Portrait of a Woman, Aged 34 - Hans Holbein the Younger
Archival giclée
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Description
A precise Northern Renaissance portrait by Hans Holbein the Younger, capturing a woman at the age of thirty-four with characteristic clarity and detail.
This portrait by Hans Holbein the Younger displays the precision and observational clarity characteristic of his work during the Northern Renaissance. The subject, a woman aged thirty-four, is depicted against a dark, neutral background that directs attention to her features and attire. Holbein employs a controlled technique, using fine brushwork to render the textures of her clothing and the subtle contours of her face.
The sitter wears a distinctive white cap, which frames her face and provides a stark contrast to the dark backdrop. Her yellow bodice, trimmed with dark bands and decorative elements, reflects the fashion of the period. The inscription at the base of the frame, which identifies her age, is a common feature in Holbein's portraiture, grounding the work in a specific moment of the subject's life. The composition is balanced and direct, avoiding unnecessary ornamentation to focus on the individual's presence.
Holbein's ability to capture the likeness of his subjects with such accuracy made him a sought-after painter in the sixteenth century. His work often combines a realistic approach with a sense of psychological distance. This piece is an example of his skill in portraiture, where the artist balances the representation of social status through dress with the personal character of the sitter. The muted colour palette and the focus on linear detail are typical of his approach to panel painting. This print captures the clarity of the original, allowing for a close examination of the artist's method and the historical context of the sitter's appearance.
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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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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.
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
Portrait of a Woman, Aged 34 - 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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