Who painted König Sigismund III. von Polen?

König Sigismund III. von Polen was painted by Martin Kober in 1596.

Where can I see König Sigismund III. von Polen?

König Sigismund III. von Polen is held by Bavarian State Painting Collections.

What movement is König Sigismund III. von Polen?

König Sigismund III. von Polen is associated with Mannerism.

Artwork

König Sigismund III. von Polen

Martin Kober , 1596

König Sigismund III. von Polen is an unspecified painting by the Mannerist artist Martin Kober. It dates from 1596 and is held in the collection of the Bavarian State Painting Collections.

About this work

Subject & Meaning

The sitter is shown in three-quarter view, wearing a richly ornamented costume with a high collar and a fur-lined cloak, emphasizing his royal status.

The portrait depicts Sigismund III Vasa, King of Poland and Grand Duke of Lithuania, presented in full royal regalia.

The sitter is shown in three-quarter view, wearing a richly ornamented costume with a high collar and a fur-lined cloak, emphasizing his royal status. His right hand rests on a scepter, and his gaze is directed toward the viewer, conveying authority and presence. The subdued palette and detailed rendering of textures underscore the formal portrait tradition of the period.

History & Provenance

The portrait of King Sigismund III of Poland was created in 1590 by the artist Martin Kober. Classified as a painting within the portrait genre, the work depicts the monarch Sigismund III Vasa. The piece is currently held in the collection of the Bavarian State Painting Collections and is located at the Alte Pinakothek.

Overview

Martin Kober’s 1596 portrait presents Sigismund III Vasa, the ruler of Poland and Grand Duke of Lithuania, in a formal, black‑and‑white composition. The painting is part of the collection of the Alte Pinakothek, offering a clear example of late‑sixteenth‑century court portraiture.

Technique & Style

Executed in a mannerist idiom, the work employs a restrained palette and a flat, dark background that isolates the figure. Kober’s handling of the textured ruff and the glossy surface of the high‑collared coat reflects the period’s attention to detail and surface finish.