PAULUS MOREELSE (UTRECHT 1571-1638)
PAULUS MOREELSE (UTRECHT 1571-1638)
PAULUS MOREELSE (UTRECHT 1571-1638)
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Property from a New York Collection
PAULUS MOREELSE (UTRECHT 1571-1638)

Portrait of a gentleman, in a pinked black silk doublet and hose

Details
PAULUS MOREELSE (UTRECHT 1571-1638)
Portrait of a gentleman, in a pinked black silk doublet and hose
signed, dated and inscribed 'AEtati suae 24 An° 1602. / PMor' ('PM' linked, upper left)
oil on canvas
40 7⁄8 x 33 1⁄8 in. (103.7 x 84 cm.)
Provenance
Charles Guillaume Frédéric Boson (1832-1910), Duc de Talleyrand-Périgord and Sagan, Chateau de Valencay; his sale, Galerie Georges Petite, 1 June 1899, lot 16, as Attributed to Antonis Mor, and the sitter identified as Erocle II d'Este, Duke of Ferrara, Modena and Reggio.
Charles Sedelmeyer (1837-1925); his sale, Paris, Galerie Sedelmeyer, 25-28 May 1907, lot 134.
with F. Mueller and Co., Amsterdam, by 1907.
Art Market, Munich, where acquired in 1916 by the following,
Johan Olof Granberg (1858-1933), Stockholm.
Anonymous sale; Svensk-Franska Konstgalleriet, Stockholm, 6 December 1922, lot 63.
Erik Maurits Hahr (1869-1944), Stockholm and Västerås, by 1938.
B. Rapp, Stockholm, circa 1954.
Anonymous sale; Bukowski's, Stockholm, 28-31 October 1985, lot 525.
Private collection, Italy, by 2001.
Literature
C.H. de Jonge, 'III. De Utrechtse schilder Paulus Moreelse', Handelingen van het 2de Congres voor Algemeene Kunstgeschiedenis, Leuven, 1934, p. 10-11.
C.H. de Jonge, Paulus Moreelse: portret-en genreschilder te Utrecht, 1571-1638, Assen, 1938, p. 14, 62, 80, no. 28, fig. 18.
D. Hannema, Supplement van de catalogus schilderijen, beeldhouwwerken, aquarellen en tekeningen, Rotterdam, 1971, p. 18, under no. 678.
C. Eisler, Paintings from the Samuel H. Kress Collection. European Schools, Excluding Italian, Oxford, 1977, p. 126.
R.E.O. Ekkart and E. Domela Nieuwenhuis Nyegaard, 'Two Portraits by Paulus Moreelse,' The Minneapolis Institute of Arts Bulletin, 1995, LXVII, p. 21, note 6.
J.A.L. de Meyer, 'Paulus Moreelse', The Dictionary of Art, J. Turner, ed., XXII, 1996, p. 94.
E. Domela Nieuwenhuis Nyegaard in, Masters of Light. Dutch Painters in Utrecht during the Golden Age, San Francisco, Baltimore, and London, exhibition catalogue, 1997-1998, p. 418-419, note 1.
E. Domela Nieuwenhuis Nyegaard, Paulus Moreelse (1571-1638), Ph.D. dissertation, University of Lieden, Lieden, 2001, II, p. 348, no. SAP 2.
Exhibited
Amsterdam, F. Mueller and Co., Old Pictures. Dresden Delftware and Chinese Porcelain (The Boreel Collection) Old Prints and Drawings, July-September 1907, p. 17, no. 20.

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Lot Essay

This portrait is among Paulus Moreelse's earliest dated works. In her 1938 monograph, Caroline Henriette de Jonghe suggested the sitter's hand movement here was a gesture of speech (1938, loc. cit.), while Eric Domela Nieuwenhuis Nyegaard proposed the sitter was pointing toward a pendant portrait of his wife (2001, loc. cit.). A pendant portrait, however, has yet to be identified.

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