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拍品專文
Pieter Nason was a prominent seventeenth-century court artist, celebrated for his polished and refined portraits. He lived in Amsterdam from 1632–38, where he is thought to have been a pupil of Nicolaes Eliasz. Pickenoy (1588–1650). Nason moved to The Hague by 1639, where he entered the Guild of Saint Luke and was a founding member of the painters’ confraternity in the city, the Confrerie Pictura. His great patron in The Hague was Johan Maurits of Nassau-Siegen (1604–1679), but the artist was also in demand at courts across Europe. Nason travelled several times to England, where he painted Charles II and other members of the English nobility, and to Berlin and Cleves in 1666 to make portraits of Friedrich Wilhelm, Elector of Brandenburg (1620–1688), and his family.
Jan Baptist Bedaux previously identified the sitters as the sons of Christopher Delphicus zu Dohna-Carwinden (1628–1668), a Dutch-born diplomat and soldier who later became Field Marshal in the Swedish Army (op. cit., p. 272). Dohna-Carwinden was certainly a patron of Nason: a portrait of his three children, dated 1667, is in the Museum of Warmia and Masuria, Olsztyn (inv. no. MNO-129 OMO), but Dohna-Carwinden had only one son, who does not resemble either of the sitters in the present works.
Nason painted several portraits of children and young people in historical dress in the 1660s and 1670s, in costumes generally based on ancient Roman military examples. In the present work, the boy holding a spear wears a cuirass moulded to the shape of a muscular torso, called a lorica, with a leather tunic cut into strips, known as pteruges, decorated with metal studs (see D. de Marly, ‘The Establishment of Roman Dress in Seventeenth-Century Portraiture’, The Burlington Magazine, CXVII, July 1975, pp. 442–451). The younger boy, holding a bow and arrow, wears an embroidered leather tunic, and both sport a plumed hat and billowing cloak. Nason frequently repeated costume, poses and props; he painted a young man, probably Willem van Liere, in an identical pose with spear and hilt (Christie’s, New York, 26 January 2012, lot 233). The use of pseudo-historical costume was common practice in portraiture of the time, not only because of its noble and heroic associations, but also to avoid referencing specific fashion trends before they became outmoded.
Jan Baptist Bedaux previously identified the sitters as the sons of Christopher Delphicus zu Dohna-Carwinden (1628–1668), a Dutch-born diplomat and soldier who later became Field Marshal in the Swedish Army (op. cit., p. 272). Dohna-Carwinden was certainly a patron of Nason: a portrait of his three children, dated 1667, is in the Museum of Warmia and Masuria, Olsztyn (inv. no. MNO-129 OMO), but Dohna-Carwinden had only one son, who does not resemble either of the sitters in the present works.
Nason painted several portraits of children and young people in historical dress in the 1660s and 1670s, in costumes generally based on ancient Roman military examples. In the present work, the boy holding a spear wears a cuirass moulded to the shape of a muscular torso, called a lorica, with a leather tunic cut into strips, known as pteruges, decorated with metal studs (see D. de Marly, ‘The Establishment of Roman Dress in Seventeenth-Century Portraiture’, The Burlington Magazine, CXVII, July 1975, pp. 442–451). The younger boy, holding a bow and arrow, wears an embroidered leather tunic, and both sport a plumed hat and billowing cloak. Nason frequently repeated costume, poses and props; he painted a young man, probably Willem van Liere, in an identical pose with spear and hilt (Christie’s, New York, 26 January 2012, lot 233). The use of pseudo-historical costume was common practice in portraiture of the time, not only because of its noble and heroic associations, but also to avoid referencing specific fashion trends before they became outmoded.