Pieter Nason Amsterdam circa 1612 - circa 1688/90 The Hague

Collection, Beel(aerts?)-van Blokland, The Hague;
Collection-De M.. E.A.,
His sale, Amsterdam, Frederik Muller, 23 February 1904, lot 27;
Anonymous sale, Amsterdam, Frederik Muller, 12 April 1920;
Probably Geheimrat Regierungsrat Felix Schwabach;
Henrietta Schwabach (née Speyer), her estate sale, Berlin, Mandelbaum and Kronthal, 1 April 1936, lot 74;
Brought into the present owner's family circa 1947 and thence by descent.

 

The catalogue illustration is quite representative of the painting though it is a bit deeper in tone. The canvas has been relined and the lining still holds well. The varnish is slightly discoloured, visible particularly in the lighter areas of the picture (e.g. the open book). On the whole the painting is quite well preserved and the brushwork on the figure's face and hands has retained its characteristic softness. Discoloured retouchings are visible in the sky and on and around the curtain upper right (visible also in the catalogue illustration). Inspection under ultra-violet light shows a recent vertical line of retouching (16cm. approx.) on his chest, possibly covering a surface scratch. The black appears to have sunk in parts and restoration consists of strengthening to the black costume e.g. around his right hand and cuff, under and around his white collar, above the book lower centre, and on his left sleeve. The black has lost some of its definition and older retouchings should also be presumed under the present varnish. The general appearance of the painting is very good, however, and the face and hands appear intact, as do the view of the boat in the distance and the open book in the foreground. The modern gold painted wooden frame is not suitable but is in good condition (there are 4 small holes, possibly where it was once screwed to the wall). LT*
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Pieter Nason was born in Amsterdam and lived there until 1639, when he settled in The Hague. There he was a pupil of Jan van Ravesteyn and subsequently joined the local painters' guild.  He became a highly successful portrait painter, receiving commissions from political and courtly circles.  Dated portraits by Nason are recorded from the early 1640s to circa 1680.  Nason may have travelled to England in 1663, as in that year he painted the portrait of King Charles II, and he was certainly active at the Brandenburg court in Berlin, where he is recorded from 1666-68.

The present portrait was painted in 1664, at the height of Nason's career. It portrays Hendrik Thibaut (1604-1667), Lord of St. Aagtekerke on the island of Walcheren, Zeeland, Knight of the French Order of St. Michael. Thibaut was one of the leading Zeeland politicians of his time. He became Burgomaster of Middelburg in 1634, Governor of the Middelburg Chamber of the Dutch East India Company (The V.O.C.) in 1640, Counsellor to the Council of Flanders in 1654 and High Bailiff of Zeeland west of the river Schelde in 1655.

Thibaut married three times: his first wife, whom he married in 1631, was Maria van Gogh, with whom he had two sons (she was painted in 1632 by Jan van Ravesteyn; sold Amsterdam, Frederik Muller, 13 April 1920, lot 63).  He then married Neeltje Peckius, and lastly Isabella Porrenaar. Thibaut was buried in the church of St. Aagtekerke, together with his last wife and their daughter, whose portrait Nason had painted in 1668. In 1669, the sculptor Rombout Verhulst ( 1624-1696 ) erected the memorial for the Thibaut family. It still stands today and shows Thibaut's portrait medallion sculpted after the painted portrait by Nason.

The present portrait, and another version (see fig. 1), are both signed and dated 1664.  In 2005 the two portraits were compared side by side, and discussed with Dr. R.E.O. Ekkart, who regards both as autograph, while the other picture (in a private collection), may justly claim to be the prime version.

In the portrait, Nason has underlined Thibaut's influential position in Zeeland.  He sits holding the Bible under his left arm. The open book is entitled Annales et Histoires des Troubles des Pays-Bas by Hugo de Groot (1583-1645 ) and undoubtedly refers to Thibaut's important role in Zeeland's politics during the last part of the Eighty Years' War in the Dutch Republic.