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Lady and Gentleman on Horseback

Aelbert Cuypc. 1655, reworked 1660/1665

National Gallery of Art, Washington DC

National Gallery of Art, Washington DC
Washington, DC, United States

This large double portrait on horseback is unusual in Dutch art, because equestrian likenesses were initially reserved for sitting monarchs. Traditional portrait convention would have placed the woman to the left and slightly behind the man, yet this elegant lady on her magnificent steed occupies center stage. The identity of the sitters has not been confirmed, but the woman’s prominence indicates her high socioeconomic status. It has been suggested that this double portrait was commissioned in 1654 to celebrate the marriage of Adriaen Stevensz Snouck with Erkenraad Matthisdr Berk, daughter of Aelbert Cuyp’s patron Matthijs Berk, who served as Dordrecht’s chief representative in the States General.


Cuyp originally included a larger hunting party, but then reworked and simplified the composition and modified the two figures. The burdock plants at the left, for instance, conceal several dogs under the overpaint. The man originally wore a bright red military-style tunic and cloak, plus a hat atop his shorter hair, while the woman’s shoulders used to be covered with a plain flat collar. The more refined attire of the woman’s costume points to the shift away from sober black toward the more opulent French style that became fashionable in about 1660. The imaginary background recalls the castles and monasteries that Cuyp had sketched during an earlier trip up the Rhine river valley into Germany.

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  • Title: Lady and Gentleman on Horseback
  • Creator: Aelbert Cuyp
  • Date Created: c. 1655, reworked 1660/1665
  • Physical Dimensions: overall: 123 x 172 cm (48 7/16 x 67 11/16 in.) framed: 164.8 x 214 x 16.2 cm (64 7/8 x 84 1/4 x 6 3/8 in.)
  • Provenance: (Thomas Emmerson [c. 1776-1855], London) before 1834.[1] purchased through Henry Artaria by Edmund Higginson [1802-1871], Saltmarshe Castle, near Bromyard, Herefordshire, before 1842;[2] (his sale, Christie & Manson, London, 4 June 1846, no. 212, as _The Departure for the Chase_, bought in); (his sale, Christie, Manson & Woods, London, 16 June 1860, no. 34, as _The Departure for the Chase_); (Charles J. Nieuwenhuys, Brussels and London). Adrian John Hope [1811-1863], London; (his estate sale, Christie, Manson & Woods, London, 30 June 1894, no. 22, as _Grand Landscape_); (Charles J. Wertheimer, London). (Charles Sedelmeyer, Paris); sold 1894 to Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[3] inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, Pennsylvania; gift 1942 to NGA. [1] John Smith describes the painting as “formerly in the possession of Thomas Emmerson, Esq.” (John Smith, _A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters_, 9 vols., London, 1829–1842: 5[1834]: no. 177). Emmerson was apparently a dealer and collector, and the first auction of paintings in which he was the only seller took place in London in 1829. There were several other sales of paintings in his possession, from the 1830s through the 1850s, but the Gallery’s painting has not been found in any of the catalogues. [2] John Smith, _A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters_, 9 vols., London, 1829–1842: 9(1842):664. [3] Widener Collection records, in NGA curatorial files.
  • Medium: oil on canvas
National Gallery of Art, Washington DC

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