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53 
of 56
Portrait of a Lady dressed in Black
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Cornelis de Vos
Portrait of a Lady dressed in Black, 1632
oil on panel, the reverse of which bears the brand of the Antwerp panelmakers’ Guild and an
unknown maker’s mark
29 by 21 inches (73.6 by 53.3cm.), inscribed and dated upper left: ‘AE (in compendium) TA.s 35 1632’
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Provenance

 Anonymous sale, London, Sotheby’s, October 30, 1996, lot 60

(as attributed to Cornelis de Vos);

Collection of Giancarlo Baroni

 Cornelis de Vos was born in Hulst in Zeeland in circa  1584/5. De Vos's brother

Paulus was also a painter; his sister Margaretha married Frans Snyders in 1611.

The de Vos family moved from Hulst to Antwerp in about 1596, and in 1599

Cornelis became a pupil of David Remeers. Upon completing his apprenticeship

in 1604, de Vos applied for a passport to travel and 'learn his profession', but

there is no evidence of his actually having embarked on this journey. He became

a master in the guild of St. Luke in 1608, was elected dean in 1619, and high

dean in 1620. He became a citizen of the city of Antwerp in 1616. Along with

artists such as Jacob Jordaens, de Vos worked with Rubens on the decorations

for the Pompa Introitus Ferdinandi in 1635, and for the Torre de la Parada from

1637. He died in Antwerp on May 9, 1651.

 

Although much of de Vos's oeuvre is devoted to portraiture, he also painted

Caravaggesque genre scenes, and history paintings strongly influenced by

Rubens in their composition and execution. De Vos was the premier portraitist

of haute-bourgeois and patrician society in Antwerp. His carefully observed and

honest likeliness are intimate and probing, yet are presented in formal settings

that reflect in detail the wealth and social standing of the sitter. While de Vos

was influenced by van Dyck's work from the mid-1620's, his portraits emphasize

more the bourgeois qualities of solid prosperity than the courtly grace and

refinement expressed by van Dyck.1

 

 At the time of the 1996 sale, the painting was seen a firsthand by Drs. Katlijne

van der Stighelen who has since accepted the painting as a fully autograph

portrait by Cornelis de Vos. Drs. Van der Stighelen believes the painting dates

from circa  1630.

 

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