Brave Fine Art has dated this piece to the 17th Century.
Her sleeves are embellished with elaborate lace cuffs, and a string of delicate pearls encircles her neck. Her pale complexion, which is probably the result of excessive cosmetics, indicates her high social status.
Wrapped around her waist, she rests her right hand on a piece of sumptuous silver fabric, which is beautifully embroidered with gold. During the 1670s/80s, ladies often displayed items adorned with metallic lace, such as their petticoats, as seen here in this work by Jan van Haensbergen (1641-1705).
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The inclusion of a playful spaniel is an interesting one as it could serve two purposes. On first glance, it’s simply a loyal pet, eager for the attention of its doting owner. However, small dogs were also a symbol of passive spouses, so it could be a commentary on the ladies’ resilient character. It’s possibly a marriage portrait.
Born in Geertruidenberg, The Netherlands, Vollevens possessed inordinate ability as a child, particularly in charcoal drawing. He approached art with such fervour that his parents sent him to study with the eminent portrait and genre painter Caspar Netscher (1639-1684), followed by a spell with Nicolaes Maes (1634-1693) in Dordrecht.
Now furnished with the rudiments, his next period of tuition was a longer apprenticeship with the leading Dutch portraitist, Jan de Baen (1633-1702), in The Hague. Here, over a span of eight years, he worked closely with de Baen, becoming an invaluable assistant. Due to the master’s popularity, Vollevens was often tasked with producing copies of de Baen’s works while also painting the drapery in many of his originals.
It’s said that the young man’s vigorous spirit was much needed as de Baen was often overloaded with work. It was a relationship that benefited both parties; on one hand, de Baen could meet the demands of his patrons, while on the other, Vollevens was gaining vital experience.
In 1672, upon completing his apprenticeship, he was inundated with commissions and soon garnered the trust of esteemed dignitaries such as the Count and Countess of Nassau and the Prince of Courlant, who asked him to produce portraits of every officer in his regiment. With his career and security now established, orders continued to materialise - such as those for Colonel Perzival with his officers, the English ambassador Schelten, and for the Prince of Nassau. And following the death of Jan de Baen in 1702, he gained many of his master’s loyal patrons.
The word ‘Vollevens’ translates as ‘full of life’, which was the source of much punnery during his lifetime. But indeed, it was his zest and industriousness which set him apart from his peers and contributed to his distinguished reputation.
Compared to de Baen, Vollevens’ oeuvre is a touch less flattering, with each sitter portrayed closer to life. As such, his works possess greater diversity and less stylisation. For example, he describes Caspar Fagel (1634-1688) as distinguished and sensitive, whereas François Nicolaas Fagel (1655-1718) conveys pomp and ceremony. In both, there’s a sense of the individual - the spirit behind the facade.
His son, Johannes Vollevens II (1685-1759), was court painter to the Princess Dowager of Orange.
He’s represented at the Rijksmuseum, the Fitzwilliam Museum at Cambridge University, and the Haags Historisch Museum in The Hague.
Signed in the lower left on the plinth and held in a later frame.
Learn more about Johannes Vollevens I in our directory.
Medium: Oil on canvas
Overall
Brave Fine Art has dated this piece to the 17th Century.
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Johannes Vollevens I, Portrait of a Lady in a Rich Blue Gown with a Spaniel - Antique Oil Painting
