Overview

No overview.

Inscription

upper left: .AE.S.20 / Ao.1558.

Marks and Labels

null

Provenance

Probably Prince Karl Anton von Hohenzollern-Sigmaringen [d. 1885].[1] His son, Prince Leopold von Hohenzollern-Sigmaringen [d. 1905]. His son, Prince Wilhelm August Karl von Hohenzollern-Sigmaringen [d. 1927]. Fürstlich Hohenzollernsches Museum für Wissenschaft und Kunst, Sigmaringen. (A.S. Drey, Munich and New York, 1928-1929); (M. Knoedler & Co., Inc., 1929-1934); (Robert Frank, Ltd., 1934).[2] Baron Heinrich Thyssen-Bornemisza [1875-1947], Villa Favorita, Lugano-Castagnola, Switzerland, by 1937; by inheritance to his daughter, Baroness Gabrielle Bentinck-Thyssen [b. 1915]; on consignment 1951 to (M. Knoedler & Co., Inc., New York);[3] purchased February 1952 by the Samuel H. Kress Foundation, New York; [4] gift 1961 to NGA.

Exhibition History

1928
Alte Pinakothek, Munich, 1928, no cat.
1928
Flemish Primitives Formerly in the Collection of the Prince of Hohenzollern-Sigmaringen, A.S. Drey, New York, 1928, unpaginated, as by Antonis Mor.
1932
Naval and Military Portraits, M. Knoedler & Co., Inc., New York, 1932, no. 9, as by Antonis Mor.
1998
Loan to display with permanent collection, Stichting Huis Bergh, 's Heerenberg, The Netherlands, 1998-1999.
1998
Tussen Spanje en Oranje [Between Spain and Orange], Stichting Huis Bergh, 's Heerenberg, The Netherlands, 1998, no. 2, repro.

Bibliography

1924
Friedländer, Max J. Die altniederländische Malerei 14 vols. 1924-1937. Leiden, 1936: 13:172, no. 359, pl. 66. (English ed., 14 vols., 1967-1976. Leiden, 1975: 13:102, no. 359, pl. 179.)
1924
Reiffel, Franz. "Das Fürstlich Hohenzollernsche Museum zu Sigmaringen: Gemälde und Bildwerke." Städel-Jahrbuch 3-4 (1924): 59.
1929
Trosée, J.A.G.C. Het eerste Tijdvak van het Verraad van Graaf Willem van den Bergh (Gelre. Werken, no. 18). Arnhem, 1929: 6, frontispiece.
1931
The Arts 17 (1931): repro. cover.
1932
Parnassus 4 (1932): 20, repro.
1937
Heinemann, Rudolf. Stiftung Sammlung Schloss Rohoncz. 3 vols. Lugano-Castagnola, 1937: 1:107, 2:pl. 98.
1956
Paintings and Sculpture from the Kress Colllection Acquired by the Samuel H. Kress Foundation 1951-56. Introduction by John Walker, text by William E. Suida and Fern Rusk Shapley. National Gallery of Art. Washington, 1956: 132, no. 50, repro., as by Antonis Mor.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 288, repro., as by Antonis Mor.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 93, as by Mor.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 82, repro., as by Mor.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 246, repro. 247.
1977
Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 96, fig. 83, as by Netherlandish(?) Master [Anthonis Mor].
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 284, repro.
1986
Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 206-208, repro. 207.

Conservation Notes

The panel, which is composed of three vertical members, was cradled in 1955 when it was cleaned and restored by Mario Modestini. It is in very good condition, with losses and inpainting largely confined to the joins and to some scratches in the lower left corner. There is some abrasion in the face. An adjustment in the angle of the sitter's proper left arm is visible in raking light. Examination with infrared reflectography shows a number of changes between the underdrawing and the painting of the costume. The collar of the leather doublet was lower, as was the position of the buttons; the waist was higher and the position and angle of the vertical cuts in the doublet different. Chains of honor underdrawn around the sitter's neck were not painted.

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