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PROPERTY OF A PRIVATE COLLECTOR

Abraham Bloemaert
PORTRAIT OF A BEARDED OLD MAN, HALF LENGTH
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15

PROPERTY OF A PRIVATE COLLECTOR

Abraham Bloemaert
PORTRAIT OF A BEARDED OLD MAN, HALF LENGTH
前往

拍品詳情

Old Masters Online

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Abraham Bloemaert
1566年生於霍林赫姆 - 1651年卒於烏得勒支
PORTRAIT OF A BEARDED OLD MAN, HALF LENGTH
oil on canvas, laid down on board, unframed;

signed and dated lower left: 'ABloemaert. fec / 1634'


board: 21 3/4 by 19 in.; 55.6 by 48.3 cm.
surface: 20 1/2 by 18 in.; 52.1 by 45.7 cm.
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來源

Possibly Herr Carl Chr. E. Meyer, by 1904;
Private collection, London, circa 1970;
Thence by descent to the present owner.

展覽

Possibly Bremen, Kunsthalle Bremen, 'Ausstellung historischer Gemälde aus bremischem Privatbesitz in der Kunsthalle,' October - November 1904, no. 118 (as dated 1632).

出版

Possibly M. Roethlisberger, 'Abraham Bloemaert and his Sons: Paintings and Prints,' Netherlands 1993, vol. I, p. 329, cat. no. 517 (as dated 1632).
Possibly C. Schünemann, 'Katalog der Ausstellung historischer Gemälde aus bremischem Privatbesitz in der Kunsthalle,' Bremen 1904, p. 50, no. 118 (as dated 1632).

相關資料

In description, measurement, and signature, this portrait appears to be a match to a lost painting by Abraham Bloemaert, last known to have been exhibited in 1904 at Kunsthalle Bremen, where it was seen by Hofstede de Groot.Like the present painting, the missing composition depicts a “Head of an old, bearded man in profile facing left, with white beard and hair on his head,” and the measurements of the painted surface are almost an identical match.2   Although Roethlisberger notes in his monograph that this painting is signed “A. B. f. 16323, which he likely pulled from the 1904 exhibition catalogue, in Hofstede de Groot’s annotated copy of this catalogue, he clarifies that the signature should read “ABloemaert. fec. / 16344, which is consistent with the signature on the present lot.

The Dutch artist Abraham Bloemaert was one of the lead contributors of the School of Utrecht, as is evident by the vastness of his oeuvre and large number of pupils. He was a highly sought after artist, and most of his works, which consisted of history subjects and landscape scenes, were made according to the market’s demands. In addition, throughout the 1630s, Bloemaert executed a series of heads of elderly figures, such as the present portrait.  These types of portraits were probably not commissioned, and perhaps were of personal interest to Bloemaert, who would have been in his 70s at the time they were painted.5 When taking this into consideration, his portraits of aged sitters serve as sincere studies of expression executed with the utmost liberty.

 

1. M. Roethlisberger, 'Abraham Bloemaert and his Sons: Paintings and Prints,' Netherlands 1993, vol. I, p. 329, cat. no. 517. Also, see under Exhibition.
2. Ibid.
3. Ibid.
4. 'Katalog der Ausstellung historischer Gemälde aus bremischem Privatbesitz in der Kunsthalle,' Bremen 1904, p. 50, no. 118.
5. M. Roethlisberger, 'Abraham Bloemaert and his Sons: Paintings and Prints,' Netherlands 1993, vol. I, p. 34.

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