Previously, this painting had unconvincing attributions to Ferdinand Bol (by Buttery, London) and to Jan Victors (in the files of the R.K.D., The Hague). Werner Sumowski firstly attributed this painting to Pieter Verelst and dated the work to the early 1640s.1 As pointed out by Sumowski, Verelst's main influence was Gerrit Dou, but his work is also characterised by two Rembrandtesque phases. The first defined by Rembrandt's style of the 1630s, and analogous to Govaert Flinck and Jan Victors, in the second Verelst worked in a more painterly style closer to the work of Salomon Koninck. This work can be placed in the first Rembrandtesque phase of the early to mid-1640s, in which the artist worked with a finer application of paint and a detailed approach to the rendition of textures. Compare for example Verelst's portrait of a young lady, dated 1642, which was sold London, Sotheby's, 14 December 2000, lot 168. Both panels share the same emphasis on dress and garments as well as the prominent pale fleshtone of the sitter's face.
1. Sumowski under Literature, p. 3117.
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