School of Fontainebleau, circa 1600

Stanford White, New York;
By whom sold, New York, The American Art Association, 4-6 April 1907, lot 11 (as Venetian School);
Mrs. Payne Whitney, New York, 1907-44;
By descent to Helen Hay Whitney, 1944;
Metropolitan Museum of Art, New York;
By whom sold (Anonymously), New York, Christie's, January 11, 1989, lot 173;
Anonymous sale, New York, Christie's, January 11, 1991, lot 41;
Where acquired by a private American collector;
By whom sold, New York, Sotheby's, 27 January 2005, lot 128;
There acquired by the present collector.

C. Sterling, Metropolitan Museum of Art Bulletin, II, 1943, p. 112;
C. Sterling, French Paintings, XV-XVIII Centuries, Metropolitan Museum of Art, 1955, p. 51f, reproduced p. 52;
S. Béguin, L'Ecole de Fontainebleau, exhibition catalogue, Paris 1972, p. 220, under cat. no. 247.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This work has been restored and should be hung in its current state. The canvas has an old glue lining which is still nicely supporting the paint layer. The retouches are very accurately applied, addressing spots of thinness in both faces, a few losses in the ochre coat of the male figure and a very few losses in both of the hats. The pale green dress is well preserved, as are the hands. The dark background has received isolated retouches. There seems to be a slight scratch in the varnish between the spectacles and the upper right corner of the composition. For a work of this period, the condition can be considered to be very good.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

The present painting, which has bears an impressive 20th century American provenance, repeats in composition, with slight differences, an anonymous painting in a private collection (see S. Béguin in Literature).  That painting includes an older gentleman at the right side which is only partially visible in our work.