Circle of Salomon Mesdach (?-1628)

Portrait of Pieter Everwijn, half length, wearing a grey silk uniform with slashed sleeves, lace collar and orange sash, in a painted oval; and Portrait of Maria Everwijn, neé Baldran de la Case, half length, wearing a red and black silk dress with slashed sleeves, lace collar and gold jewellery, in a painted oval

細節

Circle of Salomon Mesdach (?-1628)
Portrait of Pieter Everwijn, half length, wearing a grey silk uniform with slashed sleeves, lace collar and orange sash, in a painted oval; and Portrait of Maria Everwijn, neé Baldran de la Case, half length, wearing a red and black silk dress with slashed sleeves, lace collar and gold jewellery, in a painted oval
the first dated upper left Ao.1624, the second dated centre right ANNO.1629, with inscriptions identifying the sitters on the reverses of the cradled panels
oil on panel
72.5 x 54 cm a pair (2)

來源

From the sitters by descent to their daughter S. Lonque, née Everwijn, and thence to her son Charles Lonque, to his daughter Anna Maria Ockerse, née Lonque, to Jacoba Magdalena Steengracht, née Ockerse (1731-1772), to her son Nicolaas Steengracht (1754-1840), to Jhr.Mr. Johan Steengracht van Oostcapelle (1782-1846), to Cecilia Maria van Pallandt, née Steengracht, to J.C.E. Count van Lynden, Keukenhof, Lisse
with A. Nijstad, Lochem

出版

C.H. de Jonge, Paulus Moreelse, 1571-1638, 1938, p.131, no.7, as incorrectly attributed to P. Moreelse

拍品專文

Drs E.N. Domela Nieuwenhuis has kindly informed us after inspection of the originals that the painter of the present portraits was probably active in Zeeland at the beginning of the 17th century. His style shows Antwerp influences notably that of Cornelis de Vos. A group of portraits can be assigned to him, among which is the 'Portrait of a woman' in the Staatliches Museum, Schwerin, dating from circa 1620 (C.H. de Jonge, op.cit., cat.no.219B, fig.135, where erroneously dated 1625/35). The male sitter was the son of Charles Everwijn of Middelburg and Susanna L'Oiseleur de Villier.

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