22

Abb. 20: Joachim Sandrart, Erzherzogin Maria Anna, Kurfürstin von Bayern, 1643, Leinwand.
Wien/KHM
Abb. 21: Joachim Sandrart, Dame mit Taubennest, um 1645, Leinwand. Wien/KHM
Abb. 22: Joachim Sandrart, Minerva und Saturn beschützen Kunst und Wissenschaft vor Neid
und Lüge, 1644, Leinwand. Wien/KHM

Leopold William‘s collection compiled in 1659 the sitter is still described as
wearing a black robe with gold and silver embroidery, documenting that the
intensity of the blue colour deteriorated over time.

Note also the interesting details of the reflections of the blue dress in the
sitter’s eyes and pearls (fig. R3a, R3b, R3c).

The Artist’s Signature

Our analyses have uncovered the artist’s signature in the background above
Bianca’s right shoulder. Its delicate dark lines are partially hidden under
overpainting and reduced. In normal light the signature is almost invisible to
the naked eye. It was probably covered by mistake in the course of the many
format changes, retouchings along the edges, and the brownish overpainting
applied at a later date (fig. R4).

R3a

R3b

R3c R4