Did a Student of Holbein's Draw this Sketch of John Fisher, Bishop of Rochester?

Did a student of Hans Holbein the Younger draw this sketch of John Fisher, Bishop of Rochester? 

 

According to the Royal Collection Trust: 

Although long attributed to Holbein, this drawing is probably by another artist, who echoes Holbein's use of prink prepared paper. The pink priming has been rougly applied in comparison to that on the Holbein sheets. The facial features are more clumsily drawn than on any of Holbein's drawings and the modelling is largely in watercolour or wash rather than chalk. The drawing probably dates from the later sixteenth century when Fisher began to be revered as a Catholic martyr and large numbers of painted and printed portraits were produced to meet a growing demand for his image. A date in the later sixteenth century would also explain a pattern for Fisher's face in the National Portrait Gallery, London (inv. NPG 2821) which is thought to have been used in a late sixteenth-century painter's workshop and which is based on the present drawing.

 

 

The French Poet and the German Painter meet in the English Court of Henry VIII

Nicholas Bourbon the Elder was born in France in 1503. He became a poet, humanist, and religious reformer. In 1534, he found himself in the circle of Anne Boleyn, the 2nd wife of King Henry VIII of England. This was due to a conflict that he had with the Catholic Church and sought sanctuary. 

 Nicholas Bourbon (Royal Collection Trust)

From his proximity to Henry VIII and Anne Boleyn, Bourbon met Hans Holbein the Younger, whom he identified in a letter in 1536 to Thomas Soulement, Henry VIII’s French secretary, as 'the king's painter'. 

 

Bourbon wrote this of Holbein:

 Whilst with a hand of outstanding skill, the godlike mind of Hans was portraying my features on the panel, my jaw dropped and I uttered this song: ‘Hans painting me was greater than Apelles’. (History Today) 

 

 

Have I Mentioned How Much I Appreciate the Details that Some Museums Provide?

I absolutely love how some museums make it possible to enhance a portrait so much so that one can easily see the blackwork embroidery design on the sitter's clothes.

 

Above is a Portrait of a Woman by Hans Holbein the Younger (circa 1532-1534) at the Morgan Library & Museum.  

 

 

 

 

My Latest Book is now Available at Barnes & Noble

My most recent book, 16th to 18th Century Double-Running Stitch Embroidery Patterns, is now available at Barnes & Noble (as well as on Amazon). 

Click here to order it!

  

My Embroidery Books are on Amazon and Barnes & Noble!

Have you ordered one of my embroidery books yet? 😀 My author profile on Amazon can be found here.

 

-  Patterns from 16th Century Pattern Books (Modelbücher)

 

-  16th to 18th Century Double-Running Stitch Embroidery Patterns

 

-  Pre-18th Century Embroidery Patterns

 

 

 

My latest embroidery book is also available with Barnes and Noble!  

 

- 16th to 18th Century Double-Running Stitch Embroidery Patterns eBook 

 

 

 

 

Who was Susanna Horenbout?

Susanna Horenbout (later anglicized to Susannah Hornebolt) was the daughter of Flemish artist, Gerard Hornebolt, and sister of Lucas Horenbout (Court Miniaturist of King Henry VIII of England from September 1525 to his death in 1544). She learned to paint with her father. She gained recognition in Antwerp in 1521 when Albrecht Dürer bought her illumination, The Savior. Dürer marveled “that a woman should be able to do such work.”And she was only 18 years old at the time!

The Horenbout family came to England in the early to mid 1520s (most likely 1522). Previously, Gerard Horenbout had worked for Archduchess Margaret of Austria (Regent of the Netherlands). The family then relocated to England to work at Henry VIII's court. 

She worked as a manuscript illuminator and painter of miniatures. Susanna also served as a gentlewoman in the households of at least four of Henry VIII’s six wives: Jane Seymour, Anne of Cleves, Katherine Howard, and Katherine Parr.

Around 1525-1526, Susanna married John Parker, a courtier in the court of Henry VIII, who was Keeper of the Palace of Westminster and Yeoman of the King's Crossbows, and later Yeoman of the King's Robes. Parker died in September 1537

On September 22, 1539 at St. Margaret's Church in Westminster, she married John Gilman, who was to become, Serjeant of the King's Woodyard.

In 1540, Susanna became a member of Queen Anne of Cleves's privy chamber and was responsible for four servants. The queen considered her the "first of her gentlewomen."

Also around 1540, Susanna and her husband had their first child, a son named Henry Gilman (1540-1593). King Henry VIII was their son's godfather. 

Susanna and Gilman had two sons and at least two daughters during the course of their marriage.

Her time of death is not completely known, except that she was deceased by 1554 when Gilman married for a third time. 

In 1567, Italian writer Lodovico Guicciardini praised Susanna as “an excellent painter, especially in making of very small works [miniatures] beyond all belief; and most excellent in illuminating [manuscripts] so that the great King Henry VIII brought her to England with great gifts and provisions.” 

She was also mentioned by Giorgio Vasari in his masterwork, Lives of the Artists. He included her among a small list of women "who have been excellent miniaturists."

 

Susanna Horenbout, Mary Tudor, c. 1546, Compton Verney Gallery, UK

Notice the blackwork embroidery on the inside of the partlet that Mary Tudor is wearing in the miniature portrait?

 

 

         Works Cited:

- "Susanna Horenbout: Forgotten Female Artist at the Tudor Court." Daily Art Magazine. https://www.dailyartmagazine.com/susanna-horenbout/.

- "The Lost Works of Susanna Horenbout." Art Her Story. https://artherstory.net/the-lost-works-of-susanna-horenbout-female-artist-at-the-tudor-court/. 

- "Susannah Hornebolt." https://en.wikipedia.org/wiki/Susannah_Hornebolt. 

- "Susannah Hornebolt, Artist at the Tudor Court." https://www.monstrousregimentofwomen.com/2021/01/susannah-hornebolt-artist-at-tudor-court.html. 

 

Another Miniature Painting with Blackwork Embroidery in it Painted by Hans Holbein the Younger?

When working on an unrelated project, I ended up finding myself looking at another potential Holbein miniature with the Royal Collection Trust. 

 

 

 

When enhancing this photograph, there is obviously blackwork embroidery on the man's collar. This portrait does look like it's been inspired by Holbein. As the RCT states, "The art of miniature painting was still in its infancy during the first quarter of the sixteenth century." Perhaps this miniature was painted in Hans Holbein the Younger's workshop? Maybe it was painted by Lucas Horenbout or Susanna Horenbout, or another artist?

 

According to the RCT, "The locket in which the miniature was originally framed bears an inscription identifying the sitter as Guildford and the artist as Hans Holbein the Younger... Examination of the technique used suggests that the miniature may be a contemporary work of c. 1530–5, although by a less skilful hand than Holbein’s." Guildford is in reference to "Sir Henry Guildford (1489–1532), Comptroller of the Royal Household to Henry VIII, was incorrect, but unsurprising. Guildford is shown at the age of 38 in a portrait by Hans Holbein the Younger dated 1527 in the Royal Collection (RCIN 400046) and cannot therefore be the much younger man represented in this near-contemporary miniature, despite the superficial resemblance between the two figures, and the similar, assertive pose deployed in both images." 

 

 

Above is the portrait of Sir Henry Guildford, painted by Hans Holbein the Younger in 1527. The man in the above miniature looks too young, especially for being painted circa 1530-1535, compared to this other portrait of Guildford. So, most likely not the same man and therefore incorrect, as quoted by the RCT above. Guildford was married twice, but did not have any children.

 

Regardless of who the sitter was, I am fascinated by the blackwork embroidery present! 

 

 

This is my interpretation of the embroidery pattern found in columns along the collar in the sitter's miniature portrait.