拍品 72
拍品 72
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PROPERTY FROM A PRIVATE COLLECTION
Attributed to Jacob van Oost I (Bruges 1603-1671)

Portrait of a boy, aged 14, three-quarter-length

成交价 USD 12,500
估价
USD 10,000 - USD 15,000
估价并不反映实际成交价,亦不包括买家应付酬金、任何适用税项或艺术家转售权。详情请浏览业务规定D部。
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Attributed to Jacob van Oost I (Bruges 1603-1671)

Portrait of a boy, aged 14, three-quarter-length

成交价 USD 12,500
登记
成交价 USD 12,500
登记
详情
Attributed to Jacob van Oost I (Bruges 1603-1671)
Portrait of a boy, aged 14, three-quarter-length
inscribed and dated 'AETATIS.14 / Ao.1653' (center right)
oil on canvas
3038 x 2378 (77.8 x 61 cm.)
来源
John Frederick Winterbottom (d. 1868), East Woodhay, Newbury, Berkshire; his sale (†), Foster, London, 4 May 1870 (=2nd day), lot 316, as 'Van Dyck'.
Anonymous sale; Sotheby's, New York, 10 October 1991, lot 190, as 'Jacob van Oost, the Younger'.
Private collection, New York, from whom acquired by the present owner in 2018.
拍卖场通告
Please note at the time of the 1991 sale a saleroom notice corrected the attribution from ‘Jacob van Oost, the Younger’ to ‘Jacob van Oost, the Elder’.
荣誉呈献
John Hawley
佳士得专家或会联络阁下,以商讨此拍品,又或于拍品状况于拍卖前有所改变时知会阁下。浏览状况报告

拍品专文

Van Oost's pictures of children count among the most remarkable in his oeuvre and contribute to the innovations in child imagery that appeared in this period, such as Rembrandt's Portrait of the artist's son, Titus (Pasadena, Norton Simon Museum) and Frans Hals' Laughing boy (The Hague, Mauritshuis). In the sixteenth and seventeenth centuries, artists began depicting children less as miniaturized adults, and instead sought to capture youthful features studied from life, such as the rosy cheeks, expansive forehead and large eyes seen in this portrait. In Bruges, Van Oost capitalized on this celebration of childhood, creating numerous portraits of young people, whose parents used them as a means to express pride in their offspring. With its stark background and varied textures, this painting bears a particular resemblance to Van Oost's Portrait of a boy, aged eleven in the National Gallery, London. As the sitter in the London picture is thought to be Van Oost's son, the intimacy of the present portrait suggests that it too depicts a young boy the artist knew well, capturing so skillfully his innocence and naturalness of youth.
We are grateful to Dr. Katlijne Van der Stighelen for endorsing the attribution on the basis of photographs.

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