Portrait of Anna van Loon, née Ruychaver (1573-1649), bust-length, in a black embroidered dress with fur and a molenkraag and white bonnet

Details

Circle of Michiel Jansz. van Mierevelt (Delft 1567-1641)
Portrait of Anna van Loon, née Ruychaver (1573-1649), bust-length, in a black embroidered dress with fur and a molenkraag and white bonnet
oil on panel
66.8 x 50.4 cm.

Provenance

Van Loon-Egidius, Amsterdam.
G.L.M. van Es, Rotterdam, recorded in which collection in 1907.
G.L.M. van Es; sale, Mak, Dordrecht, 22 September 1942, lot 137.
With P. de Boer, Amsterdam, where bought by the father of the present owners before 1950.

Literature

E.W. Moes, Iconographia Batava: beredeneerde lijst van geschilderde en gebeeldhouwde portretten van Noord-Nederlanders in vorige eeuwen, Amsterdam, 1897, nos. 6630-1.
(Possibly) J. Six, 'Cornelis van der Voort, een eerste poging tot het terugvinden van zijn werk als portretschilder', in Oud Holland, 1887, V, p. 3.

Exhibited

Oude Schilderijen in Rotterdams Bezit, 1907, no. 88 (according to documentation in the Iconographic Buro, The Hague).

Special notice

Christie's charge a premium to the buyer on the final bid price of each lot sold at the following rates: 23.8% of the final bid price of each lot sold up to and including €150,000 and 14.28% of any amount in excess of €150,000. Buyers' premium is calculated on the basis of each lot individually.

Lot Essay

The sitter was the daughter of Maerten Ruychaver and Alied van der Laen. Born in Hoorn, she married Hans van Loon on 17 May 1597 in Haarlem. In 1623 the couple were depicted by Cornelis van der Voort (1576-1624) in two separate portraits, both three-quarter length and seated (formerly in the Van Loon-Egidius collection, Amsterdam, and now in the Museum van Loon, Amsterdam).

The present picture follows the composition of Anna's portrait by Van der Voort, but the sitter is here depicted bust-length and her coat-of-arms is no longer shown. The picture, together with its pendant, also belonged to the Van Loon-Egidius collection. The artist must have been familiar with the two portraits of Cornelis van der Voort, considering the similarities between both pairs.

The whereabouts of the pendant to the present picture are unknown.

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