‘Hans Holbein the Younger is not yet 30. He knows he’s good and he wants you to know it, too—and then to commission him. How many whites can a painter paint? For him, there is no limit. Here, he has conjured any number of whites as the bonnet curves, the heavy stole folds and falls, the crisp cuff stands sparkling and proud and the fine lawn bodice seductively reveals the flesh below. All white, all distinct. And in the centre, a miniature miracle—the single pearl button, lustrous below the throat. Blue sky and vine leaves behind a sitter wearing a cap of Russian fur, accompanied by a starling and a squirrel. Absurd combinations, impossible in life—enduringly real in Hans Holbein’s art.’

At the time of its acquisition, I recollect the curator in charge being interviewed and remarking that it was an important addition to the collection as it was an “ordinary” Holbein – given, I suppose, the National already owned the artist’s only surviving full-length portrait, and only surviving full-length double portrait. 

It struck me at the time as a rather arrogant comment given that authentic works by this very significant painter, not the least for the history of art in Britain, are not particular common in the country – and certainly not outside the metropolis if that includes the Royal Collection.  Off the top of my head, I can think of only two.

It’s one of those works the National seems to buy because it’s the only institution that can afford to and would have more substantially enhanced other galleries’ collection.  One could add others to this category; by Poussin, Titian, and van Dyck for example.

A truly lovely thing though.