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PROPERTY FROM A SPANISH PRIVATE COLLECTION

Juan Bautista Martínez del Mazo
PORTRAIT OF PRÍNCIPE DON FELIPE PRÓSPERO, PRINCE OF ASTURIAS (1657-1661), SON OF PHILIP IV OF SPAIN, STANDING IN AN INTERIOR, HIS RIGHT HAND RESTING ON THE BACK OF A CHAIR ON WHICH SITS A PET DOG
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191

PROPERTY FROM A SPANISH PRIVATE COLLECTION

Juan Bautista Martínez del Mazo
PORTRAIT OF PRÍNCIPE DON FELIPE PRÓSPERO, PRINCE OF ASTURIAS (1657-1661), SON OF PHILIP IV OF SPAIN, STANDING IN AN INTERIOR, HIS RIGHT HAND RESTING ON THE BACK OF A CHAIR ON WHICH SITS A PET DOG
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拍品詳情

西洋古典油畫日拍

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Juan Bautista Martínez del Mazo
CUENCA PROVINCE CIRCA 1613 - 1667 MADRID
PORTRAIT OF PRÍNCIPE DON FELIPE PRÓSPERO, PRINCE OF ASTURIAS (1657-1661), SON OF PHILIP IV OF SPAIN, STANDING IN AN INTERIOR, HIS RIGHT HAND RESTING ON THE BACK OF A CHAIR ON WHICH SITS A PET DOG
oil on canvas
113 x 105 cm.; 44 1/2  x 41 1/4  in.
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來源

Sir John Campbell, 2nd Marquess of Breadalbane (1796–1862), Taymouth Castle (and possibly previously in his apartments at Holyrood House, Edinburgh);
By descent to his sister, Lady Elizabeth Pringle (d. 1878);
By descent to her daughter, the Hon. Mrs. Robert Baillie-Hamilton, Langton, Duns, near Berwick, Scotland (d. 1912);
By descent to her sister, Magdalen, Lady Bateson Harvey (d. 1913);
By descent to Lt.-Col. the Hon. Thomas George Breadalbane Morgan-Grenville-Gavin D.S.O., M.C. (the great-nephew by marriage of Sir Robert Bateson Harvey), Langton, Duns, Berwickshire;
His sale, London, Christie's, 27 March 1925, lot 169, for £48–6s. to R. Warner;
With Sackville Gallery, London;
With Duits Gallery, London, 1936;
Count Alessandro Contini Bonacossi (1878–1955), Florence;
Anonymous sale ('Property from a Private Collection'), London, Sotheby's, 6 December 2007, lot 247;
Where acquired by the present owner.

出版

A. de Beruete, Velázquez, London 1906, p. 161;
W. Gensel, Velázquez, Stuttgart 1913, p. 221;
A.L. Mayer, Diego Velázquez, Berlin 1924, cat. no. 305, reproduced;
J. López-Rey, Velázquez, London 1963, p. 235, cat. no. 335, reproduced pl. 310 (as 'Workshop of Velasquez');
J.C. Aznar, Velázquez, vol. II, Madrid 1964, p. 880;
P.M. Bardi, L'opera completa di Velázquez, Milan 1969, p. 108, cat. no. 122A, reproduced;
A.E. Pérez-Sánchez & N. Spinosa, Velázquez a Capodimonte, exh. cat., Naples 2005, p. 114.

相關資料

Del Mazo's portrait of Don Felipe Próspero is deeply indebted to that of his master, Velázquez, which was painted in 1659 and is now in the Kunsthistorisches Museum, Vienna. The interiors are nearly identical, although there are differences in the background, and the dog, which Velázquez supposedly valued a great deal,2 repeats his pose on the chair. In Velázquez's work however, Don Felipe is portrayed wearing a silver-banded rose dress under a transparent white pinafore, instead of the tunic, breeches and boots he wears here. Velázquez's portrait was one of the very last works he painted prior to his death in 1660. Del Mazo's depiction of his own young son in the vast portrait of his family of around 1664/5 that also hangs in the Kunsthistorisches Museum in Vienna warrants close comparison with this depiction of the young prince; the outfits the two boys wear are very similar and the loosely handled doe-eyed expressions of the young sitters are comparable.3

The late Prof. A.E. Pérez-Sánchez first proposed this attribution to Del Mazo at the time of the 2007 sale (see Provenance), and we are very grateful to Dr. Guillaume Kientz for more recently endorsing this attribution to Del Mazo upon inspection of images.

1 Inv. no. 319; see J. López-Rey, Velázquez, vol. II, Cologne 1996, pp. 320-21, no. 129, reproduced.
2 According to Palomino, Velázquez's biographer.
3 Inv. no. 320.

西洋古典油畫日拍

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