New-York tribune., 1912-03-20
TWO SPANISH PORTRAITS
Famous Works Recently I'm.
ported by the Duveens.

ported by the Duveens.
| II is reported that the Duveens have
brought to this country the portraits OF
Philip " and his minister, Olivares. which
have for many years been known to form
part Of the collection OF the late Duchess
| or Ntllahermosa. They are believed TO ne
destined for the gallery OF an American col
lector, whose name has not yet been an
nounced. Nothing has yet been stated
either, as TO the price paid for the paintings
1t is to ne hoped that the latter may ne
placed on exhibition, for their history con-
stitutes an interesting chapter in the blog-
raphy Of Velasquez The name Of the
Duchess OF Villahermosa is held In appre-
ciative remembrance by students OF Nelas-
quez because 1t is owing to the terms OF
her Will that one of the finest Of the mas
ter's portraits. that of Don Diego del
| Corral" passed, on her death. from her
palace to the Prado Museum in Madrid,
where 1t hangs in the great room devoted
entirely to Velasquez. The paintings from
her palace now imported by the Duveens
have more than on. Ieen the subjects Of
critical attention.
Curtis. in the catalogue OF the works or
Velasquez. which he published in lsS3 thus
describes the portrait OF King Philip ":
| He is represented at full length. about
eighteen years Of age, standing three-quar-
ters right. wearing black dress and CLOAK CLOAK
! a golilla. or wide. projecting linen collar,
and the Order Of the Golden Fleece; a small
paper is held in his right hand. his left ~
| on his sword; his hat lies on chest OF
| drawers, covered with red velvet. LIE size
Curtis also describes the portrait of OIL
wares, saying:
| He is seen at full length, standing nearly
| front, wearing a black dress and CLOAK.
| horizontal linen collar, the Order Of the
Golden Fleece. the red cross Of Santiago
| and a sword; his right hand rests on q
| table. on which Is his CaSQue. his left falls
at his side; key is thrust in his girdle.
In this catalogue the two portraits are
| described as companions which were in
the collection of the Duke Of Narros be-
| fore they passed 10 that Of the Duke Of
! Vnlahermosa- Curtis notes OF the cross Of
! Santiago in the Olivares that IT is a puzzle
to antiquaries. "Olivares." he says. was
| knight Of AIcantara. and for that reason
| could not have worn the order of Santiago.
"a both these orders were never conferred
! on the same person. Some have therefore
| thought the individual here represented
| must have been a brother Of the count
| duke. although the features are those Of
| Olivares himself" This point is taken Up
again in the next authority to be consulted.
| In the translation of Or. Carl Justis we'll
known book on Velasquez, published after
revision by the author in 1889 no allusion
| is made to the portrait of Philip, but there
| is this passage on the companion work.
the portrait Of OBvares:
| Lastly, we have very singular full
length portrait in the possession OF the
| Duke of Villshermosa. in Madrid, which,
however, is by another hand and executed
before the arrival of Velasquez. This pict-
IRE. with the head planted more Lctween
the shoulders on a heavy trunk. looks like
scenic piece. with its massive gold chains
and gold spurs. Yet II perhaps expresses
the eccentric character of the man, II some
what exaggerated, better than those more
dignihed Interpretations. The ingenious
suggestion has been made that il may be a
portrait of his brother, because of the puz-
zling red cross Of Calatrava, for Ollvares
elsewhere wears the green order OF AL
cantara, and no one could be a Knight Of
two Orders. But Orders could be exchanged
and substituted one for another, as, In
fact, was the case with Olivares.
Aureliano de Bernete. the Spanish critic.
who died in Madrid only a few weeks ago,
does not include either of these Villaher
mosa portraits in the catalogue of the
painters works included in the English
edition Of his "Velasquez" published in
1906 But he speaks OF them both. Refer
ring 10 the Philip. he relates II TO the por-
trait acquired for the Boston Museum in
1904, saying:
In my opinion. and in that OF the major
fly Of Spanish critics, this portrait 1.-THE one
in Bostonl is an old copy Of an original by
Veasquez Identical as II is in lines ana
composition with another more important
| -;y,,G L., he Of 10
Madrid which evidently was not taken
from nature, because II lacks that hrmness
of execution which Nelasquez always dis
played when working from the LIVING
model. Besides, the parsonage depicted
lacks that characteristic feature Of the
prominent lower jaw which led me 10 think
| that, rather than a portrait Of the King
the picture represented the lnfante Don
| Fernando de Austria, younger brother OF
| the sovereign whom he greatly resembled.
There is no longer ground for this suppo-
sition owing TO the discovery by Sr. Me-
Ida OF an autograph receipt by Nelasquez,
dated Madrid 4th December 1924, found In
Zaranz, in the archives OF the House or
Narros. from whence this portrait came.
In this document Nelasquez Acknowledges,
In his own handwriting, that he mas re-
ceived on account the sum Of eight hundred
realns GSD for the three portraits OF the
King the Duke Of OliVares, and Sr. Gar
ciperez This portrait of Sr Garciperez has
disappeared That Of the Duke OF OliVares'
which bears the same defects az the por-
trait ~ the King, is with the latter in the
palace Of Vfahermosa. In my opinion.
both come from Velasquezs studio, but.
for the reasons already stated. can only oe
Included among the replicas Of the artist