Portrait of a 62-year-old Woman, possibly Aeltje Pietersdr Uylenburgh | |
---|---|
Artist | Rembrandt |
Year | 1632 |
Medium | oil paint, oak panel |
Dimensions | 29 in (74 cm) × 22 in (56 cm) |
Collection | Rose-Marie and Eijk van Otterloo Collection, Museum of Fine Arts |
Accession No. | L-R 249.2017 |
Identifiers | RKDimages ID: 34964 |
Portrait of a 62-year-old Woman, possibly Aeltje Pietersdr Uylenburgh is a 1632 portrait painting painted by Rembrandt. It is an oil on panel in oval format depicting an elderly woman with a small and sober millstone collar. It is in the collection of the Museum of Fine Arts, Boston. [1]
Several oval portraits of a woman of 17th-century Amsterdam have survived, and sometimes these were pendants and sometimes they were individual portraits. This painting, without a pendant, has been attributed to Rembrandt since the 19th century. This painting came into the collection via the major gift of Rose-Marie and Eijk van Otterloo, after being on loan from them for an extended period of time.
This painting was documented by Hofstede de Groot in 1914, who wrote:
877. AN OLD LADY WITH A WHITE CAP. Bode 301; Dut. 329; Wb. 315 and 456; B.-HdG. 85. About sixty. Half-length; life size. She sits, inclined to the left, looking out of the picture. Over her bright black gown she wears a cape trimmed with dark fur. She has a flat outstanding ruff; her hair is covered by a close-fitting cap with projecting side-flaps. Grey background. Signed to the right at top, "R H L van Rijn 1632"; oval oak panel, 30 inches by 22 inches. Mentioned by Vosmaer, p. 495; Michel, p. 435. In the possession of Sm., London, before 1836 [priced at 200]; sold by him in 1835 to Brondgeest, according to a note in his own copy of his catalogue. In the collection of Baron Alphonse de Rothschild, Paris. In the collection of Baron Henri de Rothschild, Paris. [2]
This portrait was copied and signed H Roos by Johann Heinrich Roos while he was a student of Rembrandt. That copy later came into the collection of Henriette Amalie of Anhalt-Dessau. [3] Another copy was made presumably while the painting was in the British Coesvelt collection and has been in Felbrigg Hall since 1764, when it was recorded as a picture by Rembrandt of his mother. [4]
In 2000 the portrait was sold at Christie's in London as a portrait of the wife of the theologian Johannes Sylvius for nearly 20 million pounds. [5] Aeltje Pietersdr Uylenburgh lived in the minister's residence of the Oude Kerk and was the daughter of Saskia van Uylenburgh's uncle Pieter, making them first cousins, though Aeltje was a generation older and probably served as a guide for the 21-year-old Saskia on her first visit to Amsterdam in the Spring of 1633. [6]
If indeed it is she, though its pendant is lost, an etching of her husband by Rembrandt still exists (the lost original painting would have been reversed so he faced her).
Jacob Adriaensz Backer was a Dutch Golden Age painter. He produced about 140 paintings in twenty years, including portraits, religious subjects, and mythological paintings. In his style, he was influenced by Wybrand de Geest, Rubens and Abraham Bloemaert. He is also noted for his drawings of male and female nudes.
Dirck Jansz Pesser was a Dutch brewer from Rotterdam, best known today for his portrait by Rembrandt. He was an important member of the Rotterdam Remonstrant community in the early 17th century.
Portrait of a Seated Woman with a Handkerchief is a painting at the Art Gallery of Ontario, in Toronto. Today it is attributed to Carel Fabritius, but was previously considered a work by Rembrandt.
Self-portrait wearing a white feathered bonnet is an oil painting attributed to the Dutch painter Rembrandt. It is signed and dated 1635. It was traditionally regarded as a Rembrandt self-portrait until 1968, when it was rejected on stylistic grounds in the Rembrandt catalogue raisonné by Horst Gerson. In 2013, art historian Ernst van de Wetering re-attributed the painting as an original Rembrandt. It is one of over 40 painted self-portraits by Rembrandt.
Flora or Saskia as Flora is a 1634 oil-on-canvas painting by Rembrandt, depicting his wife Saskia van Uylenburgh as the goddess Flora. It is held by the Hermitage Museum in St. Petersburg.
Pieter Tjarck is a portrait painting by the Dutch Golden Age painter Frans Hals, painted in 1638 and now in the Los Angeles County Museum of Art, Los Angeles.
Girl in a Blue Dress, also called Portrait of a Girl Dressed in Blue or simply Portrait of a Girl, is an oil painting by Johannes Cornelisz Verspronck in the collection of the Rijksmuseum. It was acquired by the museum in 1928 as a gift from the Vereniging Rembrandt. The identity of the girl and her family are unknown.
The pendant portraits of Maerten Soolmans and Oopjen Coppit are a pair of full-length wedding portraits by Rembrandt. They were painted on the occasion of the marriage of Maerten Soolmans and Oopjen Coppit in 1634. Formerly owned by the Rothschild family, they became jointly owned by the Louvre Museum and the Rijksmuseum in 2015 after both museums managed to contribute half of the purchase price of €160 million, a record for works by Rembrandt.
Portrait of Maria Trip (c.1639) is an oil painting on panel by the Dutch painter Rembrandt. It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.
Portrait of a Woman, probably a Member of the Van Beresteyn Family is a 1632 oil-on-canvas portrait painting by Rembrandt. A depiction of a woman with an unusually large millstone collar, it is a pendant to Portrait of a Man, probably a Member of the Van Beresteyn Family. Both portraits are in the collection of the Metropolitan Museum of Art.
Portrait of a Man, probably a Member of the Van Beresteyn Family is an oil-on-canvas 1632 portrait painting by Rembrandt. It shows a man with a lace collar, which was a new fashion in the 1630s replacing older-styled millstone collars. It is pendant to Portrait of a Woman, probably a Member of the Van Beresteyn Family, and both are in the collection of the Metropolitan Museum of Art.
Portrait of an Old Woman is a c. 1640 portrait painting painted in the style of Jacob Adriaensz. Backer. It shows an old woman with folded hands. It is in the collection of the Metropolitan Museum of Art.
Oval Portrait of a Woman is a 1633 portrait painting painted by Rembrandt. It shows a woman with a millstone collar and diadem cap. It is in the collection of the Metropolitan Museum of Art.
Young Woman in a Pearl Necklace is an oil on canvas painting by the Dutch painter Willem Drost. It is an example of Dutch Golden Age painting and is part of the collection of Gemäldegalerie Alte Meister.
Young Woman in a Pearl Necklace is an oil on canvas painting by an unknown painter, after a painting by the Dutch painter Willem Drost. It is an example of Dutch Golden Age painting and is part of the collection of the Metropolitan Museum of Art.
Portrait of a Young Woman with a Fan is a 1633 portrait painting by Rembrandt. It shows a woman holding a fan, pendant to Portrait of a Man Rising from His Chair. It is in the collection of the Metropolitan Museum of Art.
Portrait of a Woman Wearing a Gold Chain is a 1634 portrait painted by Rembrandt. It shows a smiling woman with a triple lace collar. It is in the collection of the Museum of Fine Arts, Boston.
Portrait of Petronella Buys (1610–1670) is a 1635 portrait painting painted by Rembrandt. It shows a young woman with a very large and impressive millstone collar. It is in a private collection.
Raising of the Cross is a 1633 painting by the Dutch Golden Age painter Rembrandt in the collection of the Alte Pinakothek. It was painted as part of a "passion" series commissioned in 1633 by Frederick Henry, Prince of Orange. Together with its pendant, The Descent from the Cross, it is one of the rare paintings by Rembrandt with a continuous provenance from the date of completion to today.
Portrait of a Girl is a circa 1632 portrait painting formerly attributed to Rembrandt. It shows a woman with a millstone collar and diadem cap. It was sold on 24 August 2024 for US$1,468,750 in Thomaston, Maine, near where it had been stored since 1970 in the collection of Cary W. Bok. It had been in the collection of Abraham Bredius who lent it for several years to the Mauritshuis, but it landed up in the Philadelphia collection of Mrs. Zimbalist, who in turn left it to her son Cary W. Bok, who outlived his mother by less than a year.