Circle of Barent Graat

The actual painting is a lot warmer in tone and shows more detail in the darker colours than the catalogue illustration suggests. The canvas has a rather firm wax relining. The canvas is slightly worn, due to the relining, but mainly in the blue tones. Tiny flecks of paint loss can be observed around the woman seated, as well as in her dress. There's minor frame abrasion along the upper and lower edges. Discoloured retouchings relating older paint losses, some rather crude, can be seen throughout, e.g. in the sky in the centre and upper left, in the plants and bushes in the foreground, in the foliage and tree trunk on the right, and in the dress of the woman on the right. Minor strengthening can be observed in the costumes of the vicar and his wife. The painting is under a dirty and discoloured, glossy layer of varnish. Inspection under ultra violet light confirms the retouchings as mentioned above, and reveals additional small retouchings in the cows and women in the background, and strengthening in the wood fence. Offered in an ebonised cabinet style wood frame in good condition. (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."

Although the early work of Barend Graat (1628 - 1709) reminds one of the Italianate landscapes by Pieter van Laer, and his historical works and allegories too are strongly influenced by the contemporary Italian classical style, he is mostly known for his detailed and finely painted genre pieces and portraits, reminiscent of Gerard ter Borch and Jan van Noordt. Graat often placed his figure groups againts a garden- or landscape setting.

This painting from the circle of Barend Graat can be dated circa 1710. We are grateful to costume historian Irene Groeneweg for suggesting this date, based on the particular costumes and headdresses the portrayed are wearing. It is most likely a familyportrait of a vicar with his wife and children. Vicars did not yet wear toga's at that time, but a wide black cloak with a white flattened collar. Even more characteristic are the headdresses the women are wearing: a late variant of the 'fontange', which was made out of short folds layed out to the front. Also typical are the funnel-shaped sleeves with the 'engageantes', the white linnen inner-sleeves.