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Craeyvanger Family
A Unique Series of Portraits
 


Willem Craeyvanger and Christine van der Wart produced a large family with no fewer than eight children. Here you can see all the members of this family from Arnhem together. The father, Willem, was painted first, by Paulus Lesire, in 1651. The portraits of Christine and the children followed several years later. These were painted by Gerard ter Borch and his pupil Caspar Netscher.

Paulus Lesire, Portret van Willem Craeyvanger Caspar Netscher, Portret van Christine van der Wart

For centuries, almost no-one knew of the existence of these ten portraits: they had remained in the family for generations. Then, in May 2009, the paintings came up for auction. A private collection purchased all ten paintings, ensuring that after 350 years the family would remain together.

Gerard ter Borch, Portret van Jan Craeyvanger Gerard ter Borch, Portret van Willem Craeyvanger Gerard ter Borch, Portret van Reijnder Craeyvanger Gerard ter Borch, Portret van Engel Craeyvanger
Caspar Netscher, Portret van Peter Craeyvanger Caspar Netscher, Portret van Gerrit Craeyvanger Caspar Netscher, Portret van Lijsbeth Craeyvanger Caspar Netscher, Portret van Naleke Craeyvanger

The Craeyvanger Family is on display in the Mauritshuis in Room 11 (until 16 January 2011).

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Ter Borch's woman near a cradle

A seated woman is absorbed by the needlework on a cushion in her lap. The cradle next to her is covered with a cloth, probably to protect the sleeping infant. Another woman standing behind her near the hearth stirs a pot.

 Gerard ter Borch (1617-1681)
Woman sewing near a cradle, c.1656
Inv.no. 1133

With both women quietly concentrating on their tasks, the hushed atmosphere in the room is almost palpable. They might be whispering about household matters or gossiping. The composition’s tranquil simplicity is characteristic of Gerard ter Borch (1617-1681), who often painted such scenes with few figures and little movement.

Ter Borch painted the Woman sewing near a cradle around 1656. It was bequeathed to the Mauritshuis by Mr J. Nienhuys in 2004. Following a thorough restoration, it is now on view to the public in Room 14. Its treatment consisted of removing the old varnish and areas of overpainting, and retouching it where necessary. As a result, Ter Borch’s artistic mastery is once again visible in all its glory, particularly in the beautiful rendering of the seated woman’s clothing. Perhaps even more exquisite is the light playing across her head covering.