View full screen - View 1 of Lot 6. Portrait of Jacob de Witte; Portrait of Maria Nutius 《雅各布・德維特畫像;瑪莉亞・努提烏斯畫像》.
6

Sir Anthony van Dyck

Portrait of Jacob de Witte; Portrait of Maria Nutius 《雅各布・德維特畫像;瑪莉亞・努提烏斯畫像》

VAT reduced rate

Estimate:

4,000,000 - 6,000,000 GBP

Property from a Private Collection

Sir Anthony van Dyck

Sir Anthony van Dyck

Portrait of Jacob de Witte; Portrait of Maria Nutius 《雅各布・德維特畫像;瑪莉亞・努提烏斯畫像》

Portrait of Jacob de Witte; Portrait of Maria Nutius 《雅各布・德維特畫像;瑪莉亞・努提烏斯畫像》

Estimate:

4,000,000 - 6,000,000 GBP

Lot sold:

6,172,800

GBP

Property from a Private Collection

Sir Anthony van Dyck

Antwerp 1599 - 1641 London

Portrait of Jacob de Witte; Portrait of Maria Nutius


a pair, both oil on canvas

each: 95.4 x 75 cm.; 37⅝ x 29⅝ in.


私人收藏

安東尼・凡・戴克爵士

1599年生於安特衛普,1641年卒於倫敦

《雅各布・德維特畫像;瑪莉亞・努提烏斯畫像》

一對,皆為油彩畫布

各:95.4 x 75 公分;37 ⅝ x 29 ⅝ 英寸

The following condition report is provided by Hamish Dewar who is an external specialist and not an employee of Sotheby's:

 

Structural condition

The pair of canvases have both been lined some time ago and the linings are still ensuring sound structural supports and have secured the overall pattern of very fine lines of drying craquelure, all of which are still entirely stable. There is a small paper label and customs stamps on the reverse of both canvases. The overall structural condition of both paintings is therefore very good and it is very encouraging to note that the linings have not adversely affected the paint surfaces.

 

Paint surfaces

Both paint surfaces have even varnish layers.

 

Portrait of Jacob de Witte

Inspection under ultraviolet light shows just a number of very small spots and lines of inpainting with only the most minimal tiny flecks on the sitter's hand, face and white ruff. There would also appear to be minimal retouchings in the dark pigments of his costume, and also similarly in the background where there are slightly more concentrated retouchings within and around the coat of arms in the upper left corner. The pattern of darker lines within his costume and particularly on this right sleeve do fluoresce slightly more darkly but upon close inspection are the artist's original brushstrokes rather than later retouching.

There are other very small scattered retouchings and there may be further retouchings that I could not identify under ultraviolet light.

 

Portrait of Maria Nutius

Inspection under ultraviolet light shows only the most minimal tiny spots and very fine lines of inpainting on the sitters’ face, hands and white ruff and just a few very small scattered retouchings within the darker pigments of her costume. There are a few more of these small retouchings around the leaves being held in her right hand and similarly minimal spots within the background. There are retouchings around and within the coat of arms in the upper right corner and there may be some strengthening around the sitter’s left hand.

 

Summary

The pair of paintings would therefore appear to be in excellent and stable condition having been carefully and minimally treated in the past and no further work is required.  It is very encouraging to note that the fine details of the compositions are exceptionally well preserved.


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.

Arnold de Pret Roose de Calesberg, Antwerp, by 1899;

Sir Joseph Benjamin Robinson (1840–1929), Dudley House, London, before 1910 and probably before 1904;

His sale, London, Christie’s, 6 July 1923, lots 95–96, unsold;

By descent to his daughter, Princess Ida Labia (1879–1961), London, 1928/9–1958;

By descent to her son, Dr Joseph Benjamin Labia (1922–2011), London;

By whom sold (‘The Property of a Gentleman’), London, Sotheby’s, 24 March 1976, lot 99 (a pair), for £38,000;

Private collection, Spain;

Thence by descent.

Exposition Van Dyck à l’occasion du 300e anniversaire de la naissance du maître. Van Dijck Tentoonstelling ter Gelegenheid der 300e Verjaring der Geboorte van den Meester, Koninklijk Museum voor Schone Kunsten, Antwerp 1899, nos 86 and 87;

L. Cust, A. Van Dyck, London 1900, pp. 17, 214, 235, nos 47 and 48, reproduced pp. 8–9;

P.A.G. Wytsman, Tableaux anciens peu connus en Belgique, 1903, reproduced pl. 29;

E. Schaeffer, Van Dyck: des Meisters Gemälde. Klassiker der Kunst, vol. 13, Stuttgart and Leipzig 1909, p. 140, reproduced;

G. Glück, Van Dyck: des Meisters Gemälde. Klassiker der Kunst, vol. 13, 2nd revised ed., Stuttgart, New York and London 1931, pp. 90–91, reproduced, and p. 528, S. 90 and S. 91 (as unknown location);

E.K. Waterhouse, The Robinson Collection, exh. cat., Royal Academy of Arts, London 1958, nos 16 and 17;

A. Scharf, ‘The Robinson Collection’, in The Burlington Magazine, vol. 100, no. 666, September 1958, p. 303;

L. Burchard, ‘The De Witte Couple by Van Dyck’, in The Burlington Magazine, vol. 100, no. 666, September 1958, p. 319;

The Joseph Robinson Collection, exh. cat., National Gallery of South Africa, Cape Town 1959, p. 7, nos 17 and 18, reproduced (in the souvenir), pp. 16–17;

Sammlung Sir Joseph Robinson 1840–1929. Werke europäischer Malerei von 15. bis 19., exh. cat., Kunsthaus, Zürich 1962, nos 13 and 14;

E. May (ed.), Weltkunst aus Privatbesitz, exh. cat., Kunsthalle, Cologne 1968, nos F6 and F7, reproduced pls 4 and 5;

M. Díaz Padron (ed.), Pedro Pablo Rubens. Exposición Homenaje, exh. cat., Palacio de Velázquez, Madrid, 1977–78, pp. 54–55, nos 29 and 30, reproduced p. 203;

E. Larsen, L’opera completa di Van Dyck 1613–1636, Milan 1980, pp. 96-97, nos 183 and 184, reproduced p. 98 (as around 1618–19);

E. Larsen, The Paintings of Anthony van Dyck, 2 vols, Freren 1988, vol. II, pp. 42–43, nos 74 and 75, reproduced (as around 1618–19);

H. Vey, in S.J. Barnes, N. De Poorter, O. Millar and H. Vey, Van Dyck. A Complete Catalogue of the Paintings, New Haven and London 2004, pp. 362-3, nos III.142 and III.143, reproduced (as from Van Dyck’s second Antwerp period);

A. Merle du Bourg, Antoon van Dyck. Portraits, exh. cat., Musée Jacquemart-André, Paris 2008, pp. 86–89 and 164, nos 16 and 17, reproduced in colour;

S. Melikian, review of the above, in The New York Times, 31 October 2008: http://www.nytimes.com/2008/11/01/arts/01iht-melik1.1.17413804.html

Antwerp, Koninklijk Museum voor Schone Kunsten, Exposition Van Dyck à l’occasion du 300e anniversaire de la naissance du maître. Van Dijck Tentoonstelling ter Gelegenheid der 300e Verjaring der Geboorte van den Meester, 1899, nos 86 and 87;

London, Royal Academy of Arts, The Robinson Collection, 2 July – 14 September 1958, nos 16 and 17;

Cape Town, South African National Gallery, The Joseph Robinson Collection, 1959, nos 17 and 18;

Zurich, Kunsthaus, Sammlung Sir Joseph Robinson 1840–1929. Werke europäischer Malerie vom 15. bis 19. Jahrhundert, 17 August – 16 September 1962, nos 13 and 14;

Cologne, Kunsthalle, Weltkunst aus Privatbesitz, 18 May – 4 August 1968, nos F6 and F7;

Madrid, Palacio de Velázquez, Pedro Pablo Rubens. Exposición Homenaje, December 1977 – March 1978, nos 29 and 30;

Paris, Musée Jacquemart-André, Antoon van Dyck. Portraits, 8 October 2008 – 25 January 2009, nos 16 and 17.