3378:

Wilson, 140; Foister, 30; King, 43–49. Anne Lovell's husband was Sir Francis Lovell, an

5799: 3735:"'Some of the most startling portraits in existence': Hans Holbein's mini masterpieces" 3723:

was mistaken, who made the attribution in 1542 since Cheke knew many who had seen Anne.

3589: 2982: 2238: 2046: 1947: 1473: 1448:

His portrait style, for example, remained distinct from the more sensuous technique of

1070: 651: 630: 617: 546: 501: 386: 81: 5774: 5076:

Borchert, 187–88. The copy at Dresden was made by Bartholomäus Sarburgh in about 1637.

1639: 661:

Holbein was prolific during this period in Basel, which coincided with the arrival of

6179: 5968: 5937: 5755: 5692: 5644: 5630: 5619: 5604: 5587: 5569: 5551: 5536: 5519: 5500: 5485: 5470: 5455: 5430: 5415: 5396: 5377: 5351: 5333: 5318: 5293: 5278: 5263: 5233: 5218: 5203: 5185: 5170: 5151: 5143: 5115: 5015:, "Lucy Harington, Countess of Bedford, as Art Patron and Collector", Edward Chaney, 4080: 4040: 4013: 3977: 3238: 2869: 2678: 2254: 2154: 2150: 2069: 2061: 1884: 1652: 1622: 1426: 1391: 1387: 1350: 1158: 896: 860: 655: 513: 470: 421: 187: 85: 4430:, not far from Basel, where his father had worked in 1509 and between 1516 and 1517. 1635: 583:, showing portraits of the artist and his two sons Hans (left) and Ambrosius (right) 5764: 5597: 5529: 5029: 4398: 4337: 4329: 4140:

Wilson, 267. Also, his uncle, the painter Sigmund Holbein, had died that autumn in

3011: 2926: 2475: 2339: 2146: 2077: 1993: 1762: 1607: 1591: 1333: 1303: 1197: 1150: 1078: 1005: 904: 873: 830: 784: 449: 278: 272: 232: 3084: 1153:

showing the king in this pose with his father behind him. The mural also depicted

665:

in the city. He undertook a number of major projects, such as external murals for

5793: 5781: 5666: 4522:

Website with a study on the three works by Servetus with woodcuts by Hans Holbein

4519: 4471: 3953: 3133:

Title Sheet of Adam Petri's Reprint of Luther's Translation of the New Testament.

2683: 2605: 2334: 2054: 1838: 1811:

like the preliminary sketch, remained visible through the thin layer of colour".

1724: 1703: 1469: 1442: 1342: 1322: 1310:, whose brother Holbein had painted in 1541, established Denny's party in power. 1225: 1145: 1137: 1033: 994: 978: 834: 670: 643: 612: 608: 532: 413: 340: 226: 5844: 5751: 1646:

Holbein painted many large religious works between 1520 and 1526, including the

1024:. For the guildhall of the Steelyard, Holbein painted the monumental allegories 587: 5251:

Newcastle (Au): University of Newcastle, 2005. Retrieved 29 November 2008.

2521: 2432: 2182: 2065: 2005: 1981: 1900:

his alterations to his portraits. In the words of art historian John Rowlands:

1873:

among elaborate symbols of science and wealth that evoke the sitter's personal

1787: 1672: 1631: 1627: 1509: 1457: 1307: 1274: 1255: 1242:

of Anne's beauty. This was one of the factors that led to Cromwell's downfall.

1213: 1193: 1141: 937: 818: 800: 755: 736: 724: 720: 4124:"A Royal Treasure and its Role in the Renaissance Court: The Royal Clock Salt" 1715: 1105:

in 1667;, Left to right Henry VIII; Henry VII; Elizabeth of York; Jane Seymour

959:

Double Portrait of Jean de Dinteville and Georges de Selve ("The Ambassadors")

6210: 5688: 5561: 5125: 5107: 4367:

Bätschmann and Griener, 134. His two drawings, done in France, of statues of

4333: 3212: 2657: 2038: 1842: 1696: 1684: 1544: 1518: 1496: 1299: 1268: 1224:

at the encouragement of Thomas Cromwell in the summer of 1539. English envoy

1217: 1168:

Jane died in October 1537, shortly after bearing Henry's only legitimate son

1101:

Copy in oils of the 1536-1537 Whitehall mural, this copy was commissioned by

982: 925: 916: 803:. Gillis then seemed to have sent Holbein to the Court of England, where Sir 796: 708: 704: 693: 681: 680:

In a period of a revolution in book design, he illustrated for the publisher

674: 600: 382: 5198:. "Hans Holbein and the Literary Art Criticism of the German Romantics." In 3960:, 456–457, "altered his outward countenance, to see the Lady so far unlike." 1664:

in the later 1520s did his freedom and income as a religious artist suffer.

1534:

view of Christ in tune with the reformist climate in Basel at the time. The

945:

in Basel may have prompted his decision to return to England early in 1532.

844: 519:

By 1515, Hans and Ambrosius had moved as journeymen painters to the city of

427:

Holbein's art was prized from early in his career. French poet and reformer

5849: 5705: 5548:

The Rise & Fall of Thomas Cromwell: Henry VIII's Most Faithful Servant.

3216: 2355: 2095: 1775: 1707: 1661: 1332:

Hans Holbein died between 7 October and 29 November 1543 at the age of 45.

1154: 1082: 908: 712: 4336:

has also been detected in Holbein's work, as well as that of the Venetian

2705:

Alastair Armstrong, "Henry VIII: Authority, Nation and Religion 1509–1540"

1508:

Holbein followed in the footsteps of Augsburg artists like his father and

814:

century". Seven fine-related studies of More family members also survive.

799:. In Antwerp, he also bought some oak panels and may have met the painter 508:

during the winter of 1497–98. He was a son of the painter and draughtsman

5369:

159, 507, May 2004: 165–75. Rpt. on bnet.com. Retrieved 27 November 2008.

5032:

depicted Howard and his family with Holbein's portraits of his ancestors

5012: 4545: 4118: 2115: 2050: 2022: 1874: 1870: 1862: 1858: 1820: 1796: 1676: 1513: 1461: 1251: 1185: 1013: 998: 981:

in May 1532. Around this time, Holbein is supposed to have decorated the

974: 848: 804: 763: 478: 445: 409: 405: 208: 204: 58: 2775:

Bätschmann & Griener, 104. Basel had allied itself in 1501 with the

1273:

Pen and black ink on paper with grey wash, and red wash on the compass,

5579: 3720: 2294:, and a detail, 1521–22. Oil and tempera on limewood, Kunstmuseum Basel 2186: 1958: 1919: 1854: 1177: 986: 5683:

Holbein's "Ambassadors": The Picture and the Men. An Historical Study.

4036:

The Marrying of Anne of Cleves: Royal Protocol in Early Modern England

2125: 742:

Holbein also painted the occasional portrait in Basel, among them the

5343: 4427: 4375:(d. 1438) "suggest that Holbein learned the new technique in France". 4060: 2444: 1453: 1411: 1090:. Art historians Oskar Bätschmann and Pascal Griener suggest that in 1032:, both now lost. The merchants also commissioned a street tableau of 1009: 942: 843:. In May 1527, "Master Hans" also painted a panorama of the siege of 550: 390: 5712:. London: Apollo (Head of Zeus), 2021; New York: Abrams Press, 2021. 2202:" (Holbein dispute) in the 1870s. It emerged that the revered Meyer 1017: 825:, who owned a Holbein portrait of Erasmus. Holbein also painted the 4465:

VI Meeting of the International Society for the History of Medicine

3592:

in 1538, Holbein "considered conditions in that realm to be happy".

3014:(1484–1531) became widely accepted there, through the preaching of 2904:

Design for a Stained Glass Window with the Coronation of the Virgin

2242: 1617: 1539: 1531: 1419: 1403: 929: 716: 662: 565: 542: 528: 505: 374: 77: 5914:

Double Portrait of Jakob Meyer zum Hasen and Dorothea Kannengießer

5427:

The Ambassadors' Secret: Holbein and the World of the Renaissance.

3367:"Gothic: art for England, 1400-1547, Victoria & Albert Museum" 1221: 1192:

The same year, Holbein and Hoby went to France to paint Louise of

624: 4305:

Buck, 41–43; Bätschmann and Griener, 135; Ganz, 4; Claussen, 50.

3628:

Letter to Boniface Amerbach, quoted by Wilson, 178–79; Strong, 4.

2274: 2178: 2174:

and an inaccurate biography that portrayed Holbein as dissolute.

1931: 1850: 1807: 1549: 1465: 1430: 1407: 1338: 1326: 826: 792: 685: 635: 596: 524: 441: 432: 4464: 4453:

Bätschmann & Griener, 56–58, and Landau & Parshall, 216.

3050:

The Humiliation of Emperor Valentinian by Shapur, King of Persia

2253:. Pen and black ink on chalk sketch, grey wash and watercolour, 1422:

patrons, whose ideas helped form his vision as a mature artist.

1357:

in London are possible locations, being located near his house.

5833: 5786: 5629:

Zanchi, Mauro. "Holbein", Art e Dossier, Giunti, Firenze 2013.

5254:

Claussen, Peter. "Holbein's Career between City and Court." In

4562: 4171:

Claussen, 50. Claussen dismisses the theory as "pure nonsense".

2595: 2532: 2471: 2448: 1980:–40. Pen and black ink with grey, blue, and red wash on paper, 1935: 1449: 1021: 604: 579:

A detail of Hans Holbein the Elder's 1504 altar-piece triptych

103: 5150:. Revised and expanded edition, London: Reaktion Books, 2014. 6111:

Portrait of a Lady, probably a Member of the Cromwell Family

5330:

Dynasties: Painting in Tudor and Jacobean England, 1530–1630.

2080:'s often inaccurate "Schilder-Boeck" (Painter-Book) of 1604. 1490: 1437:. From the Italians, Holbein learned the art of single-point 520: 493: 378: 311: 54: 5641:

The Shadow of Death in the Work of Hans Holbein the Younger.

5406:

Müller, Christian; Stephan Kemperdick; Maryan W. Ainsworth;

3819:

Buck, 119; Strong, 6. This is the small portrait now in the

2033:. Pen and brush in black on chalk sketch, Kunstmuseum Basel. 1036:

for Anne Boleyn's coronation eve procession of 31 May 1533.

535:

invited them to add pen drawings to the margin of a copy of

4141: 2004:

worked closely with craftsmen such as goldsmiths including

1866: 1732: 1600:

Portraits or printing boards of the story of the Old Gospel

1573:

Portraits or printing boards of the story of the Old Gospel

933: 727:

for Froben. The letters were ornamented with depictions of

296: 287: 250: 3266:

Bätschmann & Griener, 160. Letter of 18 December 1526.

3237:. Harcourt Brace Jovanovich, Publishers. 1988. p. 9. 3215:(Petrus Aegidius), August 1526. Quoted by Wilson, 120. An 241: 4328:

Strong, 9–10; North, 14; Sander, 17–18. The influence of

895:. Oil and tempera on paper, cut out and mounted on wood. 5363:"Who was Holbein's lady with a squirrel and a starling?" 4483:

illustrations, p 215-228 & 62nd illustration (XLVII)

3364:"Who was Holbein's Lady with a squirrel and a starling?" 2625:

The American Heritage Dictionary of the English Language

401:. The result was a combined aesthetic uniquely his own. 5315:

Court Painting in England from Tudor to Victorian Times

5215:

Henry VIII Revealed: Holbein's Portrait and its Legacy.

3791:

Strong, 6; Rowlands, 96; Bätschmann & Griener, 189.

572:, which is displayed at the Staatsgalerie in Augsburg. 5710:

The King's Painter: The Life and Times of Hans Holbein

5305:

The Paintings of Hans Holbein: First Complete Edition.

5161:

Beyer, Andreas. "The London Interlude: 1526–1528." In

4384:

Strong, 8–10; Bätschmann and Griener, 134–35; Müller,

3072:

Stained Glass Window Designs for the Passion of Christ

795:, where he delivered a recommendation from Erasmus to 5821:

A documentary video about Holbein's finest painting,

5775:

2006 exhibition on Holbein in England at Tate Britain

5512:

Hans Holbein the Younger: The Basel Years, 1515–1532,

5412:

Hans Holbein the Younger: The Basel Years, 1515–1532.

5376:, New Haven and London: Yale University Press, 1994. 5256:

Hans Holbein the Younger: The Basel Years, 1515–1532,

5163:

Hans Holbein the Younger: The Basel Years, 1515–1532,

4076:

Thomas Cranmer and the English Reformation, 1489-1556

3425:(in German). Berlin: Julius Bard Verlag. p. 166. 3030:

Design for façade painting for the House of the Dance

2551:

List of portrait drawings by Hans Holbein the Younger

2535:

mounted on card, 4.5 cm diameter (1.8 in),

323: 299: 262: 253: 3317:

Portrait of William Warham, Archbishop of Canterbury

3041:

Rowlands, 53–54; Bätschmann & Griener, 64. See:

2901:

Bätschmann and Griener, 11; North, 13. For example:

1946:

During his last decade, Holbein painted a number of

1433:" (smoky) technique on his work, for example in his 1306:. The king's marriage in July 1543 to the reformist 314: 293: 290: 247: 244: 53:

1542/43), with his self-designation as a citizen of

5800:

Hans Holbein the Younger Gallery at MuseumSyndicate

5497:

Holbein: The Paintings of Hans Holbein the Younger.

2811:Zwingenberger, 13; Wilson, 30, 37–42. For example: 1992:Many of the intricate designs etched into suits of 1008:. The merchants lived and plied their trade at the 669:and internal murals for the Council Chamber of the 531:for printers. In 1515, the preacher and theologian 308: 305: 284: 281: 238: 235: 5245:"The Holbein Codes: An Analysis of Hans Holbein's 5085:Roskill, "Introduction", in Roskill & Hand, 9. 4117:A clock-salt was essentially a combined clock and 2418:. Oil and tempera on oak, National Gallery, London 1345:and a few German neighbours signed as witnesses. 1245: 5993:Portrait of a Lady with a Squirrel and a Starling 5830:116 artworks by or after Hans Holbein the Younger 5677:. Vol. 13 (11th ed.). pp. 578–580. 2308:Portrait of a Lady with a Squirrel and a Starling 1634:. 1525–26 and 1528. Oil and tempera on limewood, 1604:International Society for the History of Medicine 6208: 4985:Bätschmann & Griener, 194–95; Brooke, 52–56. 6056:Portrait of Charles de Solier, Sieur de Morette 5728:New York: The Metropolitan Museum of Art, 1987. 5482:Hans Holbein: Paintings, Prints, and Reception. 5454:. Cambridge: Cambridge University Press, 1988. 5442:The Drawings of Hans Holbein at Windsor Castle. 5393:Hans Holbein: Paintings, Prints, and Reception, 5292:. London: National Gallery Publications, 1997. 5200:Hans Holbein: Paintings, Prints, and Reception, 3464: 3462: 1398:The first influence on Holbein was his father, 3053:(designs for the Council Chamber murals), and 2181:. In England, the connoisseur and antiquarian 1472:. In his last years, he raised the art of the 1229:flattered Anne, derived from the testimony of 5865: 5180:Block Friedman, John; Mossler Figg, Kristen. 4695: 4693: 4691: 4636: 4634: 3503:"Die Orgeln und Organisten im Basler Münster" 1367:List of paintings by Hans Holbein the Younger 1208:Holbein's portrait of Anne of Cleves (detail) 941:the city gate in 1531. The reduced levels of 5879: 5717:Hans Holbein: The Artist in a Changing World 4619:North, 94–95; Bätschmann & Griener, 188. 4144:, leaving him substantial money and effects. 3973:Anne of Cleves: Henry VIII's Discarded Bride 3525: 3523: 3459: 3445:Holbein, Zeichnungen vom Hofe Heinrichs VIII 3235:Holbein, Zeichnungen vom Hofe Heinrichs VIII 2338:, possibly 1524–26. Oil and tempera on oak, 1888: 1731:, for example, details such as the Lutheran 750:. According to art historian Paul Ganz, the 5484:Washington: National Gallery of Art, 2001. 5290:Holbein's Ambassadors: Making & Meaning 4707: 4705: 1596:The images of the stories of the Old Gospel 1586:woodcuts appear in the recently discovered 1569:The images of the stories of the Old Gospel 1548:as a reformist satire. Holbein's series of 1406:, a city with a thriving book trade, where 746:, and, in 1519, that of the young academic 744:double portrait of Jakob and Dorothea Meyer 595:In 1517, father and son began a project in 5872: 5858: 4688: 4631: 4583:Bätschmann & Griener, 116; Wilson, 68. 3058:, a fragment of the Council Chamber murals 2987:: CS1 maint: location missing publisher ( 2618: 43: 6262:16th-century deaths from plague (disease) 6033:Portrait of Hermann Hillebrandt de Wedigh 5616:Hans Holbein: Portrait of an Unknown Man. 5387:Michael, Erika. "The Legacy of Holbein's 5288:Foister, Susan; Ashok Roy; Wyld, Martin. 3850:Buck, 120; Bätschmann & Griener, 189. 3570:, a fragment from a Council Chamber mural 3520: 2858:. Berlin: Julius Bard Verlag. p. 29. 2571:"Hans Holbein the Younger German painter" 2563: 2185:(1717–97) praised him as a master of the 1180:, and to grand portraits such as that of 1001:, whose portrait Holbein had also drawn. 23:16th-century German artist and printmaker 5618:London: Pimlico, Revised Edition, 2006. 5469:, National Gallery of Scotland, (1993). 5138:Bätschmann, Oskar, and Griener, Pascal. 4702: 4032: 4005: 2124: 2082: 2015: 2011: 1968: 1913: 1879: 1813: 1768: 1743: 1616: 1483: 1375: 1261: 1203: 1108: 1096: 1038: 952: 878: 866:During this period in Basel, he painted 773: 623: 586: 574: 512:, whose trade he and his older brother, 487: 464: 6088:Portrait Miniature of Hans Schwarzwaldt 5930:The Body of the Dead Christ in the Tomb 5733:Holbein: The Artist in a Changing World 5480:Roskill, Mark; Hand, John Oliver, eds. 4397:Strong, 7; North, 30; Rowlands, 88–90. 4073:Pollard, Alfred W (14 September 2004). 4072: 3996:Schofield, 236–41; Scarisbrick, 484–85. 3619:Block Friedman & Mossler Figg, 417. 2291:The Body of the Dead Christ in the Tomb 1702:Holbein returned to England in 1532 as 1699:murals illustrated a reformist agenda. 1538:(1523–26) refashions the late-medieval 492:Hans Holbein's home during his time in 6282:German emigrants to the United Kingdom 6209: 5770:A list of museums featuring the artist 5550:Stroud (UK): The History Press, 2008. 3969: 3577:, a design for a Council Chamber mural 3416: 3414: 3412: 3410: 3229: 3227: 3225: 2977:(in German). Basel. 1960. p. 210. 2731: 2729: 1662:Basel's reformers turned to iconoclasm 6267:Paintings by Hans Holbein the Younger 5853: 5796:145 works by Hans Holbein the Younger 5685:London: George Bell & Sons, 1900. 5661: 3970:Norton, Elizabeth (15 October 2009). 3732: 3420: 3098: 3096: 2969: 2967: 2853: 948: 769: 6064:Portrait Miniature of Margaret Roper 5566:Six Wives: The Queens of Henry VIII. 5372:Landau, David, and Parshall, Peter. 3189:Bätschmann and Griener, 11; Müller, 2961:Müller, Christian (2006), pp.194–195 2814:A Scholar Treads on a Basket of Eggs 2491:Charles Brandon, 3rd Duke of Suffolk 1292:Charles Brandon, 1st Duke of Suffolk 416:. By 1535, he was King's Painter to 6157:Portrait of Johann von Schwarzwaldt 5739:Holbein and the Court of Henry VIII 5467:Holbein and the Court of Henry VIII 5213:Brooke, Xanthe, and David Crombie. 5184:, 417. Taylor & Francis, 2017. 5114:London: Chatto & Windus, 1998. 5017:The Evolution of English Collecting 4891:North, 29; Ackroyd, 191; Brooke, 9. 4033:Warnicke, Retha M (13 April 2000). 3733:Jones, Jonathan (25 October 2023). 3407: 3303:Portrait Study of Elizabeth Dauncey 3222: 2892:, a design for a Hertenstein mural. 2726: 2041:. He created the standard image of 1527:Body of the Dead Christ in the Tomb 854: 840:Lady with a Squirrel and a Starling 13: 5668:"Holbein, Hans, the younger" 5655: 5348:The Life and Death of Anne Boleyn. 5034:Thomas Howard, 3rd Duke of Norfolk 3126:Strong,3; Wilson, 114–15; Müller, 3093: 2964: 2847: 2493:, Royal Collection, Windsor Castle 2464:Henry Brandon, 2nd Duke of Suffolk 1479: 791:Holbein broke his journey towards 715:. Additionally he designed twelve 14: 6298: 6072:Portrait of Sir Richard Southwell 5745: 4783:Bätschmann & Griener, 177–81. 4121:, sometimes with other functions. 2393:National Portrait Gallery, London 2143:Lucy Russell, Countess of Bedford 2021:Study for the Family Portrait of 1476:to its first peak of brilliance. 1386:, 1526, reveals the influence of 1069:. This life-sized panel portrays 366:, an accomplished painter of the 6103:Portrait of Christina of Denmark 5946:Portrait of Erasmus of Rotterdam 5584:Holbein: The Complete Paintings. 5518:, 14–19. Munich: Prestel, 2006. 5374:The Renaissance Print: 1470-1550 5262:, 46–57. Munich: Prestel, 2006. 5169:, 66–71. Munich: Prestel, 2006. 5088: 5079: 5070: 5061: 5052: 5043: 5022: 5006: 4997: 4988: 4979: 4970: 4961: 4952: 4943: 4934: 4925: 4912: 4903: 4894: 4885: 4876: 4867: 4858: 4849: 4840: 4831: 4822: 4813: 4804: 4795: 4786: 4777: 4768: 4759: 4750: 4741: 4732: 4723: 4714: 4679: 4670: 4661: 4652: 4643: 4622: 4613: 4604: 4595: 4586: 4577: 4568: 4555: 4534: 4525: 4506: 4496: 4486: 4476: 4456: 4447: 4433: 4423:Lamentation and Burial of Christ 4414: 4405: 4391: 4378: 4361: 4352: 4343: 4322: 4299: 4290: 4281: 4272: 4259: 4250: 4241: 4232: 4223: 4214: 4205: 4196: 4183: 4174: 4165: 4156: 4147: 4134: 4111: 4102: 4093: 4066: 4053: 4026: 3999: 3990: 3963: 3947: 3938: 3929: 3916: 3907: 3898: 3889: 3352:Portrait of Mary, Lady Guildford 3144:tein, Wilhelm (1920), pp.108–110 2820:Folly Steps Down from the Pulpit 2514: 2507:Gallerie Nazionali d'Arte Antica 2498: 2483: 2456: 2423: 2408:Portrait of Christina of Denmark 2399: 2375: 2346: 2326: 2299: 2282: 2261: 2229: 2217: 2129:18th-century Holbein Chamber in 1824:, 1532. Oil and tempera on oak, 1689:Christ as the Light of the World 962:, 1533; oil and tempera on oak, 783:, 1527. Oil and tempera on oak, 277: 231: 6175:Hans Holbein the Elder (father) 5922:Portrait of Bonifacius Amerbach 5719:. London: Reaktion Books, 2020. 5643:London: Parkstone Press, 1999. 5601:Painting in Britain, 1530–1790. 5499:Boston: David R. Godine, 1985. 5332:London: Tate Publishing, 1995. 5028:Bätschmann & Griener, 202. 4006:Muhlbach, Luise (14 May 2010). 3976:. Amberley Publishing Limited. 3880: 3871: 3862: 3853: 3844: 3835: 3826: 3813: 3804: 3794: 3785: 3772: 3763: 3754: 3745: 3726: 3704: 3695: 3682: 3668: 3658: 3649: 3640: 3631: 3622: 3613: 3604: 3595: 3582: 3559: 3550: 3541: 3532: 3495: 3480: 3471: 3450: 3438: 3429: 3398: 3389: 3372: 3358: 3346:Portrait of Sir Henry Guildford 3338: 3323: 3309: 3288: 3279: 3269: 3260: 3251: 3205: 3196: 3183: 3174: 3165: 3156: 3147: 3138: 3120: 3105: 3078: 3063: 3035: 3021: 3004: 2995: 2955: 2942: 2932: 2919: 2910: 2895: 2880: 2862: 2826: 2805: 2796: 2786: 2769: 2756: 2747: 2738: 2270:Portrait of Bonifacius Amerbach 1390:. Oil and tempera on limewood, 1246:Last years and death, 1540–1543 885:Portrait of the Artist's Family 688:designs included those for the 460: 6009:Portrait of the Artists Family 5761:Works by or about Hans Holbein 5217:London: Paul Holberton, 2003. 5142:London: Reaktion Books, 1997. 5058:Bätschmann & Griener, 208. 5049:Bätschmann & Griener, 203. 4940:Bätschmann & Griener, 195. 4931:Bätschmann & Griener, 194. 4792:Bätschmann & Griener, 181. 4039:. Cambridge University Press. 3701:Bätschmann & Griener, 184. 3665:Jones almost a century later". 3456:Bätschmann & Griener, 177. 3257:Bätschmann & Griener, 158. 2717: 2708: 2699: 2684:Merriam-Webster.com Dictionary 2671: 2640: 2612: 2583: 2139:Thomas Howard, Earl of Arundel 1712:Dissolution of the Monasteries 1290:, sons of Henry VIII's friend 1: 6130: 6115: 6092: 6045: 5958: 5132:London: Athlone Press, 1954. 5101: 4685:Parker, 28; Rowlands, 118–20. 4531:Bätschmann & Griener, 97. 4411:Bätschmann & Griener, 95. 4296:Bätschmann & Griener, 11. 4079:. Wipf and Stock Publishers. 3958:, vol 1 part 2, Oxford (1822) 3692:. Retrieved 29 November 2008. 3646:Wilson, 224–25; Foister, 120. 3153:Bätschmann & Griener, 63. 2628:(5th ed.). HarperCollins 2525: 2437: 2412: 2360: 2318:–28. Oil and tempera on oak, 2312: 2247: 2027: 1974: 1924: 1909: 1780: 1755: 1371: 1121: 1049: 889: 829:astronomer and mathematician 348: 69: 50: 6272:German portrait miniaturists 6227:16th-century German painters 6141:Portrait of a Young Merchant 6001:Portrait of Nicolaus Kratzer 5725:The Renaissance in the North 5038:Henry Howard, Earl of Surrey 4649:Strong, 8; Rowlands, 118–19. 4153:Wilson, 245, 269; North, 31. 3332:Portrait of Nicholas Kratzer 3102:Stein, Wilhelm (1920), p.108 2466:, portrait miniature, 1541. 1973:Design for a chimney-piece, 1739: 455: 431:(the elder) dubbed him "the 7: 6242:German Renaissance painters 6180:Ambrosius Holbein (brother) 6041:Portrait of Thomas Cromwell 5985:Portrait of Sir Thomas More 5452:English Portrait Miniatures 5317:. London: Constable, 1980. 5232:, Cologne: Könemann, 1999, 4855:Foister, 95; Rowlands, 113. 4601:Foister, 140–41; Strong, 5. 3297:Portrait Study of John More 2544: 1891:Gemäldegalerie Alte Meister 1710:. During the period of the 932:and of the meeting between 810:Portrait of Sir Thomas More 780:Portrait of Sir Thomas More 10: 6303: 5977:Sir Thomas More and Family 5696:Holbein's Sir Thomas More. 5019:(Yale, 2003), pp. 225-226. 4958:Wilson, 280–81; Gaunt, 27. 4882:North, 29; Waterhouse, 21. 4756:Quoted by Michael, 239–40. 4720:Strong, 5, 8; Foister, 15. 4162:North, 26; Wilson, 112–13. 3886:Auerbach, 49; Wilson, 250. 3868:Strong, 7; Waterhouse, 19. 3507:basler-muensterkonzerte.ch 2841:Portrait of Dorothea Meyer 2653:Collins English Dictionary 2537:Metropolitan Museum of Art 2366:. Oil and tempera on oak, 2277:on pine, Kunstmuseum Basel 2210: 1964: 1957:His miniature portrait of 1940:Victoria and Albert Museum 1887:, Sieur de Morette, 1534. 1693:The Selling of Indulgences 1364: 1127:. Oil and tempera on oak, 1055:. Oil and tempera on oak, 15: 6188: 6167: 5905: 5897:List of portrait drawings 5887: 5805:Michael Servetus Research 5639:Zwingenberger, Jeanette. 5350:Oxford: Blackwell, 2005. 4513:Michael Servetus Research 4371:(1340–1416) and his wife 3821:Thyssen-Bornemisza Museum 2975:Die Malerfamilie in Basel 2509:, Palazzo Barberini, Rome 2505:Henry VIII at 49 (1540), 1889: 1819:Portrait of the Merchant 1590:by Michel De Villeneuve ( 1057:Thyssen-Bornemisza Museum 707:), and the title page of 214: 198: 194: 183: 173: 165: 157: 147: 127: 119: 111: 92: 65: 42: 37: 30: 6277:Artists from Basel-Stadt 6217:Hans Holbein the Younger 5881:Hans Holbein the Younger 5780:12 December 2007 at the 5112:The Life of Thomas More. 4592:Strong, 5; Rowlands, 91. 4518:21 February 2017 at the 4128:Royal Historical Society 4009:Henry VIII and his Court 3956:Ecclesiastical Memorials 3719:of Anne. He doubts that 3395:Strong, 4; Claussen, 50. 2889:Leaina Before the Judges 2556: 2368:Kunsthistorisches Museum 2320:National Gallery, London 2120:Mary Neville, Lady Dacre 1837:19th-century biographer 1567:(It contains two works: 1565:Series of the Old Gospel 1517:attitudes. Basel, where 964:National Gallery, London 823:Archbishop of Canterbury 640:National Gallery, London 500:Holbein was born in the 345:Hans Holbein der Jüngere 221:Hans Holbein the Younger 96:October or November 1543 38:Hans Holbein der Jüngere 32:Hans Holbein the Younger 16:Not to be confused with 6017:Portrait of Georg Giese 5674:Encyclopædia Britannica 5603:London: Penguin, 1978. 5586:London: Granada, 1980. 5568:London: Vintage, 2004. 5535:London: Penguin, 1968. 5444:Oxford: Phaidon, 1945. 5429:London: Phoenix, 2004. 5414:Munich: Prestel, 2006. 5307:London: Phaidon, 1956. 4747:Quoted by Michael, 237. 3556:Wilson, 163; North, 23. 3421:Stein, Wilhelm (1929). 2854:Stein, Wilhelm (1920). 2835:Portrait of Jakob Meyer 2602:Oxford University Press 2576:Encyclopedia Britannica 2237:The Humiliation of the 1952:manuscript illumination 1861:. The depiction of the 1786:–34. Royal Collection, 1723:25 January 2018 at the 1717:The Old and the New Law 1129:National Gallery of Art 481:on white-coated paper, 6126:Portrait of Jane Small 6080:Portrait of Henry VIII 5715:Nuechterlein, Jeanne. 4574:Quoted by Wilson, 130. 4313:, based on Leonardo's 4278:Wilson, 16; North, 12. 4012:. Andrews UK Limited. 3832:Rowlands, 118, 224–26. 3016:Johannes Oecolampadius 2134: 2099: 2072:spoke in his treatise 2034: 1985: 1943: 1923:, portrait miniature, 1907: 1896: 1829: 1791: 1766: 1643: 1505: 1400:Hans Holbein the Elder 1395: 1360: 1278: 1209: 1132: 1106: 1060: 1045:Portrait of Henry VIII 1030:The Triumph of Poverty 966: 907:, carried out acts of 900: 788: 756:portraits of the donor 703:(illustrations of the 667:The House of the Dance 646: 618:The Triumphs of Caesar 592: 584: 510:Hans Holbein the Elder 497: 485: 475:Hans Holbein the Elder 364:Hans Holbein the Elder 344: 178:Hans Holbein the Elder 135:Portrait of Henry VIII 18:Hans Holbein the Elder 6247:Artists from Augsburg 5752:Works by Hans Holbein 5196:Borchert, Till-Holger 4837:Strong, 7; Gaunt, 25. 4470:9 August 2011 at the 2598:UK English Dictionary 2443:. Oil and tempera on 2131:Strawberry Hill House 2128: 2105:John Bettes the Elder 2092:John Bettes the Elder 2086: 2019: 2012:Legacy and reputation 1972: 1917: 1902: 1883: 1865:and the inscription " 1863:Five wounds of Christ 1817: 1772: 1747: 1620: 1487: 1379: 1294:and his fourth wife, 1265: 1207: 1112: 1100: 1042: 1026:The Triumph of Wealth 956: 882: 777: 627: 590: 578: 555:Jakob Meyer zum Hasen 491: 468: 418:Henry VIII of England 377:but worked mainly in 6232:German male painters 6196:Northern Renaissance 5792:22 June 2021 at the 5700:The Frick Collection 5663:Crowe, Joseph Archer 5277:London: Tate: 2006. 5040:, in the background. 3219:was an English coin. 3193:, 12, 16, 48–49, 66. 2579:. 22 September 2023. 2094:, 1545. Oil on oak, 1826:Berlin State Museums 1751:Margaret, Lady Elyot 1530:of 1522 expresses a 1355:St Andrew Undershaft 1296:Catherine Willoughby 1184:. He travelled with 1182:Christina of Denmark 1163:Remigius van Leemput 1088:Northern Renaissance 991:abbot of Westminster 913:Freiburg im Breisgau 752:portrait of Amerbach 631:Erasmus of Rotterdam 581:Basilica of St. Paul 570:Basilica of St. Paul 483:Berlin State Museums 399:Renaissance humanism 373:Holbein was born in 356:Northern Renaissance 152:Northern Renaissance 6287:Court of Henry VIII 5275:Holbein in England. 3690:"The Holbein Codes" 3575:Samuel Cursing Saul 3423:Holbein der Jüngere 3380:esquire of the body 3044:Samuel Cursing Saul 2856:Holbein der Jüngere 2447:mounted on canvas, 2243:Persian King Shapur 2189:. Walpole hung his 2170:The Praise of Folly 1648:Oberried Altarpiece 1555:In addition to the 1494:, woodcut from the 1416:Italian Renaissance 1271:'s Clocksalt, 1543. 1239:Charles de Marillac 1075:Francis I of France 1073:, an ambassador of 971:Catherine of Aragon 874:St John the Baptist 869:The Artist's Family 748:Bonifacius Amerbach 538:The Praise of Folly 161:Elsbeth Binzenstock 6237:German printmakers 5693:Salomon, Xavier F. 5681:Hervey, Mary F.S. 5598:Waterhouse, Ellis. 5530:Scarisbrick, J. J. 5450:Reynolds, Graham. 5243:Calderwood, Mark. 4909:Waterhouse, 16–17. 4550:The King's Painter 4373:Jeanne de Boulogne 4130:. 17 October 2018. 3590:Heinrich Bullinger 2777:Swiss Confederates 2160:catalogue raisonné 2135: 2109:Man in a Black Cap 2100: 2088:Man in a Black Cap 2035: 1986: 1944: 1897: 1830: 1792: 1767: 1644: 1614:or " Lost Bible". 1612:Biblia cum Glossis 1588:Biblia cum Glossis 1559:Holbein completed 1506: 1474:portrait miniature 1468:, as practised by 1396: 1279: 1231:Sir Anthony Browne 1210: 1133: 1131:, Washington D. C. 1107: 1071:Jean de Dinteville 1061: 967: 949:England, 1532–1540 901: 789: 770:England, 1526–1528 647: 593: 585: 547:Desiderius Erasmus 502:free imperial city 498: 486: 387:Desiderius Erasmus 82:free imperial city 6204: 6203: 5969:Darmstadt Madonna 5938:Solothurn Madonna 5892:List of paintings 5756:Project Gutenberg 5731:Reinhardt, Hans. 5624:978-1-84413-918-7 5556:978-0-7524-4604-2 5546:Schofield, John. 5356:978-1-4051-3463-7 5228:Buck, Stephanie. 5190:978-1-35166-132-4 5156:978-1-78023-171-6 4801:Rowlands, 118–20. 4442:Hans Lützelburger 4369:Duc Jean de Berry 3751:Rowlands, 88, 91. 2832:Sander, 15. See: 2714:Zwingenberger, 9. 2687:. Merriam-Webster 2255:Kunstmuseum Basel 2155:Wenceslaus Hollar 2151:Peter Paul Rubens 2070:Nicholas Hilliard 2062:Kunstmuseum Basel 1885:Charles de Solier 1765:, Windsor Castle. 1653:Solothurn Madonna 1623:Darmstadt Madonna 1502:6.5 x 4.8 cm 1500:series, 1523–26, 1427:Leonardo da Vinci 1392:Kunstmuseum Basel 1351:St Katherine Cree 1319:Darmstadt Madonna 1159:Elizabeth of York 897:Kunstmuseum Basel 861:Hieronymus Froben 697:Hans Lützelburger 471:Ambrosius Holbein 469:Hans (right) and 422:Church of England 218: 217: 188:Ambrosius Holbein 100:(aged 45–46) 86:Holy Roman Empire 6294: 6135: 6132: 6120: 6119: 1535–1540 6117: 6097: 6096: 1535–1540 6094: 6050: 6049: 1532–1534 6047: 5963: 5960: 5874: 5867: 5860: 5851: 5850: 5787:Hans-Holbein.org 5765:Internet Archive 5678: 5670: 5495:Rowlands, John. 5389:Gedankenreichtum 5313:Gaunt, William. 5273:Foister, Susan. 5095: 5092: 5086: 5083: 5077: 5074: 5068: 5065: 5059: 5056: 5050: 5047: 5041: 5030:Philip Fruytiers 5026: 5020: 5010: 5004: 5001: 4995: 4992: 4986: 4983: 4977: 4974: 4968: 4965: 4959: 4956: 4950: 4947: 4941: 4938: 4932: 4929: 4923: 4916: 4910: 4907: 4901: 4898: 4892: 4889: 4883: 4880: 4874: 4871: 4865: 4862: 4856: 4853: 4847: 4844: 4838: 4835: 4829: 4826: 4820: 4817: 4811: 4808: 4802: 4799: 4793: 4790: 4784: 4781: 4775: 4772: 4766: 4765:Auerbach, 69–71. 4763: 4757: 4754: 4748: 4745: 4739: 4736: 4730: 4727: 4721: 4718: 4712: 4709: 4700: 4697: 4686: 4683: 4677: 4674: 4668: 4665: 4659: 4656: 4650: 4647: 4641: 4638: 4629: 4626: 4620: 4617: 4611: 4610:Rowlands, 92–93. 4608: 4602: 4599: 4593: 4590: 4584: 4581: 4575: 4572: 4566: 4559: 4553: 4538: 4532: 4529: 4523: 4510: 4504: 4500: 4494: 4493:U.S., pp. 22–23. 4490: 4484: 4480: 4474: 4460: 4454: 4451: 4445: 4437: 4431: 4418: 4412: 4409: 4403: 4399:Karel van Mander 4395: 4389: 4382: 4376: 4365: 4359: 4356: 4350: 4347: 4341: 4338:Giovanni Bellini 4330:Andrea del Sarto 4326: 4320: 4303: 4297: 4294: 4288: 4285: 4279: 4276: 4270: 4263: 4257: 4254: 4248: 4245: 4239: 4236: 4230: 4227: 4221: 4218: 4212: 4209: 4203: 4200: 4194: 4187: 4181: 4178: 4172: 4169: 4163: 4160: 4154: 4151: 4145: 4138: 4132: 4131: 4115: 4109: 4106: 4100: 4097: 4091: 4090: 4070: 4064: 4057: 4051: 4050: 4030: 4024: 4023: 4003: 3997: 3994: 3988: 3987: 3967: 3961: 3951: 3945: 3942: 3936: 3933: 3927: 3926:, 13; Buck, 126. 3920: 3914: 3911: 3905: 3902: 3896: 3893: 3887: 3884: 3878: 3875: 3869: 3866: 3860: 3857: 3851: 3848: 3842: 3839: 3833: 3830: 3824: 3817: 3811: 3808: 3802: 3798: 3792: 3789: 3783: 3776: 3770: 3767: 3761: 3760:Wilson, 208–209. 3758: 3752: 3749: 3743: 3742: 3730: 3724: 3708: 3702: 3699: 3693: 3686: 3680: 3672: 3666: 3662: 3656: 3653: 3647: 3644: 3638: 3635: 3629: 3626: 3620: 3617: 3611: 3608: 3602: 3599: 3593: 3586: 3580: 3563: 3557: 3554: 3548: 3545: 3539: 3536: 3530: 3527: 3518: 3517: 3515: 3513: 3499: 3493: 3484: 3478: 3475: 3469: 3466: 3457: 3454: 3448: 3442: 3436: 3433: 3427: 3426: 3418: 3405: 3402: 3396: 3393: 3387: 3376: 3370: 3362: 3356: 3342: 3336: 3327: 3321: 3313: 3307: 3292: 3286: 3283: 3277: 3273: 3267: 3264: 3258: 3255: 3249: 3248: 3231: 3220: 3209: 3203: 3200: 3194: 3187: 3181: 3178: 3172: 3169: 3163: 3160: 3154: 3151: 3145: 3142: 3136: 3124: 3118: 3109: 3103: 3100: 3091: 3082: 3076: 3067: 3061: 3039: 3033: 3025: 3019: 3012:Huldrych Zwingli 3008: 3002: 2999: 2993: 2992: 2986: 2978: 2971: 2962: 2959: 2953: 2946: 2940: 2936: 2930: 2927:Karel van Mander 2923: 2917: 2914: 2908: 2899: 2893: 2884: 2878: 2877: 2866: 2860: 2859: 2851: 2845: 2830: 2824: 2809: 2803: 2800: 2794: 2790: 2784: 2773: 2767: 2760: 2754: 2751: 2745: 2742: 2736: 2733: 2724: 2721: 2715: 2712: 2706: 2703: 2697: 2696: 2694: 2692: 2675: 2669: 2668: 2666: 2664: 2644: 2638: 2637: 2635: 2633: 2616: 2610: 2609: 2608:on 3 March 2020. 2604:. Archived from 2587: 2581: 2580: 2567: 2531:, Bodycolour on 2530: 2527: 2518: 2502: 2487: 2478:, Windsor Castle 2476:Royal Collection 2460: 2442: 2439: 2427: 2417: 2414: 2403: 2379: 2365: 2362: 2350: 2340:Royal Collection 2330: 2317: 2314: 2303: 2286: 2273:, 1519. Oil and 2265: 2252: 2249: 2239:Emperor Valerian 2233: 2221: 2147:Anthony van Dyck 2078:Karel van Mander 2032: 2029: 1994:Greenwich armour 1979: 1976: 1929: 1926: 1894: 1893: 1785: 1782: 1774:Portrait of Sir 1763:Royal Collection 1760: 1757: 1592:Michael Servetus 1503: 1341:. The goldsmith 1334:Karel van Mander 1304:Catherine Howard 1212:Holbein painted 1198:Anna of Lorraine 1151:Whitehall Palace 1126: 1123: 1079:Georges de Selve 1054: 1051: 1006:Hanseatic League 894: 891: 855:Basel, 1528–1532 831:Nicholas Kratzer 785:Frick Collection 634:, 1523. Oil and 450:Ellis Waterhouse 429:Nicholas Bourbon 353: 350: 339: 330: 326: 321: 320: 317: 316: 313: 310: 307: 302: 301: 298: 295: 292: 289: 286: 283: 276: 265: 260: 259: 256: 255: 252: 249: 246: 243: 240: 237: 230: 201: 130: 99: 74: 71: 52: 47: 28: 27: 6302: 6301: 6297: 6296: 6295: 6293: 6292: 6291: 6207: 6206: 6205: 6200: 6184: 6163: 6133: 6118: 6095: 6083:(1536–37, lost) 6048: 6025:The Ambassadors 5961: 5954:Lais of Corinth 5901: 5883: 5878: 5823:The Ambassadors 5794:Wayback Machine 5782:Wayback Machine 5748: 5658: 5656:Further reading 5614:Wilson, Derek. 5465:Roberts, Jane, 5361:King, David J. 5247:The Ambassadors 5104: 5099: 5098: 5093: 5089: 5084: 5080: 5075: 5071: 5066: 5062: 5057: 5053: 5048: 5044: 5027: 5023: 5011: 5007: 5002: 4998: 4993: 4989: 4984: 4980: 4976:Waterhouse, 13. 4975: 4971: 4966: 4962: 4957: 4953: 4948: 4944: 4939: 4935: 4930: 4926: 4917: 4913: 4908: 4904: 4899: 4895: 4890: 4886: 4881: 4877: 4872: 4868: 4863: 4859: 4854: 4850: 4845: 4841: 4836: 4832: 4827: 4823: 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3991: 3984: 3968: 3964: 3952: 3948: 3943: 3939: 3934: 3930: 3921: 3917: 3913:Wilson, 252–53. 3912: 3908: 3904:Wilson, 251–52. 3903: 3899: 3894: 3890: 3885: 3881: 3876: 3872: 3867: 3863: 3858: 3854: 3849: 3845: 3840: 3836: 3831: 3827: 3818: 3814: 3809: 3805: 3799: 3795: 3790: 3786: 3777: 3773: 3768: 3764: 3759: 3755: 3750: 3746: 3731: 3727: 3709: 3705: 3700: 3696: 3687: 3683: 3673: 3669: 3663: 3659: 3654: 3650: 3645: 3641: 3636: 3632: 3627: 3623: 3618: 3614: 3609: 3605: 3600: 3596: 3587: 3583: 3564: 3560: 3555: 3551: 3546: 3542: 3537: 3533: 3528: 3521: 3511: 3509: 3501: 3500: 3496: 3489:The Last Supper 3485: 3481: 3477:Wilson, 156–57. 3476: 3472: 3467: 3460: 3455: 3451: 3443: 3439: 3434: 3430: 3419: 3408: 3403: 3399: 3394: 3390: 3377: 3373: 3363: 3359: 3343: 3339: 3328: 3324: 3314: 3310: 3293: 3289: 3284: 3280: 3274: 3270: 3265: 3261: 3256: 3252: 3245: 3233: 3232: 3223: 3210: 3206: 3201: 3197: 3188: 3184: 3179: 3175: 3170: 3166: 3161: 3157: 3152: 3148: 3143: 3139: 3125: 3121: 3110: 3106: 3101: 3094: 3083: 3079: 3068: 3064: 3040: 3036: 3026: 3022: 3009: 3005: 3000: 2996: 2980: 2979: 2973: 2972: 2965: 2960: 2956: 2947: 2943: 2937: 2933: 2924: 2920: 2915: 2911: 2900: 2896: 2885: 2881: 2868: 2867: 2863: 2852: 2848: 2831: 2827: 2810: 2806: 2801: 2797: 2791: 2787: 2774: 2770: 2761: 2757: 2752: 2748: 2744:Waterhouse, 17. 2743: 2739: 2734: 2727: 2722: 2718: 2713: 2709: 2704: 2700: 2690: 2688: 2677: 2676: 2672: 2662: 2660: 2646: 2645: 2641: 2631: 2629: 2617: 2613: 2591:"Holbein, Hans" 2589: 2588: 2584: 2569: 2568: 2564: 2559: 2547: 2540: 2528: 2519: 2510: 2503: 2494: 2488: 2479: 2461: 2452: 2440: 2428: 2419: 2415: 2404: 2395: 2380: 2371: 2363: 2351: 2342: 2335:Noli me tangere 2331: 2322: 2315: 2304: 2295: 2287: 2278: 2266: 2257: 2250: 2234: 2225: 2222: 2213: 2195:Strawberry Hill 2074:Arte of Limning 2055:Thomas Cromwell 2030: 2014: 1977: 1967: 1927: 1912: 1839:Alfred Woltmann 1783: 1758: 1742: 1729:The Ambassadors 1725:Wayback Machine 1708:royal supremacy 1704:Thomas Cromwell 1669:Noli Me Tangere 1640:Schwäbisch Hall 1628:donor portraits 1501: 1482: 1480:Religious works 1470:Lucas Horenbout 1452:, and from the 1443:Andrea Mantegna 1435:Lais of Corinth 1383:Lais of Corinth 1374: 1369: 1363: 1343:John of Antwerp 1323:Lais of Corinth 1288:Charles Brandon 1248: 1226:Nicholas Wotton 1146:Lucas Horenbout 1138:Myles Coverdale 1124: 1092:The Ambassadors 1066:The Ambassadors 1052: 1034:Mount Parnassus 995:Thomas Cromwell 979:Lord Chancellor 951: 892: 857: 835:Henry Guildford 787:, New York City 772: 735:gods, heads of 652:painters' guild 644:Longford Castle 642:, on loan from 613:Andrea Mantegna 609:Andrea Mantegna 533:Oswald Myconius 463: 458: 414:Thomas Cromwell 351: 335: 328: 324: 304: 280: 271: 270: 263: 234: 225: 224: 199: 141:The Ambassadors 138: 128: 107: 101: 97: 88: 75: 72: 61: 49:Self-portrait ( 33: 24: 21: 12: 11: 5: 6300: 6290: 6289: 6284: 6279: 6274: 6269: 6264: 6259: 6254: 6249: 6244: 6239: 6234: 6229: 6224: 6222:Book designers 6219: 6202: 6201: 6199: 6198: 6192: 6190: 6186: 6185: 6183: 6182: 6177: 6171: 6169: 6165: 6164: 6162: 6161: 6153: 6145: 6137: 6122: 6107: 6099: 6084: 6076: 6068: 6060: 6052: 6037: 6029: 6021: 6013: 6005: 5997: 5989: 5981: 5973: 5965: 5950: 5942: 5934: 5926: 5918: 5909: 5907: 5903: 5902: 5900: 5899: 5894: 5888: 5885: 5884: 5877: 5876: 5869: 5862: 5854: 5848: 5847: 5842: 5837: 5827: 5818: 5812: 5802: 5797: 5784: 5772: 5767: 5758: 5747: 5746:External links 5744: 5743: 5742: 5736: 5729: 5720: 5713: 5703: 5689:Mantel, Hilary 5686: 5679: 5657: 5654: 5653: 5652: 5637: 5627: 5612: 5595: 5577: 5562:Starkey, David 5559: 5544: 5527: 5508: 5493: 5478: 5463: 5448: 5440:Parker, K. T. 5438: 5423: 5404: 5385: 5370: 5359: 5341: 5328:Hearn, Karen. 5326: 5311: 5301: 5286: 5271: 5252: 5241: 5226: 5211: 5193: 5178: 5159: 5136: 5126:Auerbach, Erna 5123: 5108:Ackroyd, Peter 5103: 5100: 5097: 5096: 5087: 5078: 5069: 5060: 5051: 5042: 5021: 5005: 4996: 4987: 4978: 4969: 4960: 4951: 4942: 4933: 4924: 4911: 4902: 4893: 4884: 4875: 4866: 4857: 4848: 4839: 4830: 4828:Reynolds, 6–7. 4821: 4812: 4810:Rowlands, 122. 4803: 4794: 4785: 4776: 4767: 4758: 4749: 4740: 4731: 4722: 4713: 4701: 4687: 4678: 4669: 4660: 4651: 4642: 4630: 4621: 4612: 4603: 4594: 4585: 4576: 4567: 4554: 4533: 4524: 4505: 4495: 4485: 4475: 4455: 4446: 4432: 4413: 4404: 4390: 4377: 4360: 4358:Strong, 7, 10. 4351: 4349:Strong, 7, 10. 4342: 4321: 4307:Venus and Amor 4298: 4289: 4280: 4271: 4258: 4249: 4240: 4231: 4222: 4213: 4204: 4195: 4182: 4173: 4164: 4155: 4146: 4133: 4110: 4101: 4092: 4085: 4065: 4052: 4045: 4025: 4018: 3998: 3989: 3982: 3962: 3954:Strype, John, 3946: 3937: 3928: 3915: 3906: 3897: 3888: 3879: 3870: 3861: 3852: 3843: 3834: 3825: 3812: 3803: 3793: 3784: 3771: 3762: 3753: 3744: 3725: 3703: 3694: 3681: 3667: 3657: 3648: 3639: 3630: 3621: 3612: 3603: 3594: 3581: 3565:Ganz, 7. See: 3558: 3549: 3540: 3531: 3519: 3494: 3479: 3470: 3458: 3449: 3437: 3428: 3406: 3397: 3388: 3371: 3357: 3337: 3322: 3308: 3287: 3278: 3268: 3259: 3250: 3243: 3221: 3204: 3195: 3182: 3173: 3164: 3155: 3146: 3137: 3119: 3104: 3092: 3086:Dance of Death 3077: 3062: 3034: 3020: 3003: 2994: 2963: 2954: 2941: 2931: 2918: 2909: 2894: 2879: 2861: 2846: 2825: 2804: 2795: 2785: 2768: 2755: 2746: 2737: 2725: 2716: 2707: 2698: 2670: 2639: 2611: 2582: 2561: 2560: 2558: 2555: 2554: 2553: 2546: 2543: 2542: 2541: 2529: 1535–36 2522:Margaret Roper 2520: 2513: 2511: 2504: 2497: 2495: 2489: 2482: 2480: 2462: 2455: 2453: 2433:Anne of Cleves 2429: 2422: 2420: 2405: 2398: 2396: 2381: 2374: 2372: 2352: 2345: 2343: 2332: 2325: 2323: 2305: 2298: 2296: 2288: 2281: 2279: 2267: 2260: 2258: 2235: 2228: 2226: 2223: 2216: 2212: 2209: 2200:Holbein-Streit 2183:Horace Walpole 2166:Encomium moriæ 2066:Matthew Parker 2039:cultural icons 2013: 2010: 2006:Cornelis Hayes 1982:British Museum 1966: 1963: 1911: 1908: 1788:Windsor Castle 1741: 1738: 1673:Mary Magdalene 1632:Holbein carpet 1577:Dance of Death 1557:Dance of Death 1536:Dance of Death 1510:Hans Burgkmair 1497:Dance of Death 1481: 1478: 1458:William Scrots 1373: 1370: 1362: 1359: 1325:, mistress of 1308:Catherine Parr 1275:British Museum 1256:Anne of Cleves 1247: 1244: 1214:Anne of Cleves 1142:Nonsuch Palace 950: 947: 856: 853: 819:William Warham 801:Quentin Matsys 771: 768: 690:Dance of Death 462: 459: 457: 454: 216: 215: 212: 211: 202: 196: 195: 192: 191: 185: 181: 180: 175: 171: 170: 167: 163: 162: 159: 155: 154: 149: 145: 144: 131: 125: 124: 121: 120:Known for 117: 116: 113: 109: 108: 102: 94: 90: 89: 76: 67: 63: 62: 48: 40: 39: 35: 34: 31: 22: 9: 6: 4: 3: 2: 6299: 6288: 6285: 6283: 6280: 6278: 6275: 6273: 6270: 6268: 6265: 6263: 6260: 6258: 6255: 6253: 6250: 6248: 6245: 6243: 6240: 6238: 6235: 6233: 6230: 6228: 6225: 6223: 6220: 6218: 6215: 6214: 6212: 6197: 6194: 6193: 6191: 6187: 6181: 6178: 6176: 6173: 6172: 6170: 6166: 6159: 6158: 6154: 6151: 6150: 6149:Self-portrait 6146: 6143: 6142: 6138: 6128: 6127: 6123: 6113: 6112: 6108: 6105: 6104: 6100: 6090: 6089: 6085: 6082: 6081: 6077: 6074: 6073: 6069: 6066: 6065: 6061: 6058: 6057: 6053: 6043: 6042: 6038: 6035: 6034: 6030: 6027: 6026: 6022: 6019: 6018: 6014: 6011: 6010: 6006: 6003: 6002: 5998: 5995: 5994: 5990: 5987: 5986: 5982: 5979: 5978: 5974: 5971: 5970: 5966: 5956: 5955: 5951: 5948: 5947: 5943: 5940: 5939: 5935: 5932: 5931: 5927: 5924: 5923: 5919: 5916: 5915: 5911: 5910: 5908: 5904: 5898: 5895: 5893: 5890: 5889: 5886: 5882: 5875: 5870: 5868: 5863: 5861: 5856: 5855: 5852: 5846: 5843: 5841: 5838: 5835: 5831: 5828: 5826: 5824: 5819: 5816: 5813: 5810: 5806: 5803: 5801: 5798: 5795: 5791: 5788: 5785: 5783: 5779: 5776: 5773: 5771: 5768: 5766: 5762: 5759: 5757: 5753: 5750: 5749: 5740: 5737: 5734: 5730: 5727: 5726: 5721: 5718: 5714: 5711: 5707: 5706:Moyle, Franny 5704: 5701: 5697: 5694: 5690: 5687: 5684: 5680: 5676: 5675: 5669: 5664: 5660: 5659: 5650: 5649:1-85995-492-8 5646: 5642: 5638: 5636: 5635:9788809782501 5632: 5628: 5625: 5621: 5617: 5613: 5610: 5609:0-14-056101-3 5606: 5602: 5599: 5596: 5593: 5592:0-586-05144-9 5589: 5585: 5581: 5578: 5575: 5574:0-09-943724-4 5571: 5567: 5563: 5560: 5557: 5553: 5549: 5545: 5542: 5541:0-14-021318-X 5538: 5534: 5531: 5528: 5525: 5524:3-7913-3580-4 5521: 5517: 5513: 5509: 5506: 5505:0-87923-578-0 5502: 5498: 5494: 5491: 5490:0-300-09044-7 5487: 5483: 5479: 5476: 5475:0-903598-33-7 5472: 5468: 5464: 5461: 5460:0-521-33920-0 5457: 5453: 5449: 5447: 5443: 5439: 5436: 5435:1-84212-661-X 5432: 5428: 5425:North, John. 5424: 5421: 5420:3-7913-3580-4 5417: 5413: 5409: 5405: 5402: 5401:0-300-09044-7 5398: 5394: 5390: 5386: 5383: 5382:0-300-05739-3 5379: 5375: 5371: 5368: 5364: 5360: 5357: 5353: 5349: 5345: 5342: 5339: 5338:1-85437-157-6 5335: 5331: 5327: 5324: 5323:0-09-461870-4 5320: 5316: 5312: 5310: 5309:OCLC 2105129. 5306: 5302: 5299: 5298:1-85709-173-6 5295: 5291: 5287: 5284: 5283:1-85437-645-4 5280: 5276: 5272: 5269: 5268:3-7913-3580-4 5265: 5261: 5257: 5253: 5250: 5248: 5242: 5239: 5238:3-8290-2583-1 5235: 5231: 5227: 5224: 5223:1-903470-09-9 5220: 5216: 5212: 5209: 5208:0-300-09044-7 5205: 5201: 5197: 5194: 5191: 5187: 5183: 5179: 5176: 5175:3-7913-3580-4 5172: 5168: 5164: 5160: 5157: 5153: 5149: 5148:1-86189-040-0 5145: 5141: 5140:Hans Holbein. 5137: 5135: 5134:OCLC 1293216. 5131: 5127: 5124: 5121: 5120:1-85619-711-5 5117: 5113: 5109: 5106: 5105: 5094:Michael, 227. 5091: 5082: 5073: 5064: 5055: 5046: 5039: 5035: 5031: 5025: 5018: 5014: 5009: 5003:Auerbach, 71. 5000: 4991: 4982: 4973: 4967:Hearn, 46–47. 4964: 4955: 4946: 4937: 4928: 4921: 4915: 4906: 4897: 4888: 4879: 4873:Michael, 240. 4870: 4861: 4852: 4843: 4834: 4825: 4819:Auerbach, 69. 4816: 4807: 4798: 4789: 4780: 4771: 4762: 4753: 4744: 4735: 4726: 4717: 4708: 4706: 4696: 4694: 4692: 4682: 4673: 4664: 4655: 4646: 4637: 4635: 4625: 4616: 4607: 4598: 4589: 4580: 4571: 4564: 4558: 4551: 4547: 4543: 4537: 4528: 4521: 4517: 4514: 4509: 4499: 4489: 4479: 4473: 4469: 4466: 4459: 4450: 4443: 4436: 4429: 4425: 4424: 4417: 4408: 4400: 4394: 4387: 4381: 4374: 4370: 4364: 4355: 4346: 4339: 4335: 4334:Andrea Solari 4331: 4325: 4318: 4317: 4312: 4308: 4302: 4293: 4284: 4275: 4268: 4262: 4253: 4244: 4235: 4226: 4220:Claussen, 53. 4217: 4208: 4199: 4192: 4186: 4177: 4168: 4159: 4150: 4143: 4137: 4129: 4125: 4120: 4114: 4105: 4096: 4088: 4086:9781592448654 4082: 4078: 4077: 4069: 4062: 4056: 4048: 4046:9780521770378 4042: 4038: 4037: 4029: 4021: 4019:9781849891172 4015: 4011: 4010: 4002: 3993: 3985: 3983:9781445606774 3979: 3975: 3974: 3966: 3959: 3957: 3950: 3944:Starkey, 620. 3941: 3932: 3925: 3919: 3910: 3901: 3892: 3883: 3874: 3865: 3856: 3847: 3838: 3829: 3822: 3816: 3807: 3797: 3788: 3781: 3775: 3766: 3757: 3748: 3740: 3736: 3729: 3722: 3718: 3714: 3707: 3698: 3691: 3685: 3678: 3671: 3661: 3652: 3643: 3634: 3625: 3616: 3607: 3598: 3591: 3585: 3578: 3576: 3571: 3569: 3562: 3553: 3544: 3535: 3526: 3524: 3508: 3504: 3498: 3491: 3490: 3483: 3474: 3468:Rowlands, 76. 3465: 3463: 3453: 3446: 3441: 3432: 3424: 3417: 3415: 3413: 3411: 3401: 3392: 3385: 3381: 3375: 3369: 3366: 3361: 3354: 3353: 3348: 3347: 3341: 3334: 3333: 3326: 3320: 3318: 3312: 3305: 3304: 3299: 3298: 3294:For example: 3291: 3282: 3272: 3263: 3254: 3246: 3244:0-384-23843-2 3240: 3236: 3230: 3228: 3226: 3218: 3214: 3213:Pieter Gillis 3208: 3199: 3192: 3186: 3177: 3168: 3159: 3150: 3141: 3135: 3134: 3129: 3123: 3117: 3115: 3108: 3099: 3097: 3089: 3087: 3081: 3074: 3073: 3069:For example: 3066: 3059: 3057: 3052: 3051: 3046: 3045: 3038: 3032: 3031: 3027:For example: 3024: 3017: 3013: 3007: 2998: 2990: 2984: 2976: 2970: 2968: 2958: 2951: 2945: 2935: 2928: 2922: 2913: 2906: 2905: 2898: 2891: 2890: 2883: 2875: 2871: 2865: 2857: 2850: 2843: 2842: 2837: 2836: 2829: 2822: 2821: 2816: 2815: 2808: 2799: 2789: 2782: 2779:, a group of 2778: 2772: 2765: 2759: 2750: 2741: 2732: 2730: 2720: 2711: 2702: 2686: 2685: 2680: 2674: 2659: 2658:HarperCollins 2655: 2654: 2649: 2643: 2627: 2626: 2621: 2615: 2607: 2603: 2599: 2597: 2592: 2586: 2578: 2577: 2572: 2566: 2562: 2552: 2549: 2548: 2538: 2534: 2523: 2517: 2512: 2508: 2501: 2496: 2492: 2486: 2481: 2477: 2473: 2469: 2465: 2459: 2454: 2450: 2446: 2435: 2434: 2426: 2421: 2410: 2409: 2402: 2397: 2394: 2390: 2389: 2385: 2378: 2373: 2369: 2358: 2357: 2349: 2344: 2341: 2337: 2336: 2329: 2324: 2321: 2310: 2309: 2302: 2297: 2293: 2292: 2285: 2280: 2276: 2272: 2271: 2264: 2259: 2256: 2246: 2244: 2240: 2232: 2227: 2220: 2215: 2214: 2208: 2205: 2201: 2196: 2192: 2188: 2184: 2180: 2175: 2173: 2171: 2167: 2162: 2161: 2156: 2152: 2148: 2144: 2140: 2132: 2127: 2123: 2121: 2117: 2112: 2110: 2106: 2097: 2093: 2089: 2085: 2081: 2079: 2075: 2071: 2067: 2063: 2058: 2056: 2052: 2048: 2044: 2040: 2025: 2024: 2018: 2009: 2007: 2001: 1997: 1995: 1990: 1983: 1971: 1962: 1960: 1955: 1953: 1949: 1941: 1937: 1933: 1922: 1921: 1916: 1906: 1901: 1892: 1886: 1882: 1878: 1876: 1872: 1868: 1864: 1860: 1856: 1852: 1847: 1844: 1843:Erna Auerbach 1840: 1834: 1827: 1823: 1822: 1816: 1812: 1809: 1804: 1800: 1798: 1789: 1778: 1777: 1771: 1764: 1753: 1752: 1746: 1737: 1734: 1730: 1726: 1722: 1719: 1718: 1713: 1709: 1705: 1700: 1698: 1697:Old Testament 1694: 1690: 1686: 1685:Martin Luther 1680: 1678: 1674: 1670: 1665: 1663: 1659: 1655: 1654: 1649: 1641: 1637: 1633: 1629: 1625: 1624: 1619: 1615: 1613: 1609: 1608:De Villeneuve 1605: 1601: 1597: 1593: 1589: 1585: 1580: 1578: 1574: 1570: 1566: 1562: 1558: 1553: 1551: 1547: 1546: 1545:Danse Macabre 1541: 1537: 1533: 1529: 1528: 1522: 1520: 1519:Martin Luther 1515: 1511: 1499: 1498: 1493: 1492: 1486: 1477: 1475: 1471: 1467: 1463: 1459: 1455: 1451: 1446: 1444: 1440: 1436: 1432: 1428: 1423: 1421: 1417: 1413: 1409: 1405: 1401: 1393: 1389: 1385: 1384: 1378: 1368: 1358: 1356: 1352: 1346: 1344: 1340: 1335: 1330: 1328: 1324: 1320: 1315: 1311: 1309: 1305: 1301: 1300:Anthony Denny 1297: 1293: 1289: 1285: 1284:Henry Brandon 1276: 1272: 1270: 1269:Anthony Denny 1264: 1260: 1257: 1253: 1243: 1240: 1234: 1232: 1227: 1223: 1219: 1218:Burgau Castle 1215: 1206: 1202: 1199: 1195: 1190: 1187: 1183: 1179: 1173: 1171: 1166: 1164: 1160: 1156: 1152: 1147: 1143: 1139: 1130: 1119: 1117: 1111: 1104: 1099: 1095: 1093: 1089: 1084: 1080: 1077:in 1533, and 1076: 1072: 1068: 1067: 1058: 1047: 1046: 1041: 1037: 1035: 1031: 1027: 1023: 1019: 1015: 1011: 1007: 1002: 1000: 996: 992: 988: 984: 983:mortuary roll 980: 976: 972: 965: 961: 960: 955: 946: 944: 939: 935: 931: 927: 926:Old Testament 921: 918: 917:Basel Minster 914: 910: 906: 898: 887: 886: 881: 877: 875: 871: 870: 864: 862: 852: 850: 846: 842: 841: 836: 832: 828: 824: 820: 815: 812: 811: 806: 802: 798: 797:Pieter Gillis 794: 786: 782: 781: 776: 767: 765: 761: 757: 753: 749: 745: 740: 738: 734: 730: 726: 722: 719:, of those a 718: 714: 710: 709:Martin Luther 706: 705:Old Testament 702: 698: 695: 694:formschneider 692:, cut by the 691: 687: 683: 682:Johann Froben 678: 676: 675:stained glass 672: 668: 664: 659: 657: 653: 645: 641: 637: 633: 632: 626: 622: 620: 619: 614: 610: 606: 602: 601:stained glass 598: 589: 582: 577: 573: 571: 567: 562: 560: 557:and his wife 556: 552: 548: 544: 540: 539: 534: 530: 526: 522: 517: 515: 511: 507: 503: 496:, Switzerland 495: 490: 484: 480: 476: 472: 467: 453: 451: 447: 443: 437: 434: 430: 425: 423: 419: 415: 411: 407: 402: 400: 396: 392: 388: 384: 383:Johann Froben 380: 376: 371: 369: 365: 361: 357: 346: 342: 338: 333: 332: 319: 274: 268: 267: 258: 228: 222: 213: 210: 206: 203: 197: 193: 189: 186: 182: 179: 176: 172: 168: 164: 160: 156: 153: 150: 146: 143: 142: 137: 136: 132: 126: 122: 118: 115:German, Swiss 114: 110: 105: 95: 91: 87: 83: 79: 68: 64: 60: 56: 46: 41: 36: 29: 26: 19: 6252:1490s births 6155: 6147: 6139: 6124: 6109: 6101: 6086: 6078: 6070: 6062: 6054: 6039: 6031: 6023: 6015: 6007: 5999: 5991: 5983: 5980:(1527, lost) 5975: 5967: 5952: 5944: 5936: 5928: 5920: 5912: 5880: 5832: at the 5822: 5808: 5738: 5732: 5724: 5722:O'Neill, J. 5716: 5709: 5695: 5682: 5672: 5640: 5615: 5600: 5583: 5565: 5547: 5532: 5515: 5511: 5496: 5481: 5466: 5451: 5446:OCLC 822974. 5441: 5426: 5411: 5407: 5392: 5388: 5373: 5366: 5347: 5329: 5314: 5304: 5303:Ganz, Paul. 5289: 5274: 5259: 5255: 5246: 5230:Hans Holbein 5229: 5214: 5199: 5181: 5166: 5162: 5139: 5129: 5111: 5090: 5081: 5072: 5063: 5054: 5045: 5024: 5016: 5008: 4999: 4990: 4981: 4972: 4963: 4954: 4945: 4936: 4927: 4919: 4914: 4905: 4896: 4887: 4878: 4869: 4860: 4851: 4846:Reynolds, 7. 4842: 4833: 4824: 4815: 4806: 4797: 4788: 4779: 4774:Wilson, 265. 4770: 4761: 4752: 4743: 4734: 4725: 4716: 4699:Foister, 15. 4681: 4672: 4663: 4658:Buck, 16–17. 4654: 4645: 4624: 4615: 4606: 4597: 4588: 4579: 4570: 4557: 4549: 4541: 4536: 4527: 4508: 4498: 4488: 4478: 4458: 4449: 4435: 4421: 4416: 4407: 4393: 4385: 4380: 4363: 4354: 4345: 4324: 4314: 4310: 4306: 4301: 4292: 4283: 4274: 4266: 4261: 4252: 4243: 4238:Wilson, 278. 4234: 4229:Wilson, 276. 4225: 4216: 4207: 4198: 4190: 4185: 4176: 4167: 4158: 4149: 4136: 4127: 4113: 4104: 4095: 4075: 4068: 4055: 4035: 4028: 4008: 4001: 3992: 3972: 3965: 3955: 3949: 3940: 3935:Wilson, 260. 3931: 3923: 3918: 3909: 3900: 3895:Wilson, 250. 3891: 3882: 3873: 3864: 3855: 3846: 3837: 3828: 3815: 3806: 3796: 3787: 3779: 3774: 3765: 3756: 3747: 3739:The Guardian 3738: 3728: 3716: 3713:John Hoskins 3706: 3697: 3684: 3676: 3670: 3660: 3655:Wilson, 184. 3651: 3642: 3637:Wilson, 213. 3633: 3624: 3615: 3606: 3597: 3584: 3574: 3567: 3561: 3552: 3543: 3534: 3510:. Retrieved 3506: 3497: 3488: 3482: 3473: 3452: 3444: 3440: 3431: 3422: 3400: 3391: 3374: 3360: 3351: 3345: 3340: 3331: 3325: 3316: 3311: 3302: 3296: 3290: 3281: 3271: 3262: 3253: 3234: 3207: 3198: 3190: 3185: 3176: 3167: 3158: 3149: 3140: 3132: 3127: 3122: 3113: 3107: 3085: 3080: 3071: 3065: 3055: 3049: 3043: 3037: 3029: 3023: 3018:(1482–1531). 3006: 2997: 2974: 2957: 2949: 2944: 2934: 2921: 2912: 2903: 2897: 2888: 2882: 2873: 2864: 2855: 2849: 2840: 2834: 2828: 2819: 2813: 2807: 2798: 2788: 2771: 2763: 2758: 2749: 2740: 2735:Wilson, 281. 2719: 2710: 2701: 2689:. Retrieved 2682: 2673: 2661:. Retrieved 2651: 2642: 2630:. Retrieved 2623: 2614: 2606:the original 2594: 2585: 2574: 2565: 2431:Portrait of 2430: 2406: 2382: 2356:Jane Seymour 2354:Portrait of 2353: 2333: 2306: 2289: 2268: 2236: 2203: 2199: 2176: 2169: 2165: 2158: 2136: 2119: 2113: 2108: 2101: 2096:Tate Britain 2087: 2073: 2059: 2036: 2020: 2002: 1998: 1991: 1987: 1956: 1945: 1918: 1903: 1898: 1848: 1835: 1831: 1818: 1805: 1801: 1793: 1776:Thomas Elyot 1773: 1749:Portrait of 1748: 1728: 1716: 1701: 1692: 1688: 1681: 1668: 1666: 1660:. Only when 1657: 1651: 1647: 1645: 1638:Collection, 1621: 1611: 1599: 1595: 1587: 1583: 1581: 1576: 1572: 1568: 1564: 1560: 1556: 1554: 1543: 1535: 1526: 1523: 1507: 1504:inside frame 1495: 1488: 1447: 1434: 1424: 1397: 1381: 1347: 1331: 1318: 1316: 1312: 1280: 1266: 1249: 1235: 1211: 1191: 1174: 1167: 1155:Jane Seymour 1134: 1114:Portrait of 1113: 1091: 1081:, Bishop of 1064: 1062: 1043: 1029: 1025: 1003: 968: 957: 922: 902: 883: 867: 865: 858: 838: 816: 808: 790: 778: 741: 700: 689: 679: 666: 660: 648: 629:Portrait of 628: 616: 615:, including 594: 580: 569: 563: 536: 518: 499: 461:Early career 438: 426: 403: 372: 220: 219: 140: 133: 129:Notable work 98:(1543-11-00) 25: 6257:1543 deaths 6134: 1540 6059:(1534–1535) 6012:(1528–1529) 5996:(1526–1528) 5962: 1524 5933:(1520–1522) 5580:Strong, Roy 5533:Henry VIII. 5013:Karen Hearn 4994:Brooke, 53. 4211:Wilson, 277 4119:salt-cellar 3329:Strong, 4. 3112:Six of the 3001:Wilson, 70. 2802:Sander, 14. 2468:Watercolour 2441: 1539 2416: 1538 2364: 1537 2316: 1527 2251: 1521 2116:Hans Eworth 2051:Thomas More 2031: 1527 2023:Thomas More 1978: 1538 1928: 1540 1875:iconography 1871:Georg Gisze 1821:Georg Giese 1799:and chalk. 1797:silverpoint 1784: 1532 1759: 1532 1677:John Evelyn 1462:Jean Clouet 1439:perspective 1267:Design for 1252:Anne Boleyn 1186:Philip Hoby 1125: 1538 1053: 1536 1014:Georg Giese 999:John Fisher 975:Anne Boleyn 893: 1528 849:Edward Hall 805:Thomas More 764:Thomas More 663:Lutheranism 479:Silverpoint 410:Anne Boleyn 406:Thomas More 395:Late Gothic 368:Late Gothic 360:Reformation 352: 1497 209:Thomas More 205:Anne Boleyn 112:Nationality 73: 1497 59:Switzerland 6211:Categories 5698:New York: 5344:Ives, Eric 5102:References 4900:North, 33. 4864:North, 31. 4738:Strong, 6. 4729:North, 20. 4640:Strong, 7. 4628:North, 25. 4463:Servetus) 4287:Strong, 9. 4256:Ganz, 5–6. 3841:Buck, 117. 3810:Buck, 115. 3801:England'." 3769:Strong, 5. 3721:John Cheke 3610:North, 26. 3547:Buck, 134. 3529:North, 24. 3512:14 January 3435:Strong, 4. 3404:North, 21. 3384:Henry VIII 3285:Beyer, 68. 3211:Letter to 3130:, 442–45. 2539:, New York 2384:Henry VIII 2191:neo-Gothic 2043:Henry VIII 1959:Jane Small 1948:miniatures 1932:Bodycolour 1920:Jane Small 1910:Miniatures 1895:, Dresden. 1855:Brian Tuke 1656:, and the 1380:Holbein's 1372:Influences 1365:See also: 1178:Jane Small 1118:as a Child 1103:Charles II 987:John Islip 973:and marry 909:iconoclasm 845:Thérouanne 607:, such as 6152:(1542–43) 6075:(1536–37) 6067:(1535–36) 5906:Paintings 4552:, p. 157. 4428:Issenheim 4319:in Milan. 4061:attainder 3823:, Madrid. 3116:woodcuts. 2983:cite book 2691:12 August 2679:"Holbein" 2663:12 August 2648:"Holbein" 2632:12 August 2620:"Holbein" 2445:parchment 2388:Henry VII 2193:house at 2098:, London. 1984:, London. 1942:, London. 1740:Portraits 1454:Mannerism 1412:engraving 1277:, London. 1170:Edward VI 1116:Edward VI 1059:, Madrid. 1010:Steelyard 943:patronage 760:Francis I 717:alphabets 677:windows. 671:Town Hall 638:on wood, 551:Rotterdam 529:metalcuts 514:Ambrosius 456:Biography 391:Rotterdam 337:‹See Tfd› 200:Patron(s) 190:(brother) 123:Portraits 106:, England 5790:Archived 5778:Archived 5665:(1911). 5514:Müller, 5258:Müller, 5249: ". 5165:Müller, 4922:, 32–33. 4918:Müller, 4711:Ganz, 5. 4516:Archived 4468:Archived 4269:, 29–30. 4265:Müller, 4189:Müller, 3922:Müller, 3778:Müller, 3679:, 21–29. 3568:Rehoboam 3162:Ganz, 9. 3088:woodcuts 3056:Rehoboam 2948:Müller, 2939:himself. 2762:Müller, 2545:See also 2391:, 1537. 2370:, Vienna 2107:, whose 1721:Archived 1550:woodcuts 1540:allegory 1532:humanist 1514:medieval 1420:humanist 1404:Augsburg 1388:Leonardo 1337:home in 930:Rehoboam 827:Bavarian 566:triptych 559:Dorothea 545:scholar 543:humanist 525:woodcuts 506:Augsburg 477:, 1511. 375:Augsburg 370:school. 166:Children 148:Movement 78:Augsburg 6189:Related 5763:at the 5702:, 2018. 4402:school. 2781:cantons 2451:, Paris 2275:tempera 2241:by the 2211:Gallery 2204:Madonna 2179:Baroque 2047:Erasmus 1965:Designs 1851:drapery 1808:tempera 1658:Passion 1630:, on a 1626:, with 1542:of the 1466:limning 1431:sfumato 1408:woodcut 1339:Aldgate 1327:Apelles 905:Zwingli 793:Antwerp 737:Caesars 686:woodcut 656:tanning 636:tempera 597:Lucerne 541:by the 442:Erasmus 433:Apelles 327:-byne, 6168:Family 6160:(1543) 6144:(1541) 6106:(1538) 6036:(1533) 6028:(1533) 6020:(1532) 6004:(1528) 5988:(1527) 5972:(1526) 5949:(1523) 5941:(1522) 5925:(1519) 5917:(1516) 5834:Art UK 5809:Icones 5691:, and 5647: 5633: 5622: 5607: 5590: 5572: 5554: 5539: 5522: 5516:et al. 5503: 5488: 5473: 5458: 5433: 5418: 5399: 5391:." In 5380: 5367:Apollo 5354: 5336: 5321: 5296: 5281: 5266: 5260:et al. 5236: 5221: 5206: 5188: 5173: 5167:et al. 5154: 5146: 5118: 5036:, and 4920:et al. 4563:Titian 4503:Moneo. 4386:et al. 4267:et al. 4191:et al. 4083: 4043: 4016: 3980: 3924:et al. 3780:et al. 3677:et al. 3572:, and 3447:. p.11 3241: 3191:et al. 3114:Icones 3047:, and 2950:et al. 2793:known. 2764:et al. 2596:Lexico 2533:vellum 2472:vellum 2449:Louvre 2187:Gothic 2053:, and 1936:vellum 1650:, the 1584:Icones 1561:Icones 1450:Titian 1083:Lavaur 1022:Titian 1018:Gdańsk 938:Samuel 701:Icones 684:. 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Knowledge

Hans Holbein the Younger

Index