Portrait of a Young Woman

1562

Joachim Beuckelaer
Netherlandish, c. 1535-c. 1574

Although the identity of this woman is unknown, the inscription near her head notes her age, 24, and the silver chain at her waist and the leather gloves in her hand indicate that she was of high social status. In the mid-16th century, many members of Antwerp’s newly wealthy merchant class commissioned half-length, small-scale likenesses such as this one to commemorate their prosperity and standing. This rare portrait by Joachim Beuckelaer shows the same attention to sartorial details he displayed in the market scenes for which he is better known.

Status: On View, Gallery 207
Department: Painting and Sculpture of Europe

Artist: Joachim Beuckelaer
Title: Portrait of a Young Woman
Place: Flanders
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.: 1562
Medium: Oil on panel
Inscriptions: Inscribed upper right: .1562./ AETATIS / . SVE 24
Dimensions: 42.5 × 32.3 cm (16 3/4 × 12 3/4 in.)
Credit Line: Purchased with funds provided by Mrs. George B. Young in memory of her husband; estate of Arma S. Wyler; Alexander A. McKay, Arma S. Wyler and European Painting Purchase funds
Reference Number: 1989.100
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/109487/manifest.json

Wilhelm Bode and Max J. Friedländer, Gemälde alter Meister im Besitze seiner Majestät des deutschen Kaisers und Königs von Preussen, ed. Paul Seidel (Berlin, Leipzig, Vienna, and Stuttgart, 1906), pp. 73-74 (ill.), p. 201.
I. Q. van Regteren Altena, “Nieuwe Pieter Aertszens. I,” Oud Holland 43 (1926), pp. 217-19, fig. 3.
Ary Bob de Vries, Het Noord-Nederlandsch Portret in de Tweede Helft van de 16de Eeuw (Amsterdam, 1934), p. 49.
Max J. Friedländer, Die altniederländische Malerei, vol. 13 (Leyden,1936), pp. 113, 170, no. 341 [rev. ed., Early Netherlandish Painting (Leyden and Brussels, 1975), pp. 59, 101, 117, no. 341, pl. 168].
G. J. Hoogewerff, De Noord-Nederlandsche Schilderkunst, vol. 4 (The Hague, 1941-42), p. 558.
Robert Genaille, “L’Oeuvre de Pieter Aertsen,” Gazette des Beaux-Arts, 6th ser., 44 (1954), p. 286, no. 41.
Robert Genaille, “Pieter Aertsen, Précurseur de l’Art Rubénien,” Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen (1977), p. 65, no. 56.
Art Institute of Chicago Annual Report 1988-89 (Chicago, 1989), pp. 3, 22, 55, pl. 5.
W[outer] Th. K[loek], “Register van het werk van Pieter Aertsen en zijn atelier,” Nederlands Kunsthistorisch Jaarboek 40 (1989), p. 292.
Wouter Th. Kloek, “Northern Netherlandish Art 1580-1620, A Survey,” in Amsterdam, Rijksmuseum, Dawn of the Golden Age: Northern Netherlandish Art, 1580-1620, exh. cat. by Ger Luijten et al., 1993, p. 108 n. 30.
J. Bruyn, “Een portret van Pieter Aertsen en de Amsterdamse portretschilderkunst 1550 - 1600 met een postscriptum over Huybrecht Beuckelaer (alias Hubbert/Hubbard),” Oud Holland 113 (1999), pp. 108, 131 n. 14.
Till-Holger Borchert et Koenraad Jonckheere, Portraits de la Penaissance aux Pays-Bas (Brussels, BOZAR, 2015) pp. 162-63

Brussels, Centre for Fine Arts, Renaissance Portraits of the Low Countries, February 5-September 12, 2015.

Friedrich Wilhelm von Thulemeier (died 1811) Berlin [according to Christoph Martin Vogtherr, letters of February 23 and July 12, 2001]; bequeathed to King Friedrich Wilhelm III of Prussia (died 1840), Schloss, Berlin [Möbelkammer inventory 1824, no. M279]; by descent in Prussian royal collection until 1926 [apportioned to the Hohenzollern family in the 1926 division of the Prussian royal collection between the royal family and the Prussian state and subsequently sold]. Galerie van Diemen, Amsterdam, by 1926 to at least 1930 [according to Van Regteren Altena 1926 and Friedländer 1936]. Mrs. Caroline G. Doty, Swampscott, Massachusetts (died 1988); sold Christie’s, New York,11 January 1989, to Marco Grassi as agent for Silvano Lodi, Campione d’Italia; sold to the Art Institute, 1989.

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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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