Lot 117
  • 117

Pieter Codde

60,000 - 80,000 GBP
bidding is closed


  • Pieter Codde
  • Family portrait with husband, wife and two daughters seated at a table draped in red cloth, a son playing a lute, another son holding a fiddle beside a lady playing the virginal, a maidservant pouring wine by the window, and a dog resting on the floor
  • inscribed on the inside of the virginal: OMNI SPIRITUS LAUDET DOMI
  • oil on oak panel


Max Weil, Düsseldorf (confiscated by the National Socialists before 1939);
Finanzamt Düsseldorf;
Sale, Düsseldorf, Eugen Pongs, 23 March 1939, lot 17, detailed 'nicht arischer Besitz' (as Thomas de Keyser);
Acquired at the above sale by the Rheinisches Landesmuseum, Bonn (inv. no. 20897);
Restituted to Max Weil on the 23 August 1950;
Anonymous sale ('The Property of a Lady'), London, Christie's, 22 April 1994, lot 5, for £90,000 (as Anthonie Palamedesz.);
With Galerie de Jonckheere, Paris, in November 1994 (as Anthonie Palamedesz.).


Weltkunst, vol. XIII, no. 9, 5 March 1939, reproduced p. 6, in an advertisement for Carl Eugen Pongs auction house (as Thomas de Keyser);
De Jonckheere, Tableaux de maitres flamands et hollandais des XVIe et XVIIe siècles: Catalogue for the Biennale des Antiquaires, Paris 1994, cat. no. 47, reproduced, and also on the front cover (as Anthonie Palamedesz.);
F. Laarmann, Families in beeld. De ontwikkeling van het Noord-Nederlandse familieportret in de eerste helft van de zecventiende eeuw, Hilversum 2002, pp. 68–69, p. 84, cat. no. B 15, reproduced p. 69, fig. 25 (as Anthonie Palamedesz.).

Catalogue Note

Pieter Codde's exquisite family portrait successfully combines the formal grandeur of group portraiture with the lively interaction of a genre scene and allows the artist to fully demonstrate his technical brilliance, reveling in the depiction of texture, light and colour. The delightfully refined and harmonious composition, conceived in the tradition of Codde's musical companies, such as The Merry Company in the Akademie, Vienna1, is enlivened by the matrix of varied attitudes and poses adopted by the sitters. The relaxed attitude of the patriarch, leaning leisurely across his chair and clasping a glass of wine, is perfectly balanced by his austere wife, sitting rigidly on her seat. The rest of the family stand formally and frieze-like across the room, with their sober but beautifully rendered garments shimmering in the light flooding in from the window at the upper left and offsetting the muted colours of their surroundings.

We are grateful to Fred G. Meijer of the Rijksbureau voor Kunsthistorische Documentatie for confirming the attribution to Pieter Codde, on the basis of photographs.

1. Inv. No. 1096; see R. Eigenberger, Die Gemäldegalerie der Akademie der bildenden Künste in Wien, Vienna 1927, p. 77, reproduced pl. 21.