It is supposed that the Windsor version is the one which was in the Arundel Collection, but its subsequent history is uncertain. That collection was divided in 1686, and the share which fell to the Duke of Norfolk may possibly have contained this portrait of his ancestor.[419] The Duke’s pictures were sold in 1692, and nothing further is to be heard of this portrait until it is mentioned by Walpole as being then (1762) in Leicester House, at that time the dower-house of the Dowager Princess of Wales, widow of Frederick, Prince of Wales.[420] “There can be no doubt,” says Mr. Ernest Law, “that the picture passed, on the death of the Princess in 1772, into the possession of the Crown with the rest of the collection which had been formed by Prince Frederick.”[421] It is not known from whom that Prince acquired it, but many of his pictures were purchased for him on the Continent by his agent, Bagnols, and it is not unlikely that Woltmann’s surmise is correct, and that it is to be identified with the portrait of the Duke which appeared in the catalogue of an anonymous sale of pictures at Amsterdam on April 23, 1732, as “Een zeer konstig uitmuntent stuk door Hans Holbeen, zynde de Hartog van Nortfolk nooit zoo goet gezien,” which must have been a fine work, as it fetched the relatively high price of 1120 florins.[422] It is quite possible, therefore, that the portrait was one of those sold by Lord Stafford in Amsterdam in 1654, immediately after the death of the Countess of Arundel, and that it was never in the possession of the Duke of Norfolk, but remained in that town until 1732. Footnote 419: The only portrait of the Duke mentioned in the Arundel inventory of 1655 has no artist’s name placed against it, but it comes next to the portrait of the Earl of Surrey, which is given to Holbein. It is entered as “Ritratto de Tomaso Howard, Ducha de Nordfolk.” Footnote 420: Walpole, _Anecdotes_, &c., ed. Wornum, i. p. 83. Footnote 421: Law, _Holbein’s Pictures_, &c., p. 19. Footnote 422: Woltmann, ii. pp. 57 and 156. The copy at Arundel Castle, about which still less is known, is so good that it is only when it is placed side by side with the Windsor version, as it was in the Tudor Exhibition in 1890, that the latter is seen to be by far the finer work of the two. The Arundel picture is slightly the smaller, and was last exhibited at the Burlington Fine Arts Club in 1909 (No. 49). There is a second version of this portrait in the Norfolk collection, at Norfolk House, in which various alterations have been made in the position and the dress, and a more elaborate background has been added. It is a work of comparatively little merit, and appears to have been painted during the seventeenth century by some inferior artist.