Frans Pourbus le jeune

To the naked eye: The painting appears in moderately satisfactory condition. It has been lined quite strong, thirty years ago. We notice several old restorations on the face, the ruff, the background and the clothes that have changed with time. Under U.V. light: The painting appears under a very thick uniform green varnish. We can notice a trace of an important restoration on the lower part to the left. We notice several small spots of restoration on the black clothes in the bottom. We notice several circular repaints of 1 to 4 cm. of diameter on the lace ruff. We notice several spots of restoration, around 1 cm. diameter on the beard and on the right of the nose. We notice several repaints on the forehead and a repaint under his right eye. All the restorations are very probably overflowing and need to be revised to obtain an optimal result.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Il n’est pas exagéré de dire qu’Henri IV lui-même avait mesuré les possibilités que lui offrirait « le plus considéré des portraitistes de cour de son temps » écrivait en 1912 Ludwig Burchard[1].

Pourbus sut comprendre tout l’enjeu politique de ses tableaux. Son art est indissociable des cours européennes du XVIIe siècle, de leur singularité et de leur besoin de légitimité. Isabelle Claire Eugénie et Albert de Habsbourg, Vincent 1er Gonzague, l’empereur Rodolphe II, Marie de Médicis… les hommes et les femmes à la tête des Etats les plus puissants le réclamaient afin de réaliser leur effigie et ainsi légitimer leur pouvoir aux yeux du monde. Pourbus était bien conscient de l’importance de sa tâche : son pinceau était donc devenu un instrument politique puissant. Dans ses œuvres, les considérations du goût rivalisent donc avec les besoins diplomatiques.
Ceci est confirmé par le choix d’éviter tout symbole de pouvoir, ni sceptre ni couronne afin de créer une continuité avec les portraits des Valois réalisés par François Clouet.
Ces contraintes, ne réussiront pas à nuire au pinceau de ce peintre formidable, qui réussit grâce à son exceptionnel métier à faire de chaque portrait, une œuvre magnifique, reflet de la splendeur des différentes Cours, s’adaptant avec subtilité à ses différences et particularités.

Notre tableau est à mettre en rapport avec le portrait d’apparat conservé au Musée du Louvre peint en 1610, quelques mois avant l’assassinat du roi. Pourbus réalisait souvent des variantes des portraits d’apparat représentant le personnage en buste. Nous connaissons une autre version autographe à mettre en relation avec notre portrait, appartenant à la collection de S. M. la reine Elizabeth II, conservée à Hampton Court. Cette version, selon Blaise Ducos, serait sans doute identifiable avec le portrait de son père que la reine Henriette emmena avec elle en Angleterre.
De par sa provenance royale et la date de réalisation, suite à l’évènement tragique, on pourrait imaginer que notre version aurait été une commande pour un autre membre de la famille.

Pourbus was aware of the political undercurrents of his paintings. His art is inextricably linked to the 17th century European courts, both in their differences and their need of legitimacy. Isabelle Claire Eugénie et Albert de Habsbourg, Vincent I Gonzaga, the emperor Rudolph II, Marie de Médicis…the men and women at the head of the most powerful states were eager for him to paint their portraits, validating their power to the world.
Pourbus understood the importance of his task, with each brushstroke becoming a powerful political instrument in their own right. The considerations of taste compete with diplomatic needs in his works, an idea suggested by the decision to avoid any symbol of power, which also creates continuity with François Clouet’s portraits of the Valois dynasty.
Despite these huge constraints, every Pourbus portrait is a masterpiece, evincing the splendour of each court, as well as subtly adapting to their differences and particularities.

The present work can be related to the state portrait in the Musée du Louvre, painted in 1610, just a few months before the assassination of the king. Pourbus often painted variants of his state portraits, showing the sitter bust-length. Another autograph version, relatable to this one, in the collection of Queen Elizabeth II at Hampton Court. This version, according to Blaise Ducos, is identifiable with the portrait of his father brought back to England by Queen Henrietta.
Due to its royal provenance and date following the tragic event, it is likely that our version was commissioned by another member of the royal family.

[1] K. de Volkaersbeke, Les Pourbus, Gand, 1870, p.63