Property from the SØR Rusche Collection
PIETER VAN ANRAEDT | Portrait of a gentleman; and Portrait of a lady, both three-quarter-length, seated by draped tables, with coastal landscapes beyond
Estimate: 10,000 - 15,000 GBP
Property from the SØR Rusche Collection
PIETER VAN ANRAEDT
Utrecht circa 1635 - 1678 Deventer
PORTRAIT OF A GENTLEMAN; AND PORTRAIT OF A LADY, BOTH THREE-QUARTER-LENGTH, SEATED BY DRAPED TABLES, WITH COASTAL LANDSCAPES BEYOND
the former signed and dated centre right: Pieter van Anaadt / 1664;
the latter signed and dated centre left: Pieter van Anraadt / 1664
a pair, both oil on canvas
each unframed: 124.9 x 106.6 cm.; 49⅛ x 42 in.
each framed: 147.6 x 128.5 cm.; 58⅛ x 50⅝ 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 former: The canvas has a firm relining - the paint surface is clean and the varnish is clear and even. There is a horizontal canvas seam running a quarter of the way up from the bottom and has some associated retouching along it. Inspection under UV light confirms this, and reveals small cosmetic retouchings scattered in the background (most notably in the sky upper right), in the lower half of the carpet and in parts of the sitters drapery as well as pinprick retouching in the sitters face and hair.
The latter: Same condition as the gentleman, but with fewer retouchings throughout.
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.
H. Houck, Deventer;
By whom posthumously sold, Amsterdam, Roos & Co, 7 May 1895, lots 1 and 2, for 700 Florins to Kronenberg;
Dr. A.J. Kronenberg, Rotterdam;
Thence by descent to his son;
By whom anonymously sold, Amsterdam, Christie's, 29 November 1988, lot 76, where acquired.
Rotterdam, Rotterdamsche Kunstkring, Tentoonstelling van oude schilderijen in Rotterdamsch particulier bezit, 1907, unnumbered;
Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, nos 149 and 150;
Baden-Baden, Staatliche Kunsthalle Baden-Baden, Gutes böses Geld. Eine Bildgeschichte der Ökonomie, 5 March – 19 June 2016, unnumbered.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
M.E. Houck, 'Mededeelingen betreffende Gerhard Ter Borch, Robert van Voerst, Pieter van Anraedt, Aleijden Wolfsen, Derck Hardensteijn en Henrick Ter Bruggen benevens aanteekeningen omtrent hunne familieleden', in Verslagen en mededeelingen der Vereeniging tot Beoefening van Overijsselsch Regt en Geschiedenis, vol. 20, Zwolle 1899, pp. 297 and 429;
A. von Wurzbach, Niederländisches Künstlerlexikon, vol. I, Vienna 1906, p. 16;
O. Ydema, Carpets and their datings in Netherlandish Painting 1540-1700, Leiden 1991, p. 172, cat. nos 640 and 641;
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. I, Portraits, Münster/Hamburg/London 1995, pp. 16-17, cat. nos 1 and 2, reproduced in colour;
W. Pijbes, M. Aarts, M. J. Bok et al, At Home in the Golden Age, exh. cat., Zwolle 2008, p. 136, cat. nos 149 and 150, reproduced in colour;
H. Bündge and L. Heese (eds), Gutes böses Geld. Eine Bildgeschichte der Ökonomie, exh. cat., Bielefeld and New York 2016, reproduced in colour p. 109.
Pieter van Anraedt became a pupil of Gerard ter Borch after 1654 in Deventer, a city to the east of Amsterdam. He lived in Deventer for the majority of his life, but received many commissions, largely confined to portraits and genre scenes, from both Amsterdam and Haarlem.