17th Century, Henriette-Anne d'Angleterre, Circle of Jean Charles Nocret

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17th Century, Henriette-Anne d'Angleterre, Circle of Jean Charles Nocret

About the Item

Portrait of Henriette-Anne d'Angleterre, circle of Jean Charles Nocret Oil on canvas. French 17th century Sizes with frame 140 x 112 cm; only canvas 105 x 76.5 cm The fine portrait depicts a young woman placed three quarters, dressed with great elegance and adorned with precious jewels. The attitude of the lady expresses gentlemanly moderation and her dress, of great prestige, allows us to deduce the importance of her rank. He wears a pearl necklace and the same embellish the shoulders of the dress and the central clasp. Until the 19th century pearls were a peculiarity of married women, or in the process of doing so, and were donated on the occasion of engagement or marriage. The effigy turns her gaze towards the observer, hinting at a distinct smile. She has an elegant hairstyle, some strands curled and left loose, while the rest of the hair is collected in a chignon; dress according to the fashion of about 1660, with a dress with a large décolleté. The rendering of the fabrics is detailed and realistic. The canvas, originally mounted on an oval frame, has been enlarged and pictorially integrated to fit the rectangular frame; It is probably a 19th century adaptation wanted by a collector and determined by the desire to expose the work in their picture gallery according to the dictates of the era. We believe that the woman depicted may be identified as Princess Henriette-Anne Stuart (Exeter, 16 June 1644, Saint-Cloud, 30 June 1670) born Princess of England and Scotland and became Duchess of Orléans for her marriage to Philip of France, brother of Louis XIV. Henriette-Anne fled England with her governess at the age of three and moved to the court of her first cousin Louis XIV of France, where she was known as Minette. In 1661 she married Philip of France, brother of King Louis XIV, known at court as Monsieur, while she became known as Madame. The marriage was not happy, marked by frequent tensions and mistreatment by her husband, despite the birth of some children. Very popular at court, witty and flirtatious, Minette made the illustrious brother-in-law, Louis XIV, fall in love with him. Henrietta was a cultured woman, a friend of Molière, Racine, La Fontaine, Bussy-Rabutin, a refined collector of Van Dyck and Correggio. In 1667 the princess began to suffer severe stomach ailments and in 1670, after drinking a glass of chicory water, she died. The doctors issued controversy reports and there was talk of a progressive poisoning by a lover of her husband, perhaps the Chevalier de Lorraine. The comparison with other works depicting Henriette-Anne, of which we offer some significant examples, is conclusive in identifying the subject of the painting. Particularly significant is the comparison with a painting whose composition is taken from a work by Jean Charles Nocret, Princess Henriette-Anne Stuart, and preserved in the collections of Dunham Massey, in the County of Cheshire in England. The princess here portrayed in the act of showing a small painting, with the portrait of her husband Philip of France. Kneeling next to the woman, a servant boy hands her the painting and holds a little dog, with which the princess loved to be portrayed. Henriette-Anne wears the same dress as the woman in the painting in question: the light silk that covers the décolleté is adorned with the same precious clasps, as the shoulder of the dress has equal decoration in pearls, gold and precious stones. It changes only the colour of the dress, from red and black. Other variations are found in the hairstyle and the drapery of background. In the canvas of Dunham Massey Henriette-Anne also wears a crown with gems and precious stones and a long veil descends on her back; she does not wear a pearl necklace. The composition of the painting by Jean Charles Nocret was successful and was revived by some painters of his circle, as evidenced by a painting by Leeds Museums and Galleries, the work of an anonymous painter of the school of Nocret. There is also an engraving of 1799 by William Platt that again portrays the princess with the same dress and the precious crown on her head. The physiognomy of the face, the refined investigation of the details and the composition of the engraved drawing have clear references to the work of Nocret. The painter Jean Charles Nocret (Nancy, 1615 or 1617. Paris, 1672) studied at the atelier of Jean Le Clerc. He later moved to Rome, where he met Nicolas Poussin and made several works for the latter’s patron, Paul Fréart de Chantelou. He returned to Paris in 1644, and was commissioned five years later by Louis XIV as a chambermaid. In 1657, he accompanied the Bishop of Comminges on a diplomatic mission to Portugal, and there executed some portraits of members of the Royal Family. In Paris, in 1660, he was commissioned by the Duke of Orléans to decorate the interior of the Château de Saint-Cloud with scenes of Greek mythology, lost during the Franco-Prussian War. Three years later, his painting The Repentance of Saint Peter gave him access to the Académie Royale de Peinture et de Sculpture, where he became a professor the following year. Between 1666 and 1669, he was responsible for the decoration, under the direction of Charles Le Brun, of the Queen’s apartments at the Tuileries Palace, which had also been destroyed. Among the numerous subjects portrayed by Nocret, Enriette-Anne was portrayed several times: in similar positions, depicted of three quarters, with the lines of the shoulders and neck seemingly boned, wears refined clothes, precious jewels and pearl necklace.

Similar to:
Jean Nocret (Artist)
Dimensions:
Height: 55.12 in (140 cm)Width: 44.1 in (112 cm)Depth: 2.76 in (7 cm)
Style:
Louis XIV (Of the Period)
Materials and Techniques:
Canvas,Hand-Painted
Place of Origin:
France
Period:
Late 17th Century
Date of Manufacture:
Late 17th Century
Condition:
Seller Location:
IT
Reference Number:
1stDibs: LU4405218776022

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