Circle of Alonso Sánchez Coello

With Charles Sedelmeyer, Paris (according to a wax seal on the reverse of Portrait of a Woman)

Both of these paintings have somewhat stiff relinings and have probably not been restored in close to 50 to 75 years. The woman has retouching visible under UV and to the naked eye in her face, specifically in the cheeks and on her forehead. Otherwise the retouches seem quite minimal, though there are a few visible underneath the varnish in her hands. The elaborate costume seems very nicely preserved with only a few scattered retouches visible under a rather opaque varnish. The portrait of the man has similar condition issues to the woman in that the majority of the retouches are isolated to the hands and face, though there are quite a number of retouches visible in his face and hands. His drapery, however, is similar to that of the woman as it seems very nicely preserved. Here too there is a rather milky, opaque and discolored varnish. Both paintings would benefit from a cleaning, new varnish and reevaluation of the older retouches which are certainly outdated. Both paintings are in elaborately carved painted and giltwood frames.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

These highly refined, beautifully detailed portraits are characteristic of the courtly Spanish style popularized by Alonso Sánchez Coello and his contemporaries. Beginning in 1550, Coello spent time in Flanders where he encountered Antonius Mor, and from Mor he absorbed a tight, linear, and naturalistic style. Coello brought this approach to portraiture back to Spain where he worked in the court of Philip II, executing three quarter and full length portraits of various members of the aristocracy. These beautiful examples almost certainly depict a husband and wife of considerable means, evidenced by the fact that the lady wears a pendant with a portrait of her husband.