George Gower

Portrait of an Elizabethan Gentleman, Edmund Huddleston Dated 1562, oil on panel

Dated 1562

Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract. The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period. According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance. Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted. This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately. Frans Pourbus the Younger...

Provenance: with Leo Blumenreich and Julius Böhler, Munich, 1924 Dr. Frederic Goldstein Oppenheimer (1881-1963), San Antonio, Texas; by whom given to: Abraham M. Adler, New York, until 1985; thence by descent to the present owners While old inscriptions on the verso of this panel propose its author to be Hans Holbein and the sitter Sir John More—a lawyer, judge, and the father of Sir Thomas More—this fine portrait has long been recognized to be by a Flemish hand. Max Friedländer gave the painting to Bernard van Orley (1487/1491 – 1541) in 1924, but did not include it in the volume dedicated to the artist in his Early Netherlandish Paintings...

Provenance: Bradley Collection. Private Collection, Upperville, Virginia. Literature: Katlijne van der Stighelen and Hans Vlieghe, Rubens: Portraits of Unidentified and Newly Identified Sitters painted in Antwerp, Corpus Rubenianum Ludwig Burchard, vol. 19, pt. 3, London and Turnhout, 2021, under cat. no. 189, p. 161, and fig. 75. This painting had previously been considered to be by an anonymous Tuscan painter of the sixteenth century in the orbit of Agnolo Bronzino. While the painting does in fact demonstrate a striking formal and compositional similarity to Bronzino’s portraits—compare the nearly identical pose of Bronzino’s Portrait of a Young Man in the Metropolitan Museum of Art (Fig. 1)—its style is completely foreign to Italian works of the period. That it is painted on an oak panel is further indication of its non-Italian origin. This portrait can in fact be confidently attributed to the Antwerp artist Huybrecht Beuckelaer. Huybrecht, the brother of Joachim Beuckelaer, has only recently been identified as the author of a distinct body of work formerly grouped under the name of the “Monogrammist HB.” In recent studies by Kreidl, Wolters, and Bruyn his remarkable career has been delineated: from its beginnings with Joachim in the workshop of Pieter Aertsen; to his evident travels to Italy where, it has been suggested, he came into contact with Bronzino’s paintings; to his return to Antwerp, where he seems to have assisted Anthonis Mor in painting costume in portraits; to his independent work in Antwerp (where he entered the Guild of Saint Luke in 1579); and, later to his career in England where, known as “Master Hubberd,” he was patronized by the Earl of Leicester. Our painting was recently published by Dr. Katlijne van der Stighelen and Dr. Hans Vlieghe in a volume of the Corpus Rubenianum, in which they write that the painting “has a very Italian air about it and fits convincingly within [Beuckelaer’s] oeuvre.” Stighelen and Vlieghe compare the painting with Peter Paul Ruben’s early Portrait of a Man, Possibly an Architect or Geographer in the Metropolitan Museum of Art, in which the sitter holds a compass and wears a similarly styled doublet (Fig. 2). Huybrecht both outlived and travelled further afield than his brother Joachim, who made his career primarily in Antwerp. Whereas Joachim was the main artistic inheritor of their uncle and teacher, Pieter Aertson, working in similar style and format as a specialist in large-scale genre and still-life paintings, Huybrecht clearly specialized as a painter of portraits and was greatly influenced by the foreign artists and works he encountered on his travels. His peripatetic life and his distinctly individual hand undoubtedly contributed to the fact his career and artistic output have only recently been rediscovered and reconstructed. His periods abroad seem to have overlapped with the mature phase of his brother Joachim’s career, who enrolled in the Antwerp Guild of Saint Luke much earlier than his brother, establishing himself as an independent painter in 1560. Joachim’s activity was confined to the following decade and half, and his latest work dates from the last year of his life, 1574. Our portrait was likely produced in the late 1560s, a dating supported by the dendrochronological investigation performed by Dr. Peter Klein, which established that it is painted on an oak panel with an earliest felling date of 1558 and with a fabrication date of ca. 1566. This painting presents a portrait of an artist, almost certainly Huybrecht’s self-portrait. The young sitter is confidently posed in a striking patterned white doublet with a wide collar and an abundance of buttons. He stands with his right arm akimbo, his exaggerated hands both a trademark of Huybrecht and his brother Joachim’s art, as well as a possible reference to the “hand of the artist.” The figure peers out of the painting, interacting intimately and directly with the viewer, as we witness him posed in an interior, the tools and results of his craft visible nearby. He holds a square or ruler in his left hand, while a drawing compass...