Three portraits by Jan van Haensburgen (2) and Jan van Haensburgen (1)

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Jan Van Haensbergen
Three portraits by Jan van Haensburgen (2) and Jan van Haensburgen (1)
1700

Name: Three portraits by Jan van Haensburgen (2) and Jan van Haensburgen (1)
Brand: Jan Van Haensbergen
Rating: 5 (4 reviews)

About the Item

Fine, sensitively rendered early 17th century portrait of a gentleman, painted in the oval and housed in a highly decorative carved and gilded 18th century frame, attributed to Jan Van Haensbergen (1642-1705) Although the identity of the sitter have been separated from this painting, it was almost certainly created in the Dutch Republic during the closing years of the seventeenth century and likely by Jan Van Haensbergen. It depicts a notable handsome and fashion conscious young man, perching upon a rocky outcrop, sporting a tall periwig and full yet plain cravat, and this portrait exudes confidence. Fine quality and highly decorative 18th century portrait of an elegant lady, attributed to Enoch Seeman (1694-1744) It is housed in an elaborate 18th century carved and gessoed, swept gilded frame. The as yet unknown noblewoman wears a high status and highly fashionable 18th century costume. Her shimmering silver silk, stomached dress, has puff sleeves and blue ribbon decoration and is paired with a highly elaborate and intricate lace collar. Her hair is coiffed and held in place with pearl hair ornaments which match her pearl drop earrings and necklace. Enoch Seeman (1694 - 1744) was born in 1694 at Danzig in Germany, where his father was settled as a painter. It is possible that the famous German ‘virtuoso’ painter, Balthasar Denner, who received some of his early instruction in painting at Danzig, may have been a pupil of Seeman's father, for some of Seeman's early paintings were executed in imitation of Denner's manner. Among these were a portrait of himself at the age of nineteen, and an old woman's head in which the wrinkles, hair, fabric of clothes, are delineated in the minute manner which is seen in Denner's works. Seeman was brought by his father, when young, to London, and practised there as a portrait-painter with great success. He resided in St. Martin's Lane, and at first styled himself ‘Enoch Seeman, junior.’ He was a good portrait-painter, and his portraits of ladies were much admired. The conventionalities, however, of costume and posture have destroyed the value of his portraits. His portraits or portrait-groups were sometimes on a very large scale, such as the imposing picture of the Lapland giant, Gaianus, painted in 1734, now at Dalkeith Palace, and the family group of Sir John Cust [q. v.] at Belton House, Grantham. Seeman frequently painted his own portrait, in which he is seen in an animated attitude, with long flowing hair. One example is in the royal picture gallery at Dresden, and was engraved by J. G. Schmidt. Another, with his daughter in boy's clothes, was at Strawberry Hill. A portrait by him of Sir Isaac Newton, formerly in the possession of Thomas Hollis, F.S.A., was engraved in mezzotint by J. MacArdell. Seeman also painted George II, Queen Caroline (a portrait of whom by him is in the National Portrait Gallery), and other members of the royal family. He died suddenly in 1744. His son, Paul Seeman, painted portraits and still life, and his three brothers were all painters and ingenious artists, one of whom, Isaac Seeman, died in London on 4 April 1751. It was during this later part of the seventeenth century that the process of moving towards a smoother classical style was very much in vogue amongst portrait painters (Kneller being an exception rather than the rule). The vigorous manner of the likes of Rembrandt gave way to much tighter and controlled brushwork, usually only visible when right up close to the canvas. In terms of attribution, the work certainly comes very close to the effortless portraits of the likes of Jan van Haensbergen (1642-1705), who began his career in Utrecht before moving to the Hague in 1669. The portraits by Arnold Boonen (1669-1729) too, who was born in Amsterdam but spent much of his working life in Dordrecht, are also very comparable in terms of style and composition. Both of these artists were in some part following the tone set by the likes of Netscher and Maes, whose paintings on a comparably smaller scale proved to be remarkably popular amongst patrons. Despite the fact that many of these Dutch patrons were Calvinists, and often severe protestants, portraits such as these are testament to the fact that Dutch painters were responding to the prevalent fashions emanating from other more opulent European nations. As to be expected from portraits by the aforementioned artists above, this painting also contains atmospheric landscape which shoots off into the distance beyond. Not only does this reference the much earlier traditions of including such embellishments in portraiture, yet, it might also recall the great Dutch tradition of landscape painting which had similarly experienced a golden age during this very century. This painting is ready to hang and enjoy. Higher resolution images on request. Worldwide shipping available. Canvas : 22" x 18" / 56cm x 46cm. Frame: 28" x 26" / 71cm x 66cm. Fine quality and highly decorative 18th century portrait of an elegant lady, attributed to Enoch Seeman (1694-1744) It is housed in an elaborate 18th century carved and gessoed, swept gilded frame. The as yet unknown noblewoman wears a high status and highly fashionable 18th century costume. Her shimmering silver silk, stomached dress, has puff sleeves and blue ribbon decoration and is paired with a highly elaborate and intricate lace collar. Her hair is coiffed and held in place with pearl hair ornaments which match her pearl drop earrings and necklace. Enoch Seeman (1694 - 1744) was born in 1694 at Danzig in Germany, where his father was settled as a painter. It is possible that the famous German ‘virtuoso’ painter, Balthasar Denner, who received some of his early instruction in painting at Danzig, may have been a pupil of Seeman's father, for some of Seeman's early paintings were executed in imitation of Denner's manner. Among these were a portrait of himself at the age of nineteen, and an old woman's head in which the wrinkles, hair, fabric of clothes, are delineated in the minute manner which is seen in Denner's works. Seeman was brought by his father, when young, to London, and practised there as a portrait-painter with great success. He resided in St. Martin's Lane, and at first styled himself ‘Enoch Seeman, junior.’ He was a good portrait-painter, and his portraits of ladies were much admired. The conventionalities, however, of costume and posture have destroyed the value of his portraits. His portraits or portrait-groups were sometimes on a very large scale, such as the imposing picture of the Lapland giant, Gaianus, painted in 1734, now at Dalkeith Palace, and the family group of Sir John Cust [q. v.] at Belton House, Grantham. Seeman frequently painted his own portrait, in which he is seen in an animated attitude, with long flowing hair. One example is in the royal picture gallery at Dresden, and was engraved by J. G. Schmidt. Another, with his daughter in boy's clothes, was at Strawberry Hill. A portrait by him of Sir Isaac Newton, formerly in the possession of Thomas Hollis, F.S.A., was engraved in mezzotint by J. MacArdell. Seeman also painted George II, Queen Caroline (a portrait of whom by him is in the National Portrait Gallery), and other members of the royal family. He died suddenly in 1744. His son, Paul Seeman, painted portraits and still life, and his three brothers were all painters and ingenious artists, one of whom, Isaac Seeman, died in London on 4 April 1751. H 40 in. x W 34 in. x D 3 in. 18TH CENTURY PORTRAIT OF JUDITH MORICE IN AN ORANGE SILK DRESS - BY ENOCH SEEMAN. Fresh and fine quality 18th century portrait of the elegant Judith Morice (1710 -1743) by Enoch Seeman (1694-1744) It is presented in its original 18th century carved, gilded and sandwork frame. Judith Morice (1710 -1743) wears a highly fashionable shimmering orange silk dress with a silver-grey bow. Orange was of the more vibrant fashion colours of the Georgian era and achieving this colours for silk was complex and time-consuming process. Although it was the reserve of high status individuals, interestingly the sitter has chosen to be painted jewel free and with her hair elegantly upswept. The result is charming and remarkably unfussy early 18th century portrait. Enoch Seeman (1694 - 1744) was born in 1694 at Danzig in Germany, where his father was settled as a painter. It is possible that the famous German ‘virtuoso’ painter, Balthasar Denner, who received some of his early instruction in painting at Danzig, may have been a pupil of Seeman's father, for some of Seeman's early paintings were executed in imitation of Denner's manner. Among these were a portrait of himself at the age of nineteen, and an old woman's head in which the wrinkles, hair, fabric of clothes, are delineated in the minute manner which is seen in Denner's works. Seeman was brought by his father, when young, to London, and practised there as a portrait-painter with great success. He resided in St. Martin's Lane, and at first styled himself ‘Enoch Seeman, junior.’ He was a good portrait-painter, and his portraits of ladies were much admired. The conventionalities, however, of costume and posture have destroyed the value of his portraits. His portraits or portrait-groups were sometimes on a very large scale, such as the imposing picture of the Lapland giant, Gaianus, painted in 1734, now at Dalkeith Palace, and the family group of Sir John Cust [q. v.] at Belton House, Grantham. Ther artist frequently painted his own portrait, in which he is seen in an animated attitude, with long flowing hair. One example is in the royal picture gallery at Dresden, and was engraved by J. G. Schmidt. Another, with his daughter in boy's clothes, was at Strawberry Hill. A portrait by him of Sir Isaac Newton, formerly in the possession of Thomas Hollis, F.S.A., was engraved in mezzotint by J. MacArdell. Seeman also painted George II, Queen Caroline (a portrait of whom by him is in the National Portrait Gallery), and other members of the royal family. He died suddenly in 1744. His son, Paul Seeman, painted portraits and still life, and his three brothers were all painters and ingenious artists, one of whom, Isaac Seeman, died in London on 4 April 1751. Judith Morice (1710 -1743) was the second daughter of Humphry Morice of Werrington, near Launceston, Cornwall. She married Whig politician Sir George Lee on on 5 June 1742. Also painted by Alan Ramsey as Diana (Virginia Museum of Fine arts) she died on 19 July 1743, aged 33, and is buriedd in the vault of the Lee family in Hartwell Church. Canvas : 30” x 25" / 76cm x 63.5cm. Frame: 36 x 31 inches / 92cm x 78cm.

Creator:
Jan Van Haensbergen (1642 - 1705)
Creation Year:
1700
Dimensions:
Height: 28 in (71.12 cm)Width: 26 in (66.04 cm)Depth: 3 in (7.62 cm)
Medium:
Oil
Period:
Early 18th Century
Condition:
Gallery Location:
London/Yorkshire, GB
Reference Number:
1stDibs: LU58934671462

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