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Luckily, some of the products from the workshops of Jacob Dircxz de Swart, Hans le Maire and Maarten den Heuvel still survive today.Quite remarkably, the Auricular style is well presented in the patterns of these gilt leathers.Although the precise circumstances of the creation of this carved and gilded frame, more than two metres high, do not seem to be documented, one can safely assume that the bishop commissioned both the portrait and its frame.
As newcomers to the market, the Dutch gilt leather-makers managed to develop a completely new appearance for their embossed gilt leather.
Biography Charlotte Chastel-Rousseau was educated at the Ecole du Louvre and at Université Paris-Sorbonne, and holds a Ph D in art history on (2005, Université Paris I- Panthéon-Sorbonne).
She has published work on 18th century British, French and Portuguese monumental sculpture, and has researched the circulation of artistic models and ideas in a European cultural space from the Renaissance to the 18 century.
In 1930 Hortense, Princess Louis de Croÿ (1867-1932), donated the painting and its present frame to the Louvre.
We are certain that this canvas of 1669 is still in its original frame, since the sculpted trophies in the middle of the bottom rail, and the episcopal insignia (mitre and crosier) at the top, all refer to the sitter Ferdinand von Fürstenberg (1626-1683), who is also identified by the inscription on the painted letter in the portrait.
They do not all contain paintings, however; many hold looking-glasses of various sizes, from large canted wall-mounted examples to small toilet glasses.