Portrait of a Gentleman
1569
Artist, Netherlandish, 1519 - 1576

Although the identity of the sitter is unknown his elegant dress and bearing suggest that he was an individual of wealth and distinction. The inclusion of a hunting dog was quite common in portraits of aristocrats, and the gold chains are a usual sign of honor. The suggestion of a military identification is enhanced by the gesture of his hand fisted at his waist, and the standing, three-quarter-length pose was generally used by Mor in his paintings of aristocrats as opposed to the more informal poses he used in his likenesses of middle-class subjects.
The most likely precedent for this painting is the Portrait of Charles V (Prado, Madrid), done in 1532 or 1533 by the Venetian artist Titian. From Titian, Mor adapted the compositional arrangement for his depiction of a standing man with a dog. Similarly, the way that light is employed, brilliantly illuminating selective portions of the figure while arbitrarily obscuring other parts in dark shadow, is thoroughly Titianesque. Mor's style also reveals his training in his native Flanders, in his close attention to detail and delight in depicting textures.
The deft handling of paint and the astute psychological presentation clearly demonstrate why Mor was such a sought-after portraitist during the sixteenth century, anticipating the achievements of the great portraitist of the aristocracy in the following century, Anthony van Dyck.
More information on this painting can be found in the Gallery publication Early Netherlandish Painting, which is available as a free PDF https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/early-netherlandish-painting.pdf

West Building Main Floor, Gallery 42
Artwork overview
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Medium
oil on canvas
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Credit Line
-
Dimensions
overall: 119.7 x 88.3 cm (47 1/8 x 34 3/4 in.)
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Accession
1937.1.52
Artwork history & notes
Provenance
Probably Sir Peter Lely [d. 1680], London. (sale, London, 18 August 1682).[1] George John Spencer, 2d earl Spencer [1758-1834], Althorp House, Northamptonshire, by 1822;[2] The Earls Spencer, Althorp House; Albert Edward John Spencer, 7th earl Spencer [1892-1975], Althorp House, until 1927; (Duveen Brothers, Inc., London and New York); purchased February 1930 by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 28 December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.
[1] "A Man with a Gold Chain and a Dog," 3 ft 5 in by 2 ft 9 in, is listed after Antonis Mor's name in the handlist for the sale of Sir Peter Lely's collection; "Sir Peter Lely's Collection," Burlington Magazine 83 (1943), 187. Lely's collection also included a self-portrait, among other works by Mor. Dallaway's notes to Horace Walpole's Anecdotes of Painting in England..., 2d ed., Ed. James Dallaway, 5 vols. (London, 1826), I: 240, first connected the painting, then in the Spencer collection, with the item in the Lely sale. Joanna Woodall has made the interesting suggestion that the picture may be identical with a three-quarter-length portrait by Mor in the Orleans collection, in conversation with Martha Wolff, 4 February 1985; see Louis-François Dubois de Saint-Gelais, Description des Tableaux du Palais Royal... (Paris, 1727), 62-63, as the portrait of a Spaniard from the collection of Monsieur, that is, Philippe de France, Duke of Orléans, d. 1701. This may be the picture sold with part of the Orléans collection in London in April 1793, no. 49, for 15 guineas, as a self-portrait by Mor; see Gustav Friedrich Waagen, Treasures of Art in Great Britain...., 4 vols. (London, 1845), 2: 501. Christiaan Kramm, De levens en werken der hollandsche en vlaamsche Kunstchilders beeldhouwers, graveurs, en bouwmeesters...., 7 vols. (Amsterdam, 1857-1864) 4: 1160-1161, first linked the reference in the 1793 Orléans sale to the portrait then in the Spencer collection. However, there are a number of discrepancies between Dubois de Saint-Gelais' relatively precise description and the Gallery's painting. Thus Dubois de Saint-Gelais does not mention chains of honor, sword, or dagger, but does describe a signet ring on the hand resting on the dog's collar. Comments on the painting provided by Joanna Woodall.
[2] Dibdin, Thomas Frognall. Aedes Althorpianae; or an Account of the mansion, books, and pictures, at Althorp; the residence of George John earl Spencer, K.G....., 2 vols., London, 1822: 1:262-263.
Associated Names
Exhibition History
1857
Art Treasures of the United Kingdom: Paintings by Ancient Masters, Art Treasures Palace, Manchester, 1857, no. 513, as His Own Portrait by Sir Antonio More.
1866
Special Exhibition of National Portraits Ending with the Reign of King James the Second, South Kensington Museum, London, 1866, no. 186.
1897
Exhibition of the Royal House of Tudor, Corporation of Manchester Art Gallery, Manchester, 1897, no. 126.
1904
Dutch Exhibition, Whitechapel Art Gallery, London, 1904, no. 140.
1907
Exhibition of Works by the Old Masters, Royal Academy of Arts, London, 1907, no. 8.
1927
Flemish and Belgian Art, 1300-1900, Royal Academy of Arts, London, 1927, no. 231.
Bibliography
1822
Dibdin, Thomas Frognall. Aedes Althorpianae; or, An Account of the Mansion, Books, and Pictures, at Althorp, The Residence of George John, Earl Spencer, K.G. ... 2 vols. London, 1822: 1:262-263, repro. opp. 262.
1823
Catalogue of the Pictures at Althorp, the Seat of Right Honorable the Earl Spencer, K. G.. Northampton, 1823: 23.
1826
Walpole, Horace, George Vertue, and James Dallaway. Anecdotes of Painting in England: with some account of the principal artists; and incidental notes on other arts; collected by the late George Vertue; digested and published from his original MSS. 5 vols. London, 1826-1828: 1:240.
1836
Passavant, Johann David. Tour of a German Artist in England. Translated by Elizabeth Eastlake. 2 vols. London, 1836: 2:35.
1851
Catalogue of the Pictures at Althorp House in the County of Northampton, with occasional Notes, Biographic and Historical. London, 1851: no. 271.
1854
Waagen, Gustav Friedrich. Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss.. 3 vols. Translated by Elizabeth Rigby Eastlake. London, 1854: 3:457.
1857
Kramm, Christian. De levens en werken der Hollandsche en Vlaamsche kunstchilders, beeldhouwers, graveurs, en bouwmeesters. 6 parts and supplement in 3 vols. Amsterdam, 1857-1864: 4:1160-1161.
1860
Bürger, W. [Théophile Thoré] Trésors d'art en Angleterre. Brussels and Ostende, 1860: 173-174.
1861
Blanc, Charles. École Hollandaise. 2 vols. Histoire des peintres de toutes les écoles 1-2. Paris, 1861: 1:4, 8, repro. 1 (engraving of head).
1906
Pierre-Marcel, René. "Collection du Comte Spencer." Les arts 60 (December 1906): 8, repro. 5.
1907
Friedländer, Max J. "Die Winterausstellung der Royal Academy in London 1907." Repertorium für Kunstwissenschaft 30 (1907): 378.
Loga, Valerian von. "Antonis Mor als Hofmaler Karls V. und Philipps II." Jahrbuch der kunsthistorischen Sammlungen in Wien 27 (1907/1909): 112, fig. 22.
Scheewe, Ludwig. "Antonis Mor." In Thieme-Becker. 37 vols. Leipzig, 1907-1950: 25(1931):111.
1910
Hymans, Henri. Antonio Moro son oeuvre et son temps. Brussels, 1910: 114-115.
1924
Friedländer, Max J. Die altniederländische Malerei 14 vols. 1924-1937. Leiden, 1936: 13:172, no. 354. (English ed., 14 vols., 1967-1976. Leiden, 1975: 13:102, 118, no. 354, pl. 176.)
1926
Tipping, H. Avray. English Homes. 9 vols. London, 1926: 9:repro. 315.
1927
Benkard, Ernst. Das Selbstbildnis vom 15. bis zum Beginn des 18. Jahrhunderts. Berlin, 1927: xxviii-xxix, 24-25, pl. 31.
1934
Marlier, Georges. "Antonis Mor van Dashorst (Antonio Moro)." Académie Royale de Belgique. Classe des Beaux-Arts Mémoires. Series 2.3. Fasc. 2 (1934): 22, 79-83, 96-97, no. 11, fig. 11.
1937
Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: 35-36.
1941
De Tolnay, Charles. "Flemish Paintings in the National Gallery of Art." Magazine of Art 34 (April 1941): 189-191, 200, figs. 20-22.
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 135, no. 52.
Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 190, repro., as Self-Portrait (Presumed).
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 240, repro. 28.
1947
Frerichs, L. C. J. Antonio Moro. Amsterdam, 1947: 39, 57, repro. 52.
Friedländer, Max J. "Frans Pourbus der Ältere." Oude Holland 57 (1947): 65-66, fig. 6.
1949
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 66, repro.
1953
De Vries, A. B. "Antonio Moro." Les arts plastiques. Series 6.3 (1953): 206, fig. 95.
1960
Broadley Hugh T. Flemish Painting in the National Gallery of Art (Booklet no. 5 in Ten Schools of Painting in the National Gallery of Art, Washington, DC). Washington, 1960: 9, 34-35, color repro.
Wilenski, R. H. Flemish Painters 1430-1830. New York, 1960: 168, 608, pl. 428.
1962
Müller Hofstede, Justus. "Zur frühen Bildnismalerei von Peter Paul Rubens." Pantheon 20 (1962): 286-287, fig. 13.
Puyvelde, Leo van. La peinture flamande au siècle de Bosch et Breughel. Paris, 1962: 264, fig. 142.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 306, repro.
1965
Philippot, Paul. "Le portrait à Anvers dans la seconde moitié du XVIe siècle." Bulletin des Musées Royaux des Beaux-Arts de Belgique 14 (1965): 173, fig. 4.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 93.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 82, repro.
1972
Ragghianti, Carlo L. "Pertinenze francesi nel cinquecento." Critica d'Arte 19, n.s. 122 (1972): 46, 73, fig. 53.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 244, repro.
1978
De Meyere, J. A. L. "Utrechtse schilderkunst in de tweede helft van de 16de eeuw." Jaarboek Oud-Utrecht (1978): 145, fig. 26.
1981
Groeneveld, Elizabeth E. H. "Een herziene biographie van Anthonis Mor." Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen (1981): 115.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 259, no. 325, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 283, repro.
1986
Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 202-205, color repro. 203.
1992
National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 48, repro.
2004
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 125, no. 96, color repro.
2011
Pergam, Elizabeth A. The Manchester Art Treasures Exhibition of 1857: Entrepreneurs, Connoisseurs and the Public. Farnham and Burlington, 2011: 313.
Inscriptions
upper left: Antonius mor pingebat a. 1569
Wikidata ID
Q20176720