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Summary
Identifier: frick-31072002097360 (find matches)
Title: A descriptive and illustrated catalogue of 150 paintings by old masters of the Dutch, Flemish, German, Italian, Spanish and French schools (electronic resource)
Year: 1911 (1910s)
Authors: F. Kleinberger Galleries (New York, N.Y.)
Subjects: Painting
Publisher: New York : (s.n.)
Contributing Library: Frick Art Reference Library
Digitizing Sponsor: Metropolitan New York Library Council – METRO
Text Appearing Before Image:
e in Genoa, accordingto a letter written by P. P. Rubens to his friend. Pierre Dupuy,dated March 23, 1628, stating that the Marquis de Leganes hasmarried the daughter of Ambrosius Spinola, Polyxena, on the lastday of February of that year. The painting has been probably brought from Italy by theBaron von Spaen to the Chateau Moyland, near Cleve, which hehas purchased from Philip de Croy in (662. Baron de Spaen soldthe Chateau, with all the contents — this portrait being speciallymentioned in the inventory— to the Princc-Klector of Brandenburg,Frederik III. Finalfy the Chateau was resold in 1707 by the Kingof Prussia, Frederik II, to the Baron Adriaan van Steengracht,Whose family conserved it up to the present. Canvas. 70 in., by 4.1.5 inches. Described in Prof. Clemens uKunstdcnkm&lerder Rliciiipmviuz. p. C7: .Mentioned in the Baedecker, Section Rhine, page 60. Exhibite I in Diisseklorf in 1904, Cat. X 261; From the Collection ! Baron Steenerracht, Chateau Movland. 124
Text Appearing After Image:
io2. — Van Dyck (Antonius) VAN DYCK (Antonius)(Antwerp i5gq — 1641 Blackfriars, London) 103. Portrait of the Little Duke Lommelino* He is standing on a balustrade, slightly inclined to the left, the lace turned to the right and upwards, in 3/4 profile, holding in hisright his hat and his left hand on the hip. He is attired in a blackcostume, whith short breeches; on a belt hangs a s\vrd. The coatis adorned with golden buttons. Over the breast hangs from theright shoulder a double gold-chain. On the left is seen the baseof a column: above a deep-red curtain, and on the right a blue,clouded sky. The portrait was known in the Collection Cattaneo inGenoa as that of the Little Duke . Dr. Pol de Mont, Director of the Antwerp .Museum, identifiedthis Portrait as that of a youth of the family Loramelino whoowned it. Oval Canvas. 52 in., by 39 inches From the Col lection of the family Lommelino; — — Cattaneo. < ienoa. 120 i
Spanish collar, ruff or gorgera first appeared about 1560, and was at first open at the neck. After 1570 it becomes closed. It was gradually increasing in diameter reaching 25-30 cm, and by the 1580s the collar became known as the “millstone” or “cartwheel” which required a supporting frame. The collar was made from layers of plaited linen or lace. The Dutchwoman Dangen van Pless at the court of the English Queen Elizabeth I introduced starch that was initially yellowish, which made the collars creamy. Some tinted them with saffron in a golden hue and dyed them with natural dyes in pink or lilac colors. The rigidity of gorgera forced its owner to keep his posture, and for his impracticality, ruff became a symbol of wealth and status and contributed to the spread of the fork, the use of which made it possible to protect the collar from soiling with food. Gorgers were banned in Spain by King Philip IV. Spain was involved in endless wars against the growing Protestant world and in desperate need for cash. Philip announced an austerity program, condemned extravagance, and introduced the concept of simple, pragmatic living. Forcing people to live pragmatically was fairly difficult. Eventually, the inquisition found a way - it banned the ruffed collars and starch, as a "tool of the devil". Alquacils, inquisition enforcers of justice, were armed with scissors and prowled the streets of Madrid enforcing the ban. Shops were raided and gorgera merchandise burned. By the middle of the 17th century, ruff had decreased in diameter and almost did not use starch. The fashion lingered longer in the Dutch Republic, where ruffs can be seen in portraits well into the seventeenth century. In Germany and Flanders, ruff was worn until the beginning of the 18th century. In the 18th century, it remained for a long time among the Jews as an obligatory part of the costume.