拍品 7
  • 7

傳為楊·桑德·凡·赫米森

估價
150,000 - 200,000 USD
已售出
175,000 USD
招標截止

描述

  • Jan Sanders van Hemessen
  • 《綠色布幔前的男子半身像》
  • 油彩橡木畫板

來源

Sir Bernard Edward Barnaby FitzPatrick, 2nd Baron Castletown, of Upper Ossory, Queen's County, (Offaly) Ireland, by 1890;
Anonymous sale, London, Christie's, 4 July 1924, lot 80 (as by Anthonis Mor, Portrait of Philip II; sold as a pair with a pendant Portrait of Queen Mary);
With Eric Coatalem, Paris;
From whom acquired in 1992 by a European private collection;
By whom sold, London, Sotheby's, 6 July 2000, lot 14 (as by Willem Key);
There acquired by the present collector.

展覽

London, The New Gallery, Exhibition of the Royal House of Tudor, 1890, no. 232 (as by Anthonis Mor, Philip II of Spain, lent by Lord Castletown; exhibited with a pendant, no. 233, Queen Mary I, also lent by Lord Castletown).

出版

A. Graves, A Century of Loan Exhibitions 1813-1912, London 1913, vol. II, p. 808 (as by Anthonis Mor);
K. Jonckheere, Willem Key (1516-1568), Portrait of a Humanist Painter, Turnhout 2011, p. 222, cat. no. D38 (under Rejected Attributions).

拍品資料及來源

This portrait comes closest in modelling and coloration to the works of Jan Sanders van Hemessen who was active in Antwerp and Italy and whose work had a profound influence on Flemish painting in the 1530s-50s  His paintings encompassed religious works, genre subjects and portraits, though his role in the latter field is not yet well understood, as there are so few portraits securely attributed to him. This portrait is comparable to a work, given to Hemessen in full, in the Kunsthistorisches Museum, Vienna which also depicts the sitter against a green background and shows a very similar way of rendering the eyes in a slightly bulging manner (fig.1). When the present painting was in the collection of Baron Castletown and later in a 1924 auction (see Provenance), it had a pendant female portrait.  Both were ascribed to Anthonis Mor and said to depict King Philip II of Spain and Queen Mary I.

Examination of this portrait under infra-red reflectography has revealed underdrawing not only from the portrait composition, but from another earlier composition that was never carried out.  If viewed as a horizontal (fig.2), it shows what appears to be a table ledge with the leg of an object on top in the form of an animal’s paw, and drapery and columns behind.

Dr. Peter van den Brink has seen this portrait firsthand and dates it to circa 1540-45. We are grateful for his assistance in cataloguing this lot.

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