Lot 125
  • 125

Thomas de Keyser

30,000 - 50,000 GBP
bidding is closed


  • Thomas de Keyser
  • Portrait of a gentleman, full-length, holding his sword and a hat, with a dog in an interior
  • signed with monogram and dated centre left: TDK . F . ANo 1624
  • oil on oak panel


J.C. Pruyssenaar, Amsterdam;
His sale, Amsterdam, Van Der Schley and De Vries, 27 December 1814, lot 96 (as by or in the manner of F. de Keijzer), to De Vries for 18 florins;
With Forbes and Paterson, London, by 1902;
William Frederick Barton Massey-Mainwaring (1845–1907), London, before 1907;
With F. Kleinberger, Paris, before 1910;
Probably from whom acquired by August C. de Ridder (1837–1911), Villa Schönberg, Kronberg im Taunus, by 1910;
With F. Kleinberger, New York, 1913, where unsold (see under Exhibited);
Sold by the Executors of August C. de Ridder, Paris, Galerie Georges Petit, 2 June 1924, lot 34, for 45,000 French francs;
Anonymous sale, London, Christie's, 12 December 1924, lot 83, for £11.0d.11s. to Bartlett;
Sale, Amsterdam, 8 October 1927, lot 112, for 6,400 florins (according to Adams, see Literature);
Anonymous sale, Amsterdam, Frederick Muller & Cie., 20 June 1928, lot 30;
With Jacques Goudstikker, Amsterdam, by 1928;
Ernst I. Lemberger, Amsterdam, from 25 June 1938 – 9 December 1941, when forced to sell to
Dr. E. Plietzsch, The Hague;
From whom acquired by Kajetan Mühlmann (1898–1958), at the Dienststelle Mühlmann, The Hague, for the Kunstmuseum, Linz (inv. no. 2184);
Sent for storage to Altaussee, Austria (inv. no. 3069);
Recuperated by the so-called Monuments Men and transferred to the Central Collecting Point, Munich, 15 July 1945 (inv. no. Mü 4420);
Repatriated from the above to Amsterdam, 20 November 1945;
The Instituut Collectie Nederland (previously the Stichting Nederlands Kunstbezit), The Hague (inv. no. G25);
Dienst Verspreide Rijkscollecties, The Hague (inv. no. NK 1407), by whom loaned to the Schilderijengalerij Prins Willem V, The Hague (inv. no. 1316);
Restituted from the above to the present owners, 2003.


London, Forbes and Paterson, A collection of pictures by Dutch masters of the XVIIth century, February 1902, no. 21;
New York, F. Kleinberger, Collection of Pictures of the late Herr A. de Ridder, 24 November – 15 December 1913, no. 12;
Amsterdam, Goudstikker, Tentoonstelling van Oude Schilderkunst. No. 35, October – November 1928, no. 19;
Rotterdam, Museum Boymans, Meesterwerken uit Vier Eeuwen 1400–1800, 25 June – 15 October 1938, no. 95;
Arnhem, Gemeentemuseum (according to a label on the reverse);
On loan to Schilderijengalerij Prins Willem V, The Hague (inv. no. 1316).


W. Bode, The collection of pictures of the late Herr A. de Ridder, Berlin 1910; and trans. by H. Virgin, Berlin 1913, p. 7, and cat. no. 12, reproduced plate 12;
R. Oldenbourg, Thomas de Keysers Tätigkeit als Maler: ein Beitrag zur Geschichte des Holländischen Porträts, Leipzig 1911, pp. 31 and 76, cat. no. 51, reproduced plate V;
J. Goudstikker, Tentoonstelling van Oude Schilderkunst. No. 35, exh. cat., Amsterdam 1928, cat. no. 19, reproduced;
Museum Boymans, Meesterwerken uit Vier Eeuwen 1400–1800, exh. cat., Rotterdam 1938, p. 25, cat. no. 95, reproduced fig. 61;
A. Adams, The paintings of Thomas de Keyser (1596/7–667): a study of portraiture in seventeenth-century Amsterdam, doctoral diss., Harvard University, Ann Arbor 1985, vol. II, pp. 22–23, cat. no. 7.


The panel is cradled and generally flat. The panel is very slightly raised along two vertical strips, circa 21 cm from the left hand margin, and 15 cm in from the right hand margin, with some old retouching visible to the naked eye which would suggest that these are the joints between the panels. It is not possible to confirm this due to the cradling on the reverse. The paint surface is clean and the varnish is clear. Under ultra violet inspection a clear and even varnish is revealed. There is restoration along the aforementioned joints, in particular the seam on the right hand side. There is some minor retouching in the sitter's face and some strengthening in the dark tones in his clothing. There is some further, minor restoration and strengthening to the outline of the dog. There is minor scattered retouching in the background. The work is offered in a carved and gilt wood frame in good condition.
"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.