Collection of the Royal House of Hanover, Schloss Marienburg and Schloss Herrenhausen;
By descent in the family, from whom acquired by the present collector in 2004.

J. Molthan, Verzeichnis der Bildauerwerke und Gëmalde welche sich in den Königlich Hannoverschen Schlössern und Gebäuden befinden, Hanover 1844, p. 89, cat. no. 22;
Königliches Schloss Herrenhausen. Inventar des Fürstenhauses. Anlage I, Verzeichniss der im Fürstenhaus vorhandenen Oelgemälde, Kupferstiche, Pastelbilder, Radirungen pp. und Skulpturen pp. 1893 (Archiv Schloss Marienburg, Pattensen), inv. no. 333 (no. 562 in previous inventory);
A. Bredius and E.W. Moes, "Adriaen Hanneman," in Oud-Holland, XIV, 1896, p. 212;
A. von Wurzbach, Niederländisches Kunstler-Lexicon, vol. I, Leipzig/Vienna 1906, p. 647;
O. ter Kuile, Adriaen Hanneman, 1604-1671 : een haags portretschilder, Alphen aan den Rijn 1976, p. 89, cat. no. 38, reproduced fig. 78.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This work may have been cleaned more recently, but the lining is old. The cracking is slightly raised in the paint layer, but this is not unstable and changing the lining is not recommended. The surface is dusty but not noticeably dirty. An old label referring to a Northern European collection remains adhered to the front of the work in the lower left. There are a few scratches in the varnish in the lower right. The condition of the paint layer seems to be very good throughout, with only very slight weakness to the softer colors in the cherub in the upper left. Under ultraviolet light, one can see remnants of old varnish. There are only a couple of very isolated retouches around the edges, one spot in the sleeve in the lower right and a diagonal line of retouches through the necklace. These retouches are not numerous, but some efforts should be made to improve the retouching in the necklace and neck.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Amalia von Hesse-Kassel (1626-1693) was the daughter of William V, Landgrave of Hesse-Kassel and Amalia Elizabeth von Hanau-Münzenberg.  In 1648 she married Henry Charles de la Trémoille, Prince of Taranto, son of Duke Henry de Trémoille and of Thouars and Maria de la Tour d’Auvergne.

This striking portrait reflects the influence of Hanneman's contemporary, Anthony van Dyck.  Both artists worked in England during the 1630s and may well have had contact there.  In particular, the portrait of Amalia is reminiscent of van Dyck’s Portrait of Lucy Percy, Countess of Carlise at Petworth House, Sussex, painted in circa 1637.  A 17th century copy of the Portrait of Amalia von Hesse-Kassel, depicting the sitter in a blue gown rather than red, is in the collection at Castle Middachten, De Steeg, The Netherlands.¹

This portrait remained in the possession of the House of Hanover from the 17th century until acquired directly from a family member in 2004 by the present collector.  The painting was listed in an inventory of Schloss Herrenhausen taken in 1893 (see Literature) and, on the stretcher, bears the stencil of another inventory of Herrenhausen dating from the 20th century (exact date unknown).  Another small label (octagonal with a blue edge and bearing the number 89) is affixed to the back of the frame and is probably from an inventory of circa 1865 of Schloss Marienburg.

 

 

1  Se🐲e Rijksbureau voor Kunsthistorisches Documentatie (RKD), online image 146474.