Portrait of a Member of the Wedigh Family - Hans Holbein the Younger
Archival giclée
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Description
A precise 1532 portrait by Hans Holbein the Younger, capturing a member of the Cologne-based Wedigh merchant family with characteristic Northern Renaissance detail.
This portrait, executed in 1532, depicts a member of the Wedigh family, a prominent merchant clan from Cologne with strong ties to the Hanseatic League in London. Hans Holbein the Younger, a master of the Northern Renaissance, captures the sitter with clinical precision. The subject is shown in a three-quarter view, his gaze directed towards the viewer with a composed, steady expression.
Holbein employs a muted palette, allowing the textures of the sitter's attire to take precedence. The heavy, dark fabric of the outer garment contrasts with the lighter, fur-lined collar and the subtle white lace at the neck. The artist demonstrates his technical control through the rendering of the hands, one of which rests upon a table alongside a small, leather-bound book. The inclusion of the book suggests the sitter's literacy and status as a man of business or learning.
In the background, the characteristic blue-green tone provides a neutral field that prevents distraction from the figure. The inscription, 'ANNO 1532' and 'ATATIS SVAE 29', follows the standard conventions of the period, documenting the date of execution and the age of the subject. This work reflects the specific requirements of the merchant class in Tudor-era London, who sought to document their identity and success through portraiture. Holbein's ability to balance psychological presence with material detail remains a defining feature of his oeuvre. The clarity of the brushwork and the careful observation of light on the sitter's face demonstrate the artist's training and his mastery of oil on panel techniques.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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 a Member of the Wedigh Family - 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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