The Lady Guldeforde (Mary Wotton, Lady Guildford)
Hollar's print is based on a Holbein portrait (St. Louis Art Museum; early copy at the Metropolitan Museum, 20.155.4). We see the sitter nearly half-length, looking towards the viewer and wearing a jewelled bonnet, a veil and pendant necklace, with chains looped across the front of her bodice. The image is contained in a roundel.
Born Mary Wotton, the subject became Sir Henry Guildford's (1489-1532) second wife in 1525. Her husband held important positions in the court of Henry VIII and Mary joined the household of Queen Katherine of Aragon. After her husband's death Mary married Sir Gawain Carew and became close to the king's last wife Katherine Parr.
Part of a prominent family, the sitter's father Robert Wotton was Controller of the Royal Household and a Garter Knight. Her brother, Nicholas was a diplomat and served Queen Mary Tudor as Ambassador to France. Mary Wotton's sister became Marchioness of Dorset at her marriage and later Duchess of Suffolk.
The Holbein portrait which this print reproduces was one of the German artist's first commissions after arriving in England, painted as a pendant to an image of Mary's husband (Royal Collection, Windsor Castle). In 1527, Guildford, in his capacity as "Master of the Revels," arranged ceremonies at Greenwich to mark a peace accord between England and France. Holbein painted related decorations in a banqueting hall and theater used for the occasion and it seems likely that Guildford met the artist at this time.
Born Mary Wotton, the subject became Sir Henry Guildford's (1489-1532) second wife in 1525. Her husband held important positions in the court of Henry VIII and Mary joined the household of Queen Katherine of Aragon. After her husband's death Mary married Sir Gawain Carew and became close to the king's last wife Katherine Parr.
Part of a prominent family, the sitter's father Robert Wotton was Controller of the Royal Household and a Garter Knight. Her brother, Nicholas was a diplomat and served Queen Mary Tudor as Ambassador to France. Mary Wotton's sister became Marchioness of Dorset at her marriage and later Duchess of Suffolk.
The Holbein portrait which this print reproduces was one of the German artist's first commissions after arriving in England, painted as a pendant to an image of Mary's husband (Royal Collection, Windsor Castle). In 1527, Guildford, in his capacity as "Master of the Revels," arranged ceremonies at Greenwich to mark a peace accord between England and France. Holbein painted related decorations in a banqueting hall and theater used for the occasion and it seems likely that Guildford met the artist at this time.
Artwork Details
- Title: The Lady Guldeforde (Mary Wotton, Lady Guildford)
- Etcher: Wenceslaus Hollar (Bohemian, Prague 1607–1677 London)
- Artist: After Hans Holbein the Younger (German, Augsburg 1497/98–1543 London)
- Sitter: Mary Wotton, Lady Guildford (British, 1499–1558)
- Date: 1647
- Medium: Etching, second state of two
- Dimensions: Plate: 5 11/16 × 4 7/16 in. (14.5 × 11.2 cm) cut on the platemark
- Classification: Prints
- Credit Line: Rogers Fund, 1920
- Object Number: 20.81.3.193
- Curatorial Department: Drawings and Prints
More Artwork
A slider containing 5 items.
Press the down key to skip to the last item.
Press the down key to skip to the last item.
Wenceslaus Hollar
1662–63
Wenceslaus Hollar
Prince Rupert of the Rhine
1643
Wenceslaus Hollar
John Paulet 5th Marquess of Winchester
1636–44
Wenceslaus Hollar
1635–70
Wenceslaus Hollar
1625–77
Research Resources
The Met provides unparalleled resources for research and welcomes an international community of students and scholars. The Met's Open Access API is where creators and researchers can connect to the The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
To request images under copyright and other restrictions, please use this Image Request form.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.