Lot 30: Antonis Mor (Utrecht 1516/20-?1576 Antwerp)

Portrait of Don Fernando Alvarez de Toledo, Duke of Alba (1507-1582), bust-length
oil on panel
18 x 15 1/4 in. (45.7 x 38.7 cm.)

Marquis of San Carlos of the Two Sicilies, and by descent to his son
Don Juan Quiñones de León y Francisco Martín, and by descent to
The Dukes of Placencia, and by descent to
Don Ignacio Fernández de Strevestrosa y Gayoso de los Cabos, Marquis of Camarasa and Duke of Placencia, and by descent to
Doña María Josefa Fernández de Henestrosa de Martínez del Río, Marchioness of Cilleruelo by 1951, and by descent to the present owner.

Antonis Mor, born in Utrecht circa 1518, studied under Jan van Scorel (1495-1562), and went on to become the most internationally renowned Flemish artist of the 16th century. He was active in the Netherlands (North and South), Italy, Spain, Portugal and England. As court painter to Philip II of Spain he benefited from material profit and social prestige and depicted members of the most powerful ruling elite in Europe.

The present composition is a bust-length portrait of Don Fernando Alvarez de Toledo (1507-82), the 'Gran-Duque' de Alba and the current owner is a direct descendant of the sitter. Van Mander alleged that Mor was called from Utrecht into the service of the Duke de Alba, the new Governor of the Netherlands, who arrived in Brussels at the end of August 1567. Mor is documented in Antwerp in 1567 and 1568 and was living there by 1573, but it is possible that he worked for Alba in Brussels from 1568 to 1572. Although no paintings survive that can be specifically linked with Alba's patronage, in 1572 the Duke appointed Mor's son-in-law Receiver of West Flanders, probably as a reward for the painter's services.

In this sober bust-length portrait the Duke, aloof and self-contained, gazes engagingly at the viewer, emanating a distinct air of authority, in accordance with his rank. The only other indicator of his position is the finery of his clothing, the viewer gets a glimpse of a sumptuous striped black velvet high collared overcoat, delicate white lace ruffles, and ornate gold buttons. The plain brown background enhances the Duke's somewhat stern expression and superior clothing. In this highly polished portrait Mor succeeds in combining austerity and a formality of pose with penetrating insight into the sitter's character.