Majestic and fine quality early 18th century portrait of a nobleman attributed to Jean -Baptiste van Loo. The elegant sitter stand three-quarter length within an interior infront of stonework and drapery.
This gentleman is no doubt a man of high stature and rank as prominently perched inside his pocket is the sword which marks this gentleman’s noble status within society. This courtsword or in its French origin, known as ‘épée de cour’ meaning ‘sword of the court’ was a lighter and more agile variant of its heavier rapier predecessor from the Renaissance.
Significantly, the smallsword originated in France but soon engulfed the rest of Europe and solidified its high-fashion connotation. Government officials of the late 17th and 18th centuries would present them in their portraits to delineate their ruling power. Swords of this manner can also be found in portraits of other professions such as admirals and lieutenants.
Our sitter is adorned in the habit ą la franēaise that befits the Rococo aesthetic. The standout colours of the luxurious royal blue velvet coat and breeches combined with the golden embroidered waistcoat, coalesce to contrast the stone pilasters lining the background. Van Loo portrait backgrounds, tend to be hazed and less defined, allowing for full attention to the central subject. Due to this, our sitter’s features become more prominent such as their opulent laced jabot with the matching cuffs.
Nestled under the sitter’s left arm, is a tricorne or ''cocked hat'' as it was commonly known. Societal etiquette dictated that these hats would be tucked under one’s arm upon entering a building, as our gentleman perfectly demonstrates. The tricorne was also used as an accessory to show off one’s wig and by extension, their domineering social status.
Trendsetting in the 18th century was a gentlemanly vocation. The greatest innovations were from peruke (male wigs) styles, such as the adoption of the ‘bagwigs’. Bagwigs or ‘perruques en
...bourse’, were long and flat at the back and gathered at the nape of the neck into a black taffeta. It is clear this style was the vogue, as contemporary wig-technical publications such as “Perruquier'' (appearing in Volume 12 of the Encyclopédie in December 1765) refer to the bagwig as ''the most modern'' of all.
These types of wigs were made by perukiers who would weave different types of hair such as goat or horsehair into wigs for gentlemen from the Georgian era. However, the more lavish wigs were made from real human hair and commanded a higher price for the material. Bagwigs typically gave a more formal appearance to the common wig; the addition of the silk bag and bow would allow the wearer to flaunt their wealth. Of course, there was an element of convenience to many 18th century perukes. It was commonplace for gentlemen to carry a tortoiseshell wig-comb in their pockets to ensure their wigs remained pristine throughout the day. However, the formal upkeep was done with relative ease which consisted of sending the wig to the perukier for the occasional delousing!
There are many hints of tradition and heritage in this portrait, namely our sitter’s signet ring. This piece of jewellery usually dons a heraldic motif on the fob seal and represents generational lineage. Its pertinence on his hand shows our sitter’s devout allegiance to his family. The coat of arms is embossed on what could be a sapphire or blue rock crystal. Our sitter is a man of great style, shown through the matching colours of his ring to his attire. To have the signet ring in full, central display and such proximity to the courtsword and tricorne hat, suggests our sitter is trying to communicate pride in his lineage, profession and personal accolades.
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Antique Number: SA1105159
Dateline of this antique is 18th Century
Height is 153cm (60.2inches)Width is 127cm (50.0inches)Depth is 3cm (1.2inches)
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