Artículos similares a Portrait of Mary of Modena, when Duchess of York c.1675; Studio of Peter Lely
¿Quieres más imágenes o vídeos?
Solicita imágenes o vídeos adicionales al vendedor
1 de 12
Studio of Sir Peter LelyPortrait of Mary of Modena, when Duchess of York c.1675; Studio of Peter Lelycirca 1675-1680
circa 1675-1680
Acerca del artículo
Portrait of Mary of Modena (1658-1718) when Duchess of York c.1675-80
Studio of Sir Peter Lely (1618-80)
Presented by Titan Fine Art
This attractive portrait, most likely painted around 1675 to 1680, depicts the only Italian Queen to have ever shared the English throne, Mary of Modena (1658-1718) when she was the Duchess of York. Mary is chiefly remembered for the contentious birth of her only surviving son, Prince James Francis Edward. It was widely speculated that he was secretly brought into the delivery room in a warming pan to ensure the continuation of her husband's Roman Catholic Stuart lineage. The birth of James Francis Edward played a significant role in the 'Glorious Revolution', which resulted in the deposition of James II and VII, replacing him with Mary II, a Protestant and the elder daughter of James II from his first marriage to Anne Hyde (1637–1671). Together, Mary II and her spouse, William III of Orange, would jointly rule over England, Ireland, and Scotland.
Beautifully composed, the Duchess is seated on a porch enveloped in luxurious fabrics, next to a curtain, and wearing a massive black diamond and gold brooch on her bodice. The pasture, classical column, and the laidback stance of the sitter invoke a sense of arcadia; this draws from the tradition of pastoral literature where life in the country was perceived as peaceful, contemplative, free of worry, and a time to pursue pleasure. By the early seventeenth century, Arcadia was already a popular theme in art and all educated individuals were familiar with Latin and Greek pastoral poetry. As such, the topic was so ingrained in society that, contemporary audiences would have instantly recognised its meaning when viewing this portrait. The concept of Arcadia, as a place of beauty and tranquillity, was a way to express themes of nature, love, and the passage of time; of course, this fantasy-world was quite different from the world in which she lived in.
Maria Beatrice Anna Margherita Isabella d'Este was born on 5 October 1658 as the daughter of Alfonso IV, Duke of Modena and Reggio (1634–62). Raised in the Palazzo Ducale in Modena in Italy, she was a devout catholic, and had intended to enter a convent. However, in 1673, following the Pope’s encouragement that she should marry, she was chosen out of many princesses as the most suitable to wed James, Duke of York (younger brother to King Charles II of England), who acceded to the throne as James VII and II in 1685. Mary was crowned as queen consort in a lavish coronation wear she wore three crowns. By Lord Peterborough’s own account: “the Duke of York entirely objected to marry any but a beautiful princess; good looks were an essential qualification for his future wife”.
Mary of Modena, herself and her faith, were perceived as challenges to the Protestant line of succession. Irrespective of the religious difficulty which added its own intensity to the debates, the marriage of the presumptive heir to the Crown of England let loose a flood of intrigue, speculation, treaties, and negotiations.
Mary and her baby sought refuge in France, where she was referred to as the "Queen over the Water" by the Jacobite’s - the last Catholic monarchs of England, launching a number of unsuccessful attempts to return. She resided with her husband and children in the Château de Saint-Germain-en-Laye, a residence provided by King Louis XIV. Mary enjoyed popularity among Louis's courtiers; in contrast, James was perceived as dull. After becoming a widow, Mary spent time with the nuns at the Convent of Chaillot, often during the summer months alongside her daughter, Louisa Maria Teresa. In 1701, following the death of James II, young James Francis Edward, who was 13 years old, was regarded as king by the Jacobites. Since he was too young to take on the official responsibilities of governance, Mary acted on his behalf until he turned 16. When James Francis Edward was ordered to leave France as part of the agreement from the Treaty of Utrecht in 1713, which concluded the War of the Spanish Succession (1701–1714), Mary chose to remain despite lacking family there, as her daughter had succumbed to smallpox. Cherished by her French contemporaries, Mary died in 1718. Deemed a "saint" by her contemporaries, Mary's remains were interred in Chaillot, France among the nuns she had befriended.
The Royal family garnered much interest from the public, as modern day celebrities do now, and there was intense interest in their lives, including what they were wearing. Portraits of them were in high demand and the studios at the time were all too willing to rise to this demand. The Duchess sat for many top artists and sat to Lely on several occasions and his studio painted several versions of the same painting. Our portrait is one such example, painted during the sitter’s lifetime, and is based on another portrait of the sitter by Lely currently in the Royal Collection at the Palace of Holyroodhouse (RCIN 403225). The main differences being the drapery and that in our portrait one hand is holding leaves (rather than resting on a lamb’s head) and the other hand is holding a sheer scarf (rather than a rich red drapery). Both paintings probably date to the latter part of the 1670s, a challenging period for the duchess, during which she bore four children, of whom only two lived beyond their first year. It is probable that the paintings were initiated prior to 1678, when the Duke and Duchess of York journeyed to the Continent and subsequently to Scotland to evade the anti-Catholic fervour stemming from the Popish Plot in London.
A remarkable care is exercised in rendering the face, arms and hands, which are defined with lightness and dexterity, and is a good example from the period. Held in a fine gilded period frame.
Peter Lely, the son of a Dutch military officer, was born in Germany at Soest in Westphalia in 1618. He studied in Haarlem before moving to London in 1641, and in 1647 he became a freeman of the Painter-Stainers’ Company. Initially, Lely painted landscapes, religious, and mythological scenes, however, he quickly recognised the strength of the English market for portraiture and this is where he turned his attention. He was employed by the Duke of Northumberland, who had the royal children in his care, and he was able to study the Northumberland Collection of works by Van Dyke and Dobson. By the end of the Commonwealth, he had become the best-known portraitist in England.
In 1661 he was appointed Principal Painter to the King and from then on, he maintained a busy and successful practise painting the most elite and influential members of the court and of everyone of importance. His studio was prolific and employed many assistants, as was the common studio method. His success thus meant that he established the basic English portrait style for decades.
Lely was a connoisseur and was known for his own fine art collection. By the end of his life, he had assembled one the finest non-princely collections in Europe including more than 25 of Van Dyke’s major English works of Old Masters including Veronese, Titian, Claude Lorrain and Rubens, and a fabulous collection of drawings, was sold after his death raising the immense sum of £26,000. Some items in it which had been acquired by Lely from the Commonwealth dispersal of Charles I's art collections, such as the Lely Venus, were re-acquired by the Royal Collection.
Measurements: Height 146cm, Width 122cm framed (Height 57.5”, Width 48” framed)
- Creador:
- Año de creación:circa 1675-1680
- Dimensiones:Altura: 146 cm (57,49 in)Anchura: 122 cm (48,04 in)Profundidad: 7 cm (2,76 in)
- Medio:
- Movimiento y estilo:
- Época:
- Estado:The condition is very good and can be hung and enjoyed immediately. The painting has passed a strict condition assessment by a professional conservator prior to going on sale.
- Ubicación de la galería:London, GB
- Número de referencia:1stDibs: LU1199116378822
Studio of Sir Peter Lely
Sir Peter Lely fue un pintor de origen holandés cuya carrera transcurrió casi toda en Inglaterra, donde se convirtió en el retratista dominante de la corte. Lely nació como Pieter van der Faes, de padres holandeses, en Soest, Westfalia. Estudió pintura en Haarlem, donde posiblemente fue aprendiz de Pieter de Grebber y se convirtió en maestro del Gremio de San Lucas de Haarlem en 1637. Se dice que Lely adoptó su apellido de un "Lely" heráldico en el frontón de la casa donde nació su padre en La Haya. Tras llegar a Londres hacia 1643, sus primeras pinturas inglesas, principalmente escenas mitológicas o religiosas o retratos ambientados en un paisaje pastoril, muestran influencias de Anthony Van Dyck y del barroco holandés. Los retratos de Lely fueron muy bien recibidos y sucedió a van Dyck (que había muerto en 1641) como el retratista más de moda en Inglaterra. En 1647 se hizo miembro libre de la Compañía de Pintores y Retratistas y fue retratista de Carlos I. Su talento hizo que su carrera no se viera interrumpida por la ejecución de Carlos, y en 1661 fue nombrado Pintor Principal Ordinario de Carlos II, con un estipendio de 200 libras al año. Lely se nacionalizó inglés en 1662 y su demanda y taller fueron prolíficos.
Sobre el vendedor
5,0
Vendedor Platino
Vendedores premium con una calificación de +4,7 y tiempos de respuesta de 24 horas
Establecido en 1998
Vendedor de 1stDibs desde 2019
43 ventas en 1stDibs
Tiempo de respuesta usual: 1 hora
- EnvíoRecuperando presupuesto…Envío desde: London, Reino Unido
- Política de devolución
Partes de esta página se han traducido automáticamente. 1stDibs no puede garantizar la exactitud de las traducciones. El inglés es el idioma predeterminado de este sitio web.
Garantía de autenticidad
En el improbable caso de que haya algún problema con la autenticidad de un artículo, ponte en contacto con nosotros en un plazo de 1 año para recibir un reembolso total. DetallesGarantía de devolución de dinero
Si tu artículo no es como se describe, sufre daños durante el transporte o no llega, ponte en contacto con nosotros en un plazo de 7 días para recibir un reembolso total. DetallesCancelación dentro de las 24 horas
Tienes un período de gracia de 24 horas para reconsiderar tu compra, sin preguntas.Vendedores profesionales aprobados
Nuestros vendedores de primera clase deben cumplir estrictos estándares de servicio para mantener la integridad de nuestros anuncios.Garantía de igualación de precios
Si encuentras que un vendedor publicó el mismo artículo por un precio menor en otro lado, igualaremos ese precio.Entrega global de confianza
Nuestra red de transporte de primera ofrece opciones de envío especializado en todo el mundo, que incluye envío personalizado.Más de este vendedor
Ver todoRetrato de una dama con chemise blanca y drapeado ruso y azul c.1695, Pintura al óleo
Por Harman Verelst
Este suntuoso retrato, pintado hacia 1695, es un exquisito ejemplo del tipo de retrato en boga durante el último cuarto del siglo XVII. Es evidente que el artista recibió influencia...
Categoría
siglo XVII, Antiguos maestros, Pinturas de retratos
Materiales
Lienzo, Óleo
Retrato de caballero con armadura de Table & Helmut c.1685 Procedencia aristocrática
Por Johann Kerseboom
Retrato de un caballero con armadura junto a una mesa con Helmut c.1685
Seguidor o círculo de Johann Kerseboom (m.1708)
Esta exquisita obra Grand Manner, presentada por Titan Fine A...
Categoría
siglo XVII, Antiguos maestros, Pinturas de retratos
Materiales
Lienzo, Óleo
Retrato de un caballero, David Erskine, XIII Laird de Dun, con armadura c.1700
El caballero de este exquisito retrato al óleo sobre lienzo, presentado por Titan Fine Art, se muestra con la grandilocuencia característica de la pintura de la English School. Se l...
Categoría
siglo XVII, Antiguos maestros, Pinturas de retratos
Materiales
Óleo, Lienzo
Retrato de caballero azul y capa, Retrato de dama, marcos dorados finamente tallados
Retrato de caballero con capa azul y Retrato de dama vestida de russet c.1697
Thomas Murray (1663-1735)
Estos fascinantes retratos son ejemplos exquisitos del retrato en Inglaterra ...
Categoría
siglo XVII, Antiguos maestros, Pinturas de retratos
Materiales
Óleo, Lienzo
Retrato de una dama junto a un arroyo del bosque sosteniendo una concha c.1690; Óleo sobre lienzo
Por Harman Verelst
Este elegante retrato, presentado por Titan Fine Art, representa a una bella joven sentada en una zona boscosa, apoyando un brazo en una roca, ante un paisaje y un cálido cielo noctu...
Categoría
siglo XVII, Antiguos maestros, Pinturas de retratos
Materiales
Lienzo, Óleo
Retrato de Lady Catherine Edwin (Montagu) en un bosque c.1697; Procedencia fina
Por Michael Dahl
Este exquisito retrato, presentado por Titan Fine Art, es obra de Michael Dahl; formaba parte de la extensa colección propiedad de Thomas Wyndham, de Clearwell Court, en Gloucestersh...
Categoría
siglo XVII, Antiguos maestros, Pinturas de retratos
Materiales
Lienzo, Óleo
También te puede gustar
Retrato al óleo de una dama victoriana, c. 1850
Pintado en el siglo XIX, este exquisito retrato en miniatura ejemplifica maravillosamente el realismo de la pintura al óleo tradicional. La pequeña obra está pintada en el estilo con...
Categoría
Mediados del siglo XIX, Antiguos maestros, Más arte
Materiales
Óleo
Retrato europeo de un sacerdote
Fino retrato europeo de un sacerdote, óleo sobre lienzo, probablemente del siglo XVII o XVIII, sin firmar, con bastidor original, pequeñas pérdidas y daños superficiales, craquelado,...
Categoría
siglo XVII, Pinturas de retratos
Materiales
Lienzo, Óleo
"Christian (Hermano)" Retrato de niño haitiano con camisa amarilla
Esta pieza titulada "Cristiano (Hermano)" es una obra original de Alain Jean-Baptiste y mide 60 "h x 48 "w. Esta obra al óleo sobre lienzo reflexiona sobre la acumulación y las sec...
Categoría
Siglo XXI y contemporáneo, Contemporáneo, Pinturas de retratos
Materiales
Lienzo, Óleo
Niña de ojos marrones - Niña de ojos azules - Niña de ojos verdes - Conjunto de 3 cuadros pequeños
Por Andrea Stajan-Ferkul
Este encantador conjunto de tres pinturas sobre lienzo resalta los ojos, convirtiéndolos en el punto focal de cada pieza. Con atención al detalle, el uso de pintura acrílica, lápiz y...
Categoría
2.º década del siglo XXI, Contemporáneo, Pinturas de retratos
Materiales
Lienzo, Acrílico, Lápiz, Lápiz de color
Niña de ojos marrones + Niña de ojos azules -2 Cuadros originales sobre lienzo
Por Andrea Stajan-Ferkul
Con atención al detalle, este encantador par de pinturas sobre lienzo resaltan los ojos, convirtiéndolos en un punto focal de cada pieza. La mezcla de pintura acrílica, lápiz y lápiz...
Categoría
2.º década del siglo XXI, Contemporáneo, Pinturas de retratos
Materiales
Lienzo, Acrílico, Lápiz, Lápiz de color
Niña de ojos azules + Niña de ojos marrones -2 Cuadros originales en lienzo, 4 "x4" cada uno
Por Andrea Stajan-Ferkul
Con atención al detalle, este encantador par de pinturas sobre lienzo resaltan los ojos, convirtiéndolos en un punto focal de cada pieza. La mezcla de pintura acrílica, lápiz y lápiz...
Categoría
2.º década del siglo XXI, Contemporáneo, Pinturas de retratos
Materiales
Lienzo, Acrílico, Lápiz, Lápiz de color
