This exquisite large scale decorative portrait is a lovely example copied in the style of the Dutch Golden Age manner of portraiture and finished in oils on canvas dating around the early 1920 to mid 20th century. In this carefully observed full length example, Justina is wearing the style of clothing that was fashionable in Holland during the early to mid 17th century. She wears a ruff collar and holds a bird feather fan held in her right hand. ABOUT THE SITTERJUSTINA VAN TEYLINGEN (1596- 1643) She was married to Adriaen de Kies van Wiessen in 1613 when she was seventeen. This large scale full length example is an unusual version which was first painted by Van de Voort to commemorate her marriage. Justina is soberly but richly dressed in a lace cap trimmed with fashionable and expensive reticella lace, starched millstone ruff, embroidered stomacher, and long green over gown. Clothes and accessories were of enormous importance. Often immense sums were spent on them, and sitters were justifiably proud and anxious to show them off. Their clothes and accessories also carried strong social connotations.Black was the high fashion of that era and this portrait rises to the challenge of painting black on black to depict the floral pattern of the vlieger overgown. She wears a wedding ring on her left index finger. The type of diadem cap was worn by married woman and the vlieger (the loose fitting cape) was entirely reserved for married woman. Studio versions were often made as gifts for relatives dating from the early to late 17th century. TEYLINGEN CASTLEThe ruins of Teylingen Castle, also known as Slot Teylingen, is an impressive site that dates back to the 13th century. Located in the town of Teylingen in Voorhout, the ruins sit right on the border of Sassenheim. The former castle was believed to be the home of the noble family Van Teylingen, who were descendants of the Van Brederode family. ABOUT THE ARTISTCORNELIS VAN DER VOORT or van der Voorde (Antwerp 1576 - Amsterdam 1624) flourished as a painter in Amsterdam from around 1614 to his death in 1624. Van de Voort''''''''s work was in great demand and held in high esteem. In 1619 Van der Voort was the head of the Guild of St. Luke. He had a strong influence on the early portraits of Rembrandt, as well as the work of Nicolaes Eliasz. Pickenoy and Thomas de Keyser. His own students included David Bailly, who copied his collection of paintings, Pieter Luyx, Dirk Harmensz. and probably Pieter Codde...all artists of note. The artist invests the portrait with great dignity. He subtly evokes the textures of her costume, underlining their costliness: the translucent material of the ruff; the intricate lace; the complex golden stitches which create the pattern of flowers and leaves on the stomacher. This painting is a very good example and would have been popular with wealt...