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Between april 1549 and May 1550, that is, during the months when the young Prince Philip (1527-1598) was taking his "Happiest of Journeys", he posed for the Dutch painter Anthonis Mor. On the occasion, the prince gave Conrad Schot, who worked in the painter's atelier, "rings, chains, jewellery and valuable cloth when the master Anthonis Mor painted the Prince of Spain and his raiment". At that time, Philip was around 22 years old, the age at which he is depicted in this painting.

This journey, called the "Happiest of Journeys" after the title of the detailed chronicle of it written by Juan Cristóbal Calvete de Estrella, which was published in Antwerp in 1552, took place between late 1548 and 1551. It was the first time that the prince left the kingdoms on the peninsula to be presented as the heir to the throne in the States-General of Flanders. In fact, the milestones on this journey were the triumphal entrances by Philip and his father Charles V into Brussels and Antwerp in the spring of 1549, as well as their stay in Augsburg in 1551 to attend the Imperial Diet.

From the standpoint of the future Philip II's art education, the journey was extraordinarily important since it was when he entered into contact with great international art; met artists the likes of Titian, Leon Leoni and Anthonis Mor; admired the architecture of the Italian Renaissance in Genoa, Milan and Mantua and the Flemish palaces and gardens; and set eyes on the arts of Flemish tapestry and armour in Milan and Augsburg. All of this indelibly shaped his architectural, artistic and collecting tastes, making him a veritable "Renaissance prince".

This portrait, whose exact date is unknown, as is the person for whom it was painted, is one of the earliest images we have of the future king. In it, the main character, standing in a three-quarters stance, is wearing luxurious courtly garb which the painter particularly emphasised. Over his robes a necklace hangs, the Golden Fleece, the symbol of the order of the same name. The ornate buttons, richly decorated cummerbund or sword belt and the extraordinarily luxurious hilt of the sword studded with pearls and precious stones all stand out.

In this painting, Anthonis Mor developed one of the best images defining the young Philip as a Renaissance prince. The importance lies not only in his face but also in his clothing. In the former, the characteristic inexpressiveness of the monarch's portraits appears for the first time. This should be interpreted as yet another feature---perhaps the most prominent one---of the iconography of this monarch. The majesty of the king, as in the case of his father the emperor, is primarily expressed by means of distance, haughtiness and coldness, more than by proximity and an immediate relationship with the observer. From this standpoint, we can explain the success of Mor's portraits in the Hapsburg court, since he was a master of this kind of distanced portraiture. This is enhanced by the minute, precise sense of his pictorial composition, two excellent examples of which would emerge shortly after this painting in his portraits of the regents of the Spanish kingdoms, the archdukes and future emperors Maximillian (1550) and Maria (1551), the nephew and daughter, respectively, of Charles V, this time in full-body portraits conserved at the Prado Museum. These two paintings clearly capture the court's taste in fashion, jewellery and precious objects, which is also quite obvious in the portrait in Bilbao, as mentioned above.

A portrait conserved in Budapest is most likely the study that Mor made for this panel in person. There is also an engraving by Frans Huys from 1555 which is based on this portrait and bears the following inscription: "Philippus II Carol V Caes F. Angela Franc. Princ, Hispan Etc", which gives us the last possible date on which the work was made. The painting is from the collection of John Spencer (Althorp), where it had been since 1730. It was inherited through the family until 1983, when it came to be owned by E.V. Thaw & Co. Inc. New York. It was purchased by the museum in 1992. (Fernando Checa Cremades)

Selected bibliography

• The Art Treasures of the United Kingdom [Cat. Exp.]. S.l., s.n., 1857. p. 44, n° cat. 512.
• National Exhibition of Works of Art [Cat. Exp.]. Leeds, Edward Baines and Sons, 1868. n° cat. 559.
• Beruete y Moret, Aureliano de. Conferencias de Arte. Madrid, [Blass], 1924. p. 43.
• Friedländer, Max J. Antonis Mor and his Contemporaries. New York ; Washington, Praeger Publishers, 1975. pp. 64, 101, n° cat. 346.
• Garlick, K. J. A Catalogue of Pictures at Althorp, 1974-1976. London, Walpole Society, vol. 45, 1976. p. 59, n° cat. 462.
• Sutton C., Peter ... [et al.]. European paintings from private collections of friends of the Museum of Fine Arts, Boston. Boston, Museum of Fine Arts, 1992. pp. 186-187. (Con el título Portrait of Philip II y fechado hacia 1550)
• Gállego, Julián. "Bilboko Arte Ederren Museoak eskuratutako antxinako artelanak, 1980-1992 = Adquisiciones de arte antíguo en el Museo de Bellas Artes de Bilbao, 1980-1992 [Folleto]", Guía de Exposiciones, n° 181. 1993. n° cat. 22.
• Woodall, Joanna. "Visualizando la identidad : retrato de Felipe II de España realizado por Antonio Moro", Urtekaria 1992 : asterlanak, albistak = anuario 1992 : estudios, crónicas. 1993. pp. 11-18.
• Woodall, Joanna. De la Edad Media al Romanticismo. Madrid, Caylus, 1993. pp. 72-75. (Con el título Retrato del Rey Felipe II de España, y atribuido a Antonio Moro)
• Castañer López, Xesqui. Pinturas y pintores flamencos, holandeses y alemanes en el Museo de Bellas Artes de Bilbao. Bilbao, Fundación Bilbao Bizkaia Kutxa, 1995. pp. 120-122. (Con el título Retrato de Felipe II y atribuido a Mor van Dashorst)
• Spanyol mestermuvek a Bilbaói Szépmuvészeti Múzeumból [Cat. exp.]. Bilbao, Museo de Bellas Artes de Bilbao ; Banco Bilbao Vizcaya, 1996. p. 37.
• Tradition and modernity in basque painting, 1880-1939 = Tradición y modernidad en la pintura vasca, 1880-1939 [Cat. exp.]. Southampton ; Bilbao, Southampton City Art Gallery ; Museo de Bellas Artes de Bilbao, 1997. pp. 16-17, il.
• Kamen, Henry. Philip of Spain. New Haven ; London, Yale University Press, 1997. reproducido en la portada.
• Felipe II : un monarca y su época : un príncipe del renacimiento [Cat. exp.]. Madrid, Sociedad Estatal para la Conmemoración de los Centenarios de Felipe II y Carlos V, 1998. n° cat. 1.
• Ribot García, Luis. "Un príncipe del Renacimiento : mecenas de las artes, coleccionista, protector de literatos y científicos, la compleja personalidad de Felipe II sigue siendo objeto de controversia histórica", La Aventura de la Historia, n° 1. 1998. pp. 64-65.
• Rubio Gil, Luis. Guía Histórica Ilustrada de Felipe II. Madrid, Celeste, 1998. reproducido en la cubierta.
• Zugaza, Miguel ... [et al.]. Museo de Bellas Artes de Bilbao : maestros antiguos y modernos. Bilbao, Fundación Bilbao Bizkaia Kutxa = Bilbao Bizkaia Kutxa Fundazioa, 1999. pp. 84-85. (Con el título 'Retrato de Felipe II', y atribuido a Antonio Moro)
• Gonzálvez, Ramón ; Pereda, Felipe. La Catedral de Toledo, 1549 : según el Dr. Blas Ortiz : descripción graphica y elegantissima de la S. Iglesia de Toledo. Toledo, Antonio Pareja, 1999. p.132.
• Sánchez-Lassa de los Santos, Ana. Flandestarrak Bilboko Arte Eder Museoan = Flamencos en el Museo de Bellas Artes de Bilbao [Folleto]. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2000. p. 11, n° cat. 9.
• Sánchez-Lassa de los Santos, Ana. Flandestarrak Bilboko Arte Eder Museoan = Flamencos en el Museo de Bellas Artes de Bilbao [Folleto]. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2000. p. 11.
• Matthews, P. G. "Portraits of Philip II of Spain as King of England", The Burlington Magazine, n° 6. 2000. pp. 16-18. (Con el título Philip II of Spain, y atribuido a Antonis MOR and workshop).
• Zugaza, Miguel ... [et al.]. Maestros antiguos y modernos en las colecciones del Museo de Bellas Artes de Bilbao. Bilbao, Museo de Bellas Artes de Bilbao, 2001. p. 32.
• "Museo del Mes, Museo de Bellas Artes de Bilbao", La Aventura de la Histora, n° 41. 2002. pp. 122-123.
• El retrato español : del Greco a Picasso [Cat. exp.]. Madrid, Museo Nacional del Prado, 2004. pp. 94-95, 107, 397, il. (Con el título 'Felipe II', y atribuido a Antonio Moro)
• Museo de Bellas Artes de Bilbao : guía. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2006. p. 40.
• Musée des Beaux Arts de Bilbao : guide. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2006. p. 40.
• Bilbao Fine Arts Museum : guide. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2006. p. 40.
• El monasterio de Yuste. Madrid, Fundación Caja Madrid, 2007. p. 92, il. (Con el título Retrato de Felipe II, y atribuido a Antonio Moro)
• Martínez Leiva, Gloria ; Rodríguez Rebollo, Ángel. Qvuadros y otras cosas que tienen su Magestad Felipe IV en este Alcázar de Madrid : año de 1636. Madrid, Fundación Universia Española, 2007. pp. 84, 138.
• Woodall, Joanna. Anthonis Mor. Art and Authority. Zwolle (Holanda), Waanders Publishers, 2007. pp. 182-184.
• Carlos V en Yuste : muerte y gloria eterna [Cat. exp.]. Madrid, Patrimonio Nacional, 2008. p. 15.
• Novero Plaza, Raquel. "Retrato cortesano español del siglo XVI : los medallones", Galería Antiqvaria, n° 279. 2009. pp. 36-42.
• Museo de Bellas Artes de Bilbao : guía. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2011. p. 40, n° cat. 26.
• Bustreo, Federica. Musée des Beaux-Arts de Bilbao : maîtres anciens et première moitié du XX siècle. Florencia, Scala Group, 2011. pp. 35-37.
• Bilboko Arte Ederren Museoa : gida. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2012. p. 40, n° cat. 26.
• Musée des Beaux Arts de Bilbao : guide. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2014. p. 40.
• Bilbao Fine Arts Museum : guide. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2014. p. 40.
• El Bosco : la exposición del V Centenario [Cat. exp.]. Madrid, Museo Nacional del Prado, 2016. pp. 158, 162, il.
• Maestros : Museo de Bellas Artes de Bilbao . Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2016. pp. 38-39, il.
• Masters : Bilbao Fine Arts Museum. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2016. pp. 38-39, il.
• Maisuak : Bilboko Arte Ederren Museoa. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2016. pp. 38-39, il.
• Maîtres : Musée des Beaux-Arts de Bilbao. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2016. pp. 38-39, il.
• Arcimboldo : las floras y la primavera [Cat. exp.]. Palma de Mallorca, Banca March; Museo de Bellas Artes de Bilbao, 2017. pp. 48-49, n° cat. 1.
• 110 Años 110 Obras [Cat. exp.]. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2018. pp. 62-65, sin n° cat.
• 110 Urte 110 Artelan [Cat. exp.]. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2018. pp. 62-65, sin n° cat.
• 110 Years 110 Works [Cat. exp.]. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2018. pp. 62-65, sin n° cat.
• 110 Ans 110 Oeuvres [Cat. exp.]. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2018. pp. 62-65, sin n° cat.
• Bilboko Museoaren alfabetoa = El alfabeto del Museo de Bilbao = The alphabet of the Bilbao Museum = L'alphabet du Musée de Bilbao [Cat. exp.]. Bilbao, Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao, 2018. pp. 264, 269, n° cat. 152.
• 80 jaar oorlog de geboorte van nederland 1568-1648 [DVD]. Hilversum, Paises Bajos, NTR, 2018. DVD 1, cap 5.
• Borgognoni, Ezequiel. "La construcción de la imagen regia de María Luisa de Orleans", Studia historica. Historia moderna, vol. 41, n° 1. 2019. p. 357.
• Brown, Jonathan. "Felipe II : mecenas de las Artes", Blanco y Negro. 08/11/1992.
• BARANDIARÁN, Jorge. "Oferta cultural de Bilbao", Bilbao, un espacio de oportunidades. 12/1992.
• CENTELLAS, Ricardo. "Un año del Museo de Bilbao", Heraldo de Aragón. 18/11/1993.
• Diéguez Rodríguez, Ana. Precisiones al Catálogo de la Pintura Flamenca del siglo XVI en el Museo de Bellas Artes de Bilbao [inédito]. 2013. pp. 146-153, n° cat. 24.
• "Felipe II : Yo, el Rey", El Semanal. 01/03/1998.
• "Felipe II : una leyenda no tan negra", El Correo. 10/06/1998.
• "Revisión de Felipe II en su IV Centenario : de príncipe renacentista a Rey de la Contrarreforma", ABC. 13/09/1998.
• "Reproducción de la obra en una sección de publicidad : la aventura de la Historia", El Correo. 30/10/1998.
• "”El libro ”Philipus II” traza nuevos perfiles sobre el monarca”", <i>EL MUNDO, Cultura</i>. (23/11/1998).
• "Cuando el retrato es algo más que un rostro", Época. 30/07/2000.
• "Cómo escribí mis biografías", La Vanguardia. 30/03/2001.
• "”¿Qué cuadro es?”", <i>VIVIR, CULTURA</i>. reproducción parcial.
• "¿Qué cuadro es?", Vivir, cultura. 20040210.
• "Bilbaoko Arte Eder Museoa : el otro museo de Bilbao", Butlletí 1935-2004. 00/03/2004.
• "Museo de Escultura", El Día de Valladolid. 27/04/2006.
• "El Nacional de Escultura adquiere un busto de Felipe II por 348.000 euros", Viivir Valladolid. 27/04/2006. Reproducción de la obra
• "La juventud del rey", El Norte de Castilla. 27/04/2006.
• "El Nacional de Escultura suma a sus fondos un busto de Felipe II del XVI", Diario de Valladolid. 27/04/2006.