The Woman of Tekoah - Hans Holbein the Younger
Archival giclée
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Description
A precise woodcut by Hans Holbein the Younger depicting the biblical narrative of the woman of Tekoah petitioning King David.
This woodcut by Hans Holbein the Younger depicts a scene from the Second Book of Samuel, where the wise woman of Tekoah petitions King David. Holbein, a master of the Northern Renaissance, demonstrates his precision in this small-scale work. The composition is divided into two distinct zones: the interior chamber where the king sits upon his throne, and the exterior terrace where a secondary figure kneels in prayer.
Holbein employs a clear, linear style typical of his book illustrations. The figures are rendered with sharp outlines, and the drapery of the woman's robes is defined by economical, parallel hatching. The king is positioned on the left, his posture conveying authority, while the woman of Tekoah gestures towards him, her body angled to draw the viewer's eye across the frame. The architectural elements, such as the tiled floor and the balustrade, provide a sense of spatial depth despite the two-dimensional nature of the woodcut medium.
This print belongs to a series of biblical illustrations that Holbein produced during his time in Basel. These works were intended for wide distribution, often appearing in printed bibles or devotional texts. The artist avoids unnecessary ornamentation, focusing instead on the narrative clarity of the biblical event. The contrast between the dark ink and the paper surface creates a crisp visual experience, allowing the viewer to observe the subtle expressions on the faces of the characters. Holbein's ability to convey complex human interactions within a restricted format is evident here, as the tension between the monarch and his subject is captured through posture and gesture alone. This piece offers a glimpse into the technical skill required for sixteenth-century printmaking, where every mark was carved with intent to communicate a story to a literate public.
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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 Woman of Tekoah - 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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