- 147
Attributed to Justus van Egmont Leiden 1601 - 1674 Antwerp
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Description
- Justus van Egmont
- a portrait of two young girls standing behind a table draped with a carpet, one holding a doll and mirror, the other holding a small dog barking at its reflection in the mirror
- oil on canvas, extended by 8.5 cm. on the left margin, in a fine period Dutch carved and gilt wood frame
Provenance
Sir Henry de Bathe (d. 1907).
Catalogue Note
Traditionally attributed to Abraham van den Tempel, this informal portrait of two young children appears to be a late work by Justus van Egmont, datable, on the basis of the sitters' costume, to around 1665-70. The handling and facial types can be compared to the artist's Portrait of Alexander, Jan-Cornelis and Maria-Aldegonda Goubau, painted in 1663, today in a private collection, Belgium1.
Van Egmont trained in Flanders, entering into the workshop of Rubens some time after 1618. He joined the Antwerp Guild of Painters in 1628 but soon afterwards left for Paris, where he pursued a successful career as a portrait painter, working for the French Royal Family and a number of leading aristocrats, including the Duc de Chevreuse and the Orléans Family. The present work was painted following the artist's return to Antwerp, some time during the 1650s, yet retains certain French stylistic traits, such as the distinctive handling of the carpet, reminscient of the work of Jacques Hupin.
1 See Exhibition catalogue, Pride and Joy, Children's Portraits in the Netherlands 1500 - 1700, Frans Hals Museum, Haarlem, 7 October - 31 December 2000, Koninklijk Museum voor Schone Kunsten, Antwerp, 21 January - 22 April 2001, pp. 249-50, cat. no. 68, reproduced.
Van Egmont trained in Flanders, entering into the workshop of Rubens some time after 1618. He joined the Antwerp Guild of Painters in 1628 but soon afterwards left for Paris, where he pursued a successful career as a portrait painter, working for the French Royal Family and a number of leading aristocrats, including the Duc de Chevreuse and the Orléans Family. The present work was painted following the artist's return to Antwerp, some time during the 1650s, yet retains certain French stylistic traits, such as the distinctive handling of the carpet, reminscient of the work of Jacques Hupin.
1 See Exhibition catalogue, Pride and Joy, Children's Portraits in the Netherlands 1500 - 1700, Frans Hals Museum, Haarlem, 7 October - 31 December 2000, Koninklijk Museum voor Schone Kunsten, Antwerp, 21 January - 22 April 2001, pp. 249-50, cat. no. 68, reproduced.