Hans Holbein the Younger, Volume 2 (of 2)Chamberlain, Arthur B. (Arthur Bensley)
History
Hans Holbein the Younger, Volume 2 (of 2)
Chamberlain, Arthur B. (Arthur Bensley)
Holbein, Hans, 1497-1543 -- Criticism and interpretation; Painters -- Germany -- Biography
36. (1) UNKNOWN MAN, SAID TO BE JEAN DE (1)
DINTEVILLE (2) MARY ZOUCH 257
Drawings in black and coloured chalks. (2)
Reproduced by gracious permission of 257
H.M. the King.
_Windsor Castle._
37. (1) LADY AUDLEY. (2) LADY MEUTAS (1)
Drawings in black and coloured chalks. 257
Reproduced by gracious permission of (2)
H.M. the King. 257
_Windsor Castle._
38. “THE LADY HENEGHAM”: POSSIBLY MARGARET 258
ROPER
Drawing in black and coloured chalks.
Reproduced by gracious permission of
H.M. the King.
_Windsor Castle._
39. PORTRAIT OF AN UNKNOWN YOUNG MAN 259
Drawing in black and coloured chalks.
Reproduced in colour.
_Public Picture Collection, Basel._
40. THE QUEEN OF SHEBA’S VISIT TO KING 262
SOLOMON
Silver-point drawing washed with
colour.
Reproduced by gracious permission of
H.M. the King.
_Windsor Castle._
41. QUEEN JANE SEYMOUR’S CUP 274
Pen-and-ink drawing.
_British Museum._
42. HANS OF ANTWERP’S CUP 275
Pen-and-wash drawing.
_Public Picture Collection, Basel._
43. SIR ANTHONY DENNY’S CLOCK 276
Indian-ink wash and pen drawing.
_British Museum._
44. DESIGN FOR A DAGGER HILT AND SHEATH 277
Pen-and-ink and Indian-ink wash
drawing.
_British Museum._
45. (1) DAGGER SHEATH WITH FOLIATED ORNAMENT 278
(DATED 1529). (2) UPRIGHT BAND OF
ORNAMENT: PIPER AND BEARS. (3) DAGGER
SHEATH WITH THE “JUDGMENT OF PARIS”
_Public Picture Collection, Basel._
46. (1) DAGGER SHEATH WITH A DANCE OF DEATH. 278
(2) DAGGER SHEATH WITH A ROMAN
TRIUMPH. (3) DAGGER SHEATH WITH
“JOSHUA’S PASSAGE OF THE JORDAN”
_Public Picture Collection, Basel._
47. FIVE DESIGNS FOR DAGGER HILTS 278
_British Museum._
48. EIGHT DESIGNS FOR PENDANTS AND ORNAMENTS 279
_British Museum._
49. NINE DESIGNS FOR PENDANTS 279
_British Museum._
50. NINE DESIGNS FOR MEDALLIONS OR ENSEIGNES 280
_British Museum._
Public-domain text, read in full here on John Shaqi.
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