Ghost
Portrait of Elisabeth Henriette Bruun de Neergaard with her eldest son Henrik by Jens Juel, 1799-1800 Denmark, Ny Carlsberg Glyptotek
The Athenaeum gives the artist as George William Joy, but this can’t be right because he was born in 1844 - long after this painting was made.  I can’t find the painting in the museum’s collections to find out where the confusion comes from.

Portrait of Elisabeth Henriette Bruun de Neergaard with her eldest son Henrik by Jens Juel, 1799-1800 Denmark, Ny Carlsberg Glyptotek

The Athenaeum gives the artist as George William Joy, but this can’t be right because he was born in 1844 - long after this painting was made.  I can’t find the painting in the museum’s collections to find out where the confusion comes from.

Mrs Elizabeth Wurtz Elder and Her Three Children by Jacob Eichholtz, 1825 US (Philadelphia?), Pennsylvania Academy of the Fine Arts
I can’t get over how cute that fur bonnet is.  I’m just going to pretend that it’s faux fur, even though it didn’t exist yet.

Mrs Elizabeth Wurtz Elder and Her Three Children by Jacob Eichholtz, 1825 US (Philadelphia?), Pennsylvania Academy of the Fine Arts

I can’t get over how cute that fur bonnet is.  I’m just going to pretend that it’s faux fur, even though it didn’t exist yet.

Georgiana, Duchess of Devonshire with Her Infant Daughter Lady Georgiana Cavendish by Sir Joshua Reynolds, 1783 England, the Devonshire Collection

Georgiana, Duchess of Devonshire with Her Infant Daughter Lady Georgiana Cavendish by Sir Joshua Reynolds, 1783 England, the Devonshire Collection

 Lady Elizabeth Delmé and Her Children by Sir Joshua Reynolds, 1777-79, National Gallery of Art, Washington DC

Lady Elizabeth Delmé and Her Children by Sir Joshua Reynolds, 1777-79, National Gallery of Art, Washington DC

The Artist and His Family by Jame Peale, 1795 US, Pennsylvania Academy of the Fine Arts
Giant version

The Artist and His Family by Jame Peale, 1795 US, Pennsylvania Academy of the Fine Arts

Giant version

The Princely Esterházy Council Mathias Kerzmann with His Second Wife, the Former Countess Majlath, and His Daughter Maria by Ferdinand Georg Waldmüller, 1835, the Belvedere
Giant version

The Princely Esterházy Council Mathias Kerzmann with His Second Wife, the Former Countess Majlath, and His Daughter Maria by Ferdinand Georg Waldmüller, 1835, the Belvedere

Giant version

Mrs A von Winiwarter With Her Son by Ferdinand Georg Waldmüller, 1829 Germany, Staatsgalerie Stuttgart
Click for a giant version.

Mrs A von Winiwarter With Her Son by Ferdinand Georg Waldmüller, 1829 Germany, Staatsgalerie Stuttgart

Click for a giant version.

Three Young Girls by a follower of William Larkin, ca 1620 England, Berger Collection

These three unidentified sisters are dressed in matching outfits, a sort of family uniform, albeit an expensive and fashionable one. They wear the new taste for low necklines and high waists. Their scarlet damask dresses are exquisitely decorated with yellow-toned accessories and feature yellow-lace décolletage edgings, standing collars, and ruffs, as well as yellow braiding, silk ribbons, and bow belts; the girls wear matching yellow-lace hair bands. Yellow lace was introduced in around 1610 and remained in fashion for about ten years, helping to date the picture. The color coordination extends to the jewelry: two of the girls wear red and yellow coral bracelets, and all three have red coral hunting-horn earrings. The horn is a heraldic motif, suggesting that the girls come from an important landowning family. The sisters, with their fair skin and rosy cheeks, are a picture of beauty. Their gray-blue eyes are as jewellike as the diamonds of their gold three-drop pendants. Each girl’s hair—golden for the youngest, auburn for the middle, and tawny for the eldest—is brushed in the same style and contains an arrangement of fresh flowers representing symbols of spring, childhood, and fertility. The two youngest have marigolds set against a sea of blue hyacinths, with white antennaelike periwinkles; the eldest wears a red carnation and a white-feather plume. It is hoped that further research will help to identify these three young girls and also reveal the significance of the various objects that they are holding. Traditionally in art, ripe fruit has represented male and female fecundity. Taken with the doll of a grown-up woman held by the youngest child and the ring worn by the middle girl, the grapes and the pears may be symbols of the sisters’ future roles as mothers and wives.

Three Young Girls by a follower of William Larkin, ca 1620 England, Berger Collection

These three unidentified sisters are dressed in matching outfits, a sort of family uniform, albeit an expensive and fashionable one. They wear the new taste for low necklines and high waists. Their scarlet damask dresses are exquisitely decorated with yellow-toned accessories and feature yellow-lace décolletage edgings, standing collars, and ruffs, as well as yellow braiding, silk ribbons, and bow belts; the girls wear matching yellow-lace hair bands. Yellow lace was introduced in around 1610 and remained in fashion for about ten years, helping to date the picture. The color coordination extends to the jewelry: two of the girls wear red and yellow coral bracelets, and all three have red coral hunting-horn earrings. The horn is a heraldic motif, suggesting that the girls come from an important landowning family.

The sisters, with their fair skin and rosy cheeks, are a picture of beauty. Their gray-blue eyes are as jewellike as the diamonds of their gold three-drop pendants. Each girl’s hair—golden for the youngest, auburn for the middle, and tawny for the eldest—is brushed in the same style and contains an arrangement of fresh flowers representing symbols of spring, childhood, and fertility. The two youngest have marigolds set against a sea of blue hyacinths, with white antennaelike periwinkles; the eldest wears a red carnation and a white-feather plume.

It is hoped that further research will help to identify these three young girls and also reveal the significance of the various objects that they are holding. Traditionally in art, ripe fruit has represented male and female fecundity. Taken with the doll of a grown-up woman held by the youngest child and the ring worn by the middle girl, the grapes and the pears may be symbols of the sisters’ future roles as mothers and wives.

Self-portrait of the Artist with his Wife Suzanne Cock and their Children by Cornelis de Vos, 1630’s the Netherlands, the State Hermitage Museum

Self-portrait of the Artist with his Wife Suzanne Cock and their Children by Cornelis de Vos, 1630’s the Netherlands, the State Hermitage Museum

(Source: hermitagemuseum.org)

Magdalena (geb. 1618) und Jan-Baptiste de Vos (geb. 1619), die Kinder des Malers by Cornelis de Vos, 1621-22, Gemäldegalerie

Magdalena (geb. 1618) und Jan-Baptiste de Vos (geb. 1619), die Kinder des Malers by Cornelis de Vos, 1621-22, Gemäldegalerie

(Source: smb-digital.de)

King James II and Mary, Princess of Orange by Cornelius Johnson, 1639, National Portrait Gallery, London

From here and here.

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