JAN ANTHONISZ. VAN RAVESTEYN | PORTRAIT OF A SEATED MINISTER, AGED 76, THREE-QUARTER-LENGTH
JAN ANTHONISZ. VAN RAVESTEYN | PORTRAIT OF A SEATED MINISTER, AGED 76, THREE-QUARTER-LENGTH
JAN ANTHONISZ. VAN RAVESTEYN | PORTRAIT OF A SEATED MINISTER, AGED 76, THREE-QUARTER-LENGTH
JAN ANTHONISZ. VAN RAVESTEYN | PORTRAIT OF A SEATED MINISTER, AGED 76, THREE-QUARTER-LENGTH
JAN ANTHONISZ. VAN RAVESTEYN | PORTRAIT OF A SEATED MINISTER, AGED 76, THREE-QUARTER-LENGTH
JAN ANTHONISZ. VAN RAVESTEYN | PORTRAIT OF A SEATED MINISTER, AGED 76, THREE-QUARTER-LENGTH
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JAN ANTHONISZ. VAN RAVESTEYN | PORTRAIT OF A SEATED MINISTER, AGED 76, THREE-QUARTER-LENGTH

Estimate: 12,000 - 18,000 GBP

JAN ANTHONISZ. VAN RAVESTEYN | PORTRAIT OF A SEATED MINISTER, AGED 76, THREE-QUARTER-LENGTH

Estimate: 12,000 - 18,000 GBP

Lot Sold:16,250GBP
(6 bids, reserve met)

Lot Details

Description

Property from the SØR Rusche Collection

JAN ANTHONISZ. VAN RAVESTEYN

The Hague circa 1572 - 1657

PORTRAIT OF A SEATED MINISTER, AGED 76, THREE-QUARTER-LENGTH 


signed centre right, on the arm of the chair: JR 1635

and inscribed upper right: Ӕtatis . suae . 76 .

oil on canvas

unframed: 142.3 x 118.3 cm.; 56 x 46½ in

framed: 165.5 x 142 cm.; 65⅛ x 55⅞ in.


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Condition Report

The canvas is lined. Several old damages are visible from the reverse, but not from the front to the naked eye. Inspection under ultraviolet light confirms these restorations. Most notable are the restored damage to the right of the gentleman's collar, and an area of restoration to the hat laying on the tale to the right of his hand. There are other scattered, localised areas of restoration throughout, and the varnishes fluoresces thickly and appears to have been unevenly applied. There is almost no intervention in the head of the sitter, his ruff, hands and embroidered garment, and the painting is ready to hang and in fair overall 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

Cataloguing

Provenance

Anonymous sale, Paris, Tajan, 10 April 1992, lot 13, when acquired.

Exhibited

Liesborn, Museum Abtei Liesborn, on loan;

Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 92.


The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.

Literature

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. I, Portraits, Münster/Hamburg/London 1995, p. 118, cat. no. 45, reproduced p. 119;

W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 97, cat. no. 92, reproduced in colour.

Catalogue Note

This sitter's identity is unknown but his standing as a minister is indicated by the word Predicant (meaning 'minister', or 'preacher' in Dutch) visible on the letter that he holds.


Jan van Ravesteyn was born and worked in The Hague. The Hague was the seat of the Stadholder's (the chief magistrate of the United Provinces of the Netherlands) court, and Ravesteyn painted a series of portraits of high-ranking military officers in his service. He also painted group portraits of militia companies in The Hague, and in 1612 painted the portrait of Prince Frederick Henry of Orange Nassau (1584–1647). It is thought probable that Ravesteyn was a pupil of Michiel van Mierevelt, by whom his portraits were much influenced.

The SØR Rusche Collection Online
Online bidding closed10 May 2019 | 03:42 PM GMT