Attributed to Thomas de Keyser

With Asscher & Welcker, London, circa 1925 (as by Thomas de Keyser);
With Vermeer Gallery, London, 1928 (as by Thomas de Keyser);
With Agnews, London 1936 (as by Thomas de Keyser);
Anonymous sale, Lucerne, Galerie Fischer, November 24, 1951, no. 2639 (as Thomas de Keyser);
Private collection, Basel;
With Johnny van Haeften, London, by 1992 (as Thomas de Keyser).

Panel is flat and there are two vertical joins each of which are reinforced on the verso. One join goes through the left shoulder of the sitter and the other through his right shoulder and letter. These joins are barely detectable with the naked eye, and are not disturbing. U.V. reveals retouching along joins although mostly localized to within a half inch of join. U.V. also shows minor retouching to area on face and hands, though these retouchinges are mostly applied along the wood grains. The shoulders of the sitter have had retouches, these are predominantly along the edges where the deepest blacks begin. Other retouches in background and along shadow of collar. A small patch of varnish is visible on top middle of panel. Paint retention however is good overall, the picture is recommendable, and may be hung in its present state. In a carved and black-painted wood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present portrait reveals the influence that the work of Rembrandt had on the style of Thomas de Keyser and other portrait painters active in Amsterdam in the seventeenth century.  For example, the way the sitter holds the letter here is the same way that Nicolaes Ruts holds his letter in Rembrandt's famous portrait, now in the Frick Collection, New York, acc. no. 1943.1.150.