Jan Anthonisz. van Ravesteyn The Hague 1570-1657
PROPERTY FROM THE COLLECTION OF JACQUES GOUDSTIKKER
Jan Anthonisz. van Ravesteyn The Hague 1570-1657

Portrait of a gentleman, three-quarter-length, in a black coat and lace collar; and Portrait of a lady, three-quarter-length, in a black dress with gold trim and a lace collar and headdress

Details
Jan Anthonisz. van Ravesteyn The Hague 1570-1657
Portrait of a gentleman, three-quarter-length, in a black coat and lace collar; and Portrait of a lady, three-quarter-length, in a black dress with gold trim and a lace collar and headdress
oil on panel
45¼ x 33 7/8 in. 115 x 86 cm.; 45 1/8 x 33½ in. 114.5 x 85 cm.
a pair (2)
Provenance
J.A. Kruseman, The Hague; Frederik Muller & Co., Amsterdam, 11 February 1919.
with Jacques Goudstikker, Amsterdam, 1928.
Looted by the Nazi authorities, July 1940.
Recovered by the Allies, 1945.
in the custody of the Dutch Government.
Restituted in February 2006 to the heir of Jacques Goudstikker.
Literature
Bredius, Les Arts, 1903, no. 24, pp. 6-7.
Amsterdam in the 17th Century, pp. 8, 12-3.
A.v. Wurzbach, Niederländisches Künsterlexicon, II, Vienna, 1906-11, p. 813.
The Hoogsteder Mercury, 12, 1991, pp. 3-16, no. 11-12, illustrated.
Old Master Paintings: An illustrated summary catalogue, Rijksdienst Beeldende Kunst (The Netherlandish Office for the Fine Arts), The Hague, 1992, p. 309, no. 2739, illustrated.
Exhibited
The Hague, Haagse Kunstkring, Tentoonstelling van oude portretten, 1 July-1 September 1903.
Rotterdam, Rotterdamsche Kunstkring, Catalogue de la Collection Goudstikker d'Amsterdam, 22 December 1928-6 January 1929, no. 36; Amsterdam, Goudstikker Gallery, 12 January-28 February 1929, no. 90-1, illustrated.
Paris, Foundation Custodia, on loan (Portrait of a gentleman).

Lot Essay

Jan van Ravesteyn had a long and successful career as a portraitist in The Hague and these pendants most likely commemorate the marriage of the sitters, aged 27 and 21. Following established portrait conventions the sitters face one another while looking at the viewer, with the man on the left and the woman on the right. She wears an elaborately brocaded dress of the type popular in the early 1620s and her hands held at her sides display her rings and bracelets. The man stands with one hand on his hip, thrusting his elbow in the viewer's direction. Ravesteyn used the stark white of the collars and cuffs both to structure the compositions in a roughly pyramidal form and to accentuate the most expressive elements of any portrait - the face and hands.

The majority of Ravesteyn's portraits date to between 1610 and 1640 and he painted many high ranking military officers, members of the highest social circles, and men involved in government who were stationed in the city from all over the Dutch Republic. Among his most important works are a series of officers' portraits (Mauritshuis, The Hague), most likely commissioned by Prince Maurits in 1611, and a portrait of Prince Frederick Hendrik (Dutch Royal collection) of 1612. Not all of his portraits, however, were conventional. His 1618 Epitaph of Adriaen van Maeusyenbroeck and Anna Elant (Museum Het Catharijneconvent, Utrecht) updated the traditional Catholic memorial painting by bringing the elements of the triptych format into the confines of a single panel.

Ravesteyn is often associated with the Delft portraitist Michiel van Mierevelt. He was recorded in Delft in 1597, which has led to speculation that he studied with Mierevelt but the latter's influence can only be seen in works painted after 1610. Ravesteyn is recorded as entering the Hague Guild of St. Luke's in February 1598 and the following year painted a portrait of the Remonstrant leader Hugo de Groot at age 16 (Paris, Fondation Custodia, Institut Nierlandais). He painted hundreds of portraits over the course of his career and ran a large and successful studio. His production slowed remarkably after 1641 but he was still an important member of the Hague artistic community as evidenced by his invitation to join Pictura in 1656.

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