‘PAUL JOSEPH SACHS Digitized by the Internet Archive in 2016 https://archive.org/details/workofhansholbeiOOholb HANS HOLBEIN CLASSICS IN ART SERIES THE ONLY PUBLICATIONS GIVING REPRODUCTIONS OF EVERY KNOWN PICTURE BY THE ARTIST, TOGETHER WITH ITS SIZE AND PRESENT LOCATION EACH VOLUME CONTAINS FROM 150 TO 500 ILLUS- TRATIONS WITH BIOGRAPHICAL INTRODUCTIONS Square 8vo Cloth Extra, Gilt Top In Slip Case I. RAFFAEL, THE WORK OF . . . . $3.00 net II. REMBRANDT, THE WORK OF . . . 4.50 net III. TITIAN, THE WORK OF ... . . 3.00 net IV. DURER, THE WORK OF ... . . 3.50 net V. RUBENS, THE WORK OF ... . . 4.00 net VI. VELASQUEZ, THE WORK OF . . . 2.50 net VII. MICHELANGELO, THE WORK OF . . 2.50 net VIII. CORREGGIO, THE WORK OF . . . 2.50 net IX. DONATELLO, THE WORK OF . . . 3.00 net X. VAN DYCK, THE WORK OF . . . . 5.00 net XI. MEMLING, THE WORK OF . . . . 2.50 net XII. MANTEGNA, THE WORK OF . . . 3.00 net XIII. FRA ANGELICO, THE WORK OF . . 3.50 net XIV. HOLBEIN, THE WORK OF . . . . 3.50 net XV. WATTEAU, THE WORK OF . . . . 3.00 net XVI. MURILLO, THE WORK OF . . . . 3.50 net BRENT ANO'S. Filth Ave. & 27th St., NEW YORK * Basel, OeffentHche Kunstsammlung H. 0,435, B. 0,342 Selbstbildnis Holbeins Portrait of Holbein Urn 1523—1524 Portrait de Holbein THE WORK OF HANS HOLBEIN REPRODUCED IN Two Hundred and Fifty-two Illustrations WITH A BIOGRAPHICAL INTRODUCTION NEW YORK BRENTANO’S M C M X I I I c Copyright, IQI 3, by Brentano’ s HANS HOLBEIN HIS LIFE AND WORK The age in which Hans Holbein lived and worked was the age of what has been called The New Learning. It was an age of practical achievements, of adventures, of undertakings for the pur- pose of material gains. It was the age of conquest and colonization for worldly benefits, an age the logical outcome of the Renaissance. Prior to this age people were moved by faith in the invisible and unknowable; the imagination played the principal part in human hopes and aspirations. But with the discovery of the New World and the achievements of the Reformation a new spirit possessed men. They saw that the world was rich in the means for making life pleasant and desirable. All that was necessary was to dig and delve and shape what was there to hand; or, to go out and adventure for the prizes that were there to win. The spirit of this age was thus a realizing spirit, and it is this realizing spirit that Holbein pos- sessed and evinced in his works. Holbein came into this adventuring and realizing world and found that men and women were busy doing things, not merely think- ing them. These achieving people he reproduced in his portraits with a keenness of observation and implacability of handling that make his paintings objects for wonder and admiration to-day. The people he pictures are no longer dreamers, but doers; their eyes look out with sharp calculating and clever gaze as if questioning and analyzing. These are men and women of affairs, of experience of human nature, men and women who have less of faith and more of suspicion in their natures than was common in the early days of the Renaissance. Holbein must himself have been of their kind — a practical man who found the world a scrambling place. He scrambled with the rest, but he possessed a sense of humor which enabled him to make allowance for the natural rapacity in human beings, and to look with kindly scepticism on their frailties and 5 foibles. This is what we find in Holbein’s portraits of the men and women he painted, and this also is what these portraits indirectly reveal of the painter himself. Hans Holbein was born in the city of Augsburg in 1497. His father was a painter and a member of the Guild ; but he was not, how- ever, a very successful artist as was his fellow-worker, Hans Burgk- mair, for he seems to have been in a state of continual poverty. In- deed, the elder Holbein came to so low an estate that his household effects were sold in order to pay a small debt he owed to his brother, Sigismund Holbein. Augsburg was a famous city in the later years of the fifteenth century. Its citizens were merchant adventurers who traded with the world. Art flourished there as it did in few other towns in Europe. It was a city of artists, and Holbein came to his profession as naturally as he breathed the air of his native place. His father’s taste in decoration he acquired by example and instruction; his own skill as an artist was a natural gift. He remained a pupil in his father’s house until he was seventeen years of age, when he left it to go on the wandering tour usual with artists in those days. We know little of his travels during the year prior to his ar- rival at Basle in 1515, except that the Canon of the Constance Min- ster commissioned young Holbein to paint for him a “ Madonna and Child.” This picture, only discovered in 1876 in a village near Con- stance, is now part of the Holbein Collection in Basle. At Basle Holbein remained but a short time, probably not more than eighteen months. The title-page to Leo the Tenth’s “ Breve ad Erasmum,” printed by John Froben, was designed by Holbein, as was also the title-page to the edition of More’s “ Utopia,” printed at Basle. These facts would indicate that he set his hand to any work that would bring him a livelihood. In the splendid collection of Holbein’s work made by his friend, Bonifacius Amerbach, which became the nucleus of the Basle Holbein Museum, we find table- tops painted by Holbein and pictures illustrating the Passion of Christ painted on linen, evidently for church processions. In these and in many other ways, Holbein supported himself by his art, mak- ing of it a craft and business. He first took up the painting of por- traits with the execution of the portraits of Jacob Meier and his young wife Dorothea. Here we see the beginning of the mas- ter’s great skill. The sketches at Basle show how Holbein worked. He drew a silver-point outline first, with light washes on the face. Then he made pencil notes of the costume and colors of the eyes 6 and hair. This sketch was his guide for the finished painting which he, probably, completed from memory. These first of his great portraits are decorated after the manner of the Renaissance; but his later portraits are devoid of this decoration; they are concentrated efiforts at actual likenesses of the living subjects, rarely elaborated in colors, and but seldom concerned with the details of costume. The Dorothea Meier shows more attention to costume than most of the other portraits; but, probably, he did this for the purpose of securing other commissions of a like kind. In Basle, therefore, Holbein was the apprentice, supporting himself in the various ways which were then open to an artist for his living, and accomplishing himself in the practice of his art. In Basle it is said he found a patron in Eras- mus, for whom he made a series of pen and ink drawings for his “ Ecomium Moriae.” In what year he left Basle, or where he went after he left it, is matter for speculation. Some writers say he is the Hans Holbein who was fined for brawling in Lucerne in 1517; other biographers affirm that it was his father. Be that as it may, it is a fact that Holbein the younger was in Lucerne in 1517, for he decorated the house of Jacob von Hertenstein there. In 1519, however, he was in Basle again. How long he had remained in Lucerne we do not know, nor do we know if he visited Italy before this second coming to Basle, as some biographers assert. Holbein’s biographer, Van Mander, denies that Holbein ever was in Italy, yet the decorations and frescoes he did for the Basle Town Council show undoubted acquaintance with Italian art, such an acquaintance, indeed, as leads one to a certainty of belief that Holbein studied that art most carefully. In Basle he now found his brother Ambrose working for the printers and goldsmiths of the town as a member of the Guild. Amerbach, the printer, was a fellow-towns- man of Holbein’s, and it is no doubt to Amerbach that Holbein owed his admission to the same Guild. This was in the last quarter of 1519. In 1520 Holbein became enrolled a citizen of Basle in order that he might be in a position to pursue his art as a master. Although but twenty-three years of age, at this time, Holbein was a shrewd and careful Teuton with the Teuton’s eye for the main chance. His portrait of himself, painted about this period in pastel, shows him to possess firm self-reliance, and depicts the face of a man of a practical sense undisturbed by theories or fine notions of the world. It is the face of a man who believed in himself and who, at the same time, would be careful to take advantage where advantage 7 was to be obtained. At twenty-three, then, he married a widow with two children. His citizenship and his marriage established him in Basle as a respectable burgher, and enabled him to set himself up in business as master craftsman and artist. In Basle Holbein came to know Diirer and his work, and in Basle also he met Erasmus and came under the influence of the Humanist movement. How far Holbein benefited intellectually by his acquaintance with Erasmus we cannot say, but he must have bene- fited greatly. Holbein had had little or no education at Augsburg, yet his series of drawings for “ The Dance of Death ” and the “ Pas- sion” show an unusual intellectual accomplishment as well as in- ventive genius. The acquaintance must have been of a very friendly nature, since Holbein painted several portraits of Erasmus. But this intimacy did not interfere with his relations with the Catholics of the town, for it is to Jacob Meier, the Catholic Burgomaster of Basle, that we owe the splendid “ Meier Madonna,” now in the pal- ace of Prince William of Hesse at Darmstadt, and known to the world generally by the copy of it hanging in the Dresden Gallery. Meier gave this commission to Holbein and asked the artist to pic- ture himself, his wife and children in devotion before the Virgin Mary. The drawings for this splendid picture are in the Basle Col- lection. Holbein lived and worked in Basle for seven years. During that time he painted his famous portraits of Amerbach and Erasmus (1523), The Passion Series for the Basle Altarpiece, a Venus, a diptych (Mater Dolorosa and Christ the Man of Sorrows), the “Dead Man” and other paintings, as well as de- signs for the “ Dance of Death,” and many wood engravings. The Amerbach portrait is a revelation of Holbein’s mastery of his art and excellent power to reproduce his own sympathetic appreciation of the character of his sitter. The picture is the living man, and none other. Mr. Ford Madox Hueffer, in his careful and dis- criminating little monograph on Holbein, writes of this Amerbach portrait: “ It is as if Holbein had had, not the one sitting that was all so many of his later subjects afforded him, but many days of observation when his friend was unaware that he was under the pro- fessional eye. In the course of a summer walk along the flowery meadows of the Rhine near Klein Basle . . . perhaps Holbein glanced aside at his companion. Amerbach’s eye had, maybe, caught the upspringing of some lark, and the sight suspended for a moment some wise, witty, slightly sardonic and pleasantly erudite remark. Be- 8 tween the pause and the speech Holbein looked — and the thing was done. Hypothesis or not, that is the general suggestion that the portrait makes, and its actuality, its accidental dramatic effect, lifts it up, just a little, above much work that he did after.” By the end of 1522 Holbein had completed what he could of the decorations he had undertaken to execute for the city’s council chamber. Then for two or three years we lose sight of him. It may be that he travelled at this period in France, for we find he made drawings from the De Berry monuments at Bourges, and we also know that the “ Dance of Death ” was first published at Lyons, though many years later. We have no substantiated information as to his movements until 1526, when we know Holbein was back in Basle preparing to leave for England. What it was that made him undertake such an unusual journey has been matter for specu- lation for all biographers of Holbein. It may be that commissions were not so plentiful on the continent now that the new religious movement had put a ban on church decoration; it may be that Hol- bein was not happy with his widow; it may be that he was drawn to England by Erasmus’s friend, Sir Thomas More. Whatever may be the reason for his emigration, its undertaking was the turning point in Holbein’s life. His first short visit to England was productive of “The Household of Sir Thomas More,” a picture that reveals to us more of the character of More and his home than all that Roper has written in his “ Life.” He also did a fine portrait (now in the Lambeth Collection) of Archbishop Warham and that won- derful portrait-picture of Thomas and John Godsalve. The year 1528-29 found Holbein once more in Basle, established in a house of his own, bought with the money earned in Eng- land, and busy soon on the completion of the decorations for the town’s Council Chamber. He also painted the town clock. But Basle was not the place now that it had been in 1525. Erasmus had left it and Amerbach had departed from its pleasant places. It was no longer the centre of Humanist activity, but given over to broils and quarrels and wranglings between fanatic reformers. The glory of the Renaissance had died out of it, and no longer illumined its streets and squares and homes. Holbein was alone and looked in vain for those with whom he could companion himself. He had little or no opportunity for expressing himself in his art, for com- missions came rarely from either public or private sources. This man of the Renaissance had outlived the city’s part in the movement, and was out of sympathy with the petty doings that now went on in it. He 9 went to where the movement that had given him life was still pul- sating in the hearts and minds of the people — to England — and there he remained for ten years, refusing a magnificent offer from the Basle Town Council to return. He remained in England until the plague finally put an end to his remarkable activities. What he did during these ten years may be seen in the great Royal Collection of drawings at Windsor, in the portraits in the London National Gallery, and in numerous public and private galleries which contain examples of his masterpieces in portrait painting. A mere list of his achievements during this period would occupy more space than we can afford in this introduction; but it will be sufficient to refer to the beautiful “ George Gisze, Merchant of the Steelyard” (in Berlin), the portraits of Dr. John Chambers, Sir Thomas More, Sir Henry Guildford, Sir Bryan Tuke, Robert Southwell, the Duke of Norfolk, Henry VIII, Lady Jane Sey- mour, Anne of Cleves, the Sieur de Morette, Christina of Milan, Thomas Cromwell and others. It was, no doubt, to his acquaintance with Cromwell that Holbein owes his introduction to the Court of Henry VIII. The King commissioned him to paint a portrait of himself and family and showed his appreciation of Holbein’s work by placing it in a distinguished place in Whitehall palace. Holbein had previously shown his remarkable power in two fine paintings, “The Ambassadors” and the “Triumphs of Wealth and Poverty.” These with the Cromwell picture and the King’s family picture obtained for him the post of painter to the Court of Henry VIII. The portrait of Christina of Milan he painted at Brussels in 1538. From Brussels he had made a visit to Basle, presenting himself among his friends in a rich costume and receiving from the city formally the gift of office of painter to the town. The drawings for the pictures Holbein painted during his resi- dence in England are preserved in Windsor Castle. There are eighty- seven of them, and are either originals of portraits or sketches for portraits that are lost or were never finished. This treasured collec- tion has been reproduced in colors and published by Royal per- mission. Of all Llolbein’s artistic achievements the series of drawings known as the “ Dance of Death ” is perhaps the most widely known. The work, when published by the Trechsels of Lyons, achieved an immense popularity. It became known throughout Europe and was read and treasured by the common people even as Bunyan’s “ Pil- 10 grim’s Progress ” was read and treasured a century and a half later. It appealed directly to the hearts of the people, for Holbein had the wonder-working power of being able to tell a story with limpid lucidity. There was no mistaking his meaning, and he did this work with such conscientious attention to the minutest details that he who ran might read and understand the moral he intended to convey. The burden of his art, in this instance, is “ Remember, oh man, that thou art mortal.” Such a lesson, coming as it did, at a time of deep unrest and spiritual disquietude was accepted eagerly. Poor as well as rich took comfort from it and each found his own content in it — the rich that his richer friends, and the poor that his more ad- vantaged neighbor, would alike succumb in the wide arms of a com- mon death. The book was carried to the meanest hovel as well as to the most stately castle. It was Holbein’s “ Death of Death” that gave Rubens his first lessons in drawing, and Rubens must have been but one among many who was thus indebted to this little masterpiece. We may properly end this little sketch with what Mr. Ford Madox Huefifer concludes his appreciation of Holbein: “ Other artists are giving us more light, others again have given us both more light and more shadow or more shadow alone. But no other artist has left a more sincere rendering of his particular world, and no other artist’s particular world is compact of simulacra more convinc- ing, more illusory, or more calculated to hold our attentions. He has redeemed a whole era for us from oblivion, and he had forced us to believe that his vision of it was the only feasible one. This is all that the greatest of art can do, whether it takes us into a world of the artist’s fancy or into one of his fellowmen. And, by rescuing from oblivion these past eras it confers upon us, to the extent of its hold, a portion of that herb oblivion, a portion of that forgetfulness of our own selves, which is the best gift that Art has to bestow.” HANS HOLBEIN ABBREVIATIONS AND EXPLANATIONS H. = Height B. = Width Auf HoLZ = on wood Auf Leinwand = on canvas Auf Schiefer = on slate The figures giving the sizes of the paintings stand for metres JUGENDWERKE AUFENTHALT IN BASEL UND IN LUZERN 1514—1519 EARLIEST WORKS CEUVRES DE JEUNESSE STAY AT BASLE AND AT LUCERNE 1514 — 1519 SEJOUR A BALE ET A LUCERNE 1514—1519 Holbein d. J. 1 * Basel, Oeffentliche Kunstsammlung H. 0,375, B. 0,302 Madonna mit Kind Madonna and child 1514 La Vierge et l'Enfant 3 4 * Karlsruhe, Grofiherzogl. Kunslhalle 5 * Karlsruhe, Grofihcrzogl. Kunsthalle H. 0,73, B. 1,39 Die Dornenkronung (Riickseite der Kreuztragung) The crowning with thorns (Back of Nr. 4) 1515 Couronnement d'epines (Revers de N° 4) 6 *Rekonstruktion der bemalten Tischplatte fur Hans Baer von Basel Reconstruction of the table painted for Hans Baer of Basle Reconstruction du dessus de table peint pour Hans Baer de Bale •Zurich, Sclnvelzerlsches Laiidesmuseum Table painted for Hans Baer of Basle Bemalte Tischplatte fur Hans Baer von Basel 1515 Dessus de table peint pour Hans Baer de Bale H. 1,02, B. 1,36 7 3 ^ aS c " 43 43 CQ Q, 43 g 8 S CQ _ CQ o CQ c cd — E -2 a> * Q 43 cd H 8 c/> C cd a> U- *T- 3 3 S~s C 3 a» a» CL <-> £ 3 ■4- a CQ a. 23 25 CQ E c u ra cQ x: -2 < 1 > •giS 9 i-g 5 i s ( g 1 1 §_s § g-li g 5 #fc§ s g g g/=9 §eS g E 4=> 5 £ JS Q ■e J r~^* =i£ s :s“!f£ s !SSil|if A u J-> 3 Lt ^ ggf ^* 3 • p -o -= ^ ^ 37 u 3 ^i£ 2 ' s !^ s 1g 5 a 42 ts- «a- 'T te £-§gJLg-°l p § ■£" /a -2 gjh&«S£ 2 S J3 g £; t- IS O S-4U ^ p p sr S*i& § fc jg §"§ 2 $'^<£s d n 3 - g *“ 2. B § o ^ g |CI >o Jill'S? S'l-e l!=ts£sgS ■a.H g..a -5 g«-§ =s t£Z ^=> S P O 3 S ;. .- otki . "•'■'■ \' Si;?_l_, S, ': O ll 10 * Basel, Oeffentllche Kunstsammlung H. 0,548, B. 0,647 Aushangeschild eines Schulmeisters (Vorderseite) Sign-board of a schoolmaster 1516 Enseigne d’un maitre d’ecole (Front) (Devant) isITg Jii §4 - Can. __ » P P<^= a>« g ,g ef § 5 § 55 ^ *“ 11 * Basel, Oeffentllche Kunstsammlung II. 0,548, B. 0,647 Aushangeschild eines Schulmeisters (Riickseite) Sign-board of a schoolmaster 1516 Enseigne d’un maitre d’ecole (Back) (Revets) • Basel, Oetfcntllclie Kunstsammlung H. 0,38, B. 0,306 Burgermeister Jakob Meyer von Basel The burgomaster Jakob Meyer of Basle 1516 Le bourgmestre Jacques Meyer de Bale 12 * Basel, Oeffentllche Kunstsammlung H. 0,38, B. 0,306 Dorothea KannengieBer, Gattin des Jakob Meyer Dorothy Kannengiesser, 1516 Dorothee Kannengiesser, wife of Jakob Meyer epouse de Jacques Meyer 13 14 * Basel, Oeffentliche Kunstsammlung Papier auf Holz, H. 0,30, B. 0,357 Adam und Eva Adam and Eve 1517 Adam et Eve *New-York, Metropolitan-Museum H. 0,39, B. 0,278 Benedikt von Hertenstein 1517 15 * Luzern, Kunstverein H. 1,36, B. 0,65 Lucretia ersticlit sich zu FiiBen ihres Gatten Freskobruchsttick von der Fassade des Hertensteinhauses in Luzern 1517 Lucretia kills herself in her hus- band's presence Fragment of the fresco, formerly at the facade of the Hertenstein-house at Lucerne Lucretia se tue en presence de son mari Fragment de fresque, autrefois a la facade de la maison Hertenstein a Lucerne 16 UNDATIERTE GEMALDE 1514-1519 UNDATED PICTURES 1514-1519 PEINTURES SANS DATE 1514—1519 ' Basel, Oeffentliche Kunstsammlung St. John H. 0,228, B. 0,211 Der heilige Johannes Saint Jean Holbein d J. 2 19 * Basel, Oeffentllche Kunstsammlung A holy virgin Eine heilige Jungfrau Une sainte vierge H. 0,228, B. 0,211 20 21 * Basel, Oeffentliche Kunstsammlung ‘Basel, Oeffentllche Kunstsammlung H. 1,325, B. 1,325 Christus am Oelberg Christ on the Mount of Olives Le Christ au Mont des Oliviers 22 23 ♦Basel, Oeffentliche Kunstsammlung H. 1,325, B. 1,645 Die Gefangennahme Christi Christ is taken prisoner L’arreslation du Christ ^ Basel, Oeffentllche Kunstsammlung H. 1,37, B. 1,15 Die GeiBelung Christi The scourging of Christ La flagellation du Christ 24 25 * Basel, Oeffentllche Kunstsammlung H. 1,335, B. 1,555 Die Handwaschung des Pilatus Pilate washes his hands Pilate se lavant les mains ZWEITER AUFENTHALT IN BASEL 1519—1526 SECOND STAY AT BASLE 1519—1526 SECOND SEJOUR A BALE 1519-1526 §S|5 B0N *'\ORhACYn (0_I lOLfiF V JtPiM, , M ^ X|\ PHlb EJI^ ♦Basel, Oeffentliche Kunstsammlung H. 0,278, B. 0,275 Bonifazius Amerbach 1519 29 £ ^3 tX ' 0 » (A ^ •X J= e y — ' X> S &> X- ^ C /3 •— 03 ^3 CQ 03 5 ^ •O c _o s > b /3 o DC - 1 s ° *- O W) o g 3 a K W RI ■“ 4 ) i d) >~l _e « o £ g a m_ a> O XJ J3 V) U- E « ° o U 30 ♦Basel, Oeffentllche Kunstsammlung H. 0,498, B. 0,495 Die samnitischen Gesandten vor Curius Dentatus Bruchstuck des Wandgemaldes, ehemals im Gro6-Rat-SaaI zu Basel The ambassadors of the Samnites before Les ambassadeurs des Samnites devant Curius Dentatus 0 ‘ Curius Dentatus Fragment of the fresco, formerly in the Great- Fragment de la fresque, autrefois dans la salle Council-Chamber at Basle du Grand-Conseil a Bale 31 32 J= — U 'w o Q 33 Basel, Oeffentliche Kunstsammlung Saint Georges Volet d’autel •Karlsruhe, Groflherzogl. Kunsthalle Der heilige Georg Aitarfliigel St. George 1522 Wing of altar-piece 34 * Karlsruhe, GroBherzogl. Kunsthalle Die heilige Ursula Altarflugel St. Ursula 1522 Wing of altar-piece H. 1,11, B. 0,38 Sainte Ursule Volet d’autel Holbein d. J. 3 35 ^Solothurn, Stildt. Museum H. 1,40, B. 1,00 Madonna mit dem Kinde, einem heiligen Bischof und dem heiligen Ursus Madonna and child with a saint bishop and Saint Ursus 1522 La Vierge avec l’Enfant, un saint eveque et Saint Urs 36 ♦Longford Castle, Earl of Radnor H. 0,76, B. 0,51 Erasmus von Rotterdam 1523 37 Basel, Oeffentllche Kunstsammlung Papier auf Holz, H. 0,366, B. 0,30 Erasmus von Rotterdam 1523 38 * Paris, Louvre H. 0,43, B. 0,33 Erasmus von Rotterdam 1523 39 ‘Basel, Oeffentllche Kunstsammlung H. 0,347, B. 0,265 Magdalena Offenburg als Lai's von Corinth Magdalen Offenburg as Lai's 1526 Madeleine Offenburg comme Lais of Corinth de Corinthe 40 * Basel, Oeffentliche Kunstsammiung H. 0,335, B. 0,263 Magdalena Offenburg als Venus Magdalen Offenburg as Venus 1526 Madeleine Offenburg cotnme Venus 41 UNDATIERTE GEMALDE 1519-1526 UNDATED PICTURES 1519-1526 PEINTURES SANS DATE 1519—1526 45 ♦Basel, Oeffentllche Kunstsammlung Jedes Bild H. 0,287, B. 0,193 Christus als Schmerzensmann und Maria als schmerzensreiche Mutter Christ, the man of sorrows and Mary, the Le Christ, l’homme des douleurs, et mater dolorosa Marie comme mater dolorosa * Basel, Oeffentllclie Kunstsammlung H. 1,50, B. 1,485 Die Passion Christi (Auflenseiten der Fliigel eines Triptychons) The passion of Christ (Outsides of the wings of a triptych) La passion du Christ (Volets d’un triptyque, cotes exterieurs) 46 Basel, Oeffentliche Kunstsammlung H. 0,68, B. 0,324 Die Passion Christi (Ausschnitt) Christus am Oelberg The passion of Christ (Detail) La passion du Christ (Detail) Christ on the Mount Le Christ au Mont of Olives des Oliviers 47 Basel, OeffentHche Kunstsammlung H. 0,737, B. 0,324 Die Passion Christi (Ausschnitt) Gefangennahme The passion of Christ (Detail) La passion du Christ (Detail) The betrayal of Christ L'arrestation 48 Basel, Oeffentliche Kunstsammlung H. 0,737, B. 0,328 Die Passion Christi (Ausschnitt) Christus vor Kai'phas The passion of Christ (Detail) La passion du Christ (Detail) Christ before Caiaphas Le Christ devant Caiphe 49 * Basel, Oeffentllche Kunstsammlung H. 0,688, B. 0,325 Die Passion Christi (Ausschnitt) Geillelung The passion of Christ (Detail) La passion du Christ (Detail) The scourging La flagellation 50 Basel, Oeffentliche Kunstsammlung H. 0,757, B. 0.324 Die Passion Christi (Aussclinitt) Verspottung The passion of Christ (Detail) La passion du Christ (Detail) The mocking I. a derision Holbein d. J. 4 51 Basel, Oeffentllche Kunslsnmnilung 11.0,757, B. 0,324 Die Passion Christi (Ausschnitt) Kreuztragung The passion of Christ (Detail) La passion du Christ (Detail) Christ bearing (he cross Le Christ portant la croix 52 Basel, Oeffentllche Kunstsammlung H. 0,757, B. 0,328 Die Passion Chrisli (Ausschnitt) Kreuzigung The passion of Christ (Detail) La passion du Christ (Detail) The crucifixion La crucifixion 53 Basel, Ocffentliche Kunstsammlung Die Passion Christi (Ausschnitt) H. 0,68, B. 0,325 Grablegung The passion of Christ (Detail) La passion du Christ (Detail) The entombment La sepulture 54 * Basel, Oeffentliche Kunstsammlung H. 1,145, B. 0,957 Das heilige Abendmahl Mittelbild eines Triptychons The Lord’s Supper (Central picture of a triptych) La Sainte Cene (Milieu d’un triptyque) 55 * Freiburg i. Brelsgau, UnlversiUltskapelle Ini Miinstcr H. 2,27, B. 1,08 Anbetung der Hirten Linker Fliigel des Oberried-Aitars, Imienseite The adoration of t lie shepherds L’adoration des bergers Left wing of the Oberried-altar, Volet gauche de f'autel d'Oberried, inside cote interieur 56 •Freiburg i. Breisgau, Universitatskapelle im Munster H. 2,27, B. 1,08 Anbetung der Konige Rechter Flugel des Obeiried-Altars, Innenseite The adoration of the magi L’adoration des rois Right wing of the Oberried-altar, Volet droit de l’autel d’Oberried, inside cote interieur 57 Freiburg i. Breisgnu, Unlversltiitskapelle im Munster Anbetung der Hirten (Ausschnitt) Der Slitter Hans Oberried von Basel und seine Sohne The adoration of the shepherds L’adoration des bergers The donor Hans Oberried and his sons Le donateur Hans Oberried et ses tils (Detail) (Detail) 58 Freiburg 1m Breisgau, Unlversitiitskapelle im Munster Anbetung der Konige (Ausschnitt) The adoration of the magi (Detail) L’adoration des rois (Detail) 59 Hook, Kgl» Museum 0,45, B. 0,34 Weibliches Bildnis, vermutlich des Kiinstlers Gattin Female portrait, probably Portrait d’une femme, probablement the artist's spouse l’epouse de t’artiste 60 61 Basel, Oeffentllchc Kunstsammlung H. 2,82, B. 1,65 Kaiser Heinrich II. mit dem Munster von Basel Linke Fliigelture der Orgel, ehemals im Munster zu Basel Emperor Henry II. with the cathedral of Basle L'empereur Henri II avec la cathedrale de Bale Left door of the organ Volet gauche de l’orgue 62 Basel, Oeffentliche Kunstsammlung H. 2,82, B. 1,65 Maria mit dem Kinde von Engeln gepriesen Rechte Flugelliire der Orgel, ehemals im Munster zu Basel The Virgin with the child glorified by angels La Vierge avec l'Enfant glorifiee par des anges Right door of the organ Volet droit de l’orgue 63 Basel, Ocffentliche Kunstsammlung Kaiserin Kunigunde TOrfliigel zum Vorb.iu der Orgel, The empress L’imperatrice Cunegurid Cunegonde Small door-wings of (lie organ Jeries Bild H. 2,43, B. 0,62 St. Pantalus, Bischof eliemals im Munster zu Basel T he bishop L’eveque St. Pantalus St. Pantalus Petits volets de l’orgue 64 Darmstadt, GroBherzogl. SchloB H. 1,44, B. 1,01 Die Madonna mit der Familie des Biirgermeisters Jakob Meyer The Virgin with the family of the burgomaster Jacob Meyer La Vierge avec la familie du bourgmestre Jacques Meyer 65 Basel, Oeffentllche Kunstsammlung H. 0,445, B. 0,317 Das Buchdruckerzeichcn des Johannes Froben The emblem of file printer John Froben L’embleme de l’imprimeur Jean Froben 66 ERSTER AUFENTH ALT IN ENGLAND 1526—1528 FIRST STAY IN ENGLAND 1526-1528 PREMIER SEJOUR EN ANGLETERRE 1526—1528 Holbein d. J. 5 ♦London, Edward Huth H. 0,742, B. 0,59 Sir Thomas More 1527 69 * London, Lambeth Palace H. 0,761, B. 0,653 William Warham, Erzbischof von Canterbury William Warham, Archbishop of Canterbury 1527 William Warham, Archeveque de Canterbury 70 * Paris, Louvre H. 0,82, B. 0 67 William Warham, Erzbischof von Canterbury William Warham, Archbishop of Canterbury 1527 William Warham, Archeveque de Canterbury 71 •Windsor, Kgl. SchloB H. 0,814, B.0,66 Sir Henry Guildford 1527 72 •Paris, Louvre H. 0,83, B. 0,67 Bildnis des Astronomen Niklaus Kratzer Portrait of the astronomer Nicholas Kratzer 1528 Portrait de l’astronome Nicolas Kratzer 73 ♦Dresden, KrI- GcmiSIdegalerle H. 0,35, B. 0,35 Thomas Godsalve und sein Sohn John Thomas Godsalve and his son John 1528 Thomas Godsalve et son fils John 74 UNDATIERTE GEMALDE 1526—1528 UNDATED PICTURES 1526-1528 PEINTURES SANS DATE 1526-1528 - 77 Dalkeith Castle, Herzog von Buccleuch H. 0,913, B. 1,017 Sir Nicholas Carew * Paris, Louvre H. 0,39, B. 0,31 Sir Henry Wyat 78 RlANVS TVK£. MILLS. AN ETATIS *SVAL, LV1 DROIT AYANT (/- rJ .C-s ftiiS! _ r j ?% . f- /v r ^ r J * London, Miss Guest of Inwooa H. 0,47, B. 0,37 Sir Bryan Tuke 79 80 Christus erscheint der Maria Magdalena DRITTER AUFENTHALT IN BASEL 1528—1531 THIRD STAY AT BASLE TROISIEME SEJOUR A 1528—1531 1528—1531 BALE •' Basel, Oeffentliche Kunstsammlung The artist’s family Die Familie des Kiinstlers 1523/29 Papier auf Holz, H. 0,795, B. 0,655 La familie de l’artiste Holbein d. J. 6 83 CU a) a .Si c CJ w § o £ -3 O £ > CQ C/3 S^oS — «3 6 OJ O (L» tiO <0^2 — ^ ■g .§ 3 C/5 c £ R-S 1 « -Q 03 *C :3 (X to • ~ 3 :§ « n E E P o 84 85 Basel, Oeffentliche Kunstsammlung H. 0,29, B. 0,29 H. 0,29, B. 0,24 Konig Rehabeam droht den Raten und Aeltesten des Volkes Bruchstucke des Wandgemaldes, ehemals im Gro8-Rat-SaaI zu Basel King Rehoboam threatens the counsellors and Ihe aldermen of the people 1530 Le roi Roboam menace Ies conseillers et les anciens du peuple Fragments of the fresco, formerly in the Great-Council-Chamber at Basle Fragments de la fresque, autrefois dans la salle du Grand-Conseil a Bale Pnrma, Oolerle H. 0,33, B. 0,25 Erasmus von Rotterdam 1530 86 UNDATIERTE GEMALDE 1528—1531 UNDATED PICTURES 1528—1531 PORTRAITS SANS DATE 1528—1531 * Basel, Oeffentllche Kunstsammlung H. 0,258, B. 0,18 Bildnis eines jungen Weibes Portrait of a young woman Portrait de jeune femme 89 * Basel, Oeffentliche Kunstsuramlung Erasmus von Rotterdam Durchmesser 0,10 90 *New-York, Metropolitan-Museum H. 0,187, B. 0,145 Erasmus von Rotterdam 91 * Hannover, Provlnzlalmuseum Durchmesser 0,12 Deckel zum Bildnis Melanchthons (Innenseite) Inside of the lid of the picture Partie interieure du couvercle de la peinture 92 ZWEITER AUFENTHALT IN ENGLAND 1532-1543 A. BIS ZUM EINTRITT IN DEN DIENST KONIG HEINRICHS VIII. 1532 — 1536/37 SECOND STAY IN ENGLAND SECOND SEJOUR EN ANGLETERRE 1532—1543 1532-1543 A. BEFORE HIS ENTRANCE IN THE SERVICE OF KINO HENRY VIII. A. AVANT D'ENTRER AU SERVICE DU ROI HENRI VIII ♦Berlin, Kaiser-Friedrich-Museum H. 0,963, B 0,857 Bildnis des Kaufmanns Georg Gisze Portrait of the merchant George Gisze 1532 Portrait du marchand Georges Gisze 95 * Windsor, Kgl. ScliloB H. 0,60, B. 0,45 Bildnis des Goldschmieds Hans von Antwerpen Portrait of the goldsmith Hans of Antwerp 1532 Portrait de l’orfevre Hans d’Anvers 96 *Wien, Graf Schonborn H. 0,40, B. 0 31 Bildnis eines Wedigh von Coin A member of the Wedigh family of Cologne 1532 Un membre de la famille Wedigh de Cologne 97 * Berlin, Kalscr-Frledrlch-Museum Hermann Hillebrandt Wedigli von Coin 1533 H. 0,39, B. 0,30 98 * Braunschweig, Herzogl. Museum H. 0,60, B. 0,45 Cyriacus Fallen 1533 Holbein d. J. 7 99 * Windsor, Kgl. Schlofl Dietrich Born aus Coin Derrick Born of Cologne 1533 Thierri Born de Cologne 100 Wien, Hofmuseum H. 0,48, B. 0,35 Dirk Tybis aus Duisburg 1533 101 Robert Cheseman, Falkner Heinrichs VIII. Robert Cheseman, falconer of Henry VIII. 1533 Robert Cheseman, fauconnier de Henri VIII 102 * London, Nationalgalerle H. 2,06, B. 2,09 Die Gesandten Jean de Dinteville und Georges de Selve, Bischof von Lavour The ambassadors Jean de Dinteville 15 3 3 Les ambassadeurs Jean de Dinteville and George de Selve, bishop of Lavour et Georges de Selve, eveque de Lavour 103 * Brussel, Frau L. Goldschnildt-Przibram Durchmesser 0,125 Bildnis eines jungen Marines Portrait of a young man 1533 Portrait de jeune homme 104 G QJ S 1 C3 lP7 YS.PFXTORF; FRONTI MANY VLX.lN.AMlCfi 1A.TALIS ViX S’ ASC1TVR HERDS . PLYS PATR1E . FID VS PLVS. PIE TATIS. AM ANS > Thomas Cromwell 1532—1534 106 * Petworth, Lord Leconfield H. 0,536, B. 0,424 Dirk Berck aus Coin 1536 107 # Florenz, UfMzlen H. 0,47, B. 0,36 Sir Richard Southwell 1536 108 ♦London, Hamon le Strange, Esq. H. 0,39, B. 0,267 Sir Thomas Le Strange 1536 109 UNDATIERTE GEMALDE 1532 - 1536/37 UNDATED PICTURES PORTRAITS SANS DATE 1532—1536 37 1532—1536 37 * Hampton Court Palace H. 0,463, B. 0,338 John Reskimer of Murthyr 113 * London, Georges Salting f Durclimesser 0,13 The goldsmith Der Goldschmied Hans von Antwerpen Hans of Antwerp L’orfevre Hans d’Anvers 114 *SchloB Ripaille bei Thonon, F. Engel-Gros H. 0,096, B. 0.093 Bildnis eines Hofbeamten Konig Heinrichs VIII. Portrait of an officer at court of King Henry VIII. Portrait d’un officier de la cour du roi Henri VIII Holbein d. J. 8 115 Dresden, Kgl. OemSIdegalerie H. 0,925, B. 0,754 Charles de Solier Sieur de Morette 116 ZWEITER AUFENTHALT IN ENGLAND 1532—1543 B. 1M DIENSTE KONIG HEINRICHS VIII. 1536/37—1543 SECOND STAY IN ENGLAND SECOND SEJOUR EN ANGLETERRE 1532-1543 1532—1543 B. IN THE SERVICE OF KING HENRY VIII. 1536 / 37-1543 B. AU SERVICE DU ROI HENRI VIII 1536 / 37 - 1543 Wien, Hofmuseum H. 0,65, B. 0,48 Jane Seymour, Konigin von England Jane Seymour, Queen of England 1536 Jane Seymour, reine d’Angleterre 119 Althorp, Earl Spencer H. 0,28, B. 0,19 Konig Heinrich VIII. von England King Henry VIII. of England 1537 Henri VIII, roi d’Angleterre 120 * London, Natlonalgalerie H. 1,78, B. 0,81 Prinzessin Christine von Danemark, verwitwete Herzogin von Mailand Princess Christina of Denmark 1538 Princesse Christine de Danemark „The duchess of Milan“ La duchesse douairiere de Milan 121 I AR.VVLE PATRISSA, PATRIAE VIRTVTIS ET KAK.ES Esto, NIHIL MAIVS MAXIAAVS ORBIS HABET, CjNATVM VIX POS5VNT COELVM ET NAT VRA DEDISSE Hvivs QVEM PATRIS, V1CTVS HONOR. ET HONOS. A^QYATO' TANTVW, TANTI TV FACTA PARENTIS, VoTA HOMINVM,VIX QVO PROG R F DIANTV R, HABENT VlNCITO, VICISTI. QVOT REGES PRISCVS ADORAT Orris, nec TE qvi vincere fossit, erit. •fc s . Hannover, Provlnzlal-Museum H. 0,555, B. 0,43 Eduard, Prinz von Wales Edward, Prince of Wales 1538—1539 Edouard, prince de Galles 122 123 •Paris, Louvre Pergament auf Lelnwand, H. 0,66, B. 0,49 Prinzessin Anna von Cleve, nachmalige Gattin Konig Heinrichs VIII. Princess Anne of Cleves, after queen 1539 Princesse Anne de Cleve, ensuite reine 124 Rom, Nationalgalerie H. 0,882, B. 0,75 Konig Heinrich VIII. von England King Henry VIII. of England 1539—1540 Henri VIII, roi d’Angleterre 125 London, Colnaglll & Clc. H. 0,736, B. 0,50 Katharina Howard, Konigin von England Catherine Howard, Queen of England 1540—1541 Catherine Howard, reine d’Angleterre 126 *Wien, Hofmuseum H. 0,47, B. 0,35 Bildnis eines jungen Marines Portrait of a young man 1541 Portrait de jeune horame 127 * Berlin, Kalser-Friedrlch-Museum H. 0,47, B. 0,36 Bildnis eines Unbekannten Portrait of an unknown man 1541 Portrait d’un inconnu 128 * Haag, Kgl. Museum H. 0,25, B. 0,19 Edelmann mit einem Falken A nobleman with a falcon 1542 Un gentilhomnie avec un faucon 129 130 Konig Heinrich VIII. verleiht der Barbier- und Chirurgengilde in London einen Freibrief King Henry VIII. bestowes a charter to the 1541—1543 Le roi Henri VIII accorde une lettre de franchise corporation of barbers and surgeons & la corporation des barbiers et chirurgiens * Wien, Hofmuseum H. 0,65, B 0,18 Dr. John Chambers 1541-1543 Holbein d J. 9 131 ' Boston, Mrs.-Oardner-Museum H. 0,46, B. 0,36 Sir William Butts 1541-1543 132 * Boston, Mrs.-Gardner-Museum Lady Margaret Butts 1541—1543 H. 0,46, B. 0,36 133 * Florenz, IJftlzlen Altes Stuck H. 0,23, B.0,18, GesamtgroBe H. 0,35, B. 0,2$ Selbstbildnis Hans Holbeins Hans Holbein’s own portrait 1543 Le portrait de Holbein par lui-meme 134 UNDATIERTE GEMALDE 1536 37—1543 UNDATED PICTURES 1536 37—1543 PEINTURES SANS DATE 1536/37-1543 *Bulstrode-Park, Sir John Ramsden, B. Portrait of a musician Bildnis eines Musikers (Jean de Dinteville) H. 0,435, B. 0,435 Portrait d’un musicien 137 ' Basel, Dr. Rudolph Gelgy H. 0,37, B. 0,30 Mannliches Bildnis Vermutlich ein Selbstportrat des Kunstlers Portrait of a man Portrait d'homme Probably the artist's own portrait Probablement le portrait de l’artiste par lui-meme 138 * Frankfurt a. M., StSdelsches Kunstlnstltut H. 0,31, B. 0,245 Simon George of Quocote 139 * Wien, Hofmuseum H. 0,22, B. 0,18 Bildnis einer englischen Dame Portrait of an English lady Portrait d'une dame anglaise 140 * Basel, Oeffentliche Kunstsammiung H. 0,322, B. 0,254 Bildnis eines unbekannten Herrn Portrait of an unknown man Portrait d’un inconnu 141 * Berlin, Kalser-Frledrlch-Museum H. 0,51, B. 0,37 Bildnis eines alteren Herrn Portrait of an elderly man Portrait d’un homme age 142 ♦Windsor, Major Charles Palmer H. 0,42, B. 0,32 Englische Dame Vermutlich Margaret Wyat, Lady Lee An English lady Une dame anglaise Probably Margaret Wyat, Lady Lee Probablement Margaret Wyat, Lady Lee 143 Wien, Graf Lanckoronskl Portrait of an English lady H. 0,285, B. 0,23 Bildnis einer englischen Dame Portrait d'une dame anglaise 144 MINIATUREN MINIATURES MINIATURES *IVlunchen, Alte Pinakothek H. 0,09, B. 0,07 Derich Born 1533 * Haag, Kgl. SchloB Durchmesser 0,034 Bildnis eines Knaben Portrait of a boy Portrait d’un gargoti Holbein d. J. 10 147 * London, Mr. Vernon Watney Durchmesser 0,038 Bildnis einer englischen Hofdame (angeblich Jane Seymour) Portrait of a lady Portrait d’une dame of the court de la cour anglaise (called (dite Jane Seymour) Jane Seymour) :i London, South Kensington Museum Durchmesser 0,045 Anna von Cleve, Konigin von England 1539 Anne of Cleves, Queen Anne de Cleve, reine of England d’Angleterre * London, Pierpont Morgan Durchmesser 0,C54 Mrs. Pemberton * London, Duke of Buccleuch Durchmesser 0,051 Katharina Howard, Konigin von England Catherine Howard, Queen of England Catherine Howard, reine d’Angleierre 148 * Windsor, Kgl. SchloB Durchmesser 0,047 Karl Brandon, Sohn Charles Brandon, son of the duke of Suffolk des Herzogs von Suffolk 1541 Charles Brandon, fils du due de Suffolk * Windsor, Kgl. SchloB Durchmesser 0,047 Henry Brandon, Sohn des Henry Brandon, son of the duke of Suffolk Herzogs von Suffolk Henri Brandon, fils du due de Suffolk * Windsor, Kgl. SchloB Durchmesser 0,058 Konigin Katharina Howard Queen Catherine La reine Catherine Howard Howard * Windsor, Kgl. SchloB Durchmesser 0,055 Lady Elizabeth Audley 149 *Miinchen, Bayr. Nationalmuseum Durchmesser 0,05 Bildnis eines Herrn Portrait of a gentleman Portrait d’homme * London, Wallace Collection Durchmesser 0,037 Selbstbil dnis Hans Holbein d. J. Hans Holbein the younger Hans Holbein le jeune Painted by himself Peint par lui-meme 150 UNTERGEGANGENE WANDGEMALDE ZUSAMMENGESTELLT NACH ORIGINALENTWURFEN UND KOPIEN LOST WALL-PAINTINGS PEINTURES DECORATIVES PERDUES AFTER ORIGINAL DRAWINGS AND COPIES D'APRES DES DESSINS ORIG1NAUX ET DES COPIES 153 *Basel, Oeffentliche Kunstsammlung Rekonstruktlon von A. Landerer Fassadenmalerei am Hertensteinhause in Luzern Frescoes on the face of the Hertenstein-house at Lucerne Fresque de facade de la maison Hertenstein a Lucerne Basel, Ocffentllchc Kunstsammlung Zeichnungen von H. Holbein d. J. Entwiirfe zur Fassadenmalcrei des Hertensteinhauses I. Leaina vor den Richtern. II. Dekoration des Erdgeschosses Designs for the face-painting of the Hertenstein-house Dessins pour les peintures de fagade de la maison Hertenstein I. Leaina before the judges I. Leaina devant les juges II. Decoration of the ground-floor 154 II. Decoration du rez-de-chaussee Wandmalereien im Hertensteinhaus zu Luzern Frescoes in the Hertenstein-house at Lucerne Fresques dans la maison Hertenstein a Lucerne Luzern, Biirgerbibllothek Kopie von J. Schwegler, 1825 Hirschjagd beim Schlofi Buonas Wandgemalde, ehemals im Saal des dritten Stockwerks Stag-hunt near the castle of Buonas Fresco, formerly in Ihe hall of the third floor Chasse aux cerfs pres du chateau de Buonas Fresque, autrefois dans la salle du troisieme etage Luzern, Biirgerbibllothek Kopie von J. Schwegler, 1825 Jakob von Hertenstein auf der Entenjagd Wandgemalde, ehemals im Saal des dritten Stockwerks Jacob of Hertenstein at the chase of ducks Jacques de Hertenstein a la chasse aux canards Fresco, formerly in the hall of the third floor Fresque, autrefois dans la salle du troisieme etage 155 Wandmalereien im Hertensteinhaus zu Luzern Frescoes of the Hertenstein-house at Lucerne Fresques dans la maison Hertenstein a Lucerne Luzern, Biirgerbibliothek Kopie von 1825 Hasenjagd Wandgemalde, ehemals im Saal des dritten Stockwerks Hare-hunting Chasse aux lievres Fresco, formerly in the hall of the third floor Fresque, autrefois dans la salle du troisieme etage Luzern, Biirgerbibliothek Der Jungbrunnen Kopie von 1825 Wandgemalde, ehemals im Saal des dritten Stockwerks The fountain of youth ' a fontaine de jouvence Fresco, formerly in the hall of the third floor Fresque, autrefois dans la salle du troisieme etage 156 Wandmalereien im Hertensteinhaus zu Luzern Frescoes of the Hertenstein-house at Lucerne Fresques dans la maison Flertenstein a Lucerne Luzern Biirgerbibliothek Bettelfuhr Kopie von J. Schwegler, 1825 Wandgemalde, ehe A cart-load of beggars Fresco, formerly in the hall ot the third floor rnals im Saal des dritten Stockwerks Transport de mendiants Fresque, autrefois dans la salle du troisieme etage Nach Liebenau, Fresken am Hertensteinhause in Luzern Kopie von J. Schwegler, 1825 Prozession Wandgemalde in einem Gemach des dritten Stockwerks Procession Procession Fresco, formerly in a room of the third floor Fresque, autrefois dans une chambre du troisieme etage 157 Wandmalereien im Hertensteinhaus zu Luzern Frescoes of the Hertenstein-house at Lucerne Fresques dans la maison Hertenstein a Lucerne Nach Liebenau, Fresken am Hertenstcinliause in Luzern Kopie von J. Schwegler, 1825 Die sieben Schutzpatrone der Familie von Hertenstein Wandgemalde, ehemals in einem Gemach des dritten Stockwerks The seven patrons of the family of Hertenstein Les sept patrons de la familie de Hertenstein Fresco, formerly in a room of the third floor Fresque, autrefois dans une chambre du troisieme etage Nacli LlC'benou, Fresken nm Hertenstelnhause In Luzern Kopie von J. Schwegler, 1825 Die heiligen vierzehn Nothelfer Wandgemiilde, ehemals in einem Gemach des dritten Stockwerks The lourteen holy helpers in need Les quatorze saints protecteurs Fresco, formerly in a room of the third floor Fresque, autrefois dans une chambre du troisieme etage 158 159 Basel, Oeffentliche Kunstsammlung Rekonstruktlon von H.E.v. Berlepsch Fassadenmalerei des Hauses zum Tanz in Basel Frescoes on the facade of the house „zum Tanz“ at Basle Fresque de facade de la inaison dite „zum Tanz“ ft Bale YT w r & Berlin, Kgl. Kupfcrstichkablnctt Zeichnung von H. Holbein d. J. Fassadc des Hauses zum Tanz gegen die Eisengasse Front of the house „zum Tanz“, facing (lie „Eisengasse“ Facade de la maison dite „zuni Tanz donnant sur l’„Eisengasse'‘ 160 Basel, Oeffentllche Kunstsammlung Kople von Niklaus Rippel, 1590 Fassadenmalerei des Hauses zum Tanz (Ausschnift) Fresco on the facade of the house „zum Tanz" Fresque de facade de la maison dite „zum Tanz" (Detail) (Detail) 161 162 * Basel, Oeffentliche Kunstsammlung Konig Sapor demutigt Wandgemalde, ehemals ii King Sapor abases the emperor Valerian Fresco, formerly in the Great- Council-Chamber at Basle Zeichnung von H. Holbein d. J. den Kaiser Valerian GroB-Rat-Saal zu Basel Le roi Sapor humilie l'empereur Valerien Fresque, autrefois dans la salle du Grand- Conseil a l'hotel de ville a Bale Holbein d. J. 11 163 Basel, Ocffentllche Kunstsammlung Der Tod des Gesetzgebers Charondas Wandgemalde, ehemals im Grofi-Rat-Saal zu Basel Kople nach Holbeins Entwurf The death of the legislator Charondas Fresco, formerly in the Great-Council-Chamber La mort du legislates Charondas Fresque, autrefois dans la salle du Grand-Conseil a Bale at Basle 164 165 Basel, Oeffentllche Kunstsammlung Kopie von H. Hell, 1817 Der Tod des Gesetzgebers Charondas Wandgemalde, ehemals im GroB-Rat-Saal zu Basel The death of the legislator Charondas 1521 La mort du legislates Charondas Fresco, formerly in the Great-Council-Chamber at Basle Fresque, autrefois dans la salle du Grand-Conseil a Bale Basel, Oeffentllche Kunstsammlung Kopie nach Holbeins Zelchnung Die Blendung des Zaleukos von Lokri Wandgemalde, ehemals im Gro6-Rat-Saal zu Basel The blinding of Zaleucus of Locri Zaleucus de Locride prive de la vue Fresco, formerly in the Great-Council-Chamber at Basle Fresque, autrefois dans la salle du Grand-Conseil a Bale 166 167 Basel, Oeffentllche Kunstsammlung Kople von H. HeB, 1S17 Die Blendung des Zaleukos von Lokri Wandgemalde, ehemals im Gro(5-Rat-Saal zu Basel The blinding of Zaleucus of Locri Zaleucus de Locride prive de la vue Fresco, formerly in the Great-Council-Chamber at Basle Fresque, autrefois dans la salle du Grand-Conseil a Bale Basel, Oeffentllclic Kunstsammlung Kopie von H. Hefi, 1817 Curius Dentatus weist die Gesandten der Samniter zurlick Wandgemalde, ehemals im GroB-Rat-Saal zu Basel Curius Dentatus repulses the ambassadors Curius Dentatus repousse les ambassadeurs of the Satnnites des Samnites Fresco, formerly in the Great-Council Chamber Fresque, autrefois dans la salle du Grand- at Basle Conseil a Bale 168 Die Gerechtigkeit fordert die Rate auf, mit Selbstverleugnung ihre Pflicht zu tun Wandgemalde, ehemals ii The Justice summons the members of council to do their duly Fresco, formerly in the Great-Council-Chamber at Basle GroB-Rat-Saal zu Basel La Justice rappelle les membres du Conseil ii leur devoir Fresque, autrefois dans la salle du Grand- Conseil a Bale 169 Basel, Oeffentllche Kunstsammlung Die MaBigkeit Kopien, XVI. Jahrhundert Die Weisheit Wandgemalde, ehemals im Grofi-Rat-Saal zu Basel Temperance La temperance Wisdom La sagesse Frescoes, formerly in the Great-Council-Chamber at Basle Fresques, autrefois dans la salle du Grand-Conseil a Bale 170 Basel, Oeffentliche Kunstsammlung Konig David Kopien, XVI. Jahrhundert Christus Wandgemalde, King David Le roi David Frescoes, formerly in the Great-Council-Chamber ehemals im GroB-Rat-Saal zu Basel 1523 Christ Le Christ at Basle Fresques, autrefois dans la salle du Grand-Conseil a Bale 171 172 * Basel, Oeffentliche Kunstsammlung Zelchnung von H. Holbein d. J. Konig Rehabeam droht den Raten und Aeltesten des Volkes Wandgemalde, ehemals im Grofl-Rat-Saal zu Basel King Rehoboam threatens the counsellors and aldermen of the people 1530 Le roi Roboam menace les conseillers et les anciens du peuple Fresco, formerly in the Great-Council-Chamber at Basle Fresque, autrefois dans la salle du Grand-Conseil a Bale 173 Fresco, formerly in the Great-Council-Chamber at Basle Fresque, autrefois dans la salle du Grand-Conseil a Bale * Dresden, Kgl. Gemhldegalerie H. 0,79, B. 0,54 Der Tod der Virginia Kopie nacli einem verschollenen Wnndgenialde in Grisaillemalerei The death of Virginia La mort de Virginie Copy of a lost fresco in grisaille Copie d’une fresque perdue en grisaille 174 175 Wandgemalde, ehemals im Festsaal des Stahlhofs zu London 176 London, Britlsches Museum Kopie von Jan de Blschop Der Triumph des Reichtums Wandgemalde, ehemals im Festsaal des Stahlhofs zu London The Triumph of Riches Le triomphe de la richesse Fresco, formerly in the hall of the Steelyard in London Fresque, autrefois dans la salle des fetes du Stahlhof a Londres 177 * London, Britisches Museum Kople von Jnn de Bischop Der Triumph der Armut Wandgemalde, ehemals im Festsaal des Stahlhofs zu London The Triumph of Poverty Le triomphe de la pauvrete Fresco, formerly in the hall of the Steelyard in London Fresque, autrefois dans la salle des fetes du Stahlhof a Londres ■m. 1,1 Berlin, Kgl. Kupferstlchkablnett Zeichnung von Hans Holbein d. J. Der Parnafi Festdekoration am Stahlhof in London beim Einzug der Konigin Anna Boleyn The Parnassus 1533 Le Parnasse Festive decoration on the Steelyard in London on Panneau decoratif au Stahlhof a Londres lors occasion of the entrance of Queen Anne Boleyn de l’entree de la reine Anne Boleyn 178 l-J i c o in 2 s > o -O s i r>> < > sz cu .a E -a s-s ._ 1/1 >H (V ■> H S _c !W ^ u EW a» i: m r c D w 'aj S > = 5= >, c a» E 3 ~ E <1> 5 cd .5 a- >»3T *n >. c a> E Holbein d. J. 12 179 Clmtsworth, Herzog von Devonshire H. 2,58, B. 1,37 Konig Heinrich VIII. von England und sein Vater Heinrich VII. Originalkarton fur die linke Halfte des Wandgemaldes, ehemals im Privy Chamber des Schlosses Whitehall zu London King Henry VIII. of England and his father Henry VII. 1537 Original cartoon for the left party of the fresco 180 Henri VIII, roi d’Angleterre et son pere Henri VII Carton original pour la partie gauche de la fresque Chatsworth, Herzog von Devonshire H. 2,167, B. 1,232 Konig Heinrich VIII. von England Kopie nach dem Wandgemalde, ehemals in SchloB Whitehall King Henry VIII. of England Henri VIII, roi d'Angleterre Copy after the fresco, formerly in Copie d’apres la fresqne, autrefois Whitehall Palace au palais de Whitehall 181 Windsor, Kgl. Schlofl MiniaturgemUlde von H. Holbein d. J. Salomon empfangt die Konigin von Saba Enlwurf, vermutlich zu einein verschollenen Wandgemalde in Grisailiemalerei Salomon receives the queen of Sheba Salomon revolt la reine de Saba Design, probably for a lost fresco in grisaille Projet, probablement pour une fresque perdue en grisaille 182 London, Britlsches Museum Kopie, XVI. Jahrhundert Konig Heinrich VIII. bei Tafel Vermutlich nach einem Entwurf zu einem verschollenen Wandgemalde King Henry VIII. at table Probably after a sketch for a lost fresco Le roi Henri VIII a table Probablement d'apres un projet pour une fresque perdue 183 VERSCHOLLENE TAFELBILDER NACH KOPIEN UND STICHEN LOST PICTURES AFTER COPIES AND ENGRAVINGS TABLEAUX PERDUS D'APRES DES COPIES ET DES GRAVURES •Palermo, Chiaramonte Bordonaro Die Beweinung Christi The lamentation for Christ H. 1,175, B. 0,575 • Le Christ pleure 187 * Basel, Oeffcntllche Kunstsammlung H. 0,91, B. 0,75 Christus am Kreuz zwischen Maria und Johannes Christ on the cross between Mary Le Christ crucifie entre Marie and St. John et saint Jean 188 * Amsterdam, Kgl. Kupferstlchkablnett Gestochen von W. Akersloot, 1664 Die Gefangennahme Christi Christ is taken prisoner L’arrestation de Jesus-Christ 189 190 * P.109 Gestochen von W. Hollar * P.176 Gestochen von W. Hollar Die Beweinung Christi St. Barbara Mittelbild eines Triptychons St. Barbara Sainte Barbe The lamentation for Christ Le Christ pleure Central part of a triptych Milieu d’un triptyque e-S> cs ^ C 2 0> : ~S-0 ffe©f •= I ■ • rz £* w cn M 191 192 * Basel, Oeffentliche Kunstsammlung Zeichnung von Hans Holbein d. J. Vorstudie zum Familienbilde des Sir Thomas More Study for the family portrait of Sir Thomas More 1528 Esquisse pour le portrait de famille de Sir Thomas More 193 London, Sir Hugh Lane * Kopie nach dem Familienbilde des Sir Thomas More Copy after the family portrait of Sir Thomas More Copie d’apres le portrait de famille de Sir Thomas More London, Lord Sackvllle H. 0,647, B. 0,495 Margaret Roper, Tochter des Thomas More Kopie eines Aussclmittes des Familienbildes von 1528 Margaret Roper, daughter of Thomas More Marguerite Roper, fille de Thomas More Partial copy of the family portrait Copiee d'apres le portrait de famille 194 * Haag, Kgl. Museum H. 0,39, B. 0,264 Jane Seymour, Konigin von England Jane Seymour, Queen of England Jane Seymour, reine d’Angleterre Holbein d. J. 13 195 P. 1551 Stich von W. Hollar Bildnis eines Knaben Portrait of a boy Portrait d’un gargon *P. 1552 such von W. Hollar Margaret Clement P. 1544 Stich von W. Hollar *P. 1543 Stich von W. Hollar Unbekannter mit schwarzem Barett An unknown with a black Un inconnu avec une bonnet barrette noire Bildnis eines Junglings Portrait of a young Portrait d’un jeune man homme 196 HA.N.S NON ZVRl'H nurX''IUll|lT 197 * P. 1411 Stich von W. Hollar *P. 1509 Stich von W. Hollar Der Goldschmied Hans von Zurich Henry Howard, Graf von Surrey The goldsmith Hans of Zurich 1532 L’orfevre Hans de Zurich Henry Howard, Earl of Surrey 1542 Henri Howard, Comte de Surrey * P. 1550 Stich von W. Hollar Unbekannte englische Dame An unknown English lady Une dame anglaise inconnue * P. 1545 Stich von W. Hollar Konigin Anna von Cleve (?) Queen Anne of Cleves(?) La reine Anne de Cleve(?) P. 1546 Stich von W. Hollar P. 1387 Stich von W. Hollar Konigin Katharina Howard Queen Catherine La reine Catherine Howard Howard Lord Denny 1541 198 P. 1547 stlch von W. Hollar P. 1549 Stlch von W. Hollar Jean de Dinteville (?) Unbekannte englische Dame An unknown English Une dame anglaise lady inconnue ♦P.1465 Stich von W. Hollar Prinzessin Maria, Tochter Heinrichs VIII. (?) Princess Mary, after La princesse Marie, Queen (?) fille de Henri VIII (?) P. 1342 Stlch von W. Hollar Konigin Anna Boleyn (?) Queen Anne Boleyn (?) La reine Anne Boleyn (?) 199 *P. 1554 Stich von W. Hollar Karl Brandon, Herzog von Suffolk (?) Charles Brandon, Duke of Su ffolk (?) Charles Brandon, Due de Suffolk(?) 200 ANHANG ZWEIFELHAFTE UND FALSCHLICH ZUGEWIESENE GEMALDE WICHTIGERE KOPIEN NACH VORHANDENEN GEMALDEN APPENDIX SUPPLEMENT DOUBTFUL AND WRONGLY ATTRIBUTED PICTURES THE MOST IMPORTANT COPIES TABLEAUX DOUTEUX OU FAUSSEMENT ATTRIBUES COPIES IMPORTANTES ‘Darmstadt, Groflherzogl. Hesslsches Landesmuseum Bildnis eines Jiinglings H. 0,33, B. 0,28 Portrait of a young man 1515 Portrait d’un jeune homme 203 * Basel, Oeffentllche Kunstsnmmlung Pergament auf Holz, H. 0,405, B. 0,275 Der Maler Hans Herbster von Basel Portrait of the painter Hans Herbster of Basle 1516 Portrait du peintre Hans Herbster de Bale 204 * Krakau, Furst Czartoryskl H. 0,34, B. 0,26 Mannliches Bildnis Angeblich Biirgermeister Jakob Meyer von Basel Portrait of a man Portrait d’homme Called the burgomaster Jacob Meyer of Basle Dit le bourgmestre Jacques Meyer de Bale 205 * Paris, Walter Oay H. 0,835, B. 0,512 Erasmus von Rotterdam Nach dem Gemalde in Longford Castle After the portrait at Longford Castle D’apres le portrait a Longford Castle 206 207 ♦Hampton Court Palace H. 0,548, B. 0,324 Hampton Court Palace H. 0,545, B. 0,32 Buchdrucker Johannes Froben von Basel Erasmus von Rotterdam The printer John Froben L’imprimeur Jean Froben Nach dem Gemalde in Longford Castle of Basle de Bale After the portrait at Longford Castle D’apres le portrait a Longford Castle "‘Basel, Ocffcntllche Kunstsammlung H. 0,38, B. 0,323 Buchdrncker Johannes Froben The printer John Froben L’imprimeur Jean Froben 208 ♦Dresden, Kgl. Gemaidegalerie H. 1,595, B. 1,03 Die Madonna mit der Familie des Burgermeisters Jakob Meyer The Madonna with the family of the burgomaster Jacob Meyer La Vierge avec la famille du bourgmestre Jacques Meyer 209 210 Erlangen, Unlversitatsgalerle Pergament, H. 0,285, B. 0,38 Der Gleichmut des Pyrrho The imperlurbation of Pyrrho L’intrepidite de Pyrrhon * Munchen, Alle Plnakothek H. 0,49, B. 0,38 Sir Bryan Tuke Holbein d. J. 14 211 !!! Glarus, E. Triimpy 0,453, B. 0,425 Kopie nach dem Familienbildnis des Kunstlers in Basel Vermutlich mit dem urspriinglichen Hintergrunde Copy after the artist’s family portrait at Basle Copie d’apres le portrait de famille de l’artiste a Bale Probably with the original back-ground Probablement avec le fond original XVI. Jahrhundert 212 * Lille, Gemaidemuseum H. 0,90, B. 0,64 Kopie nach dem Farnilienbildnis des Kiinstlers in Basel Nach Entfernung des urspriinglichen Hintergrundes ; im jetzigen Zustand Copy after the artist’s family portrait at Basle Copie d'apres le portrait de famille de l’artiste a Bale Without the original back-ground Sans le fond original XVI. Jahrhundert Holbein d. J. 14 213 St. Petersburg, Eremltage H. 0,84, B. 0,66 Erasmus von Rotterdam 214 Besan^on, Stadtisches Museum n. U,ob, ts. U,1'7 Erasmus von Rotterdam Kopie nach dem Gemalde in Parma Copy after the portrait at Parma Copie d’apres le portrait a Parme 215 London, Mr. Leopold Hlrscli Bildnis eines Unbekannten Portrait of an unknown man 1530 H. 0,685, B. 0,558 Portrait d’un inconnu 216 * Paris, Marquis de la Rosi£re | H. 0,259, B. 0,204 Sir Nicholas Pointz 1535 217 Paris, Louvre Ft. M?, B. Sir Richard Southwell Kopie nach dem Gemiilde in Florenz Copy after the portrait at Florence 1536 Copie d'apres le portrait a Florence 218 ♦Munchen, Alte Pinakothek H. 0,53, B. 0,42 Derich Berck aus Coin Kopie nach dem Gemalde in Petworth Copy after the portrait at Petworth Copie d’apres le portrait a Petworth 219 Prag, Qcmllldegalerle des Rudolphlnums H. 0,36, B. 0,27 Lady Elizabeth Vaux 220 ♦Hampton Court Palace H.0,38, B. 0,29 Lady Elizabeth Vaux 221 Windsor, Kgl. ScliloG O. 1,01, B. 0,74 Konig Heinrich VIII. von England Henry VIII., King of England Henri VIII, roi d’Angleterre 222 * Windsor, Kgl. Schlofi H. 1,12, B. 0,82 Konig Eduard VI. von England Edward VI., King of England Edouard VI, roi d'Angleterre 223 Madrid, Prado H. 0.62, B. 0,47 Bildnis eines Unbekannten Portrait of an unknown man Portrait d’un inconnu 224 •Brussel, Kgl. Gemaidegalerle H. 0,23, B. 0,17 Mannliches Bildnis Fruher Thomas Morus genannt Portrait of an unknown man Portrait d’un inconnu Formerly called Thomas More Autrefois nomme Thomas More 225 *Althorp, Earl Spencer Durchmesser 0,10 Der Goldschmied Hans von Antwerpen The goldsmith Hans of Antwerp L’orfevre Hans d’Anvers 226 London, Mr. J. Pierpont Morgan Durchmesser 0,07 Sir Thomas More Nach dem Gemalde von 1527 After the portrait D’apres le portrait of 1527 de 1527 * London, Mrs. Joseph Lady Guildford Nach dem Gemalde von 1527 After the portrait D'apies le portrait of 1527 de 1527 London, Mr. J. Pierpont Morgan Antwerpen, Mayer van den Bergh Durchmesser 0,032 Durchmesser 0,04 Heinrich VIII., Holbeins Selbstbildnis Konig von England Kopie Kopie Hans Holbein’s Hans Holbein, Henry VIII., Henri VIII, King of England roi d’Angleterre own portrait peint par lui-meme 227 * Philadelphia John G. Johnson Bildnis eines Unbekannten Porirait of an unknown man Portrait d’un inconnu 228 ERLAUTERUNGEN UND REGISTER