{"id":205655,"date":"2021-09-10T11:39:25","date_gmt":"2021-09-10T11:39:25","guid":{"rendered":"https:\/\/veritas.art\/lot\/prince-francisco-of-braganza-infante-of-portugal-7th-duke-of-beja-and-great-prior-of-the-order-of-malta-in-portugal-655741138\/"},"modified":"2021-09-13T14:03:26","modified_gmt":"2021-09-13T14:03:26","slug":"prince-francisco-of-braganza-infante-of-portugal-7th-duke-of-beja-and-great-prior-of-the-order-of-malta-in-portugal-655741138","status":"publish","type":"lot","link":"https:\/\/veritas.art\/en\/lot\/prince-francisco-of-braganza-infante-of-portugal-7th-duke-of-beja-and-great-prior-of-the-order-of-malta-in-portugal-655741138\/","title":{"rendered":"[Auction 109] Lot 11 &#8211; Prince Francisco of Braganza, Infante of Portugal,  7th Duke of Beja and Great-Prior of the Order of Malta in Portugal"},"content":{"rendered":"Oil on canvas\r\nCa. 1730","protected":false},"featured_media":212568,"template":"","categories":[65],"class_list":["post-205655","lot","type-lot","status-publish","has-post-thumbnail","hentry","category-paintings","author-giorgio-domenico-dupra"],"acf":{"auction_number":"109","number":"11","ref":"11","letter":"0","hammer_value":"12000","show_hammer_value":true,"estimation_min":"10000","estimation_max":"15000","price_on_request":false,"author":3466,"auction":{"ID":199236,"post_author":"44","post_date":"2021-05-10 09:38:33","post_date_gmt":"2021-05-10 09:38:33","post_content":"","post_title":"Auction 109 - The Count of P\u00f3voa Collection","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"auction-109-antiques-works-of-art-silver-jewellery","to_ping":"","pinged":"","post_modified":"2022-02-25 16:39:17","post_modified_gmt":"2022-02-25 16:39:17","post_content_filtered":"","post_parent":0,"guid":"https:\/\/veritas.art\/?post_type=auction&#038;p=199236","menu_order":0,"post_type":"auction","post_mime_type":"","comment_count":"0","filter":"raw"},"name":"Prince Francisco of Braganza, Infante of Portugal,  7th Duke of Beja and Great-Prior of the Order of Malta in Portugal","dimensions":"125x93 cm<br \/>\r\n<br><br \/>\r\n<br><br \/>\r\nProvenance: Etiqueta no verso com a inscri\u00e7\u00e3o: \"Quadro que veio da quinta do Calhariz. Escolhido p\u00aa fic\u00e1r no pal\u00e1cio de Lisb\u00f4a\" Etiqueta de invent\u00e1rio n\u00ba 325 da colec\u00e7\u00e3o do Duque de Palmela <br \/>\r\n<br><br \/>\r\n<br><br \/>\r\nExhibitions: \u201cJOANNI V MAGNIFICO - A Pintura em Portugal ao tempo de D. Jo\u00e3o V\u201d, Lisboa, Portugal, 1994","description":"Oil on canvas<br \/>\r\nCa. 1730","additional_info":[{"title":"GIORGIO DOMENICO DUPR\u00c0","text":"Coming from the circle of artists that surrounded the Duke of Savoy V\u00edtor Amadeo II (1666-1730), Domenico Dupr\u00e0 was born in 1689 in the city of Turin, as the son of Giuseppe Dupr\u00e0 and Spirita Crossatti and the older brother of the painter Giuseppe Dupr\u00e0 (1703-1784). In 1709, when he reached the age of twenty, he moved to the city of Rome, with a certificate authenticated by Archbishop Miguel Ant\u00f3nio Vibo, which testifies to his early relationship with the Portuguese circle. In that city he was a disciple of the Italian painter Francesco Trevisani (1656-1746) \u2013 author of the large canvas on the main altar of the Basilica of the Convent of Mafra \u2013 and it was in this workshop that he met Francisco Vieira Lusitano (1699-1783) who was in Rome as a boarder of King D. Jo\u00e3o V (1689-1750). In 1719, he was awarded the title of Academic of St. Lucas, which ensured the notoriety he enjoyed in the artistic society of that city. In that same year he arrived in Lisbon, following the invitation made by the 1st Marquis of Fonte, D. Rodrigo de S\u00e1 Almeida e Meneses (1676-1733) on behalf of the King D. Jo\u00e3o V. He arrived accompanied by the architect Filippo Juvarra (1688-1736) and the painter Vieira Lusitano, joining the Brotherhood of S. Lucas on October 22nd. From the records at the Brotherhood, we learn that he lived on the balconies of Terreiro do Pa\u00e7o, which means that he was nominated by D. Jo\u00e3o V as a Royal painter. Dupr\u00e0's career in Portugal was almost exclusively dedicated to court painting. In 1719, he painted the portraits of the King's four sons and the portrait of the Monarch with the background of the Cape of Battle of Matap\u00e3o (today in the collection of the National Museum of Ancient Art). In 1720, he began the cycle of celebration of the Dukes of Bragan\u00e7a, on the ceiling of the Tudescos room of the Pa\u00e7o Ducal in Vila Vi\u00e7osa. These paintings, whose format adapts to the ceiling partitions, were made from pre-existing models, with three natural portraits (that of D. Jo\u00e3o V, Infanta D. Maria B\u00e1rbara, and the Prince D. Jos\u00e9). This was followed, five years later, by the portrait of D. Jo\u00e3o V for the library of the University of Coimbra and those of the King's children, Infanta D. Maria B\u00e1rbara (1711-1758) and D. Jos\u00e9 Pr\u00edncipe do Brasil (1714-1777), today in the Prado Museum and in the Palacio do Oriente, due to negotiations with the King of Spain for marriages with Spanish infants. In 1727, he painted the portrait of the 1st Duke of Cadaval. In Dupr\u00e0's work we find the influence of painter Trevisani combined with French taste in the manner of painters such as Hyacinthe Rignaud (1659- 1743) and Jean-Marc Nattier (1685-1766), which opens a new phase in the portuguese court official portrait. In addition to portraiture, he dedicated himself to the elaboration of engravings and religious paintings. On this last theme there is a Blessed Christ, signed and dated (Dos. Dupra Pintor de Retratos de S. M. Port\u00ba o fez em Roma 1733) that was in the King D. Lu\u00eds Painting Gallery in Ajuda Palace and that was lost in the fire of September 1974. In 1731, diplomatic relations with the Holy See is restored, and after eleven years working in Portugal, the painter returned to Rome and created the portrait of the new cardinal Vicenzo Bichi (known for the engraving by Rocco Pozzi) and another portrait of King D. Jo\u00e3o V. It was in this period (when it was cast in the context of Roman painting) that he began his relations with the house of the exiled Stuarts. It was in this period (when it was cast in the context of Roman painting) that he began his relations with the house of the exiled Stuarts. From then on, his orders to Portugal became part of a panorama of international orders and, in addition to the already mentioned, Christ lost in 1974, he made a portrait of Father \u00c9vora and a self-portrait, also acquired by D. Jo\u00e3o V. In the following years, there were no new Portuguese commissions, but it should be noted that his extensive production, not always datable with certainty, and sometimes attributed to his brother, is often identified by recorded reproductions. In 1750, he left Rome for Turin, where he was appointed painter at the court of King Charles Emanuel III of Sardinia (1701-1773) and ended up making a series of paintings of the royal house of Savoy, including the portraits of the Dukes of Savoy, V\u00edtor Amadeu III (1726-1796) and his wife D. Maria Antonieta of Spain (1729-1785). The painter died in the city of Turin in the year 1770.<br \/>\r\n<br \/>\r\nThe iconography of the Infante <br \/>\r\n<br \/>\r\nD. Francisco, Duke of Beja (1691-1742) The brother of King D. Jo\u00e3o V requires an in-depth study of his iconography. There are few portraits of him that are known. only one engraved and another identified by Professor Ayres de Carvalho, who is in the Pal\u00e1cio do Oriente, by Jean Ranc (1674-1735), made in 1739 on the occasion of the preparations for the episode of the exchange of princesses on the river Caia. It was through the comparative analysis of this painting, now brought to auction, with that one by Jean Ranc, that at the exhibition \u201cJOANNI V MAGNIFICO: A pintura em Portugal ao tempo de D. Jo\u00e3o V\u201d it was noticed the physiognomic characteristics of the infant are the same in the two paintings (the oval shape of the face, the same mouth, and the eyes). The good-natured look of the infant, as characterized in the respective catalogue, which appears in these portraits of D. Francisco hides the true personality of the ambitious Duke of Beja. And it is with a portrait painted by Dupr\u00e0, when he was no longer in our country, that links are established with what is now up for auction. In 1745, when the painter was in Rome working for the exiled House of the Stuarts, he portrayed the pretender to the crown of England in full length. Unfortunately, the location of this painting is unknown, but the engraving opened by N.S.B. of Polly. The similarities in terms of composition and pose of the subjects stand out. The way the characters' left-hand rests on the waist, closing and leaving only the index finger to stand out, as well as the volumetry of the draperies and even the entire placement of the body facing the spectator, are strictly the same in the two portraits. If these common points do not exist, we could continue to attribute this portrait to Domenico Dupr\u00e0 due to the strong lighting effects that open his color palette and underline the vivid realism that seems to want to overcome the simple visuality in the detail of some physiognomic aspects which often led him to represent the dark shadow of clean-shaven male faces. A characteristic that in the 18th century was not much appreciated, but which the painter did not abdicate because he felt strongly linked to a commitment to fidelity to reality.<br \/>\r\n<br \/>\r\nTIAGO FRANCO RODRIGUES<br \/>\r\n<br \/>\r\nExhibitions: \u201cJOANNI V MAGNIFICO - A Pintura em Portugal ao tempo de D. Jo\u00e3o V\u201d, Lisboa, Portugal, 1994. Proveni\u00eancia\/Provenance: Etiqueta no verso com a inscri\u00e7\u00e3o: \"Quadro que veio da quinta do Calhariz. Escolhido p\u00aa fic\u00e1r no pal\u00e1cio de Lisb\u00f4a\" Etiqueta de invent\u00e1rio n\u00ba 325 da colec\u00e7\u00e3o do Duque de Palmela <br \/>\r\n<br \/>\r\nLiterature: A. de Carvalho \u2013 A galeria de Pintura da Ajuda e as Galerias do S\u00e9culo XIX, Lisboa, 1982. AA. VV \u2013 \u201cJOANNI V MAGNIFICO - A Pintura em Portugal ao tempo de D. Jo\u00e3o V\u201d, Lisboa, 1994. M. Calado \u2013 \u201cDomenico Dupr\u00e0\u201d in Diction\u00e1rio do Barroco em Portugal, Lisboa, 1989."}],"tags":"Paintings","auction_session":"1","gallery":[{"image":{"ID":212567,"id":212567,"title":"109_11","filename":"11-4.jpg","filesize":13916867,"url":"https:\/\/veritas.art\/wp-content\/uploads\/2021\/09\/11-4.jpg","link":"https:\/\/veritas.art\/en\/lot\/infante-d-francisco-de-braganca-infante-de-portugal-7o-duque-de-beja-e-grao-prior-da-ordem-de-malta-em-portugal-175378882\/109_11\/","alt":"","author":"44","description":"","caption":"","name":"109_11","status":"inherit","uploaded_to":205654,"date":"2021-09-11 18:49:20","modified":"2021-09-11 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