The oil painting done from this study is in the collection of the Duke of Buccleuch and Queensberry, K.G.,[196] and was last publicly exhibited at the Burlington Fine Arts Club in 1909 (No. 45). It is a three-quarters length, turned to the left as in the drawing. The beard is brown, and the coif below the black hat is of cloth of gold. The octagonal gold badge represents a tree stem raguly and a banderole inscribed “SOLA.” He is wearing full plate-armour, and brown trunks slashed with cloth of gold. With his right hand he holds a white truncheon against his hip, and with the other grasps his sword by the scabbard. The background is a green damask curtain, and on a small cartellino in the left-hand bottom corner is inscribed in a cursive hand “SR NICHOLAS CAREWE, MASTER OF THE HORSE TO KING HENRY YE 8.” It is on a panel of unusual shape, being 36 in. high by 40 in. wide. This picture, as a whole, is a fine and interesting example of Tudor portraiture, but parts of it are certainly not by Holbein. The head is good, but the armour and many of the details are by some other, and possibly a later, hand. The probabilities are that it was begun by Holbein and finished by someone else; perhaps the arrest of Carew may have brought the completion of the work to an abrupt conclusion as far as Holbein was concerned. The fact that his name is given on the cartellino suggests that the portrait may be a posthumous one. It was not the usual custom at that time to place more than the date and the age of the person depicted upon the panel. Except in the form of a superscription to a letter held by the sitter, as in the Kratzer, Cromwell, and some of the Steelyard portraits, Holbein was not in the habit of adding the name to the pictures he painted in England. The “Duchess of Milan” is an exception,[197] but even here there is every probability that the cartellino was painted in at a later date. It is difficult to decide whether the Carew portrait was begun by Holbein and finished by some other hand, or whether it is an almost contemporary copy from some lost original. The head follows the Basel drawing closely, but as the latter was owned by Amerbach it is improbable that a copyist could have made use of it; so that, taking all things into consideration, it is safer to assume that Holbein himself had a share in its painting.[198] This portrait was in the possession of John, Lord Lumley, in 1590, and was sold from Lumley Castle in 1785 for ten guineas. In the inventory of 1590 it is described as “Of S^r Nichls Carewe M^r of the horse to K:H:8”; and it is interesting to note that the words “drawne by Haunce Holbyn” are not added, as they are after several other works by the master which Lord Lumley possessed. It has been suggested that this portrait is the “Ritratto d’homo armato” of the Arundel inventory of 1655, but if the picture remained in the possession of the Lumley family until 1785 this supposition cannot be correct. Symonds, in his