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Govaert Flinck (Cleve 1615-1660 Amsterdam)
No VAT will be charged on the hammer price, but VA… Read more Property from a Dutch Private Collection (Lots 5, 6 & 13)
Govaert Flinck (Cleve 1615-1660 Amsterdam)

Portrait of a man, half-length, in a broad-brimmed hat

Govaert Flinck (Cleve 1615-1660 Amsterdam)
Portrait of a man, half-length, in a broad-brimmed hat
signed and dated 'G·flinck·f 1641' (centre left)
oil on panel, oval
29¾ x 23¼ in. (75.6 x 59 cm.)
Herman de Kat, Dordrecht; (+) sale, Hôtel Drouot, Paris, 2-8 May 1866, lot 27.
M. Goldschmidt; (+) sale, Galerie George Petit, Paris, 14-17 May 1898, lot 65 (4200 francs to Féral).
Lord Walter Kerr; Sotheby's, London, 17 June 1928, lot 66, where acquired by Asscher and Welker.
with Leggatt, London.
R.S. Handley; Sotheby's, London, 12 July 1978, lot 83 (£7,000).
Anonymous sale; Sotheby's, London, 13 April 1983, lot 108 (£14,300).
A. von Wurzbach, Dordrecht Collections, I, 1866, p. 538.
J.W. von Moltke, Govaert Flinck, Amsterdam, 1965, pp. 121-22, no. 265, illustrated.
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Alexandra McMorrow
Alexandra McMorrow 19th Century Art

Lot Essay

Govaert Flinck received his artistic training in Leeuwarden under Lambert Jacobsz before moving to Amsterdam in 1633 to work in the studio of Rembrandt. Rembrandt's impact on his art was decisive and when Flinck emerged from the workshop as an independent artist three years later, his repertoire of landscapes, history paintings, tronies and portraits was closely based on the work of his master. It was for his portraits that Flinck was particularly admired, moving Joachim Sandrart to remark in 1675 that while they followed Rembrandt's manner, they were 'more felicitous in the exactness and in the pleasing quality of the portrayal' (see J. von Sandrart, Teutsche Academie der Bau-, Bild-, und Mahlerey-Künste.., 1675, ed. A.R. Pelzer, Munich, 1925; cited by J. Kelch, exhibition catalogue, Rembrandt - The Master and his Workshop, New Haven and London, 1992, p. 314).

This finely preserved example is stylistically indebted to Rembrandt's portraiture of the mid-1630s, which Flinck would have experienced at first hand. The directness of the observation and the fluent execution bring to mind portraits by Rembrandt such as the 41 year old Man (1633; Pasadena, Norton Simon Museum of Art) or Dirck Jansz. Pesser (1634; Los Angeles, Los Angeles County Museum of Art), both of which were executed on oval panels, a format that Flinck used with particular alacrity. Flinck arguably reached his artistic zenith in the years around 1640 and from 1641 come such celebrated works as: Young Shepherdess (Paris, Musée du Louvre); Portrait of a man (Los Angeles, The J. Paul Getty Museum); and Young man with a plumed cap (Pommersfelden, Schönborn collection).

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