Follower of Rembrandt Harmensz. van Rijn

Acquired by Sir Francis Cook, 1st Bt., (1817-1901), Doughty House, Richmond, by 1901;
By descent to Sir Frederick Cook, 2nd Bt., (1844-1920);
By descent to Sir Herbert Cook, 3rd Bt., (1868-1939);
By descent to Sir Francis Cook, 4th Bt., (1907-1978);
Acquired by Nathan Katz (1893- 1949), Dieren, in March 1940, via Thomas Agnew &Sons from the Trustees of the Cook 1939 Picture Settlement;
H. E. ten Cate collection, Oldenzaal, by 1955;
Thence by descent to the present owners.

C. Hofstede de Groot, Beschreibendes und kritisches Verzeichnis..., vol. VI, London 1916, p. 563, cat. no. 365 (as Nicolaes Maes);
Abridged Catalogue of the Pictures at Doughty House, Richmond. Belonging to Sir Frederick Cook, Bart. Visconde de Monserrate, editions 1907 & 1914, cat. no. 111 (as in The Long Gallery Annexe);
J.O. Kronig, A Catalogue of the Paintings at Doughty House, Richmond, Surrey and Elsewhere in the Collection of Sir Frederick Cook, Bt. Visconde de Monserrate, edited by Herbert Cook, vol. II: Dutch & Flemish Schools, London 1914, p. 12, cat. no. 217, incorrectly as oil on panel, reproduced (as Ferdinand Bol, in The Long Gallery Annexe);
M.W. Brockwell, Abridged Catalogue of the Pictures at Doughty House Richmond Surrey in the collection of Sir Herbert Cook, Bart., London 1932, p. 75, cat. no. 217 (as Ferdinand Bol, in The Garden Gallery);
D. Hannema, Catalogue of the H.E. ten Cate collection, Rotterdam 1955, vol. I, p. 13, cat. no. 10, reproduced vol. II, plates 10 and 11 (as Circle of Rembrandt).

The canvas has been relined and the paint surface is slightly pressed as a result. This does not affect the wonderful effects of fabric and texture throughout.The paint surface is secure, with signs of flaking or loss of paint. There is craquelure throughout but this is stable. Inspection under UV light reveals very old scattered retouchings but no major areas of restoration. This lot is offered in a simple dark wood frame, in good condition.
"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."

Traditionally identified as Lieven Willemsz van Coppenol (c. 1599-1671), a well-known calligrapher in Haarlem.¹An oil sketch portrait of van Coppenol by Rembrandt is in the Metropolitan Museum, New York (inv. no. 50.145.33). It shows the ambitious and dedicated writer with his feather quill poised, displaying his work to the viewer, wearing the same distinctive black skull cap and moustache.

The great collection formed by Sir Francis Cook, and added to by his grandson Sir Herbert (1868-1939), included a number of masterpieces by Rembrandt, such as Tobit and his Wife, now in Museum Boijmans Van Beuningen, Rotterdam (inv. no. VdV 65), and A portrait of a boy (Titus van Rijn), now in the Norton Simon Museum, Pasadena (inv. no. F.1965.2.P).

We are grateful to John Somerville for his assistance in cataloguing this picture.

1. The identity of the sitter as Coppenol was first suggested by Mr. A. M. Hind in 1915.