Erasmus with the Statue of Terminus - Hans Holbein the Younger
Archival giclée
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Description
A detailed woodcut by Hans Holbein the Younger, portraying the scholar Erasmus alongside the Roman deity Terminus within a classical architectural frame.
This woodcut depicts the Dutch humanist Desiderius Erasmus, a figure of immense intellectual weight during the Northern Renaissance. Hans Holbein the Younger, known for his precise draughtsmanship, presents the scholar standing within an elaborate architectural frame. Erasmus rests his hand upon a bust of Terminus, the Roman god of boundaries. This choice of iconography reflects the scholar's personal motto, Concedo Nulli, or I yield to none, which he adopted after receiving a seal featuring the deity from his friend, Archbishop William Warham.
The surrounding structure is typical of the period, incorporating classical motifs such as herms, swags of fruit, and putti. The composition is balanced and symmetrical, drawing the eye toward the central figure of Erasmus, who is rendered with characteristic gravity. The lower portion of the print features a cartouche containing Latin verse, which praises both the subject and the artist. The lines acknowledge the skill of Holbein, who was a frequent collaborator with Erasmus, having illustrated several of his publications.
Holbein's line work is controlled and deliberate, defining the folds of the scholar's robes and the textures of the stone architecture with equal clarity. The print functions as a visual dialogue between the humanist and the classical past, using the language of Renaissance humanism to frame the identity of one of its most influential thinkers. The inclusion of the Terminus bust serves as a reminder of the philosophical rigour that defined Erasmus's life and work. This print offers a window into the intellectual culture of the sixteenth century, capturing the intersection of classical learning and contemporary portraiture.
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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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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
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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
Erasmus with the Statue of Terminus - 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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