Jan Le Ducq

Commissioned by the Loth family, directly from the artist;
Thence by descent to their grandchild, married to François Hoyer, Amsterdam;
Thence by descent to his grandchild, Hendrik David M(e)ispelblom Beyer, Haarlem, by 1907 (all of the above according to a label on the reverse);
Thence by descent;
Anonymous sale (''The Property of an Aristocratic Family'), Amsterdam, Sotheby's, 7 May 2008, lot 77;
There purchased by the present owner.

Recent glue relining is firm and stable. the paint surface is generally well retained and there is very good detail especially in the figures. the foliage in the upper part of composition is a bit pressed and thin in some areas, but still reads well. examination under ultraviolet light reveals retouching over a repaired compound tear in the sky and clouds at center; retouching over a probable repaired puncture on head and forehead of man; and another area on hand of woman. scattered smaller retouches here and there in landscape, sky and foliage, and around outer edges. aside from the retouches to figures already mentioned, there are some retouches to face of girl at far left and just some very small retouches to costumes. these retouches have been well applied and there is no need for further work. can be hung as is. In a plain black ebonized 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.

Painted in 1660, the present large family portrait is a rare example of this type of work in the oeuvre of Le Ducq, who was predominantly an animal painter specialising in dogs. He was one of the co-founders of the Confrerie Pictura, a painters guild in The Hague established in 1656, but only officialy registered four years later, the year this picture was executed.¹ His few known portraits show the clear influence of Jan Mijtens (1614-1670), who was particularly skilled at the representation of family groups. This kind of classical group portrait, in which the sitters are clad in colourful dress (often a combination of contemporary fashion and fantasy costumes) and set in an arcadian landscape, were in great demand in courtly circles in The Hague. Soon this type of formal depiction was favored by the city's upper class, such as the sitters in this portrait who, according to a label on the reverse, can be identified as members of the Loth family.

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. 301.