Around 1497 Hans Holbein The Younger Painter 1497-1543 was born in Augsburg.
Around 1526 Hans Holbein The Younger Painter 1497-1543 (29). Portrait of John More 1508-1547 (18).
Around 1527 Hans Holbein The Younger Painter 1497-1543 (30). Portrait of Cecily More 1507-.
1527 Hans Holbein The Younger Painter 1497-1543 (30). Known as "Lady with a Squirrel and a Starling". The subject is believed to be Anne Ashby -1539 wife of Francis Lovell -1552 (18). The starling is probably intended as a rhyming pun of East Harling, where the family had recently inherited the estate of East Harling Hall East Harling. Squirrels nibbling on nuts feature on the heraldry of the Lovell family: the windows of the Church of St Peter and St Paul East Harling include two of the family's arms in stained glass, each showing six red squirrels. The commission may commemorate the birth of a son to the couple in the spring of 1526, but it also showed off their new status as wealthy landowners.
In 1527 Hans Holbein The Younger Painter 1497-1543 (30). Portrait of Henry Guildford 1489-1532 (38) wearing the Garter and Inter twined Knots Collar with St George Pendant. Standing three-quarter length, richly dressed in velvet, fur and cloth-of-gold. Holbein has meticulously shown the varied texture of his cloth-of-gold double which is woven into a pomegranate pattern with a variety of different weaves including loops of gold thread. Similarly, he has carefully articulated the band of black satin running down Guildford's arm against the richer black of the velvet of his sleeve. A lavish use of both shell-gold paint and gold leaf (which has been used to emulate the highlights of the gold thread in the material) emphasises the luxuriousness of the sitter's dress and his high status. In his right-hand he holds the Comptroller of the Household Staff of Office.
Around 1527 Hans Holbein The Younger Painter 1497-1543 (30). Drawing of Nicholas Carew of Beddington in Surrey KG 1496-1539 (31).
Around 1527 Hans Holbein The Younger Painter 1497-1543 (30). Portrait of John More 1451-1530 (76).
In 1527 Hans Holbein The Younger Painter 1497-1543 (30). Portrait of Mary Wotton 1499-1535 (28) when she was thirty-two commissioned with that of her husband Henry Guildford 1489-1532 (38) possibly to celebrate their marriage. Hung with gold chains and embellished with pearls, Baroness Guildford embodies worldly prosperity, and with her prayer book she is also the very image of propriety.
Around 1527 Hans Holbein The Younger Painter 1497-1543 (30). Portrait of Brian Tuke Secretary -1545.
Around 1533 Hans Holbein The Younger Painter 1497-1543 (36). Drawing of Thomas Elyot 1490-1546 (43).
1533 Hans Holbein The Younger Painter 1497-1543 (36). The Ambassadors.
Around 1533 Hans Holbein The Younger Painter 1497-1543 (36). Drawing of Margaret Barrow 1500-1560 (33).
Around 1535 Hans Holbein The Younger Painter 1497-1543 (38). Drawing of Catherine Willoughby Duchess Suffolk 1519-1580 (15).
Around 1535 Hans Holbein The Younger Painter 1497-1543 (38). Portrait of Thomas Wriothesley 1st Earl of Southampton 1505-1550 (29).
Around 1536 Hans Holbein The Younger Painter 1497-1543 (39). Drawing of Elizabeth Cheney Baroness Vaux Harrowden 1505-1556 (31)
Around 1536 Hans Holbein The Younger Painter 1497-1543 (39). Drawing of Thomas Wyatt 1503-1542 (33).
Around 1536 Hans Holbein The Younger Painter 1497-1543 (39). Drawing of Thomas Vaux 2nd Baron Vaux Harrowden -1556.
Around 1536 Hans Holbein The Younger Painter 1497-1543 (39). Drawing of Margaret More 1505-1544 (31) known by her married name of "Margaret Roper".
Before 1537 Hans Holbein The Younger Painter 1497-1543. Portrait of Thomas Boleyn 1st Earl Wiltshire and Ormonde 1477-1539.
Around 1537 Hans Holbein The Younger Painter 1497-1543 (40). Drawing of Elizabeth Jenks Baroness Rich Leez 1510-1558 (27).
Around 1538 Hans Holbein The Younger Painter 1497-1543 (41). Drawing of Mary Shelton 1510-1571 (28).
Around 1538 Hans Holbein The Younger Painter 1497-1543 (41). Drawing of the wife of Robert Radclyffe 1st Earl of Sussex 1483-1542 (55). He had three wives. The sitter is believed to his third wife.
After 1538 Hans Holbein The Younger Painter 1497-1543. Drawing of Elizabeth Grey Baroness Audley Waldon -1564 based on she having become Baroness Audley on 29 Nov 1538. Coloured chalks, silverpoint, pen and ink on pink-primed paper, 29.2 × 20.7 cm, Royal Collection, Windsor Castle. The drawing is inscribed, by a later hand than Holbein's, "The Baroness Audley".
Around 1539 Hans Holbein The Younger Painter 1497-1543 (42). Portrait of Anne of Cleves Queen Consort England 1515-1557 (23).
Around 1539 Hans Holbein The Younger Painter 1497-1543 (42). Portrait believed to be of Elizabeth Seymour Baroness Cromwell Oakham 1518-1556 (21).
Around 1539 Hans Holbein The Younger Painter 1497-1543 (42). Drawing of William Parr 1st Marquess Northampton 1512-1571 (27).
1540 Hans Holbein The Younger Painter 1497-1543 (43). Miniature portrait of Henry VIII King England and Ireland 1491-1547 (48).
Around 1541 Hans Holbein The Younger Painter 1497-1543 (44). Henry VIII Handing Over a Charter to Thomas Vicary, Commemorating the Joining of the Barbers and Surgeons Guilds. See Samuel Pepys' Diary 27 February 1663.
Around 1542 Hans Holbein The Younger Painter 1497-1543 (45). Drawing of William Sharington 1495-1553 (47).
Before 29 Nov 1543 Hans Holbein The Younger Painter 1497-1543 died.
Around 1627 Hans Holbein The Younger Painter 1497-1543. Portrait of Anne Cresacre 1511-1577.
Survey London Volume 4 Chelsea Part II. The Site of Beaufort House.
In the whole history of Chelsea, a history which is indeed famous, so many notable men and women has this little village known—the chief interest has centred about Beaufort House. From those early days in the 16th century, when it was the well-loved home of Sir Thomas More, until the 18th, when it was the seat of the Duke of Beaufort, it yielded to no other house in importance, not to King Henry VIII's manor house in Cheyne Walk, nor to the Earl of Shrewsbury's mansion, nor to the old manor house with which it shared the dignity of a proprietary chapel in the old Church. It did not carry with it the lordship of the manor, but its property was extensive, including practically the frontage of the Thames between Milman Street and Church Street, and its gardens stretched northwards as far as the King's Road.
The house stood across the line of the present Beaufort Street and rather nearer King's Road than the river. Between it and the way along the waterside were two large courtyards, and opposite was a quay. The remainder of the estate, south of the present King's Road, was laid out in gardens and orchards, with the exception of the stable buildings, where now is the Moravian Burial Ground, and the farmhouse and barns on the site of Lindsey House. The situation, attractive as it is now, was far lovelier then, when across the Surrey bank was a view of undisturbed wood and pasture.
Sir Thomas More lived here for some fourteen years until his attainder in 1535. He loved to escape from London and from the Court, and to give himself up to his family and his own literary pursuits in his Chelsea home, and here he entertained many friends, among whom were Erasmus and Holbein. The latter may well have designed the beautiful capitals in the More chapel, in the old church (dated 1528), which show his hand as plainly as the ceiling of the Chapel Royal of St. James's Palace, which was executed in 1540.
More's estate was granted to Sir William Paulet [See Patent Roll, I Edward VI., pt. 3.] (first Marquess of Winchester): it was inherited by his son the second Marquess, and in 1575 passed to Gregory Fiennes, Lord Dacre of the South, and his wife Anne — the foundress of those charming almshouses, Emmanuel Hospital, Westminster, now destroyed — who was a daughter of the Marchioness of Winchester by her former husband, Sir Robert Sackville. Baroness Dacre, who died in 1595, left the house to Lord Burleigh, who is said to have lived here, and he was followed by his youngest son, Sir Robert Cecil, afterwards Earl of Salisbury, who took possession in 1597. It is to Cecil's passion for building, which was not exhausted until he had parted with his fortune in completing Hatfield, that we owe the earliest representations on paper of the house at Chelsea. In his Chelsea Old Church Mr. Randall Davies published a reproduction of a beautiful plan of the Chelsea Estate, preserved among the Hatfield papers, and the present writer in some further research among Lord Salisbury's MSS. found five plans to a larger scale, all of which have reference to Cecil's schemes for rebuilding Sir Thomas More's house. For a detailed examination of these plans, the reader is referred to the Architectural Review of March and May, 1911, but by the courtesy of the proprietors of the Review, the reproductions are included here.
Cecil does not seem to have carried out his larger schemes and he sold the house to Henry Clinton, second Earl of Lincoln, in 1599.
Lincoln settled the estate on Sir Arthur Gorges, who had married his daughter. He lived in the house just mentioned, adjoining the great house, built for him by his father-in-law, and some four years after the latter's death in 1615, he sold Sir Thomas More's house to Lionel Cranfield, Earl of Middlesex. [See Close Roll, 18 Jas. I., pt. 18.] The new owner purchased several additions to the property, including "Brick Barn Close" and "The Sandhills," both north of the King's Road. These he converted into the Park, which is shown in Kip's view and was not built upon until after 1717. Cranfield fell under the displeasure of the King, and in consequence forfeited his property, which Charles I. granted in 1627 to George Villiers, Duke of Buckingham. After the Duke's assassination, the family continued to reside here until the outbreak of the Civil War, when the house was seized by the Parliament, and Mr. Randall Davies has referred to the record in the Perfect Occurrences of the petition in 1646 of the Duchess of Lennox, Buckingham's daughter, for leave to come to London, or to her house in Chelsea, to be under Dr. Mayerne's hands for her health. The great physician was then living at Lindsey House, the old farmhouse belonging to the estate.
In the account in the Architectural Review (May, 1911) I have summarised the later history of the house as follows:—"After the great house had been occupied during the Commonwealth by the Parliamentary Commissioners, Sir Bulstrode Whitlocke and John Lisle, the second Duke of Buckingham regained possession. Lost to him, through his debts, the house ultimately passed (1674) into the hands of the trustees for George Digby, Earl of Bristol, and his Countess sold it in 1682 to Henry, Marquess of Worcester, afterwards Duke of Beaufort, the house remaining in his family until 1720. It was during this period, about the year 1699, that Kip's beautiful view of the mansion - now called Beaufort House — was published, a priceless record of the property, so ruthlessly defaced and destroyed by Sir Hans Sloane after he purchased it in 1737. Mr. Randall Davies, whom I have followed in the account of the occupants of the house, has printed the interesting conveyance of the property to Sloane, and if its description is carefully collated with the information in Kip's view, one is struck by the wonderful accuracy of the latter. Here is the great house as shown by Thorpe, its lodges and its forecourts, the wharf, with its brick towers east and west, the orchard and 'one garden environed with brick walls … and a terrace on the north end, with a banqueting house on the east end of the terrace,' as well as 'one great garden … extending from the terrace and banqueting house into the highway on the north.' This banqueting house is alike in detail to the sketch of 'a summer house, Chelsea,' in the Smithson collection of seventeenth-century drawings, now in the possession of Colonel Coke. But valuable as is the representation of the great house, the print has much more information to give us. The great park is there shown in all its original beauty; the Duke of Beaufort's stables and yard, since converted into the historic chapel and burying ground of the Moravians is to the west; and nearer the river the beautiful Jacobean house of Sir Arthur Gorges (our sole evidence of its character and design) and the house and gardens of the Earls of Lindsey. And to the east, below the wide area of Dovecote Close, laid out as a huge kitchen garden, are the fine pleasure grounds of Danvers House, which had been destroyed but three years before the drawing was published.".