Portrait of François Dermout (born 1626), seated three quarter length, wearing black costume with slashed sleeves, shirt and cuffs, his right arm leaning on the back of his chair, making rhetorical gesture with his right hand; and Portrait of his wife Cornelia Dermout, née Hammius, seated three quarter length, wearing a black dress, lace collar and cuffs, pearl necklace, earrings and bracelet, holding a quill pen

细节

Johannes Cornelisz. Verspronck (1597-1662)
Portrait of François Dermout (born 1626), seated three quarter length, wearing black costume with slashed sleeves, shirt and cuffs, his right arm leaning on the back of his chair, making rhetorical gesture with his right hand; and Portrait of his wife Cornelia Dermout, née Hammius, seated three quarter length, wearing a black dress, lace collar and cuffs, pearl necklace, earrings and bracelet, holding a quill pen
both signed and dated lower left Joh. vS (linked) pronck a 1651 vS
oil on canvas
82 x 66 cm a pair (2)

来源

by descent from the sitters to their son, Jan Dermout
thence by descent to the children of his sister-in-law Anna-Maria du Peyrou, née Villepontoux
by descent to Jan Andries Munter (died 1785)
by descent to the children of his half-brother Willem Munter
by descent to Susanna Sophia van Limburg Stirum, née Munter (1800-1855)
A. Lestoque, Denver
with John Nicholson, New York
purchased from the above by the late owner in 1965

展览

Denver, Denver Art Museum, Exhibition of 16th and 17th Century Painting, 1943, no. 6
Haarlem, Frans Hals Museum, Johannes Cornelisz. Verspronck, leven en Werken van een Haarlems portretschilder uit de 17e eeuw, 15 September-25 November 1979, pp. 52/53 and 113, nos. 82/83, pp. 188/89, with ill.
Haarlem, Frans Hals Museum, on loan 1979-1994

拍品专文

The sitter, son of Johannes Dermout and Sara Maes, was a merchant in Amsterdam. He married Cornelia Hammius, daughter of Cornelis Hammius and Aeltje Jacobdr., in 1646. Her sister, Maria, and her husband Andreé Villepontoux were depicted by Verspronck in the same year as the present lot (The Mauritshuis, The Hague, inv. nos. 948 and 949; Verspronck exhibition catalogue, op.cit., nos. 80 and 81, with ill.) As pointed out by R.E.O. Ekkart in the exhibition catalogue of 1979, both pendant portraits show how Verspronck developed his concept of portraiture circa 1650, by showing the sitters involved in an activity, thus here the man converses with the viewer and the women smiles discreetly while writing.

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