The Whore of Babylon - Hans Holbein the Younger
Archival giclée
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Description
A detailed woodcut by Hans Holbein the Younger depicting the biblical Whore of Babylon, created for his New Testament illustration series.
This woodcut by Hans Holbein the Younger depicts a scene from the Book of Revelation. The Whore of Babylon is shown seated upon a seven-headed beast, holding a golden cup aloft. She is adorned in regal attire, reflecting the symbolic nature of the biblical narrative. To the left, a group of figures, including a king, observe the scene, while a kneeling figure in the foreground offers a gesture of reverence. The composition utilises the stark contrast inherent to the woodcut medium, with clear, defined lines creating form and texture.
Holbein produced this work as part of a series of illustrations for the New Testament, specifically for the German translation of the Bible. The print demonstrates his technical proficiency in the medium of woodcut, a craft he engaged with early in his career in Basel. The figures are rendered with a focus on clarity and narrative precision, typical of the period's approach to religious iconography. The background features simple, stylised clouds, which provide a sense of atmosphere without distracting from the primary subjects. The textures of the beast's scales and the drapery of the figures are achieved through economical use of hatching and cross-hatching, a hallmark of Holbein's graphic work.
This print offers a window into the visual culture of the Reformation era, where such imagery was used to communicate complex theological concepts to a broad audience. The work remains a clear example of the intersection between artistic production and the religious discourse of the sixteenth century. Its survival in print form allows for an examination of the techniques used by Northern Renaissance artists to disseminate their ideas through mass-produced media.
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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 Whore of Babylon - 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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