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A native of Utrecht, Mor had a dazzling career that took him throughout Europe, thanks to a steady stream of royal and imperial commissions. Following a convention favored by Mor, Alessandro Farnese stands here against a dark, neutral backdrop so that nothing detracts from his memorable physiognomy and splendid attire, all of which is expertly accentuated by cool light emanating from a source beyond the picture plane at left. The sitter sports a half-armor, or full corselet, for field use on foot, in blue-stained and gilt steel.
The crimson piping identifies him as a member of the Spanish army. Alessandro's armor appears to have been made in Italy around , and is almost certainly the Milanese armor mentioned by Margaret of Parma in her correspondence as being delivered to him in Madrid in October A.
Donati, unpublished study. Gleaming white stockings add length to his legs, and the fact that his footwear is of a similar hue enhances this impression the same ivory-colored slippers also appear in his previous portraits. The pallor of these sartorial details is echoed in the adolescent skin of his face, where a few shadows suggest burgeoning facial hair. Indeed, his strong nose, generous mouth, cleft chin, and alert gray eyes lend the young man an aura of composure and strength that seems beyond the reach of his years.
Anthonis Mor painted his first portrait of the young Alessandro Farnese in Alessandro was twelve years old at the time, and had travelled to Brussels to receive his education at the Court of his uncle, Philip II, in accord with the Treaty of Ghent signed by his father Ottavio Farnese.
Signed and dated, the portrait of young Alessandro fig. Margaret maintained a close relationship with Mor, commissioning from him several portraits of herself throughout her lifetime fig.
Woodall, Anthonis Mor. Art and Authority , Zwolle, , pp.
You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. Joanbanjo talk contribs. Show all 20 amenities. Select check-in date. Show all 43 reviews. Places of interest in the village Chapel of the virgin of the good success: located on top of a mound, dating from the seventeenth century.
It is a typical example of religious building of Valencian Baroque. You can access it after climbing steps. Guarner House: It is an ancient eighteenth century house belonging to the family Musoles. The structure of the house follows the traditional Valencian scheme. Today it is owned by the Bancaja Foundation, and it is used along the year for exhibitions, concerts, contests, games and tributes.
In it was restored to maintain its original structure and elements. An anonymous copy of our painting, reduced to three quarter length oil on canvas, x 94 cm , is in the Galleria Nazionale, Parma, and was likely painted for a similar purpose. This opinion was endorsed by Philippe Costamagna unpublished study. Kusche, Retratos y Retratodores.
According to family tradition, the two full-length portraits of Alessandro Farnese in Cape and Alessandro Farnese in Armor were acquired together in Florence by Count Giuseppe Volpi di Misurata at the advice of Bernard Berenson. Philippe Costamagna has also attempted to identify these paintings in the successive inventories of the Farnese collections unpublished essay.
The and inventories mention two portraits that might correspond to these works, but the generic descriptions and lack of dimensions precludes any definitive identification. On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work.
This is known as a minimum price guarantee. Where Christie's has provided a Minimum Price Guarantee it is at risk of making a loss, which can be significant, if the lot fails to sell. Christie's therefore sometimes chooses to share that risk with a third party. In such cases the third party agrees prior to the auction to place an irrevocable written bid on the lot. The third party is therefore committed to bidding on the lot and, even if there are no other bids, buying the lot at the level of the written bid unless there are any higher bids.
In doing so, the third party takes on all or part of the risk of the lot not being sold.
If the lot is not sold, the third party may incur a loss. The third party may also bid for the lot above the written bid.
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