Editing Hans Holbein the Younger (section)

=== England, 1526–1528 ===
[[File:Hans Holbein, the Younger - Sir Thomas More - Google Art Project.jpg|thumb|upright|left|''[[Portrait of Sir Thomas More]]'', 1527. Oil and tempera on oak, [[Frick Collection]], New York City]]
Holbein broke his journey towards [[Antwerp]], where he delivered a recommendation from Erasmus to [[Pieter Gillis]].<ref name=":02">{{Cite book|title=Holbein, Zeichnungen vom Hofe Heinrichs VIII|publisher=Harcourt Brace Jovanovich, Publishers|year=1988|isbn=0-384-23843-2|pages=9}}</ref> In Antwerp, he also bought some oak panels and may have met the painter [[Quentin Matsys]].<ref>Bätschmann & Griener, 158.</ref> Gillis then seemed to have sent Holbein to the Court of England,<ref name=":02" /> where Sir [[Thomas More]] welcomed him to and found him a series of commissions. "Your painter, my dearest Erasmus," he wrote, "is a wonderful artist".<ref>Bätschmann & Griener, 160. Letter of 18 December 1526.</ref><ref name=":02" /> Holbein painted the famous ''[[Portrait of Sir Thomas More]]'' and another of More with his family. The group portrait, original in conception, is known only from a preparatory sketch and copies by other hands.<ref>Strong, 4; Wilson, 157–58. Strong suggests, with others, that More sent the sketch, which is now in Basel, to Erasmus as a gift; Wilson casts doubt on this, deducing from remarks by Erasmus that the gift was a finished version of the group portrait, since lost.</ref> According to art historian Andreas Beyer, it "offered a prelude of a genre that would only truly gain acceptance in Dutch painting of the seventeenth century".<ref>Beyer, 68.</ref> Seven fine-related studies of More family members also survive.<ref>For example: [[:File:John More, son of Sir Thomas More, by Hans Holbein the Younger.jpg|''Portrait Study of John More'']] and [[:File:Elizabeth Dauncey, by Hans Holbein the Younger.jpg|''Portrait Study of Elizabeth Dauncey'']]. "This group of drawings ranks among the supreme masterpieces of portraiture and surpasses in quality the more schematic and rapidly executed drawings of Holbein's later years." Waterhouse, 18.</ref>

During this first stay in England, Holbein worked largely for a humanist circle with ties to Erasmus. Among his commissions was the portrait of [[William Warham]], [[Archbishop of Canterbury]], who owned a Holbein portrait of Erasmus.<ref>[[:File:William Warham, Archbishop of Canterbury by Hans Holbein the Younger.jpg|''Portrait of William Warham, Archbishop of Canterbury''.]]</ref> Holbein also painted the [[Bavaria]]n astronomer and mathematician [[Nicholas Kratzer]], a tutor of the More family whose notes appear on Holbein's sketch for their group portrait.<ref>Strong, 4. [[:File:Hans Holbein d. J. 037.jpg|''Portrait of Nicholas Kratzer'']].</ref> Although Holbein did not work for the king during this visit, he painted the portraits of courtiers such as Sir [[Henry Guildford]] and his wife Lady Mary,<ref>[[:File:Hans Holbein d. J. 057.jpg|''Portrait of Sir Henry Guildford'']] and [[:File:Hans Holbein the Younger - Mary, Lady Guildford.jpg|''Portrait of Mary, Lady Guildford'']].</ref> and of Anne Lovell, identified in 2003 or 2004<ref>"Who was Holbein's Lady with a squirrel and a starling?"[https://www.thefreelibrary.com/Who+was+Holbein%27s+Lady+with+a+squirrel+and+a+starling%3F+Ever+since+it...-a0116733377]"Gothic: art for England, 1400–1547, Victoria & Albert Museum"[https://www.theartnewspaper.com/archive/what-s-on-london-museums-and-galleries-gothic-art-for-england-1400-1547-victoria-and-albert-museum]</ref> as the subject of ''[[A Lady with a Squirrel and a Starling|Lady with a Squirrel and a Starling]]''.<ref>Wilson, 140; Foister, 30; King, 43–49. Anne Lovell's husband was Sir Francis Lovell, an [[esquire of the body]] to [[Henry VIII]].</ref> In May 1527, "Master Hans" also painted a panorama of the siege of [[Thérouanne]] for the visit of French ambassadors. With Kratzer, he devised a ceiling covered in planetary signs, under which the visitors dined.<ref>Strong, 4; Claussen, 50.</ref> The chronicler [[Edward Hall]] described the spectacle as showing "the whole Earth, environed with the sea, like a very map or cart".<ref>North, 21.</ref>