Portrait of a woman, 1631 by Nicolaes Eliasz. Pickenoy (1588-1653)

Nicolaes Eliasz. Pickenoy (1588–1653/56)
Oil on panel, 121.5 × 89.5 cm
Signed and dated upper right: "AN° 1631, AETA 40."

About the Artwork:

Painted in 1631, this striking portrait exemplifies Nicolaes Pickenoy’s refined approach to portraiture at the height of his career. The sitter, aged forty according to the inscription, is depicted with a serene yet commanding presence. Dressed in sober but luxurious black attire with a prominent lace-trimmed millstone ruff and matching cuffs, she embodies the modest dignity associated with the Dutch upper class of the time.

Her elegant gloves, delicately held in one hand, and the subtle shimmer of her satin gown speak to her wealth and social standing. The restrained palette enhances the sitter’s pale complexion and the brilliant white of her ruff and cap, drawing the viewer's attention to her composed expression. The careful rendering of textures—from the softness of the fabric to the crispness of the lace—showcases Pickenoy’s technical mastery and his ability to convey both status and character through visual restraint.

This work stands as a testament to the Dutch Golden Age tradition of formal portraiture, where identity and wealth were meticulously captured in paint.

Provenance:

Private Collection, Paris (2002)

Private Collection, Lisbon (2010)

About the Artist
Nicolaes Eliaszoon Pickenoy was a Dutch painter of Flemish origin, born in 1588 in Amsterdam. A prominent figure in the city’s artistic scene, he was active during the same period as Rembrandt, and even lived next door to him for a time. He likely trained under Cornelis van der Voort and may have taught Bartholomeus van der Helst.

Pickenoy gained widespread recognition for his schuttersstukken (civic guard group portraits), portraits of regents, and depictions of leading figures in Dutch society such as Nicolaes Tulp and Maarten Tromp. From around 1630 to 1637, he was one of the most sought-after portraitists in Amsterdam, known for his dignified representations and precise detailing.

Though his artistic output declined after 1637, he continued to take on high-profile commissions. His studio was located in a house with a remarkable artistic lineage, once occupied by his own teacher and later by Rembrandt’s art dealer. The neighborhood itself was a vibrant hub for painters, merchants, and collectors. Despite his success, like many of his contemporaries, Pickenoy faced financial difficulties later in life and was forced to sell his home in 1645. His legacy, however, remains embedded in the civic and artistic history of Amsterdam.