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De factorijen te Canton in de 18de eeuw

De factorijen te Canton in de 18de eeuw 162 The double Portrait by Van Dijck in Amsterdam by A. S TA RING The Amsterdam version of the group of William II of Orange and Mary Princess Royal certainly came from the collection of the Prince's mother Amalia of Orange, and is not the one that Queen Anne reclaimed from the heirs of William III. It can be followed in succeeding in- ventories of members or relatives of the House of Orange until it came into the possession of the younger line of the House, from whom the State acquired it. The Buccleuch version may have come from the Duke of lVlonmouth, and through him from the Royal collection, but then it can hardly have belonged to James II. In an article in Oud-Holland LXVIII, Dr. van Lutter- velt showed that the jewel worn by the Princess and the Prince's suit were painted after the Prince's wedding gift and after the suit worn by the bridegroom. The gradual development of the composition is still unexplained. In the Prince's accurate diary of his stay in England no mention is made of a sitting to an artist. The author suggests the following stages: 1. the Princess was painted after http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oud Holland - Quarterly for Dutch Art History Brill

De factorijen te Canton in de 18de eeuw

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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0030-672x
eISSN
1875-0176
DOI
10.1163/187501755X00254
Publisher site
See Article on Publisher Site

Abstract

162 The double Portrait by Van Dijck in Amsterdam by A. S TA RING The Amsterdam version of the group of William II of Orange and Mary Princess Royal certainly came from the collection of the Prince's mother Amalia of Orange, and is not the one that Queen Anne reclaimed from the heirs of William III. It can be followed in succeeding in- ventories of members or relatives of the House of Orange until it came into the possession of the younger line of the House, from whom the State acquired it. The Buccleuch version may have come from the Duke of lVlonmouth, and through him from the Royal collection, but then it can hardly have belonged to James II. In an article in Oud-Holland LXVIII, Dr. van Lutter- velt showed that the jewel worn by the Princess and the Prince's suit were painted after the Prince's wedding gift and after the suit worn by the bridegroom. The gradual development of the composition is still unexplained. In the Prince's accurate diary of his stay in England no mention is made of a sitting to an artist. The author suggests the following stages: 1. the Princess was painted after

Journal

Oud Holland - Quarterly for Dutch Art History – Brill

Published: Jan 1, 1955

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