Amsterdam School, circa 1600
Portrait of a man; Portrait of a woman
Property from the Estate of Paul Kasmin
Amsterdam School, circa 1600
Portrait of a man;
Portrait of a woman
a pair, both oil on panel
each panel: 32 1/4 by 23 1/4 in.; 81.9 by 59.1 cm.
each framed: 40 3/4 by 32 1/4 in.; 103.5 by 81.9 cm.
This pair of portraits is very good quality, present themselves elegantly, and are in overall good state. Both are clean and have good varnish layers. There are some small restorations on both paintings that have slightly shifted in color and are visible to the naked eye. The paint layer of both paintings is very nicely retained, and there is very good retention of detail throughout, in the architectural surrounds, in the costumes, lace, ruff, faces and hair. Both panels are cradled, planar and appear to be stable. Under UV: (Male Portrait): a few minor touches here and there. Only a few, and minor in the face. There is a restoration about 1 inch or so in his forearm. A few touches at the edge, and a line of touching along the panel join from the top edge, about 1/3 from the left edge, in the background down to his hair. None of these are concerning or serious. (Female Portrait): this painting has a bit more restoration visible under uv, but in general not concerning. There is some touching along the original panel join about 1/3 from the left and right edges, from top to bottom, although not fully along their lengths. This is typical of a picture of this date. She has a few more scattered touches in her face. There is a restored damage at upper left, in the grey stone. In the mulberry colored silk stomacher and sleeves of her dress there are restorations in the darker shades, which appear to address issues with those pigments—it does not seem to be an issue in the sections which are lighter, with more (lead?) white pigment mixed in. These could be hung "as is," or have a light treatment. Recommendable. Both offered in modern black ebonized Dutch 17th century style wooden frames with ripple decoration
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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
Note on the provenance
This pair of portraits was formerly in the celebrated collection of Rodolphe Kann (1854-1905) in Paris. He amassed one of the great private collections of the late 19th century which was housed in his grand residence on the Avenue d’Iéna. Following his death, the entire collection was purchased en bloc from his heirs in August 1907 by the renowned firm Duveen Brothers, who left the collection in situ and opened up the house to important clients. The enormous purchase price of nearly £900,000 (almost $5,000,000 according to the New York Times) sent shock waves through the art world.1 Many of the important works, such as Rembrandt’s Aristotle Contemplating the Bust of Homer (Metropolitan Museum of Art, New York, Acc. No. 61.198), found their way into American collections and ultimately into American museums.
1. C.B. Scallen, Rembrandt, Reputation, and the Practice of Connoisseurship, Amsterdam 2004, p. 205.