Joachim von Sandrart, 1606 Frankfurt am Main –... Lot n° 249

PICTURE OF AN ADULT LADY WITH THE ATTRIBUTES OF THE HOLY CÄCILIA Oil on canvas. 103 x 82 cm. Enclosed is an expert opinion by Peter van den Brink, Aachen, attributing the painting to the named artist. Three-quarter portrait of a young noblewoman sitting at a house organ, reproduced almost life-size. Her gaze is directed towards the viewer. She holds her right hand on the keyboard, her left hand on her bosom, at the same time holding a thin veil which is pulled down from her bonnet. Her courtly attire is idealized in that here she wears a red dress with a gold brocade cloak, lined on the inside with blue, a garment also found in this elevation in portraits of St. Cecilia - patroness of church music. Nevertheless, she wears a pearl necklace with pearl earring and on the hem of her dress a gold border with gemstone agraffe. Her hair falls in dark curls to her shoulders. The organ is ornately built, the pipes between gilded atlases supporting the cover. A youthful angel figure appears in the background. Rendered overall with dress and wings in much more delicate colors, making this figure appear to be an "apparition." The angel holds a sheet of music and points to the notes with his right forefinger to give the aristocratic musician the musical cues. Mentally, this motif is to be understood as a heavenly inspiration of music and composition. In the background a green velum, slightly drawn back to the right with a view of an arched architecture with a short landscape view of a treetop. The painting was formerly attributed to Gerard Deleres, but a far more convincing attribution to Joachim von Sandrart was made by Peter van den Brink. The attribution is based primarily on stylistic comparisons with the well-known monthly pictures Sandrart created for the Bavarian Duke Maximilian I in 1642-44, which are now in Schleißheim Palace. In sitting posture, body execution and other details, parallels can be found to several paintings of this monthly cycle, however, in the opinion of the expert, the painting was not created in Munich, but after his return to Amsterdam in 1644. Sandrart, who first worked in printmaking with Isselburg in Nuremberg, then with Sadeler in Prague, stayed in the workshop of Gerard Honthorst in Utrecht between 1624/25, met Rubens in 1627 and, after a stay in London, began his journey to Italy in 1629, settling in Rome in 1632, where he remained for a further eight years. According to Van dem Brink's assumption, the depiction could be of Alida Bicker. Literature: Christian Klemm, Joachim von Sandrart: Kunstwerke und Lebenslauf, Berlin 1986. (1281451) (10) Joachim von Sandrart, 1606 Frankfurt on the Main - 1688 Nuremberg PORTRAIT OF A NOBLEWOMAN WITH THE ATTRIBUTES OF SAINT CECILIAOil on canvas. 103 x 82 cm. Accompanied by an expert's report by Peter van den Brink, Aachen attributing the painting to the artist. Three-quarters format portrait of a young noblewoman sitting by a house organ almost in life size format. Van den Brink believes this could be a depiction of Alida Bicker. Literature: Christian Klemm, Joachim von Sandrart: Kunstwerke und Lebenslauf, Berlin, 1986.