In the 1640s and 1650s Bol began to specialise in painting middle class portraits, effectively taking over Rembrandt’s successful types from the 1630s. There were various categories which were dependent on the treatment of the collar and ruff lace, or as here linen. The sitter herself has not been identified but this is the case with many other female portraits by Bol. In this example the influence of Rembrandt is strongly felt in the intensity of the expression and the careful balance of black, white and flesh tones.  At the time of the picture’s exhibition in London in 1999, it was noted that the handkerchief that the woman is wearing could be interpreted as a sign of prosperity and a symbol of chastity.

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