Brave Fine Art has dated this piece to the 17th Century.
Upstanding, with his left hand nonchalantly draped over a classical plinth, he conveys an air of complete self-assurance. His attire is an uncomplicated display of the finest materials, while his expression suggests a kindly demeanour. It’s one of de Baen’s better portrayals and captures the sitter’s spirit with finesse and bravura. The right hand is particularly successful, held in reverse on the hip to demonstrate the artist’s superior handling.
Hailing from Haarlem in the Dutch Republic, de Baen’s father worked in the flourishing linen and flax trade at a time when the city was at the heart of linen production. European merchants sent their wares to the city for bleaching and finishing, as described in Jacob van Ruisdael’s ‘View of Haarlem with Bleaching Fields’. It’s conceivable that de Baen would’ve pursued the same vocation, especially given the abundance of opportunities, but by the age of three, he’d become an orphan.
Following the loss of his parents, he was raised by his uncle, the magistrate and painter, Hinderk Pyman (or Piemans), who taught him the rudiments of drawing and painting. From here, he moved to the vibrant port city of Amsterdam, where he undertook further tuition with Jacob Adriaensz Backer (1608-1651), a pupil of Rembrandt’s who was well-versed in portraiture.
Backer died in 1651, but de Baen remained in Amsterdam, keen to establish a foothold in the art market. Examples of his work from this period are scarce, with two of the earliest being an etching of the ‘Burning of Amsterdam Town Hall’ (1652) and a portrait of the merchant Willem van der Voort, which is at the Historisch Museum.
With his reputation growing, he came to the attention of Charles II during his time in exile, and it’s believed that he undertook work for the English court. In 1666, now restored to the throne, the King, evidently impressed with the young man, summoned him to England presumably with an offer of patronage. However, somewhat surprisingly, de Baen declined and returned to The Hague. He did, however, accept the role of court painter to the House of Orange.
De Baen was remarkably popular and regarded highly by patrons for his flattering style. He tended to work with several formulaic poses but still, more often than not, managed to encapsulate the character of each sitter. He studied the works of Anthony van Dyck (1599-1641) extensively and sought to inject a sense of dignity into each of his portrayals. His depiction of William III when Prince of Orange (c.1667) hangs in the Chatsworth Room at Hampton Court Palace.
His son was the painter Jacobus de Baen (1673-1700), and his other pupils included Johann Friedrich Bodecker, Denys Godijn, Hendrik van Limborch, Nicolaes van Ravesteyn, Petro van Rijs, Jan van Sweel, and Johannes Vollevens.
He’s represented in numerous public collections, including at The British Museum and the National Portrait Gallery in London.
Signed/dated in the lower left and held in a later frame.
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Medium: Oil on canvas
Overall size: 43” x 51” / 109cm x 130cm
Year of creation: 1675
Provenance: Private collection, UK.
Condition: Cleaned. Revarnished. Canvas relined. Fine craquelure throughout. Surface a little undulant. Later stretcher. Historic restorations. The paint layer is stable. Frame in excellent condition.
Artist’s auction maximum: £22,397 for ‘Young Boy, Seated Full Length, With A Sheep, On A Rock’, Oil on canvas, Christie’s, Old Master Pictures, Amsterdam, Netherlands, 6 November 2002 (lot 63).
Our reference: BRV2068
Brave Fine Art has dated this piece to the 17th Century.
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Jan De Baen, Portrait of a Gentleman - Antique Oil Painting
