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Portrait of Lieutenant Admiral Michiel Adriaensz. de Ruyter by Ferdinand Bol
$596,039.49
£442,204.08
€500,000
CA$816,007.87
A$914,192.26
CHF 475,836.21
MX$11,133,111.74
NOK 6,061,518.99
SEK 5,708,240.42
DKK 3,807,084.84
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About the Item
Dimensions: 105 x 84,5 cm
Medium & Support: Oil on canvas
Description:
The composition of the painting offered here is derived from five almost identical portraits of De Ruyter, which were painted by Ferdinand Bol and his workshop in 1667. De Ruyter is depicted in an admiral’s uniform, holding a baton in his right hand and on his left side a sabre. Around his neck, he wears the chain of the Order of St. Michael, which was bestowed upon him by the French king Louis XIV as a token of appreciation for his role in the battle against the English. With his right arm, he leans on a celestial globe, which stands on a table covered in a red cloth. Some objects on the table are related to navigation on the sea, such as a map with the coastline of Flanders and Zeeland. De Ruyter stands in front of a stone balustrade and a dark red pulled-up curtain of heavy fabric and two hanging tassels, which offers a view of the sea on the right. Here, his flagship ship De Zeven Provinciën (The Seven Provinces) can be recognized.
It is known that De Ruyter commissioned and paid for five identical portraits, which were all intended for the admiralty buildings as a reminder and tribute to the successful Four Days Battle in 1666 against the English and the Battle of Chatham in 1667. Four of these five versions are still extant and located in Amsterdam, Den Haag, Greenwich and Hoorn (pl. 1-4). The works are all signed and dated by Bol: FBol. fecit. 1667. Yet, these canvases are not entirely painted by Bol himself; the differences in detailing and the background points to the co-operation of others. Presumably, the Greenwich version (pl. 3) was the prototype.
Bol may have called in Willem van de Velde The Younger (1633 Leiden—London 1707), a specialist in seascapes and naval battles, to paint the background. Such prestigious collaborations have regularly occurred since the 16th century. By combining specialisms, the ultimate results were achieved, and the wishes of prosperous clients could be met.
The portrait on offer here is a variant of the Portrait of Michiel Adriaensz de Ruyter with his flagship The Seven Provinces in the background (pl. 1-4). Here, the portrayed occupies a more prominent place in the composition, so that less of the environment is visible. Fewer attributes are depicted; for example, the globe and map are missing, and the background was not painted by a specialist, but rather by a less talented studio employee. The work is not dated or signed. The person portrayed is cut off somewhat narrowly. During the restoration, it became clear that the canvas had been slightly shortened on the left and right-hand sides in the past. Since the original string garlands are still visible, it may be assumed that this was not more than 1 to 1,5 cm at each side. The tassel of the red curtain on the right has now been almost completely cut off, and his right hand reaches the left edge of the painting. The original composition is somewhat affected by the aforementioned adjustment in size, albeit only slightly.
The composition may have initially been comparable in width to the version in the Nautical Training school in Amsterdam and the painting that was auctioned at Sotheby’s London in 2018. In these two works, the tassel in front of the curtain hangs loose from the frame, and the right hand has more space. In the Amsterdam work, De Ruyter does not lean on the baton, but he holds it in his right hand; however, the staff rests on a red-covered table, as is the case in the present work. In the version auctioned in London, the admiral holds the baton but does not support it on the table. The manner in which the portrays rests his left hand on his hip is largely consistent, as well as the clothes and the pulled-up red curtain in the background.
The posture of the right hand leaning on the admiral’s staff is possibly derived from the 1669 canvas in Copenhagen, on which De Ruyter does not look at the viewer, but has his head turned to the left and is facing the image plane. The element of the hand resting on the baton also appears in the Portrait of Cornelis Tromp (1629-1691), in the Maritime Museum, Amsterdam. Also, this Lieutenant-Admiral looks back at us as viewers.
The Maritime Museum Zeeland (Maritiem MuZEEum Zeeland) holds a Portrait of Michiel de Ruyter, his head facing left, which is based on the version in Copenhagen. Here, too, the posture of the right hand and the admiral’s staff have been adjusted. Apparently, this element was a popular means for Bol in varying his compositions.
Ferdinand Bol and his apprentices were responsible for a large number of portraits of Michiel de Ruyter in different designs and dimensions.
The painting on offer here is not a direct copy of another well-known example but a variant version, using previously used, known elements. It proves that 17th-century painters regularly reused and compiled compositions, postures, and attributes, shaping them into new, successful versions, such as the present Portrait of Lieutenant-Admiral Michel Adriaensz. De Ruyter.
Provenance:
Collection Adriaan van der Willigen (1766-1841), by descent
Collection Dr. Adriaan van der Willigen (1810-1876), Haarlem, sold circa 1872-76 to Collection Hendrik Dyserinck (1838-1906), Minister of Maritime affairs (1888-1891), by descent, 1891
Collection Hendrik Dyserinck (1872-1930), between November 1926-1930
Collection Adrienne (Allie) Gertrude Dyserinck (1876-1942) and Agnes Maria Dyserinck (1880-1965), his sisters, before 1965, via their cousin
Mrs Johanna Wijsmuller-Kleiweg Dyserinck (1872-1938), to her son
Collection Willem Jean Wijsmuller (1879 Haarlem – Amsterdam 1963), (by decent ?) Collection Willem Jacob Carel ‘Jaap’ Wijsmuller (1928 Heemstede – Breda 2023), by descent
Their sale, Vendu veilingen & taxaties Rotterdam, 7 November 2023, lot 2, to J.B. de Roo, Zwijndrecht, by 2023
- Creator:Rembrandt van Rijn (Artist)
- Dimensions:Height: 41.5 in (105.41 cm)Width: 33 in (83.82 cm)Depth: 5.1 in (12.96 cm)
- Style:Dutch Colonial (Of the Period)
- Materials and Techniques:Paint,Amsterdam School
- Place of Origin:
- Period:
- Date of Manufacture:1669
- Condition:Repaired: See the full Restoration Report on our website. Wear consistent with age and use. Restoration and valuation reports available on our website.
- Seller Location:ZWIJNDRECHT, NL
- Reference Number:1stDibs: LU9419245958392
Rembrandt van Rijn
Rembrandt was the most influential 17th Century Dutch painter. After years of early success as a portrait painter, his life was beset by financial hardship and personal tragedy. He continued to paint portraits and develop etchings. Rembrandt's portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate autobiography, in which the artist surveyed himself without vanity and with the utmost sincerity. Like many artists of the Dutch Golden Age, such as Jan Vermeer of Delft, Rembrandt was also an avid art collector and dealer. Rembrandt never went abroad, but he was considerably influenced by the work of the Italian masters and Netherlandish artists who had studied in Italy, like Pieter Lastman, the Utrecht Caravaggists, Flemish Baroque, and Peter Paul Rubens. Rembrandt's foremost contribution in the history of printmaking was his transformation of the etching process from a relatively new reproductive technique into a true art form, along with Jacques Callot. His reputation as the greatest etcher in the history of the medium was established in his lifetime and never questioned since. Few of his paintings left the Dutch Republic while he lived, but his prints were circulated throughout Europe, and his wider reputation was initially based on them alone.
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