Oil on panel
63,5 x 52 cm.
Charged with the coat-of-arms of the Van Egmond van de Nijenburg Family (upper right) Inscription: ISABELLA V. EGMOND / V. NIBORG (reverse)
Art-historical texts and documentation by Rudi Ekkart and Claire van den Donk
The portrait of a young woman, painted by Jan Anthonisz. van Ravesteyn around 1625-1630, features a coat of arms of the Van Egmond van den Nijenburg family in the upper right corner and an inscription on the reverse of the panel: ISABELLA V. EGMOND / V. NIBORG. Both date from a later period than the painting itself and were presumably added in the late eighteenth or early nineteenth century.
The mystery of Isabella van Egmond
Apparently, a misunderstanding occurred during this later intervention, as no individual named Isabella can be found in the records of the Van Egmond van de Nijenburg family, which mainly resided in and around Alkmaar. Despite the family’s well-documented history, there is no trace of a woman by that name in the family’s genealogy.1 We must therefore assume that some confusion arose regarding the sitter’s identity at the time the coat-of-arms and the inscription were added.
Since nothing is known about the painting’s older history, the origin of this error remains unclear. It is possible that the depicted young woman was indeed a member or descendant of the Van Egmond van de Nijenburg family, but bore a different first name. Alternatively, she may have had no connection to this family at all, and the association arose from a misinterpreted or inaccurately transmitted anecdote. For this reason, the sitter is described here simply as an unknown young woman.
The Hague’s portraitist
The painting is a characteristic work from the studio of the prolific portraitist Jan Anthonisz. van Ravesteyn. In the past, the panel was trimmed along the left edge and at the bottom, resulting in a somewhat cramped appearance of the figure within the picture plane. Although Van Ravesteyn was often a second choice for the court portraiture of the stadholders – due to competition from the slightly older Delft painter Michiel van Mierevelt – he enjoyed significant success among patrons in The Hague, a city where notable clients from elsewhere also resided due to their official duties. Like Van Mierevelt, Van Ravesteyn ran a large studio, wherein assistants helped fulfil numerous commissions.2
This portrait was likely produced with the assistance of one or more aides, yet the result is a remarkably fine work. Striking features include the white collar of layers of linen trimmed with lace, a fashion often worn in and around The Hague. The vivid red bows adorning the sleeves and the red ribbon at the waist add a vibrant touch that is echoed by the flowers in her hair.
A personal note from the gallery
‘Red and blue, bold and striking. A young girl ready for her place in society. We tried to find her name, but without success. That search was fascinating in itself, and the mystery makes her even more intriguing. Ravesteyn’s portraits capture The Hague’s courtly elegance, and this work is no exception. A painting like this is more than decoration: it can truly strike up a conversation, inviting curiosity wherever it hangs.’
Jaco Pieper, owner Argento Gallery
Provenance
Sale Paris (ArtCurial), 22 March 2023, lot 101 (as by Paulus Moreelse).
Notes
1. See especially J.H. Rombach, Inventaris van de archieven van de families Van Foreest 1422-1979, Van Egmond van de Nijenburg 1428-1765, De Dieu, Fontein Verschuur, Van der Feen de Lille 1664-1955, Alkmaar (Regionaal Archief) 1992 and Marcel J.N. Mak, 300 jaar Nijenburg 800 jaar blauw bloed. Familiegeschiedenis in twee kwartierstaten: Jonkvrouwe Elisabeth van Foreest (1920-2007) en Maria van Egmond van de Nijenburg (1682-1742), Alkmaar 2021.
2. For Jan van Ravesteyn, see: Saskia Kuus, with a contribution by Frank de Hoog, Jan van Ravesteyn, een Haagse portretschilder, Den Haag (Haags Historisch Museum) / Venlo (Van Spijk/Rekafa Publishers bv) 2016.
