Finally, in the Bodleian Library is a manuscript by Edward Morgate, dedicated to Henry Frederick, Earl of Arundel, dated July 8, 1654, entitled "Miniatura, or the Art of Limning," in which it is stated that "the incomparable Holbein, in all his different and various methods of painting, either in oyle, distemper, lymning, or crayon, was, it seems, so general an artist as never to imitate any man, nor ever was worthily imitated by any."
AFTER SIR A. VAN DYCK.
| FRANCES HOWARD, COUNTESS OF SOMERSET. | PETER OLIVER. | ARABELLA STUART. (Capt. J. H. Edwards, Heathcote.) |
But whilst it seems impossible to dispute that Holbein certainly did paint miniatures, the claims of individual specimens to be considered as his handiwork are, of course, open to question, since none of his works of this nature are known to be signed. It may, therefore, be worth while to state what little evidence can be gleaned about some of the best known pieces which are attributed to Holbein. There are at least six in the King's collection at Windsor; of these two are of Henry VIII.; they were given to Charles I. by Theophilus Howard, second Earl of Suffolk, who died in 1640. I have described them at some length in subsequent remarks on the Royal Collection. A third example is that of Lady Audley. Here, again, we have not direct testimony, but apart from the technicalities of the execution and so forth, we have the fact that she was the daughter of Sir Brian Tuke, Treasurer of the Chamber to Henry VIII., and that a portrait of her in red chalk is among the drawings by Holbein at Windsor, the authenticity of which is, I believe, unquestioned. The fourth to be mentioned in this connection is the portrait of Queen Catherine Howard, a replica of which exists in the Duke of Buccleuch's collection. Lastly, I may mention two very interesting portraits of the sons of Charles Brandon, Duke of Suffolk. They were entered in Van der Doort's catalogue as being "done by Hans Holbein. Given to the King by Sir H. Vane."
These I have also described in Chapter XII., under "The Royal Collection," for opportunities of examining which I may express my obligation to the courtesy of the late librarian, Sir Richard Holmes. The picture of a burgomaster (given on p. 85), is one which has been assigned to Holbein, and it is also at Windsor.
Another of Henry's wives, whose portrait is ascribed to Holbein, and was, we have reason to believe, in the Royal Collection at one time, is Katherine of Arragon. Walpole says of this portrait: "It was given to the Duke of Monmouth by Charles II. I bought it at the sale of Lady Isabella Scott, daughter of the Duchess of Monmouth." When the famous Colworth Collection was dispersed, a piece, purporting to be this particular miniature, painted on vellum, was sold. It is reproduced on p. 91. Its then owner, Mr. Magniac, sent it to the South Kensington Exhibition of 1865, believing it, no doubt, to be as described in the catalogue. But had he referred to the "Anecdotes of Painting" he would have found that Walpole's description of it could not apply to this particular work, seeing that it was on a round, and on a blue ground. In the Strawberry Hill sale catalogue it is described as a "very fine specimen of the master," and was purchased by W. Blamire, Esq., for the sum of £50 8s.
A curious picture of a natural son of Henry VIII., by Lady Elizabeth Talboys, was ascribed to Holbein in the Strawberry Hill Collection. It was sold to the Duke of Buckingham for seven and a half guineas, and bears the following inscription: "Henry Duck off Richmond, ætatis sue XVo." It is painted on an ace of hearts, and was formerly in the collection of Mr. Sackville Bale, who enjoyed the reputation of being a connoisseur of good judgment. This young man, it may be mentioned, who appears to be painted in his nightdress and a most unbecoming nightcap, did not live to be eighteen years of age.
There is an interesting portrait of Holbein himself to be seen at Hertford House. As Mr. Claude Phillips, the keeper of the Wallace Collection, accepts this as Holbein's work, I shall not stop to discuss its authenticity, but I may remark that there is a duplicate of this particular subject at Montagu House. The Wallace example is in oils on card, whilst the Duke of Buccleuch's piece is in gouache, I believe, on card. The view of the face, the position of the hands, and all the details, except the length of the hair, appear identical. As to the hair, it is certainly longer in the Wallace Collection portrait. This latter piece may be thus described. Head and bust of a middle-aged man, wearing black dress and cap, with a lace open collar, holding a pencil in his right hand and looking at spectator, with whiskers and a short beard, dark in colour and rather sparse. Blue background, circular, about one and a half inches in diameter. It is inscribed "1543. Ætatis suæ 45."