Margaret Roper - Hans Holbein the Younger
Archival giclée
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Description
A portrait miniature of Margaret Roper by Hans Holbein the Younger, capturing the scholar in her thirtieth year with precise detail and characteristic Tudor style.
This portrait of Margaret Roper, the eldest daughter of Sir Thomas More, is a fine example of the miniature painting style developed by Hans Holbein the Younger during his tenure at the Tudor court. Executed in watercolour on vellum, the work captures the subject with a precision that reflects the artist's mastery of detail and observation. Margaret is depicted in a three-quarter view, her gaze directed slightly away from the viewer, suggesting a contemplative nature. She wears a dark gown with a fur stole and a characteristic gable hood, a common headpiece for women of the period. The inclusion of a small book in her hands serves as a reference to her reputation as a scholar and translator, traits for which she was widely recognised among the humanist circles of the sixteenth century. The circular format, or roundel, was a popular choice for portrait miniatures of the era. Holbein uses a deep blue background to create a contrast with the dark tones of the subject's attire, while the inscription 'AETATIS XXX' (at the age of 30) provides a clear temporal marker for the sitter. The application of paint is delicate, allowing for the rendering of textures such as the soft fur of the stole and the fine lace at her collar. Holbein's ability to convey the personality of his sitters through subtle facial modelling is evident here, as he balances the formal requirements of a court portrait with a sense of individual character. This print reproduces the clarity and colour of the original vellum, offering a view into the private world of the Tudor intellectual elite.
Return policy
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. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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.
Margaret Roper - Hans Holbein the Younger
Our Features
Designed for Lasting Impact
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
- Choose poster, framed print, canvas or framed canvas
- 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
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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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