Elena Rossi
Sir Thomas More (1478–1535) sat for a now-lost portrait by Hans Holbein the Younger at the height of his political career, shortly before he was promoted to Lord Chancellor, the highest-ranking office in Tudor England. The original painting was destroyed in a fire in 1752, but several sixteenth-century copies and Holbein's preparatory sketches have survived. One of the most notable copies was produced by Rowland Lockey (active 1593-1616) in 1592. In this article, we will explore the existence of curvilinear lines in the various iterations of the Sir Thomas More portrait.
| Characteristics | Values |
|---|---|
| Artist | Hans Holbein the Younger |
| Year | 1527 |
| Medium | Oil on panel |
| Current location | Frick Collection, New York |
| Previous locations | Rome (by 1631); London (by 1858); 1 East 70th Street, New York City (1912) |
| Subject | Sir Thomas More |
| Subject's attire | Gold livery chain, fur-trimmed coat, red-velvet sleeves |
| Other figures | Thomas More's family, including his wife, daughters, father, son, daughter-in-law, and jester |
| Copies | Yes, by Rowland Lockey and others |
| Original painting status | Destroyed in a fire in 1752 |
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What You'll Learn
The original painting by Holbein was destroyed in a fire in 1752
The original painting of Sir Thomas More and his family by Hans Holbein the Younger was destroyed in a fire in 1752. Holbein was a German-Swiss painter and printmaker who worked in a Northern Renaissance style and is considered one of the greatest portraitists of the 16th century. He travelled to England in 1526 and was welcomed into the humanist circle of Thomas More, quickly building a high reputation.
The original painting was lost in an 18th-century fire at Schloss Kremsier (Kroměříž Castle), the Moravian residence of Carl von Liechtenstein, archbishop of Olomouc. The fire also destroyed a significant number of other valuable artworks housed at the castle. The loss of Holbein's original painting is considered a major cultural tragedy, as it was regarded as one of the finest examples of early English Renaissance portraiture.
Several sixteenth-century copies and Holbein's annotated preparatory sketches have survived. One of the most notable copies was produced by Rowland Lockey (active 1593-1616) in 1592. Lockey's versions, held in collections such as Nostell Priory and the National Portrait Gallery, provide valuable insights into Holbein's composition. These copies closely follow the original design, with slight variations in the arrangement of figures and details of the setting.
The version at Nostell Priory is described as "the only faithful, same-size representation of the lost original" and includes other members of More's household, such as his secretary, his "fool", and his pet monkey. A new figure in the Nostell Priory version is the secretary John Harris, who peeps out from the entrance on the right, emphasising the intellectual inclinations of the family and balancing the composition of the painting.
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Seventeenth-century copies of the painting exist
The original painting of "Sir Thomas More and His Family" by Hans Holbein was lost in a fire in the 18th century. However, there are several surviving copies of the painting from the 17th century, indicating its significance and the desire to preserve it for future generations.
One notable copy from the 17th century is attributed to Rowland Lockey (active 1593-1616), an English painter and goldsmith known for copying earlier portraits. Lockey's version, dated 1592, is considered "the only faithful, same-size representation of the lost original." It is currently held at Nostell Priory in Yorkshire, England, and is described as an exact reproduction of Holbein's original masterpiece.
Another 17th-century copy is mentioned as being in Rome in 1631, as part of the collection of Cardinal Pier Paolo Crescenzi. This copy may have come into the cardinal's possession through inheritance or acquisition, and its whereabouts after this mention are unknown.
The existence of these 17th-century copies is significant as they provide valuable insights into the composition, arrangement, and details of the original painting by Holbein. They also showcase the continued interest and appreciation for Holbein's work, even after the original was lost.
The 17th-century copies of "Sir Thomas More and His Family" are important not only for their historical value but also for their artistic merit. They offer a glimpse into the innovative and influential work of Holbein, allowing us to appreciate the composition, subject matter, and technical skills that characterised his English period.
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The painting depicts Thomas More at the height of his political career
The painting "Sir Thomas More" by Hans Holbein the Younger captures Thomas More at the height of his political career, shortly before he was promoted to Lord Chancellor, the highest-ranking office in Tudor England. The painting, created in 1527, presents More as an authoritative statesman, adorned with a gold livery chain symbolising his service to the king. The chain's S-shaped links may represent the motto "Souvent me souvient" (Think of me often), while the Tudor rose at its centre is the traditional heraldic emblem of England.
Holbein's remarkable skill in rendering colours and textures is evident in the painting. He meticulously captures More's grey stubble, the opulent fur trim of his coat, and the lush, voluminous red velvet sleeves of his doublet. The dark palette of More's attire, including his fur-lined velvet robe, and the green drapery behind him, heighten the focus on his intent gaze. Holbein's attention to detail extends to More's salt-and-pepper whiskers, adding to the overall realism of the portrait.
The painting has a rich history, with its journey marked by various owners and locations. In 1631, it was mentioned as being in the collection of Cardinal Pier Paolo Crescenzi in Rome, considered so valuable that it was "not to be had for any price." Over the centuries, it passed through different hands, eventually making its way back to London by 1858. In 1912, it was purchased by Henry Clay Frick, and it currently resides at Frick Madison in New York City.
The original painting by Holbein was destroyed in a fire in 1752 at Schloss Kremsier (Kroměříž Castle) in the Moravian residence of Carl von Liechtenstein, archbishop of Olomouc. However, several sixteenth-century copies and Holbein's annotated preparatory sketches have survived. One of the most notable copies is by Rowland Lockey, dated 1592, which is considered "the only faithful, same-size representation of the lost original." This copy is currently at Nostell Priory in Yorkshire, England.
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The painting is known for its colours and textures
The painting "Sir Thomas More" by Hans Holbein the Younger is known for its remarkable use of colours and textures. Holbein's skill in rendering colours and textures is evident in the way he captures the intricate details of More's appearance. From the subtle grey tones of his stubble to the luxurious texture of the fur trim on his coat, the painting showcases a mastery of colour and texture. The lush, voluminous red velvet sleeves of his doublet also add a rich depth to the composition.
The painting is also known for its use of colour to heighten the focus on the subject's face and expression. The dark palette of More's fur-lined velvet robe and the green drapery behind him serve to accentuate his features and intense gaze. This strategic use of colour and lighting demonstrates Holbein's expertise in portraiture and his ability to capture the essence of his subject.
In addition to the colours and textures of Sir Thomas More's attire, the painting also includes a variety of other elements that contribute to its overall visual appeal. One notable feature is the inclusion of a monkey in the composition. The monkey, chained to the chair of More's wife, Alice, adds a sense of dynamism and playfulness to the scene. The sketch for this painting, by Holbein, specifically mentions the presence of the monkey, indicating its intentional inclusion in the final composition.
The painting also incorporates symbolic elements, such as the gold livery chain adorned by Sir Thomas More. This chain represents his service to the king, with the S-shaped links possibly alluding to the motto "Souvent me souvient" ("Think of me often"). At the centre of the chain is a Tudor rose, the traditional heraldic emblem of England. These symbolic details add a layer of depth and significance to the painting, enhancing its overall impact.
The colours and textures in "Sir Thomas More" are not limited to the main subject but extend to the surrounding details as well. The green velvet casing of a prayer book held by More's wife, Alice, is a beautiful example of Holbein's attention to detail. This rich colour and luxurious texture contribute to the overall sense of opulence and refinement conveyed in the painting.
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The painting has changed hands many times
The painting "Sir Thomas More" by Hans Holbein the Younger has indeed changed hands many times over the centuries. The work, completed in 1527, depicts More at the height of his political career, shortly before he was promoted to Lord Chancellor, the highest-ranking office in Tudor England. Unfortunately, the original painting was destroyed in a fire in 1752 at Schloss Kremsier (Kroměříž Castle) in the Moravian residence of Carl von Liechtenstein, archbishop of Olomouc. The loss of Holbein's original is considered a major cultural tragedy as it was regarded as one of the finest examples of early English Renaissance portraiture.
Despite the destruction of the original, the painting's journey and ownership history are notable. In the 16th century, shortly after More's death, French cardinal Matthieu Cointerel owned "a painting of Thomas More." Upon Cointerel's death in 1585, the painting passed to Virgilio Cesarini, the father of Cardinal Pier Paolo Crescenzi in Rome. The Crescenzi family owned the panel for centuries until the mid-18th century when the last member of the family, Violante, married into the Bonelli family, and the painting passed to their son, Pio Camillo Bonelli.
By 1858, the painting had returned to London and was in the possession of the dealer Farrer. It then changed hands again by 1864, ending up with the Huth family of merchant bankers. In 1912, Henry Clay Frick, advised by the critic Roger Fry, purchased the painting from Edward Huth for £55,000. It remained in the Frick family's possession, and in 2021, the painting was installed at Frick Madison in New York City, marking the most recent stop on its long journey.
It is worth noting that several sixteenth-century copies and Holbein's annotated preparatory sketches have survived. One notable copy is by Rowland Lockey (active 1593-1616), dated 1592, which is now at Nostell Priory in Yorkshire, England. Lockey created three versions: a copy of the original and two of Thomas More II's family. The National Portrait Gallery owns the larger picture, while the Victoria and Albert Museum possesses the miniature version.
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