LEIDEN SCHOOL, CIRCA 1630 | Portrait of a bearded man, half-length, wearing a cap
LEIDEN SCHOOL, CIRCA 1630
PORTRAIT OF A BEARDED MAN, HALF-LENGTH, WEARING A CAP
oil on oak panel
unframed: 51.2 x 38.5 cm.; 20⅛ x 15⅛ in.
framed: 75 x 62 cm.; 29 1/2 x 24 3/8 in.
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The oak panel is supported on the reverse with two pairs of butterfly battens, which are applied to two joines or splits, each visibly retouched under raking light, running the height of the panel towards the margins of the painting, either side of the subject. The paint surface is relatively clean and the varnish is clear and even. The ground layer and the vertical wood grain are visible in some of the more thinly-painted areas of the man's face, and it is clear where the artist has used the pointed end of a brush or other implement to incise the wet paint to describe the man's hair and beard. Inspection under ultraviolet light reveals a rather opaque varnish, and seemingly fairly recent retouchings along the aforementioned vertical joins or splits and scattered in small areas in the background. Small lines of retouching are found around the man's eye sockets, ear, and around the form of his nose and edges of his beard, with a slightly more concentrated area in his beard just to the right of his mouth, approx. 1 x 2 cm. There are also a few retouchings scattered in his torso, most notably to an area in the lower left corner, 1 x 3 cm. The painting is in overall fairly good condition without a need for further intervention.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
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 INCLUDED IN THE CATALOGUE.
F.M. Gerritsen, Oegstgeest, 1963.
This painting was clearly produced by an artist working in the circle of Jan Lievens and Rembrandt, with close knowledge of Lievens' preferred subjects and technique - such as the way the hair and beard of the old man is described by using the pointed end of a brush or similar implement to incise the wet paint. Dendrochronological analysis carried out by Prof. Dr. Peter Klein has revealed that the panel used for this painting is made from the same tree as that used for the boards in three other contemporary works, with a youngest annual ring from 1609: Rembrandt's Andromeda chained to the rocks (Mauritshuis, The Hague, inv. no. 707);1 Lievens' Rembrandt's Mother (Staatliche Kunstsammlungen, Dresden, inv. no. 1580C);2 and a Portrait of a man, attributed to Lievens (private collection) - all datable to circa 1630.