List of portrait drawings by Hans Holbein the Younger

The following is a list of portrait drawings by Hans Holbein the Younger that are generally accepted as by his own hand.

Royal Collection Work. Title. Date. Medium Size Notes Related works Simon George Black and coloured chalks, pen and ink, brush and ink, also metalpoint on pale pink prepared paper. Simon George of Cornwall was an English nobleman. The drawing is related to a circular painting by Holbein in the Städel Museum, Frankfurt. As was revealed by X-ray radiograms, the sitter's beard in the painting was initially much shorter, making it more similar to the drawing.Michael 2013, p. 670 William Reskimer RCIN 912237. Black and coloured chalks, pen and ink, and metalpoint on pale pink prepared paper. William Reskimer held a number of minor positions at Henry VIII's court. The drawing is a study for a painted portrait by Holbein, also in the Royal Collection. RCIN 404422. An unidentified woman RCIN 912190. Black and coloured chalks, white bodycolour, and pen with black and brown ink on pale pink prepared paper which has been trimmed to outlines and pasted onto another sheet. Formerly identified as Amalia of Cleves, sister of Anne of Cleves, the fourth wife of Henry VIII.Oliver at al 2006, p. 168, p.171 text + fn. 20. RCIN 912191. Black and coloured chalks, pen and ink, and metalpoint on pale pink prepared paper. Elizabeth, Lady Audley was the second wife of Thomas Audley, 1st Baron Audley of Walden and daughter of Thomas Grey, 2nd Marquess of Dorset. The drawing relates to a circular miniature by Holbein, also in the Royal Collection. RCIN 422292. A drawing of her mother Margaret Wotton, Marchioness of Dorset, by Holbein, is also in the Royal Collection; a related 1560s painted portrait, by a follower of Holbein, is in the Weiss Gallery in London; while a late-16th-century one is at Anglesey Abbey, Lode, Cambridgeshire. Anne Boleyn Black and coloured chalks on pale pink prepared paper. Traditionally believed to be Anne Boleyn, the second wife of Henry VIII and mother of Elizabeth I. The drawing is consistent with both the only undisputed contemporary depiction of Anne — the badly worn 1534 coronation medal in the British Museum — and an anonymous French description of her being "scrofulous and therefore fastening her dress very high on the throat, in the fashion employed by the goitrous people".Rowlands and Starkey 1983, p. 91 Another drawing by Holbein, formerly identified as that of Anne Boleyn, is in the British Museum, London. James Butler Black and coloured chalks, white bodycolour, red, blue-grey, and brown wash, pen and ink, and brush and ink on pale pink prepared paper. The sitter is James Butler, 9th Earl of Ormond and 2nd Earl of Ossory. Formerly identified as his cousin Thomas Boleyn, 1st Earl of Wiltshire (father of Anne Boleyn, the second wife of Henry VIII).Starkey 1981 The costume resembles the one worn by Henry VIII in the cartoon for the lost Whitehall Mural (and the many portraits derived from it). The mural was dated 1537, which gives the approximate date for the drawing; David Starkey dates it specifically to the autumn of 1537 on biographical grounds. Alice London, Lady BoroughSusan James. Women's Voices in Tudor Wills, 1485–1603: Authority, Influence and Material Culture, Ashgate Publishing, Ltd. 20 March 2015. pg 176. Google eBook Black and coloured chalks on pale pink prepared paper. Recently thought by some to be Catherine Parr. Catherine's first father-in-law, Lord Thomas Burgh, had to pull his connections just to get his wife, Lady Borough, painted by Holbein.Porter, Linda. Katherine the Queen, Macmillan, 2010. pg 55. Burgh married twice; first in 1496 to Agnes (died 1522), daughter of Sir William Trywhitt of Kettleby. Sometime after 15 March 1538, Burgh married secondly to the widowed Lady Alice Bedingfield of Oxburgh, daughter of William London. By 1541, Lord Burgh was part of the household of Prince Edward. The portrait was done some time during the couples stay at court; 1540–42. Nicholas Bourbon 1535 Black and coloured chalks, and pen and ink on pale pink prepared paper. Nicholas Bourbon was a French poet at the court of Henry VIII. He was a friend of Holbein and described him in a letter as "the royal painter, the Apelles of our time".Rowlands and Starkey 1983, p. 92 He also wrote verses for an edition of Holbein's Historiarum veteris instrumenti icones ad vivum expressae. The drawing is a study for a painted portrait by Holbein, now lost, but possibly recorded in a 1535 woodcut. George Brooke Black and coloured chalks, pen and ink and metalpoint, on pale pink prepared paper. The sitter is George Brooke, 9th Baron Cobham. A painting by a follower of Holbein, tentatively dated to the 1540s, closely following the drawing, formerly in a German private collection, was sold at auction in 2011. Margaret Butts Black and coloured chalks, pen and ink, brush and ink, and metalpoint on pale pink prepared paper. Margaret, Lady Butts was a lady-in-waiting to Princess Mary and belonged to the circle of Catherine Parr, the sixth wife of Henry VIII. The drawing is a study for a portrait by Holbein in the Isabella Stewart Gardner Museum, Boston. A painted portrait of her husband, Henry VIII's physician Sir William Butts, by Holbein, is also in the Isabella Stewart Gardner Museum. He also appears in the group painting King Henry VIII and the Barber Surgeons, by Holbein, preserved by the Worshipful Company of Barbers, London. Gavin Carew Black and coloured chalks, pen and ink, and metalpoint on pale pink prepared paper. The sitter is Sir Gavin Carew. A drawing of his nephew Admiral Sir George Carew, by Holbein, is also in the Royal Collection; a related circular painting by Holbein (circle of) is in Weston Park, owned by the Earls of Bradford. A drawing of his kinsman Nicholas Carew, by Holbein, is in the Kunstmuseum Basel in Basel, Switzerland; a related painting by Holbein is in the Drumlanrig Castle, part of the Buccleuch collection.Griener and Bätschmann 2012, p. 199, p. 203 fig. 203, p. 326 fn. 42 A drawing of his wife Lady Mary Guildford, by Holbein, is in the Kunstmuseum Basel; a related painting by Holbein is in the Saint Louis Art Museum, while a 16th-century copy is in the Metropolitan Museum of Art, New York. George Carew Black and coloured chalks, and metalpoint on pale pink prepared paper. Admiral Sir George Carew was the commander of the Royal Navy flagship Mary Rose when it sank in 1545. The drawing is related to a circular painting by Holbein (circle of) in Weston Park, owned by the Earls of Bradford. A drawing of his uncle Sir Gavin Carew, by Holbein, is also in the Royal Collection. A drawing of his kinsman Nicholas Carew, by Holbein, is in the Kunstmuseum Basel in Basel, Switzerland; a related painting by Holbein is in the Drumlanrig Castle, part of the Buccleuch collection. Edward Fiennes de Clinton Black and coloured chalks on pale pink prepared paper. The sitter is Edward Clinton, 1st Earl of Lincoln. John Colet Black and coloured chalks, pen and ink, brush and ink, and metalpoint on pale pink prepared paper. John Colet was the Dean of St Paul's Cathedral and the founder of St Paul's School, London. He died in 1519, years before Holbein's first visit to England. The drawing is a study of a lost bust of circa 1520 attributed to Pietro Torrigiano and probably based on a death mask.Grossmann, 1950 A 16th-century cast,Grossman 1950, pl. 52b, pl. 56 preserved in St Paul's School since at least 1552,Grossman 1950, p. 218 is now at the Mercers' Hall, LondonLochman 2007, pp. 1–2, p. 3 fig. 1, p. 4 fig. 2 (a copy of the cast is in the National Portrait Gallery). The cast is actually a composite, only the head being original and the rest probably dating to the late 18th century and based on Holbein's drawing.Grossman 1950, p. 214, p. 216 The head was found among the ruins of the school after the 1666 Great Fire of London by antiquarian John Bagford.Grossman 1950, pp.216–218 The very same fire also destroyed the original bust, which formed a part of Colet's tomb in the Old St Paul's Cathedral.Grossman 1950, p. 205 The tomb's appearance is recorded in an engraving of 1656, possibly by Wenceslaus Hollar,Grossman 1950, pp. 206–207 + pl. 54c and a watercolour miniature of circa 1585, probably by William Segar, on the cover of the manuscript Statu[t]es of Saint Paul's School, preserved at the Mercers' Hall;Grossman 1950, pp. 211–213 + pl. 54a the badly damaged remains of the bust, comprising only torso and hands, were reproduced in an 1809 engraving,Grossman 1950, pp. 210–211 but have since disappeared.Grossman 1950, p. 210 fn. 3 Anne Cresacre Black and coloured chalks. Anne Cresacre, aged 15, was the ward of Thomas More, later the wife of his son John More the Younger. The drawing is one of the eight individual portrait studies for a group portrait of Thomas More's family preserved in the Royal Collection.Button 2013, p. 14 Destroyed by fire at the Kremsier Castle (Czech Republic) in 1752,Ainsworth 1990, p. 196 its appearance is preserved in an annotated drawing by Holbein, now in Kunstmuseum Basel. There are also several later copies, including three 1592–1594 versions by Rowland Lockey: a watercolor miniature in the Victoria and Albert Museum and two oils on canvas, one in the National Portrait Gallery, and one at the Nostell Priory, West Yorkshire. A drawing of her husband, by Holbein, from the same series, is also in the Royal Collection. Elizabeth Dauncey Black and coloured chalks. Elizabeth Dauncey, aged 21, was the daughter of Thomas More.Lewis 1998, p. 16 In 1525, she married William Dauncey, son of Sir John Dauncey, Privy Councillor and Knight of the Body to Henry VIII. The drawing is one of the eight individual portrait studies for a group portrait of Thomas More's family preserved in the Royal Collection. Destroyed by fire at the Kremsier Castle (Czech Republic) in 1752, its appearance is preserved in an annotated drawing by Holbein, now in Kunstmuseum Basel. There are also several later copies, including three 1592–1594 versions by Rowland Lockey: a watercolor miniature in the Victoria and Albert Museum and two oils on canvas, one in the National Portrait Gallery, and one at the Nostell Priory, West Yorkshire. The series also includes two drawings of her siblings, one of John More, and one of Cicely Heron; a further one depicts her grandfather John More the Elder. Another drawing, and one similar to it, also from the series, depict her father; a related painted portrait is in the Frick Collection, New York. The compositional sketch in Basel also records the likenesses of her sister Margaret Roper (a portrait miniature of her, by Holbein, is in the Metropolitan Museum of Art, New York). Margaret, Marchioness of Dorset Black and coloured chalks, pen and ink, and metalpoint on pale pink prepared paper. The sitter is Margaret Wotton, Marchioness of Dorset. In 1533, she was one of the two godmothers to the future Queen Elizabeth I.Aikin 1826, p. 9 Her husband was Thomas Grey, 2nd Marquess of Dorset, a prominent courtier at the court of Henry VIII, key witness in favour of the King's divorce of Catherine of Aragon. One of their many grandchildren was Lady Jane Grey, the Nine Day Queen. The drawing is a study for a painted portrait, now lost; a 1560s copy is in the Weiss Gallery in London; a late-16th-century one is at Anglesey Abbey, Lode, Cambridgeshire. A drawing and a related circular miniature of her daughter Elizabeth, Lady Audley, both by Holbein, are also in the Royal Collection. Edward, Prince of Wales RCIN 912200. 1538 Black and coloured chalks, and pen and ink on pale pink prepared paper. The sitter is the future King Edward VI, son of Henry VIII and Jane Seymour, aged 1. The drawing is a study for a painting by Holbein in the National Gallery of Art, Washington. Holbein gave the painting to the King as the 1539 New Year's gift.