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VARIOUS PROPERTIES
Isaack Luttichuys (London 1616-1673 Amsterdam)
Portrait of possibly the Stadholder of Friesland and Groningen Willem Frederik van Nasau Dietz (1613-1664), half-length, in armour with a white collar and a purple velvet cloak over his right arm, standing behind a table with a red and white feathered helmet; and Portrait of possibly Princess Albertine Agnes van Oranje-Nassau (1634-1696), half-length, in an orange dress with white cuffs and a diamond brooch, standing before a column and a red curtain
Details
Isaack Luttichuys (London 1616-1673 Amsterdam)
Portrait of possibly the Stadholder of Friesland and Groningen Willem Frederik van Nasau Dietz (1613-1664), half-length, in armour with a white collar and a purple velvet cloak over his right arm, standing behind a table with a red and white feathered helmet; and Portrait of possibly Princess Albertine Agnes van Oranje-Nassau (1634-1696), half-length, in an orange dress with white cuffs and a diamond brooch, standing before a column and a red curtain
the second signed and dated 'J Luttikhuys fecit 1653' (lower left)
oil on canvas
both 127 x 103.3 cm.
each in an elaborate contemporary gilt and carved pine frame, both of oracular shape and applied with floral garlands centered to the top by a ramped lion, the male portrait further applied with armorial trophies, the female portrait applied with putti and doves, regilt. (2)
Portrait of possibly the Stadholder of Friesland and Groningen Willem Frederik van Nasau Dietz (1613-1664), half-length, in armour with a white collar and a purple velvet cloak over his right arm, standing behind a table with a red and white feathered helmet; and Portrait of possibly Princess Albertine Agnes van Oranje-Nassau (1634-1696), half-length, in an orange dress with white cuffs and a diamond brooch, standing before a column and a red curtain
the second signed and dated 'J Luttikhuys fecit 1653' (lower left)
oil on canvas
both 127 x 103.3 cm.
each in an elaborate contemporary gilt and carved pine frame, both of oracular shape and applied with floral garlands centered to the top by a ramped lion, the male portrait further applied with armorial trophies, the female portrait applied with putti and doves, regilt. (2)
Provenance
M. Bromberg, Hamburg, c. 1935.
Dr. Max Emden, Hamburg and Brissago Islands; his sale 25 June 1940.
Friedrich Frey-Fürst, Switzerland.
Auction collection Gutzwiller, Bürgenstock e.a.: Anonymous sale; Sotheby's, London, 11 December 1996, lot 73 (a&b)
with Salomon Lilian, Amsterdam, 1997.
Anonymous sale; Sotheby's, London, 11 December 1996, lot 73.
with Theo Daatselaar, Zaltbommel, 2009, where acquired by the present owner.
Dr. Max Emden, Hamburg and Brissago Islands; his sale 25 June 1940.
Friedrich Frey-Fürst, Switzerland.
Auction collection Gutzwiller, Bürgenstock e.a.: Anonymous sale; Sotheby's, London, 11 December 1996, lot 73 (a&b)
with Salomon Lilian, Amsterdam, 1997.
Anonymous sale; Sotheby's, London, 11 December 1996, lot 73.
with Theo Daatselaar, Zaltbommel, 2009, where acquired by the present owner.
Literature
W.R. Valentiner, 'Isaac Luttichuys. A little known Dutch portait painter', in: The Art Quarterly, 1/3, 1938, pp. 177-8, no. 35, fig. 21.
Margaret R. Toynbee, 'Adriaen Hanneman and the English Court in Exile', in: The Burlington Magazine, 92 (no. 563; 1950), p. 75, note 17.
W. Hugelshofer, 'The Art Collection', in: Fritz Frey, The Bürgenstock. Art, History, Tradition, Hotel Village. Zürich, etc. 1967, pp. 80-3, illustrated.
B. Ebert, Simon und Isaack Luttichuys: Monographie mit kritischem Werkverzeichnis, Berlin and Munich, 2009, pp. 537-8, figs. A34-35, p. 489.
Margaret R. Toynbee, 'Adriaen Hanneman and the English Court in Exile', in: The Burlington Magazine, 92 (no. 563; 1950), p. 75, note 17.
W. Hugelshofer, 'The Art Collection', in: Fritz Frey, The Bürgenstock. Art, History, Tradition, Hotel Village. Zürich, etc. 1967, pp. 80-3, illustrated.
B. Ebert, Simon und Isaack Luttichuys: Monographie mit kritischem Werkverzeichnis, Berlin and Munich, 2009, pp. 537-8, figs. A34-35, p. 489.
Sale room notice
Please note that the elaborate gilt and carved pine frames are contemporary 17th century and original.
Brought to you by
Marleen Rengers
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