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UnknownPortrait of a Gentleman
Price:$20,000
$45,000List Price
About the Item
- Dimensions:Height: 17.125 in (43.5 cm)Width: 13.75 in (34.93 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: G12052410214

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View AllPortrait of an Artist (possibly a Self-Portrait)
Located in New York, NY
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...
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Portrait of a Man
Located in New York, NY
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...
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16th Century Old Masters Portrait Paintings
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A Guardian Angel and a Child
Located in New York, NY
Provenance:
Cornelius Vanderbilt, New York; by whom gifted in 1880 to:
The Metropolitan Museum of Art, New York (80.3.673); deaccessioned and sold:
Christie’s, New York, 12 June 19...
Category
17th Century Old Masters Portrait Paintings
Materials
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Head of a Classical Poet (Socrates?)
By Pier Francesco Mola
Located in New York, NY
Provenance:
Possibly Antonio Amici Moretti, Rome, 1690
Roy Clyde Gardner, Union, Mississippi, 1970s until 2004; by whom given to:
Mississippi Band of Choctaw Indians, 2004-2010
Lit...
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Madonna and Child with Angels in the Clouds
Located in New York, NY
Provenance: Charles H. and Virginia Baldwin, Claremont, Colorado Springs, Colorado ca. 1907-1934; thence by descent until sold in 1949 to:
Charles Blevins Davis, Claremont (renamed Trianon), Colorado Springs 1949 -until gifted in 1952 to:
The Poor Sisters of Saint Francis, Trianon, Colorado Springs, 1952 until acquired, 1960, by:
John W. Metzger, Trianon, renamed as the Trianon School of Fine Arts, Colorado Springs, 1960-1967; when transferred to:
The Metzger Family Foundation, Trianon Art Museum, Denver, 1967 - 2004; thence by descent in the Metzger Family until 2015
Exhibited: Trianon Art Museum, Denver (until 2004)
The present work is a spectacular jewel-like canvas by Amigoni, rich in delicate pastel colors, most likely a modello for an altarpiece either lost or never painted. In it the Madonna stands firmly upon a cloud in the heavens, her Child resting on a delicate veil further supported by a cloud, as he gently wraps his arm around his mother’s neck. From above angels prepare to lower flowers and a wreath, while other angels and seraphim surrounding the two joyfully cavort.
Dr. Annalisa Scarpa, author of the forthcoming monograph on Jacopo Amigoni...
Category
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Located in New York, NY
Inscribed, upper left: “Miss Laura Keppel”
Provenance: Commissioned from the artist and by descent in the Keppel family estate, Lexham Hall, Norfolk, to:
Major Bertram William Arnol...
Category
18th Century Paintings
Materials
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