Mark of Valentin Curio - Hans Holbein the Younger
Archival giclée
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Description
A sixteenth-century woodcut printer's mark by Hans Holbein the Younger, designed for the Basel publisher Valentin Curio.
This woodcut, attributed to Hans Holbein the Younger, functions as a printer's mark for the Basel-based publisher Valentin Curio. During his time in Basel, Holbein produced numerous designs for book illustrations, title pages, and printer's devices, which were essential for the burgeoning printing industry of the sixteenth century. The composition displays the characteristic precision and classical influence that defined Holbein's graphic work.
The design features a central architectural frame, typical of Renaissance humanist aesthetics, populated by putti. These figures support a central shield that bears the mark of the printer. The surrounding structure incorporates classical columns and decorative elements that suggest a familiarity with Italian architectural motifs, which Holbein adapted into his own northern European style. The use of line is controlled and deliberate, allowing for clear reproduction in printed volumes of the period.
Valentin Curio was a significant figure in the Basel printing trade, and this mark would have appeared on the title pages of books he published. The inclusion of the name 'VALENTINVS CVRIO' within the upper arch identifies the patron clearly. The work demonstrates the collaborative relationship between artists and printers during the Reformation era, where the visual identity of a publishing house was as important as the text itself. The balanced arrangement of the figures and the architectural elements provides a sense of order and stability, reflecting the intellectual rigour associated with the scholarly texts produced by Curio's press. This print offers a glimpse into the professional life of one of the most accomplished artists of the sixteenth century, showing his ability to work within the constraints of small-scale commercial design while maintaining a high standard of draughtsmanship.
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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
Mark of Valentin Curio - 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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