Portrait of a Woman, probably a Member of the Van Beresteyn Family | |
---|---|
Year | 1632 |
Medium | oil paint, canvas |
Dimensions | 111.8 cm (44.0 in) × 88.9 cm (35.0 in) |
Location | Metropolitan Museum of Art |
Owner | Louisine Havemeyer |
Collection | Metropolitan Museum of Art |
Accession No. | 29.100.4 |
Identifiers | RKDimages ID: 58704 The Met object ID: 437388 |
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. [1]
Rembrandt created this painting as a pendant to the MET's portrait of a man, probably as a wedding pendant. Only a few pairs of pendant portraits by Rembrandt have survived. This pair came into the collection via the Mrs. H. O. Havemeyer bequest in 1929.
This painting was documented by Hofstede de Groot in 1914, who wrote:
625. A LADY OF THE VAN BERESTEYN -VUCHT FAMILY. Dut. 248; Wb. 344; B.-HdG. 83. Three-quarter length; life size. She stands to the left, seen almost in full face, at a table with a greenish-blue cover, on which she rests her left hand. She is of middle age. Her fair but greyish hair, combed well back from the face, is covered at the back with a small cap and fastened with a rosette-headed pin. She wears a flowered black silk gown with slashed and puffed sleeves; she has a greenish-gold girdle, several strings of pearls at her throat and her wrists, a gold chain on her bosom, a broad lace-trimmed ruff over a soft lace collar fitting closely round her neck, and lace-trimmed cuffs. In her right hand she holds a black ostrich-feather fan by a gold chain. Cool light comes from the left. See notes to 624, to which this is a pendant. Signed on the right above the table, "RHL van Ryn 1632"; canvas, 44 1/2 inches by 35 1/2 inches.
Mentioned by Dutuit, p. 53; Michel, p. 119 [91, 443]. In the collection of the Beresteyn family, Chateau Maurik, Vucht, 1884.
In the collection of the late H. O. Havemeyer, New York. [2]
The painting was included in most Rembrandt catalogs of the 20th century, only recently being disputed as autograph by Walter Liedtke, though this is not reflected in the latest RRP catalog. It is, however, still connected with Rembrandt's workshop and time period and is still considered a pendant to its pair. Despite numerous attempts, the provenance does not reach further back than the Havemeyer purchase from Chateau Maurik, and as Hofstede de Groot states in his entry for the male portrait, the pendants could just as easily have descended in the female line as the male line, and therefore the portrayed couple might not be related to the Beresteyn family at all. Considering the shadows on the wall and assuming the portraits were painted at around the same time in the same place, it is possible the woman is quite a bit shorter than the man, but painted to fill the space. This would explain why her collar appears so large, since presumably the standard bleaching and starching molds were used for it as was common for collars of the nobility in 17th-century Amsterdam.
Portrait of a Man Rising from His Chair is a painting by the Dutch painter Rembrandt, painted in 1633. It hangs in the Taft Museum of Art of Cincinnati, Ohio, United States. The oil-on-canvas portrait measures 124 by 99 centimetres. It is signed and dated 1633, and there is no doubt of its authenticity.
Portrait of a Woman Standing (Kassel) is a painting by the Dutch Golden Age painter Frans Hals, painted in 1618–1620 and now in Gemäldegalerie Alte Meister (Kassel). It is considered a pendant portrait to the Portrait of a Man Standing, in the same museum.
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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.
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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.
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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.
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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.
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.
Portrait of Mrs. Bodolphe is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1643 as half of a pair of pendant marriage portraits and is still together with its pendant in the Yale University Art Gallery, New Haven, Connecticut.