Peter Wtewael Utrecht 1596 - 1660

Berden, Roermond, circa 1957;
Van Roosmalen-Hermans, Maasbracht, by 1964;
Private collection, Amsterdam.

J.L. Slatkes, 'Dutch Mannerism' , in The Art Quarterly, 33, 1970, p. 428;
A.W. Lowenthal, 'Some paintings by Peter Wtewael (1596-1660)', in The Burlington Magazine, 116, 1974, p. 465, reproduced fig. 72;
A.W. Lowenthal, Joachim Wtewael and Dutch Mannerism, Doornspijk 1986, p. 176, cat. no. D4, plate 164.

The actual painting is warmer in tone and shows more detail in the darker parts than the catalogue illustration suggests. The panel consists of two planks, joined vertically, and is bevelled on all sides. The joint is reinforced with 5 battons and a vertical strip of wood. One thin vertical split of approximately 4 cm. is visible in the upper right corner. A few smaller vertical splits are visible along the joint to the upper edge, and along the lower edge to the left. A few small paint losses and tiny pin holes can be observed along the upper edge, in the background in the upper left corner, and in the centre to the lower right. Tiny discoloured retouchings are visible in her left arm, in her neck, around her ear, and in the skull, following the wood grain. The painting is under a thick and dirty layer of varnish. Inspection under ultra violet light is partially impeded by the varnish layer, but does confirm the aforesaid retouchings, and reveals additional tiny retouchings in her cheek and in the glass in the foreground. Offered in a faux tortoise shell frame with velours inlay with a few chips, but otherwise in good condition. (MW)
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The attribution to Peter Wtewael was first suggested by Slatkes in 1970.¹ According to Lowenthal, Wtewael uses in this work his favourite colour combination of blue-green (the gown) and crimson (the cheeks, lips and ribbon), and it shows some of his well known characteristics, such as the heavy hands, with wide spread fingers and a single bear breast, with white-edged drapery around the curve to emphasize the form. There is a sense of quietness about this work, suggesting that it might have been intended as a private devotional image.²

1.See Slatkes under Literature.
2.See Lowenthal 1974 under Literature, p. 465.