^ Edmond, Mary, 'Limners & Picturemakers', 47th Annual volume of the Walpole Society, London, (1980), 67.^ a b c Roy Strong, The English Icon: Elizabethan & Jacobean Portraiture, London: Paul Mellon Foundation, 1969, 65–67.^ Strype, John, Ecclesiastical Memorials, vol 2, part 2, Oxford (1822), 512, Edward to Katharine, 10 January 1546/7.^ a b c d e f Karen Hearn, Dynasties: Painting in Tudor and Jacobean England, 1530–1630, London: Tate Publishing, 1995, ISBN 1-85437-157-6, 46–47.^ Karen Hearn, Dynasties: Painting in Tudor and Jacobean England, 1530–1630, London: Tate Publishing, 1995, ISBN 1-85437-157-6, 47.Both were sons of William Butts, a court physician whose portrait Holbein painted in 1543. It has been speculated that the portrait may be of Edmund Butts, the brother of the William Butts whom Bettes painted. Since the work's creation, the blue smalt pigment of the background has turned brown the painting has also been cut down along the sides and bottom, with the inscription reaffixed to the back. The addition of Bettes' nationality suggests that Man in a Black Cap may have been painted abroad. The recording of an artist's name on a painting is rare in this period. In the view of art historian Susan Foister, on the evidence of this portrait, Bettes is "unlikely to have assisted" Holbein. On the other hand, Bettes's style is distinct from Holbein's he paints fur more loosely and the beard more flatly than the German artist. According to art historian Roy Strong, "He is the artist who, on grounds of style, has the best claim to have worked under Holbein". For example, he paints over a pink priming, as did Holbein. Holbein does not appear to have founded a school, and Bettes is the only artist whose work reveals his technical influence. Nothing, however, is known of Holbein's workshop other than paintings seemingly associated with it. Man in a Black Cap's technique is reminiscent of Hans Holbein the Younger's, suggesting that Bettes may have worked with Holbein as part of his workshop. On the basis of its style, four further portraits have been attributed to Bettes: two of Thomas Wentworth, 1st Baron Wentworth, (1549) one of Sir William Butts the Younger (154/3?) and one of Sir William Cavendish ( c. 1545). The identification of John Bettes's work stems from the inscription on the back of Man in a Black Cap: " faict par Johan Bettes Anglois" ("done by John Bettes, Englishman"). An earlier second edition of Foxe's Actes and Monuments printed in 1570 refers to Bettes' death. In 1576, John Foxe referred to Bettes as already dead. He may also be the designer of engravings for Edward Hall's Chronicle, published in 1550, and of a woodcut portrait of Franz Burchard, the Saxon ambassador to England, published in 1560. Bettes has been identified as the designer of the engraved title-border for William Cuningham's Cosmographical Glasse, printed by John Day in 1559. Her new year's gift of 1547 to Prince Edward was a pair of portraits of the king and herself. Queen Catherine Parr's accounts for 1546/47 record payments to Bettes for "lymning" (painting in miniature) the king's and queen's portraits, and for six other portraits. He is first recorded as working for Henry VIII at Whitehall Palace in 1531. Nothing is known of John Bettes's life, except that he was living in Westminster in 1556, according to a documented court case. His son, John Bettes the Younger (with whom he is sometimes confused), was a pupil of Nicholas Hilliard who painted portraits during the reign of Elizabeth I and James I. His most famous work is his Portrait of a Man in a Black Cap. John Bettes the Elder (active c. 1531–1570) was an English artist whose few known paintings date from between about 15. Portrait of Thomas Wentworth, 1st Baron Wentworth, 1549, attributed to John Bettes the Elder
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