Jan Sadeler, I
Flemish (1550 - 1600) Primary

Portrait of Otto Henry, Count of Schwarzenberg

Mid-16th century - late 16th century

13 1/8 in. x 9 13/16 in. (33.3 cm x 24.9 cm)

This object has the following keywords:

• clocks - Instruments that measure and indicate the passage of time, especially by mechanical means producing a regularly recurring action and indicating, usually by hands or changing numbers, the hours and minutes; not designed to be worn or otherwise carried about on a person. For wearable timepieces, see "watches."
• engravings - Prints on paper incorporating impressions of a reverse design created on a printing plate, usually copper, into which the design has been incised (engraved) using burins or gravers. Historically, "engravings" has sometimes been incorrectly used to refer to all prints, regardless of the specific technique. For prints made from designs engraved on a flat wooden block, use "wood cuts"; for prints made from a plate that is etched rather than engraved, use "etchings."
• Flemish - Refers to the culture of the southern Netherlands, roughly corresponding to modern Belgium, Luxembourg, and part of France, particularly during the historical period when Flanders was an independent principality.
• nobles - Members of the nobility.
• portraits - Representations of real individuals that are intended to capture a known or supposed likeness, usually including the face of the person. For representations intended to be anonymous, or of fictional or mythological characters, see "figures (representations)."
• skulls - Bony framework of the head, enclosing the brain and supporting the face.
• vanitas - Refers to still lifes in which the objects depicted are overt reminders of mortality, the transcience of human life, and the ultimate worthlessness of earthly possessions, such as hourglasses, scales, mirrors, skulls, and symbols of wealth, learning, and power such as jewels, books, and armor. Such still lifes, unlike most others, have religious overtones. This type of still life, developed in Leiden, was especially popular in 17th-century Dutch painting. The name cames from a passage in the book of Ecclesiastes in the Bible.

This object is a member of the following portfolios: