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Ferdinand Voet Antwerp 1639 - 1689 Paris
Description
- Ferdinand Voet
- Portrait of a lady, half length, framed by a wreath of grapes, apples and plums
- inscribed on the reverse in 17th-century hand: S Gio: Ferd.../ S. Felice Napoletano/ [Pae]saggio di Montagna/ ...e Ritrattista com.../ ... e F...us ...ent
- oil on copper, oval, in a 17th-century elaborate carved and gilt wood frame
Provenance
Catalogue Note
Ferdinand Voet was the principal portrait painter in Rome during the third quarter of the 17th century and he was greatly sought after by Roman aristocratic families (he is known to have worked extensively for the Altieri, the Chigi, Colonna, Mancini, Odescalchi, Piccolomini, Rocci and Rospigliosi). The figure's costume and hairstyle help to date this charming little portrait to circa 1669 and may be compared to those worn by Maria Virginia Borghese Chigi in Voet's little portrait on copper, which is dated and inscribed with the identity of the sitter on the reverse.1 Dott. Petrucci believes the still-life elements here are the work of Michelangelo Pace, called Michelangelo da Campidoglio (Rome circa 1610 - circa 1670), further arguing for a date of execution around 1669 since it was a time during which both artists were employed by the Chigi family in Rome. Although rare for Voet, a collaboration with a still-life painter is not unique in his œuvre: compare, for example, the small copper showing a female member of the Colonna family surrounded by a garland of flowers, the latter probably painted either by Francesco Mantovano or by a member of the Stanchi family.2
We are grateful to Dott. Francesco Petrucci for endorsing the attribution to Ferdinand Voet on the basis of photographs.
1 Oil on copper, 15 by 11 cm.; Ariccia, Palazzo Chigi, inv. no. 212; see F. Petrucci, Ferdinand Voet (1639-1689) detto Ferdinando de' Ritratti, Rome 2005, p. 173, cat. no. 88.a, reproduced in colour on p. 72, fig. 59.
2 With Galleria Bottarel & Foi, Brescia, dated by Petrucci to circa 1667-69; see Petrucci, op. cit., p. 187, cat. no. 118, reproduced.