Gerrit van Honthorst

By family descent until sold London, Phillips, 11th December 1984, lot 88 (bt. for £1,200, as 'studio'), illustrated in reverse.

J. R. Judson and R.E.O. Ekkart, Gerrit Von Honthorst, Ghent 1999, no. 404, p. 292 (as studio)

STRUCTURE The panel is cradled at the back and is providing a flat and stable support for the painting. PAINT SURFACE The painting appears to be in good condition. There are no apparent damages, and there is no visible loss of paint. There is one area, in the sitter's left hand shoulder, where the paint is quite thin, and the paint is similarly thin in the background, however the painting would otherwise appear to be in largely original condition. ULTRAVIOLET Examination under ultraviolet light reveals very small infilling to drying cracks overall, particularly in the background and to the hair, as well as a very thin vertical line of retouching to a panel join on the left hand side of the painting. There is a discoloured and opaque varnish overall. FRAME Held in a carved and gilded wooden frame. To speak to a specialist about this lot please contact Julian Gascoigne on +44 (0)207 293 5482, or at julian.gascoigne@sothebys.com.
"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."

The exact date of this portrait is not clear, but it must date from after 1642 when Craven left for Holland and joined the exiled Elizabeth of Bohemia. Comparison with the van Dyck image suggests that his likeness was first taken in the early 1630s at the same date as Honthorst's first portraits of the Palatine family as he looks somewhat younger.

Judson and Ekkart list the portrait as a studio work but had apparently never seen it, listing it as "whereabouts unknown" since the Phillips sale in 1984. Neither they nor the Phillips catalogue noted the signature and its fine quality points to it being an autograph work. A copy of this portrait attributed to Louise, Princess Palatine and dated to 1647, is in the collection of the National Portrait Gallery, and hangs at Turton Tower, Bolton.