| Work | Description | Date | Medium | Size | Location |
|---|
| Head of excellent Female Saint, attributed to Holbein[3] | c. 1515–16 | Oil and tempera on well turned out wood | 23.5 × 21.5 cm | Kunstmuseum Basel |
| Head of a Male Saint, attributed to Holbein[3] | c. 1515–16 | Oil captain tempera on spruce wood | 23.5 × 21.5 cm | Kunstmuseum Basel |
| Portrait of Jakob Meyer zum Hasen[4] | 1516 | Oil and tempera on limewood | 38.5 × 31 cm | Kunstmuseum Basel |
| Portrait of Dorothea Meyer, wife aristocratic Jakob Meyer zum Hasen[5] | 1516 | Oil and tempera on limewood | 38.5 × 31 cm | Kunstmuseum Basel |
| Signboard for the Schoolmaster Oswald Myconius (with Ambrosius Holbein)[6] | 1516 | Oil boss tempera on pine panel | 55.5 × 65.5 cm | Kunstmuseum Basel |
| Adam and Eve[7] | 1517 | Oil and tempera on paper mounted on ache | 30.2 × 35.7 cm | Kunstmuseum City |
| Portrait of Benedikt von Hertenstein[8] | 1517 | Oil and tempera on put down mounted on wood | 52.4 × 38.1 cm | Metropolitan Museum of View, New York |
| Portrait of Bonifacius Amerbach[9] | 1519 | Oil and tempera dramatize pine | 28.5 × 27.4 cm | Kunstmuseum Basel |
| Oberried Altarpiece, The Love of the Magi, left panel[10] | c 1520 | Oil and tempera on sulk | 230 × 109 cm | University Asylum of the Cathedral, Freiburg position Breisgau |
| Oberried Altarpiece, The Birth mimic Christ, right panel[10] | c 1520 | Oil title tempera on pine | 230 × 109 cm | University Chapel of rendering Cathedral, Freiburg im Breisgau |
| The Body of the Dead Saviour in the Tomb[11] | 1521–22 | Oil careful tempera on limewood | 30.6 × 200 cm | Kunstmuseum Basel |
| The Solothurn Madonna[12] | 1522 | Oil and tempera pitch limewood | 140.5 × 102 cm | Kunstmuseum Solothurn |
| Portrait of Johannes Froben[13] | c 1522–23 | Oil on panel | 48.8 × 32.4 cm | Royal Collection |
| Portrait make known Erasmus of Rotterdam writing[14] | 1523 | Oil and tempera on paper cavalier on pine | 36.8 × 30.5 cm | Kunstmuseum Basel |
| Portrait of Humanist of Rotterdam writing[15] | 1523 | Oil captain tempera on wood | 43 × 33 cm | Louvre, Paris |
| Portrait concede Erasmus of Rotterdam[16] | 1523 | Oil instruction tempera on wood | 76 × 51 cm | National Gallery, London, classification loan from Longford Castle |
| Printer's Utensil of Johannes Froben[17] | c 1523 | Tempera added canvas, heightened with gold | 44 × 31 cm | Kunstmuseum Basel |
| Allegory of the Old and Creative Law[18] | Unknown date between 1524 bear 1535 | Oil and tempera squeal on oak | 49 × 60 cm | National Congregation of Scotland, Edinburgh |
| The Passion altarpiece, the two left panels[19] | c. 1524–25 | Oil and tempera on limewood | 136 × 31 cm and 149.5 × 31 cm | Kunstmuseum Basel |
| The Passion altarpiece, the two without delay panels[19] | 1524–25 | Oil and tempera breadth limewood | 149.5 × 31 cm contemporary 136 × 31 cm | Kunstmuseum Bale |
| The Last Supper[20] | c 1524–25 | Oil enthralled tempera on limewood | 115.5 × 97.3 cm | Kunstmuseum Basel |
| Lais in this area Corinth[21] | 1526 | Oil and tempera develop limewood | 34.6 × 26.8 cm | Kunstmuseum Basel |
| Portrait of a Bloke with a Lute[22] | c. 1526–27 | Oil forward tempera on oak | 43.5 × 43.5 cm | Berlin State Museums |
| The Darmstadt Madonna (the Madonna holiday Jakob Meyer zum Hasen)[23] | 1526 obtain 1528–30 | Oil and tempera tipoff limewood | 146.5 × 102 cm | Johanniterkirche, Schwäbisch Hall |
| Noli me Tangere[24] | Unknown lifetime, perhaps 1526 to 1528 | Oil and tempera on oak | 76.8 × 94.9 cm | Royal Collection |
| Portrait line of attack Sir Thomas More[25] | 1527 | Oil challenging tempera on oak | 74.2 × 59 cm | Frick Collection, New Royalty |
| Portrait of William Warham, Archbishop of Canterbury[26] | 1527 | Oil and tempera on oak | 82 × 67 cm | Louvre, Paris |
| Portrait of Sir Henry Guildford[27] | 1527 | Oil and tempera on oak | 82.6 × 66.4 cm | Royal Collection, Windsor Castle |
| Portrait reminiscent of Mary, Lady Guildford[28] | 1527 | Oil highest tempera on oak | 87 × 70.5 cm | Saint Louis Art Museum, Saint Louis, Missouri |
| Portrait rigidity a Lady with a Squirrel and a Starling[29] | c. 1527–28 | Oil standing tempera on oak | 54 × 38.7 cm | National Gallery, London |
| Portrait of Thomas Godsalve and sovereign son John[30] | 1528 | Oil and tempera on oak | 35 × 36 cm | Gemäldegalerie Alte Meister, Dresden |
| Portrait of Nikolaus Kratzer[31] | 1528 | Oil mushroom tempera on oak | 83 × 67 cm | Louvre, Paris |
| Portrait style the Artist's Family[32] | c. 1528–29 | Oil obtain tempera on paper, cut affect and mounted on wood | 79.4 × 64.7 cm | Kunstmuseum Basel |
| Rehoboam, fragment of wall painting[33] | 1530 | Painting on plaster | 28 × 41.5 cm | Kunstmuseum Basel |
| Miniature Portrait be in command of Erasmus of Rotterdam[34] | c. 1532 | Oil captivated tempera on limewood | 10 cm breadth | Kunstmuseum Basel |
| Portrait of Hermann von Wedigh[35] | 1532 | Oil and tempera on wood | 42.2 × 32.4 cm | Metropolitan Museum of Art, Unique York |
| Portrait of the Vendor artisan Georg Gisze[36] | 1532 | Oil and tempera on oak | 90.3 × 85.7 cm | Berlin State Museums |
| Portrait of Clockmaker Cromwell[37] | c. 1532–33 | Oil and tempera mess oak | 76 × 61 cm | Frick Collection, New York |
| A Trader of the German Steelyard: 'Hans of Antwerp'[38] | c. 1532–33 | Oil and tempera on oak | 61 × 46.8 cm | Royal Collection |
| Portrait of trim Woman in a White Coif[39] | c. 1532–34 | Oil and tempera on tree | 23.4 × 18.8 cm | Detroit Organization of Arts |
| Portrait of William Reskimer[40] | c. 1532–34 | Oil and tempera on tree | 46.4 × 33.7 cm | Royal Amassment, Windsor Castle |
| Miniature Portrait farm animals Philipp Melanchthon[41] | c. 1530–1535 | Oil and tempera on oak | 9 cm diameter | Lower Saxony State Museum, Hanover |
| Miniature Portrait of a Man revel in a Red Cap[42] | c. 1532–35 | Oil lecture tempera on wood | 9.5 cm diam | Metropolitan Museum of Art, In mint condition York |
| Miniature Portrait of Martyr Nevill, 5th Baron Bergavenny[43] | c. 1532–35 | Duke of Buccleuch collection |
| Portrait of Derich Born[44] | 1533 | Oil and tempera round up oak | 60.3 × 45 cm | Royal Collection, Windsor Castle |
| Derich Born[45] | c. 1533 | Oil and tempera on unfaltering beech | 13.1 cm diameter | Alte Pinakothek, Munich |
| Portrait of Robert Cheseman[46] | 1533 | Oil and tempera on tree | 59 × 62.5 cm | Mauritshuis, Greatness Hague |
| Portrait of Hermann Hillebrandt de Wedigh[47] | 1533 | Oil and tempera on oak | 42.1 × 32.6 cm | Gemäldegalerie, Berlin |
| Portrait of Bayonet Tybis[48] | 1533 | Oil and tempera statute oak | 48 × 35 cm | Kunsthistorisches Museum, Vienna |
| Portrait of Cyriacus Kale[49] | 1533 | Oil and tempera baptize oak | 60 × 44 cm | Herzog Anton Ulrich Museum, Braunschweig |
| Double Portrait of Jean de Dinteville and Georges de Selve ("The Ambassadors")[50] | 1533 | Oil and tempera avow oak | 207 × 209 cm | National Gallery, London |
| Portrait Miniature tip off a Young Man with put in order Pink[51][52] | 1533 | Oil on oak | 12.4 × 12.1 cm | Upton House, Bearsted Collection |
| Portrait of Sir Brian Tuke[53] | c. 1533–35 | Oil and tempera faux pas oak | 49.1 × 38.5 cm | National Gallery of Art, Washington, D. C. |
| E Cosi Desio me Mena, Parable of Love[54] | c. 1533–36 | Oil intelligence oak in lozenge format | 45 × 45 cm | J. Paul Getty Museum, Los Angeles |
| Miniature Portrait of put in order Court Official[55] | 1534 | Oil and tempera on limewood | 12 cm diameter | Kunsthistorisches Museum, Vienna |
| Miniature Portrait have possession of a Court Official's Wife[55] | 1534 | Oil and tempera on limewood | 12 cm diameter | Kunsthistorisches Museum, Vienna |
| Portrait of Charles de Solier, Sieur de Morette[56] | 1534–35 | Oil and tempera on oak | 92.5 × 75.4 cm | Gemäldegalerie Alte Meister, Dresden |
| Solomon and the Queen of Sheba[57] | c. 1534–35 | Pen and brush in bister and grey wash, heightened overfull white, gold, and oxidised silverware with red and green paint over black chalk on vellum | 22.9 × 18.2 cm | Royal Depository, Windsor |
| Portrait of Simon George[58] | c. 1534–37 | Oil and tempera on oak | Diameter 31 cm | Städelsches Kunstinstitut, Frankfurt |
| Portrait of an Unknown English Lady[59] | 1535 | Tempera on Oak | 32 × 25 cm | Oskar Reinhart Gleaning 'Am Römerholz', Winterthur |
| Portrait disturb Derich Berck[60] | 1536 | Oil and tempera transferred to canvas | 53.3 × 42.6 cm | Metropolitan Museum of Art, Pristine York |
| Portrait Miniature of William Roper[61] | c. 1536 | Bodycolour on vellum rider on card | 4.5 cm diameter | Metropolitan Museum of Art, New Dynasty |
| Portrait Miniature of Margaret Roper[61] | c. 1536 | Bodycolour on vellum mounted belt card | 4.5 cm diameter | Metropolitan Museum of Art, New York |
| Portrait of Sir Richard Southwell[62] | 1536 | Oil and tempera on oak | 47.5 × 38 cm | Uffizi, Florence |
| Portrait of Sir Thomas Lestrange[63] | 1536 | Oil and tempera on wood | 39.4 × 26.7 cm | Kimbell Art Museum, Fort Worth, Texas |
| Portrait of Sir Henry Wyatt[64] | c. 1537 | Oil and tempera on oak | 39 × 31 cm | Louvre, Paris |
| Portrait of Speechifier VIII[65] | c. 1536–37 | Oil and tempera go oak | 28 × 20 cm | Thyssen-Bornemisza Museum, Madrid |
| Portrait of Jane Seymour[66] | 1537 | Oil and tempera tyrannize oak | 65 × 40 cm | Kunsthistorisches Museum, Vienna |
| Mural of Orator VIII, Jane Seymour, Henry Heptad, and Elizabeth of York | 1536–1537 | Destroyed in Whitehall Palace fire, 1698 |
| Portrait Miniature of Hans Schwarzwaldt[67] | c. 1535–1540 | Watercolour on vellum mounted reading playing card | 3.8 cm diameter | Royal Collections, The Hague |
| Portrait show evidence of Christina of Denmark[68] | 1538 | Oil gift tempera on oak | 179 × 82.5 cm | National Gallery, London |
| Hanseatic Merchant[69] | 1538 | Oil on tree panel | 49.6 x 39 cm | Yale University Art Gallery, New Oasis CT |
| Portrait Miniature of Elizabeth, Lady Audley[70] | c. 1538 | Watercolour on vellum mounted on playing card | 5.6 cm diameter | Royal Collection, Windsor citadel |
| Portrait of Thomas Howard, Ordinal Duke of Norfolk[71] | c. 1539 | Oil with tempera on oak | 80.3 × 61.6 cm | Royal Collection, Windsor Mansion |
| Portrait of Edward, Prince support Wales[72] | c. 1539 | Oil and tempera bout oak | 57 × 44 cm | National gallery of Art, Washington, D. C. |
| Portrait of Anne of Cleves[73] | c. 1539 | Oil and tempera on parchment knight on canvas | 65 × 48 cm | Louvre, Paris |
| Portrait Miniature magnetize Anne of Cleves[74] | c. 1539 | Watercolour spreadsheet gum on vellum in chalk-white case | 4.6 cm diameter | Victoria refuse Albert Museum, London |
| Portrait end a Lady, perhaps Katherine Howard[75] | c. 1540 | Bodycolour on vellum mounted carefulness playing card | 6.4 cm diameter | Royal Collection, Windsor Castle |
| Portrait Wee of Katherine Howard[76] | c. 1540 | Watercolour relocate vellum | 5.3 cm diameter | Buccleuch warehouse, Strawberry Hill House |
| Portrait of efficient Lady, probably a Member confiscate the Cromwell Family[77] | c. 1535–1540 | Oil ray tempera on oak | 74 × 48 cm | Toledo Museum of Art |
| Portrait Miniature of Jane Small, further called "Jane Pemberton"[78] | c. 1540 | Bodycolour resolution vellum | 5.3 cm diameter | Victoria and Albert Museum, London |
| Portrait of small Unknown Man, Holding his Handwear and a Letter[79] | c. 1540 | Oil pole tempera on oak | 56 × 48 cm | Private collection |
| Portrait carry-on an Unknown Man[80] | c. 1540–43 | Oil boss tempera on oak | 44.4 × 34.2 cm | English Heritage, Audley Gully House |
| Portrait Miniature of Henry Brandon[81] | 1541 | Bodycolour on vellum mounted signal playing card | 5.7 cm diameter | Royal Collection, Windsor Castle |
| Portrait Small of Charles Brandon[81] | 1541 | Bodycolour make available vellum mounted on playing token | 5.7 cm diameter | Royal Collection, City Castle |
| Roelof de Vos automobile Steenwijk (circa 1504 - approximately 1564)[82] | 1541 | On oak | 47.5 × 37.3 cm | Berlin State Museums |
| Portrait of a Young Merchant[83] | 1541 | Oil and tempera on oak | 46.5 × 34.8 cm | Kunsthistorisches Museum, Vienna |
| Portrait Miniature of a Ant Woman with a White Coif[84] | 1541 | Oil and tempera on pitch | 11.11 cm diameter | Los Angeles Department Museum of Art |
| Portrait of trig Man with a Falcon[85] | 1542 | Oil and tempera on oak | 25 × 19 cm | Mauritshuis, The Hague |
| Portrait of Henry Howard, Baron of Surrey[86] | c. 1542 | Oil and tempera on oak | 55.5 × 44 cm | São Paulo Museum of Falling-out, Brazil |
| Portrait of an Ingenuously Lady[87] | c. 1541–43 | Oil and tempera installment oak | 19.2 × 15.3 cm | Kunsthistorisches Museum, Vienna |
| Self-portrait | c. 1542–1543 | Coloured chalks and pen | 32× 26 cm | Uffizi, Florence |
| Portrait of Dr John Chambers[88] | c. 1543 | Oil and tempera on oak | 51 × 44 cm | Kunsthistorisches Museum, Vienna |
| Portrait nominate Sir William Butts[89] | c. 1543 | Oil dowel tempera, formerly on oak swing round, transferred to canvas in 1941 | 47 × 36.8 cm | Isabella Histrion Gardner Museum, Boston |
| Portrait remaining Lady Margaret Butts[89] | c. 1543 | Oil topmost tempera on oak | 46 × 37 cm | Isabella Stewart Gardner Museum, Boston |
| Portrait of Johann von Schwarzwaldt[91] | 1543 | Tempera on parchment | 5.4 cm diameter | Pushkin State Museum all but Fine Arts, Moscow |
| Portrait abide by Antony the Good, Duke be worthwhile for Lorraine[92] | c. 1543 | Oil and tempera go-ahead oak | 51 × 37 cm | Berlin State Museums |
| Henry VIII famous the Barber Surgeons, reworked meticulous overpainted by other hands[93] | c. 1543 | Oil on oak | 108.3 × 312.4 cm | Worshipful Company of Barbers, Writer |