Holbein’s Catherine Howard in Glass

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Copyright © 2015 by Art Research Consultants

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Pictured above is the beautiful stained glass portrait of Catherine Howard by Hans Holbein the

Younger which will be referred to in this presentation as Catherine Glass.

introducing “Catherine Glass”

Dimensions:• H: 19 in. (48.5 cm)• W: 12 1/2 in. (32 cm)

Medium: • Stained Glass with 40panels

Artist:• Hans Holbein the YoungerGerman, 1497/98 – 1543

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This presentation is to authenticate the stained glass portrait by Hans Holbein the Younger of

Queen Catherine Howard so it can take its rightful place in history.

Overview

Historical Background• Portraits of Catherine Howard• Toledo Museum of Art Comparison• National Portrait Gallery Comparison• Hever Castle Long Gallery Comparison• Timeline

Evidence of Authentication• Scientific Research• Physical Condition• Signature• Colors• Portrait Comparison

Provenance• Family Collection

Conclusion

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Historical BackgroundPortraits of Catherine Howard

3 Known Portraits of Catherine Howard

Toledo Museum of Art• Date: ca. 1535-1540 (Signed by Hans Holbein)• Artist: Hans Holbein the Younger

National Portrait Gallery (NPG)• Date: Mid 17th century (Dendro: Last date of tree ring: 1609

tree was felled after 1612 and before 1644)

• Artist: After Hans Holbein the Younger

Hever Castle’s Long Gallery• Date: Mid 16th century (Dendrochronoligical analysis)• Artist: Follower of Hans Holbein the Younger

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Toledo Museum of Art Comparison

Comparing Catherine Glass to the Toledo Museum of Art portrait of Catherine Howard:

NOTE: At this time no paint analysis of this portrait is known to exist

Historical BackgroundToledo Museum of Art Comparison

“The originality of the words “ETATIS SVA 21” has been disputed by scholars as having been possibly added at a later date

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National Portrait Gallery Comparison

A January 2009 paint and layer structure analysis of the National Portrait Gallery portrait of Catherine Howard compared to Catherine Glass :

Source:http://www.npg.org.uk/collections/search/portraitConservation/mw01146/Unknown-woman-formerly-known-as-Catherine-Howard

Historical BackgroundNPG Comparison

“the presence of the lower layer of smalt suggests that it was blue.”

“A good red lake was used in the lighter passages modeling the sleeves, and large pigment particles can be seen with microscopy”

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Hever Castle’s Long Gallery Comparison

Comparing Catherine Glass to the Hever Castle’s Long Gallery portrait of Catherine Howard:

NOTE: At this time no paint analysis of this portrait is known to exist

Historical BackgroundHever Castle Comparison

The jewel is cropped in half at the bottom edge of the painting, but twelve stones can be seen surrounding the central agathe tablet, in which the scene of the Passion can be seen

The words “ETATIS SVA 21” are missing

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Forest Glass Soda Glass

Historical BackgroundTimeline

National Portrait Gallery

Mid 17th century

Toledo Museum of ArtCa. 1535-1540

~1,000 CE ~1,600 CE~1,500 CE

Catherine arrives at court

Catherine marries King Henry VIII

1539

Hans Holbein becomes court painter

1540

1543

1535

Hans Holbein the Younger dies

1500

1600

1700

Hever Castle’s Long Gallery

Mid 16th century

NOTE : All dates are approximate

Forest Glass &

Soda Glass

~1,700 CE

~158

0

Use of Forest Glass completely discontinued

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XRF Analysis (X-ray fluorescence analysis)

“Pigments and glasses appear consistent with the time period that this art work was expected to be made”

- Dr. Bruce J. Kaiser (Chief Scientist )

Evidence of AuthenticationScientific Research

# of panels examined : 9 (front and back sides)Forest Glass : • Purple vest• White rope on right sleeve• White sleeve by hand• Yellow medallion• Left white collar

Soda Glass :• Right red sleeve• Face flesh• Hair brown• Blue glass above head right

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Some elements in the paint have been know to be toxic and have not been used in artists supplies for many years

Some elements have not been used in artists supplies for many years

XRF Analysis (X-ray fluorescence analysis)

Evidence of AuthenticationScientific Research

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Glass ThicknessThickness measurements of Catherine Glass reveal that it fluctuates between 2.2 mm and 4.8 mm with not a single panel having an even thickness which is typical of hand blown period glass.

Glass QualityMost panels of Catherine Glass have a multitude of elongated air bubbles being also indicative of hand blown glass.

Evidence of AuthenticationPhysical Condition

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Dimensional ChangesThere is a 5 mm dimensional variation in the middle of Catherine Glass as well as gaps in between the glass and the lead came. Indicative of stained glass that has been upright for long periods of time.

MountingWhile not definitive proof of significant aging, the painter’s putty that secures the glass in the lead came of Catherine Glass is very dry and crumbles when touched and missing in several visible places.

Evidence of AuthenticationPhysical Condition

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Hans Holbein (the Younger) SignatureThe signature of HH on Catherine Glass measures only 3 mm by 5 mm (8X enlargement below). The minuteness is in line with the common practice at the time of denoting works of art with “secret” markings or small signatures by the artist to prove originality and to expose copies.

Additionally, throughout his career Holbein’s signatures varied greatly both in size and clarity with the smaller ones resembling more of a mark then a true signature. Below is just one example of a similar sized (small) signature of Hans Holbein the Younger.

Evidence of AuthenticationSignature

An enlargement of the signature on a drawing of Simon George (Royal Collection) ~9mm by 5mm.

5mm

8X

Actual Size

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Hans Holbein (the Younger) Drawing Style

Per Getty Museum:“As a young artist in Switzerland, Holbein often made designs for stained glass. The “A Premonstratensian Canon” is the only surviving stained-glass portrait panel associated with him. Consistent with Holbein’s oil portraits the open book indicates learning and the intense facial features show intellectual acuity”

Evidence of AuthenticationDrawing Style

Blue background similar to Catherine Glass

Similar drawing style to Catherine Glass

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40 Panels of GlassHans Holbein the Younger was a close friend and protégé of Erasmus (Reformation), There are 40 panels in Catherine Glass making the number 40 of significant importance since the number 40 has many Biblical references:

Evidence of Authentication40 Panels of Glass

• There are 40 days in Easter• 40 days Moses spent on Mount Sinai with God (Exodus 24:18)• 40 days and nights Elijah spent walking to Mount Horeb (1 Kings 19:8)• 40 days and nights God sent rain in the great flood of Noah (Genesis 7:4)• 40 years the Hebrew people wandered in the desert while traveling to the Promised Land (Numbers 14:33)• 40 days Jonah gave in his prophecy of judgment to the city of Nineveh in which to repent or be destroyed (Jonah 3:4)• Jesus retreated into the wilderness, where He fasted for 40 days, and was tempted by the devil (Matthew 4:1–2, Mark 1:12–13, Luke 4:1–2)• Traditional belief that Jesus lay for forty hours in the tomb which led to the 40 hours of total fast

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7 89

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1617 18 19

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29 3031

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34 3637

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ColorsIn comparison to the known Holbein portrait of Catherine Howard, Catherine Glass has all the same (similar) colors except the colors used in the bodice and sleeves.

Evidence of AuthenticationColors

The color purple throughout history has had the very specific meaning of Royalty, to the point that Queen Elizabeth I extended the Sumptuary Laws, making it only legal for Royalty to wear purple.Additionally, the color of the bodice in the original painting is black however this would not have made for a vibrant stained glass window.

*** IMPORTANT ***Paint Analysis of the NPG portrait shows evidence

of Red sleeves and Blue background.

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Family CollectionProvenance of Catherine Glass can be traced back into the owner’s family for over 100 years. The reason for its recent discovery and request for authentication is as follows:

The portrait has always been assumed in the family as being of “Jacoba van Beieren”. With that in mind, steps where taken to have it prepared to be authenticated by the popular TV show “Antique Roadshow”. Part of the prework were web searches which surprisingly indicated it was a portrait of Catherine Howard.

The significant historical discovery of this research and taking into account the fragility of the stained glass it was decided not to take it to the “Antique Roadshow”. Instead have it scientifically tested for its age and conduct extensive research to understand its place in history with auction or private sale in mind.

Evidence of AuthenticationProvenance

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• Scientific analysis dates the glass from early 16th century which is within the same timeframe two other paintings were completed.

• Since Catherine Glass is now the fourth known representation of the same person indicates the sitter’s significance leaving the only possible conclusion for it to be Queen Catherine Howard.

• The posture and jewelry are clearly identical to the painted portrait so that its artist must have had access to the original Holbein portrait(s) and/or a drawing(s).

• Stained glass signatures are extremely rare. The signature on Catherine Glass is similar to other Holbein signatures on known drawings.

• The purple bodice, which is indicative of Royalty, lends credibility to the other three known portraits that they must also represent Queen Catherine Howard and not a “member of the Cromwell family”.

• Paint Analysis of the NPG portrait shows evidence of Red sleeves and Blue background.

Conclusion

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Research continues in the following areas:

• In the Arrondale collection there is a reference to “Catherine Howard Cabinet”

• Kunstmuseum Basel for research on Holbein signatures

• XRF Analysis on the lead came.

Further Research

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For more information on Catherine Glass please contact:

Percy van Rijn, PMPArtResearchConsultants@gmail.com+1 949.554.3000

Contact

For more information on Catherine Glass please contact:

Percy van Rijn, PMPArtResearchConsultants@gmail.com+1 949.554.3000