Portrait of Man turned three-quarters, half-length, in a rare Dutch auricular style carved giltwood frame, the painting 17th century, the frame, first half 17th century

Oil on a copper engraving plate, the reverse with a copy after Jan Le Ducq (Hollstein 3) with two dogs and indistinctly signed and dated 1661

The painted side of the flat and thick copper plate is in overall good condition. There are some minor paint losses around the margins and a small loss at the right of the gentleman’s chin. The dark tones have sunk somewhat. Inspection under ultra-violet light reveals small and minor strengthenings in the hair and face of the sitter. The etched reverse of the plate is also in good condition – the etched lines remain sharp. There are some dark paint marks at the upper margin of the plate and a few accretions elsewhere possibly from old and now removed pieces of tape. Another pale accretion at the top tight margin measures 1 by 1 cm and is probably paint. The frame is in good overall condition with a few minor old chips and losses, and much of the original amber burnished gilding remains. The elaborately carved auricular fronting of the frame has 3 hairline splits. One runs from the top left corner of the window sight to the left edge of the frame. The second and third run from the bottom left and right corners of the window to their respective frame edges. All of which are visible in the printed catalogue image.
"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."

The auricular style (Dutch: Kwabstijl) is a style of ornamental decoration, mainly found in Northern Europe in the first half of the 17th century, bridging Northern Mannerism and the Baroque. The style was especially important and effective in silver, but was also used in minor architectural ornamentation such as door and window reveals and a wide variety of the decorative arts. It uses softly flowing abstract shapes in relief, sometimes asymmetrical, whose resemblance to the side view of the human ear gives it its name is and is often associated with stylized marine animal forms, or ambiguous masks and shapes that seem to emerge from the rippling, fluid background. Although precedents have been traced in the graphic designs of Italian Mannerist artists such as Giulio Romano and Enea Vico, the auricular style can first be found in 1598 in the important ornament book of Northern Mannerism, Architectura: Von Außtheilung, Symmetria und Proportion der Fünff Seulen ..., by Wendel Dietterlin of Stuttgart, in the second edition of 1598. It can be found in the designs of Hans Vredeman de Vries in the Netherlands, and was used most effectively in the hands of the Utrecht silversmiths Paul and Adam van Vianen, and Paul's pupil Johannes Lutma, who settled in Amsterdam.