Property from the SØR Rusche Collection
ESAIAS VAN DE VELDE | A landscape with Saint Philip baptising the eunuch of Queen Candace of Ethiopia
Estimate: 3,000 - 5,000 GBP
Property from the SØR Rusche Collection
ESAIAS VAN DE VELDE
Amsterdam 1587 - 1630 The Hague
A LANDSCAPE WITH SAINT PHILIP BAPTISING THE EUNUCH OF QUEEN CANDACE OF ETHIOPIA
signed lower right on the rock: E.V.V.
oil on oak panel
unframed: 12.8 x 19 cm.; 5 x 7½ in.
framed: 21.1 x 27.2 cm.; 8⅜ x 10¾ in.
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Property from the SØR Rusche Collection is available to view at Sotheby’s, New Bond Street, 13 – 18 September (weekdays 9am – 4.30pm; weekend 12-5pm).
The small single oak panel is uncradled, flat and stable, bevelled on all four edges. The paint surface is relatively clean and the varnish slightly discolored. Inspection under UV reveals extensive retouching throughout the sky, mainly to disguise the appearance of the wood grain, although this is not distracting to the naked eye. There are a few scattered retouches around the carriage, in the tree trunk, and in the pool lower right. The details appear to remain untouched. In overall fair condition.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Please note, Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
Anonymous sale, Cologne, Heberle, 21-22 December 1893, lot 402;
Anonymous sale, Cologne, Heberle, 19 December 1894, lot 369;
H.I.A. Raedt van Oldenbarnevelt, The Hague;
His sale, Amsterdam, Frederik Muller & Cie, 15-16 April 1902, lot 84 (as Pieter Lastman);
A.B.J. Stöcker, Amsterdam, by 1942;
Anonymous sale, Amsterdam, Christie's, 14 November 1991, lot 107;
With Galerie Scheidwimmer, Munich, 1998, from whom acquired.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
K. Freise, Pieter Lastman, Leipzig 1911, p. 177 (as not by Lastman);
A. Pigler, Barockthemen. Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18. Jahrhunderts, Budapest 1974, vol. I, p. 390 (as erroneously attributed to Lastman);
G. Keyes, Esaias van den Velde, Groningen 1984, p. 121, cat. no. 9;
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 4, Historien und Allegorien, Münster/Hamburg/London 2010, pp. 432-35, cat. no. 74, reproduced in colour.
Esaias van de Velde was the son of Hans van de Velde and trained in Amsterdam, likely in his father's studio, before probably becoming the pupil of Gillis van Coninxloo. In 1609 the Van de Velde family established itself in Haarlem. Esaias became a member of the artist's guild in 1612, of the literary club in Wyngaardranken in 1617, and the guild at The Hague in 1618. He was painter to the court of Princes Maurice and Frederick Henry, and had as his pupils Pieter de Neyn and Jan van Goyen.
Esaias left an extensive painted œuvre of over 180 pictures, 117 of which are landscapes. His religious scenes were usually set within a landscape, which often dwarfed the religious content; the predominance of the scene in the present painting, which is recounted in the Acts of the Apostles 8:27-39, is more uncommon.