.jpg?w=1)
Lot Essay
Traditionally regarded as an autograph work by Keil, Minna Heimbürger rejected that attribution in her 1988 monograph, loc. cit.. Noting that the RKD and the Rijksmuseum have both ruled out the picture being by a Dutch artist, whilst a suggestion of Michelangelo Cerquozzi has been turned down by Giuliano Briganti, Heimbürger suggests that the artist may be Spanish, hypothesizing that Pedro Nuñez de Villavicencio might be the author.
Sumowski, loc. cit., noting Heimbürger's forthcoming rejection, reaffirms the attribution to Keil. Admitting that the picture does not fit stylistically with much of Keil's later work, he notes that elements of the picture are nonetheless comparable with works such as the Man and a woman playing musical instruments and the Boy and a girl teasing a sleeping youth (ibid., p. 1463, nos. 966 and 977, illustrated pp. 1476-7). He also compares the present work with the sleeping girl in Keil's Allegory of Touch in the Mauritshuis, The Hague (Heimbürger, op. cit., p. 210, no. 112, illustrated). He suggests, therefore, that this work is indicative of Keil's style during his transition from his Rembrandt-like to his Italian manner, datable to circa 1660.
Sumowski, loc. cit., noting Heimbürger's forthcoming rejection, reaffirms the attribution to Keil. Admitting that the picture does not fit stylistically with much of Keil's later work, he notes that elements of the picture are nonetheless comparable with works such as the Man and a woman playing musical instruments and the Boy and a girl teasing a sleeping youth (ibid., p. 1463, nos. 966 and 977, illustrated pp. 1476-7). He also compares the present work with the sleeping girl in Keil's Allegory of Touch in the Mauritshuis, The Hague (Heimbürger, op. cit., p. 210, no. 112, illustrated). He suggests, therefore, that this work is indicative of Keil's style during his transition from his Rembrandt-like to his Italian manner, datable to circa 1660.