Bartholomeus van der Helst, 'Portrait of a Girl', 1645

The young girl in this portrait seems a little shy and tentative. Her eyes are wide and enquiring, her eyebrows slightly raised. She holds out the fan a little awkwardly as if uncertain what to do with it. The hand placed on her stomach almost appears to steady her – she’s not presenting her glittering, beaded stomacher for admiration as women in other paintings of the time do.

The girl’s identity is unknown, as is her age. To judge by her dress and jewels she comes from a wealthy, probably noble, family. At one time it was thought she was from the Braganza family, who were related to Portuguese royalty, but no confirmation has been found. Whoever she is, Bartholomeus van der Helst has certainly done justice to her elaborate costume, from the silk damask of her gown and the translucent organza over the tiers of her expensive lace collar to the softly glowing pearls at neck and wrists. Particularly striking are the four rows of pearls that stretch from beneath the blue bow on her chest to a second bow on her shoulder, an unusual and seemingly purposeful way of showing them off. Natural pearls like these were as expensive as diamonds.

Is there a picture of an intended husband in the pendant locket on her chest? Does the ring on her finger mean she’s betrothed? Girls as young as eight could be promised or even married at the time. But while the ring is prominently displayed, wearing it on the fourth finger of the left hand didn‘t necessarily mean such an arrangement. These questions, though easily answered when the portrait was painted, can’t be answered now.

Van der Helst was one of the leading portrait painters in Amsterdam in the mid-seventeenth century, taking over from Rembrandt, whose style was becoming less fashionable. Van der Helst’s smooth style with invisible brushstrokes became more popular than Rembrandt’s increasingly free brushstrokes and use of impasto (raised ridges of paint that catch the light) to create glittering braid and beading. Van der Helst’s delicate, detailed portrayal of the unknown girl’s finery is so realistic it seems almost possible to hear the swish of her skirts and the tinkle of her long earrings.