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Lot Essay
The quotation is taken from Job, XII:13.
According to records in the RKD, the attribution to Jacob van Utrecht was first suggested by A.B. de Vries, followed by S. Gudlaugsson. Jacob Claesz. is the only known portrait painter active in Utrecht circa 1520-1530. As pointed out by G.J. Hoogewerff, De Noord Nederlandsche Schilderkunst, III, 1939, pp 55-61, who identified nine signed works, Claesz.'s portraits are characterised by half length poses, turned in three-quarter to the left or the right, before a flat background, close to the picture plane. The sitters show no particular psychological identity and their gaze is fixed. The influence of Jan van Eyck is evident in the treatment of the hands. The floating scroll in the background shows the influence of Claesz.' predecessors, for instance the portrait of Jacob van Driebergen of 1502, by an anonymous hand, in the Centraal Museum Utrecht (Hoogewerff, op. cit, p. 53, fig. 20).
According to records in the RKD, the attribution to Jacob van Utrecht was first suggested by A.B. de Vries, followed by S. Gudlaugsson. Jacob Claesz. is the only known portrait painter active in Utrecht circa 1520-1530. As pointed out by G.J. Hoogewerff, De Noord Nederlandsche Schilderkunst, III, 1939, pp 55-61, who identified nine signed works, Claesz.'s portraits are characterised by half length poses, turned in three-quarter to the left or the right, before a flat background, close to the picture plane. The sitters show no particular psychological identity and their gaze is fixed. The influence of Jan van Eyck is evident in the treatment of the hands. The floating scroll in the background shows the influence of Claesz.' predecessors, for instance the portrait of Jacob van Driebergen of 1502, by an anonymous hand, in the Centraal Museum Utrecht (Hoogewerff, op. cit, p. 53, fig. 20).