Bartholomeus van der Helst

S.A.S. Monseigneur le Prince Auguste d'Arenberg, Brussels, by 1829;
Anonymous sale, Wichtrach, Heiniger, in the 1970s (date unknown);
With K & V Waterman, Amsterdam, by 1987;
With Amsterdam Exchanges N.V., Amsterdam, by 1987.

Hertooglijk Paleis, Brussels, 1855;
Utrecht, Centraal Museum, from 1999 until 2006, on loan (inv. no. 28535).

Ch. Spruyt, Lithographies d'après les principaux tableaux de la collection de S.A.S. Monseigneur le Prince Auguste d'Arenberg..., p. 6, no 33, with a lithography in reverse (see fig. 1);
Catalogue de l'exposition de tableaux; organisée au profit des pauvres, sous le patronage de S.A.R. madame la princesse Charlotte, dans le salons du palais de S.A.R. le Duc de Brabant..., Brussels 1855, p. 83, cat. no. 160;
W. Burger, Galerie d'Arenburg à Bruxelles, Paris 1859, p. 71, 134, cat. no. 23;
G. Lafenestre and E. Richtenberger, La peinture en Europe. La Belgique, Paris 1895, p. 140;
J.J. de Gelder, Bartholomeus van der Helst. Een studie van zijn werk, zijn levensgeschiedenis, een beschrijvende catalogus van zijn oeuvre.., Rotterdam 1921, p. 179, cat. no. 186;
A. von Wurzbach, Niederländisches Künstler-Lexikon, Amsterdam 1968, p. 672;
L.M. Helmus, Schilderkunst tot 1850, collection catalogue Centraal Museum Utrecht, Utrecht 1999, p. 933, cat. no. 263, reproduced.

ENGRAVED:
By P. Simoneau and E. de Looze, see Spruyt under Literature, no. 33, reproduced.

The actual painting is softer and less red in tone than the catalogue illustration suggests. The canvas has a slightly stiff, recent relining, which has somewhat flattened the paint surface. A small dent is visible in the lower centre. There's some minimal frame abrasion along the lower and left edges, and a vertical crease can slightly be seen running from the upper edge through the centre. A diagonal retouched crease is visible in the upper centre. Otherwise, the paint surface seems to be in very good condition. A few tiny discoloured retouchings can be observed in the drapery and in his face and hands. The paint surface is covered with a clear layer of varnish. Inspection under ultra violet light confirms the aforementioned retouchings and reveals additional small retouchings and minor strengthening in the lower left corner, in the chair and in his collar. Furthermore, inspection under UV light reveals that the varnish layer has been unevenly cleaned. Offered in a later plain wood frame with a decorative painted pattern, in good condition. (ML/MW)
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Bartholomeus van der Helst, who was born in Haarlem in 1613, moved to Amsterdam around 1636 where he soon became one of the leading portrait painters. During his lifetime, Van der Helst was widely acclaimed for his large civic group portraits which rivalled those of his contemporaries Frans Hals (1582-1666) and Rembrandt (1606-1669), see for example his Banquet of the Civic Guard Celebrating the Peace of Münster, 1648, now in the Rijksmuseum, Amsterdam (inv. no. C2). In Amsterdam the wealthy citizens preferred his flattering, tasteful portraits over those of Rembrandt, and by 1650 he had become the favourite portraitist of the regent class and Dutch celebrities.
This pleasing portrait of an unknown notable was painted at the peak of his fame. The portrait is flattering and vivid, however, the sitter's features are highly realistic and have not been idealized.  This painting shows how gifted he had become in portraying his sitters in confident poses and in captivating their individuality of character, as can be seen in other portraits by Van der Helst executed in the 1660s, see for example the portrait of Vice admiral Johan de Liefde (ca. 1619-73) in the Rijksmuseum, Amsterdam (inv. no. A832).