Portret van een jonge vrouw

Anthonie Palamedesz. (eigenhandig gesigneerd), 1654

Portret van een jonge vrouw. Heupstuk, staande, een waaier in de rechterhand.

  • Soort kunstwerkschilderij
  • ObjectnummerSK-A-3114
  • Afmetingenbuitenmaat: diepte 11,5 cm (drager incl. SK-L-3464), drager: hoogte 82,5 cm x breedte 69,5 cm
  • Fysieke kenmerkenolieverf op doek

Ontdek verder

"portret" door Anthonie Palamedesz

Portret van een man, waarschijnlijk een predikant

kopie naar Anthonie Palamedesz., 1650

Portret van een man, waarschijnlijk een predikant

Portret van een man, waarschijnlijk Pieter Anthonisz van Bronckhorst (1588-1661)

Anthonie Palamedesz. (eigenhandig gesigneerd), 1652

Portret van een man, waarschijnlijk Pieter Anthonisz van Bronckhorst (1588-1661)

Portret van een vrouw, waarschijnlijk Jacobmina de Grebber (? -1666)

Anthonie Palamedesz. (eigenhandig gesigneerd), 1652

Portret van een vrouw, waarschijnlijk Jacobmina de Grebber (? -1666)

meer door Anthonie Palamedesz

Vrolijk gezelschap in een kamer

Anthonie Palamedesz. (eigenhandig gesigneerd), 1633

Vrolijk gezelschap in een kamer

Portret van een man, waarschijnlijk een predikant

kopie naar Anthonie Palamedesz., 1650

Portret van een man, waarschijnlijk een predikant

Wachtlokaal met soldaten

Anthonie Palamedesz. (eigenhandig gesigneerd), 1647

Wachtlokaal met soldaten

Voornaam gezelschap in een kamer

manier van Anthonie Palamedesz., na 1630

Voornaam gezelschap in een kamer

Portret van een man, waarschijnlijk Pieter Anthonisz van Bronckhorst (1588-1661)

Anthonie Palamedesz. (eigenhandig gesigneerd), 1652

Portret van een man, waarschijnlijk Pieter Anthonisz van Bronckhorst (1588-1661)

Portret van een vrouw, waarschijnlijk Jacobmina de Grebber (? -1666)

Anthonie Palamedesz. (eigenhandig gesigneerd), 1652

Portret van een vrouw, waarschijnlijk Jacobmina de Grebber (? -1666)

Anthonie Palamedesz

Portrait of a Young Woman

1654

Inscriptions

  • signature and date, lower left:Aº. 1654 / A. [.]alamedes [.]i[.]xi[.]
  • inscription, lower left:A[.]T: 17

Technical notes

The support is a plain-weave canvas that has been lined, and has tacking edges on all sides. The ground is ochre-coloured. The paint layers were applied thinly with visible brushstrokes.

Scientific examination and reports

  • technical report: W. de Ridder, RMA, 20 februari 2003

Condition

Fair. The painted surface is considerably abraded, especially in the hands and face, and there are losses throughout. Retouchings, particularly in the hands, the background, the collar and the neck, are discoloured, as is the varnish.

Provenance

…; from Miss Eugenie N.C. Hasselman (1855-1937), Egmond aan den Hoef, fl. 1,000, to the museum, as a gift from the Fotocommissie, 1930

Object number: SK-A-3114

Credit line: Purchased with the support of the Stichting tot Bevordering van de Belangen van het Rijksmuseum

The artist

Biography

Anthonie Palamedesz (Delft 1601 - Amsterdam 1673)

Anthonie Palamedesz was born in Delft in 1601 as a son of a gem-cutter. His teacher is unknown, but it has been suggested that he studied with Michiel van Mierevelt. In 1621, Palamedesz entered the Guild of St Luke, of which he was warden in 1635 and several times between 1653 and 1673. He was probably in Amsterdam around 1626, as he copied one or more of the sitters from a civic guard piece by Claes Pietersz Lastman (d. 1625) in that year.1Amsterdams Historisch Museum, on loan from the Backer Stichting; Müller-Schirmer in Amsterdam 2002, pp. 197-98, no. 69 (ill.). In 1630, he married Anna Joosten van Hoorendijk in Delft. In 1658, seven years after the death of his first wife, he married Aagje Woedewart. Palamedesz died in 1673 during a visit to Amsterdam. Among his pupils were his brother, the battle painter Palamedes Palamedesz I (1607-38), his son Palamedes Palamedesz (1633-1705) and Ludolf de Jongh (1616-79).

The bulk of Palamedesz’s oeuvre consists of genre scenes and portraits. There are few works that carry a date prior to 1632, but his earliest genre scenes, elegant companies in the open air in a style derived from Esaias van de Velde, can be dated to the mid-1620s. From the early 1630s onwards he painted numerous so-called merry companies in the manner of Dirck Hals and Pieter Codde. A document from 1636 reveals that he painted figures in a picture by Johannes van Vught, and it appears that he also did the same for Dirck van Delen, Bartholomeus van Bassen, and possibly for Anthonie de Lorme as well. Palamedesz’s military guardrooms were produced in the late 1640s and the 1650s. He continued painting genre scenes until the end of his life, but the majority of his dated works from 1650 onwards are portraits.

Gerdien Wuestman, 2007

References
Van Bleyswijck 1667, II, pp. 847-48; Houbraken I, 1718, p. 304, II, 1719, p. 33; Havard II, 1880, pp. 1-70; Bredius 1890, pp. 308-13; Haverkorn van Rijsewijk 1891a, p. 46; Sutton in Turner 1996, pp. 831-32; Rüger in New York-London 2001, pp. 318-20

Entry

As usual with Palamedesz’s individual portraits, the subject of this painting stands out against an undefined, greyish background. The as yet unidentified 17-year-old woman is depicted three-quarter length and holds a fan in her right hand. Although her dress is relatively sober, the strings of pearls around her neck and in her hair, and the dense design of the lace of her collar and cuffs, indicate wealth.2Oral communication, Bianca du Mortier, 2003. Whether this portrait had a pendant is uncertain.

Palamedesz produced some of his best portraits in the mid-1650s.3Such as the male portrait of 1654 in the Museum of Fine Arts, Boston, and the 1657 male portrait that was with Richard Green (London) in 2001; illustrated in New York-London 2001, p. 52. The present portrait lacks the elegance of some of the artist’s other works from this period, and it makes a rather flat impression, but account must be taken of the fact that its appearance is severely marred by a discoloured varnish layer.

Gerdien Wuestman, 2007

See Bibliography and Rijksmuseum painting catalogues
See Key to abbreviations and Acknowledgements

This entry was published in J. Bikker (ed.), Dutch Paintings of the Seventeenth Century in the Rijksmuseum Amsterdam, I: Artists Born between 1570 and 1600, coll. cat. Amsterdam 2007, no. 230.

Collection catalogues

1934, p. 219, no. 1837b; 1976, p. 435, no. A 3114; 2007, no. 231

Citation

G. Wuestman, 2007, 'Anthonie Palamedesz., Portrait of a Young Woman, 1654', in J. Bikker (ed.), Dutch Paintings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/20025975

(accessed 10 December 2025 18:07:19).

Footnotes

  • 1Amsterdams Historisch Museum, on loan from the Backer Stichting; Müller-Schirmer in Amsterdam 2002, pp. 197-98, no. 69 (ill.).
  • 2Oral communication, Bianca du Mortier, 2003.
  • 3Such as the male portrait of 1654 in the Museum of Fine Arts, Boston, and the 1657 male portrait that was with Richard Green (London) in 2001; illustrated in New York-London 2001, p. 52.