Among the many Dutch masters who created portrait miniatures were David Baudringhien, Job Berckheyde, Gerard ter Borch, Cornelis Jonson van Ceulen, Gerrit Lundens, Simon Luttichuys, Michiel van Musscher, Cornelis van Poelenburch, Abraham Snaphaen, Hendrick Sorgh, Jan Verkolje, Daniel Vertangen, and Adriaen van der Werff. Tiny portraits in oil remained popular remained popular in eighteenth-century Holland, which led such artists as Cornelis Troost, Jan Stolker, and Jan Maurits Quinkhard to practice this specialty.
See Peeter Leermans, Portrait of a Man, PLe-100.
Johnny van Haeften, Dutch and Flemish Old Master Paintings 18 (London, 2011), no. 26; more examples are to be found in Diana Scarisbrick, Portait Jewels: Opulence and Intimacy from the Medici to the Romanovs (London, 2011).
Thierry Beherman, Godfried Schalcken (Paris, 1988), nos. 69, 70, 102, 108, 123, 124, 228, 230, and 268. I am not certain that nos. 70 and 230 are by Schalcken. I define a miniature as having an admittedly arbitrary maximum height of 15 cm.
The six portrait miniatures in question include portrayals of Pieter Teding van Berkhout (RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History) no. 123967) and his wife, Elisabeth Ruysch (RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History) no. 123968); her brother Coenraad Ruysch (RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History) no. 208865); and a woman who was probably the artist’s wife, Françoisia van Diemen (RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History) no. 198197); as well as the Portrait of a Man in a White Wig (see note 7), and the present painting.
Guido M. C. Jansen, “Ferdinand Voet and Coenraad Ruysch,” The Burlington Magazine 153 (2011): fig. 20 (oil on copper, 9.2 x 7.5 cm, oval). The portrait of the Leiden poet Willem van Heemskerck (oil on panel, 10 x 7 cm, oval) of 1676 is, as far as I know, the earliest dated portrait miniature with Schalcken’s monogram. This small panel is not in Beherman, though it is included in Cornelis Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten höllandischen Maler des XVII. Jahrhunderts, 10 vols. (Esslingen and Paris, 1907–28), 5:411, no. 306. For several early and fully signed genre pieces in miniature format, see Thierry Beherman, Godfried Schalcken (Paris, 1988), nos. 133 and 135.
Sale, New York (Sotheby’s), 27 January 2011, lot 280; signed in monogram; oil on copper, 13.2 x 10.9 cm.
According to Isabel Horovitz, Copper as Canvas: Two Centuries of Masterpiece Paintings on Copper, 1575–1775 (New York, 1999), 67–68, “a highly worked sheet of copper will be less flexible than one that is not highly worked, and this is why quite thin (0.5 mm) sheets of copper can provide such excellent rigid supports for paint films.”
The painting was examined on-site with no stereomicroscope. Magnification with 5X Optivisor.