After Adriaen Hannemann (1603 The Hague - 1671 ibid.): Portrait of Frederick William, Elector of Brandenburg and Duke of Prussia, 19th century, Photogravure Technique: Photogravure on Paper Inscription: Signed "Hannemann pinx." below the image on the left, titled and inscribed "Photographische Gesellschaft Berlin" on the bottom. Date: 19th century Keywords: 19th century, Figurative, Portraits, Germany, Size: Paper: 46,4 cm x 33,7 cm (18,3 x 13,3 in), Depiction: 23,9 cm x 19,5 cm (9,4 x 7,7 in)
ADRIAEN HANNEMAN (c. 1603 -1671). "2nd Duke of Hamilton. Oil on canvas. Re-framed. It has a 19th century frame. Size: 133 x 104,5 cm; 144 x 115 cm (frame). The subject of this work is the 2nd Duke of Hamilton, following faithfully the aesthetic model of the portrait painted by Adriaen Hanneman, which currently belongs to the collection of the National Portrait Gallery in London. The sitter is depicted in an interior space open to the landscape on the right, while the left is defined by a large red curtain, a customary device of the period. With his bust long and slightly turned three-quarter length in the style of court portraits, the Duke turns his face slightly to look at the viewer with a proud, regal bearing. He makes his position clear by showing his right arm, which bears the cross of the Order of the Garter, the most prestigious order in England linked to the Knights of the Round Table, while a blue silk band with the sketched figure of Saint George, patron saint of the order, hangs around his neck. These elements break with the sobriety of his completely dark clothing, thus standing out in the image in the same way as the white skin of the sitter, especially the delicate hand holding the drapery. William Hamilton, 2nd Duke of Hamilton (1616 - 1651) was a Scottish nobleman who supported Presbyterian causes during the Wars of the Three Kingdoms. He was educated at the University of Glasgow, and from there travelled to Continental Europe, where he spent time at the court of Louis XIII of France, returning at the age of 21 to become a favourite at the court of Charles I in London. In 1640 he was elected Member of Parliament for Portsmouth in the English House of Commons for the Short Parliament. He became Secretary of State for Scotland. In 1643, he was arrested in Oxford by order of King Charles I for "concurrence" with his brother, the Duke of Hamilton. In 1647 he signed, on behalf of the Scots, the treaty with Charles known as the "Compromise" and helped to organise the Second English Civil War. In 1648, Hamilton fled to Holland to the Prince of Wales's court in exile at The Hague. In 1650 he was conferred the insignia of the Order of the Garter. Adriaen Hanneman was a renowned Dutch painter of the Age of Orom who achieved popularity for his portraits of the British royal court. His style was strongly influenced by his contemporary, Anthony van Dyck. Born into a wealthy Catholic patrician family in The Hague, Hanneman studied drawing with the portraitist Jan Antonisz. He moved to England in 1623 where he lived for 16 years. There he met and was influenced by Anthony van Dyck, Cornelis Janssens van Ceulen and Daniel Mytens. He enjoyed the patronage of Constantijn Huygens, who introduced him to the court. He returned to The Hague and in 1645 became a deacon of the Guild of Saint Luke. In 1656 he was one of the dissidents who split from the Confrerie Pictura. Like so many other Catholic painters, he fell on hard times shortly after the approach of the Rampjaar. Hanneman is known for court portraits of British and Dutch nobility, generally painted in imitation of the style of Anthony van Dyck. According to some sources he may have worked in Van Dyke's studio in London. Later, in The Hague, he painted a number of English royalists who had been exiled to the Low Countries following the English Civil War.
After Adriaen Hannemann (1603 The Hague - 1671 ibid.): Portrait of Frederick William, Elector of Brandenburg and Duke of Prussia, 19th century, Photogravure Technique: Photogravure on Paper Inscription: Signed "Hannemann pinx." below the image on the left, titled and inscribed "Photographische Gesellschaft Berlin" on the bottom. Date: 19th century Keywords: 19th century, Figurative, Portraits, Germany,
Adriaen Hanneman (ca. 1601-1671), portrait of a fine lady holding a music score in a pastoral landscape, 1657, oil on canvas, 84,5 x 103 cm Signed and dated to the bottom right corner: 'An° 1657, Adr. Hanneman Fecit'. Three-quarter length portrait of a fine lady in a rocky landscape holding a music score of French Baroque music. Presented in an imposing giltwood frame, 102 x 121 cm Provenance: important Flemish private collection.
Adriaen Hanneman (ca. 1601-1671), portrait of a fine lady holding a music score in a pastoral landscape, 1657, oil on canvas, 84,5 x 103 cm Signed and dated to the bottom right corner: 'An° 1657, Adr. Hanneman Fecit'. Three-quarter length portrait of a fine lady in a rocky landscape holding a music score of French Baroque music. Presented in an imposing giltwood frame, 102 x 121 cm Provenance: important Flemish private collection.
ADRIAEN HANNEMAN (c. 1603 -1671). "2nd Duke of Hamilton. Oil on canvas. Re-framed. It has a 19th century frame. Size: 133 x 104,5 cm; 144 x 115 cm (frame). The subject of this work is the 2nd Duke of Hamilton, following faithfully the aesthetic model of the portrait painted by Adriaen Hanneman, which currently belongs to the collection of the National Portrait Gallery in London. The sitter is depicted in an interior space open to the landscape on the right, while the left is defined by a large red curtain, a customary device of the period. With his bust long and slightly turned three-quarter length in the style of court portraits, the Duke turns his face slightly to look at the viewer with a proud, regal bearing. He makes his position clear by showing his right arm, which bears the cross of the Order of the Garter, the most prestigious order in England linked to the Knights of the Round Table, while a blue silk band with the sketched figure of Saint George, patron saint of the order, hangs around his neck. These elements break with the sobriety of his completely dark clothing, thus standing out in the image in the same way as the white skin of the sitter, especially the delicate hand holding the drapery. William Hamilton, 2nd Duke of Hamilton (1616 - 1651) was a Scottish nobleman who supported Presbyterian causes during the Wars of the Three Kingdoms. He was educated at the University of Glasgow, and from there travelled to Continental Europe, where he spent time at the court of Louis XIII of France, returning at the age of 21 to become a favourite at the court of Charles I in London. In 1640 he was elected Member of Parliament for Portsmouth in the English House of Commons for the Short Parliament. He became Secretary of State for Scotland. In 1643, he was arrested in Oxford by order of King Charles I for "concurrence" with his brother, the Duke of Hamilton. In 1647 he signed, on behalf of the Scots, the treaty with Charles known as the "Compromise" and helped to organise the Second English Civil War. In 1648, Hamilton fled to Holland to the Prince of Wales's court in exile at The Hague. In 1650 he was conferred the insignia of the Order of the Garter. Adriaen Hanneman was a renowned Dutch painter of the Age of Orom who achieved popularity for his portraits of the British royal court. His style was strongly influenced by his contemporary, Anthony van Dyck. Born into a wealthy Catholic patrician family in The Hague, Hanneman studied drawing with the portraitist Jan Antonisz. He moved to England in 1623 where he lived for 16 years. There he met and was influenced by Anthony van Dyck, Cornelis Janssens van Ceulen and Daniel Mytens. He enjoyed the patronage of Constantijn Huygens, who introduced him to the court. He returned to The Hague and in 1645 became a deacon of the Guild of Saint Luke. In 1656 he was one of the dissidents who split from the Confrerie Pictura. Like so many other Catholic painters, he fell on hard times shortly after the approach of the Rampjaar. Hanneman is known for court portraits of British and Dutch nobility, generally painted in imitation of the style of Anthony van Dyck. According to some sources he may have worked in Van Dyke's studio in London. Later, in The Hague, he painted a number of English royalists who had been exiled to the Low Countries following the English Civil War.
Huile sur toile marouflée sur toile "Portrait d'homme en cuirasse". Monogrammé en bas à gauche A.H. Fecit pour Adriaen Hanneman (?). Ecole hollandaise. Dim.:73x60cm.
Studio of Adriaen Hanneman (1604-1671). A Fine Oil on Canvas: Three-quarter Length Portrait of Mary Princess of Orange wearing pearl drop earrings & a necklace with fine pearl and jewel encrusted robes, stood aside an embroidered curtain and stone window with landscape beyond, 127 cm x 103 cm (50'' x 40½'') Contained within its seemingly original carved giltwood frame 137 cm x 113 cm (54'' x 44½'').
Adriaen Hanneman (The Hague c. 1604-1671) Portrait of a young man, half-length, in black, holding a love letter oil on canvas 31 x 25 ¾ in. (78.8 x 65.4 cm.)
Attributed to Adriaen Hannemann (The Hague 1604-1671) Portrait of John Tufton, 2nd Earl of Thanet and Lady Margaret Sackville, his wife, both three-quarter-length, seated, he in black robes, she wearing a silver dress with roses in her lapoil on canvas121.5 x 149.4cm (47 13/16 x 58 13/16in). The prime version of this composition is in the Royal Collection. Oliver Millar in his catalogue of the Stuart pictures in the Royal Collection notes that a version of this composition was at Burley-on-the-Hill. Another, stated to be signed and dated 1644 by Dobson, was formerly at Bill Hill, near Wokingham. Another was sold at Sotheby's, 12 March 1958, lot 147 and another, from the collection of the Earl of Thanet seems to have been sold at Christie's, 17 March 1888, lot 72 (see: O. Millar, Tudor, Stuart & Early Georgian Pictures in the Royal Collection, Oxford, 1963, no.194, p.110).John Tufton, 2nd Earl of Thanet (1608-1664) was a supporter of King Charles I of England during the Civil Wars. He was the eldest son of Nicholas Tufton, 1st Earl of Thanet and Lady Frances Cecil, granddaughter of William Cecil, 1st Baron Burghley. Among his properties was Bodiam Castle, in Sussex, which he purchased in 1639 and sold for £6,000 in 1644. In 1629 he married Lady Margaret Sackville (1614–1676), daughter of Richard Sackville, 3rd Earl of Dorset and Lady Anne Clifford. They had eleven children.
Manner of Adriaen Hanneman (Dutch, c. 1603-1671) Portrait of a lady in a blue dress with jewelled pendant at her breast and pearls oil on board, in a carved wooden frame h:37 w:30 cm
Adriaen Hanneman (The Hague c. 1604-1671) and Studio Portrait of Mary, Princess of Orange (1631-1660), three-quarter-length oil on canvas, oval 46 ½ x 40 ¼ in. (118 x 102.3 cm.)
Adriaen Hanneman La Haye, 1604 - 1671 Portrait d'homme tenant un collier de perles Huile sur toile Datée 'An. 1636' à gauche sur le pied de la colonne (Restaurations) Portrait of a man holding a pearl necklace, oil on canvas, dated, by A. Hanneman h: 88,50 w: 82 cm Provenance : Collection particulière, Autriche Commentaire : Notre œuvre revêt indéniablement un caractère énigmatique, ambigu, qui rend fascinante son analyse et palpitante sa contemplation. Si le premier coup d'œil rend hommage à un morceau de peinture ambitieux, intense, à l'image du regard du modèle, le spectateur éclairé doit ensuite se consacrer à la lecture du tableau. Car l'identité du modèle, ainsi que son rapport à la perle et même le sens de la présence de ce bijou encore rare au XVIIe siècle, restent incertains et l'objet de notre étude sera, dans une démarche iconologique, de tenter d'apporter les réponses aux questions soulevées. Adriaen Hanneman est un peintre hollandais du Siècle d'or, né en 1604 à La Haye, et mort dans la même ville en 1671. La carrière et le talent de cet artiste doivent beaucoup au voyage qu'il entreprit à Londres et à la rencontre décisive qu'il y fera avec celui qui deviendra l'un des plus grand portraitistes de son temps et qui le marqua profondément : Antoine van Dyck. Mais avant cela, Adriaen Hanneman fut, dès 1619, l'élève d'Anthony van Ravesteyn, portraitiste réputé de La Haye. Il ancre alors son art dans le genre du portrait, et une fois sa formation artistique terminée, il quitte l'atelier de son maître et La Haye pour s'installer à Londres. Nous sommes en 1626, et la peinture officielle outre-Manche est encore dominée par un autre peintre hollandais, Daniel Mytens, arrivé sur les bords de la Tamise en 1619. Mytens est alors le peintre le plus important de la Cour et ce, jusqu'à l'avènement du génial van Dyck en 1632. D'abord influencé par Mytens, Hanneman fut ensuite profondément marqué par l'art d'un van Dyck dont le style élégant et raffiné emporta les faveurs de la haute société britannique et contaminera toute une génération de peintres. De retour à La Haye en 1640, notre artiste va pratiquer l'art du portrait tel que van Dyck a pu lui enseigner lors de leur séjour londonien. Au milieu du XVIIe siècle, la demande de portraits explose dans la région, et c'est bien le style van dyckien qui est plébiscité par les commanditaires. En effet, outre la clientèle locale importante, de nombreux immigrés anglais, fuyant les guerres civiles opposant parlementaires et royalistes, s'installent dans le nord de l'Europe. Hanneman jouit alors d'une réputation grandissante : il est celui qui a côtoyé le maître et dont l'art tend à s'en approcher le plus. A tel point qu'en 1661, l'influent Cornelis de Bie, le décrira comme le contrefacteur du style de van Dyck. Ce qui peut paraitre de prime abord comme une attaque à son art est en réalité un compliment déguisé, reconnaissant à Hanneman, si ce n'est l'inégalable talent de van Dyck, au moins la capacité à l'effleurer du bout de son pinceau. C'est notamment le cas dans son portrait du Duc de Gloucester dont l'attribution fut sujette à débat, certain y voyant une œuvre du maître anversois. La paternité à Hanneman ne fait désormais plus aucun doute, il s'agit sûrement là d'un de ses plus grands chefs-d'œuvre (c. 1653, National Gallery of Art, Washington). L'œuvre que nous présentons fut réalisée dans un moment clé de la carrière de l'artiste. Ce dernier semble alors sur de son fait, en témoigne la perfection technique de ce portrait qui atteste indubitablement d'un art déjà fortement influencé par van Dyck. En effet, notre tableau, daté de 1636, fut réalisé par Hanneman lors de son séjour à Londres. Cela fait alors dix ans que notre artiste habite l'Angleterre mais surtout près de quatre années qu'il côtoie le maître flamand. Nous retrouvons dans notre portrait cette matière typiquement van Dyckienne dans les chairs blanches presque crémeuses du modèle, ainsi que dans son habit au rendu à la fois brillant et vaporeux. Finalement, ce portrait s'inscrit parfaitement dans cette double influence flamande et aristocratique que connait le genre du portrait en Angleterre à cette époque. La singularité de cette œuvre réside dans le détail du collier de perles que tient l'homme et qui, selon l'interprétation que nous pouvons lui donner, nous révèle quelques indications. La première lecture, qui semble être la plus intuitive, reviendrait à penser que le modèle était un bijoutier. En effet, durant la première moitié du XVIIe siècle, le commerce international connait un développement vertigineux. Une nouvelle bourgeoisie voit le jour avec des moyens importants, provoquant la naissance d'une économie nouvelle dont le marché de la bijouterie profita. Le bijou était jusque-là, une rareté réservée aux nobles, mais l'avènement de nouvelles richesses modifia ces conjonctures historiques. Ainsi, la théorie selon laquelle notre modèle serait un bijoutier de l'Angleterre du début du XVIIe siècle se tient parfaitement. Celle-ci s'appuie également sur les relations que pouvaient entretenir Adriaen Hanneman avec un autre peintre hollandais installé à Londres à cette date, Cornelis Jonson van Ceulen. En effet, nous savons que Hanneman et Jonson travaillèrent ensembles, et que la sœur de ce dernier fut mariée avec le célèbre bijoutier et marchand d'or Nicasius Roussel, qui travailla notamment au service du Roi Charles Ier et de sa cour. Ainsi, notre modèle pourrait être, non pas Nicasius Roussel, âgé de près de 70 ans en 1636, mais plutôt l'un de ses fils qui l'aurait suivi dans la même voie. Afin de corroborer cette hypothèse, il nous semble important de mentionner l'existence d'un portrait attribué à Cornelis Jonson van Ceulen réalisé la même année que celui que nous présentons, et dont les traits du modèle s'en rapprochent très clairement (fig. 1). Jonson aurait ainsi peint son neveu et Hanneman le fils du grand bijoutier Roussel, neveu de son ami. Toutefois, dans le portrait de Jonson, conservé à la National Portrait Gallery à Londres, le modèle ne possède aucun attribut pouvant le rattacher à la profession de bijoutier. En 1975, dans un article sur la place et le sens de la perle dans la peinture hollandaise du XVIIe siècle1, le professeur de Jongh revient sur l'histoire de ce bijou et sur les différentes interprétations que sa présence sur la toile peut engendrer. Décrivant la fonction iconographique de la perle, il la considère selon les œuvres et son utilisation, comme la représentation du Christ et de son enseignement, de la foi, de la virginité de la Vierge, ou alors inversement comme le symbole de la vanité, ou de la séduction immorale. Il oppose ainsi les " perles de l'Evangile " ou " perles de vertu " aux " perles sataniques " ou " perles de vice ", mettant en exergue le caractère particulièrement ambigu du symbolisme de la perle. Au fil de son étude, il s'intéresse à un portrait d'homme conservé à la Dulwich Picture Gallery en Angleterre qui est en réalité une copie de notre œuvre². La paternité et la qualité de cette copie n'ont que peu d'importance pour le professeur de Jongh qui s'attache davantage à offrir une explication à la présence de ces perles sur la toile et leur rapport au modèle. Dans un premier temps, il soutient logiquement qu'il est tout à fait probable que notre modèle soit un bijoutier, ce qui mettrait fin à toute tentative d'éclaircissement. Puis, dans un second temps, rappelant qu'il n'existe aucun autre exemple connu de portrait de la même époque dans lequel un modèle masculin tient des perles dans sa main, et en outre qu'il n'existe pas d'iconographie précise pour la représentation de ce corps de métier, l'historien va tenter une lecture tout à fait différente du tableau, dans laquelle le collier de perle est porteur d'un message métaphorique. Il va ainsi arrêter son regard sur le pilier brisé dans l'arrière-plan gauche de l'œuvre, seul autre élément peint sur la toile, le portraituré se présentant devant un fond noir et neutre. Selon le professeur de Jongh, cette colonne brisée peut être perçue comme le symbole de la Force et plus particulièrement de la force spirituelle. Cette interprétation de la colonne, combinée avec celle déjà évoquée de la perle pouvant symboliser la pureté de la foi ou l'enseignement du Christ trouve un écho certain dans un contexte renvoyant aux derniers affrontements entre catholiques soutenus par Louis XIII et protestants emmenés par Charles Ier. Le modèle aurait ainsi voulu être représenté comme un homme affirmant sa foi avec force. Ainsi, de façon tout à fait paradoxale, cette œuvre, réalisée d'une main sûre, séduisante en tout point, qui offre à voir un portrait d'homme dans la force de l'âge, le regard habité d'une autorité rassurante, inspire de nombreuses et passionnantes énigmes, encore non résolues. Adriaen Hanneman, en jouant sur l'ambiguïté symbolique de la perle comme le fit nombre de ses contemporains, peintres hollandais et flamands du XVIIe siècle, nous lègue une œuvre emplie de mystères. 1. E. de Jongh, " Pearls of Virtue and Pearls of Vice ", in 'Simiolus : Netherlands Quarterly for the History of Art', vol. 8, n° 2, 1975 - 1976, p. 69-97. 2. Il existe une seconde copie connue de notre œuvre, conservée à la Staatliche Kunsthalle de Karlsruhe en Allemagne. Estimation 40 000 - 60 000 €
PORTRAIT OF A DAUGHTER OF SIR THOMAS BROWNE. Portrait of a girl as goddess Diana in a blue dress with a bow and arrow. Oil on wooden panel, 40x32 cm, marked upper left „No. 52. Miss Brown daughter of Sir Thomas Browne.“. Condition A. PORTRÉT DCERY SIRA THOMASE BROWNA. Portrét dívky jako bohyně Diany v modrých šatech a s lukem a šípy. Olej na dřevěné desce, 40x32 cm, zn. vlevo nahoře „No. 52. Miss Brown daughter of Sir Thomas Browne.“. Stav A. BILDNIS DER TOCHTER VON SIR THOMAS BROWN. Mädchenbildnis als Göttin Diana in blauem Kleid und mit Pfeil und Bogen. Öl auf Holz, 40x32 cm, links oben bezeichnet „No. 52. Miss Brown daughter of Sir Thomas Browne.“. Zustand A.
olio su tela, senza cornice, cm 196 x 165 firmato e datato sullo schienale della sedia: Hanneman /1655 ADRIAEN HANNEMAN (THE HAGUE 1603- 1671), ANNUNCIATION, OIL ON CANVAS, WITHOUT FRAME, 196 X 165 CM, SIGNED AND DATED 1655
Circle of Adriaen Hanneman (The Hague 1604-1671) Portrait of Sir Humphrey Style, 1st Baronet (c.1596-1659), half-length, in a red coat with gold buttons oil on canvas 29 7/8 x 25 1/8 in. (76 x 63.8 cm.)
Portrait of a gentleman, said to be Sir Michael Earnley, Governor of Shrewsbury Castle, three-quarter-length, in armour and holding a baton oil on canvas 111.5 x 90cm (43 7/8 x 35 7/16in).
CIRCLE OF ADRIAEN HANNEMAN (dutch circa 1601-1671)/span YOUNG MAN IN INTERIOR, THE VIRGIN, CHRIST CHILD AND SAINT PETER IN THE DISTANCE Oil on canvas 42 x 44 in. (106.7 x 111.8cm)
Adriaen Hanneman (The Hague c. 1604-1671) Portrait of the artist, half-length, in a black cloak, leaning on the back of a chair signed, indistinctly inscribed and dated 'Effigies Adriani Hanneman abeeden Depicta, In An,υo 1657,' (lower right) oil on canvas 31 3/8 x 25½ in. (79.7 x 64.7 cm.)
Circle of Adriaen Hanneman (Dutch, circa 1604-1671) Portrait of a lady wearing a blue dress, seated in a landscape oil on canvas 47½ x 38 in. (120.7 x 96.5 cm.)
Circle of Adriaen Hanneman (The Hague c. 1604-1671) Portrait of a lady, bust-length, in a white satin dress, with a broach and pearls, a red flower in the foreground oil on canvas 25¾ x 21½ in. (65.4 x 54.6 cm.)
Attributed to Adriaen Hanneman (The Hague c. 1604-1671) Portrait of a gentleman, full-length, in armour, his right hand resting on a helmet, his left holding a baton, in a landscape oil on canvas 38 1/8 x 23 3/8 in. (96.8 x 59.3 cm.)
Attributed to Adriaen Hanneman Portrait of a Lady said to be Katherine Stanhope, Countess of Chesterfield (1609-1667) Oil on canvas 50 x 40 inches (127 x 101.7 cm) Provenance: The Evelyn family, southern England Private collection, New York
Circle of Adriaen Hanneman (The Hague c. 1604-1671) Portrait of a gentleman, half-length, in black robes, in a landscape oil on canvas 30¼ x 25½ in. (76.5 x 64.7 cm.)
Circle of Adriaen Hanneman (The Hague c. 1604-1671) Portrait of a lady and gentleman, possibly Charles, Lord Herbert (d. 1636) and his wife, Mary (d. 1685), half-length, by a sculptural fountain, in a landscape oil on canvas 50¼ x 90¼ in. (127.6 x 229.3 cm.)
Circle of Adriaen Hanneman (The Hague c. 1604-1671) Portrait of a gentleman, full-length, in armour with a red wrap, a sword in his right hand, a helmet on a plinth to his left, a landscape beyond oil on canvas, unframed 103¼ x 57½ in. (262.2 x 146 cm.)
HANNEMAN, ADRIAEN (um 1601 Den Haag vor 1671), zugeschrieben Portrait eines Edelmannes. 1618. Öl auf Leinwand. Oben links bezeichnet: WILLIAM EARLE OF EXECETER ONE OF HIS MA:tie MOST HON:BL PRIVIE COVNCEL.L. Mitte rechts bezeichnet: COMETA HAEC APPA RUIT MENSE NOVEMbre 1618. 65 x 46 cm.
Portrait of a lady of the Sas family, aged seventy-three, seated, three-quarter-length, in a black dress and cap, at a draped table signed and dated 'An°, 1668. Adri Hanneman. F' (on the arm of the chair, lower right), and inscribed 'Ad...73' with the Sas family coat-of-arms (upper left) oil on canvas 42 5/8 x 32 1/4 in. (108.3 x 83 cm.)
Attributed to Adriaen Hanneman PORTRAIT OF A GENTLEMAN SAID TO BE SIR ANTHONY DEWAR Oil on canvas 25 x 29 inches (63.5 x 73.7 cm) Estimate $3,000-5,000 Frame rubbing. Dirty varnish. Relined with scattered cracquelure throughout. Few spots at lower left corner.
PROPERTY FROM A PRIVATE COLLECTION PORTRAIT OF A LADY, THREE-QUARTER LENGTH, WEARING PEARLS AND AN ORANGE DRESS measurements note 111.8 by 96 cm.; 44 by 37 3/4 in. signed and dated lower right: Ano. 1657/ Adr: Hanneman./ F. oil on canvas PROVENANCE The Hanoverian Royal Collections; In the possession of the present owner's family for nearly a century. LITERATURE O. Eisenmann, Katalog der zum Ressort der Königlichen Verwaltngs-Kommission gehörigen Sammlung von Gemälden, Skulpturen und Alterthümen im Provinzial-Museumsgebaude..Hannover, Hanover 1891, p. 114, no. 176; J. Reimers, Katalog der zur Fideikommiss-Galerie des Gesamthauses Braunschweig und Lüneburg gehörigen Sammlung von Gemälden und Skulpturen im Provinzialmuseum Rudolf v. Benningstr. 1 zu Hannover, Hanover 1905, no. 139. NOTE This portrait was painted in The Hague, where Hanneman had settled in 1640. Before this he had spent over a decade in London, where he had in all probability worked in the studio of Sir Anthony van Dyck, whose elegant style was to remain the dominant influence on Hanneman's career. By the time this portrait was painted in 1657, Hanneman enjoyed a considerable reputation as an independent portraitist. Many of his patrons were English, drawn from the ranks of the royalist exiles who spent time in The Hague after the Civil War, and included the young Charles II, then Prince of Wales, as well as his brother Henry, Duke of Gloucester (1653, Washington, National Gallery). He also numbered increasingly important Dutch patrons among his sitters, including the young William of Orange (1654, Rijksmuseum, Amsterdam) and his mother Maria Henrietta Stuart (1659, Edinburgh). Despite her evident beauty, the identity of the sitter in this portrait is not recorded. Given the painting's distinguished provenance from the Hanoverian royal collections, it is more than possible that the sitter was drawn from the family or circle of Elizabeth Stuart, the `Winter Queen' of Bohemia (1596-1662) and her son Charles Louis, the Elector Palatine (1617-1680) during their long residence in The Hague. Hanneman had already painted the Elector's sister Louise Hollandine two years earlier in 1655 (formerly Hanover, Schloss Marienburg, reproduced in O.ter Kuile, Adriaen Hanneman, Amsterdam 1976, p. 85, no. 31, fig. 79) and would paint their sister Sophie, later the Electress of Hanover (1630-1714) twice around 1660-61 (formerly Hanover, Haus Calenberg, reproduced Ter Kuile, op. cit., figs. 16 and 70). In these as in the present portrait Hanneman displays an elegance and refinement that mark him as perhaps the finest of all Van Dyck's followers. This portrait most probably formed part of the Hanoverian Royal collections since the seventeenth century, remaining there until early in the last century.
Portrait of a lady of the Sas family, aged seventy-three, seated, three-quarter-length, in a black dress and cap, at a draped table signed and dated 'An°, 1668. Adri Hanneman. F' (on the arm of the chair, lower right), and inscribed 'Ad...73' with the Sas family coat-of-arms (upper left) oil on canvas 42 5/8 x 32 1/4 in. (108.3 x 82 cm.)
