PIETER VAN ANRAEDT | Portrait of a gentleman; and Portrait of a lady, both three-quarter-length, seated by draped tables, with coastal landscapes beyond

H. Houck, Deventer;

By whom posthumously sold, Amsterdam, Roos & Co, 7 May 1895, lots 1 and 2, for 700 Florins to Kronenberg;

Dr. A.J. Kronenberg, Rotterdam;

Thence by descent to his son;

By whom anonymously sold, Amsterdam, Christie's, 29 November 1988, lot 76, where acquired.

M.E. Houck, 'Mededeelingen betreffende Gerhard Ter Borch, Robert van Voerst, Pieter van Anraedt, Aleijden Wolfsen, Derck Hardensteijn en Henrick Ter Bruggen benevens aanteekeningen omtrent hunne familieleden', in Verslagen en mededeelingen der Vereeniging tot Beoefening van Overijsselsch Regt en Geschiedenis, vol. 20, Zwolle 1899, pp. 297 and 429;

A. von Wurzbach, Niederländisches Künstlerlexikon, vol. I, Vienna 1906, p. 16;

O. Ydema, Carpets and their datings in Netherlandish Painting 1540-1700, Leiden 1991, p. 172, cat. nos 640 and 641;

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. I, Portraits, Münster/Hamburg/London 1995, pp. 16-17, cat. nos 1 and 2, reproduced in colour;

W. Pijbes, M. Aarts, M. J. Bok et al, At Home in the Golden Age, exh. cat., Zwolle 2008, p. 136, cat. nos 149 and 150, reproduced in colour;

H. Bündge and L. Heese (eds), Gutes böses Geld. Eine Bildgeschichte der Ökonomie, exh. cat., Bielefeld and New York 2016, reproduced in colour p. 109.

Rotterdam, Rotterdamsche Kunstkring, Tentoonstelling van oude schilderijen in Rotterdamsch particulier bezit, 1907, unnumbered;

Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, nos 149 and 150;

Baden-Baden, Staatliche Kunsthalle Baden-Baden, Gutes böses Geld. Eine Bildgeschichte der Ökonomie, 5 March – 19 June 2016, unnumbered.

The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.

Pieter van Anraedt became a pupil of Gerard ter Borch after 1654 in Deventer, a city to the east of Amsterdam. He lived in Deventer for the majority of his life, but received many commissions, largely confined to portraits and genre scenes, from both Amsterdam and Haarlem.