Attributed to Frans Hals (Antwerp 1582-1666 Haarlem)
Attributed to Frans Hals (Antwerp 1582-1666 Haarlem)

Portrait of a man, half-length, in a black cape with a white collar

細節
Attributed to Frans Hals (Antwerp 1582-1666 Haarlem)
Portrait of a man, half-length, in a black cape with a white collar
oil on panel
12 3/8 x 9 5/8 in. (31.3 x 24.3 cm.)
來源
L. Nardus, Suresnes.
M.P. Widener, Philadelphia; Frederik Muller, Amsterdam, 30 June 1909, lot 7 (3,500 DFL).
Goudstikker, Amsterdam.
Carl Mandl, Hamburg; Frederik Muller, Amsterdam, 10 July 1923, lot 117 (15,400 DFL to W. Henschel or Kröller).
Wilhelm von Ofenheim, Vienna, by 1930.
Anonymous sale [The Property of a Lady]; Sotheby’s, London, 25 November 1970, lot 107 (£1,400).
Anonymous sale; Paul Brandt, Amsterdam, 11-17 May 1971, lot 6.
出版
(Possibly) C. Hofstede de Groot, A Catalogue Raisonné, etc., London, 1910, III, p. 91, no. 318.
W.R. Valentiner, Frans Hals, des Meisters Gemälde, Klassiker der Kunst, Berlin, 1921, p. 293, as ‘circa 1655’.
W.R. Valentiner, Frans Hals, des Meisters Gemälde, Klassiker der Kunst, Berlin, 1923, p. 273.
S. Poglayen-Neuwall, ‘The Wilhelm Ofenheim Collection’, Apollo, XII, July 1930, p. 129.
W.R. Valentiner, ‘Jan van de Cappelle’, The Art Quarterly, IV, 1941, p. 296, note 6, as ‘possibly a portrait of the painter Gerard de Lairesse’.
S. Slive, Frans Hals, London, 1970, p. 149, no. D61, fg. 182.

榮譽呈獻

Freddie De Rougemont
Freddie De Rougemont

查閱狀況報告或聯絡我們查詢更多拍品資料

登入
瀏覽狀況報告

拍品專文

This spontaneous likeness of a man relates to a series of small-scale portraits of soberly dressed men executed by Frans Hals relatively late in his career, in the years around 1658-1660. Painted directly from life, probably in one or two sittings, these portraits are characterized by their vivacity and the dazzling fuency of Hals’s brushwork. Celebrated examples include the Portrait of a Preacher in the collection of Rose-Marie and Eijk van Otterloo and the portraits in the Rijksmuseum, Amsterdam; and the Mauritsthuis, The Hague.

Seymour Slive, who never saw the present work, expressed ‘serious reservations’ about the attribution, although he concluded that ‘final judgment must be postponed until the original is examined’ (Slive. loc. cit.). His reservations no doubt had much to do with the abraded state of the paint surface. However, in spite of its condition, the case for attributing this work now to Frans Hals is increasingly compelling, at a time when the artist’s late output is coming under intense scrutiny by scholars. In terms of its format and composition, the picture certainly accords well with the lauded examples cited above. The sitter is positioned just off centre, in three-quarter profile, turning his head to the viewer against a neutral background. His pose, in which his left hand protrudes from his cloak is similar to that adopted by the preacher in the Van Otterloo picture. In terms of its execution, decisive judgment is again made difficult by virtue of the condition, although certain passages in the rendering of the face, the collar, and the hand, speak convincingly of Hals’s authorship.

更多來自 古典大師及英國繪畫 (日間拍賣)

查看全部
查看全部