NICOLAES MAES | PORTRAIT OF BEATRIX SNELS (D. 1678), BUST-LENGTH, WEARING A BLACK DRESS AND A BLACK CAP
NICOLAES MAES | PORTRAIT OF BEATRIX SNELS (D. 1678), BUST-LENGTH, WEARING A BLACK DRESS AND A BLACK CAP
NICOLAES MAES | PORTRAIT OF BEATRIX SNELS (D. 1678), BUST-LENGTH, WEARING A BLACK DRESS AND A BLACK CAP
NICOLAES MAES | PORTRAIT OF BEATRIX SNELS (D. 1678), BUST-LENGTH, WEARING A BLACK DRESS AND A BLACK CAP
NICOLAES MAES | PORTRAIT OF BEATRIX SNELS (D. 1678), BUST-LENGTH, WEARING A BLACK DRESS AND A BLACK CAP
NICOLAES MAES | PORTRAIT OF BEATRIX SNELS (D. 1678), BUST-LENGTH, WEARING A BLACK DRESS AND A BLACK CAP
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NICOLAES MAES | PORTRAIT OF BEATRIX SNELS (D. 1678), BUST-LENGTH, WEARING A BLACK DRESS AND A BLACK CAP

Estimate: 8,000 - 12,000 GBP

NICOLAES MAES | PORTRAIT OF BEATRIX SNELS (D. 1678), BUST-LENGTH, WEARING A BLACK DRESS AND A BLACK CAP

Estimate: 8,000 - 12,000 GBP

Lot Sold:10,625GBP
(9 bids, reserve met)

Lot Details

Description

Property from the SØR Rusche Collection

NICOLAES MAES

Dordrecht 1634 - 1693 Amsterdam

PORTRAIT OF BEATRIX SNELS (D. 1678), BUST-LENGTH, WEARING A BLACK DRESS AND A BLACK CAP


signed and dated in the four spandrels: A./ 1678./ NMAES/ FECIT.

oil on oak panel, in a painted oval

unframed: 32.2 x 24.6 cm.; 12⅝ x 9⅝ in.

framed: 45 x 38 cm.; 17¾ x 15 in.


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Condition Report

The bevelled panel is uncradled, flat and stable. The paint surface is clean, and the varnish clear. Inspection under ultraviolet light reveals a thick and slightly streaky varnish, underneath which a few more recent retouchings are visible: tiny spots scattered in the upper section of the background, along the right margin, and in her white collar - but the work appears in overall good condition.


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.

Cataloguing

Provenance

The sitter's daughter Geertruid Trigland (b. 1646);

By descent to her daughter Beatrix van Alphen (d. 1728);

By descent to her daughter Beatrix van Assendelft (d. 1746);

By descent to her daughter Maria Anna Pompe van Slingelandt (1746–1805);

By descent to her daughter Maria Susanna Theodora de Wildt (1766–1851), Leiden and Wassenaar;

From whom loaned to the city of Leiden, 1838, no. 34;

By descent to her nephew Frans de Wildt (1805–69), Amsterdam, 1867;

By descent to his daughter Johanna Elisabeth de Wildt (b. 1832);

By descent to her grandson Frans Johan Eliza van Lennep (1890–1980), Amsterdam, 1963;

Anonymous sale, Laren, Christie's, 20 October 1980, lot 216, when acquired.

Exhibited

Amsterdam, Arti et Amicitiae, Tentoonstelling van zeldzame en belangrijke schilderijen van oude meesters in de kunstzalen der Maatschappij "Arti et Amicitiae": ten behoeve van het Weduwen – en Weezenfonds, 1876, no. 110;

The Hague, Meisterwerke der Porträtmalerei auf der Ausstellung im Haag, 1903, no. 80;

Liesborn, Museum Abtei Liesborn, on loan;

Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 151;

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. 12.


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

Literature

C. Hofstede de Groot, A catalogue raisonné..., vol. VI, London 1916, p. 573, cat. no. 421;

Jhr. F.G.L.O. van Kretschmar, 'Iconograpfische sprokkelingen. Een keuze uit enige proeven tot identificatie can onbekende of foutief benaamde portretten', in Jaarboek van het centraal bureau voor genealogie, vol. 21, 1967, pp. 85–87, reproduced fig. 9;

B. Lymant, Niederländische Malerei des 17. Jahrhunderts, vol. 1: Porträt, Liesborn 1985, pp. 22–23, reproduced;

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. I, Portraits, Münster/Hamburg/London 1995, pp. 98–99, cat. no. 35, reproduced in colour;

L. Krempel, Studien zu den datierten Gemälde des Nicolaes Maes (1634-1693), Petersberg 2000, p. 322, cat. no. A199, reproduced fig. 291;

W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 137, cat. no. 151, reproduced in colour;

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. 36, cat. no. 12, reproduced in colour.

Catalogue Note

Beatrix Snels was the wife of the Reverend Cornelis Trigland (1609–72), educator of the young Prince William III. She died in 1678, the year this painting was executed. The pendant of this piece depicting the Reverend was painted 17 years earlier by Jan Mijtens; it also sold at Christie's, 20 October 1980, lot 219 and is today in the Paleis Het Loo National Museum, Apeldoorn (inv. no. A5371).[1]


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Online bidding closed10 May 2019 | 03:42 PM GMT