JACOB ADRIAENSZ. BACKER | TRONIE OF A WOMAN WITH A BLACK VEIL
JACOB ADRIAENSZ. BACKER | TRONIE OF A WOMAN WITH A BLACK VEIL
JACOB ADRIAENSZ. BACKER | TRONIE OF A WOMAN WITH A BLACK VEIL
JACOB ADRIAENSZ. BACKER | TRONIE OF A WOMAN WITH A BLACK VEIL
JACOB ADRIAENSZ. BACKER | TRONIE OF A WOMAN WITH A BLACK VEIL
JACOB ADRIAENSZ. BACKER | TRONIE OF A WOMAN WITH A BLACK VEIL
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JACOB ADRIAENSZ. BACKER | TRONIE OF A WOMAN WITH A BLACK VEIL

Estimate: 10,000 - 15,000 GBP

JACOB ADRIAENSZ. BACKER | TRONIE OF A WOMAN WITH A BLACK VEIL

Estimate: 10,000 - 15,000 GBP

Lot Sold:27,500GBP
(17 bids, reserve met)

Description

Property from the SØR Rusche Collection

JACOB ADRIAENSZ. BACKER

Harlingen 1608 - 1651 Amsterdam

TRONIE OF A WOMAN WITH A BLACK VEIL


signed with monogram centre right: JAB.

oil on canvas

unframed: 71 x 61 cm.; 27⅞ x 24 in.

framed: 89.5 x 79 cm.; 35¼ x 31⅛ in.


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Condition Report

The canvas has an old and firm relining. The paint surface is stable with a somewhat uneven and discoloured varnish. There is some visible frame abrasion in the upper margins and some discoloured retouchings in the background and around the figure's raised hand that are visible to the naked eye. Inspection under ultraviolet light reveals scattered retouchings throughout. Most of these retouchings are of a purely cosmetic nature, there is however, a larger concentration around the lower margin and others concentrated in the raised hand of the sitter where there is a distinctive craquelure and some associated restored pinprick losses. The varnish fluoresces opaque, making earlier restoration hard to analyse. The possibility of further strengthening throughout the background should be assumed. In otherwise good overall condition, with relatively little intervention in the face and clothing of the sitter.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.

Provenance

With Van Pappelendam & Schouten, Amsterdam;

Their sale, Amsterdam, Frederik Muller, 11–12 June 1889, lot 4 (as Jacob Backer);

Miss Juliana C. Shepherd, Manchester (as Anthony van Dyck);

Reverend W.H. Finney, circa 1899;

R.N. Broome, Corfe Castle, Dorset;

Private collection, England;

Anonymous sale, London, Sotheby's, 10 December 1986, lot 131, when acquired.

Literature

K. Bauch, Der Frühe Rembrandt und seine Zeit, Berlin 1926, pp. 44 and 88, cat. no. 122;

I. Kay, 'A Painting by Van der Helst', in The Connoisseur, vol. 95, 1935, p. 156 (as B. van der Helst);

Nasjonalgalleriet, Katalog over Utenlandsk Malerkunst, exh. cat., Oslo 1973, under no. 651;

C. Wright, Old Master Paintings in Britain, London 1976, p. 7;

W. Sumowksi, Gemälde der Rembrandt-Schüler, Landau 1983, vol. v, cat. no. 1997, reproduced in colour p. 3126;

A. Jensen Adams, The Paintings of Thomas Keyser (1596/7–1667): a Study of Portraiture in Seventeenth-Century Amsterdam, 2 vols., Cambridge 1985, vol. I, p. 270, vol. III, p. 147, reproduced fig. 151;

L.E. Plather, 'Thomas de Keysers Familienscene', in Kunst og Kultur, vol. 68, 1985, p. 177, reproduced fig. 8; 

P. van den Brink, Het Gedroomde land, Utrecht/Luxemburg 1993, p. 95;

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. I, Portraits, Münster/Hamburg/London 1995, pp. 22–25, cat. no. 4, reproduced in colour p. 23;

W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, pp. 134–35, cat. no. 148, reproduced in colour;

D. Hirschfelder, Tronie und Porträt in der niederlandischen Malerei des 17. Jahrhunderts, Berlin 2008, pp. 282, 401, cat. no. 30, reproduced pl. 5;

P. Van den Brink et. al., Jacob Backer (1608 and 1609–1651), Zwolle 2009, p. 122, cat. no. 16, reproduced in colour, p. 226, cat. no. A63, reproduced in black and white;

F.W. Kaiser and M. North, Die Geburt des Kunstmarktes. Rembrandt, Ruisdael, van Goyen und die Künstler des Goldenen Zeitalters, exh. cat., Munich 2017, p. 137, cat. no. 92, reproduced in colour.

Exhibited

Bristol, Bristol Museum and Art Gallery, on loan, 1961–81;

Liesborn, Museum Abtei Liesborn, on loan;

Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 148;

Amsterdam, Museum Het Rembrandthuis, 29 November 2008 – 22 February 2009; Aachen, Suermondt-Ludwig-Museum, 12 March – 7 June 2009, Jacob Backer (1608/09–1651), no. 16;

Hamburg, Bucerius Kunst Forum, Die Geburt des Kunstmarktes. Rembrandt, Ruisdael, van Goyen und die Künstler des Goldenen Zeitalters, 23 September 2017 – 7 January 2018, no. 92.


The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.

JACOB ADRIAENSZ. BACKER | TRONIE OF A WOMAN WITH A BLACK VEIL
JACOB ADRIAENSZ. BACKER | TRONIE OF A WOMAN WITH A BLACK VEIL
Lot Closed