Portrait of Amalia von Solms (?), Circle of Michiel Jansz VAN MIEREVELD

Presumed Portrait of Amalia von Solms, Circle of Michiel Jansz VAN MIEREVELD (1567-1641)

Technique: Oil on copper

Dimensions: H 11.3 cm x W 14.8 cm (with frame)

School: Dutch painting, Circle of Michiel Jansz van Miereveld (1567-1641)

Dating: Circa 1625-1630

This refined portrait of a noblewoman, wearing a richly decorated gown with a detailed lace collar and adorned with a geometric brooch, exemplifies the elegance and sophistication of early 17th-century Dutch portraiture. The subject is possibly Amalia von Solms (1602-1675), Princess of Orange and an influential figure at the Dutch court. Originally arriving in the Netherlands as a lady-in-waiting, she captured the attention of Frederick Henry, Prince of Orange, whom she married in 1625. Following her marriage, she gained prominence and became an essential figure in the political and social circles of the time.

Amalia played a crucial role in shaping the House of Orange-Nassau, using her position to arrange advantageous marriages for her children and securing powerful alliances with European dynasties. Known for her intelligence and political acumen, she influenced many of the diplomatic decisions of her era and is considered one of the key figures in the consolidation of the Dutch Republic’s power.

The precision in the rendering of lace, jewelry, and facial features suggests the involvement of the Circle of Michiel Jansz van Miereveld, a distinguished portraitist known for capturing the nobility's dignity and authority. Miereveld’s studio produced numerous portraits for the Dutch aristocracy, and his works are characterized by a delicate balance of realism and regal presentation.

Michiel Jansz van Miereveld: Portraitist and Studio Production

Michiel Jansz van Miereveld was an extraordinarily prolific artist, with his studio producing three to four portraits per week. This high output was possible thanks to the help of his sons, students, and assistants, who worked under his supervision. Van Miereveld hailed from a family of artisans from the town of Mier, near Turnhout in Brabant. His great-grandfather relocated to Delft around 1500 with his two sons. Michiel grew up in an artistic environment, as his father was a goldsmith. After training under several masters, Van Miereveld completed his education and, in 1589, married Stijntge Pietersdr. Van der Pes, with whom he had eight children over the following fourteen years.

Most of Van Miereveld’s portraits were created during the early 17th century, at the peak of his career. His studio was located in a grand residence in Delft known as "Het Wapen van Spangien," a property with a canal-side house and outbuildings on the Oude Delft. Van Miereveld typically painted on wooden panels, which were supplied by carpenters rather than made in his studio. Portraits could be ordered in various standard sizes, according to the client’s preferences and budget.

His portraits were known for their formal rigor: body postures and the angle of the head followed consistent patterns. While the clothing worn by his subjects was often understated, it was always rendered with great attention to detail, especially when depicting luxurious fabrics. Approximately 50% of his surviving works are replicas or copies, with some portraits, such as those of Prince Maurits, existing in up to 42 versions.

The prices for Van Miereveld's portraits also varied depending on the composition. A bust-length portrait cost between 48 and 50 florins, while full-length portraits could reach prices of 200 to 300 florins. His studio gradually transformed into a family business, with his eldest son playing a key role, and later, three more of his children contributing to the production of portraits.

Many of Van Miereveld's clients came from Delft, but his reputation extended beyond the city. Commissions arrived from other parts of the Dutch Republic, including Amsterdam and The Hague, as well as from abroad. His clientele was primarily composed of wealthy middle-class individuals, but he also painted portraits for military officers, diplomats, theologians, and aristocrats.

Van Miereveld's use of materials and his painting techniques were highly refined. He employed finely made wooden panels and quality brushes to achieve a meticulous finish. One of the most iconic subjects of his portraits was Prince Maurits of Nassau, whose likeness Van Miereveld painted numerous times in various formats, ranging from small busts to full-length portraits. These portraits of Prince Maurits became a hallmark of Van Miereveld’s studio.

Famous Portraits: Maurits van Nassau, Prince of Orange (1567-1625); Frederick Henry, Prince of Orange (1584-1647); Amalia von Solms, Princess of Orange (1602-1675); Elizabeth Stuart, Queen of Bohemia (1596-1662).

Museums and Collections: Rijksmuseum, Amsterdam; Mauritshuis, The Hague; National Gallery, London; Museo del Prado, Madrid.