Portrait of a Woman

CC0 Public Domain Designation

Painting and Sculpture of Europe

1650/60

Attributed to Nicolaes Maes (Dutch, 1634–1693)

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Nicolaes Maes
Title: Portrait of a Woman
Place: Holland (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.: 1650–1660
Medium: Oil on panel
Dimensions: 30 × 26.5 cm (11 13/16 × 10 7/16 in.)
Credit Line: Gift of Charles L. Hutchinson
Reference Number: 1925.715
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/86782/manifest.json

Paul Mantz, “La galerie de M. Rothan,” Gazette des Beaux-Arts, 2nd series, 15 (1873), p. 282.
Emil Jacobsen, “Paris. Salle Georges Petit. Versteigerung der Collection Rothan,” Repertorium für Kunstwissenschaft 14 (1891), pp. 251-52, no. 72.
Art Institute of Chicago, Catalogue of Paintings, Sculpture, and other Objects of Art Exhibited at the New Museum (Chicago, January 1894), p. 20, no. 176.
Art Institute of Chicago, Catalogue of Objects in the Museum. Part I Sculpture and Painting (Chicago, 1896), p. 84, no. 145.
C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century based on the Work of John Smith, vol. 6 (London, 1916), p. 576, no. 440.
Wilhelm R. Valentiner, Nicolaes Maes (Berlin and Leipzig, 1924), p. 51, ill.
R. M. F., “The Charles L. Hutchinson Bequest,” Bulletin of the Art Institute of Chicago 19 (1925), pp. 103-104, ill. p. 102.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 161.
Paintings in the Art Institute of Chicago. A Catalogue of the Picture Collection (Chicago, 1961), pp. 264-65.
Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (1966), p. 196.
Benjamin A. Rifkin, “Rembrandt and His Circle, Part 3”, Art News 68, 7 (1969), p. 90.
[Willem] v[an] d[e] W[atering] in The Impact of a Genius. Rembrandt, his Pupils and Followers in the Seventeenth Century. Paintings from Museums and Private Collections, exhib. cat., K. & V. Waterman, Amsterdam and Groninger Museum, Groningen, 1983, p. 200, under no. 54.
Werner Sumowski, Gemälde der Rembrandt-Schüler, vol. 3 (Landau/Pfalz, [1986]), pp. 1957, 2026, no. 1387, pl. 1387.
Peter C. Sutton, A Guide to Dutch Art in America (Grand Rapids, Michigan, 1986), p. 51.
William W. Robinson, “The Early Works of Nicolaes Maes, 1653-1661,” Ph.D. dissertation, Harvard University, 1996, pp. 88, 276, no. C-40, fig. C-40.
Léon Krempel, Studien zu den datierten Gemälden des Nicolaes Maes (1634-1693), (Petersburg, 2000), pp. 34, 125 n. 55, 363-5, no. E 2, fig. 412.
Celia Hilliard, “’The Prime Mover’”. Charles L. Hutchinson and the Making of the Art Institute of Chicago,” Museum Studies 36, 1 (2010), p. 43, 89 n. 12.

Art Institute of Chicago, A Century of Progress, June 1 - November 1, 1934, no. 97.
Art Institute of Chicago, Rembrandt after Three Hundred Years: An Exhibition of Rembrandt and His Followers, October 25 - December 7, 1969, traveled to the Minneapolis Institute of Arts, December 22, 1969 - February 1, 1970, and the Detroit Institute of Arts, February 24 - April 5, 1970, no. 84.

Gustave Rothan, Paris, by 1873 [Mantz 1873]; sold Paris, Galerie Georges Petit, May 29-31, 1890, no. 71. Charles Hutchinson, Chicago (died 1924), by 1894; probably acquired by him with its pendant, 1925.716, at the Rothan sale; bequeathed to the Art Institute, 1925.

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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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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.