Self Portrait - Hans Holbein the Younger
Archival giclée
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Description
A direct and observant self-portrait by Hans Holbein the Younger, rendered in coloured chalks and ink on paper during his final years.
This small-scale portrait, executed in coloured chalks and ink on paper, provides a direct encounter with the artist Hans Holbein the Younger. Created during the final years of his life, the work captures the artist at age forty-five. The Latin inscription at the top, IOANNES HOLPENIVS BASILEENSIS SVI IPSIVS EFFIGIATOR, identifies the subject as the Basel-born painter himself.
Holbein employs a restricted palette, relying on the warm, golden tone of the paper to provide a luminous background. His technique is precise, demonstrating the observational rigour that defined his career as a court painter to Henry VIII. The rendering of the beard, the texture of the cap, and the subtle modelling of the facial features reveal a mastery of line and shadow. Unlike the elaborate, symbolic portraiture he produced for his royal patrons, this study is stripped of artifice. It focuses entirely on the physical presence of the sitter.
The composition is tight, cropped closely to the head and shoulders, which forces the viewer to engage with the artist's steady, intelligent gaze. The work is not merely a record of appearance but a demonstration of the artist's ability to translate human character into a two-dimensional medium. The economy of the drawing, combined with the careful application of colour, creates a sense of immediacy that remains effective centuries later. This piece is a rare example of Holbein turning his analytical eye upon himself, offering a glimpse into the persona of one of the most capable draughtsmen of the sixteenth century. It remains a primary reference for the artist's physical appearance, as few other authentic likenesses exist.
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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
Self Portrait - 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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