Part 5
THOMAS HOWARD, THIRD DUKE OF NORFOLK, ABOUT 1540.
CHRISTINA OF DENMARK, DUCHESS OF MILAN, 1538.
A small panel, showing head and hands only, possibly an earlier study than the full-length belonging to the Duke of Norfolk.
_HAMPTON COURT PALACE._
ELIZABETH, LADY VAUX.
Small bust, partly repainted. There is a replica in Prague.
JOHN RESKEMEER, OF MURTHYN, CORNWALL.
MARY MAGDALEN AT THE SEPULCHRE.
(See illustration and p. 58.)
_NATIONAL GALLERY._
JEAN DE DINTEVILLE AND GEORGE DE SELVE (“THE AMBASSADORS”), 1533.
(See illustration and p. 47.)
CHRISTINA OF DENMARK, DUCHESS OF MILAN, 1538
(See illustration and p. 54.)
_BARBER SURGEONS’ HALL._
HENRY VIII. GRANTING A CHARTER TO THE NEW CORPORATION OF BARBER SURGEONS.
Holbein’s last work, left unfinished.
_NATIONAL GALLERY OF IRELAND._
SIR HENRY WYATT.
Replica of the picture in the Louvre, and formerly in the Magniac Collection.
AUSTRIA.
_VIENNA, IMPERIAL GALLERY._
GERYCK (OR DERICH) TYBIS OF DUISBURG AND THE STEELYARD, 1533.
QUEEN JANE SEYMOUR, ABOUT 1537.
A small half-length; there is a copy of it at Woburn Abbey.
PORTRAIT OF A YOUNG MAN, AGED 28, 1541.
A very fine portrait, probably of an Englishman.
DR. JOHN CHAMBER, ABOUT 1541.
A small half-length of a very old man. Chamber’s portrait in the Barber Surgeons’ picture is one of the few heads in that work in which the hand of Holbein can now be traced.
PORTRAIT OF A YOUNG LADY.
With an elaborate head-dress. Small half-length.
PORTRAIT OF AN ENGLISHMAN, AGED 30, 1534.
PORTRAIT OF A LADY, AGED 28, 1534.
Two small rounds on canvas; portraits of some English courtier and his wife, the man in a scarlet coat, with the letters H.R. embroidered in gold.
FRANCE.
_PARIS, LOUVRE._
WILLIAM WAREHAM, ARCHBISHOP OF CANTERBURY, 1527.
A replica of the portrait in Lambeth Palace.
SIR HENRY WYATT, 1527 OR 1528.
The father of Sir Thomas Wyatt, the poet. Formerly called a portrait of Sir Thomas More. There is a replica of it in the National Gallery of Ireland.
DESIDERIUS ERASMUS, 1523.
Profile, turned to the left, writing. The oil-study for it is in the Basle Museum. Probably sent to England for More or Wareham, and exchanged by Charles I. with Louis XIII. for a _St. John Baptist_, by Leonardo.
SIR RICHARD SOUTHWELL, 1536.
A replica of the portrait in the Uffizi Gallery, but not so good. Another copy was exhibited by Mr. H. E. Chetwynd-Stapylton at South Kensington, 1866.
NICHOLAS KRATZER, OF MUNICH, 1528.
Henry VIII.’s Royal Astronomer.
ANNE OF CLEVES, 1539.
GERMANY.
_BERLIN, ROYAL GALLERY._
GEORG GISZE, OF THE STEELYARD, 1532.
(See illustration and p. 51.)
PORTRAIT OF A YOUNG MAN, AGED 34, 1533.
Said to be a member of the Trelawney family, and perhaps a brother of the young man whose portrait, dated 1532, is in Count Schönborn’s Collection, Vienna.
PORTRAIT OF A MAN WITH A LONG BEARD, AGED 54.
Formerly in the possession of Sir J. E. Millais, P.R.A. Painted about 1535 (?).
PORTRAIT OF A YOUNG MAN, AGED 37, 1541.
Probably a Dutchman, of the Vos van Steenwijk family.
_BRUNSWICK GALLERY._
AMBROSIUS (OR CYRIACUS?) FALLEN, OF THE STEELYARD, 1533.
Much repainted.
_CARLSRUHE, KUNSTHALLE._
ST. URSULA WITH THE ARROWS.
ST. GEORGE AND THE DRAGON.
Two panels, evidently parts of an altar-piece, one of them dated 1522. Some critics doubt the ascription, but they may have been designed by Holbein and completed by some other painter.
_DARMSTADT, OLD PALACE._
THE MEYER MADONNA, ABOUT 1526.
(See illustration and p. 44.)
PORTRAIT OF A YOUNG MAN, 1515.
Dated and signed “H. H.”
_DRESDEN GALLERY._
THOMAS GODSALVE, OF NORWICH, AND HIS SON, SIR JOHN GODSALVE, 1528.
Two portraits on one panel. There is a fine drawing of Sir John in the Windsor collection.
CHARLES DE SOLIER, COMTE DE MORETTE, OF PIEDMONT, ABOUT 1534.
THE MEYER MADONNA.
A copy, with alterations, of the Darmstadt picture. (See p. 45.)
The Dresden Gallery also possesses copies of Erasmus and Henry VIII., after Holbein, and a picture, _The Death of Virginia_, said to be after some lost original.
_FRANKFORT, STÄDEL INSTITUTE._
SIMON GEORGE, OF CORNWALL.
_FREIBURG-IM-BREISGAU, MINSTER._
THE NATIVITY.
THE ADORATION OF THE MAGI.
Altar-panels, painted for Hans Oberriedt, of Basle.
_HANOVER, ROYAL GALLERY._
EDWARD VI. WHEN PRINCE, 1538.
Half-length, life size. Other portraits of the Prince in the possession of the Duke of Northumberland (Syon House) and the Earl of Yarborough.
PHILIP MELANCTHON.
A small round, being a companion portrait to the small round of Erasmus at Basle, both probably painted about 1530.
_MUNICH GALLERY._
DERICH BORN, OF THE STEELYARD, ABOUT 1533.
A small oval, about 3 inches high, and seen slightly more in profile than the portrait of Born in Windsor Castle.
HOLLAND.
_THE HAGUE GALLERY._
ROBERT CHESEMAN, OF DORMANSWELL, 1533.
(See illustration and p. 56.)
PORTRAIT OF A YOUNG MAN, AGED 28, WITH A FALCON, 1541.
This splendid portrait is most likely that of an Englishman.
ITALY.
There is only one undoubted example in Italy, and that is the fine portrait of Sir Richard Southwell in the Uffizi Gallery, Florence, of which there is a replica in the Louvre.
SPAIN.
The single work by Holbein in Spain is a portrait of an old man, with an unusually large nose and a very ruddy face, which is in the Prado Gallery, Madrid. It appears to have been painted during Holbein’s first visit to England.
SWITZERLAND.
_BASLE MUSEUM._
VIRGIN AND CHILD, 1514.
This is the earliest known work of Holbein’s, and was found in a village near Constance. Probably painted during his journey from Augsburg to Basle.
THE VIRGIN MARY.
ST. JOHN THE EVANGELIST.
Heads only. Two early works.
THE LAST SUPPER; THE SCOURGING OF CHRIST; THE PRAYER ON THE MOUNT OF OLIVES; CHRIST TAKEN CAPTIVE; PILATE WASHING HIS HANDS.
Five Scenes from Christ’s Passion, part of a series painted for some temporary purpose, such as the decoration of a church during Holy Week.
A SCHOOLMASTER’S SIGN.
A board painted on both sides, representing the schoolmaster and his wife teaching pupils, and now split into two halves.
JACOB MEYER, BURGOMASTER OF BASLE, 1516.
MEYER’S SECOND WIFE, DOROTHEA KANNEGIESSER, 1516.
ADAM AND EVE, 1517.
Heads only; oil on paper.
HANS HERBSTER, 1517.
Until recently in Lord Northbrook’s Collection, and now attributed in Basle to Ambrose Holbein.
THE LAST SUPPER.
The side portions are missing. Broken up and badly restored in Amerbach’s time, and again restored and badly repainted at a later date.
BONIFACIUS AMERBACH, 1519.
PORTRAIT OF HOLBEIN.
In coloured crayons. It is not absolutely certain that this fine portrait represents the painter himself.
THE DEAD CHRIST IN THE TOMB, 1521.
DESIDERIUS ERASMUS, 1523.
In profile, writing. A study in oils for the portrait in the Louvre.
JOHANN FROBEN, THE PRINTER.
This is a copy only.
THE PASSION OF CHRIST, ABOUT 1524 OR 1525.
An altar-piece of eight small panels in one frame.
CHRIST AS THE MAN OF SORROWS.
THE VIRGIN AS MATER DOLOROSA.
Two small oil-paintings in monochrome as a diptych.
TWO DOORS OF AN ORGAN CASE.
In monochrome. Formerly in Basle Minster. Figures of the Emperor Henry II. and his wife on one, and the Virgin and Child with Bishop Pantalus on the other.
DOROTHEA VON OFFENBURG AS “LAIS CORINTHIACA.”
THE SAME LADY AS VENUS, WITH CUPID.
PORTRAIT OF THE ARTIST’S WIFE AND TWO CHILDREN, ABOUT 1528.
DESIDERIUS ERASMUS, 1530 (?).
A small roundel, from which the Parma portrait was probably painted. It is a companion work to the Melancthon at Hanover.
_ZÜRICH, TOWN LIBRARY._
PAINTED TABLE, 1515.
Done for the wedding of Hans Bär, in Basle. Decorated with pictures of the amusing legend of St. Nobody, blamed in all households as the real cause of all accidents; and letters, a pair of spectacles, and other objects on the top, with the intention of deceiving the spectator.
MINIATURES AND DRAWINGS.
Holbein undoubtedly painted a number of miniatures, but very few of these remain, although many are ascribed to him. Among the best are those of the two sons of the Duke of Suffolk, Henry and Charles Brandon, Catherine Howard, and Lady Audley, all at Windsor; others of Henry VIII. and Jane Seymour, belonging to the Seymour family; and a portrait of Holbein in the Wallace Collection.
The finest collections of drawings are those in Windsor Castle and the Basle and British Museums. Some good designs for jewellery will be found at Chatsworth.
CHRONOLOGY OF THE ARTIST’S LIFE
1497. Born in Augsburg.
1514. Left Augsburg. Date of his first known picture.
1515. Settled in Basle with his brother Ambrose.
1517. Living in Lucerne. Visited Altdorf.
1518. Painted Hertenstein’s house in Lucerne.
1519. Back in Basle. Admitted to the Painters Guild.
1520. Paid his fees as a burgher of Basle.
1521-22. Decorated the interior of new Town Hall.
1526. Painted _The Meyer Madonna_ about this time. Left Basle, and reached England before the end of the year.
1528. Returned to Basle in the summer, and bought a house.
1532. Returned to England, and lived with the German colony in London.
1536. In King Henry’s service.
1537. Painted the fresco in the Privy Chamber at Whitehall.
1538. Went to Brussels to paint the Duchess of Milan. Made a second journey to “Upper Burgundy” in December, and spent a short time in Basle. The _Dance of Death_ and _Old Testament_ woodcuts published.
1539. Went in August to Düren to paint Anne of Cleves.
1542. Began the large picture in Barber Surgeons’ Hall.
1543. Died, probably of the plague, on some day between October 7 and November 29.
CHIEF BOOKS ON HOLBEIN
BLANC, CHARLES. Jean Holbein (dit le Jeune). Histoire des Peintres de toutes les Ecoles. 1860.
CUST, LIONEL. Dictionary of National Biography.
HIS, EDOUARD. Dessins d’Ornements d’Hans Holbein. 1886.
KNACKFUSS, H. Holbein, translated by Campbell Dodgson, with 151 illustrations. 1899.
The latest and most accurate life, containing illustrations of a larger number of Holbein’s portraits than in any other work.
KUGLER. Handbook of Painting--German, Flemish, and Dutch Schools. Revised by Sir J. A. Crowe. Vol. I., pp. 198-218. 1898.
LAW, ERNEST. Holbein’s Pictures at Windsor Castle. 1901.
MANTZ, PAUL. Hans Holbein, folio, Paris. 1879.
The best illustrated book on the artist, containing reproductions of the whole of the _Dance of Death_ and _Old Testament_ woodcuts, and the marginal drawings to _The Praise of Folly_.
ROUSSEAU, JEAN. Hans Holbein. Bibliothèque d’Art Ancien. 1885.
RUSKIN, JOHN. Ariadne Florentina. Lecture V. “Design in the German Schools of Engraving (Holbein and Dürer).” 1872.
RUSKIN, JOHN. “Sir Joshua and Holbein.” _Cornhill Magazine_, March, 1860.
WOLTMANN, ALFRED. Holbein und seine Zeit. Second Edition, 2 vols. 1874-76.
This is the leading work on Holbein.
WOLTMANN, ALFRED. Holbein and his Time. Translation of the first edition by F. E. Bunnett, with 60 illustrations. 1872.
WORNUM, R. N. Some Account of the Life and Work of Hans Holbein. 1867.
WORNUM, R. N. Hans Holbein and the Meier Madonna. Arundel Society. 1871.
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