Dirck Dircksz. van Santvoort

Possibly commissioned directly from the artist by the ancestors of the present owners in 1640;
Thence by descent.

The Hague, Koninklijk Kabinet van Schilderijen Mauritshuis, by 1935 (on loan).

Recorded by C. Hofstede de Groot in 1915;
Oude Kunst I, no. 10, 1916, p. 347, reproduced;
W. Martin & H. Schneider, Musée Royal de Tableaux Mauritshuis à La Haye: catalogue raisonné des tableaux et sculptures, The Hague 1935, pp. 804-5.

Both paintings are warmer in tone than the catalogue illustrations suggest. Both supports consist of three vertical planks which are bevelled, secure, and with only a very slight bow. GENTLEMAN: The paint surface, which is secure and under a yellowed varnish, appears a little thin in the upper left part of the jacket, to the right of the face in the collar and at the top of the hat. The ruff is well preserved. There has been quite extensive retouching in those areas of the hat which have become worn. Many details of the modelling of the face are well preseved. Inspection under UV light does not add much further information due to the glossy varnish, with only some minor areas flourescing. LADY: The ruff and headdress are beautifully preserved under a lightly yellowed varnish. The details of the dress are still very fine and the face is well preserved. Inspection under UV light reveals some retouchings along the left edge and in thebackground lower right. Offered in later carved and gilt wood frames 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."

It is highly likely that these two distinguished portraits of a gentleman and his wife are appearing on the art market for the first time since they were painted in 1640. Their having remained in the same family collection since that time, it is reasonable to surmise that they depict members of the Amsterdam Valckenier family, who played an important role in that city in the 17th century. Wouter Valckenier (1589-1650) was mayor in Amsterdam in the years 1644, 1647, 1648 and 1650. He would have been aged about fifty-one in 1640; the date of this pair of portraits. Wouter's son Gillis (1623-1680), who was from 1665 onwards nine times mayor of Amsterdam, and who also fulfilled the important role of Governor of the East India Company, would have been too young in 1640 to be identifiable with the sitter in the male portrait. Gillis is known to us through a portrait by Wallerant Vaillant dated 1671, which is in the Amsterdams Historisch Museum, Amsterdam (inv. no. 451).

Although their identity remains obscure, they were clearly members of the Amsterdam bourgeoisie, as they are painted by the Amsterdam artist Dirck Dircksz. van Santvoort. Santvoort, who is known for his portraits and biblical paintings, came from a family of painters. He was the great-grandson of Pieter Aertsen, a grandson of Pieter Pietersz., a son of the lesser known painter Dirck Pietersz. Bontepaert and a brother of landscape painter Pieter Santvoort. Although active in Amsterdam in the time of Rembrandt, he did not join his workshop. They must have known each other however, as Santvoort lived in the St. Anthoniebreestraat, very close to the Jodenbreestraat, where Rembrandt lived. Santvoort also named three of his children Rembrandt. Around 1635 Santvoort started as an independent portrait-painter, answering to the needs of the ever-growing prosperity of Amsterdam, which created a strong demand for portraits. As he kept a more sober style, his early representations are more reminiscent of works by the earlier Thomas de Keyser.

These portraits here, however, reveal his truly remarkable talent for capturing sitters as true to life as possible. The facial features of both husband and wife are wonderfully rendered, revealing veins, wrinkles and watery eyes, but also beautifully-embroidered costumes and a soft ruff. Their high quality and level of finish propels this fine pair of panels to the very forefront of Santvoort's portraiture.