JACOB ADRIAENSZ. BACKER | A kneeling woman

Vincent van Gogh (1866-1911), the cousin of the artist,
his sale, Amsterdam, R.W.P. de Vries, 2-3 December 1913, lot 22 (to Gross);
probably with Prouté, Paris, March 1922;
Iohan Quirijn van Regteren Altena (1899-1980) by 1925,
by whose heirs sold, London, Christie’s, ('The I.Q. van Regteren Altena Collection: Part I'), 10 July 2014, lot 49,
acquired at the sale by Baron Willem van Dedem

Rotterdam, Museum Boijmans van Beuningen, Paris, Fondation Custodia and Brussels, Bibliothèque Albert 1er, Le Cabinet d’un Amateur: Dessins flamands et hollandais des XVIe et XVIIe siècles d’une collection privée d’Amsterdam, 1976-77, no. 9, pl. 83 (catalogue by J. Giltaij);
Amsterdam, Museum Het Rembrandthuis and Aachen Suermondt-Ludwig-Museum, Jacob Backer (1608/9-1651) Rembrandts tegenpool, 2008-9, no. 47 (catalogue by M. Kersten).

I.Q. van Regteren Altena, ‘Een vroeg meesterwerk van Jacob Backer’, Oud Holland, XLII, 1925, p. 146;
K. Bauch, Jakob Adriaensz. Backer: ein Rembrandtschüler aus Friesland, Berlin 1926, p. 106, no. 47;
W. Sumowski, Drawings of the Rembrandt School, New York 1979, I, p. 80, no. 33^x

Hinge mounted by the upper corners to a decorative mount, which has in turn been hinged to a modern cream mount. There is a small, old crease to the upper left corner and a tiny repaired tear to the upper right corner. There is a small light brown stain to the centre left of the sheet and two smaller brown stains to the lower left section of the woman's dress. The combination of media remains relatively fresh throughout and the paper retains much of its original grey-blue colour. Sold in a modern darkwood frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The vast majority of Backer’s surviving drawings are studies of single figures executed in a combination of black and white chalk on blue paper, with some, like the present work, also including the carefully modulated application of grey wash or watercolour.¹ The present drawing, which depicts a kneeling woman with her hands clasped in front of her, previously formed part of the highly distinguished collection of Old Master Drawings assembled by the Dutch art historian, I.Q. van Regteren Altena and, based on the model’s distinctive costume, can be broadly dated to circa 1640/45. The model employed by Backer and the very distinctive costume she wears can also be found in at least two other figure studies by the artist: Woman with her hand resting on a jug,² in the British Museum and a Standing Woman,³ previously in an American a private collection.

^1. Sumowski 1979, p. 78, no. 32^x
2. Sumowski 1979, p. 72, no. 29^x
3. Sumowski 1979, p. 66, no. 26^x