Lady Playing the Lute
Artist/Maker
DatesMade: Made 1610s
Material / Technique
Dimensionsh x w: Mått 65 x 64 cm h x w x d: Ram 80 x 77 x 4 cm
Inventory numberNM 1520
AcqusitionPurchase 1897
Other titlesTitle (sv): Lutspelerska Title (en): Lady Playing the Lute
DescriptionCatalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 198: Technical notes: The oak panel consist of a three radial oak boards, 0.5–0.8 thick, laid horizontally with a horizontal grain and a slight convex warp. Partial bevelling occurs along the top and right edges on the verso. The panel has probably been cut along the left side by ca 4 cm and the lower part by a minimum of 1 cm where bevelling is missing. At the obverse probably the last part of the signature is missing and the intervening area. It is possible that the lower part has been cut, intervening areas are missing, but the edge is covered. The panel has been thinned slightly on the verso. The lower edge has a non-original extension using a strip of oak 1.1 cm. Dendrochronological examination and analysis have determined a felling date for the tree between c. 1605 and 1615. The wood originated from the Baltic region. Under the assumption of a median of 15 sapwood rings and a minimum of 2 years for seasoning of the wood, the most plausible date for use of the panel would be 1613 or later. There is a red seal with fragments of a monogram on the verso and a printed label with its edges framed in black: CARL W: BROGR/…/. The preparation consists of a white, probably chalk, ground applied evenly and thickly with a broad brush. There is a thinly applied semi-transparent light brownish- yellow imprimatura. Infrared reflectography partially revealed a dark underdrawing in a dry medium, probably black chalk, delineating the perspectival system, the interior architectural elements (windows, pilasters), the table with tablecloth and the shapes and position of the various musical instruments in the foreground. Numerous pentimenti occur in the underdrawing, especially shifts in the still life of musical instruments, and the drawing was then frequently not followed at the painting stage. The paint layer is applied opaquely and semi-transparently. The original paint layer ends c. 0.7–1.3 cm from the left and upper edges of the panel. These edges were probably left unpainted and were covered by an applied frame. These intervening areas have later been painted to the edge of the panel. On this occasion the non-original extension at the bottom of the panel was also added. The palette used for these later additions differs significantly from the original colours used with somewhat coarser and different mixtures of pigments and the absence of the craquelure that is characteristic for this painting. Reserves were left in the background from some elements in the motif such as the woman and the table with the hanging green tablecloth, in which a second reserve was left for the violin. The other instruments have been painted over the green paint. Intricate details in the pattern on the gown have been painted in grey and black nuances with small distinct sections of embroidery on the apron, the lace and the hanging jewellery. The green pigment used for the table cloth was probably verdigris. The painting underwent conservation treatment in 1832, 1929, 1967, 1990 and 2000. Provenance: C. W. Brogren, J. Lind collection; purchased in 1897. Exhibited: Stockholm 1992, p. 318; Stockholm 2000 (unnumbered.); Stockholm 2010, no. 96. Bibliography: Granberg 1886, pp. 150–151, no 274 (as anonymous Flemish master); Göthe 1900, p. 135 (as anonymous Flemish master); NM Cat 1958, p. 190; NM Cat 1990, p. 341; Wright 1992, I, p. 285; Sidén 2001, pp. 145, 147; Howarth 2009, pp. 261, 540. This painting with musical iconography has been ascribed by earlier writers to an anonymous Flemish painter. In the inventory different attributions have been proposed, although the ascription to the “Master of the Female Half-Lengths” must be rejected entirely for technical and stylistic reasons as dendrochronological examination reveals that the panel, which comes from the Baltic region, was probably manufactured around 1613 or later, which for chronological reasons renders any link with this anonymous master from the 16th century impossible. According to the inventory the attribution to Hendrick van Steenwyck the younger was suggested in conversation in 1900 and in 1902 by Hofstede de Groot.1 It has not been possible to verify this information in any more detail as the suggestions were only made orally. When the attribution was proposed it was also suggested that the interior had probably been painted by Steenwyck but that the lady playing the lute was the work of another hand. The incomplete signature combined with the somewhat uneven technical quality makes it difficult to attribute the work reliably. The fact that Hendrick van Steenwyck’s oeuvre consisted mainly of accurate interior perspective views of churches and other buildings with religious associations contributes to the uncertainty surrounding the originator of this work. Infra-red examination has revealed that the painting was preceded by thorough preparation of the perspective of the interior and the composition. The underdrawing with its distinct perspective guidelines is evidence of this. The artist who painted this work therefore devoted painstaking attention to its perspective, which was the case with Hendrick van Steenwyck the younger. Underdrawing can also be seen clearly under the instruments on the table and all of them have been rendered in great detail. A window with leaded glass to the left of the composition provided gentle illumination of the image, including the woman’s face. In the background a marble pillar with a Corinthian capital can be seen casting its shadow on to the stone wall in the background. An open cupboard is also shown there and on its shelves a number of quires of folios can be seen. Below the cupboard there is a harpsichord, its lid raised to reveal the landscape painted on it in blues and greens. On the table there is a green cloth on which a still life arrangement of instruments has been placed. It includes a lute, a violin, another unidentified string instrument as well as a number of flutes and a music book.2 The woman playing the lute seems to be looking at the book as she plays, which suggests that it contains lute compositions. In the foreground stands a cello. Only the upper half of this is visible, which may be explained by the fact that the painting has been trimmed. Detailed painting distinguishes the woman’s gown with small areas of impasto visible in the embroidery and lace. The strict, calculated perspective composition of the room, the soft illumination from above and the woman’s self-absorbed facial expression add to the meditative atmosphere in the painting. By and large, the work can be linked iconographically to the numerous depictions in paintings from the Netherlands of this period, for instance by Johannes Vermeer, of upper-class women playing the lute or reading letters.3 The lute was a suitable pursuit for an aristocratic woman in the 17th century. The instrument was held in great esteem for the exemplary delicacy of its tone. Indeed, in contemporary paintings St. Cecilia, the patron saint of music, was not infrequently depicted playing the lute. The lute was also linked to love. At times it could also be used in moralistic contexts as a warning against too dissolute a life, when the references to vanitas were significant if the strings were broken. It is not inconceivable that the musical instruments in this painting allude to a musical performance that is either about to take place or has done so already in the elevated circle to which the female lutenist belongs. Music was considered one of the fine arts and hearing one of the five senses, which is indirectly emphasised in this work by the woman’s playing and her inward-looking, contemplative and attentive facial expression. An attribution to Hendrick van Steenwyck the younger, with the possible collaboration of an assistant in the portrait of the woman, could be justified by the clear interior perspective of the composition. Jeremy Howarth has proposed a date for the painting to the 1610s, a suggestion in line with the dendrochronological examination.4 KS 1 According to the written inventory the painting was purchased at Bukowski’s auction in Stockholm on 27 October 1897 , cat. 110, no. 25. The inventory records the attribution to Hendrick van Steenwyck the younger with regard to the depiction of the interior during a conversation in 1900 by “Mr. Hesseltines” and two years later by Hofstede de Groot. See the NM inventory under NM 1520, The Collection of Paintings and Sculpture, Nationalmuseum. 2 Dr. Hans Riben from the Music Museum in Stockholm has been consulted for the identification of the musical instruments. 3 For this group of motifs and their significance see K. Sidén 2001, pp. 137–156. 4 Jeremy Howarth, The Stenwyck Family as Masters of Perpective, Turnhout 2009, p. 261. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 198: Technical notes: The oak panel consist of a three radial oak boards, 0.5–0.8 thick, laid horizontally with a horizontal grain and a slight convex warp. Partial bevelling occurs along the top and right edges on the verso. The panel has probably been cut along the left side by ca 4 cm and the lower part by a minimum of 1 cm where bevelling is missing. At the obverse probably the last part of the signature is missing and the intervening area. It is possible that the lower part has been cut, intervening areas are missing, but the edge is covered. The panel has been thinned slightly on the verso. The lower edge has a non-original extension using a strip of oak 1.1 cm. Dendrochronological examination and analysis have determined a felling date for the tree between c. 1605 and 1615. The wood originated from the Baltic region. Under the assumption of a median of 15 sapwood rings and a minimum of 2 years for seasoning of the wood, the most plausible date for use of the panel would be 1613 or later. There is a red seal with fragments of a monogram on the verso and a printed label with its edges framed in black: CARL W: BROGR/…/. The preparation consists of a white, probably chalk, ground applied evenly and thickly with a broad brush. There is a thinly applied semi-transparent light brownish- yellow imprimatura. Infrared reflectography partially revealed a dark underdrawing in a dry medium, probably black chalk, delineating the perspectival system, the interior architectural elements (windows, pilasters), the table with tablecloth and the shapes and position of the various musical instruments in the foreground. Numerous pentimenti occur in the underdrawing, especially shifts in the still life of musical instruments, and the drawing was then frequently not followed at the painting stage. The paint layer is applied opaquely and semi-transparently. The original paint layer ends c. 0.7–1.3 cm from the left and upper edges of the panel. These edges were probably left unpainted and were covered by an applied frame. These intervening areas have later been painted to the edge of the panel. On this occasion the non-original extension at the bottom of the panel was also added. The palette used for these later additions differs significantly from the original colours used with somewhat coarser and different mixtures of pigments and the absence of the craquelure that is characteristic for this painting. Reserves were left in the background from some elements in the motif such as the woman and the table with the hanging green tablecloth, in which a second reserve was left for the violin. The other instruments have been painted over the green paint. Intricate details in the pattern on the gown have been painted in grey and black nuances with small distinct sections of embroidery on the apron, the lace and the hanging jewellery. The green pigment used for the table cloth was probably verdigris. The painting underwent conservation treatment in 1832, 1929, 1967, 1990 and 2000. Provenance: C. W. Brogren, J. Lind collection; purchased in 1897. Exhibited: Stockholm 1992, p. 318; Stockholm 2000 (unnumbered.); Stockholm 2010, no. 96. Bibliography: Granberg 1886, pp. 150–151, no 274 (as anonymous Flemish master); Göthe 1900, p. 135 (as anonymous Flemish master); NM Cat 1958, p. 190; NM Cat 1990, p. 341; Wright 1992, I, p. 285; Sidén 2001, pp. 145, 147; Howarth 2009, pp. 261, 540. This painting with musical iconography has been ascribed by earlier writers to an anonymous Flemish painter. In the inventory different attributions have been proposed, although the ascription to the “Master of the Female Half-Lengths” must be rejected entirely for technical and stylistic reasons as dendrochronological examination reveals that the panel, which comes from the Baltic region, was probably manufactured around 1613 or later, which for chronological reasons renders any link with this anonymous master from the 16th century impossible. According to the inventory the attribution to Hendrick van Steenwyck the younger was suggested in conversation in 1900 and in 1902 by Hofstede de Groot.1 It has not been possible to verify this information in any more detail as the suggestions were only made orally. When the attribution was proposed it was also suggested that the interior had probably been painted by Steenwyck but that the lady playing the lute was the work of another hand. The incomplete signature combined with the somewhat uneven technical quality makes it difficult to attribute the work reliably. The fact that Hendrick van Steenwyck’s oeuvre consisted mainly of accurate interior perspective views of churches and other buildings with religious associations contributes to the uncertainty surrounding the originator of this work. Infra-red examination has revealed that the painting was preceded by thorough preparation of the perspective of the interior and the composition. The underdrawing with its distinct perspective guidelines is evidence of this. The artist who painted this work therefore devoted painstaking attention to its perspective, which was the case with Hendrick van Steenwyck the younger. Underdrawing can also be seen clearly under the instruments on the table and all of them have been rendered in great detail. A window with leaded glass to the left of the composition provided gentle illumination of the image, including the woman’s face. In the background a marble pillar with a Corinthian capital can be seen casting its shadow on to the stone wall in the background. An open cupboard is also shown there and on its shelves a number of quires of folios can be seen. Below the cupboard there is a harpsichord, its lid raised to reveal the landscape painted on it in blues and greens. On the table there is a green cloth on which a still life arrangement of instruments has been placed. It includes a lute, a violin, another unidentified string instrument as well as a number of flutes and a music book.2 The woman playing the lute seems to be looking at the book as she plays, which suggests that it contains lute compositions. In the foreground stands a cello. Only the upper half of this is visible, which may be explained by the fact that the painting has been trimmed. Detailed painting distinguishes the woman’s gown with small areas of impasto visible in the embroidery and lace. The strict, calculated perspective composition of the room, the soft illumination from above and the woman’s self-absorbed facial expression add to the meditative atmosphere in the painting. By and large, the work can be linked iconographically to the numerous depictions in paintings from the Netherlands of this period, for instance by Johannes Vermeer, of upper-class women playing the lute or reading letters.3 The lute was a suitable pursuit for an aristocratic woman in the 17th century. The instrument was held in great esteem for the exemplary delicacy of its tone. Indeed, in contemporary paintings St. Cecilia, the patron saint of music, was not infrequently depicted playing the lute. The lute was also linked to love. At times it could also be used in moralistic contexts as a warning against too dissolute a life, when the references to vanitas were significant if the strings were broken. It is not inconceivable that the musical instruments in this painting allude to a musical performance that is either about to take place or has done so already in the elevated circle to which the female lutenist belongs. Music was considered one of the fine arts and hearing one of the five senses, which is indirectly emphasised in this work by the woman’s playing and her inward-looking, contemplative and attentive facial expression. An attribution to Hendrick van Steenwyck the younger, with the possible collaboration of an assistant in the portrait of the woman, could be justified by the clear interior perspective of the composition. Jeremy Howarth has proposed a date for the painting to the 1610s, a suggestion in line with the dendrochronological examination.4 KS 1 According to the written inventory the painting was purchased at Bukowski’s auction in Stockholm on 27 October 1897 , cat. 110, no. 25. The inventory records the attribution to Hendrick van Steenwyck the younger with regard to the depiction of the interior during a conversation in 1900 by “Mr. Hesseltines” and two years later by Hofstede de Groot. See the NM inventory under NM 1520, The Collection of Paintings and Sculpture, Nationalmuseum. 2 Dr. Hans Riben from the Music Museum in Stockholm has been consulted for the identification of the musical instruments. 3 For this group of motifs and their significance see K. Sidén 2001, pp. 137–156. 4 Jeremy Howarth, The Stenwyck Family as Masters of Perpective, Turnhout 2009, p. 261. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 198: Technical notes: The oak panel consist of a three radial oak boards, 0.5–0.8 thick, laid horizontally with a horizontal grain and a slight convex warp. Partial bevelling occurs along the top and right edges on the verso. The panel has probably been cut along the left side by ca 4 cm and the lower part by a minimum of 1 cm where bevelling is missing. At the obverse probably the last part of the signature is missing and the intervening area. It is possible that the lower part has been cut, intervening areas are missing, but the edge is covered. The panel has been thinned slightly on the verso. The lower edge has a non-original extension using a strip of oak 1.1 cm. Dendrochronological examination and analysis have determined a felling date for the tree between c. 1605 and 1615. The wood originated from the Baltic region. Under the assumption of a median of 15 sapwood rings and a minimum of 2 years for seasoning of the wood, the most plausible date for use of the panel would be 1613 or later. There is a red seal with fragments of a monogram on the verso and a printed label with its edges framed in black: CARL W: BROGR/…/. The preparation consists of a white, probably chalk, ground applied evenly and thickly with a broad brush. There is a thinly applied semi-transparent light brownish- yellow imprimatura. Infrared reflectography partially revealed a dark underdrawing in a dry medium, probably black chalk, delineating the perspectival system, the interior architectural elements (windows, pilasters), the table with tablecloth and the shapes and position of the various musical instruments in the foreground. Numerous pentimenti occur in the underdrawing, especially shifts in the still life of musical instruments, and the drawing was then frequently not followed at the painting stage. The paint layer is applied opaquely and semi-transparently. The original paint layer ends c. 0.7–1.3 cm from the left and upper edges of the panel. These edges were probably left unpainted and were covered by an applied frame. These intervening areas have later been painted to the edge of the panel. On this occasion the non-original extension at the bottom of the panel was also added. The palette used for these later additions differs significantly from the original colours used with somewhat coarser and different mixtures of pigments and the absence of the craquelure that is characteristic for this painting. Reserves were left in the background from some elements in the motif such as the woman and the table with the hanging green tablecloth, in which a second reserve was left for the violin. The other instruments have been painted over the green paint. Intricate details in the pattern on the gown have been painted in grey and black nuances with small distinct sections of embroidery on the apron, the lace and the hanging jewellery. The green pigment used for the table cloth was probably verdigris. The painting underwent conservation treatment in 1832, 1929, 1967, 1990 and 2000. Provenance: C. W. Brogren, J. Lind collection; purchased in 1897. Exhibited: Stockholm 1992, p. 318; Stockholm 2000 (unnumbered.); Stockholm 2010, no. 96. Bibliography: Granberg 1886, pp. 150–151, no 274 (as anonymous Flemish master); Göthe 1900, p. 135 (as anonymous Flemish master); NM Cat 1958, p. 190; NM Cat 1990, p. 341; Wright 1992, I, p. 285; Sidén 2001, pp. 145, 147; Howarth 2009, pp. 261, 540. This painting with musical iconography has been ascribed by earlier writers to an anonymous Flemish painter. In the inventory different attributions have been proposed, although the ascription to the “Master of the Female Half-Lengths” must be rejected entirely for technical and stylistic reasons as dendrochronological examination reveals that the panel, which comes from the Baltic region, was probably manufactured around 1613 or later, which for chronological reasons renders any link with this anonymous master from the 16th century impossible. According to the inventory the attribution to Hendrick van Steenwyck the younger was suggested in conversation in 1900 and in 1902 by Hofstede de Groot.1 It has not been possible to verify this information in any more detail as the suggestions were only made orally. When the attribution was proposed it was also suggested that the interior had probably been painted by Steenwyck but that the lady playing the lute was the work of another hand. The incomplete signature combined with the somewhat uneven technical quality makes it difficult to attribute the work reliably. The fact that Hendrick van Steenwyck’s oeuvre consisted mainly of accurate interior perspective views of churches and other buildings with religious associations contributes to the uncertainty surrounding the originator of this work. Infra-red examination has revealed that the painting was preceded by thorough preparation of the perspective of the interior and the composition. The underdrawing with its distinct perspective guidelines is evidence of this. The artist who painted this work therefore devoted painstaking attention to its perspective, which was the case with Hendrick van Steenwyck the younger. Underdrawing can also be seen clearly under the instruments on the table and all of them have been rendered in great detail. A window with leaded glass to the left of the composition provided gentle illumination of the image, including the woman’s face. In the background a marble pillar with a Corinthian capital can be seen casting its shadow on to the stone wall in the background. An open cupboard is also shown there and on its shelves a number of quires of folios can be seen. Below the cupboard there is a harpsichord, its lid raised to reveal the landscape painted on it in blues and greens. On the table there is a green cloth on which a still life arrangement of instruments has been placed. It includes a lute, a violin, another unidentified string instrument as well as a number of flutes and a music book.2 The woman playing the lute seems to be looking at the book as she plays, which suggests that it contains lute compositions. In the foreground stands a cello. Only the upper half of this is visible, which may be explained by the fact that the painting has been trimmed. Detailed painting distinguishes the woman’s gown with small areas of impasto visible in the embroidery and lace. The strict, calculated perspective composition of the room, the soft illumination from above and the woman’s self-absorbed facial expression add to the meditative atmosphere in the painting. By and large, the work can be linked iconographically to the numerous depictions in paintings from the Netherlands of this period, for instance by Johannes Vermeer, of upper-class women playing the lute or reading letters.3 The lute was a suitable pursuit for an aristocratic woman in the 17th century. The instrument was held in great esteem for the exemplary delicacy of its tone. Indeed, in contemporary paintings St. Cecilia, the patron saint of music, was not infrequently depicted playing the lute. The lute was also linked to love. At times it could also be used in moralistic contexts as a warning against too dissolute a life, when the references to vanitas were significant if the strings were broken. It is not inconceivable that the musical instruments in this painting allude to a musical performance that is either about to take place or has done so already in the elevated circle to which the female lutenist belongs. Music was considered one of the fine arts and hearing one of the five senses, which is indirectly emphasised in this work by the woman’s playing and her inward-looking, contemplative and attentive facial expression. An attribution to Hendrick van Steenwyck the younger, with the possible collaboration of an assistant in the portrait of the woman, could be justified by the clear interior perspective of the composition. Jeremy Howarth has proposed a date for the painting to the 1610s, a suggestion in line with the dendrochronological examination.4 KS 1 According to the written inventory the painting was purchased at Bukowski’s auction in Stockholm on 27 October 1897 , cat. 110, no. 25. The inventory records the attribution to Hendrick van Steenwyck the younger with regard to the depiction of the interior during a conversation in 1900 by “Mr. Hesseltines” and two years later by Hofstede de Groot. See the NM inventory under NM 1520, The Collection of Paintings and Sculpture, Nationalmuseum. 2 Dr. Hans Riben from the Music Museum in Stockholm has been consulted for the identification of the musical instruments. 3 For this group of motifs and their significance see K. Sidén 2001, pp. 137–156. 4 Jeremy Howarth, The Stenwyck Family as Masters of Perpective, Turnhout 2009, p. 261. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 198: Technical notes: The oak panel consist of a three radial oak boards, 0.5–0.8 thick, laid horizontally with a horizontal grain and a slight convex warp. Partial bevelling occurs along the top and right edges on the verso. The panel has probably been cut along the left side by ca 4 cm and the lower part by a minimum of 1 cm where bevelling is missing. At the obverse probably the last part of the signature is missing and the intervening area. It is possible that the lower part has been cut, intervening areas are missing, but the edge is covered. The panel has been thinned slightly on the verso. The lower edge has a non-original extension using a strip of oak 1.1 cm. Dendrochronological examination and analysis have determined a felling date for the tree between c. 1605 and 1615. The wood originated from the Baltic region. Under the assumption of a median of 15 sapwood rings and a minimum of 2 years for seasoning of the wood, the most plausible date for use of the panel would be 1613 or later. There is a red seal with fragments of a monogram on the verso and a printed label with its edges framed in black: CARL W: BROGR/…/. The preparation consists of a white, probably chalk, ground applied evenly and thickly with a broad brush. There is a thinly applied semi-transparent light brownish- yellow imprimatura. Infrared reflectography partially revealed a dark underdrawing in a dry medium, probably black chalk, delineating the perspectival system, the interior architectural elements (windows, pilasters), the table with tablecloth and the shapes and position of the various musical instruments in the foreground. Numerous pentimenti occur in the underdrawing, especially shifts in the still life of musical instruments, and the drawing was then frequently not followed at the painting stage. The paint layer is applied opaquely and semi-transparently. The original paint layer ends c. 0.7–1.3 cm from the left and upper edges of the panel. These edges were probably left unpainted and were covered by an applied frame. These intervening areas have later been painted to the edge of the panel. On this occasion the non-original extension at the bottom of the panel was also added. The palette used for these later additions differs significantly from the original colours used with somewhat coarser and different mixtures of pigments and the absence of the craquelure that is characteristic for this painting. Reserves were left in the background from some elements in the motif such as the woman and the table with the hanging green tablecloth, in which a second reserve was left for the violin. The other instruments have been painted over the green paint. Intricate details in the pattern on the gown have been painted in grey and black nuances with small distinct sections of embroidery on the apron, the lace and the hanging jewellery. The green pigment used for the table cloth was probably verdigris. The painting underwent conservation treatment in 1832, 1929, 1967, 1990 and 2000. Provenance: C. W. Brogren, J. Lind collection; purchased in 1897. Exhibited: Stockholm 1992, p. 318; Stockholm 2000 (unnumbered.); Stockholm 2010, no. 96. Bibliography: Granberg 1886, pp. 150–151, no 274 (as anonymous Flemish master); Göthe 1900, p. 135 (as anonymous Flemish master); NM Cat 1958, p. 190; NM Cat 1990, p. 341; Wright 1992, I, p. 285; Sidén 2001, pp. 145, 147; Howarth 2009, pp. 261, 540. This painting with musical iconography has been ascribed by earlier writers to an anonymous Flemish painter. In the inventory different attributions have been proposed, although the ascription to the “Master of the Female Half-Lengths” must be rejected entirely for technical and stylistic reasons as dendrochronological examination reveals that the panel, which comes from the Baltic region, was probably manufactured around 1613 or later, which for chronological reasons renders any link with this anonymous master from the 16th century impossible. According to the inventory the attribution to Hendrick van Steenwyck the younger was suggested in conversation in 1900 and in 1902 by Hofstede de Groot.1 It has not been possible to verify this information in any more detail as the suggestions were only made orally. When the attribution was proposed it was also suggested that the interior had probably been painted by Steenwyck but that the lady playing the lute was the work of another hand. The incomplete signature combined with the somewhat uneven technical quality makes it difficult to attribute the work reliably. The fact that Hendrick van Steenwyck’s oeuvre consisted mainly of accurate interior perspective views of churches and other buildings with religious associations contributes to the uncertainty surrounding the originator of this work. Infra-red examination has revealed that the painting was preceded by thorough preparation of the perspective of the interior and the composition. The underdrawing with its distinct perspective guidelines is evidence of this. The artist who painted this work therefore devoted painstaking attention to its perspective, which was the case with Hendrick van Steenwyck the younger. Underdrawing can also be seen clearly under the instruments on the table and all of them have been rendered in great detail. A window with leaded glass to the left of the composition provided gentle illumination of the image, including the woman’s face. In the background a marble pillar with a Corinthian capital can be seen casting its shadow on to the stone wall in the background. An open cupboard is also shown there and on its shelves a number of quires of folios can be seen. Below the cupboard there is a harpsichord, its lid raised to reveal the landscape painted on it in blues and greens. On the table there is a green cloth on which a still life arrangement of instruments has been placed. It includes a lute, a violin, another unidentified string instrument as well as a number of flutes and a music book.2 The woman playing the lute seems to be looking at the book as she plays, which suggests that it contains lute compositions. In the foreground stands a cello. Only the upper half of this is visible, which may be explained by the fact that the painting has been trimmed. Detailed painting distinguishes the woman’s gown with small areas of impasto visible in the embroidery and lace. The strict, calculated perspective composition of the room, the soft illumination from above and the woman’s self-absorbed facial expression add to the meditative atmosphere in the painting. By and large, the work can be linked iconographically to the numerous depictions in paintings from the Netherlands of this period, for instance by Johannes Vermeer, of upper-class women playing the lute or reading letters.3 The lute was a suitable pursuit for an aristocratic woman in the 17th century. The instrument was held in great esteem for the exemplary delicacy of its tone. Indeed, in contemporary paintings St. Cecilia, the patron saint of music, was not infrequently depicted playing the lute. The lute was also linked to love. At times it could also be used in moralistic contexts as a warning against too dissolute a life, when the references to vanitas were significant if the strings were broken. It is not inconceivable that the musical instruments in this painting allude to a musical performance that is either about to take place or has done so already in the elevated circle to which the female lutenist belongs. Music was considered one of the fine arts and hearing one of the five senses, which is indirectly emphasised in this work by the woman’s playing and her inward-looking, contemplative and attentive facial expression. An attribution to Hendrick van Steenwyck the younger, with the possible collaboration of an assistant in the portrait of the woman, could be justified by the clear interior perspective of the composition. Jeremy Howarth has proposed a date for the painting to the 1610s, a suggestion in line with the dendrochronological examination.4 KS 1 According to the written inventory the painting was purchased at Bukowski’s auction in Stockholm on 27 October 1897 , cat. 110, no. 25. The inventory records the attribution to Hendrick van Steenwyck the younger with regard to the depiction of the interior during a conversation in 1900 by “Mr. Hesseltines” and two years later by Hofstede de Groot. See the NM inventory under NM 1520, The Collection of Paintings and Sculpture, Nationalmuseum. 2 Dr. Hans Riben from the Music Museum in Stockholm has been consulted for the identification of the musical instruments. 3 For this group of motifs and their significance see K. Sidén 2001, pp. 137–156. 4 Jeremy Howarth, The Stenwyck Family as Masters of Perpective, Turnhout 2009, p. 261. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 198: Technical notes: The oak panel consist of a three radial oak boards, 0.5–0.8 thick, laid horizontally with a horizontal grain and a slight convex warp. Partial bevelling occurs along the top and right edges on the verso. The panel has probably been cut along the left side by ca 4 cm and the lower part by a minimum of 1 cm where bevelling is missing. At the obverse probably the last part of the signature is missing and the intervening area. It is possible that the lower part has been cut, intervening areas are missing, but the edge is covered. The panel has been thinned slightly on the verso. The lower edge has a non-original extension using a strip of oak 1.1 cm. Dendrochronological examination and analysis have determined a felling date for the tree between c. 1605 and 1615. The wood originated from the Baltic region. Under the assumption of a median of 15 sapwood rings and a minimum of 2 years for seasoning of the wood, the most plausible date for use of the panel would be 1613 or later. There is a red seal with fragments of a monogram on the verso and a printed label with its edges framed in black: CARL W: BROGR/…/. The preparation consists of a white, probably chalk, ground applied evenly and thickly with a broad brush. There is a thinly applied semi-transparent light brownish- yellow imprimatura. Infrared reflectography partially revealed a dark underdrawing in a dry medium, probably black chalk, delineating the perspectival system, the interior architectural elements (windows, pilasters), the table with tablecloth and the shapes and position of the various musical instruments in the foreground. Numerous pentimenti occur in the underdrawing, especially shifts in the still life of musical instruments, and the drawing was then frequently not followed at the painting stage. The paint layer is applied opaquely and semi-transparently. The original paint layer ends c. 0.7–1.3 cm from the left and upper edges of the panel. These edges were probably left unpainted and were covered by an applied frame. These intervening areas have later been painted to the edge of the panel. On this occasion the non-original extension at the bottom of the panel was also added. The palette used for these later additions differs significantly from the original colours used with somewhat coarser and different mixtures of pigments and the absence of the craquelure that is characteristic for this painting. Reserves were left in the background from some elements in the motif such as the woman and the table with the hanging green tablecloth, in which a second reserve was left for the violin. The other instruments have been painted over the green paint. Intricate details in the pattern on the gown have been painted in grey and black nuances with small distinct sections of embroidery on the apron, the lace and the hanging jewellery. The green pigment used for the table cloth was probably verdigris. The painting underwent conservation treatment in 1832, 1929, 1967, 1990 and 2000. Provenance: C. W. Brogren, J. Lind collection; purchased in 1897. Exhibited: Stockholm 1992, p. 318; Stockholm 2000 (unnumbered.); Stockholm 2010, no. 96. Bibliography: Granberg 1886, pp. 150–151, no 274 (as anonymous Flemish master); Göthe 1900, p. 135 (as anonymous Flemish master); NM Cat 1958, p. 190; NM Cat 1990, p. 341; Wright 1992, I, p. 285; Sidén 2001, pp. 145, 147; Howarth 2009, pp. 261, 540. This painting with musical iconography has been ascribed by earlier writers to an anonymous Flemish painter. In the inventory different attributions have been proposed, although the ascription to the “Master of the Female Half-Lengths” must be rejected entirely for technical and stylistic reasons as dendrochronological examination reveals that the panel, which comes from the Baltic region, was probably manufactured around 1613 or later, which for chronological reasons renders any link with this anonymous master from the 16th century impossible. According to the inventory the attribution to Hendrick van Steenwyck the younger was suggested in conversation in 1900 and in 1902 by Hofstede de Groot.1 It has not been possible to verify this information in any more detail as the suggestions were only made orally. When the attribution was proposed it was also suggested that the interior had probably been painted by Steenwyck but that the lady playing the lute was the work of another hand. The incomplete signature combined with the somewhat uneven technical quality makes it difficult to attribute the work reliably. The fact that Hendrick van Steenwyck’s oeuvre consisted mainly of accurate interior perspective views of churches and other buildings with religious associations contributes to the uncertainty surrounding the originator of this work. Infra-red examination has revealed that the painting was preceded by thorough preparation of the perspective of the interior and the composition. The underdrawing with its distinct perspective guidelines is evidence of this. The artist who painted this work therefore devoted painstaking attention to its perspective, which was the case with Hendrick van Steenwyck the younger. Underdrawing can also be seen clearly under the instruments on the table and all of them have been rendered in great detail. A window with leaded glass to the left of the composition provided gentle illumination of the image, including the woman’s face. In the background a marble pillar with a Corinthian capital can be seen casting its shadow on to the stone wall in the background. An open cupboard is also shown there and on its shelves a number of quires of folios can be seen. Below the cupboard there is a harpsichord, its lid raised to reveal the landscape painted on it in blues and greens. On the table there is a green cloth on which a still life arrangement of instruments has been placed. It includes a lute, a violin, another unidentified string instrument as well as a number of flutes and a music book.2 The woman playing the lute seems to be looking at the book as she plays, which suggests that it contains lute compositions. In the foreground stands a cello. Only the upper half of this is visible, which may be explained by the fact that the painting has been trimmed. Detailed painting distinguishes the woman’s gown with small areas of impasto visible in the embroidery and lace. The strict, calculated perspective composition of the room, the soft illumination from above and the woman’s self-absorbed facial expression add to the meditative atmosphere in the painting. By and large, the work can be linked iconographically to the numerous depictions in paintings from the Netherlands of this period, for instance by Johannes Vermeer, of upper-class women playing the lute or reading letters.3 The lute was a suitable pursuit for an aristocratic woman in the 17th century. The instrument was held in great esteem for the exemplary delicacy of its tone. Indeed, in contemporary paintings St. Cecilia, the patron saint of music, was not infrequently depicted playing the lute. The lute was also linked to love. At times it could also be used in moralistic contexts as a warning against too dissolute a life, when the references to vanitas were significant if the strings were broken. It is not inconceivable that the musical instruments in this painting allude to a musical performance that is either about to take place or has done so already in the elevated circle to which the female lutenist belongs. Music was considered one of the fine arts and hearing one of the five senses, which is indirectly emphasised in this work by the woman’s playing and her inward-looking, contemplative and attentive facial expression. An attribution to Hendrick van Steenwyck the younger, with the possible collaboration of an assistant in the portrait of the woman, could be justified by the clear interior perspective of the composition. Jeremy Howarth has proposed a date for the painting to the 1610s, a suggestion in line with the dendrochronological examination.4 KS 1 According to the written inventory the painting was purchased at Bukowski’s auction in Stockholm on 27 October 1897 , cat. 110, no. 25. The inventory records the attribution to Hendrick van Steenwyck the younger with regard to the depiction of the interior during a conversation in 1900 by “Mr. Hesseltines” and two years later by Hofstede de Groot. See the NM inventory under NM 1520, The Collection of Paintings and Sculpture, Nationalmuseum. 2 Dr. Hans Riben from the Music Museum in Stockholm has been consulted for the identification of the musical instruments. 3 For this group of motifs and their significance see K. Sidén 2001, pp. 137–156. 4 Jeremy Howarth, The Stenwyck Family as Masters of Perpective, Turnhout 2009, p. 261. [End]
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