Portrait of Sir Nicholas Poyntz - Hans Holbein the Younger
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Beschreibung
A portrait of Sir Nicholas Poyntz by Hans Holbein the Younger, capturing the subject in profile with the precision characteristic of the Northern Renaissance.
This portrait depicts Sir Nicholas Poyntz, a courtier during the reign of Henry VIII. Hans Holbein the Younger, who served as the King's painter, captures the subject in profile, a compositional choice that allows for a precise rendering of facial features. The sitter wears a dark doublet and a cap adorned with a white feather, reflecting the fashion of the Tudor court. Holbein employs a restrained palette, focusing on the textures of the fabric and the subtle play of light across the face.
The background is a muted, neutral tone, which directs attention to the subject. Holbein is known for his ability to convey the character of his sitters through careful observation. The painting demonstrates his technical skill in oil media, particularly in the handling of the skin tones and the soft edges of the feather. The work is a fine example of the portraiture produced by Holbein during his second period in England, where he documented the appearance of the nobility and the royal circle.
Sir Nicholas Poyntz was a member of the gentry and a figure of some influence. Holbein's depiction provides a record of his appearance, consistent with the artist's practice of creating preparatory drawings before executing the final panel. The clarity of the lines and the balanced composition are typical of Holbein's approach to portraiture. This print offers a view into the visual culture of the sixteenth century, presenting a figure from the Tudor era with the precision and objectivity that defined Holbein's career.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Portrait of Sir Nicholas Poyntz - Hans Holbein the Younger
Artist Biography
Hans Holbein The Younger
He was born in Augsburg, Germany, the son of a painter also called Hans Holbein. He studied under his father and was working independently by his late teens. He moved to Basel, where he painted portraits and religious works and illustrated Erasmus's In Praise of Folly with marginal drawings. Erasmus recommended him to Thomas More in England, writing that 'the arts are freezing' in Basel and Holbein should try his luck elsewhere.
He arrived in London in 1526 and painted More's family portrait, the first group portrait of a domestic scene in Northern European art. He returned to Basel, found the Reformation had destroyed the market for religious art, and went back to England permanently in 1532.
His portraits of the Tudor court are the visual record of the period: Thomas More, Thomas Cromwell, Anne Boleyn (probably), Jane Seymour, and the succession of courtiers and merchants who populated Henry's orbit. The technique is almost supernaturally precise. The textures of fur, velvet, jewellery, and skin are rendered with a fidelity that makes other portraitists look approximate.
He was sent to paint prospective brides for Henry, including Anne of Cleves, whose portrait Henry found more attractive than the person. Holbein was not blamed. He died during a plague outbreak in London in 1543, at forty-five.
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