145
145

PROPERTY FROM A EUROPEAN PRIVATE COLLECTION

Jan Daemen Cool
PORTRAITS OF A GENTLEMAN AND A LADY, HALF-LENGTH, WEARING BLACK WITH WHITE RUFFS AND CUFFS
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145

PROPERTY FROM A EUROPEAN PRIVATE COLLECTION

Jan Daemen Cool
PORTRAITS OF A GENTLEMAN AND A LADY, HALF-LENGTH, WEARING BLACK WITH WHITE RUFFS AND CUFFS
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拍品詳情

Old Masters Day Sale

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Jan Daemen Cool
ROTTERDAM 1589 - 1660
PORTRAITS OF A GENTLEMAN AND A LADY, HALF-LENGTH, WEARING BLACK WITH WHITE RUFFS AND CUFFS
數量: 2
the former inscribed and dated left: Ætatis 47.ANo. 1639.
the latter inscribed and dated left: Ætatis . 38. / ANo. 1639.
a pair, both oil on oak panel
each: 81.6 x 68.3 cm.; 32 1/8  x 26 7/8  in.
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來源

Anonymous sale, Amsterdam, Mak van Waay, 14 March 1972, lot 24 (as Jacob Willemsz. Delff the Younger);
Anonymous sale, Amsterdam, Mak van Waay, 26 September 1972, lot 21 (as Jacob Willemsz. Delff the Younger);
With Hoogsteder & Hoogsteder, The Hague (as Jacob Willemsz. Delff the Younger);
From whom acquired.

相關資料

In publishing the first study of Jan Daemen Cool in an article of 1997, Rudolf Ekkart revealed the previously little-known artist to be the foremost portraitist in Rotterdam of his time.1 Ekkart brought together paintings by Cool, who appears never to have signed his works, around a group portrait of the Governors of Rotterdam, dated 1653, the authorship of which is recorded in civic archives.2 Though it is not certain with whom he trained, Cool was registered at the Guild of Saint Luke in Delft in 1614, and was most probably apprenticed in the workshop of Michiel van Mierevelt, Delft's most sought-after portraitist and official painter to the stadholder court. His influence is clearly felt in the present paintings, as is that of Jacob Willemsz. Delff the Younger, to whom these works were previously attributed, and who likewise studied with Mierevelt, eventually inheriting his studio.

This pair of high-quality, beautifully-preserved portraits, with Cool's distinctive inscriptions, and a characteristic interest in the play and position of the sitters' hands, are an exciting new addition to the artist's œuvre. Though their identities are unknown, the pair makes clear why Cool's portraits were so in demand with the prominent citizens of his hometown of Rotterdam and nearby Delft.

We are grateful for the suggestion of the attribution to Cool by Dr Fred G. Meijer, on the basis of first-hand inspection, which has subsequently been endorsed by Professor Dr Rudolf Ekkart, on the basis of digital photographs.

1 R.E.O. Ekkart, 'De Rotterdamse portrettist Jan Daemen Cool (ca. 1589–1660)', Oud Holland, vol. III, no. 4, 1997, pp. 201–40.
2 Rotterdams Historisch Museum, Rotterdam, inv. no. HMR 11089; see Ekkart 1997, pp. 238–39, cat. no. 28, reproduced.

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