HALBBILDNIS EINES MANNES Öl auf Eichenholz. Parkettiert. 68 x 57 cm. Links oben original Beschriftung mit Altersangabe des Dargestellten und Datierung „Aeta 26. Ao 1555“, darunter verwischte Reste einer Signatur „Antoni (...)“. Der Mann in schwarzer spanischer Tracht mit Barett und geschlitzten Pluderärmeln. Die Lichtwirkung ganz auf das Gesicht des Portraitierten gerichtet, der dem Betrachter entgegenblickt, mit lebensnahem Gesichtsausdruck, wobei der fest geschlossene Mund mit schmalen Lippen Entschlossenheit zeigt, die Kinnpartie Ähnlichkeit mit Mitgliedern des Habsburgischen Hofes. Das Halbbildnis vor oliv-grauem, nach rechts sich aufhellendem Hintergrund. Literatur: Vgl. Joanna Woodall, Anthonis Mor: Art and Authority, Zwolle 2007. Vgl. Henri Hymans, Antonio Moro: Son Oeuvre Et Son Temps, Brüssel 1910. Vgl. W. A. Wijburg, Antonie Mor van Dashorst, ‘vermaard schilder van Utrecht’ en zijn naaste familie, in: De Nederlandsche Leeuw 76, 1959, S. 230-248. (13816613) (2) (11) Dutch master of the 16th century in the manner of Antonis Mor (1512 – 1575) HALF-PORTRAIT OF A MAN Oil on oak panel. Parquetted. 68 x 57 cm. Original inscription top left with age of the depicted and date “Aeta 26. Ao 1555”, beneath smudged remains of a signature “Antoni (...)”. Literature: Compare Johanna Woodall, Anthonis Mor: Art and Authority, Zwolle 2007. Compare Henri Hymans, Antonio Moro: Son Oeuvre Et Son Temps, Brussels 1910. Compare W. A. Wijburg, Antonie Mor van Dashorst, “vermaard schilder van Utrecht” en zijn naaste familie, in: De Nederlandsche Leeuw 76, 1959, pp. 230-248.
Attribué à Anthonis MOR Utrecht, vers 1520 - Anvers, vers 1575 Portrait d'une dame de qualité Huile sur panneau de chêne, une planche Annoté 'Juebes 3 Mayo 1866.' au verso Un cachet de cire, une marque de collection et plusieurs étiquettes au verso (Restaurations) Portrait of a lady, oil on oak panel, annotated, attr. to A. Mor h: 42 w: 30,50 cm Provenance : Chez Guy Stein, une étiquette au verso ; Collection Seligmann ; Probablement acquis auprès de ce dernier par le baron et la baronne Robert Gendebien ; Collection du baron et de la baronne Robert Gendebien, Faulx-les-Tombes, en 1955 et 1961, peut-être leur marque 'R.G.' au pochoir blanc surmontée d'une couronne comtale et son cachet portant la devise : "toujours et partout gens de bien" au verso ; Collection particulière européenne Expositions : 'Keizer Karel en zijn tijd', Gand, Museum voor schone Kunsten, 3 avril-30 juin 1955, n° 138 (modèle identifié comme Marguerite de Parme) 'Mechelen, 4 eeuwen aartsbisschoppelijke stad', Malines, Kultureel Centrum, 28 juillet - 1er octobre 1961, n° 31 (comme Maître anonyme, identifié comme un portrait de Marguerite de Parme) Estimation 30 000 - 40 000 €
(Utrecht 1519–1575 Antwerp) Portrait of Anna of Egmond (1533–1558), Countess of Buren, wife of William the Silent, Prince of Orange, inscribed upper left: Printzessin von Orannien des von Beurn dochtter, oil on panel, 109 x 84 cm, framed We are grateful to Gloria Martínez-Leiva for her help in cataloguing the present painting. On 6 July 1551, William the Silent, Prince of Orange, later considered the ‘Pater Patriae’ of the Netherlands and honoured to this day in the Dutch National Anthem, married Anna, daughter and heir of Count Maximiliaan van Egmond. The match had been secured by no other than Emperor Charles V. Anna’s father had died in 1548, and therefore William became Lord of Egmond and Count of Buren upon his wedding day. The marriage was to be a happy one. Just as Anna was one of the most eligible young heiresses in the Netherlands, her husband was at that time immensely popular and successful at the Imperial court in Brussels and a favourite of the emperor and his sister, Mary of Hungary. William had been raised Lutheran at Dillenburg castle but, in 1544, his first agnatic cousin, René de Chalon, Prince of Orange (1519–1544), stadtholder of the Low Countries of Holland, had died childless and had left him his entire estate with the stipulation that he must convert to Roman Catholicism. Besides the Principality of Orange (located today in France) and significant lands in Germany, William also inherited vast estates in the Low Countries. Because of William’s young age, Emperor Charles V served as regent until William was old enough to rule them himself. William’s father agreed to the condition. William’s marriage to the catholic Anna of Egmond secured his high social standing. He was appointed captain in the cavalry in 1551 and received rapid promotion to army commander in the war with France. William was also made a member of the Raad van State, the highest political advisory council in the Netherlands. It was in November 1555 that Emperor Charles leaned on William’s shoulder during the ceremony when he abdicated the Low Countries in favour of his son, Philip II of Spain. William was also selected to carry the insignia of the Holy Roman Empire to Charles’s brother Ferdinand, when Charles resigned the imperial crown in 1556. William would only later turn into a rebel against the new King and unleash the struggle for independence in the Eighty Years’ War. Anna spent most of her days in the couples’ residence at Breda Castle, and only infrequently attended court in Brussels. However, she accompanied her husband to Brussels to receive the new King Philip II in 1555. An important rediscovery, this painting would appear to be the only existing surviving original portrait of Anna of Egmond, and it seems to have been executed at the Habsburg court at around that time. A drawing in the Recueil d‘Arras which is very close in physiognomy, as well as the inscription clearly prove the identity of the present sitter. The Recueil d’ Arras is a mid-sixteenth century manuscript, tentatively attributed to the Netherlandish artist Jacques Le Boucq. The recueil comprises of 293 paper folios, of which 289 contain copies of portraits of named historical people. The present painting is undoubtedly related to a group of portraits in the Gemäldegalerie Alte Meister in Kassel. The first one is a Portrait of William I (inv. no. GK 37, oil on panel, 105 x 82.1 cm), the second is a Portrait of Anna of Lorraine, the widow of René of Orange who had named William his successor (inv. no. GK 926, oil on panel, 106.8 x 82 cm). The other two are the Portrait of Rainaud III de Brederode, Count of Holland and chamberlain to Emperor Charles V (inv. no. SM 1.1.938, oil on panel, 114 x 89.5 cm) and the Portrait of a Noble Knave (inv. no. GK 39, oil on panel, 105 x 82.2 cm). All four portraits of the Kassel group, as well as the present painting, appear to have once formed part of a late Renaissance ‘Fürsten-Galerie’ and have remarkably similar sizes and mediums. All portraits, including the present painting, but excluding the portrait of a Noble Knave, feature German identifications in an almost identical lettering in their upper parts. The portrait of the unknown Knave, however, like the present painting, features a window in the background surrounded by a similarly plain and unmodelled dark architectural wall, and with a similar handling of the sky. The early provenance of the series in Kassel is not known. It was most probably commissioned by William of Orange himself or the Nassau family, and not the Hessian landgraves. A plausible date of entry into the Hessian collections would appear to be 1603, when Maurice, Landgrave of Hesse-Kassel, married Juliane of Nassau-Siegen (see B. Schnackenburg, Gemäldegalerie Alte Meister Gesamtkatalog, Staatliche Museen Kassel, Mainz 1996, pp. 190–191). Furthermore, the portrait of William in the series features, in his German inscription, the title of the wealthy County of ‘Katzenellenbogen’, a fief that was contested between the houses of Hesse and Nassau – Nassau never officially relinquishing it, despite it having passed to the Hesse Family in 1557. A series originally made for the Hessian court would most likely not have featured an inscription contradicting the territorial claims of the commissioning dynasty. It is therefore much more plausible that the series was originally painted for the Nassau family and later entered the Hessian collections by descent. The group, and thus the present painting, was therefore most probably executed during the mid-1550s, perhaps on the occasion of Philips II ascension in Brussels in 1555. A dendrochronological analysis carried out by Peter Klein on the portrait of William concluded a plausible date of execution after 1552. The proposed date of execution would be entirely in keeping with the extremely elaborate and elegant dress the Princess of Orange is wearing, befitting her high status as one of the richest and most senior nobles of the imperial court. Anna is depicted wearing a Spanish farthingale, a stiff, conical shaped underskirt that became popular in the early sixteenth century and remained fashionable until the end of the century. Over this, Anna is wearing a kirtle, a supportive underdress made with luxurious silk, which is accentuated by a row of pearls in the centre. The black dress features a central piping in ermine running down the chest and following both sides of the central parting of the overskirt. The square neckline of the dress is decorated in embroidered gold brocade, which features large pearls sewn on in a geometrical pattern, and a small-ruffled lace undercollar that Anna is also wearing in the drawing in the Recueil d’Arras. The large false undersleeves in translucent lace are another elaborate detail, as are the conical shaped false sleeves in ermine that would be tied in the dress. The Princess is wearing a so-called ‘French hood’ that covers most of her hair, and which is again richly decorated with bands of pearls and a gold embroidered Bongrace, a sort of visor-like feature of the hood. A black veil, suspended straight from the hood, covers the back of her hair. Around her neck, she is wearing a triple row pearl necklace tied together at the front, whilst around her waist a belt made up of gold and pearls is shown. Richly decorated bracelets worn over her ruffled cuffs, and no less than six stone-encrusted rings and a pair of chamois leather gloves complete what can only be considered an extremely luxurious dress. Remarkably, there are no other surviving contemporary portraits of Anna of Egmond. A prototype in a small panel format with a highly standardised physiognomy must have existed, as a large number of copies testify. A version with an inscription identifying the sitter is in the Royal Collections of the Netherlands, The Hague (inv. no. SC-0069). Another version is in the Museum of the Chartreuse de Douai (oil on panel, 28 x 22 cm), whilst others are in the Palazzo Ducale, Mantua and the Walker Art Gallery, Liverpool (inv. no. WAG 827), or in private collections. It has been suggested that these portraits are also based on a lost original by Anthonis Mor. However, no traces of such an original have been discovered. Whilst the smaller portrait type differs in some aspects of the dress, the black and white colour scheme is comparable. The four paintings in Kassel have for a long time been attributed to Anthonis Mor van Dashorst, some of them, like the portraits of the Count of Brederode and of Anna of Lorraine with possible workshop participation. Mor was the most influential painter active at the Habsburg courts at the time. Tentative attributions to the workshop of Willem Key in Breda have in the past also been suggested. Comparing the details of the present sitters’ hands and cuffs with that of Mors’ portrait of Queen Mary Tudor in the Prado (in a very similar format, oil on panel, 109 x 84 cm, inv. no. P002108), there are obvious parallels, but also differences. For a large commission such as a whole series Mor certainly had to rely on the support of his assistants. Mor had just returned from Spain in 1555, quite likely travelling with the entourage of King Philipp II. Gloria Martínez-Leiva concludes that differences in quality and conservation within the group and in comparison with the present painting exist, which point to a hypothetical workshop participation.
Half length portrait of a gentleman against a greenish dark background wearing black clothing with a black cap and a white ruffled collar projecting slightly below the ear. The gaze is directed towards the viewer, the skin tones show slightly reddened cheeks above a delicately painted moustache. The painting is registered in the database of the Rijksbureau voor Kunsthishistorische Documentatie, The Hague (RKD) under the number 40740. Gudacten Dr. Gustav Glück, Vienna, 25 May 1929, as an excellent, undoubtedly genuine and characteristic work of Anton Mor van Dashorst from around 1560 (according to the RKD archive)
MORO Antonio (c. 1512/19 - 1575/77). Suiveur de. Huile sur panneau de chêne "Portrait d'homme à la collerette blanche". Suiveur d'Antonio Moro. Voir au dos un cachet armorié à la cire rouge. Ecole hollandaise. Epoque : XVIIème. Dim. : +/- 31,5x26 cm.
GemäldepaarINTERIEURS MIT HISTORISCHEN FIGUREN ODER ALLEGORIEN Öl auf Holz. Parkettiert. Je 38,5 x 28 cm. In dekorativen Rahmen. Das erste Gemälde zeigt in einem palastähnlichen Innenraum drei junge Frauen beim Musizieren vor einer Wand, die mit goldfarbenem Stoff behängt ist. Im Vordergrund die Hausherrin in edlem, rosafarbenem Gewand und Schleier aus dem Bild herausblickend. Sie wird in tiefer Verbeugung per Handkuss von einer weiteren Dame begrüßt. Links von beiden steht ein mit feinen Speisen gedeckter Tisch, darunter auch ein Pfau oder Fasan in einer Terrine. Nach rechts scheint eine Balustrade in den sichtbaren Park unter hohem blau-grauem Himmel zu führen. Die drei Damen könnten auch für die Allegorie der Musik stehen. Das zweite Gemälde zeigt in einem hohen Innenraum eine Bibliothek und davor versammelt sitzend einige Gelehrte und Interessierte. Auffallend ein junger stehender Mann in roter Schaube mit weiten langen Ärmeln und Pelzbesatz, dazu Strumpfhose und ein Barett, typisch für die Mode des 16. Jahrhunderts. Er hält in seinen Händen einen Globus und ist vertieft in ein Gespräch mit einem Sitzenden mit aufgeschlagenem Buch. Die Männer könnten auch für die Allegorie der Wissenschaft stehen. Im Hintergrund links eine Frau in langem Gewand und einer goldenen Krone auf dem Haupt, die von zwei Männern aufgefordert wird, zu gehen. Ihr Gewand und das eines der Männer erinnert an antike Kleidung und lässt somit an historische Gestalten denken. Hinter ihr fällt durch einen Rundbogen der Blick ins Freie mit hohem Himmel. Detailreiche feine Malerei, die teils Figuren aus unterschiedlichen Zeiten zusammen darstellt. Rest. (13300553) (2) (18)
Portrait eines geharnischten Mannes Öl auf Holz. 35 x 25,5 cm. In mit gegossenen Ornamenten verziertem Rahmen. Vor nicht näher definiertem Grund die leicht nach rechts gewandte Hüftfigur eines jungen Mannes mit Marschallstab, weißem Kragen und Spitzbart. Sein Harnisch aufwändig ziseliert und teilvergoldet. Auf seiner Brust der Orden vom Heiligen Vlies. Da nicht zu allen Trägern des Ordens Portraits identifiziert sind, konnte das vorliegende Gemälde bislang nicht eindeutig bestimmt werden. Eine Identifizierung mit Johann IV von Glymes, Marquis de Bergen-op-Zoom (1528-1567) erscheint jedoch wahrscheinlich. Provenienz: Sotheby’s, London, 07. Juli 2011, Lot 147, als Flämische Schule. (13300536) (2) (13) Antonio Moro 1512/19 Utrecht – 1575/77 Antwerp, circle of PORTRAIT OF AN ARMOUR-CLAD MAN Oil on panel. 35 x 25.5 cm. The depicted man in the present portrait could not be clearly identified, since not all bearers of the order are known. However, it seems likely that this is a portrait of John IV of Glymes, Marquess of Berghes (1528-1567). Provenance: Sotheby’s, London, 7 July 2011, lot 147, as Flemish School.
Follower of ANTONIO MORO (Utrecht, between 1516 and 1520 - Antwerp?, 1575/1576). "Portrait of a lady", late sixteenth century. Oil on panel. Size: 57 x 40 cm; 64 x 47 cm (frame). In this female portrait, starring a lady of high lineage, elegantly dressed and adorned with rich jewels, captured with a language based on the rigor of the drawing and the meticulous brushstroke, the heritage of the work of Antonio Moro, painter of chamber of Carlos I and Felipe II, whose language determined the development of the court portrait in the Spain of the 16th century, is clearly appreciated. Born Anton van Dashorst Mor, Antonio Moro worked in the Southern Netherlands and also in Spain, Italy, Portugal and England. He trained in his native Utrecht as a disciple of Jan van Scorel, whose assistant he became in 1540. According to Karel van Mander, Moro traveled to Italy during his youth, and there he was able to spend three years before returning to Utrecht in 1544. In 1547 he was admitted as a master in the Guild of St. Luke in Antwerp, although he preferred to reside in his hometown. The following year he would attract the attention of his first important patron, Antonio Perrenot de Granvela, bishop of Arras and member of the court of Charles V. His portraits made between 1549 and 1550 already reveal an innovative style that would replace the oldest portrait traditions, combining Flemish precision with Italian models. Particularly important in his language would be the influence of Titian, which he brought to him through the works of the Venetian that existed in the collections of Granvela and Maria of Hungary, regent of the Netherlands. Moro's mature style will be characterized by the steely precision of Nordic heritage, the muted colors, the detail in the fabrics, folds and qualities, a simplified lighting generally on the left side and a neutral background that enhances the monumental isolation of the figure, which is usually three-quarter or full-length and fills the entire height of the pictorial plane. His career experienced the definitive impulse when he was presented by Granvela to Philip II; since then Moro will work the royal and courtly portrait in the Dutch and Spanish courts, so that his style will exert an important influence throughout Europe and, above all, in the Iberian Peninsula, where he had numerous disciples and followers. Among them were Alonso Sánchez Coello, Jorge de la Rúa, Manuel Denis, Cristóbal de Morales and Sofonisba Anguissola. In 1550 he was sent by Maria of Hungary to Lisbon to paint the Portuguese royal family, and especially Maria of Portugal, the fiancée of Philip II. On the way he painted his first official portrait of Emperor Maximilian II, probably in Augsburg. Probably from there he continued his journey in the retinue of Philip II, who was then in the Netherlands. He arrived in Spain in 1551, and there he painted Philip II's sister and her first daughter, Maria of Austria, with her husband Maximilian II. The following year he worked at the Lisbon court, and finally in 1553 he returned to Brussels only to go to London, where he was sent to portray Philip II's wife after the wedding. That same year of 1554 he was officially appointed painter to Philip II and moved to the court of Brussels, where he remained until 1559. After a brief stay in Spain Moro returned to Brussels in 1561, after having painted some of his best portraits in Toledo and Madrid. In the following years he continued to work with Granvela and also with the court of Margaret of Parma and the Duke of Alba, governor of the Netherlands. Also, in 1570 he portrayed the fourth wife of Philip II, Anne of Austria. During these years he also painted important aristocrats and bourgeoisie, applying attitudes and compositions of his court portraits.
RefMas121121 Dated upper left: An. 1581 The Liechtenstein coat of arms in red lacquer on the verso. Two further lacquer seals with monogram. The painting is registered in the RKD, The Hague, under number 28379. The present painting shows the portrait of a middle-aged man. Against a dark background, he looks out of the painting, slightly diagonally, with scepticism. He is wearing a silk black and high-necked robe with a white ruff. His headgear is unusual, a high, soft and brimless hat, a so-called "toque". This was worn at the Spanish court in the 16th and early 17th centuries and from there was also introduced at the courts of Prague and Vienna. Among the Dutch portrait painters who were active in Spain, Anthonis Mor from Utrecht, to whom this portrait has been attributed, stands out. In this context, a red lacquer seal on the back of the painting is of great interest, showing that it comes from the collection of the House of Liechtenstein.
FLORIS Frans I (1516 - 1570), MORO Antonio (c. 1512/19 - 1575/77). Entourage de. Huile sur panneau de chêne "Portrait de saint Jean-Baptiste". Nous pouvons rapprocher cette œuvre à un entourage d'Antonio Moro ou de Frans Floris. Ecole flamande, Anvers. Epoque: vers 1560 - 1570. Dim.:+/-33x24,5cm.
After Antonis Mor, circa 1800 Portrait of Fernando Álvarez de Toledo y Pimentel, 3rd Duke of Alba, half-length, wearing armour oil on canvas, unlined 100.5 x 82.6cm (39 9/16 x 32 1/2in). For further information on this lot please visit the Bonhams website
HALBBILDNIS EINES MANNES Öl auf Eichenholz. Parkettiert. 68 x 57 cm. Links oben original Beschriftung mit Altersangabe des Dargestellten und Datierung „Aeta 26. Ao 1555“, darunter verwischte Reste einer Signatur „Antoni (...)“. Der Mann in schwarzer spanischer Tracht mit Barett und geschlitzten Pluderärmeln. Die Lichtwirkung ganz auf das Gesicht des Portraitierten gerichtet, der dem Betrachter entgegenblickt, mit lebensnahem Gesichtsausdruck, wobei der fest geschlossene Mund mit schmalen Lippen Entschlossenheit zeigt, die Kinnpartie Ähnlichkeit mit Mitgliedern des Habsburgischen Hofes. Das Halbbildnis vor oliv-grauem, nach rechts sich aufhellendem Hintergrund. Literatur: Vgl. Joanna Woodall, Anthonis Mor: Art and Authority, Zwolle 2007. Vgl. Henri Hymans, Antonio Moro: Son Oeuvre Et Son Temps, Brüssel 1910. Vgl. W. A. Wijburg, Antonie Mor van Dashorst, ’vermaard schilder van Utrecht’ en zijn naaste familie, in: De Nederlandsche Leeuw 76, 1959, S. 230-248. (12304612) (2) (11) Dutch master of the 16th century in the manner of Antonis Mor (1512 – 1575) HALF-PORTRAIT OF A MAN Oil on oak panel. Parquetted. 68 x 57 cm. Original inscription top left with age of the depicted and date “Aeta 26. Ao 1555”, beneath smudged remains of a signature “Antoni (...)”. Literature: Compare Johanna Woodall, Anthonis Mor: Art and Authority, Zwolle 2007. Compare Henri Hymans, Antonio Moro: Son Oeuvre Et Son Temps, Brussels 1910. Compare W. A. Wijburg, Antonie Mor van Dashorst, ’vermaard schilder van Utrecht’ en zijn naaste familie, in: De Nederlandsche Leeuw 76, 1959, pp. 230-248.
BILDNIS DER MARGARETHE VON PARMA Öl auf Eichenholz. 14,7 x 20 cm. In einem alten, aufwendig gearbeiteten Spätrenaissance-Rahmen mit Flammleisten, Silberapplikationen und Marmoreinlage im Sprenggiebelfeld. In Feinmalerei, im Brustbild leicht nach rechts gezeigt, vor grün-braunem Hintergrund. Das leicht nach rechts gewandte Gesicht nimmt intensiven Blickkontakt mit dem Betrachter auf, gerahmt durch wellig gekrausten Kragen über hoher schwarzer Halsschürze und schwarzem Kleid, auf dem die doppelt gereihte Perlenkette und die aufgenähten Rosetten voll zur Wirkung kommen. Das braune Haar, bedeckt mit einem durchsichtigen Schleier, ebenfalls mit Perlen bestückt. Margarethe von Parma (1522-1586) war uneheliche Tochter Kaiser Karls V und wurde zunächst 1536 mit dem Herzog von Florenz Alessandro de‘Medici und, nach dessen Ermordung, mit Ottavio Farnese verehelicht. Durch ihren Halbbruder, den spanischen König Philipp II, wurde sie 1559 als Statthalterin der habsburgischen Niederlande eingesetzt. Das vorliegende Gemälde geht auf ein großformatiges Portrait, um 1562, von Antonis Mor zurück, das sie in der identischen Kleidung darstellt. Das vorliegende kleine Tafelbild reduziert jedoch das nahezu Dreiviertelbildnis des Originals auf ein Kopfportrait. Demgemäß ist auch die helle Wirkung von weißen Perlen, im Gegensatz zur großen Ausführung, hier farblich reduziert worden, während der Futterschlitz im Ärmelkleid als besonderes, das Bild belebende Detail in kräftigem Rot in dezenter Weise eingefügt wurde. Entsprechend dem damaligen Bedarf von Wiederholungen eines erstgeschaffenen Portraits für den verzweigten Hof, ist auch hier anzunehmen, dass das Gemälde wohl unter Aufsicht des Meisters in der Werkstatt angefertigt wurde. Dafür spricht auch die hohe Malqualität. In ähnlicher Weise ist wohl auch ein Halbbildnis der Elisabeth Farnese, Königin von Spanien, entstanden, ebenfalls dem Mor-Kreis zugewiesen, bei Christie‘s New York 2000 verauktioniert. Literatur: María Teresa Álvarez, Margarita de Parma: la apasionante vida de la hija bastarda de Carlos V, gobernadora de los Países Bajos, 2014, mit Abb. des Bildnisses von Mor auf dem Umschlag. (1220012) (11)
HALBBILDNIS EINES MANNES Öl auf Eichenholz. Parkettiert. 68 x 57 cm. Links oben original Beschriftung mit Altersangabe des Dargestellten und Datierung „Aeta 26. Ao 1555“, darunter verwischte Reste einer Signatur „Antoni (...)“. Der Mann in schwarzer spanischer Tracht mit Barett und geschlitzten Pluderärmeln. Die Lichtwirkung ganz auf das Gesicht des Portraitierten gerichtet, der dem Betrachter entgegenblickt, mit lebensnahem Gesichtsausdruck, wobei der fest geschlossene Mund mit schmalen Lippen Entschlossenheit zeigt, die Kinnpartie Ähnlichkeit mit Mitgliedern des Habsburgischen Hofes. Das Halbbildnis vor oliv-grauem, nach rechts sich aufhellendem Hintergrund. Literatur: Joanna Woodall, Anthonis Mor: Art and Authority, Zwolle 2007. Henri Hymans, Antonio Moro: Son Oeuvre Et Son Temps, Brüssel 1910. W. A. Wijburg, Antonie Mor van Dashorst, ’vermaard schilder van Utrecht’ en zijn naaste familie, in: De Nederlandsche Leeuw 76, 1959, S. 230-248. (1210395) (11) Dutch master of the 16th century, in the manner of Antonis Mor, 1512 – 1575 HALF-PORTRAIT OF A MAN Oil on oak panel. Parquetted. 68 x 57 cm. Original inscription top left with age of the depicted and date “Aeta 26. Ao 1555”, beneath smudged remains of a signature “Antoni (...)”. Literature: Johanna Woodall, Anthonis Mor: Art and Authority, Zwolle 2007. Henri Hymans, Antonio Moro: Son Oeuvre Et Son Temps, Brussels 1910. W. A. Wijburg, Antonie Mor van Dashorst, ’vermaard schilder van Utrecht’ en zijn naaste familie, in: De Nederlandsche Leeuw 76, 1959, p. 230-248.
Circle of Anthonis Mor van Dashorst (Utrecht c. 1517-c. 1575/6 Portrait of a young man, bust-length, in a white ruff oil on panel 15 1/8 x 12 5/8 in. (38.2 x 32.2 cm.)
Oil on canvas, unsigned, inscribed '1557' upper left, lined.19 1/2 x 16 1/2 in., 26 x 23 in. (frame).Note: Netherlandish painter Anthonis Mor was also known as Anthonis Mor van Dashort and Antonio Moro. He left Antwerp for Lisbon in 1550 and then painted for the Spanish Court until circa 1561.
Antonis Mor, auch „Antonis Moor van Dashorst“, 1512 Utrecht – 1575 Antwerpen, zug. HERRENBILDNIS Öl auf Eichenholz. Parkettiert. 62 x 46 cm. Halbbildnis eines Herrn vor grünlich dunklem Hintergrund in schwarzer Kleidung mit schwarzer Kappe und weißem leicht unter dem Ohr hervortretenden Wellenkragen. Der Blick gilt dem Betrachter, das Inkarnat zeigt leicht gerötete Wangen über fein gemaltem Knebelbart. Der Stil entspricht ganz den Werken des genannten Malers. (1061869) (11) Antonis Mor, also “Antonis Moor van Dashorst“, 1512 Utrecht – 1575 Antwerp, attributed PORTRAIT OF A GENTLEMAN Oil on oak panel. Parquetted. 62 x 46 cm.
Certificate Wilhelm R. Valentiner, London, 27.5.1958. - Max J. Friedländer, Amsterdam, 13.6.1958. - Ludwig Meyer, Munich, 10.9.2008. The sitter of this portrait by Anthonis Mor is Margaret of Parma, the illegitimate daughter of Charles V, wife of the second Duke of Parma and Piacenza, Ottavio Farnese, and Stadtholder of the Southern Netherlands. Ludwig Meyer has confirmed the authorship of Anthonis Mor, as have W. R. Valentiner and Max Friedländer before him, praising the “impressive quality” of this portrait of a lady (cf. Ludwig Meyer's expertise of 2008). Margaret of Parma is mainly acknowledged for her role as Stadtholder of the Netherlands, a position to which her half-brother Philipp II of Spain appointed her in 1559. She mainly resided in Italy and the southern Netherlands, and her life was largely dominated by the hegemonial politics of the Habsburg family. Margaret was the illegitimate daughter of Emperor Charles V and the Fleming Johanna Maria van der Gheynst. She was acknowledged by her father and raised by her aunts Queen Mary of Hungary and Margaret of Austria. She was married to the Duke of Tuscany Alessandro de´ Medici at age 15, but following his murder just one year later she was remarried to Ottavio Farnese, Duke of Parma and Piacenza, and grandson of Pope Paul III. Her reign as Stadtholder of the Netherlands was overshadowed by religious and political conflict and ended upon the arrival of the Duke of Alba, at which point she returned to Italy. However, her son Alessandro Farnese later also took up the position. The portrait follows the traditional scheme for portraits of courtly ladies which was developed throughout the 16th century by Anthonis Mor and Titian before him. The richly attired subject stands behind a table, resting her right hand upon its edge and grasping a gold chain in her left hand. A copy of this work with truncated edges has survived in the Royal collection in England, showing the sitter in the same head dress (Lorne Campbell, op. cit.). Alongside Titian, Anthonis Mor was the Habsburg family's most renowned portrait painter. He depicted members of this family at the courts of Vienna, Madrid and Brussels and played a significant role in the development of the Habsburg iconography of power throughout Europe. Mor was born in Utrecht in 1518 and later travelled to Antwerp and Brussels, where he entered the service of the Habsburgs in 1549. Their commissions allowed him to travel to the royal courts of Portugal, Spain, Augsburg and England. Anthonis Mor
MOR VAN DASHORST, ANTHONIS (FOLLOWER OF) (Utrecht 1512 - 1575 Antwerp) Portrait of a noble man in armour. Oil on panel. 33.2 x 25.3 cm. MOR VAN DASHORST, ANTHONIS (NACHFOLGER) (Utrecht 1512 - 1575 Antwerpen) Portrait eines Edelmannes in Rüstung. Öl auf Holz. 33,2 x 25,3 cm.
MORO, ANTONIO (DUTCH, 1512-1578): Oil on panel. Portrait of the Duke d'Alba. His coat-of-arms upper left. 18.25 x 13.5." Ex-Colls.: Count Contini, Rome and Signor Sangiorgi, Rome. Provenance: from a private New York collection with information.
Attributed to Sir Antonio More (1512 - c.1582). A Fine Oil on Board: A Portrait of Mary Queen of Scots, depicted wearing a white headdress and a black robe with a bow topped crest in the right hand corner. 22 1/2 ins x 17 ins (57 cms x 43 cms). In a carved and moulded oak & ebonised frame with inscribed plaque 30 1/2 ins x 24 1/2 ins (78 cms x 63 cms).
Portrait of Emanuel Philibert, Duke of Savoy, half-length, in armour, wearing the Order of the Golden Fleece bears inscription 'DUC.DE SAVOI.' (upper right) oil on panel 68.5 x 57cm (26 15/16 x 22 7/16in).
STUDIO OF ANTONIO MORO UTRECHT 1519 - 1575 ANTWERP A PORTRAIT OF A NOBLE LADY, THREE-QUARTER LENGTH, WEARING A BLACK DRESS ADORNED WITH PEARLS, A WHITE LACE COLLAR AND A BONNET SET WITH BEADS, A PEARL NECKLACE, A GOLDEN WAIST CHAIN, HOLDING VIOLETS IN HER RIGHT HAND oil on panel PROVENANCE With Sedelmeyer, Paris, circa 1900 (cat. no. 22); Their sale, Paris, Chevallier, 3 June 1907, lot 240. CATALOGUE NOTE Bears an old label on the reverse of the frame: No 13438/A. MORO/Pt du Princesse.