Govert Flinck Kleve 1615 - 1660 Amsterdam

With Thomas Lawrie & Co., London;
William A. Coats Esq., Dalskairth, Dumfries, Scotland;
With John Levy Galleries, Inc., New York;
Mrs. B.F. Jones, Sewickly Heights, Pennsylvania,
Her sale, New York, Parke-Bernet Galleries, Inc, 4-5 December 1941, lot 25, as by Rembrandt, for $13.000;
David Schur, New York,
His sale, New York, Parke-Bernet Galleries, Inc., 12 January 1955, lot 29, as by Rembrandt, bought by A. Bode (as agent) for $13.000;
Private collection, Switzerland.

Detroit, Detroit Institute of Arts, The thirteenth loan exhibition of Old Masters: paintings by Rembrandt , 2 - 31 May 1930, no. 14.

C. Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke..., Stuttgart/Paris vol. VI, 1915, p. 309, no. 736A;
W.R. Valentiner, Klassiker der Kunst, Rembrandt, 3rd edition, Berlin/Stuttgart 1921, p. 68 (both the above as by Rembrandt);
D.S. Meldrum, Rembrandt Paintings, n.d., p. 188, plate LXVI, reproduced;
W.R. Valentiner, Rembrandt Paintings in America, 1931, no. 25, reproduced;
A. Bredius, Rembrandt schilderijen, 360 afbeeldingen, Utrecht 1935, no. 153 (as Rembrandt);
J.W. von Moltke, Govaert Flinck, 1615-1660, Amsterdam 1965, p. 118, no. 253, reproduced;
K. Bauch, Rembrandt: Gemälde, Berlin 1966, p.47;
H. Gerson, Rembrandt, the complete edition of the paintings by A. Bredius, revised by H. Gerson, Amsterdam 1968, no. Br. 153;
S. Hochfield, 'Rembrandt: The unvarnished Truth', in Art News, December 1987.

The actual painting is slightly warmer in tone than the catalogue illustration suggests. The panel seems to consist of four planks, joined vertically and is bevelled on all sides. The paint surface is abraded in the black hues, e.g. in the hat and in the lower centre. Discoloured retouchings visible to the naked eye in the sitter's forehead and in the white collar. The paint surface is covered under a dirty and discoloured varnish layer. Distinctive craquelure pattern is visible in the sitter's hair and face. Otherwise the painting seems to be in good condition. Inspection under UV-light is partially obscured by the varnish layer, but does confirm retouchings and reveals additional minor retouchings in the hat, the white collar, the sitter's forehead and in the dark green scarf. Strengthening becomes apparent in the hair and in the eye sockets. Offered in a large, later ornate and layered brown frame with small damages throughout. (JD)
"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."

This serene portrait of a young man wearing a black hat was long thought to be painted by Rembrandt van Rijn, including Valentiner and Bredius, who dated it to 1632 (see Literature). Moltke was the first who attributed the unsigned work to Govert Flinck and compared it to a portrait, traditionally known as Gozen Centen (Rijksmuseum, Amsterdam, inv. no. 4166), datable to the early 1650s (see Literature).

We are grateful to Professor Dr Werner Sumowski for endorsing the attribution to Govert Flinck following first hand inspection (according to a written communication, dated 18 February 2000).