The Duke - Hans Holbein the Younger
Archival giclée
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Description
A striking woodcut from Hans Holbein the Younger's Dance of Death series, depicting a nobleman confronted by the figure of mortality.
This woodcut, titled Der Hertzog (The Duke), belongs to the famous Dance of Death series by Hans Holbein the Younger. Executed in the early sixteenth century, these small-scale prints explore the universal nature of mortality. Holbein depicts a powerful nobleman, dressed in ermine-trimmed robes, being confronted by a skeletal figure representing Death. The skeleton, adorned with a wreath, reaches out to claim the Duke, who appears caught in a moment of surprise or resistance.
Behind the Duke, a small child and a woman look on, adding a layer of domestic tragedy to the scene. The composition is tight and focused, typical of the woodcut medium, where every line serves to define form and shadow within a limited space. Holbein uses precise, economical strokes to render the textures of the Duke's clothing and the bony structure of the figure of Death. The architectural backdrop provides a sense of place, yet the focus remains on the interaction between the living and the inevitable end.
Holbein designed these images to be accessible to a wide audience, reflecting the social anxieties of the Reformation era. The series was cut by Hans Lützelburger, whose technical skill allowed for the fine detail visible in the original blocks. This print offers a clear view into the artistic concerns of the Northern Renaissance, where the memento mori theme was a common subject for reflection. The stark contrast between the status of the Duke and the equality imposed by Death remains a compelling visual narrative. This museum-grade print captures the sharp lines and historical character of the original woodcut, making it a suitable addition for those interested in early modern print culture and the history of graphic art.
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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
The Duke - 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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