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Fernando Álvarez de Toledo, Third Duke of Alba
Fernando Álvarez de Toledo, Third Duke of Alba
Artist: Anthonis Mor van Dashorst (Antonio Moro) (Dutch (Netherlandish), active in Portugal, England, and Spain, ca. 1517-1576)
Date: 1549
Dimensions:
H 108 x W 83.5 cm (H 42 1/2 x W 32 7/8 in.)
Medium: Oil on wood
Credit Line: Presented to the Hispanic Society by Archer M. Huntington, before 1913.
Place Made:Spanish Netherlands
Period: Golden Age
Culture: Spanish (Spanish Netherlands)
Not on View
DescriptionAnthonis Mor van Dashorst, called Antonio Moro
(Utrecht, Netherlands, 1517–Antwerp, Belgium, 1577)
Fernando Álvarez de Toledo, Third Duke of Alba, 1549
Oil on wood, 108 × 83.5 cm
Signed, upper left: “Antonius mor faciebat / 1549”
Inscribed, upper right, on a cartolina: “Fernandes de Toledo Duke / of Alva, 1557” (from John Lumley’s ownership of the picture)
New York, The Hispanic Society of America, A105
PROVENANCE: Lord John Lumley (ca. 1533–1609), Castle Lumley, Chester-le-Street near Durham, England, by 1590; Lumley Family, by descent, to 1807; Lord Townshend, ca. 1807–before 1887; Stephan Bourgeois, Paris (dealer), by 1887; Durand-Ruel, Paris, ca. 1889; Collis Potter Huntington, New York, December 1889–97 ; Archer M. Huntington, New York, 1897–after 1907; presented to The Hispanic Society of America, probably in 1908, but before April 1913
Anthonis Mor was born at Utrecht in what was then the Spanish Netherlands and trained with Jan van Scorel (1495–1562). By 1547, he had moved to Antwerp, where he found patronage from Cardinal Antoine Perrenot de Granvelle (1517-1586), Bishop of Arras and a leader of the Hapsburg cause. From 1549, he served Philip II, first in Brussels and then in Spain and Portugal. He was sent to England in 1553 to portray Mary Tudor (Madrid, Museo del Prado, inv. P02108), whom Philip II married in 1554; Mor was Philip’s official court painter from December 1553. He went to Spain with Philip in 1559, but returned to the Netherlands in 1561, leaving his pupil, Alonso Sánchez Coello (1531/32–1588) to continue in his place.
Fernando Álvarez de Toledo y Pimentel (1507–1582), was a Spanish nobleman, diplomat, general, viceroy of Naples (r. 1556–58) and Portugal (r. 1580–82), and governor of Milan (r. 1555–56) and the Netherlands (r. 1567–73). Among the most successful military leaders of his age, he won notable victories against the Protestant Schmalkaldic League, especially at the Battle of Mühlberg in Saxony in 1547, where he was co-commander of Charles V’s army, leading his soldiers dressed in silver armor and mounted on a white horse. Thirty-three years later, he defeated Philip II’s enemies in Portugal at the Battle of Alcántara. His administration of the Spanish Netherlands, however, was marred by his unyielding policies against Protestants, which led to the rebellion of what is now called the Dutch Netherlands. He repeatedly defeated the Dutch Protestant forces militarily (Battle of Jemmingen, 1568), but failed to extinguish the revolt in spite of infamously harsh measures.
Mor has portrayed the duke at the pinnacle of his success, two years after the victory at Mühlberg, and one year after his appointment as Mayordomo Mayor (High Steward) of the Spanish royal household, in which capacity he would serve both Charles V and Philip II. He wears the collar of the Toison d’Or, or Order of the Golden Fleece, one of the most prestigious military orders in Europe, of which the Hapsburg kings of Spain were grand masters, and holds the baton of command of the imperial armies. MBB
Texto en Español:
Antonio Moro nació en Utrecht, en lo que entonces eran los Países Bajos españoles, y fue discípulo de Jan van Scorel (1495-1562). En 1547 o antes se trasladó a Amberes, donde encontró un protector en la persona del cardenal Antonio Perrenot de Granvela (1517-1586), obispo de Arrás y jefe del partido Habsburgo. A partir de 1549 estuvo al servicio de Felipe II, primero en Bruselas y después en España y Portugal. En 1553 fue enviado a Inglaterra para retratar a María Tudor (Madrid, Museo del Prado, inv. P02108), con quien Felipe II contrajo matrimonio en 1554; Moro fue el pintor de cámara de Felipe desde diciembre de 1553. Con él pasó a España en 1559, pero en 1561 regresó a los Países Bajos, dejando como sucesor en el puesto a su discípulo Alonso Sánchez Coello (1531/32-1588).
Fernando Álvarez de Toledo y Pimentel (1507-1582) fue un noble, diplomático y militar español, virrey de Nápoles (1556-1558) y de Portugal (1580-1582) y gobernador de Milán (1555-1556) y de los Países Bajos (1567-1573). Uno de los más eximios jefes militares de su tiempo, ganó victorias resonantes contra la Liga protestante de Esmalcalda, en particular la batalla de Mühlberg (Sajonia) en 1547, en la que compartió el mando con Carlos V, revestido de armadura de plata y montando un caballo blanco. Treinta y tres años después venció a los enemigos portugueses de Felipe II en la batalla de Alcántara. Pero su administración de los Países Bajos españoles se vio arruinada por su inflexible política contra los protestantes, que encendió la sublevación de lo que ahora es Holanda. El duque de Alba se impuso reiteradamente a los protestantes holandeses con las armas (batalla de Jemmingen, 1568), pero sus durísimas represalias no consiguieron extinguir la revuelta.
Moro le ha retratado en la cima de sus triunfos, transcurridos solo dos años de la victoria de Mühlberg y uno de su nombramiento de mayordomo mayor de la casa real española, puesto que desempeñó bajo Carlos V y Felipe II. Luce el collar del Toisón de Oro, una de las órdenes de caballería más ilustres de Europa, que tenía por grandes maestres a los Habsburgo españoles, y empuña el bastón de mando de los ejércitos imperiales. MBB
BIBLIOGRAPHY:
Le Monde Illustré (5 February 1887), p. 96
TRAPIER 1929 Elizabeth du Gué Trapier, Catalogue of Paintings (16th, 17th, and 18th Centuries) in the Collection of The Hispanic Society of America. New York: The Hispanic Society of America, 1929, pp. 18-22
MALTBY 1983 William S. Maltby, Alba: A Biography of Fernando Alvarez de Toledo, Third Duke of Alba, 1507–1582. Berkeley: University of California Press, 1983, p. 206f, fig. [3]
WOODALL 1990 Joanna Woodall, “The Portraiture of Antonis Mor,” PhD thesis, London, Courtauld Institute of Art, University of London, 1990, pp. 568-72, no. 50, citing bibliography, documentation, and early provenance
WOODALL 2007 Joanna Woodall, Anthonis Mor: Art and Authority. Zwolle: Waanders, 2007, pp. 173-80, and fig. 59 (citing replica Brussels: Musées Royaux des Beaux-Arts de Belgique, inv. 1399, p. 405, fig. 150
BURKE 2016 Marcus B. Burke, “The Hispanic Society of America, Nueva York,” in Mark A. Roglán (ed.), Arte español en los Estados Unidos de América. Madrid: El Viso, 2016, p. 131
CODDING ( ED. ) 2017 Mitchell A. Codding (ed.), Tesoros de la Hispanic Society: Visiones del mundo hispánico. Madrid, New York: Museo Nacional del Prado, The Hispanic Society of America, 2017, pp. 178-79, no. 69
CODDING ( ED. ) 2018a [Spanish edition] Mitchell A. Codding (ed.), Tesoros de la Hispanic Society of America. Mexico City, New York: Museo del Palacio de Bellas Artes, The Hispanic Society of America, 2018, pp. 166-67, no. 69
CODDING (ED.) 2018b [English edition] Mitchell A. Codding (ed.), Visions of the Hispanic World: Treasures from The Hispanic Society Museum & Library. New York: The Hispanic Society of America, 2018, no. 69
(Utrecht, Netherlands, 1517–Antwerp, Belgium, 1577)
Fernando Álvarez de Toledo, Third Duke of Alba, 1549
Oil on wood, 108 × 83.5 cm
Signed, upper left: “Antonius mor faciebat / 1549”
Inscribed, upper right, on a cartolina: “Fernandes de Toledo Duke / of Alva, 1557” (from John Lumley’s ownership of the picture)
New York, The Hispanic Society of America, A105
PROVENANCE: Lord John Lumley (ca. 1533–1609), Castle Lumley, Chester-le-Street near Durham, England, by 1590; Lumley Family, by descent, to 1807; Lord Townshend, ca. 1807–before 1887; Stephan Bourgeois, Paris (dealer), by 1887; Durand-Ruel, Paris, ca. 1889; Collis Potter Huntington, New York, December 1889–97 ; Archer M. Huntington, New York, 1897–after 1907; presented to The Hispanic Society of America, probably in 1908, but before April 1913
Anthonis Mor was born at Utrecht in what was then the Spanish Netherlands and trained with Jan van Scorel (1495–1562). By 1547, he had moved to Antwerp, where he found patronage from Cardinal Antoine Perrenot de Granvelle (1517-1586), Bishop of Arras and a leader of the Hapsburg cause. From 1549, he served Philip II, first in Brussels and then in Spain and Portugal. He was sent to England in 1553 to portray Mary Tudor (Madrid, Museo del Prado, inv. P02108), whom Philip II married in 1554; Mor was Philip’s official court painter from December 1553. He went to Spain with Philip in 1559, but returned to the Netherlands in 1561, leaving his pupil, Alonso Sánchez Coello (1531/32–1588) to continue in his place.
Fernando Álvarez de Toledo y Pimentel (1507–1582), was a Spanish nobleman, diplomat, general, viceroy of Naples (r. 1556–58) and Portugal (r. 1580–82), and governor of Milan (r. 1555–56) and the Netherlands (r. 1567–73). Among the most successful military leaders of his age, he won notable victories against the Protestant Schmalkaldic League, especially at the Battle of Mühlberg in Saxony in 1547, where he was co-commander of Charles V’s army, leading his soldiers dressed in silver armor and mounted on a white horse. Thirty-three years later, he defeated Philip II’s enemies in Portugal at the Battle of Alcántara. His administration of the Spanish Netherlands, however, was marred by his unyielding policies against Protestants, which led to the rebellion of what is now called the Dutch Netherlands. He repeatedly defeated the Dutch Protestant forces militarily (Battle of Jemmingen, 1568), but failed to extinguish the revolt in spite of infamously harsh measures.
Mor has portrayed the duke at the pinnacle of his success, two years after the victory at Mühlberg, and one year after his appointment as Mayordomo Mayor (High Steward) of the Spanish royal household, in which capacity he would serve both Charles V and Philip II. He wears the collar of the Toison d’Or, or Order of the Golden Fleece, one of the most prestigious military orders in Europe, of which the Hapsburg kings of Spain were grand masters, and holds the baton of command of the imperial armies. MBB
Texto en Español:
Antonio Moro nació en Utrecht, en lo que entonces eran los Países Bajos españoles, y fue discípulo de Jan van Scorel (1495-1562). En 1547 o antes se trasladó a Amberes, donde encontró un protector en la persona del cardenal Antonio Perrenot de Granvela (1517-1586), obispo de Arrás y jefe del partido Habsburgo. A partir de 1549 estuvo al servicio de Felipe II, primero en Bruselas y después en España y Portugal. En 1553 fue enviado a Inglaterra para retratar a María Tudor (Madrid, Museo del Prado, inv. P02108), con quien Felipe II contrajo matrimonio en 1554; Moro fue el pintor de cámara de Felipe desde diciembre de 1553. Con él pasó a España en 1559, pero en 1561 regresó a los Países Bajos, dejando como sucesor en el puesto a su discípulo Alonso Sánchez Coello (1531/32-1588).
Fernando Álvarez de Toledo y Pimentel (1507-1582) fue un noble, diplomático y militar español, virrey de Nápoles (1556-1558) y de Portugal (1580-1582) y gobernador de Milán (1555-1556) y de los Países Bajos (1567-1573). Uno de los más eximios jefes militares de su tiempo, ganó victorias resonantes contra la Liga protestante de Esmalcalda, en particular la batalla de Mühlberg (Sajonia) en 1547, en la que compartió el mando con Carlos V, revestido de armadura de plata y montando un caballo blanco. Treinta y tres años después venció a los enemigos portugueses de Felipe II en la batalla de Alcántara. Pero su administración de los Países Bajos españoles se vio arruinada por su inflexible política contra los protestantes, que encendió la sublevación de lo que ahora es Holanda. El duque de Alba se impuso reiteradamente a los protestantes holandeses con las armas (batalla de Jemmingen, 1568), pero sus durísimas represalias no consiguieron extinguir la revuelta.
Moro le ha retratado en la cima de sus triunfos, transcurridos solo dos años de la victoria de Mühlberg y uno de su nombramiento de mayordomo mayor de la casa real española, puesto que desempeñó bajo Carlos V y Felipe II. Luce el collar del Toisón de Oro, una de las órdenes de caballería más ilustres de Europa, que tenía por grandes maestres a los Habsburgo españoles, y empuña el bastón de mando de los ejércitos imperiales. MBB
BIBLIOGRAPHY:
Le Monde Illustré (5 February 1887), p. 96
TRAPIER 1929 Elizabeth du Gué Trapier, Catalogue of Paintings (16th, 17th, and 18th Centuries) in the Collection of The Hispanic Society of America. New York: The Hispanic Society of America, 1929, pp. 18-22
MALTBY 1983 William S. Maltby, Alba: A Biography of Fernando Alvarez de Toledo, Third Duke of Alba, 1507–1582. Berkeley: University of California Press, 1983, p. 206f, fig. [3]
WOODALL 1990 Joanna Woodall, “The Portraiture of Antonis Mor,” PhD thesis, London, Courtauld Institute of Art, University of London, 1990, pp. 568-72, no. 50, citing bibliography, documentation, and early provenance
WOODALL 2007 Joanna Woodall, Anthonis Mor: Art and Authority. Zwolle: Waanders, 2007, pp. 173-80, and fig. 59 (citing replica Brussels: Musées Royaux des Beaux-Arts de Belgique, inv. 1399, p. 405, fig. 150
BURKE 2016 Marcus B. Burke, “The Hispanic Society of America, Nueva York,” in Mark A. Roglán (ed.), Arte español en los Estados Unidos de América. Madrid: El Viso, 2016, p. 131
CODDING ( ED. ) 2017 Mitchell A. Codding (ed.), Tesoros de la Hispanic Society: Visiones del mundo hispánico. Madrid, New York: Museo Nacional del Prado, The Hispanic Society of America, 2017, pp. 178-79, no. 69
CODDING ( ED. ) 2018a [Spanish edition] Mitchell A. Codding (ed.), Tesoros de la Hispanic Society of America. Mexico City, New York: Museo del Palacio de Bellas Artes, The Hispanic Society of America, 2018, pp. 166-67, no. 69
CODDING (ED.) 2018b [English edition] Mitchell A. Codding (ed.), Visions of the Hispanic World: Treasures from The Hispanic Society Museum & Library. New York: The Hispanic Society of America, 2018, no. 69
Accession Number: A105
In Collection(s)