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This drawing was a preparatory study for the portrait of Anna Meyer in the Darmstadt Madonna. Here the sitter's hands, which in the painting hold a rosary, did not interest Holbein much as they are crossed out. Like the corresponding portrait drawings of Jakob Meyer and Dorothea Kannengiesser, this drawing also appears to have passed into the Meyers' possession, since in the 17th century all three apparently belonged to Remigius Faesch, a late descendant of Meyer's, with whose art collection they passed to the Kupferstichkabinett in Basel.
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