Joachim Georg Kreutzfelder

Anonymous sale, New York, Sotheby's, 26 January 2006, lot 263;
There acquired by the present collector.

The copper plate is flat and stable. The paint surface is under a dirty and dull old varnish. The extreme corners of the copper plate have been pierced with holes (perhaps where it was affixed to a backing at some point?) and there is some paint loss in these areas. Other small losses in sky at center and in foliage of tree at upper left (these are visible in catalogue photo). Overall the paint surface is very well retained and there is very good preservation of detail, especially in the figures. There is some gold paint at extreme lower right and upper right edges, probably from rubbing of a frame. Under UV light: there are some small retouches at upper and lower edges, and some to whites of some of the banderoles. This painting would benefit from a light cleaning and addressing of the old 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.
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.

The two boys represented in this allegorical portrait would appear to be Phillip Albert and Wilhelm Heinrich von Limpurg, sons of Johann Wilhelm, "Schenk" (or Imperial Cupbearer) von Limpurg and Marie Juliane zu Hohenlohe Langenberg.  The Limpurg family had established itself in the town of Gaildorf (Baden-Wurttemberg) from at least the 13th Century.

While little is known of the older brother, the younger boy, Wilhelm Heinrich (1651-1690) is much better recorded and appears to have succeded to the title; he was the last male descendant of the line and after his death the office of Schenk fell vacant, his many daughters splitting the estate. 

The painting is an elaborate allegory of the family and their virtues.  It was painted by the Nuremberg artist Joachim Georg Kreuzfelder, who was the court painter to the Hohenlohe, the boys' maternal relations.

A complete transcription of the Latin inscriptions is available upon request.