J. VAN DEN VELDE | Portrait of a gentleman, said to be Louis Cosson, Baron de Guimps (1689-1760);Portrait of a lady, said to be Anne Fradin, wife of Louis de Cosson, Baron de Guimps

Château de Champittet, Yverdon-les-Bains, at least by the 1940s;
Maître Louis P. Servien, Yverdon-les-Bains, by 1963;
Madame Marguérite de Mérey, Yverdon-les-Bains;
Thence by descent.

The actual pair of paintings show more contrast and are a bit less strong in tone than the catalogue illustrations would suggest. Both paintings are unlined and their original canvasses. The painted surfaces seem to be in good condition. Both paintings would benefit from a restoration. Presumed portrait of Louis Cosson Some minor paint losses and damages, some of which have been crudely retouched, can be seen: above the head, in the upper right corner, in his left hand, in the chair to the left, along the edges, in his waistcoat, on the left of the sleeve. We notice some few little holes as well in various parts. There is also a 2 cm tear lower left. Stretcher marks are apparent on the front. The craquelure pattern is quite coarse in places, mainly due to the painting being unlined. Some pressure point craquelures can be observed in the lower left corner, and other craquelure patterns on the right, below the man’s hand. The colours seem to be nicely preserved. The painting is under a dirty discoloured varnish layer. There is some surface dirt. Under UV light The varnish fluoresces completely, showing some retouching in the chair on the right, the various craquelure patterns and some of the damages mentioned above. Presumed portrait of Anne Fradin We can observe some paint losses in the left centre, centre right, along the lower edge, in the dress, in her index finger, in her right eye and in her hair, and on the left. The painted surface seems to be in a good condition. Most of the impastos and the colours seem to be well preserved. The craquelure pattern shows the pattern of the stretcher, some craquelures are a bit coarse in places, mainly due to the painting being unlined. Otherwise some surface dirt is visible throughout. Under UV light The varnish layer fluoresces completely, showing minor surface dirt, the paint losses mentioned above, some minor strenghtenings lower left and lower right. Both offered in carved 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Cosson de Guimps family were originally from the area of Angoulême. Their coats of arms were a black background with three golden sparrow hawks. Louis Cosson, Baron de Guimps, was a lawyer and judge as well as tax collector and mayor of Angoulême for seven years and deputy to the Intendant of Limoges.

The painter of this elegant pair of portraits could possibly be Jan Justus van der Velde mentioned by Bénézit (vol. X, p. 429). All we know about this artist is that he was baptized on 5^th May 1689.