Portrait of Wouter Gael (1600-1639), aged four, half-length, in an embroided black doublet, white ruff and black hat; and Portrait of Marijke Gael (1598-1645), aged six, half-length, in a black gown over a red dress, with a white lace collar and cuffs and a lace-edged, gold-embroidered red head-dress, a gold pomander in her right hand

细节

Jan Claesz. (Haarlem ?-1636 Delft)
Portrait of Wouter Gael (1600-1639), aged four, half-length, in an embroided black doublet, white ruff and black hat; and Portrait of Marijke Gael (1598-1645), aged six, half-length, in a black gown over a red dress, with a white lace collar and cuffs and a lace-edged, gold-embroidered red head-dress, a gold pomander in her right hand
the first inscribed and dated 'ætatis Súæ 4 :A°. 1604·' (upper left); the second inscribed and dated 'ætatis Súæ 6 A°. 1604' (upper left)
oil on panel
22 1/8 x 17¾ in. (56.2 x 45 cm.)
two (2)

来源

By descent from the female sitter to her great-great-great grandson
Jonkheer Johannes van Iddekinge (1788-1866), and by descent through his daughter, Antonia Hendrina van de Kasteele, née van Iddekinge (1823-1896) to her son
Jacob Carel van de Kasteele (1815-1894); (+) sale, Frederik Muller, Amsterdam, 27/8 November 1906, lot 8.

注意事项

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis

拍品专文

Dr. Rudolf Ekkart in 'De Enkhuizer schilder Jan Claesz.', Oud Holland, iv, 1990 , pp. 180-218, nos. 3-4, suggests that the artist trained with Pieter or Aert Pietersz in Amsterdam at the beginning of the 1590s and, as far as can be established, confined himself entirely to portraiture. The earliest known attributable works are his portraits of Batholomeus van der Wiere and his wife painted in 1593 (Op. cit, p. 186, figs. 7 and 8) which clearly show the influence of Pieter and Aert Pietersz.

The artist's numerous portraits of children, like the present lot, form an important contribution to our knowledge of North Netherlandish children's portraiture in the very early seventeenth century as well as giving us an idea of the rich traditional costume of Enkhuizen at around the same date.

Dr. Rudolf Ekkart, on the basis of photographs, tentatively attributes the present lot to Jan Claesz., although he notes that they are the only known portraits by the artist not to be dated in roman capitals.