Caspar Netscher

Baron Königswarter, Vienna;
By whom sold, Berlin, Schwarz Schulte et al., 20 November 1906, lot 54 (for 5,100 Reichsmarks);
Max and Fanny Steinthal, Charlottenburg, Berlin, by 1909;
Thence by descent.

Berlin, Kaiser-Friedrich-Museum, Ausstellung von Bildnissen, 1909, no. 99.

E.W. Moes, Iconographia Batava, vol. I, Amsterdam 1897, p. 113, no. 974, 1;
C. Hofstede de Groot, A Catalogue Raisonné of the works of the Most Eminent Dutch Painters of the Seventeenth Century, vol. V, London 1912, p. 221, no. 194b (as a lost original, described from a copy by Philip van Dyck in the Rijksmuseum, Amsterdam), and pp. 243-4, no. 315 (as a "portrait of a gentleman of rank");
F.G.L.O. van Kretschmar, "Zijn wapens op Nederlandse portretten een betrouwbaar middel tot identificatie?", in Jaarboek van het Centraal Bureau voor Genealogie en het Iconographische Bureau, 31, 1977, p. 58, reproduced;
M.E. Wieseman, Caspar Netscher and Late Seventeenth-century Dutch Painting, Doornspijk 2002, p. 327, cat. no. B27 (known from Hofstede de Groot, listed as a lost original).

The painting is slightly more muted in the lighter pigments than the catalogue illustration would suggest. The canvas has been relined and the paint surface appears to be in good overall condition with no apparent damage or loss of paint visible to the naked eye except for a very minor horizontal abrasion measuring approx. ½ in.in the background upper left, a near horizontal minor surface scratch running through the sitter’s chin measuring approx. 10 in., and very very minor flecks of paint loss lower left, all of which can be seen in the catalogue illustration. There is a spidery craquelure and a slightly blanching varnish overall too, otherwise the painting appears to be in good original condition. Examination under ultraviolet reveals two minor campaigns of old cosmetic retouching. The first campaign consists of some very minor flecks to the sitter’s face. The second, again consisting of scattered minor flecks is visible in the background upper left and to an old incomplete stretcher bar mark upper right, again in the background. There is also some very minor retouching visible to the contours of the hair on the left side of the sitter’s head. Examination also confirms the presence of a discoloured varnish which makes further inspection difficult however the picture appears to be in good condition. Offered in a carved wood, Dutch style black gold and marbleized frame with minor losses.
"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."

Jan Boudaen Courten (1634-1716) was Heer van (Lord of) Schellach, St Laurens and Popkensburg near Middelburg, where he was a judge and an alderman.  In 1675 he married Anna Maria Houfft (1646-1705), who was the daughter of Jan Hoeufft and Isabella Deutz.  they are identified by their combined arms in the stone relief lower left represent the combined arms. The lost companion portrait of Anna Maria Hoeufft is known through a copy by Philip van Dyck, which is together with its male pendant in the Rijksmuseum, Amsterdam (inv. nos. A901-2).

Wieseman speculated that the lost original might be the work, subsequently untraced, sold in Amsterdam, Mak van Waay, 26 September 1972, lot 75 (as Dutch School, dated 1676).  The status of that picture is unclear - perhaps it is a replica by Netscher or his workshop, since it is of similar dimensions to the present picture, which has been in the possession of the Steinthal family since shortly after 1900.

Jan Boudaen Courten acquired the medieval castle of Popkensburg near Middelburg with its domain in 1679.  It remained in the family of his descendants through the female line until 1823.  Its last resident was the great-grandson of the sitter, Jacob Verheije van Citters, who refused to allow his brother's wife entry to the castle because she had ben a servant of their father.  The castle was pulled down in 1863.   

For more information about Max and Fanny Steinthal, see the footnote to lot X in the Evening sale.