Friday, 28 April 2017
Francesco Bartolozzi’s stipple etching, “The Lady of Richmond”, after Hans Holbein, 1795
Francesco Bartolozzi (1728–1815)
“The Lady of Richmond”, 1795, after Hans Holbein the Younger (1497/8–1543), from the famous series, “Persons of the Court of Henry VII”, published by John Chamberlaine (1745–1812) and printed by William Bulmer (1757–1830).
Original colour (a la poupée—a printing technique using small wads of fabric [a la poupée means "with a doll"] to add colour to the printing plate before it is rolled through the press) stipple etching on light pink wove paper (the same colour that Holbein had used for his original drawing), trimmed along the platemark.
Size: (sheet) 31.4 x 22.5 cm; (image borderline) 25.7 x 19.3 cm
Lettered within the image: (upper left) “The Lady of Richmond.”
Lettered below the image borderline: (left) "From the Original Drawing by Hans Holbien [sic]”; (centre) "IN HIS MAJESTYS COLLECTION. / Published as the Act Directs. Jan […] 1. 1795, by I. Chamberlaine.”; (right) Engraved by F. Bartolozzi, R.A. Historical Engraver to his Majesty.”
Calabi & De Vesme 1928 (Calabi, Augusto; De Vesme, Alexandre, “Francesco Bartolozzi. Catalogue des estampes et notice biographique d'après les manuscrits de A. De Vesme entièrement réformés et complétés d'une étude critique par A. Calabi”, Milan, Guido Modiano, 1928); O'Donoghue 1908-25 (O'Donoghue, Freeman; Hake, Henry M, “Catalogue of Engraved British Portraits preserved in the Department of Prints and Drawings in the British Museum”, 6 vols, London, 1908)
The British Museum holds many prints from this series; for example, see “The Lady Ratclif”: http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3222774&partId=1&searchText=BARTOLOZZI+Hans+Holbein+&page=1
Condition: extraordinarily delicate and beautifully printed impression trimmed along the platemark. The sheet is in near faultless condition but I can see the lightest of abrasions (almost invisible) above the left breast.
I am selling this superb example of colour stipple etching for the total cost of AU$296 (currently US$221.38/EUR202.38/GBP171.21 at the time of posting this listing) including postage and handling to anywhere in the world.
If you are interested in purchasing this remarkably fine print, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make the payment easy.
I suppose every family has a monster in its closet. Even the sweet face of young Mary shown here, who is known formally as The Lady of Richmond—the only daughter of Thomas Howard, third Duke of Norfolk, by his second Duchess, Elizabeth, daughter of Edward Stafford Duke of Buckingham—is only a thin disguise for a dreadful monster who brought a raft of evidence against her brother, Henry Earl of Surrey, in his iniquitous trial in 1546.
For those with a taste for history, Mary was married at a very early age to Henry Fitzroy, Duke of Richmond, who was a natural son to King Henry VIII, by the wife of Lord Talboys. I understand that her title, “The Lady”, was meant to denote her husband’s indirect relation to royalty. Mary’s husband, Henry Fitzroy, was a close friend of Mary’s brother. Sadly, Henry died when Mary was barely seventeen and only ten years before Mary brought a damning body of evidence against her brother in his trial. There must have been extraordinary circumstances driving Mary to denounce her brother in court.
(Note: the above discussion is based on published documentation from 1795 accompanying this print and there may be factual inaccuracies.)