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64
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Nicolaes Eliasz PICKENOY (1590–1653/56), attributed to
See original version (French)
64
-
Nicolaes Eliasz PICKENOY (1590–1653/56), attributed to
See original version (French)
Estimate €5,000 - €8,000
Voluntary lot
Description
Nicolaes Eliasz PICKENOY (1590–1653/56), attributed to
Presumed portrait of Wolfgang-Guillaume de Neubourg, c. 1630
Oil on panel.
H_102 cm W_67.5 cm
Cracks, previous restorations.
Provenance:
Bourbon-Busset family, Busset Castle; traditionally believed to be a portrait of the Duke
of Neubourg by van Dyck.
Private collection in Switzerland since the 1980s
This exquisite portrait is firmly rooted in the tradition of
Flemish portraiture from the first half of the 17th century. Since the late 15th century, the
portrait has undergone a gradual evolution: initially integrated into
in the form of donors or the artist’s concealed self-portraits,
it gradually acquired genuine autonomy during the 16th century. Painters
such as Lucas Cranach the Elder, Corneille de Lyon and François
Clouet contributed to the genre’s rise, whilst maintaining
generally modest formats, with monumental compositions remaining the preserve
of sovereigns or exceptional commissions.
The 17th century marked a profound transformation in the status of portraiture within
European art. Artists such as Nicolaes Eliasz Pickenoy and Antoine van
Dyck played a part in showcasing the elites of the upper middle class and
the aristocracy. Portraits thus became more monumental and served as
genuine manifestations of their patrons’ social prestige.
Painted on a panel over a metre high, our painting bears witness
to remarkable attention to detail. The rendering of the costume reveals great
delicacy, whilst the hands – a speciality of Pickenoy’s – adopt
a particularly complex and masterful pose. The face is rendered with
equally masterful skill: executed in fine glazes, it retains, despite the
restorations, all the psychological depth and presence of the subject
intended by the artist.
Nicolaes Eliasz Pickenoy was a painter active in Amsterdam, whose reputation
rested chiefly on his portraits of the leading figures of his
time. He collaborated on several occasions with Rembrandt, who was then his
studio neighbour, and established himself as one of the leading portraitists of the
Dutch school in the first half of the 17th century.
Our painting can be compared with the various known portraits of Wolfgang
Wilhelm of Palatinate-Neuburg painted by Anthony van Dyck.
Wolfgang-Guillaume of Neuburg (1578–1653) was a German prince of the Holy
Holy Roman Empire, descended from the powerful House of Wittelsbach. His
reign was marked by his conversion to Catholicism in 1613, as well as by the
turmoil of the Thirty Years’ War, which permanently divided Europe between
Catholic and Protestant powers.
The Duke’s court was thus characterised by a balance between political tensions and
aristocratic refinement. A cultured prince and major patron of the arts, he maintained links with
the great artists of his time. An anecdote even relates that he is said to have
come to the aid of Peter Paul Rubens, who was caught up in a popular riot whilst on a
trip to Spain in 1624.
Portrayed on several occasions by Van Dyck, Mierevelt and, later,
Johann Spilberg, Wolfgang-Guillaume demonstrates just how well he understood
the importance of the princely portrait as an instrument of representation and
visual political propaganda. Our painting is thus one of the few
early depictions of this prince.
See original version (French)
Auto-translation. Refer to original language for legal validity.
Pictures credits: Contact the Auction House
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