Master Paintings & Sculpture Part I

Master Paintings & Sculpture Part I

View full screen - View 1 of Lot 24. The Lacemaker's School.

Property from the Collection of the Late Paula and Don Gaston

Quiringh Gerritsz. van Brekelenkam

The Lacemaker's School

Auction Closed

January 27, 05:11 PM GMT


100,000 - 150,000 USD

Lot Details


Property from the Collection of the Late Paula and Don Gaston

Quiringh Gerritsz. van Brekelenkam

Zwammerdam circa 1622/30 - after 1669 Leiden

The Lacemaker's School

signed with monogram and dated on wooden box at lower left: Q B 1654

oil on panel

panel: 24 1/2 by 34 in.; 62.2 by 86.4 cm.

framed: 33 by 42 1/2 in.; 83.8 by 108 cm.






款識:藝術家於左下角木箱上簽姓名縮寫並紀年 Q B 1654


畫板:24 1/2 x 34 英寸;62.2 x 86.4 公分

連框:33 x 42 1/2 英寸;83.8 x 108 公分

Please refer to the online catalogue for updated Literature.
Delafield et al. sale, New York, Sotheby Parke Bernet, 21 January 1982, lot 35;
With Richard Green, London;
From whom acquired, 21 March 1983.

P.C. Sutton and C. Brown, Von Frans Hals bis Vermeer. Meisterwerke holländische Genremalerei, exhibition catalogue, Philadelphia/Berlin/London 1984, p. 118, reproduced;

P.C. Sutton and C. Brown, Masters of Seventeenth Century Genre Painting, exhibition catalogue, Philadelphia 1984, p. 159, reproduced fig. 1;

A. Lasius, Quiringh van Brekelenkam, Doornspijk 1992, pp. 26-27, 29, 98, 118, cat. no. 63, reproduced plate 11 (as location unknown);

W. Franits, Paragons of Virtue; Women and Domesticity in Seventeenth-Century Dutch Art, Cambridge/ New York 1993, pp. 136-38, reproduced fig. 114.

Van Brekelenkam specialized in scenes of domestic life inspired by the Leiden School of painting, but the present subject of a woman teaching young ladies to make lace is likely unique in Dutch painting of the period. The figures should not be identified as a mother and her daughters, but rather as a woman and her unrelated students who have come specifically to learn this skill, as the pile of lace-making pillows on the shelf attests.1 

The artist reused the figural type of the young woman with oval face, high forehead and pointed nose in several paintings datable to the mid-to-late 1650s and early 1660s.2 The present composition is also closely related to a smaller panel painting, also monogrammed, of Women Sewing in the Koninklijke Musea voor Schone Kunsten, Brussels, that dates to the same year or shortly after.3 In both scenes, similar female figures sit in the same room with an open window at left and a wooden chair with a broom propped against it to the right. 

1. O. Naumann in P.C. Sutton and C. Brown 1984, p. 118.

2. A. Lasius 1992, p. 27, note 20.