Saint John beholding the seven golden candlesticks - Hans Holbein the Younger
Archival giclée
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Description
A detailed woodcut by Hans Holbein the Younger depicting a visionary scene from the Book of Revelation with precise, linear execution.
This woodcut by Hans Holbein the Younger depicts a vision from the Book of Revelation. The composition features the figure of Christ standing amidst seven golden candlesticks, with the apostle John prostrate in the foreground. Holbein employs a precise, linear style characteristic of early sixteenth-century German printmaking. The work demonstrates his ability to translate complex theological narratives into clear, graphic forms.
The figure of Christ is surrounded by a radiant nimbus, with a sword emerging from his mouth, a literal interpretation of the biblical text. The seven candlesticks are arranged in a semi-circle, creating a sense of depth despite the two-dimensional nature of the medium. The clouds, rendered with rhythmic, parallel hatching, provide a celestial backdrop that separates the divine encounter from the earthly realm.
Holbein, better known for his portraiture, produced several series of woodcuts during his time in Basel. These prints were often intended for book illustration, requiring a high degree of clarity and economy of line. The contrast between the solid black ink and the white paper creates a stark, dramatic effect. This print reflects the broader interest in apocalyptic imagery that permeated European art during the Reformation period. The attention to detail in the candlesticks and the drapery of the figures shows the artist's technical precision. This piece offers a glimpse into the graphic output of a master painter who was equally adept at working on a miniature scale for the printing press.
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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
- 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
Saint John beholding the seven golden candlesticks - 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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