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Antique Biedermeier Portrait, Inscribed Amalia Jung, 19th Century

Antique Biedermeier Portrait, Inscribed Amalia Jung, 19th Century

Regular price $1,450.00 CAD
Regular price Sale price $1,450.00 CAD
Sale Sold out
Duties included.
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A pencil inscription on the back of this Biedermeier portrait reads, as near as I can make it out, “Amalia Jung, geb. Becker.” The woman it names looks out from a dark ground in a lace-edged bonnet tied under her chin, with a collar worked in tiny star flowers and a dry, faintly amused expression. The painter is unknown. The gilt frame has a stepped crest above and a scrolled cartouche below.

Artist
Unidentified
Signature
Unsigned
Medium
Oil on canvas
Subject
Portrait of an older woman in a lace bonnet and dark dress
Origin
Central European, likely German
Age
Early to mid 19th century
Canvas Size
10.8 in. W x 13.6 in. H
Frame Size
15.0 in. W x 26.8 in. H
Format
Vertical portrait in a shaped frame with stepped crest and lower cartouche
Frame
Gilt gesso frame with rope and acanthus moldings, a separate stepped crest and a lower cartouche with a raised tablet
School or Movement
Biedermeier. The middle-class style of German-speaking Central Europe from about 1815 to 1848, centered on domestic life rather than court or grand subjects. Portraits of the period favor plain backgrounds, direct likeness, and close attention to lace, collars, and other small textile details. This sitter is shown in exactly that manner.
Support
Oil on canvas, relined, on stretchers
Inscription
Pencil on the paper-covered backing, in German script, apparently reading “Amalia Jung, geb. Becker.” The abbreviation is the German for “née.” One word between the surname and “geb.” is not legible.
Marks
Impressed crown mark on the reverse of the frame crest, unidentified
Sitter
Named by the inscription. A woman of that name, Amalia Catharina Jung, née Becker (1782 to 1850), wife of the Nassau ironworks owner Johann Jakob Jung, is documented in German state biographical records. That this portrait shows her rests on the inscription alone, which is in pencil on a backing that could have been added or replaced at any date.

The canvas has been relined and has areas of overpainting. The extent of the overpainting has not been mapped. The surface shows discoloration and craquelure consistent with age, fine tick-like cracks along the upper edge, and a faint horizontal line near the top of the canvas. The white lace of the bonnet and bow has small losses and flecking, and there is light scattered speckling across the dark ground. The dark dress shows scuffing and abrasion. The paint film is stable in the photographs.

The frame is gilt gesso and shows age and use. The crest has a crack through the central oval and a further crack across the upper left, and the lower cartouche has a vertical crack at the left join and a crack in the lower right scroll. The gilding is rubbed at the high points with dark showing through, with small losses and chips to the gilding and gesso, most noticeable at the corner leaves and around the lower cartouche. The crest and cartouche are separate stepped pieces fitted to the main frame, with the joins visible. The frame has not been confirmed as original to the painting.

On the reverse, the backing is paper-covered board with chips and tears along the edges and an old nail visible at the top. The crest board is painted dark olive, carries the impressed crown mark, and there is a metal hanging ring. Please review all photographs closely, as they form part of this description.

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Every antique and vintage item we carry has lived a life before arriving in your home. These are not factory-made products. They are objects with history, character, and the marks of time.

Age-appropriate wear, patina, minor imperfections, and signs of previous use or repair are inherent to antique and vintage items and are not considered defects. These characteristics are part of what makes each piece unique and are often what give it its beauty and value.

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