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

Portrait of Fovin de Hasque - Jacob van Oost I - 1669 - 1670
Studies of the head of Abraham Grapheus - Jacob Jordaens I - 1620 - 1621
Barbara Kegeleers with Saint Barbara - Cornelis de Vos
Portrait of Frans Wynckelman (+1725) - Jacob van Oost II - 1709 - 1710
 The Triumph of Frederik Hendrik - Jacob Jordaens I - 1650 - 1651
Portrait of Pieter C. van der bruggen (+1699) - Jacob van Oost II - 1695
The Head of a Young Moor - Gaspar de Crayer - circa 1631 - 1635
Gregorius Martens, Mayor of Antwerp and Dean of the Guild of Saint Luke
 - Jacob Denys
Portrait of Philip the Good - Cornelis Meyssens - 1663
Altar painting belonging to Diest’s Chamber of Rhetoric the ‘Christusogen’ - Anonieme meester 17e eeuw - circa 1602 - 1618
Taste - Gonzales Coques
Guardian portrait of Martin Lem - Anonymous - 1601 - 1700

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.