Two separate components of a Seventeenth-century household portrait cut up in half have been reunited by students after virtually 200 years. Double Portrait of a Father and Son—painted in 1626 by the Antwerp-based portrait painter Cornelis de Vos—depicts a household of three, however the portray was lacking a bit, indicated by the glimpse of a costume within the decrease right-hand nook.
Double Portrait of a Father and Son belongs to the non-public Nivaagaard Assortment based mostly in Niva, Denmark. Jørgen Wadum, a particular advisor on the Nivaagaard Assortment and Angela Jager, a curator on the RKD-Netherlands Institute for Artwork Historical past in The Hague, joined forces to attempt to observe down the lacking work final 12 months.
Above left: Cornelis de Vos, Double Portrait of a Father and Son (1626), and, above proper, a element of the decrease right-hand nook of the cleaned portray Nivaagaard Assortment/Nationwide Gallery of Denmark, SMK
Initially they discovered pictures in a 1966 conservation report by the Nationwide Gallery of Denmark which revealed additional particulars, uncovering a part of the arm of the misplaced lady. The images introduced new clues, exhibiting the girl’s elaborate cuff and her hand holding a pair of embroidered gloves lined with crimson velvet.
“To their nice pleasure, this led them to determine a portrait of a sublime girl with a big millstone collar like that of the daddy within the double portrait. It was De Vos’s Portrait of a Girl from 1626 which was auctioned on the market at Christie’s in London in 2014,” a press release from the Nivaagaard Assortment says.
The work was purchased in London by the Amsterdam-based seller Salomon Lilian, who cleaned the portray. Following restoration, the panorama within the background of the double portrait was revealed, exhibiting a dyke and a row of poplar bushes behind the boy’s left shoulder, which continues within the portrait of the girl. Crucially, her facial options and brown eyes match these of the boy, the assertion provides.
Lately, a grant from the New Carlsberg Basis in Copenhagen allowed the Nivaagaard Assortment to accumulate the portrait of the mom. The peak of the portray of the mom is lower than half that of the portray of the daddy and son, suggesting that the unique work was possible separated rigorously into two standalone work after sustaining harm, probably between 1830 and 1859, the gathering says.
Andrea Rygg Karberg, the director of the Nivaagaard Assortment museum, stated in a press release: “It’s a large scoop for Dutch baroque artwork historical past and for our assortment that analysis has led us to the invention of this unimaginable feminine portrait. The mom now seems out at us collectively along with her son, whose gaze is so much like hers. All three of the topics tackle a completely new dimension, depth and glow when they’re contemplated collectively as initially meant, moderately than in isolation from one another.”
