Joris Vekemans  - Cornelis de Vos - circa 1625
Joris Vekemans  - Cornelis de Vos - circa 1625
Joris Vekemans  - Cornelis de Vos - circa 1625
Joris Vekemans  - Cornelis de Vos - circa 1625
Joris Vekemans  - Cornelis de Vos - circa 1625

Artworks with the same keyword

The Collection of paintings "of Sebastiaan Leerse" - Frans Francken II - 1628 - 1629
Portrait of a Woman - Cornelis de Vos
Portrait of N. van Nieuwenhove - Anonymous - 1601 - 1700
Portrait of Frans Wynckelman (+1725) - Jacob van Oost II - 1709 - 1710
Archduke Albert - Peter Paul Rubens - 1616
Portrait of Pieter Breughel (II the youngster) - Anthony van Dyck - 1630 - 1640
The Painter Marten Pepijn - Anthony van Dyck
Portrait of Antonius Daneels (+1674) - Jacob van Oost I - 1669
Guardian Portrait of W. Despars - Anonymous - 1601 - 1700
The grave of Monterey and his wife under a baldachin - Lodewijk Willemsens - 1650 - 1702
The Citizens of Antwerp bring back to Saint Norbert the Monstrance and other Sacred Vessels that they had hidden from Tankelin - Cornelis de Vos - 1630
Portrait of Hendrik Franssens, Dean of the Surgeons' Guild in Bruges - Jacob van Oost II - 1675 - 1713

Joris Vekemans

Cornelis de Vos
circa 1625
Material : 
oil on panel
86.0 cm x 123.3 cm
Inventory number: 
Museum Mayer van den Bergh Antwerp
17th century Portraits

Joris Vekemans (1590-1625) was a rich Antwerp businessman who died at an early age. His wealth can be gauged from the series of portraits of his family that he ordered from Cornelis de Vos. The fact that he commissioned them from one of Antwerp’s most famous specialist of children’s portraits is already indicative, but the portraits themselves also radiate his prosperity.

The museum possesses four of them. In 2006 a fifth portrait was lent by the King Baudouin Foundation, which had purchased it from a private collector. The entire set must have consisted of six panels. They were done as pendants: Joris and his wife Maria (d. 1664) form one pair. A second was formed by Frans, who is four or five years old here, and his sister Elisabeth or Cornelia, who only differed by one year. Jan, the eldest son, may have formed a pendant with the other sister. The subjects in each pair adopt the same pose, the backgrounds correspond, and the painter used a similar palette.