(The Hague circa 1572–1657)
Portrait of Catharina van Beverwijck (1613–1691), her coat-of-arms at upper left
oil on panel, 65 x 55 cm, framed

The sitter’s biographical details are inscribed on the reverse.

Provenance:
van Beverwijck family, Dordrecht (circa 1629);
by descent to Johan van Mewen van Heijnsberch (1681 – after 1740);
sale Joseph Fievez, Brussels, 3rd July 1919, lot 117 (as Michiel van Mierevelt);
sale, Mak van Waay, Amsterdam, 13 February 1934, lot 72 (as Paulus Moreelse);
sale, Mak, Dordrecht (1936); with Theo Hermsen, The Hague (1936);
van Maane de Hoog collection, Netherlands;
Private collection, France

Literature:
C. H. de Jonge, Paulus Moreelse, Portret- en genreschilder te Utrecht, Assen, 1938, p. 134, no. 35 (as not by the hand of Paulus Moreelse)

The present portrait of the daughter of a Dordrecht patrician has traditionally been regarded as a work by Paulus Moreelse. It is actually by the hand of Jan Anthonisz. van Ravesteyn, a painter active in The Hague who also depicted numerous members of prominent families in Dordrecht. The Museum Simon van Gijn in Dordrecht preserves four works by Ravesteyn, all of which, interestingly enough, represent relatives of the present sitter, Catharina van Beverwijck. It seems that Ravesteyn was held in high esteem by Dordrecht patricians as a fashionable and elegant portraitist whose works were highly coveted as prestigious objects.

The sitter’s biographical details are inscribed on the reverse.

Provenance:
van Beverwijck family, Dordrecht (circa 1629);
by descent to Johan van Mewen van Heijnsberch (1681 – after 1740);
sale Joseph Fievez, Brussels, 3rd July 1919, lot 117 (as Michiel van Mierevelt);
sale Mak van Waay, Amsterdam, 13th February 1934, lot 72 (as Paulus Moreelse);
sale Mak, Dordrecht (1936); with Theo Hermsen, The Hague (1936);
van Maane de Hoog collection, Netherlands;
Private collection, France

Literature:
C. H. de Jonge, Paulus Moreelse, Portret- en genreschilder te Utrecht, Assen, 1938, p. 134, no. 35 (as not by the hand of Paulus Moreelse)

The present portrait of the daughter of a Dordrecht patrician has traditionally been regarded as a work by Paulus Moreelse. It is actually by the hand of Jan Anthonisz. van Ravesteyn, a painter active in The Hague who also depicted numerous members of prominent families in Dordrecht. The Museum Simon van Gijn in Dordrecht preserves four works by Ravesteyn, all of which, interestingly enough, represent relatives of the present sitter, Catharina van Beverwijck. It seems that Ravesteyn was held in high esteem by Dordrecht patricians as a fashionable and elegant portraitist whose works were highly coveted as prestigious objects.