Portrait of a Lady Holding a Venetian Lace Fan C.1595; Circle of Frans Pourbus II (1569–1622), Antique Oil on Canvas Painting

This resplendent painting follows in the tradition of royal portraits and was designed to convey an image of courtly majesty. The sitter wears a black gown, a white reticella ruff and matching wrist ruffs, and the typically Spanish long-hanging loose sleeves, under which are undersleeves trimmed with gold and silver. The one-piece gown is decorated with different textiles and different shades of black. In addition to the costly materials there is a fortune in jewellery displayed, most remarkable is the huge gold, ruby, and pearl pendant in the form of two cherubs supporting a crown, and the heavy four-layered golden chain necklace. The expensive attire proclaims to every onlooker that this is a superior being.

This stately and formal portrait had become a standard format for aristocratic portraiture in late 16th-century Europe. The Venetian flag fan (in Italian: ventarola) in her hand was probably manufactured in Venice where the carrying of flag fans was especially prevalent throughout the fifteenth and sixteenth centuries before they gave way to the modern type of folding fan. Even though their use spread throughout Italy they never, it is thought obtained any great vogue outside of Italy. The example in our portrait is cut with fine lace and it served a practical purpose – the 'flag' spun around the handle creating a breeze – but also signified the elite status and refined taste of its possessor. The English Elizabethan and early Jacobean traveller and writer Thomas Coryat (also Coryate) (c.1577-1617) wrote during his visit in 1608: "The first fannes that I saw in Italy did I observe in this space betwixt Pizzighettone and Cremons. But afterward I observed them common in most places of Italy where I travelled. These fannes both men and women of the country do carry to cool themselves withall in the time of heat, by the often fanning of their faces. They were used every day and discarded when old, worn out, or soiled. Most of them are very elegant and pretty things." Thus, this painting is a rare and early portrayal of this accessory.

The painting is also notable for its state of preservation having not undergone a lining process (laid onto a newer canvas for support) and as such it is extremely rare for a painting of this age.

Held in a good quality antique ebonised frame.

Frans Pourbus was from a family of painters from the Netherlands and was one of the leading court portraitists in Europe. He trained with his grandfather, Pieter Pourbus, in Bruges before moving to Antwerp and then to Brussels where he spent a year working for Archduke Albert and the Infanta Isabella. From 1600 to 1609 he was in Mantua, working for Vincenzo I Gonzaga. Marie de' Medici summoned him to Paris in 1609 and appointed him as her court painter, a position he held until his death. In 1616, he also became court painter to Louis XIII. Examples of this work can be found in the Royal Collection, the National Museum in Warsaw, the Louvre, the Prado, the Rijksmuseum, the Royal College of Art, the Metropolitan Museum of Art, and many other museums.

This painting has passed a strict quality and condition check by a professional conservator prior to going on sale to ensure its condition is very good.

Provenance: Private collection Florence, Italy

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