DOI Page / Citation link:
https://doi.org/10.11588/diglit.19342#0461
Society Yearbook 9 (1989), S.78 • Ainsworth 1990, S. 177 • Jean-Pierre Vanden
Branden, Le »corpusculum« d'firasme; in: Jacques Chomarat, Andre Godin,
Jean-Claude Margolin (Hg.), Actes du colloque international Erasme, Tours, 1986
(Travauxd'Humanisme et Renaissance, 239), Genf 1990, S. 225 - Virginia W. Cal-
lahan, The Erasmus-Hercules equation in the emblems of Alciati; in: Karl-Lud-
wig Selig, Elizabeth Sears (Hg.), The verbal and the visual. Essays in honor of Wil-
liam Sebastian Heckscher, New York 1990, S. 41-57 • David Starkey (Hg.),
Henry VIII. A European court in England, London 1991, S. 37 • Norbert Schnei-
der, Portraitmalerei. Hauptwerke europäischer Büdniskunst 1420-1670, Köln
1992, S. 24f, 88 • John Shearman, Only connect... Art and the spectator in the
Italian Renaissance, Princeton 1992, S. 115, Anm. 22 • Baer 1993, S. 196, Anm.40 •
Cuttler 1993, S. 370,372 • Jardine 1993, S. 45-48,78,166 • Bätschmann/Grie-
ner 1994 • On loan from a private collection: Hans Holbein the Younger
(1497/98-1543): Portrait of Erasmus; in: National Gallery Report, April 1994-
March 1995, S.20f • Miedema 1994/96, Bd. 1, S.142, Bd. 3, S.114 • Margaret
Aston, Gods, saints, and reformers: Portraiture and Protestant England; in: Lucy
Gent (Hg.), Albion's classicism: The visual arts in Britain, 1550-1660, New
Häven/London 1995, S. 181-220, 191-194 • Foister 1995, S.21 • Löcher 1995,
S. 361 f • J. Müller 1995/96, S.179-211 • Foister 1996b, S.666 • Gronert 1996,
S.75-92, 118f, 124 • Wilson 1996, S. 82-84 • Bätschmann/Griener 1997, S. 30,
157f • Susan Foister, Holbein in England. Ein Höhepunkt der Portraitmalerei;
in: Belvedere (Wien) (1997), Nr. 2, S. 42-59 • Kathke 1997, S.42f, 297 • AK
Maring & Meaning. Holbein's Ambassadors 1997, S.68f, 77 • Klinger/Hött-
ler 1998, S. lOOf, Kat. Nr. 13 • Sander 1998, S. 128 • Buck 1999, S. 48,50,59 • Zwin-
genberger 1999, S. 140 • Bätschmann 2001, S. 38f • Winner 2001, S. 155-173 •
Andreas Beyer, Das Porträt in der Malerei, München 2002, S. 122-124 • Foister
2002, S.130f, 144 • North 2002, S. 14 • Buck 2003, S. 17, 21 f
NEW YORK, Frick Collection, Inv. Nr. 12.1.77
Hans Holbein d. J., Bildnis des Thomas More, 1527
Siehe S. 276-280, Tafel 66
Materieller Bestand: Eichenholz, gedünnt und parkettiert, 74,9x60,3 cm.
Bezeichnet unten links »M. D. XXVII.«
Gemäldetechnologischer Befund: Siehe S. 278-280.
Dokumentierte Restaurierungen: Wornum (1867) wies erstmals darauf hin, daß
der Erhaltungszustand des More-Bildnisses nicht ohne Makel sei: »the eyelid and
the inside of the right eye have been injured and improperly repaired: the expres-
sion is hard and even repulsive«. Kuhn (1936) vermeldete erstmals eine Restau-
rierung des Frick-Bildnisses, das ihm »in its present condition somewhat over-
restored« vorkam. Wie Morison/Barker (1963, ebenso Lewi 1974) mitteilten,
wurde das Frick-Bildnis im Jahre 1952 durch den New Yorker Restaurator Wil-
liam Suhr gereinigt: »Düring the cleaning, the old discoloured restoration along
the crack in the face... was removed. The Operation was carefully described and
illustrated in a report to the Frick Trustees, which detailed the condition of the
painting before and at several stages during the process. X-radiographs were taken
which reveal a first image, subsequently altered and corrected, which differs from
the first painting. The size and placing of the cap, the treatment of the cloth at the
neck beneath the crossing of the für collar, and - most important - the rendering
of the features, in particular the eyes, all differ: and they differ in the same way that
the second Windsor drawing differs from the finished portrait now in the Frick
collection. It is difficult to avoid the conclusions that these alterations to the
under-painting are only explicable in terms of correction and improvement made
by the original artist, Holbein, himself as he built up the painting.« Grier in The
Frick Collection. An illustrated catalogue, I. Paintings. American, Bri-
tish, Dutch, Flemish and German (1968, ebenso Rowlands 1985) führte zu
Erhaltungszustand, zur Restaurierung von 1952 und zur Bildgenese weiterhin
aus: »The panel, which has been thinned to about 3/16 in., consists of four verti-
cal joined members, with one joint following the Line of the cord at right, a second
bisecting More's face, and the third cutting across his right Shoulder and forearm.
By 1952, when the painting was last treated, these joints and serveral vertical
cracks had become visible on the surface. The paint film had lifted slightly along
various edges of the cracks, resulting in a series of minute paint losses. Retou-
chings that had darkened were noticeable in the face and the curtain, and a small
area of the curtain and fringe in the upper right corner had suffered damage. A
considerable section of the curtain in the upper left corner had been overpainted.
AJthough the surface in this latter area is abraded, the restoration had been unne-
cessarily extensive and had completely changed the pattern of the curtain folds;
the overpaint has been removed, and the original design restored. On the whole,
the paint film is well preserved, and there is no evidence of abrasion in the face,
hands, or cloak.«
Provenienz: Spätestens seit 1811 in England (Strong 1969); seit 1858 im Besitz des
Londoner Kunsthändlers Farrer; 1866 Verkauf des Bildes für £ 1.200 an den Lon-
doner Sammler Henry Huth; Edward Huth, London; Knoedler, Old Bond Street,
London; 1912 von Henry Clay Frick, New York, für angeblich £ 50.000 erworben
(Chamberlain 1913, Morison/Barker 1963).
Kopien: Siehe S.30619.
Literatur: [Möglicherweise mit dem heute in der Frick Collection befindlichen
More-Bildnis identisch: Patin 1676, unpaginiert, Kat. Nr. 30, 41 • Dubois de
Saint-Gelais, Description des tableaux du Palais Royal, avec la vie des peintres ä
la tete de leurs ouvrages, Paris 1727, Reprint Genf 1972, S. 238f • Verst. Kat. The
Orleans Gallery, now exhibiting, at the Great Rooms, late the Royal
Academy, No.125 (Wilson, London), Pall Mall, April 1793, S.12, Los-Nr. 11 •
Hegner 1827, S. 203f] Woltmann 1866a, S. 158 • Wornum 1867, S. 220, 246 • AK
Catalogue of the first special exhibition of national portraits ending
with the reign of King James the Second on loan to the South Kensing-
ton Museum, London, 1866, S.28, Kat. Nr. 157 • Feuillet de Conches 1868,
S. 224 • Woltmann 1868, S. 176-179,462 • Bruno Meyer, Leben und Werke Hans
Holbeins des Jüngeren; in: Ergänzungsblätter zur Kenntnis der Gegenwart 5
(1869), S. 95 • Müntz 1869, S. 427 • AK Royal Academy of Arts, Burlington
House. Exhibition of the works of the Old Masters, associated with
a collection from the works of Charles Robert Leslie, R. A., and Stan-
field, R. A. MDCCCLXX. London 1870, S.13, Kat. Nr. 121 • John Cough
Nichols, Remarks on some pictures of Quintin Matsys and Holbein, in the
collection of the Earl of Radnor, at Longford Castle; in: Archaeologia 44 (1873),
S.449 • Woltmann 1874, S.339f • Woltmann 1876, S.138f, Kat.Nr. 207, 158 •
Wessely 1877, S. 68 • Mantz 1879, S. 115f, 188 • AK Exhibition of works by the
Old Masters, and by deceased Masters of the British school. Including
a collection of drawings by John Flaxman, R. A. Winter exhibition,
twelfth year. MDCCCLXXXI, London 1881, S.42, Kat.Nr.194 • Woltmann/
Woermann 1882, S. 474 • Augustus Jessopp, Holbein's portrait of Sir Thomas
More; in; Athenaeum. Journal of Literature, Science, the Fine Arts, Music, and the
Drama, 19. Juni 1886, S. 820 • Janitschek 1890, S. 459f • AK Exhibition of the
Royal House of Tudor, New Gallery, London 1890, S. 35f, Kat. Nr. 94 • Claude
Phillips, The picture gallery of Charles L, London 1896, S. 111 f • AK Exhibition
of works by the old masters, and by deceased masters of the british
school, with a selection of works by deceased french artistsj and a
collection of plate and other objects illustrating the sculptor-gold-
smith's art. Winter exhibition, twenty-seventh year. MDCCCXCVI, Lon-
don 1896, S. 33, Kat.Nr. 138 • Claude Phillips, The collection of pictures at Lon-
gford Castle; in: Art Journal (1897), S. 100 • Robinson 1900, S. 35 • Chamberlain
1902, S.ll, 59f • Davies 1903, S.118f, 213, 219 • Fortescue 1904, S.116f, 191 •
Simon 1907, S. 337 • Louis Dimier, Une exposition de portraits anglais anciens au
Burlington Fine Arts Club; in: Revue de l'art ancien et moderne 26 (1909), S. 184
• Roger E. Fry, Early English portraiture at the Burlington Fine Arts Club; in: Bur-
lington Magazine 15 (1909), S.74 • Mary F. S. Hervey, Notes on some portraits of
Tudor times; in: Burlington Magazine 15 (1909), S. 151 • AK Exhibition illu-
strative of early English portraiture, London, Burlington Fine Arts Club,
1909, S.40, 94f, Kat. Nr. 53, Tafel 18 • Ganz 1912, S.XXXI, 227, 237 • Chamber-
lain 1913, Bd.l, S.293, 299, 303f, 316f, Bd.2, S.221, 289, 340, 348 • Graves 1913.
S. 531, 534f, 537f • Casimir Stryienski, La Galerie du Regent, Philippe, Duc
458 Katalog der behandelten Werke
Branden, Le »corpusculum« d'firasme; in: Jacques Chomarat, Andre Godin,
Jean-Claude Margolin (Hg.), Actes du colloque international Erasme, Tours, 1986
(Travauxd'Humanisme et Renaissance, 239), Genf 1990, S. 225 - Virginia W. Cal-
lahan, The Erasmus-Hercules equation in the emblems of Alciati; in: Karl-Lud-
wig Selig, Elizabeth Sears (Hg.), The verbal and the visual. Essays in honor of Wil-
liam Sebastian Heckscher, New York 1990, S. 41-57 • David Starkey (Hg.),
Henry VIII. A European court in England, London 1991, S. 37 • Norbert Schnei-
der, Portraitmalerei. Hauptwerke europäischer Büdniskunst 1420-1670, Köln
1992, S. 24f, 88 • John Shearman, Only connect... Art and the spectator in the
Italian Renaissance, Princeton 1992, S. 115, Anm. 22 • Baer 1993, S. 196, Anm.40 •
Cuttler 1993, S. 370,372 • Jardine 1993, S. 45-48,78,166 • Bätschmann/Grie-
ner 1994 • On loan from a private collection: Hans Holbein the Younger
(1497/98-1543): Portrait of Erasmus; in: National Gallery Report, April 1994-
March 1995, S.20f • Miedema 1994/96, Bd. 1, S.142, Bd. 3, S.114 • Margaret
Aston, Gods, saints, and reformers: Portraiture and Protestant England; in: Lucy
Gent (Hg.), Albion's classicism: The visual arts in Britain, 1550-1660, New
Häven/London 1995, S. 181-220, 191-194 • Foister 1995, S.21 • Löcher 1995,
S. 361 f • J. Müller 1995/96, S.179-211 • Foister 1996b, S.666 • Gronert 1996,
S.75-92, 118f, 124 • Wilson 1996, S. 82-84 • Bätschmann/Griener 1997, S. 30,
157f • Susan Foister, Holbein in England. Ein Höhepunkt der Portraitmalerei;
in: Belvedere (Wien) (1997), Nr. 2, S. 42-59 • Kathke 1997, S.42f, 297 • AK
Maring & Meaning. Holbein's Ambassadors 1997, S.68f, 77 • Klinger/Hött-
ler 1998, S. lOOf, Kat. Nr. 13 • Sander 1998, S. 128 • Buck 1999, S. 48,50,59 • Zwin-
genberger 1999, S. 140 • Bätschmann 2001, S. 38f • Winner 2001, S. 155-173 •
Andreas Beyer, Das Porträt in der Malerei, München 2002, S. 122-124 • Foister
2002, S.130f, 144 • North 2002, S. 14 • Buck 2003, S. 17, 21 f
NEW YORK, Frick Collection, Inv. Nr. 12.1.77
Hans Holbein d. J., Bildnis des Thomas More, 1527
Siehe S. 276-280, Tafel 66
Materieller Bestand: Eichenholz, gedünnt und parkettiert, 74,9x60,3 cm.
Bezeichnet unten links »M. D. XXVII.«
Gemäldetechnologischer Befund: Siehe S. 278-280.
Dokumentierte Restaurierungen: Wornum (1867) wies erstmals darauf hin, daß
der Erhaltungszustand des More-Bildnisses nicht ohne Makel sei: »the eyelid and
the inside of the right eye have been injured and improperly repaired: the expres-
sion is hard and even repulsive«. Kuhn (1936) vermeldete erstmals eine Restau-
rierung des Frick-Bildnisses, das ihm »in its present condition somewhat over-
restored« vorkam. Wie Morison/Barker (1963, ebenso Lewi 1974) mitteilten,
wurde das Frick-Bildnis im Jahre 1952 durch den New Yorker Restaurator Wil-
liam Suhr gereinigt: »Düring the cleaning, the old discoloured restoration along
the crack in the face... was removed. The Operation was carefully described and
illustrated in a report to the Frick Trustees, which detailed the condition of the
painting before and at several stages during the process. X-radiographs were taken
which reveal a first image, subsequently altered and corrected, which differs from
the first painting. The size and placing of the cap, the treatment of the cloth at the
neck beneath the crossing of the für collar, and - most important - the rendering
of the features, in particular the eyes, all differ: and they differ in the same way that
the second Windsor drawing differs from the finished portrait now in the Frick
collection. It is difficult to avoid the conclusions that these alterations to the
under-painting are only explicable in terms of correction and improvement made
by the original artist, Holbein, himself as he built up the painting.« Grier in The
Frick Collection. An illustrated catalogue, I. Paintings. American, Bri-
tish, Dutch, Flemish and German (1968, ebenso Rowlands 1985) führte zu
Erhaltungszustand, zur Restaurierung von 1952 und zur Bildgenese weiterhin
aus: »The panel, which has been thinned to about 3/16 in., consists of four verti-
cal joined members, with one joint following the Line of the cord at right, a second
bisecting More's face, and the third cutting across his right Shoulder and forearm.
By 1952, when the painting was last treated, these joints and serveral vertical
cracks had become visible on the surface. The paint film had lifted slightly along
various edges of the cracks, resulting in a series of minute paint losses. Retou-
chings that had darkened were noticeable in the face and the curtain, and a small
area of the curtain and fringe in the upper right corner had suffered damage. A
considerable section of the curtain in the upper left corner had been overpainted.
AJthough the surface in this latter area is abraded, the restoration had been unne-
cessarily extensive and had completely changed the pattern of the curtain folds;
the overpaint has been removed, and the original design restored. On the whole,
the paint film is well preserved, and there is no evidence of abrasion in the face,
hands, or cloak.«
Provenienz: Spätestens seit 1811 in England (Strong 1969); seit 1858 im Besitz des
Londoner Kunsthändlers Farrer; 1866 Verkauf des Bildes für £ 1.200 an den Lon-
doner Sammler Henry Huth; Edward Huth, London; Knoedler, Old Bond Street,
London; 1912 von Henry Clay Frick, New York, für angeblich £ 50.000 erworben
(Chamberlain 1913, Morison/Barker 1963).
Kopien: Siehe S.30619.
Literatur: [Möglicherweise mit dem heute in der Frick Collection befindlichen
More-Bildnis identisch: Patin 1676, unpaginiert, Kat. Nr. 30, 41 • Dubois de
Saint-Gelais, Description des tableaux du Palais Royal, avec la vie des peintres ä
la tete de leurs ouvrages, Paris 1727, Reprint Genf 1972, S. 238f • Verst. Kat. The
Orleans Gallery, now exhibiting, at the Great Rooms, late the Royal
Academy, No.125 (Wilson, London), Pall Mall, April 1793, S.12, Los-Nr. 11 •
Hegner 1827, S. 203f] Woltmann 1866a, S. 158 • Wornum 1867, S. 220, 246 • AK
Catalogue of the first special exhibition of national portraits ending
with the reign of King James the Second on loan to the South Kensing-
ton Museum, London, 1866, S.28, Kat. Nr. 157 • Feuillet de Conches 1868,
S. 224 • Woltmann 1868, S. 176-179,462 • Bruno Meyer, Leben und Werke Hans
Holbeins des Jüngeren; in: Ergänzungsblätter zur Kenntnis der Gegenwart 5
(1869), S. 95 • Müntz 1869, S. 427 • AK Royal Academy of Arts, Burlington
House. Exhibition of the works of the Old Masters, associated with
a collection from the works of Charles Robert Leslie, R. A., and Stan-
field, R. A. MDCCCLXX. London 1870, S.13, Kat. Nr. 121 • John Cough
Nichols, Remarks on some pictures of Quintin Matsys and Holbein, in the
collection of the Earl of Radnor, at Longford Castle; in: Archaeologia 44 (1873),
S.449 • Woltmann 1874, S.339f • Woltmann 1876, S.138f, Kat.Nr. 207, 158 •
Wessely 1877, S. 68 • Mantz 1879, S. 115f, 188 • AK Exhibition of works by the
Old Masters, and by deceased Masters of the British school. Including
a collection of drawings by John Flaxman, R. A. Winter exhibition,
twelfth year. MDCCCLXXXI, London 1881, S.42, Kat.Nr.194 • Woltmann/
Woermann 1882, S. 474 • Augustus Jessopp, Holbein's portrait of Sir Thomas
More; in; Athenaeum. Journal of Literature, Science, the Fine Arts, Music, and the
Drama, 19. Juni 1886, S. 820 • Janitschek 1890, S. 459f • AK Exhibition of the
Royal House of Tudor, New Gallery, London 1890, S. 35f, Kat. Nr. 94 • Claude
Phillips, The picture gallery of Charles L, London 1896, S. 111 f • AK Exhibition
of works by the old masters, and by deceased masters of the british
school, with a selection of works by deceased french artistsj and a
collection of plate and other objects illustrating the sculptor-gold-
smith's art. Winter exhibition, twenty-seventh year. MDCCCXCVI, Lon-
don 1896, S. 33, Kat.Nr. 138 • Claude Phillips, The collection of pictures at Lon-
gford Castle; in: Art Journal (1897), S. 100 • Robinson 1900, S. 35 • Chamberlain
1902, S.ll, 59f • Davies 1903, S.118f, 213, 219 • Fortescue 1904, S.116f, 191 •
Simon 1907, S. 337 • Louis Dimier, Une exposition de portraits anglais anciens au
Burlington Fine Arts Club; in: Revue de l'art ancien et moderne 26 (1909), S. 184
• Roger E. Fry, Early English portraiture at the Burlington Fine Arts Club; in: Bur-
lington Magazine 15 (1909), S.74 • Mary F. S. Hervey, Notes on some portraits of
Tudor times; in: Burlington Magazine 15 (1909), S. 151 • AK Exhibition illu-
strative of early English portraiture, London, Burlington Fine Arts Club,
1909, S.40, 94f, Kat. Nr. 53, Tafel 18 • Ganz 1912, S.XXXI, 227, 237 • Chamber-
lain 1913, Bd.l, S.293, 299, 303f, 316f, Bd.2, S.221, 289, 340, 348 • Graves 1913.
S. 531, 534f, 537f • Casimir Stryienski, La Galerie du Regent, Philippe, Duc
458 Katalog der behandelten Werke