Shown from the hips up, a boy with pale, peachy skin and copper-brown hair stands in front of a rocky outcropping with a narrow view into a distant landscape to our left in this vertical portrait painting. His body faces our left almost in profile, and he turns his face to look at us with dark brown eyes under faint brows. He has a long, straight nose, a pointed chin, flushed cheeks, and his full, rose-pink lips are slightly parted. His dark hair falls in waves to the wide, flat, white collar at his neck. He wears a golden yellow doublet brocaded with shimmering threads, possibly silver and gold. The sleeves split along the inner arm to reveal a white shirt with voluminous, puffy sleeves that end with wide, transparent cuffs like floppy saucers around each wrist. Over the jacket, he wears a gleaming, pewter-colored breastplate with a topaz-blue sash crossing his chest. His peanut-brown pants are also sewn or woven with metallic thread in stripes down the side of the leg.
   The boy rests his right hand, farther from us, on a staff or walking stick propped in front of him. His other hand rests around the gold hilt of a rapier, a thin sword at his left hip, closer to us. Behind the boy, the view is almost entirely taken up with a slate-gray boulder, or it could be the entrance of a cave. A view onto the landscape along the left edge of the composition has a few treetops beneath pale yellow clouds against an ice-blue sky.

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   In this three-quarter-length portrait, Henry, Duke of Gloucester, confidently counters the viewer’s scrutiny. He wears a gleaming breastplate that covers a richly brocaded gold doublet with split sleeves; his right hand rests on a staff while his left hand covers the hilt of a gold-topped rapier. Identified on the basis of an inscription on a bust-length copy after this painting, Henry (1640–1660) was the third son of King Charles I and Queen Henrietta Maria. After virtual imprisonment during England’s civil war and Protectorate, Henry was permitted to join his older sister Maria Stuart and her husband, Willem II, Prince of Orange, in The Hague in 1652. The next year, Henry was invested as a Knight in the Order of the Garter, and that festive occasion likely led to the commission of this portrait by Adriaen Hanneman. The commanding pose of young Henry was probably chosen to stress the legitimacy and continuity of the Stuart dynasty despite the fact that Charles II, Henry’s brother, was in exile in Paris. At the Restoration in 1660, Henry accompanied Charles II back to England; he contracted smallpox soon thereafter and died that same year.

   Hanneman worked at the English court between 1626 and 1638, and his portrait style echoed that of the celebrated court-artist Anthony van Dyck. Upon his return to The Hague, Hanneman became the favorite of the Dutch and exiled English aristocracy in the court circles around Maria Stuart and the Prince of Orange.

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