Portrait of Oopjen Coppit
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Portrait of Oopjen Coppit
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| Artist | Rembrandt |
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| Year | 1634 |
| Catalogue | Rembrandt Research Project, A Corpus of Rembrandt Paintings VI: #120b |
| Material | Oil on canvas |
| Dimensions | 210 cm × 134.5 cm (83 in × 53.0 in) |
| Location | Louvre and Rijksmuseum, Paris and Amsterdam |
Portrait of Oopjen Coppit (1611-1689) is a painting by the Dutch Golden Age painter Rembrandt, painted on the occasion of her marriage to Maerten Soolmans in 1634. It is considered a pendant portrait, and portrait of her husband was included in the 2015 sale as part of a joint collaboration between the Louvre and the Rijksmuseum, purchased from the Rothschild family. The paintings were jointly sold for € 160 million.[1]
Contents
Painting
This painting was documented by Hofstede de Groot in 1915, who wrote: "638 MACHTELD VAN DOORN (1605-1646), from 1629 the wife of Martin Daey. Sm. 551. ; Bode 304 ; Dut. 209 ; Wb. 317 ; B.-HdG. 108. Full length ; life size. About thirty. She walks to the left along a footpath paved with stones, and looks at the spectator. She holds up in her right hand, by a gold chain, a rich fan of black ostrich feathers ; with her left hand, as she descends a step, she lightly raises her handsome spotted gown of black silk with a high bodice, against which her broad and close-fitting lace collar and her lace-trimmed wristbands stand out in relief. At her waistband and on her shoe are rosettes of lace. Her fair curls are caught up at the back in a cap ; a thick black veil falls from it down her back. At her throat and on her arms are several strings of pearls, and there is a pearl in each ear. A gold ring hangs by a fine chain from her lace collar. In the right background is a bluish-green curtain. [Pendant to 637.]
Signed, " Rembrandt f. 1634" ; canvas, 82 inches by 52 inches. Etched by L. Flameng in the Gazette des Beaux-Arts, 1879; in Dutuit; and in the Nederlandsche Kunstbode, 1879. Mentioned by Vosmaer, pp. 254, 533 ; Bode, p. 402 ; Dutuit, p. 52 ; Michel, p. 148 [112-14, 436] ; Moes, 2075. Exhibited at Amsterdam, 1867, No. 162. Sale. Hendrik Daey, Alkmaar, 1798 (4000 florins, with pendant, R. M. Pruyssenaar and Adriaen Daey, who sold the pictures for 12,000 florins to Van Winter).
In the Van Winter collection, Amsterdam, which passed by inheritance to the Van Loons, and was acquired as a whole in 1877 by the Rothschilds. In the collection of Baron Gustave de Rothschild, Paris.
In the collection of Baron Robert de Rothschild, Paris."[2]
The painting was known as the "Portrait of Mevrouw Day" for over a century. She and her husband, who married 9 June 1633, were only properly identified in the 20th-century.[3][4] The confusion of the names came about because after Maerten died, Oopjen remarried Captain Marten Pietersz. Daij, and she outlived this second husband as well. After her death the paintings remained in the Daij or Daey family and members of that family assumed the portraits were of Daij and his first wife.[5]
Oopjen is wearing a flat lace collar with matching wrist collars in the latest fashion. Other Amsterdam brides of the regency class wore millstone collars well into the 1640s. She is also wearing a pearl necklace and a pearl bracelet, and pearls were considered more valuable than diamonds at that time. The format of the paintings showing the couple at full length was the most expensive form of marriage pendant and could only fit in a house with high ceilings. According to family inventories, they also owned another Rembrandt depicting the Holy Family. It is assumed that this is the Holy Family now in Munich, as that is also dated to 1634.[6]
Pendants
The joint purchase of these paintings was made by the Louvre and the Rijksmuseum on February 1, 2016. For the first time since 60 years, they were exhibited at the Louvre on March 10, 2016 until June 13, then for another 3 months at the Rijksmuseum, before their restoration. The intergovernmental agreement will keep these pendants together,[7] alternately at the Louvre again, then at the Rijksmuseum for five years, followed by periods of eight years. They consequently may not be lent to other institutions.[8]
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Rembrandt Portrait of Marten Soolmans.jpg
Maerten Soolmans
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Rembrandt Portrait of Oopjen Coppit.jpg
Oopjen Coppit
Other Rembrandt portraits of women in the 1630s
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1632
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Rembrandt van Rijn 196.jpg
1632
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Rembrandt Harmensz. van Rijn 162.jpg
1632
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Rembrandt, Portret van een jonge vrouw met waaier, 1633, Metropolitan Museum of Art, New York City.jpg
1633
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Rembrandt Harmensz. van Rijn 091.jpg
1633
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Portrait of a Young Woman by Rembrandt, 1633.jpg
1633
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Rembrandt, Portret van Haesje v.Cleyburg 1634.jpg
1634
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Portret van een vrouw, mogelijk Maria Trip Rijksmuseum SK-C-597.jpeg
c.1639
See also
References
- ↑ Press release covered in the NRC Handelsblad
- ↑ Entry 638 for ''Machteld van Doorn in Hofstede de Groot, 1915
- ↑ The pendant portraits are listed as 164 Maerten Soolmans and 165 Oopjen Coppit in Horst Gerson's Rembrandt catalog of 1968
- ↑ Portret van Oopjen Coppit (1611-1689), 1634 gedateerd in the RKD
- ↑ family relations of Oopjen Coppit and Maerten Soolmans explained in the Montias database
- ↑ The Rembrandt Book, by Gary Schwartz, p.203
- ↑ Press release September 2015
- ↑ Portraits of Maerten Soolmans and Oopjen Coppit by Rembrandt, an exceptionnal acquisition exhibited at the Musée du Louvre, www.louvre.fr
- Press release covered in the Guardian
- 551. Portrait of Madame Daey, wife of a magistrate in Smith's catalogue raisonne of 1836
