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Portrait of a Gentleman 1666, Attributed to Samuel Van Hoogstraten.
Roy Precious - Antiques & Fine Art
for sale €26,910     $29,210
£23,000
Roy Precious - Antiques & Fine Art

Roy Precious - Antiques & Fine Art

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    Roy and nadine precious: specialists in portraiture from the 16th to the 20th century. Established in 1972.
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Portrait of a Gentleman 1666, Attributed to Samuel Van Hoogstraten.

17th century
Description

Oil on canvas; a superb quality portrait in a good 17th century carved and giltwood frame.

This powerful portrait has been known as Richard Cromwell, Oliver's third son, for many years, but, although the sitter bears a resemblance to the second Lord Protector, it is a doubtful attribution.

Looking directly and frankly at the viewer the sitter, almost certainly a military officer, makes no concession to any of the more foppish fashions of the day. He wears his own hair, not a wig, his cravat is simple. His sleeves have a silver thread pattern and over all he wears a breastplate with a buff leather coat beneath.

Although plain, all these items are of good quality...indeed, the young man must have been wealthy in order to commission such a high quality (and therefore expensive) portrait.

The different textures and appearance of all these materials, and the flesh and hair, are exquisitely painted by Hoogstraten.

Upper left, probably added in the 18th or 19th century, is the later inscription 'RICHARD CROMWELL', and to the middle right is another very faint inscription which seems to be contemporary with the portrait 'Aet. 23. Ano. 1666'.

If this date and the sitter's age are correct then it cannot be Cromwell who was born in 1626.

SAMUEL VAN HOOGSTRATEN (1627 - 1678)

Samuel van Hoogstraten was born in Dordrecht on 2 August 1627. He was first the pupil of his father, then, some time after his father's death in 1640, he entered Rembrandt's studio.

He painted genre scenes and portraits and he is well known as a specialist in perspective effects.

Hoogstraten travelled widely, visiting Rome and Vienna, where he was patronized by the Emperor. He was in London from 1662 to 1666, the time of the Great Fire.

He finally settled in his native town where he was made a Provost of the Mint. He published a book in 1678 "lnleyding tot de Hooge Schoole der Schilderkonst" (An Introduction to the Art of Painting), one of the few handbooks on painting published in Holland in that century. He died in Dordrecht on 19 October 1678.

SIZE: 29 x 23.5 inches canvas.

36.5 x 31 inches inc. frame.

PROVENANCE: Earl Granard K.P., Castle Forbes, County Longford, Ireland.(see image 6).

Private London Collection.

VERSO: Stencil "Earl of Granard KP Castle Forbes".

Hand written inscription, early 20th c. in appearance: "RICHARD CROMWELL. Painted by Robert Walker died 1659" (Unlikely attribution as the portrait is dated eight years after Walker's death.)

Declaration

Roy Precious - Antiques & Fine Art has dated this 17th Century Oil Portrait to the 17th Century.

Reference Numbers
Sellingantiques Reference
SA112873
Dealers Internal Reference
8571
Description
Oil on canvas; a superb quality portrait in a good 17th century carved and giltwood frame.
This powerful portrait has been known as Richard Cromwell, Oliver's third son, for many years, but, although the sitter bears a resemblance to the second Lord Protector, it is a doubtful attribution.
Roy Precious - Antiques & Fine Art
fig 1. A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame.
fig 1. Portrait of a Gentleman 1666, Attributed to Samuel Van Hoogstraten.

Looking directly and frankly at the viewer the sitter, almost certainly a military officer, makes no concession to any of the more foppish fashions of the day. He wears his own hair, not a wig, his cravat is simple. His sleeves have a silver thread pattern and over all he wears a breastplate with a buff leather coat beneath.

fig 2. A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame.
fig 2. Portrait of a Gentleman 1666, Attributed to Samuel Van Hoogstraten.

Although plain, all these items are of good quality...indeed, the young man must have been wealthy in order to commission such a high quality (and therefore expensive) portrait.

The different textures and appearance of all these materials, and the flesh and hair, are exquisitely painted by Hoogstraten.

fig 3. A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame.
fig 3. Portrait of a Gentleman 1666, Attributed to Samuel Van Hoogstraten.

Upper left, probably added in the 18th or 19th century, is the later inscription 'RICHARD CROMWELL', and to the middle right is another very faint inscription which seems to be contemporary with the portrait 'Aet. 23. Ano. 1666'.

fig 4. A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame.
fig 4. Portrait of a Gentleman 1666, Attributed to Samuel Van Hoogstraten.

If this date and the sitter's age are correct then it cannot be Cromwell who was born in 1626.

SAMUEL VAN HOOGSTRATEN (1627 - 1678)

Samuel van Hoogstraten was born in Dordrecht on 2 August 1627. He was first the pupil of his father, then, some time after his father's death in 1640, he entered Rembrandt's studio.

fig 5. A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame.
fig 5. Portrait of a Gentleman 1666, Attributed to Samuel Van Hoogstraten.

He painted genre scenes and portraits and he is well known as a specialist in perspective effects.

Hoogstraten travelled widely, visiting Rome and Vienna, where he was patronized by the Emperor. He was in London from 1662 to 1666, the time of the Great Fire.

He finally settled in his native town where he was made a Provost of the Mint. He published a book in 1678 "lnleyding tot de Hooge Schoole der Schilderkonst" (An Introduction to the Art of Painting), one of the few handbooks on painting published in Holland in that century. He died in Dordrecht on 19 October 1678.

SIZE: 29 x 23.5 inches canvas.

36.5 x 31 inches inc. frame.

PROVENANCE: Earl Granard K.P., Castle Forbes, County Longford, Ireland.(see image 6).

Private London Collection.

VERSO: Stencil "Earl of Granard KP Castle Forbes".

Hand written inscription, early 20th c. in appearance: "RICHARD CROMWELL. Painted by Robert Walker died 1659" (Unlikely attribution as the portrait is dated eight years after Walker's death.)

Date of Manufacture

Roy Precious - Antiques & Fine Art has dated this 17th Century Oil Portrait to the 17th Century.

Reference Numbers
Sellingantiques Ref
SA112873
Dealers Internal Ref
8571
Roy Precious - Antiques & Fine Art
Roy Precious - Antiques & Fine Art
Sellingantiques verified Since Mar 2003

Roy and nadine precious: specialists in portraiture from the 16th to the 20th century. Established in 1972.

Dealer Profile

You can view the stock and full dealer information on the Roy Precious - Antiques & Fine Art Profile Page

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A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame.
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Archive I A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame.

Portrait of a Gentleman 1666, Attributed to Samuel Van Hoogstraten.

Archive II A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame. View II
Archive III A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame. View III
Archive IV A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame. View IV
Archive V A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame. View V
Archive VI A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame. View VI
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A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame.
Portrait of a Gentleman 1666, Attributed to Samuel van Hoogstraten.
Ref: SA112873
A seventeenth-century oil painting depicting a long-haired gentleman in armour and a white cravat within an oval composition, set inside an ornate carved giltwood frame.
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Antiques are the ultimate green purchase. By choosing historical pieces over newly manufactured goods, you completely eliminate the carbon footprint of modern mass production while preserving exceptional, timeless craftsmanship.

Portraiture during the Dutch Golden Age was characterised by observational realism, subtle play of light, and precise rendering of costume and fabric textures. Artists frequently utilised dramatic chiaroscuro and feigned oval formats to create visual depth and physical presence for their sitters.

Painters during this period primarily used ground mineral and organic pigments bound with linseed or walnut oil, applied onto stretched linen canvas or oak panels. Frames were constructed from carved timber finished with gesso and water-gilded gold leaf.

Authentication involves analysing craquelure patterns appropriate to age, historic canvas weave construction, ground layers, and period-correct stretcher design. Advanced scientific methods such as pigment analysis and X-ray radiography are used to confirm period techniques.

Hanging a historical portrait above a minimal contemporary sideboard or fireplace mantel creates a balanced visual contrast. Displaying classic fine art against dark wall colours or pairing it with clean-lined modern furniture emphasises its structural form.

Keep historic oil paintings away from direct sunlight, radiator heat, and fluctuating humidity to avoid canvas movement and pigment degradation. Lightly dust the frame with a dry, soft brush, and engage a professional conservator for surface varnish restoration.
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