Francesco Bortolozzi (Italian, 1727-1815). "The Lady of Richmond" etching after Hans Holbein (German, c. 1497-1543), ca. 1795, from the series "Persons of the Court of Henry VIII" published by John Chamberlaine (1745-1812) and printed by William Bulmer (1757-1830). A stipple etching depicting a bust-length portrait of The Lady of Richmond - facing front and wearing a feathered hat, pearl earrings, a lace choker, and upper garment - after a drawing by Hans Holbein the Younger. Lettered within the image is the title, "The Lady of Richmond" and below the image are artists' names and publication line: "From the Original Drawing by Hans Holbien. [sic] / Engraved by F. Bartolozzi. R. A. Historical Engraver to his Majesty. / In his Majesty's collection. / Publish'd as the Act directs Jan 1. 1793. by I. Chamberlaine." Size of platemark: 12.3" L x 8.875" W (31.2 cm x 22.5 cm) Size of image with striated border: 10.125" L x 7.675" W (25.7 cm x 19.5 cm) Size of frame: 19.375" L x 15.875" W (49.2 cm x 40.3 cm)

This piece was created "a la poupee" - a technique in which small pieces of fabric were used to add color to the plate before it was put through the press - with stipple etching on light wove paper.

Accompanying this portrait is a manuscript page with biographical text describing The Lady of Richmond. The passage opens as follows, "This sweet portrait represents Mary, only daughter of Thomas Howard, third Duke of Norfolk, by his second Duchess, Elizabeth, daughter of Edward Stafford Duke of Buckingham. She was married, at a very early age, to Henry Fitzroy, Duke of Richmond, a natural son to King Henry the Eighth, by the wife of Lord Talboys, and the style of 'the Lady,' which was no uncommon designation of a princess at that time, was undoubtedly meant to denote her husband's indirect relation to royalty…."

See other prints from this series in the British Museum - for example, "The Lady Ratclif" (museum number 1871,1209.3403).

Provenance: private Monument, Colorado, USA collection, acquired in the 1950s

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#167796

This etching has not been examined outside the frame but appears to be in very good condition with original hand coloring. Slight toning commensurate with age but still quite nice. The accompanying page with biographical text is held in an integral folder made from the gallery paper on the verso. This manuscript page is folded across the center and has a few creases and minute losses to left edge where page was removed from publication. The frame is in good condition and has a label from Centaur Gallery of Denver, Colorado on the verso.