Null Jean Baptiste VAN LOO (Aix-en-Provence 1684-1745).
Presumed portrait of Don…
Description

Jean Baptiste VAN LOO (Aix-en-Provence 1684-1745). Presumed portrait of Don José de Rozas y Melendez de la Cueva, first Count of Castelblanco. Canvas. Signed lower right "Van Loo...". Unframed. 36 × 27 cm. BIBLIOGRAPHY: A. P. de Mirimonde, "Esquisses retrouvées (Oudry, Noël Hallé, Subleyras, Lépicié, Vignalis et Peyron)", in Bulletin de la So-ciété de l'Histoire de l'Art Français, 1966, quoted p. 131, reproduced p. 133 fig. 1 (Oudry). Born in Lima, Peru in 1665, he was the son of Francisco de Rozas and Fernández de Santayana, Knight of the Order of Alcántara, and Luisa Meléndez de Gama. In 1700, James II appointed him Captain General and President of the Royal Audience of Guatemala. On November 12, 1709, King Philip V of Spain granted him the title of Count of Castel Blanco. He entered the service of James Francis Stuart, pretender to the throne of England and Scotland, helping to finance expeditions to reconquer the British Isles (1715-1716 and 1719). The latter made him Duke and Peer of Scotland, with the titles of Duke of Catelblanco and St. An-drews. King Philip V reluctantly accepted these noble distinctions for one of his subjects, demanding that the titles be kept secret until the coronation of James Francis Stuart, which never happened.

Jean Baptiste VAN LOO (Aix-en-Provence 1684-1745). Presumed portrait of Don José de Rozas y Melendez de la Cueva, first Count of Castelblanco. Canvas. Signed lower right "Van Loo...". Unframed. 36 × 27 cm. BIBLIOGRAPHY: A. P. de Mirimonde, "Esquisses retrouvées (Oudry, Noël Hallé, Subleyras, Lépicié, Vignalis et Peyron)", in Bulletin de la So-ciété de l'Histoire de l'Art Français, 1966, quoted p. 131, reproduced p. 133 fig. 1 (Oudry). Born in Lima, Peru in 1665, he was the son of Francisco de Rozas and Fernández de Santayana, Knight of the Order of Alcántara, and Luisa Meléndez de Gama. In 1700, James II appointed him Captain General and President of the Royal Audience of Guatemala. On November 12, 1709, King Philip V of Spain granted him the title of Count of Castel Blanco. He entered the service of James Francis Stuart, pretender to the throne of England and Scotland, helping to finance expeditions to reconquer the British Isles (1715-1716 and 1719). The latter made him Duke and Peer of Scotland, with the titles of Duke of Catelblanco and St. An-drews. King Philip V reluctantly accepted these noble distinctions for one of his subjects, demanding that the titles be kept secret until the coronation of James Francis Stuart, which never happened.

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Louis Michel VAN LOO (Toulon 1707 - Paris 1771) Carle Van Loo and his family On its original canvas 115 x 87 cm Our painting is a replica of the one exhibited at the Salon of 1757 and kept at the Ecole des Arts Décoratifs in Paris (canvas, 200 x 156 cm). Another replica is preserved at the Château de Versailles (canvas, 212 x 158 cm; see the catalog of the Musée National du Château de Versailles, les peintures, vol. II, Paris, 1995, no. 5077, reproduced). Louis Michel Van Loo, son of the painter Jean-Baptiste Van Loo, portrays his uncle Carle Van Loo drawing the portrait of his daughter Marie-Rosalie in the presence of his wife, the singer Christina-Antonia Somis, and their three sons: Jean-François, Charles and Jules-César-Denis. Inscriptions beneath two drawings of Carle and his wife tell us that "under his brush were born the Graces: he drew as she sang", "the loves flew in his footsteps: she sang as he drew" (see the exhibition catalog Carle Vanloo, premier peintre du roi, Nice, Clermont-Ferrand, Nancy, 1977, n°398, reproduced). According to Diderot, Carle Van Loo et sa famille and Portrait de Louis-Michel Van Loo avec sa sœur devant le portrait de leur père Jean-Baptiste Van Loo (in the Château de Versailles museum) were his greatest paintings. These large group portraits often pose a compositional problem, with unnatural frontal poses in which the figures stare at the viewer, as in François-Hubert Drouais's Family Portrait (now at the National Gallery of Art in Washington), painted a year before this one. Louis Michel Van Loo, on the other hand, depicts each model in a different way, some from the front, others from three-quarter view, others in profile. The figures are divided into two groups facing each other: four on the left and two on the right. Rather than looking at us, they converse with each other, allowing the viewer to catch a glimpse of the daily life of an artist's family as they pass on their skills from generation to generation. Louis Michel Van Loo used this type of composition again in his Portrait du marquis de Marigny et de sa femme, now in the Louvre (canvas, 130 x 97.5 cm, signed and dated 1769).