Art Object Page

Overview

After the Reformation had brought social and political upheaval to Germany, creating an unfavorable climate for artists, Holbein moved to England in 1526. He first painted for Sir Thomas More's circle of high servants of the crown and then became painter to the King himself, Henry VIII. As court painter Holbein produced portraits, festival sets and other decorations intended to exalt the King and the Tudor dynasty, and also designs for jewelry and metalwork.

In his portraits Holbein endowed his sitters with a powerful physical presence which was increasingly held in check by the psychological reserve and elegance of surface appropriate to a court setting. This portrait of Henry VIII's only legitimate son and much desired male heir exemplifies these qualities. Edward was born on 12 October 1537 to Henry's third wife, Jane Seymour, and this portrait appears to be the one given to the King on the New Year of 1539. The form of the portrait and the long Latin verse provided by the poet Richard Morison flatter the royal father and emphasize the succession.

Holbein depicted the baby prince as erect and self-possessed, one hand holding a scepter and the other open in a gesture of blessing. His frontal pose before a parapet is a type reserved for royalty or for images of holy figures.

More information on this painting can be found in the Gallery publication German Paintings of the Fifteenth through Seventeenth Centuries, which is available as a free PDF https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/german-painting-fifteenth-through-seventeenth-centuries.pdf

Inscription

across bottom: PARVVLE PATRISSA, PATRIÆ VIRTVTIS ET HÆRES / ESTO, NIHIL MAIVS MAXIMVS ORBIS HABET. / GNATVM VIX POSSVNT COELVM ET NATVRA DEDISSE, / HVIVS QVEM PATRIS, VICTVS HONORET HONOS. / ÆQVATO TANTVM, TANTI TV FACTA PARENTIS, / VOTA HOMINVM, VIX QVO PROGREDIANTVR, HABENT / VINCITO, VICISTI. QVOT REGES PRISCVS ADORAT / ORBIS, NEC TE QVI VINCERE POSSIT, ERIT. Ricard: Morysini. Car: (Little one, emulate thy father and be the heir of his virtue; the world contains nothing greater. Heaven and earth could scarcely produce a son whose glory would surpass that of such a father. Do thou but equal the deeds of thy parent and men can ask no more. Shouldst thou surpass him, thou hast outstript all kings the world has revered in ages past.)

Provenance

Gift of the artist on 1 January 1539 to Henry VIII, King of England [1509-1547].[1] Thomas Howard, Earl of Arundel and Surrey [1585-1646], Arundel Castle, Sussex, and Arundel House, London, by 1639, and Amsterdam, from 1643;[2] by inheritance to his wife, Alathea Howard [d. 1654], Antwerp and Amsterdam.[3] Probably William III, King of England and Stadholder-King of the Netherlands [1650-1702], Het Loo, Apeldoorn, possibly by c. 1700.[4] Ernest Augustus I, Duke of Cumberland and King of Hanover [1771-1851], Royal Castle, Georgengarten, Hanover, by 1844;[5] by descent to his son, George V, King of Hanover [1819-1878]; by descent to his son, Ernest Augustus II, Duke of Cumberland and Crown Prince of Hanover [1845-1923]; (P. & D. Colnaghi & Co., London, by 1925); (M. Knoedler & Co., London and New York, 1925);[6] purchased July 1925 by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 30 March 1932 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.

[1] New Year's Gift Roll in the Folger Shakespeare Library, Washington, Ms. Z. d. 11, dated "First daie of January anno xxx" of the reign of Henry VIII, "By hanse holbyne a table of the pictour of the prince grace." A photocopy is in NGA curatorial files. Regnal year 30 of the reign of Henry VIII ran from 22 April 1538 to 21 April 1539, hence the manuscript dates to 1539; see Christopher R. Cheney, Handbook of Dates for Students of English History, London, 1978: 24.

[2] The Earl of Arundel's portrait of Edward VI was copied in miniature by Peter Oliver; the miniature was catalogued by Abraham van der Doort in 1639 as part of the collection of Charles I, King of England, and added to the description are the words, "Coppied by Peter Olliver after Hanc Holbin whereof my Lord of Arrundel-hath ye Principall", see Oliver Millar, "Abraham van der Doort's Catalogue of the Collections of Charles I," Walpole Society 37 (1958-1960): 108, no. 22. The Earl of Arundel left England in 1641 and his collection was in Amsterdam in 1643; see Mary L. Cox, "Notes on the Collections formed by Thomas Howard," The Burlington Magazine 19 (1911): 282. Two other images identify what is evidently the Gallery's painting with the Arundel collection, the preparatory drawing and etching by Wenceslaus Hollar; the latter is inscribed: H Holbein pinxit. Wenceslaus Hollar fecit. ex Collectione Arundeliana. An. 1650. Horace Walpole added the handwritten emendation, "There is a print from this by Hollar." to the printed version of van der Doort's catalogue; George Vertue, A Catalogue and Description of King Charles the First's Capital Collection, London, 1757: 39-40, no. 22.

[3] Thomas Howard, Earl of Arundel, died in Padua in 1646, and his will of 3 September 1640, left his possessions to his wife; see Charles Howard, Historical Anecdotes of Some of the Howard Family, London, 1817: 93-96. Alathea Howard died in Amsterdam in 1654; an inventory in the Rijksarchief, Utrecht, of the Arundel collection made in Amersfoort in 1655 lists two portraits of Edward VI by Holbein; see F. H. C. Weijtens, De Arundel-Collectie. Commencement de la fin Amersfoort 1655, Utrecht, 1971: 30, no. 19, "Eduwart de seste, Holben", and 31, no. 49, "Eduwardus den sesten, Holben." These correspond to an inventory in Italian in the Public Record Office, London (Cox, 1911, as per note 2 above, 323). It is assumed that the painting copied by Oliver and Hollar corresponds to one of the works listed. It is not clear what happened next to the collection. At the time of Alathea Howard's death, her only surviving son, William Viscount Stafford [d. 1680], claimed that a nuncupative will entitled him to her personal possessions including the art collection, but this was disputed by his nephew, Henry, who succeeded his father, Henry Frederick [d. 1652], as Earl of Arundel and Surrey; see Mary F. S. Hervey, The Life, Correspondence, & Collections of Thomas Howard, Earl of Arundel, Cambridge, 1921: 473, and Weijtens, De Arundel-Collectie, 1971: 18-24. Weijtens 1971, pl. 14, published a document of 11 October 1662 signed by the painter Herman Saftleven indicating that Lord Stafford's collection was probably sold in Utrecht in that year.

[4] S.W.A. Drossaers and Th. H. Lunsingh Scheurleer, Inventarissen van de inboedels in de verblijven an de Oranjes en daarmede gelijk te stellen stukken 1567-1795, 3 vols., The Hague, 1974-1976; Inventaris van de inboedel van het Huis Het Loo, het Oude Loo en Het Huis Merwell, 1713, 1:679, no. 886: "Een koning Eduard van denselven [i.e. Holbein] met een descriptie van Richard Morosini;" and Schilderijen die volgens het zeggen van den kunstbewaerder Du Val door Hare Majt.de coninginne van Groot-Brittanniën zijn gereclameert geworden als tot de croon behorende, 1713: 700, no. 10: "Koning Eduart van dito [i.e. Holbein]," in margin, "Staet niet aengeteekent." As observed by Broos in Beatrijs Brenninkmeyer-de Rooij, et al., Paintings from England. William III and the Royal Collections, exh. cat. Koninklijk Kabinet van Schilderijen "Mauritshuis," The Hague, 1988: 117, Du Val's marginal notation of "Not listed" (Staet niet aengeteekent) may be taken as an indication that the portrait was not on the list of works requested for return to the English Royal collection because it was acquired from a private collection, that of Arundel. Broos, 118, suggested, without verification, that the portrait was in Het Loo by about 1700 and that it hung next to a portrait of Henry VIII by Holbein as indicated in the 1713 inventory, Drossaers and Lunsingh Scheurleer 1974, no. 885: "Een Hendrick de Achtste van Holbeen". The portrait was in Het Loo in 1711, for in that year it was described by Zacharias Conrad von Uffenbach; see Zacharias Conrad von Uffenbach, Merkwürdige Reisen durch Niedersachsen Holland und Engelland, 3 vols., Ulm, 1753-1754: 2:376-377, who transcribed the inscription at the bottom of the painting, but believed that it represented Henry VIII as a child.

[5] It is not known exactly when and by what means the painting entered the Royal Collection. Broos, in Brenninkmeyer-de Rooij et al., 1988, 117-118, suggested that the portrait came to Germany from Het Loo as a result of the marriage in 1734 of William IV, King of the Netherlands, to Anna of Hanover, Duchess of Braunschweig-Lüneberg; this is unverified but intriguing. No portrait of Edward VI by Holbein appears in the inventories of 1709, 1754, 1781, and 1803; letter of 16 December 1977 to John Hand from Hans Georg Gmelin, in NGA curatorial files. The earliest published mention of the picture is Justus Molthan, Verzeichniss der Bildhauerwerke und Gemälde welche sich in den königlich hannoverschen Schlössern und Gebäuden befinden, Hanover, 1844: 65, no. 12, and conceivably it thus could have entered the collection sometime after 1803 and before 1844.

[6] Nancy C. Little, M. Knoedler & Co., letter of 2 March 1988 to NGA curator John Hand, in NGA curatorial files, stating that the painting came to Knoedler's from Colnaghi in 1925, and was Knoedler stock number 16123. See also M. Knoedler & Co. Records, accession number 2012.M.54, Research Library, Getty Research Institute, Los Angeles: Painting Stock Book 7, 1921 January - 1927 December, p. 89; Sales Book 12, 1921 January - 1926 December, p. 272; copies in NGA curatorial files.

A rather sensational, but unverified, account of how the painting passed from the Duke of Cumberland's collection to Colnaghi's to a representative of Knoedler's was given by A. Martin de Wilde in Betty Beale, "Will of Billionaire Deprives U.S. of Art," Buffalo Evening News, 6 June 1960, clipping in NGA curatorial files. See also Das Niedersächsische Landmuseum Hannover: 150 Jahre Museum in Hannover, 100 Jahre Gebäude am Maschpark, Hannover, 2002: 34-35.

Associated Names

Augustus, Crown Prince of Hanover, Ernest
Augustus, King of Hanover, Ernest
Colnaghi & Co., Ltd., P. & D.
Hanover and 2nd Duke of Cumberland, George V, King of
Henry VIII, King of England
Howard, 2nd earl of Arundel, Thomas
Howard, Alathea
Knoedler & Company, M.
Mellon Educational and Charitable Trust, The A.W.
Mellon, Andrew W.
William III, King of England

Exhibition History

1863: On loan to the Royal-Welfen Museum, Hanover, by 1863 until the 1870s.

1876: Royal Collection housed at Landschaftstrasse 3, Hanover, by 1876.

1891: Fidei-Kommiss Galerie des Gesamthaus Braunschweig-Lüneberg, Provinzial Musuem, Hanover, 1891-1924.

1928: A Loan Exhibition of Twelve Masterpieces of Painting, M. Knoedler & Co., New York, 1928, no. 6.

1995: Dynasties: Painting in Tudor and Jacobean England 1530-1630, Tate Gallery, London, 1995-1996, no. 6, repro. and cover.

2000: Hans Holbein, Edward VI. als Kind. Ein Wiedersehen, Niedersächsisches Landesmuseum Hannover, 2000, no. 1, repro.

2003: Hans Holbein the Younger 1497/98-1543: Portraitist of the Renaissance, Koninklijk Kabinet van Schilderijen Mauritshuis, The Hague, 2003, no. 33, repro.

2006: Holbein in England, Tate Britain, London, 2006-2007, no. 108, repro.

2015: Les Tudors, Musée du Luxembourg, Paris, 2015, no. 42, fig. 58.

Technical Summary

The painting comprises two boards with vertical grain. From the x-radiograph it appears that the panel may once have been split along the join line and reglued. The dendrochronological examination conducted by Peter Klein did not produce data that matched the existing master chronologies for Europe and thus yielded neither a date nor confirmation of an earlier examination made by John Fletcher.[1] The panel has been thinned and cradled, and strips of wood approximately 0.95 cm wide have been added to the sides and the top. There is no barbe, and the panel was not painted in an engaged frame. There is nothing to suggest the panel has been cut down. Rather, the fact that the ground is either very thin or nonexistent for a width of approximately 1 cm along the top and bottom edges and that there is a raised lip of ground along the right end of the bottom edge suggest that the panel was held in a clamp or on some sort of easel when the ground was applied. Over the smooth, thick, white ground there is a salmon-pink imprimatura of medium thickness. Examination with infrared reflectography discloses a fine, delicate underdrawing Iying over the imprimatura, probably done with a brush and also visible to the naked eye. There are slight changes in the eyelids, which in the underdrawing were somewhat higher, and in the hand holding the rattle, where the middle finger once was parallel to the index finger and both extended farther to the lower left.

Various techniques were used in this picture. The paint has been very precisely and smoothly applied; glazes and layering have been used in several areas. The paint layers extend to the edges of the panel on all sides. A thick, white layer underlies much of the green drapery, possibly to counter any effect of the pink imprimatura below. The fine, gold lines found in the brocade and decorative details appear to be shell gold brushed over a warm brown or yellow base. In the hat thick, light ocher-toned areas under the gold act as a bole or mordant to provide a warm color base for the gold. The gray-brown portions of the cap are silver leaf, which originally may have been covered by a red glaze.

Except for the hat, many or nearly all of the uppermost layers of the red paint are missing. The remaining reds have a cracked and crizzled appearance. Optical microscopy indicates that the pigment used for the background is smalt, which has discolored to gray and, as indicated by the edges under the frame rabbet, would originally have been closer to a brighter slate blue. Apart from the aforementioned damage, the painting is secure and in reasonably good condition. There is damage and a large abraded loss in the background at the left above the child's arm. There are tiny scattered losses in the left cheek and a thin series of old losses along the join line.

[1] See Peter Klein's examination report, 24 September 1987, in NGA curatorial files. John Fletcher examined the painting on 3-4 October 1979 and put forward a date of 1533/1545 for the earliest likely use of the panel (report, 7-8 November 1979, in NGA curatorial files).

Bibliography

1753: Uffenbach, Zacharias Conrad von. Merkwürdige Reisen durch Niedersachsen Holland und Engelland. 3 vols. 1753-1754. Ulm, 1753: 2:376-377.

1755: Bickham, George. Deliciae Britannicae, or, The Curiosities of Kensington, Hampton Court, and Windsor Castle, Deliniate. London, 1755: 25, 33, no. 14.

1836: Passavant, Johann David. Tour of a German Artist in England. Translated by Elizabeth Eastlake. 2 vols. London, 1836: 1:102, no.5.

1844: Molthan, Justus. Verzeichniss der Bildhauerwerke und Gemälde, welche sich in den königlich hannoverschen Schlössern und Gebäuden befinden. Hanover, 1844: 65, no. 12.

1854: Waagen, Gustav Friedrich. Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss.. 3 vols.Translated by Elizabeth Rigby Eastlake. London, 1854: 2:448.

1859: Nichols, John Gough. A Catalogue of the Portraits of King Edward the Sixth, both Painted and Engraved. S.l., 1859: 3, no. 2.

1863: Franks, Augustus W. "Remarks on the Discovery of the Will of Hans Holbein." Archaeologia 39 (1863): 8-9.

1863: Nichols, John Gough. "Notices of the Contemporaries and Successors of Holbein." Archaeologia 39 (1863): 20.

1863: Parthey, Gustav Friedrich. Deutscher Bildersaal. Verzeichniss der in Deutschland vorhandenen Oelbilder verstorbener Maler aller Schulen. 2 vols. Berlin, 1863-1864: 1:600, no. 29.

1864: Das königlich Welfen-Museum zu Hannover im Jahre 1863. Hannover, 1864: 93, no. 239.

1866: Woltmann, Alfred. Holbein und seine Zeit. Leipzig, 1866: 333-334. (Leipzig, 1874 ed., 460-461; English ed., London, 1872: 431-433.)

1867: Wornum, Ralph Nicholson. Some Account of the Life and Works of Hans Holbein, Painter, of Augsburg. London, 1867: 322-324.

1876: S.n. Verzeichniss der zum Vermögen des Königs Georg gehörenden Gemälde, welche sich in dem Hause Nr. 3 der Landschaftstrasse zu Hannover befinden. Hannover, 1876: 80, no. 440.

1891: Eisenmann, Oskar. Katalog der zum Ressort der königlichen Verwaltungs-Kommission gehörigen Sammlung von Gemälden, Skulpturen und Alterthümern im Provinzal-Museumsgebäude an der Prinzenstrasse Nr. 4 zu Hannover. Hannover, 1891: 117, no. 186.

1897: Knackfuss, Hermann. Holbein der Jüngere. Bielefeld and Leipzig, 1897: 132, 136, 138, fig. 130. (English ed. Bielefeld and Leipzig, 1899: 147, repro. 138.)

1902: Eisenmann, Oskar. Katalog der zur Fideicommiss-Galerie des Gesamthauses Braunschweig und Lüneburg gehörigen Sammlung von Gemälden und Skulpturen im Provinzial-Museum Rudolf v. Bennigsenstrasse 1 zu Hannover. Hannover, 1902: 117, no. 186

1903: Davies, Gerald S. Hans Holbein the Younger. London, 1903: 177.

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1907: Hanfstaengl, Franz. The Masterpieces of Holbein the Younger: Sixty Reproductions of Photographs. London, 1907: 1, 11, 66, repro. (Reprinted New York, 1912.)

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1927: Vaughan, Malcolm. "Holbein Portraits in America, Part II." International Studio 88 (1927): 63-64, fig. 66.

1928: "Amerika: New-York." Pantheon 1 (1928): 270, 273, repro.

1929: Rutter, Frank. “Notes from Abroad.” International Studio 94 (September 1929): 66, repro.

1929: Stein, Wilhelm. Holbein. Berlin, 1929: 308, 310.

1931: Frankfurter, Alfred M. "Thirty-five Portraits from American Collections." The Art News 29, no. 33 (1931): 4, 27, repro.

1936: Kuhn, Charles L. A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections. Cambridge, Mass., 1936: 83, no. 370, fig. 80.

1937: Christoffel, Ulrich. "Das Kinderbildnis." Die Kunst 75 (1937): 226, repro.

1937: Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: 43.

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1938: Reinhardt, Hans. Holbein. Translated from the French by Prudence Montagu-Pollock. London, 1938: 102, repro.

1938: Waetzoldt, Wilhelm. Hans Holbein der Jüngere: Werk und Welt.. Berlin, 1938: 197-198, pl. 93.

1940: McBride, Ruth Q. "Old Masters in a New National Gallery." The National Geographic Magazine 78 (1 July 1940): 17, repro.

1941: Held, Julius S. "Masters of Northern Europe, 1430-1660, in the National Gallery." Art News 40, no. 8 (June 1941): 12, 15, repro.

1941: Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 98-99, no. 64.

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1944: Cairns, Huntington, and John Walker, eds. Masterpieces of Painting from the National Gallery of Art. New York, 1944: 82, color repro.

1945: Edwin Seaver. Advertisement for Edward VI as Prince of Wales facsimile. Book of the Month Club News. May 1945: cover, inside back cover, color repro.

1945: Parker, Karl Theodore. The Drawings of Hans Holbein in the Collection of His Majesty the King at Winsor Castle. London and New York, 1945: 49, under no. 46, repro.

1948: Louchheim, Aline B. "Children Should Be Seen." Art News Annual 46 (1948): 55-56, repro.

1948: Schmid, Heinrich Alfred. Hans Holbein der Jüngere. Sein Aufstieg zur Meisterschaft und sein Englischer Stil. 3 vols. 1945-1948. Basel, 1948: 2:376.

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1951: Grossmann, Fritz. "Holbein, Flemish Paintings, and Everhard Jabach." The Burlington Magazine 93, no. 574 (January 1951): 21.

1951: King, Marian. Portfolio Number 3. National Gallery of Art, Washington, 1951: no. 2, color repro.

1951: Whittet, George Sorley. "A Gallery of Art Dealers: P. & D. Colnaghi." The Studio 142, no. 703 (October 1951): 117, repro.

1954: Tietze, Hans. Treasures of the Great National Galleries. New York, 1954: 112.

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1967: Strong, Roy C. Holbein and Henry VIII. London and New York, 1967: 14, 17-18, repro.

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1971: Salvini, Roberto and Hans Werner Grohn. L'Opera pittorica completa di Holbein il Giovane. Milan, 1971: 106, no. 115, pl. 50.

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1983: Foister, Susan. Drawings by Holbein from the Royal Library Windsor Castle. London, 1983: 2, 21, 32, 43 under no. 46, fig. 44.

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1985: Snyder, James. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350-1575. New York, 1985: 397, fig. 462.

1986: Mittler, Gene A. Art in Focus. Peoria, 1986: 239, fig. 13.13. Fourth ed. New York, 2000: 413, fig. 18.15.)

1987: Berenson, Bernard, and Isabella Stewart Gardner. The Letters of Bernard Berenson and Isabella Stewart Gardner 1887-1924. Edited by Rollin van Hadley. Boston, 1987: 25-26,98, 101, 107, 109, 111-112, 118, 166.

1987: Roberts, Jane. Drawings by Holbein from the Court of Henry VIII. Fifty Drawings from the Collection of Her Majesty Queen Elizabeth II, Windsor Castle. Exh. cat. The Museum of Fine Arts. Houston, 1987: 86, under no. 25, repro.

1988: Brenninkmeyer-de Rooij, Beatrijs, et al. Paintings from England. William III and the Royal Collections. Exh. cat. Koninklijk Kabinet van Schilderijen "Mauritshuis." The Hague, 1988: 39, 60, 117-118, no. 13, fig. 11b.

1989: Southgate, M. Therese. "The Cover: Hans Holbein the Younger, Edward VI as a Child." Journal of the American Medical Association 261, no. 12 (24 March 1989): cover, 1685, color repro.

1990: Ainsworth, Maryan W. "`Paternes for phiosioneamyes': Holbein's Portraiture Reconsidered." The Burlington Magazine 132, no. 1044 (March 1990): 182-183.

1990: Campbell, Lorne. Renaissance Portraits: European Portrait-Painting in the 14th, 15th and 16th Centuries. New Haven, 1990: 104, fig. 122.

1991: Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 157, color repro.

1992: National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 70, repro.

1993: Hand, John Oliver, with the assistance of Sally E. Mansfield. German Paintings of the Fifteenth through Seventeenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1993: 83-91, color fig.

1993: Pointon, Marcia. Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England. New Haven, 1993: 177-178, fig. 206.

1995: Löcher, Kurt. Review of German Paintings of the Fifteenth through Seventeenth Centuries, by John Oliver Hand with the assistance of Sally E. Mansfield. Kunstchronik 43 no. 1 (Januar 1995): 16.

1995: Pearson, PLC. "Pearson is delighted to sponsor 'Dynasties'." (Advertisement) Tate: The Art Magazine no. 7 (Winter 1995): back cover, color repro.

1996: Hoppe, Felicitas. "Aber der Schöpfer bis Du." Art, Das Kunstmagazin no. 7 (July 1997): 50-51, color repro.

1997: Bätschmann, Oskar, and Pascal Griener. Hans Holbein. Translated from German by Cecilia Hurley and Pascal Griener. London, 1997: 9, 185, 187, 189, color fig. 245.

1997: Henderson, Anne. "Portraits & Personalities." Washington Parent (November 1997): 14, 15, repro.

1998: Klinger, D. M. and Antje Hötter. Die Malerbrüder Ambrosius und Hans d.J. Holbein: Werkverzeichnis, Gemälde und Miniaturen. Nürnberg, 1998: 216-217, no. 73, repro.

1998: Tortora, Phyllis G., and Keith Eubank. Survey of Historic Costume: A History of Western Dress. 3rd ed. New York, 1998: 191, fig. 8.15.

1999: Aslet, Clive. The Story of Greenwich. London, 1999: 61, repro.

1999: Buck, Stephanie. Hans Holbein 1497/98-1543. Translated by Paul Aston. Cologne, 1999: 120-121, color fig. 112.

2000: Kirsh, Andrea, and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. Materials and Meaning in the Fine Arts 1. New Haven, 2000: 162-163, color fig. 167.

2001: Southgate, M. Therese. The Art of JAMA II: Covers and Essays from The Journal of the American Medical Association. Chicago, 2001: 68-69, 210, color repro.

2002: Das Niedersächsische Landesmuseum Hannover. 150 Jahre Museum in Hannover, 100 Jahre Gebäude am Maschpark. Hannover, 2002: 34-35, repro.

2002: S.n. “Nieuws: Holbein.” Mauritshuis in Focus 15, no. 3 (December 2002): 3, repro.

2004: Foister, Susan. Holbein and England. New Haven, 2004: 18, 59, 65, 196-198, color fig. 200.

2004: Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 148-149, no. 114, color repro.

2004: Wolf, Norbert. Hans Holbein the Younger, 1497/98-1543: The German Raphael. Translated by John Gabriel. Cologne, 2004: 82-83, 88-90, color repro.

2005: Michelman, Dorothea S. "A German Treasure Trove: The National Gallery of Art." German Life (June/July 2005): 42, color fig.

2005: Sander, Jochen. Hans Holbein D.J. Tafelmaler in Basel 1515-1532. Munich, 2005: 36, 33 nt. 123, fig. 9.

2005: Snyder, James. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575. Revised by Larry Silver and Henry Luttikhuizen. Upper Saddle River, 2005: 390-391, color fig. 15.26.

2007: Woods, Kim W. "Holbein and the Reform of Images." In Viewing Renaissance Art, edited by Kim W. Woods, Carol M. Richardson and Angeliki Lymberopoulou. Renaissance Art Reconsidered 3. London, 2007: 283-284, color fig. 7.31.

2011: Nuechterlein, Jeanne. Translating Nature Into Art: Holbein, The Reformation, and Renaissance Rhetoric. University Park, Pennsylvania, 2011: title page, 157-158, color fig. 83.

2014: Bätschmann, Oskar, and Pascal Griener. Hans Holbein. Rev. and expanded second edition. Translated from German by Cecilia Hurley and Pascal Griener. London, 2014: 10, 267, 269, 301, color fig. 260.

2014: Nuechterlein, Jeanne. "German Renaissance Art Through the Eyes of the National Gallery." Burlington Magazine 156, no. 1, 331 (February 2014): 79-80.

2016: Warner-Johnson, Tim, and Jeremy Howard, eds. Colnaghi: Past, Present and Future: An Anthology. London, 2016: 4, 66-67, color plate 10.

National Gallery of Art