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Adolf, Count of Nassau-Dillenburg-Schaumburg (1629-76)
Handgeschilderde olieverfreproductie vanaf $181 28 × 36 cm
Het schilderij dat Peter Boy beroemd maakte is Adolf, Count of Nassau-Dillenburg-Schaumburg (1629-76) (1679); het hangt in het Rijksmuseum, Amsterdam. Van de 1 werken van Peter Boy in onze catalogus zijn dit de 1 meest bewonderde, elk gepresenteerd met de datum, het museum en wat het uniek maakt.
Gerangschikt op basis van onze populariteitsscore, die de zoekopdrachten, bezoeken en bestellingen voor elk werk combineert. Bijgewerkt in november 2026. Elk meesterwerk op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting.
Het museum met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Peter Boy | Schilderijen uit deze lijst |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 1 | Adolf, Count of Nassau-Dillenburg-Schaumburg (1629-76) |
Elk gedateerd meesterwerk van Peter Boy op deze pagina behoort tot 1679: hier zijn ze.
Adolf, Count of Nassau-Dillenburg-Schaumburg (1629-76) (1679)
29 jaar oud: Adolf, Count of Nassau-Dillenburg-Schaumburg (1629-76) dateert uit 1679 en Peter Boy werd geboren in 1650.
Onze catalogus bevat 1 werken van Peter Boy.
De meeste bevinden zich in Rijksmuseum (Amsterdam). De bovenstaande tabel somt de musea één voor één op.
Ja. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting, via de eigen pagina van het schilderij.
The origins of Peter Boy remain partially obscured by the fog of the seventeenth century. Born about 1650 in Lübeck, Germany, he emerged from a landscape of maritime trade, yet the specific details of his early training are lost to history. No records survive to show where he first learned to manipulate metal or pigment. He simply appears in the historical record, a man defined by his craft rather than a documented apprenticeship.
Family life for Peter Boy was marked by three marriages, creating a lineage of skilled artisans. His first union was to Maria Katharina von den Popeliere. From this marriage, a son was born in 1681, Peter Boy the Younger, who would eventually follow his father's footsteps as a goldsmith and enamel painter. The family structure shifted again through his subsequent marriages, including a second union with Anna Rebecca Duve. This second marriage produced a son, Gottfried Boy, born in 1701, who would later achieve distinction as a royal court painter in Hanover.
Frankfurt am Main becomes the center of Boy's professional life in 1675 when he acquires citizenship in the Imperial City. He establishes a presence on the Zeil, securing a double house that serves as his residence and workshop for the next twenty-seven years. By 1677, he reaches the status of master goldsmith, a title that anchors his reputation within the city's craft guilds.
His studio functions as a site of dual expertise. He works with the precision required for miniature painting in enamel, a delicate process that demands intense focus. Yet, his output is not limited to these small-scale objects. He also produces large portrait paintings in oil, demonstrating a versatility that spans from the microscopic detail of enamel to the expansive scale of canvas portraits.
The year 1712 marks a definitive shift in Boy's trajectory. He leaves the commercial atmosphere of Frankfurt am Main for the courtly environment of Düsseldorf. This move is driven by a prestigious appointment: Johann Wilhelm, the Elector Palatine, names him gallery inspector and painter of cabinet pictures. The role places him at the heart of the court's visual administration. He also serves as a painter on enamel to the Palatine Elector Jean Guillaume.
His influence extends beyond the immediate halls of the Düsseldorf court. His reputation attracts a network of high-ranking patrons across the region. He secures commissions from the courts in Darmstadt, Detmold, and Hanover. This diverse clientele reflects a career built on both the precision of a goldsmith and the versatility of a miniaturist. While his work for the Electors defines his later years, his professional reach remains broad, encompassing the needs of various noble houses and religious institutions.
The scale of Boy's craftsmanship is most evident in his massive religious commissions. One of his primary works was a golden monstrance, a piece weighing approximately seven kilograms and encrusted with 737 gemstones. This object took the form of a tree, with Abraham serving as the trunk. It featured enamel miniatures depicting the genealogy of Jesus, tracing the lineage from Isaac and Jacob through to Matthew. While the monstrance was part of the Trier Cathedral treasury, it was destroyed in 1804 during the period of secularization. Only the enamel miniatures survived, now held in the possession of the Grand Duke of Luxembourg.
In 1691, Boy completed another significant liturgical object: a mitra weighing more than eight kilograms. This piece was created for the Landrentamtspretiosen, the "crown jewels" of the Electorate of Trier. Unlike the lost monstrance, this mitra remains preserved today in the Diözesanmuseum Limburg. His technical range extended from these heavy, precious metal objects to delicate cabinet pictures and enamel miniatures, marking him as a versatile figure in the intersection of goldsmithing and painting.