Attributed to Emanuel de Critz

Anonymous sale, London, Christie's, 16 December 1977, lot 86 (as J. De Critz);
With Gavin Graham Gallery, London, by April 1983, where acquired by the present owner.

The catalogue illustration is representative of the painting which appears in relatively good condition with no apparent extant damage or loss of paint. The canvas has been relined and the paint surface is consequently slightly flat. There is visible retouching in the background and in the cloak of the gentleman on the left. Examination under ultraviolet light confirms the aforementioned retouching. Other scattered minor flecks of retouching are found in the flesh tones and in the costumes overall, particularly some strengthening of the white of both sitters' ruffs. There is a small old L-shaped tear approximately one inch by half an inch and also a V-shaped tear approximately one inch in depth, both in the upper right of the painting, both have of which been repaired. The painting is held in an ebonized 17th Century Dutch-style frame with a thin gilded inner edge. To speak to a specialist about this lot please contact Julian Gascoigne on +44 (0)207 293 5482.
"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 catalogued as J. De Critz in 1977, this intriguing double portrait is closer in style to John’s son, Emanuel de Critz. Stylistic comparisons can be drawn to a group of portraits in the Ashmolean Museum attributed to both Emanuel and Thomas de Critz, particularly to the Portrait of John Tradescant the younger and Hester, his second wife, dated 1656 (Inv. No. F663). Given the placement of the man's hands we can speculate that this portrait was commissioned to celebrate the impending birth of their child. His wife wears a fine (and expensive) early pocket watch.