Hiram and Solomon - Hans Holbein the Younger
Archival giclée
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Description
A precise woodcut by Hans Holbein the Younger depicting the biblical meeting between King Solomon and Hiram of Tyre.
This woodcut by Hans Holbein the Younger depicts a scene involving King Solomon and Hiram, the King of Tyre. The composition is typical of Holbein's work for the printing press, where clarity and narrative economy take precedence. Solomon sits upon a throne, holding a sceptre, while Hiram kneels before him, presenting a document or object. A third figure stands between them, acting as an intermediary. The background features a curtain with a repeating diamond pattern, a common device in sixteenth-century printmaking to suggest a royal interior without requiring extensive architectural detail.
Holbein was a master of the woodcut medium, having produced numerous designs for book illustrations during his time in Basel. His lines are precise and economical, defining form through contour rather than heavy shading. This approach allowed for clear reproduction in the printed books of the era. The figures are rendered with a sense of naturalism, their clothing reflecting the fashion of the period rather than the historical setting of the biblical narrative. The interaction between the figures is direct, focusing on the exchange taking place. This print demonstrates the technical skill required to translate complex compositions into the relief printing process, where every mark must be carved away from the block. The work is part of a larger tradition of biblical illustration that circulated widely across Europe, influencing visual interpretations of these stories for generations. The print captures the formal nature of courtly interaction, with the kneeling posture of Hiram indicating his deference to the seated Solomon. The composition is balanced, with the vertical lines of the curtain providing a stable backdrop for the figures in the foreground.
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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
Hiram and Solomon - 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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