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Lot Essay
Only this double-portrait and one other work by the female artist Johanna, or Jeanne, Vergouwen are known to us. The other work is in the Museo Nacional de San Carlos, Mexico City. This copy after Anthony van Dyck's Samson and Delilah is dated 1673. As early as 1661 in the Gulden Kabinet by Cornelis de Bie, Vergouwen is mentioned as a copyist after Rubens and Van Dyck.
Traditionally the two young boys were identified as the twins Hendrick and Everhard Kockman at three-and-a-half years old. However, these two children, whose father was the Catholic mayor of Zwolle, Herman Franciscus Kockman and his wife, were already born in 1660, thus being eight years old at the time Vergouwen signed the present portrait. It is highly likely that the two boys represent another wealthy twin couple (exh. cat. Haarlem, op. cit., p. 270).
The theatrical decor of the terrace with its high columns, red curtain, classical balustrade and the extensive landscape beyond reminds strongly of the 17th century Antwerp tradition of family portraiture.
The two brothers are dressed-up as young knights, indicated by their armour, large chemises and attributes such as the sword in its scabbard and the hobby-horse. The hats with ostrich feathers confirm that the twins are boys, and not girls. It has been suggested that children in a war-like appearance portrayed on horses indicates that their father was a highly-ranked military officer.
Johanna Vergouwen, was the daughter of the decorative painter and gilder Louis Vergouwen and his wife Maaike Verwerff, who, in turn, was daughter of the artist Hans Verwerff. She had one elder sister, Maria who was married to Michiel Angel Immenraet. In circa 1658-9 Johanna became a member of the Antwerp guild. She is also known to have been active as an art dealer.
Traditionally the two young boys were identified as the twins Hendrick and Everhard Kockman at three-and-a-half years old. However, these two children, whose father was the Catholic mayor of Zwolle, Herman Franciscus Kockman and his wife, were already born in 1660, thus being eight years old at the time Vergouwen signed the present portrait. It is highly likely that the two boys represent another wealthy twin couple (exh. cat. Haarlem, op. cit., p. 270).
The theatrical decor of the terrace with its high columns, red curtain, classical balustrade and the extensive landscape beyond reminds strongly of the 17th century Antwerp tradition of family portraiture.
The two brothers are dressed-up as young knights, indicated by their armour, large chemises and attributes such as the sword in its scabbard and the hobby-horse. The hats with ostrich feathers confirm that the twins are boys, and not girls. It has been suggested that children in a war-like appearance portrayed on horses indicates that their father was a highly-ranked military officer.
Johanna Vergouwen, was the daughter of the decorative painter and gilder Louis Vergouwen and his wife Maaike Verwerff, who, in turn, was daughter of the artist Hans Verwerff. She had one elder sister, Maria who was married to Michiel Angel Immenraet. In circa 1658-9 Johanna became a member of the Antwerp guild. She is also known to have been active as an art dealer.