Wallerant Vaillant

In the possession of the family of the current owners since the early 20th century. 

Panel is uncradled and beveled on all four sides. Overall the painting is in very good condition with lovely retention of the paint surface. There is a slightly uneven old varnish. Examination under UV light reveals a tiny retouch under left nostril; some very small retouches in the hair with two areas of reinforcement at the left side. Some retouching to the outlines of the staff and a few small retouches to costume, one on hand and in background right center. Offered in a carved and gilt 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.

Born in the French town of Lille in 1623, Wallerant Vaillant moved to Antwerp in 1637 where he was a pupil of the history painter Erasmus Quellinus ll (1607-1678). In 1647 he is recorded in the Middelburg Guild of St. Luke and in 1652 Vaillant moved to Amsterdam. From 1656 onward he was working in Frankfurt-am-Main where he was principally active as a draughtsman and mezzotint producer, portraying the local nobility and gentry. Around 1662 Vaillant moved back to Amsterdam where this hitherto unknown Portrait of a Young Boy was painted in 1670. At this time Vaillant was also the court painter to Prince Willem Friso, Stadtholder of Friesland. The young sitter’s distant side ward gaze, realistic presentation, and psychological intensity recall many of Michael Sweerts’ bust length portraits, with whom Vaillant would have been well aware by 1670 following Sweerts’ return to the Low Countries from Rome in 1656.