Update: The portrait of Elisabet the court jester sold for £2.1 million, or $2.8 million–well above its six-digit presale estimate.
What you see: A 16th century oil on oak panel portrait of Elisabet, court fool of Anne of Hungary, painted by Jan Sanders van Hemessen. Sotheby’s estimates it at £400,000 to £600,000 ($511,947 to $767,921).
Who was Jan Sanders van Hemessen? He was a Netherlandish painter who was born in Belgium and who traveled to Italy to study before his career fully took off. “He painted important people throughout his life,” says Andrew Fletcher, senior director and head of auction sales of Old Master paintings at Sotheby’s. “He was one of the more sought-after painters of his time.”
This painting has been attributed to different artists over the centuries. How unusual is that? Not at all. “Early Netherlandish paintings are notoriously difficult to attribute,” he says. “The fact that the attribution swung [over time] is very typical of works of this type and this date.”
How odd is it to find a formal portrait of a court fool from the 16th century? “An actual commissioned portrait of a court fool or jester, where the court fool or jester sits for a portrait as a lady or a gentleman might, is exceptionally rare,” Fletcher says. “There’s a tiny number of paintings of court fools in fool guise.”
What’s with the rings around her neck? Fletcher and his colleagues consulted multiple art historians on several aspects of the painting. A second portrait of Elisabet, located in Vienna, depicts her with rings on her neck. That portrait further cements her importance, but it does not explain why she wore the rings in that manner. The current best guess is the rings might have something to do with magic tricks. “One of the traits of a court fool is to be a conjuror,” he says. “That’s the only trait we could think of that the rings would be relevant to. Someone could come up with another idea tomorrow. We can’t be more specific than that.”
Elisabet is shown holding a letter. Apparently, that might mean she was literate. Why would a 16th century female court jester need to know how to read? “Given that a large part of a jester’s role [could be] making wordplay with puns, they must have been literate people. The letter suggests she has a level of education you might not normally expect. Chances are she probably did, and she may have had responsibility toward the children,” Fletcher says, explaining that she might have served in a governess-like role to the children of Anne of Hungary, who was the wife of Ferdinand I, an Austrian archduke who became Holy Roman Emperor.
Someone–probably Anne of Hungary–paid to have this portrait done, and Elisabet sat for portraits more than once. What does that say about her, and about what she meant to those who knew her? “It’s a portrait of exceptionally high quality, but it’s of a court jester. Those two facts, combined, suggest she must have been held in incredibly high regard,” he says. “You get the impression that she played an important role in the court, and the court had an emotional attachment to her. You don’t go to the expense of commissioning a portrait of a court fool unless she means more to you than a court fool might mean.”
Text is copyright Sheila Gibson Stoodley. Image is courtesy of Sotheby’s.
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