Johan de la Rocquette

Anonymous sale, Antwerp, Herck, Michaux, 6/8 April 1925, lot 46, for 1400 francs to Van den Broek (as dated 1660).

The actual painting is warmer in tone and the fleshtones are less pale than the catalogue illustration suggests. The canvas is relined and the paint surface is a bit flattened. Horizontal fold marks are visible to the front as well as vertical stretcher marks. The paint layer is stable, no damages are visible to the naked eye. The paint surface is covered with a thick and slightly discoloured varnish layer, glossy. Inspection under UV-light reveals a strip of retouching along all edges of circa 3 cm wide. Additional minor retouchings become apparent in her hair, three small spots in the face and in the area around the hand. Offered in an old, decorative gilt wood frame, nicely preserved. (JD)
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Johan de la Rocquette was recorded in The Hague between 1658 and 1694, where he joined the Confrerie Pictura and was mentioned as a student of Martinus Lengele (d. 1668). He is known for having painted portraits and landscapes, but when he joined the army as a captain, his artistic career came to an end.¹
Just a handful of portraits are known by this master, including a signed and dated portrait of Mary of Orange, now in the Paleis Noordeinde (inv. no. 311, dated 1662). Comparing these paintings, the correspondence in the linear and rather schematic handling of the folds in the drapery, as well as the somewhat contrived pose of the hands with the elongated fingers becomes evident. The overall effect is that of a highly refined representation with a well balanced colour scheme of brown and greenish hues.

1. E. Buijsen, Haagse Schilders in de Gouden Eeuw. Het Hoogsteder Lexicon van alle schilders werkzaam in Den Haag, 1600-1700, Den Haag/Zwolle 1998, p. 323.