A Portrait of a Woman

Prints and Drawings

1650

Jan de Bray
Dutch, c. 1627-1697

Jan de Bray used finely pointed red and black chalk in alternation to describe the facial features of middle-aged residents of the city of Haarlem. He also captured the distinctive features of their clothing, such as buttons, pleats, seams, and the stiffly pressed lace of their elaborate collars.

Status: Currently Off View
Department: Prints and Drawings

Artist: Jan de Bray
Title: A Portrait of a Woman
Place: Netherlands (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1650
Medium: Black and red chalk on ivory laid paper
Inscriptions: Inscribed recto, center right, in black chalk: "AETAT: 56/Ao 1650"; inscribed verso, upper center in graphite: "45"; lower center, in graphite: "54/4 dBray f"
Dimensions: 16.4 × 12.8 cm (6 1/2 × 5 1/16 in.)
Credit Line: Margaret Day Blake Fund
Reference Number: 2015.209
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/228932/manifest.json

J. W. von Moltke, “Jan de Bray”, in Marburger Jahrbuch für Kunstwissenschaft, 11-12 (1938-39), p. 421-523, cat. nos. Z.158 and Z.159

Rotterdam, Museum Boymans van Beuningen, Kabinet van Tekeningen: 16e en 17e eeuwse Hollandse en Vlaamse tekeningen uit een Amsterdamse verzameling, Nov. 25, 1976–Jan. 9, 1977, pp. 16–17, nos. 26 and 27, pl. 82; also Paris, Institut Néerlandais, Jan. 20–Mar. 6, 1977, and Brussels, Koninklijke Bibliotheek Albert I, Mar. 19–Apr. 30, 1977.
Art Institute of Chicago, Van Dyck, Rembrandt and the Portrait Print, Mar. 5–Aug. 7, 2016, p, 18, 23, figs. 7a and 7b, cats. 100 and 101.
The Art Institute of Chicago, “Rubens, Rembrandt, and Drawing in the Golden Age”, September 28, 2019 - January 5, 2020, pp. 41, 43 (ill.), 44, 290-91, 329 (ill.), cat. 9, cat. by Victoria Sancho Lobis, et. al.

Jeronimus Tonneman (1688–1750), Amsterdam; sold, Amsterdam, Oct. 21, 1754, Kunstboek N, lot 28, to Hendrick De Leth. Cornelis Ploos van Amstel (1726–1798), Amsterdam; sold, Amsterdam, Mar. 3, 1800, Kunstboek B, lot 24, to Reinier Vinkeles (1741–1816). Bernardus de Bosch (1742–1816); sold, Amsterdam, Mar. 10, 1817, Kunstboek D, lots 9–10, to Jan Hulswit (1766–1822). H. Willink; sold, Amsterdam, Dec. 6, 1819, Kunstboek C, lot 3, to Brondgeest. H. Croockewit; sold, Amsterdam, Dec. 16, 1874, lot 24, to A.G. De Visser; sold, Muller et Cie, The Hague, May 16–18, 1881, lot 50, to Geller for Baron Adalbert von Lanna (1836–1909); sold, Gutekunst, Stuttgart, May 6, 1910, no. 118, to Cornelis Hofstede de Groot (1863–1930), The Hauge [stamp (Lugt 561) verso, lower center in brown]. I.Q. (Johan Quirijn) van Regteren Altena (1899–1980), Amsterdam [stamp (Lugt 4618) verso, lower center, in black]; by descent; sold Christie’s, Amsterdam, Dec. 10, 2014, to Haboldt & Company, Amsterdam; sold to the Art Institute of Chicago, 2015.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.