Cornelis Jonson van Ceulen

Comte t'Kint de Roodenbeke, Château d'Oydonck (fig. 1), since at least the early 20^th century;
Thence by descent.

The catalogue illustrations are a little too red in tone. Both canvases have slightly stiff wax relinings and that of the gentleman is a little uneven. The paint surface in both pictures has suffered slightly from wear overall but both are generally in good condition. Inspection under ultra violet light reveals no major damages or repairs. There is an old 6 cm diagonal repaired scratch on the right of the sitter's head. There has been some repair and strengthening to the backgrounds of both paintings and some careful touching out of the craquelure on the lady's face but the details of faces and costume are generally well preserved. Offered with plain ungilded carved wood frames in good condition.
"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."

Although born in London Cornelis Jonson was of Flemish parentage, the son of Cornelis Jonson of Antwerp and Jane Le Grand who had fled to London fleeing religious persecution. He did however receive his training in the Netherlands before returning to London in 1618 and spending the following 25 years in residence there, painting a prolific number of portraits of wealthy, though usually not aristocratic, patrons. The arrival of Van Dyck in London precipitated his return to the Netherlands in 1643 and he remained there, painting portraits of well-to-do citizens of Amsterdam, Middelburg and his ultimate resting place, Utrecht.

Though the sitters of these portraits remain unidentified they are likely to be Dutch given both their dress and the artist's dating of both works to 1647, four years after his departure from England. The suffix 'Londini' here and in other post-1643 works seems to have thus remained part of Jonson's signature even after his departure from the English capital.