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Portraits of the monarchs Louis XIII and Anne-Marie of Austria as hunters.
$113,419.45per set
£85,014.91per set
€96,000per set
CA$155,819.04per set
A$173,957.31per set
CHF 91,151.01per set
MX$2,129,408.17per set
NOK 1,157,618.77per set
SEK 1,091,487.52per set
DKK 730,787.02per set
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Portraits of the monarchs Louis XIII and Anne-Marie of Austria as hunters. Oil on canvas. Possibly Madrid school, 17th century.
Pair of full-length portraits showing the characters against natural backgrounds, with landscapes with mountains in the distance and trees. The male character, who looks directly at the viewer, has dark hair and a fine moustache, and is dressed in a ruff, a doublet, leather gloves, a blued breastplate with gold details, breeches, white silk stockings and cavalier boots. The lady, who modestly lowers her gaze, has her head partially covered with a hat decorated with a brooch and white feathers; she is dressed in a ruff and a dress with a wide-skirted doublet and skirt, wide-mouthed gloves and a short cloak with a decorated edge gathered around the left arm and placed over the right side of the skirt. Alongside these “hunting” dresses, they appear carrying firearms and accompanied by large dogs. The king's dog is standing alertly, turning his head to one side. The queen's dog is sitting looking at her, with a collar and a rope that she holds in her left hand. The male subject is clearly the French King Louis XIII (Fontainebleau, 1601-Saint-Germain-en-Laye, 1643), monarch of France and Navarre (1610-1643), son of Henry IV of France and Marie de Médicis and father of Louis XIV of France. Compare with other portraits: by Rubens, painted around 1622-1625 at the Norton Simon Museum (Pasadena, California, USA); by Philippe de Champaigne, painted in 1635 and kept at the Museo del Prado (Madrid, Spain); the painting by Frans Pourbus the Younger from the 1920s at the Musée des Beaux-Arts in Chambéry (France); etc. Louis XIII married Anne of Austria, daughter of Philip III of Spain, in 1615. This was brought about by the marriage agreement of Fountainebleau (1611), which stipulated the future wedding of the Prince of Asturias, Philip IV, with the French princess Isabella of Bourbon, and that of the French monarch with Anne. Anne Maria Mauricia of Austria and Austria-Styria (Valladolid, 1601-Paris, 1666) was an Infanta of Spain and Portugal as the daughter of Philip III of Spain and Margaret of Austria-Styria, queen consort of France and Navarre by marriage, and regent of France while her son, Louis XIV, was a minor. Compare, for example, the portrait by Rubens (copy of a lost original, ca. 1620-1625) in the Louvre Museum (Paris, France); the one by Frans Pourbus the Younger from 1616 at the Staatliche Kunsthalle in Karlsruhe, Germany, in which, curiously, the jewels are similar to those in the present painting; the one by Bartolomé González Serrano; etc. It is worth highlighting the portrait of the Infanta María Teresa of Spain in hunting dress, attributed to the circle of Diego Velázquez (location unknown) due to the similarity in both attire and composition and posture of the lady it depicts. The portrait of the monarch, above all, had a double official function of making the image of the sovereign known to the subjects and, the presence of the same was equivalent to the presence of the king, showing that power was exercised or administered in his name and his authority was respected. However, it is necessary to remember the deep-rooted Spanish tradition of portraits of hunter kings, and on rarer occasions (or they are preserved in smaller numbers) queens were portrayed, apparently because hunting was an intellectual activity considered as preparation for war. In any case, these were usually works of a more private nature, not intended for a representative hall but for another type of environment. We will mention those made by Velázquez of Philip IV hunter (1632 1634, Museo del Prado, Madrid, Spain) and of Prince Baltasar Carlos hunter (1635, Museo del Prado, Madrid, Spain); or the pair of portraits of King Philip V and Queen Maria Luisa Gabriela of Savoy by Miguel Jacinto Meléndez from the Cerralbo Museum in Madrid, painted around 1712; or the pair of portraits of Charles II of Spain and Mariana of Neuburg painted by John Closterman (Osnabrück 1660–London, 1711) dated between 1698 and 1699, sold at auction in 2016. In the book “Catalunya I les armes de prestigi. Armes de foc 1550-1850” (Luis Antonio de Villena; Xavier Sala i Aragó; 2014; page 235 and images) appears the portrait of Ana María de Austria, attributed to Bartolomé González Moro (Valladolid, 1564-Madrid, 1627) and dated 1627. Bartolomé González, trained in Valladolid under Patricio Cajés, was also a pupil of Juan Pantoja de la Cruz, whom he succeeded as royal portrait painter, along with others (Pedro Antonio Vidal…). Painter to the king since 1617, he was buried in the church of San Ginés in Madrid in 1627. His work focused above all on making royal portraits to be exchanged with other European courts, also painting many to replace the originals lost in the portrait gallery of the El Pardo palace due to the fire that took place in 1604. His works are preserved in the Prado Museum in Madrid, in the Encarnación monastery in the same city, the Valencia de don Juan Institute, the Budapest museum, the Cremona Museum, etc. Likewise, there is knowledge (Royal Inventories) of the existence of several portraits of Louis XIII in rooms of the Alcázar of Madrid, in addition to that of Philippe de Champaigne in the Prado Museum in Madrid. Logically, also of the queen, daughter of Philip III of Spain. ·
Size: 115x5x214 cms. int: 105x204 cms
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- Dimensions:Height: 84.26 in (214 cm)Width: 45.28 in (115 cm)Depth: 1.97 in (5 cm)
- Sold As:Set of 2
- Style:Baroque (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:17th century
- Condition:Wear consistent with age and use. Minor losses. Minor fading.
- Seller Location:Madrid, ES
- Reference Number:Seller: ZE3061stDibs: LU2951341426552
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