Pieter de Grebber
- Pieter de Grebber
- Portrait of a woman, bust length
- oil on panel
- 15 1/2 by 13 1/4 in.; 39.4 by 33.7 cm.
His sale, Berlin, Paul Cassirer und Hugo Helbing, 21 March 1917, lot 12;
Ivan Traugott, Stockholm;
Dr. Albert Welcker, Amsterdam;
Alfred Brod, 1958.
Providence, Museum of Art, Rhode Island School of Design, Northern Baroque Paintings and Drawings from the Collection of Mr. and Mrs. Henry H. Weldon, 15 April - 7 June 1964, no. 10;
Allentown, Allentown Art Museum, Seventeenth Century Painters of Haarlem, 2 April – 13 June 1965, no. 32;
New York, Finch College Museum of Art, The Collection of Mr. and Mrs. Henry H. Weldon, 11 May - 30 June 1966, no. 15;
New York, Metropolitan Museum of Art, 1972, temporary loan;
Birmingham, Alabama, The Golden Age of Dutch Painting, 22 April - 18 June 1995, no. 9;
New Orleans, New Orleans Museum of Art, In the Eye of the Beholder: Northern Baroque Paintings from the Collection of Henry H. Weldon, 1997, no. 22;
Baltimore, The Walters Art Gallery, An Eye for Detail, 17th-Century Dutch and Flemish Paintings of the Collection of Henry H. Weldon, 20 June - 5 September 1999, no. 21.
The Burlington Magazine, vol. 100, no. 663 (June 1958), p. 221, reproduced p. 222, fig. 38;
Daily Telegraph and Morning Post, 10 April 1958, p. 12, reproduced;
Seventeenth Century Painters of Haarlem, exhibition catalogue, Allentown 1965, p. 29, cat. no. 32, reproduced;
N. T. Minty, In the Eye of the Beholder: Northern Baroque Paintings from the Collection of Henry H. Weldon, New Orleans 1997, pp. 55-57, cat. no. 22, reproduced p. 56;
N.T. Minty and J. Spicer, An Eye for Detail, 17th-Century Dutch and Flemish Paintings from the Collection of Henry H. Weldon, Baltimore 1999, pp. 54-56, cat. no. 21, reproduced p. 55.
Pieter de Grebber is perhaps best known for his paintings with historical or religious subjects. While the present sitter’s heavenward gaze and pious spirit might suggest a devotional quality, a scene more typical of the artist’s religious work has been preserved under the surface of the Weldon portrait. It appears de Grebber reused an old panel that once depicted the expulsion of Adam and Eve from the Garden of Eden. Details of the work underneath remain faintly visible to the naked eye: the angel expelling the pair is faintly visible in front of the woman’s shawl and the soft strokes in the woman’s head correspond to the figure of Eve.