Portrait of Hermanna van der Cruysse (1615-1705), full-length, in a black dress with a white collar and cuffs, standing by a table and a cushioned armchair

Name: GERARD TER BORCH THE YOUNGER (ZWOLLE 1617-1681 DEVENTER)
Brand: Portrait of Hermanna van der Cruysse (1615-1705), full-length, in a black dress with a white collar and cuffs, standing by a table and a cushioned armchair
Price: 18000.00 EUR
Availability: SoldOut

Price Realised EUR 22,680

Estimate

EUR 25,000 - EUR 35,000

Closed: 10 Oct 2023

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GERARD TER BORCH THE YOUNGER (ZWOLLE 1617-1681 DEVENTER)

Portrait of Hermanna van der Cruysse (1615-1705), full-length, in a black dress with a white collar and cuffs, standing by a table and a cushioned armchair

Price Realised EUR 22,680

Closed: 10 Oct 2023

Price Realised EUR 22,680

Closed: 10 Oct 2023

Details Lot Essay Related Articles More from

GERARD TER BORCH THE YOUNGER (ZWOLLE 1617-1681 DEVENTER)
Portrait of Hermanna van der Cruysse (1615-1705), full-length, in a black dress with a white collar and cuffs, standing by a table and a cushioned armchair
oil on canvas
81.1 x 66 cm. (31⁷⁄₈ x 26 in.)

By descent from the sitter to her great-grandson,
Gerhard Gijsbert Joan van Suchtelen (1722-1788), mayor of Deventer, by whom bequeathed to his nephew
Wilhelm Umbgrove (1756-1838), Deventer, and by descent to his daughter,
Aleijda Maria Dumbar-Umbgrove (1787-1855), and by descent to her son,
Gerhard Dumbar (1815-1878), and by descent to his daughter,
Elisabeth Gerhardina Henriette Dijckmeester-Dumbar (1856-1928), by whom bequeathed to her husband,
A.J. Dijckmeester, Deventer, by 1882.
Mrs. Dijckmeester-Dumbar, Deventer, 1907.
C.F.L. de Wild (1870-1922), The Hague.
with F. Kleinberger, Paris, by whom presumably sold shortly after 1914 (mentioned as with Kleinberger in the Grosvenor Gallery exhibition, op. cit.) to,
Sir Edgar Vincent, 1st Viscount d'Abernon (1857-1941), Esher Place, Esher, and Stoke d'Abernon, Surrey, by whom bequeathed to his widow,
Helen, Viscountess d'Abernon (d. 1956), Stoke d'Abernon, Surrey; Christie's, London, 18 March 1955, lot 51 (1,200 gns. to Welcker).
Anonymous sale; Christie's, London, 10 July 1987, lot 34, where acquired by,
Dr. Anton Dreesmann; Christie's, London, 11 April 2002, lot 553 (£56,400).
with Johnny van Haeften, London, 2003, where acquired by the previous owner in 2004.

E.W. Moes, Iconographia Batava, Amsterdam, 1897, no. 1848.
M.E. Houck, Mededeelingen betreffende Gerhard ter Borch, Robert van Voerst, Pieter van Anraedt, Aleijda Wolfsen, Derck Hardensteijn en Henrick ter Bruggen benevens aanteekeningen omtrent hunne familieleden, Zwolle, 1899, p. 137.
‘De Tentoonstelling van Oude Kunst en Kunstnijverheid te Deventer’, Deventer Dagblad, nos. 4778 and 4781, 13 and 17 juni 1901, p. 7.
C. Hofstede de Groot, A catalogue Raisonné, etc., V, London, 1913, p. 78, no. 221.
F. Howard, An illustrated catalogue of the second national loan exhibition 1913-1914: Woman and child in art, London, 1914, p. 99, no. 61.
J.D. Breckenridge, ‘The identification of three Netherlands portraits’, Art Quarterly, XVII, 1954, p. 351.
S.J. Gudlaugsson, Gerard ter Borch, II, The Hague, 1960, pp. 196-197, no. 210, illustrated.
N. MacLaren and C. Brown, National Gallery Catalogues: The Dutch School 1600-1900, I, London, 1991, pp. 40-1, under no. 4596.

Zwolle, Geschiedkundig-Overijsselsche tentoonstelling, 18 August 1882, no. 1183.
Deventer, De Hereeniging, Catalogus van de Tentoonstelling van Oude Kunst en Kunstnijverheid, 12 June-1 July 1901, no. 25.
Amsterdam, 1907, no. 1.
London, Grosvenor Gallery, An illustrated catalogue of the second national loan exhibition: Woman and child in art, 26 November 1913-11February 1914, no. 61.
London, Royal Academy, Dutch Pictures 1450-1750, 1952-1953, no. 416.
London, Royal Academy, Winter Exhibition, 1951-1952, no. 324 (according to a label on the reverse).
London, Royal Academy, 17th Century Art in Europe, 3 January-12 March 1953, no. 258.
London, Royal Academy, Dutch Pictures 1450-1750, 1952-1953, no. 416, as inscribed on the reverse ‘Hermanna van der Cruis / weduwe van Abraham van / Suchtelen’.
London, Royal Academy, Dutch Pictures 1450-1750, 22 November 1953-1 March 1954, no. 416.

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Lot Essay

The sitter is identified by an inscription on the reverse of the original canvas, recorded at the time of the picture's lining as reading 'Hermanna van der Cruis Weduwe van Abraham van Suchtelen'. Hermanna van der Cruysse was the widow of Abraham van Suchtelen (1600-1661), burgomaster of Deventer, and was one of the richest citizens of that city with assets estimated in 1683 at 90,000 florins; in the same year her son was ranked third with 45,000 florins (see H. Kronenburg, in , 1927, pp. l 73ff.).

Two other autograph versions of this portrait are known, one in the National Gallery, London, and one in the Kunsthistorisches Museum, Vienna. The London picture is regarded as the prime version. Gudlaugsson dates all three portraits to the second half of the 1660s, suggesting a tentative date of 1667-69 for the Vienna picture and 1669-70 for the present work. All three exhibit slight differences in costume (for example, the narrower collar in the present picture in comparison with that in London) and employ some studio assistance in the background details, whilst the Vienna picture also includes a still life on the table, painted by a different hand.

The present picture is slightly larger than the London and Vienna paintings, which measure 69.7 x 57.2 cm. and 62 x 50.5 cm., respectively. It is the companion picture to Ter Borch's Portrait of Neeltje van der Cruysse (formerly J.P. Warburg Collection, New York; Gudlaugsson, , no. 211), who was Hermanna's elder sister (b. 1612). That painting also descended in the Dumbar family, Deventer. In addition, both pictures correspond in size and date with Ter Borch's pair of portraits of Hermanna's son and daughter-in-law, Gerhard van Suchtelen (1640-1722) and Maria Wedeus, formerly in the Corcoran Gallery of Art, Washington and today in the National Gallery of Art, Washington (., nos. 212-213). The correspondence in scale between these four paintings suggests that Ter Borch was probably commissioned to to paint Hermanna's family towards the end of the decade, having already depicted her on two previous occasions. Similar inscriptions appear on the reverses of the two Van Suchtelen portraits and, furthermore, the portraits of Gerhard and Maria are numbered 5 and 6, implying these all belonged to a portrait gallery (see M.E. Houck, , pp. 136-138 and J.D. Breckenridge, , pp. 345-349 and 351).