JACOB ADRIAENSZ. BACKER | PORTRAIT OF A YOUNG WOMAN HOLDING A FAN
Property from the Collection of Stan Battat
JACOB ADRIAENSZ. BACKER | PORTRAIT OF A YOUNG WOMAN HOLDING A FAN
Lot Closed
JACOB ADRIAENSZ. BACKER | PORTRAIT OF A YOUNG WOMAN HOLDING A FAN
JACOB ADRIAENSZ. BACKER | PORTRAIT OF A YOUNG WOMAN HOLDING A FAN
JACOB ADRIAENSZ. BACKER | PORTRAIT OF A YOUNG WOMAN HOLDING A FAN
JACOB ADRIAENSZ. BACKER | PORTRAIT OF A YOUNG WOMAN HOLDING A FAN
JACOB ADRIAENSZ. BACKER | PORTRAIT OF A YOUNG WOMAN HOLDING A FAN
JACOB ADRIAENSZ. BACKER | PORTRAIT OF A YOUNG WOMAN HOLDING A FAN
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JACOB ADRIAENSZ. BACKER | PORTRAIT OF A YOUNG WOMAN HOLDING A FAN

Estimate: 20,000 - 30,000 USD

Property from the Collection of Stan Battat

JACOB ADRIAENSZ. BACKER | PORTRAIT OF A YOUNG WOMAN HOLDING A FAN

JACOB ADRIAENSZ. BACKER | PORTRAIT OF A YOUNG WOMAN HOLDING A FAN

Estimate: 20,000 - 30,000 USD

Description

Property from the Collection of Stan Battat

JACOB ADRIAENSZ. BACKER

Harlingen 1608 - 1651 Amsterdam

PORTRAIT OF A YOUNG WOMAN HOLDING A FAN


oil on canvas

canvas: 26⅛ by 21¼ in.; 66.4 by 54 cm.

framed: 39¾ by 34¾ in.; 101 by 88.3 cm.

Condition report

The canvas is lined. The portrait presents an elegant sitter with beautifully preserved details on her gown and pearls, though the paint surface in the lower right corner has thinned as well as in her hair. There is a restored L-shaped tear on the left side of her forehead, approx. 5 by 10 cm. There are some small restored damages above her head, a small restored damage at the center left on her hair and likewise center right. Inspection under ultra-violet light reveals many tiny spots of retouching concentrated down the bridge of her nose and around her mouth, some strengthening to the shadow under her chin and further scattered spots throughout. The painting is in fairly good condition overall, in spite of the restored tear and sporadic thinness. Offered framed.


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

Anonymous sale, Brussels, Fievez, 17-18 May 1923, lot 101 (as Jean Verspronck);

With Van de Heuvel, Brussels;

Probably, private collection, Pennsylvania, by 1927;

Louis H. Warden, San Diego, by 1966;

With Jefferson Gallery, La Jolla;

Anonymous sale, San Francisco, Bonham's and Butterfields, 16 November 2004, lot 26 (as Circle of Ferdinand Bol);

With Alexander Galleries, New York (as Govaert Flinck, according to label on reverse);

Anonymous sale, London, Sotheby's, 5 July 2007, lot 138;

There acquired.

Literature

P. van den Brink, Jacob Backer (1608/9-1651), exhibition catalogue, Zwolle 2008, pp. 58-59, 243, cat. no. A113, reproduced p. 58, fig. 57, and p. 243 (as dated circa 1645-1646). 

Catalogue note

This portrait of an elegant and richly adorned young woman by Jacob Adriaensz. Backer dates to circa 1646. The sitter dexterously balances a fan in her right hand in a manner that appears also in earlier works by Backer, including his portrait of Rebecca Scheelingwou, Bartholomeus Breenbergh's wife and another portrait of a young woman.1 


Jacob Adriaensz. Backer was a Dutch artist active in the second quarter of the seventeenth century. Though he studied in Friesland alongside Govaert Flinck in the workshop of the history painter Lambert Jacobsz, he spent the majority of his successful career in Amsterdam, where he was highly regarded by his contemporaries. Backer also held a position for some time in the court of Frederick Henry, Stadholder of the Netherlands.  


1. Van den Brink 2008, pp. 140-143, cat. no. 25b, and pp. 144-145, cat. no. 26, both reproduced in color.