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Lot 9
JAN LIEVENS (Dutch 1607-1674)
A Three-quarter Length Portrait of a Lady Holding a Fan with Garden in Background- 1650
Oil on canvas
Signed with initials and dated “J.L. 1650” lower left
47.5 inches x 39 inches (120.6 cm x 99 cm)
Estimate:  $40,000 - 60,000   € 29,600 - 44,400
Price Realized: $84,000.00


With Central Gallerie
New York; Christie’s, New York, June 7, 2002, Lot 23 for $71,700
Private Midwest Collection


H. Schneider, Jan Lievens. Sein Leben und seine Werke, Haarlem, 1932, no. 293 and no. LXXXI (mistakenly given two catalogue numbers; the second states the work is 'not painted by Lievens'). H. Schneider and R.E.O. Ekkart, Jan Lievens. Sein Leben und seine Werke, Amsterdam, 1973, no. 293 (with correction to Schneider 1932: the two numbers are now correctly identified with the same work)
S. Jacob, in the exhibition catalogue, Jan Lievens. Ein Maler im Schatten Rembrandts, Herzog Anton Ulrich-Museum, Brunswick, 1979, pp. 21, 115 and 122.
C. Brown, 'Jan Lievens at Brunswick,' The Burlington Magazine, CXXI, 1979, p. 745.
J. Michalkowa, 'Nie tylko w cieniu Rembrandta. O Brunszwieckiej Wystawie Jana Lievensa,' Biuletyn Historii Sztuki, 42, 1980.
W. Sumowski, Gemälde der Rembrandt-Schüler, III, Landau, 1983, no. 1292 and p. 1769.


Raleigh, The North Carolina Museum of Art, Rembrandt and his pupils, 1956, no. 67.
Montreal, The Montreal Museum of Fine Arts, and Toronto, Art Gallery of Ontario, Rembrandt and his pupils: A loan exhibition of paintings commemorating the 300th anniversary of Rembrandt, 1969, no. 88.
Tel Aviv, The Tel Aviv Museum of Art, Jan Lievens: The Sacrifice of Isaac, 17 November 1997-15 February 1998, p. 32, no. 2.

The present work, dated 1650, comes from Lievens' Amsterdam period, when he was mainly painting members of the urban elite in the courtly Flemish manner that he had learned from van Dyck in particular. The sitter, who, to judge from her pearl necklace, is clearly a woman of wealth and prestige, is probably one such client, although her identity is as yet unknown. It is interesting to note that, while the background of trees is typical for Lievens, the rusticated wall is found in only one other work by the artist, a drawing of a portrait of Andries de Graaf in the Tylers Museum in Haarlem.
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