Panel Painting Philip of Cleves
Object number
LDSAL328
Artist/Designer/Maker
Unknown artist - Artist
Production date
16th century
Material
oak
oil paint
oil paint
Technique
Oil On Panel
Dimensions
height: 315mm
width: 195mm
height (Of Frame): 400mm
width (Of Frame): 280mm
width: 195mm
height (Of Frame): 400mm
width (Of Frame): 280mm
Location
Burlington House - (on display)
Inscriptions
Inscription content
+ MONSOVR + DE + RAVESTEIN
References
Reference (free text)
pp.426-429
Reference (controlled)
The Paston Treasure: Microcosm of the Known world (2018). [Exhibition]. Yale Centre for British Art, New Haven. 15 February 2018 - 27 May 2018.
Oil on oak panel portrait of Philip of Cleves, Lord of Ravenstein, nobleman of the Netherlands. The integral arch-topped frame is inscribed at the lower border 'Monsour de Ravestein'.
Formerly called ‘Monsour de Ravestein’, this is probably a portrait of Philip of Cleves (1456–1528), Lord of Ravenstein and one of the most important noblemen in the Burgundian Netherlands of his time. Closely related to the ducal family, he was raised at the Burgundian court with his cousin, Mary of Burgundy. His father, Adolphe (1425–92), the first Lord Ravenstein, was the nephew of Philip the Good, Duke of Burgundy, and his mother was Queen Beatrice of Portugal.
The sitter wears a heavy fur tunic over a gown of velvet cloth of gold, similar to that in the Society’s portrait of Christian II, King of Denmark (LDSAL326), patterned with linear motifs and lined and trimmed with fur. Beneath this is a long-sleeved black garment with a raised neckband over a white undershirt with smocking at the throat. Across his shoulders lies a simple chain from which is suspended a large and rather crudely painted circular gold medallion with three cabochon gems and a large pendant pearl. Attached to the tall brim of his wide black hat, above the left eye, is a circular gilt badge, indistinctly painted and barely legible, decorated with a symmetrical design conforming to the curve of the badge. In his left hand is a rolled scroll, skillfully drawn and painted as if projecting into the spectator’s space, recalling the similar treatment of the book in the related portrait of Engelbert II (LDSAL327).
The sitter wears a heavy fur tunic over a gown of velvet cloth of gold, similar to that in the Society’s portrait of Christian II, King of Denmark (LDSAL326), patterned with linear motifs and lined and trimmed with fur. Beneath this is a long-sleeved black garment with a raised neckband over a white undershirt with smocking at the throat. Across his shoulders lies a simple chain from which is suspended a large and rather crudely painted circular gold medallion with three cabochon gems and a large pendant pearl. Attached to the tall brim of his wide black hat, above the left eye, is a circular gilt badge, indistinctly painted and barely legible, decorated with a symmetrical design conforming to the curve of the badge. In his left hand is a rolled scroll, skillfully drawn and painted as if projecting into the spectator’s space, recalling the similar treatment of the book in the related portrait of Engelbert II (LDSAL327).