拍品 26
  • 26

亞德里安·韓曼

估價
80,000 - 120,000 USD
已售出
招標截止

描述

  • Adriaen Hanneman
  • 《艾美莉·凡·海瑟·卡塞爾肖像》
  • 款識:畫家簽名並紀年 Ano 1656/Adr Hanneman(右下);貼在畫布左下之清單標籤具題款 Kgl. Schloss Herrenhausen/Furstenhaus/Oelgemälde/No. 333;內框邊印 HH(相連字體)及清單品號 403(二十世紀清單,具體日子不詳)
  • 油彩畫布

來源

Collection of the Royal House of Hanover, Schloss Marienburg and Schloss Herrenhausen;
By descent in the family, from whom acquired by the present collector in 2004.

出版

J. Molthan, Verzeichnis der Bildauerwerke und Gëmalde welche sich in den Königlich Hannoverschen Schlössern und Gebäuden befinden, Hanover 1844, p. 89, cat. no. 22;
Königliches Schloss Herrenhausen. Inventar des Fürstenhauses. Anlage I, Verzeichniss der im Fürstenhaus vorhandenen Oelgemälde, Kupferstiche, Pastelbilder, Radirungen pp. und Skulpturen pp. 1893 (Archiv Schloss Marienburg, Pattensen), inv. no. 333 (no. 562 in previous inventory);
A. Bredius and E.W. Moes, "Adriaen Hanneman," in Oud-Holland, XIV, 1896, p. 212;
A. von Wurzbach, Niederländisches Kunstler-Lexicon, vol. I, Leipzig/Vienna 1906, p. 647;
O. ter Kuile, Adriaen Hanneman, 1604-1671 : een haags portretschilder, Alphen aan den Rijn 1976, p. 89, cat. no. 38, reproduced fig. 78.

拍品資料及來源

Amalia von Hesse-Kassel (1626-1693) was the daughter of William V, Landgrave of Hesse-Kassel and Amalia Elizabeth von Hanau-Münzenberg.  In 1648 she married Henry Charles de la Trémoille, Prince of Taranto, son of Duke Henry de Trémoille and of Thouars and Maria de la Tour d’Auvergne.

This striking portrait reflects the influence of Hanneman's contemporary, Anthony van Dyck.  Both artists worked in England during the 1630s and may well have had contact there.  In particular, the portrait of Amalia is reminiscent of van Dyck’s Portrait of Lucy Percy, Countess of Carlise at Petworth House, Sussex, painted in circa 1637.  A 17th century copy of the Portrait of Amalia von Hesse-Kassel, depicting the sitter in a blue gown rather than red, is in the collection at Castle Middachten, De Steeg, The Netherlands.1

This portrait remained in the possession of the House of Hanover from the 17th century until acquired directly from a family member in 2004 by the present collector.  The painting was listed in an inventory of Schloss Herrenhausen taken in 1893 (see Literature) and, on the stretcher, bears the stencil of another inventory of Herrenhausen dating from the 20th century (exact date unknown).  Another small label (octagonal with a blue edge and bearing the number 89) is affixed to the back of the frame and is probably from an inventory of circa 1865 of Schloss Marienburg.

 

 

1  See Rijksbureau voor Kunsthistorisches Documentatie (RKD), online image 146474.

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