It is possible that the unidentified sitter had a divergent or outward squint (exotropic strabismus) of his left eye.
Ronni Baer, Gerrit Dou 1613–1675: Master Painter in the Age of Rembrandt, ed. Arthur K. Wheelock Jr. (Exh. cat. Washington D.C., National Gallery of Art; London, Dulwich Picture Gallery; The Hague, Mauritshuis) (New Haven, 2000), 34.
Ronni Baer, Gerrit Dou 1613–1675: Master Painter in the Age of Rembrandt, ed. Arthur K. Wheelock Jr. (Exh. cat. Washington D.C., National Gallery of Art; London, Dulwich Picture Gallery; The Hague, Mauritshuis) (New Haven, 2000), 34–35 and note 94. Joachim von Sandrart, Joachim von Sandrarts Academie der Bau-, Bild- und Mahlerey-Künste von 1675: Leben der berühmten Maler, Bildhauer und Baumeister, ed. A. R. Peltzer (Munchen, 1925), 195–96.
Theophile Bürger first associated the portrait with Gerrit Dou when it was in the collection of Lothar Franz Von Schönborn in Pommersfelden. He attributed the painting to “Ecole de G. Dou (?).” See Hôtel Drouot, Galerie de Pommersfelden: Catalogue de la collection de tableaux anciens du château de Pommersfelden à M. le comte de Schönborn (Paris, 1867), 17, no. 25 (Portrait de jeune homme). According to the notes, the portrait had been listed as by Frans Hals in a catalogue (either Drouot or Pommersfelden) of 1857 as no. 108. A handwritten notation next to the 1867 catalogue entry indicates the hammer price was 610 French francs. For this information, see Wilhelm von Bode and Gesellschaft für Vervielfältigende Kunst, Die Grossherzogliche Gemälde-Galerie zu Oldenburg (Vienna, 1888), 35 and 40. Click here for an online version of the sales catalogue of 1867.
Wilhelm von Bode, Die Grossherzogliche Gemälde-Galerie zu Oldenburg (Vienna, 1888), 35 and 40. According to Bode, the portrait entered the Oldenburg Gallery as a work by Thomas de Keyser. Bode rejected that attribution in favor of Dou, noting that it has “all the characteristic artistic components of a work by Gerard Dou.” The 1888 catalogue includes a reproduction of L. Kuhn’s print after the portrait. Click here for the online text.
Wilhelm Martin, Gerard Dou, trans. Clara Bell (London, 1902), 132, no. 147. Cornelis Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century Based on the Work of John Smith, 8 vols. (London, 1907–27), 1:450–51, no. 339, as by Dou, translated from Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts, 10 vols. (Esslingen and Paris, 1907–28).
Ronni Baer, “The Paintings of Gerrit Dou (1613–1675),” 3 vols. (Ph.D. diss., New York University, 1990), 3: no. 13. Fourteen-year-old Gerrit Dou entered the studio of Rembrandt on 14 February 1628 and stayed with him until Rembrandt’s departure for Amsterdam in 1631.
Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings, vol. 2, 1631–1634, ed. Joshua Bruyn et al. (Dordrecht, Boston, and Lancaster, 1986), 219–22, no. A56 (Dulwich Picture Gallery, London, inv. 99).
The disappearance of the millstone or ruff collars occurs around the year 1630. Members of the older generation nevertheless continued to wear variations of the millstone collars. See, for example, Govaert Flinck’s The Governors of the Kloveniersdoelen of 1642 (Rijksmuseum, Amsterdam), in which three of the five men portrayed wear ruff collars and the two youngest sport the new flat collar.
Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings, vol. 2, 1631–1634, ed. Joshua Bruyn et al. (Dordrecht, Boston, and Lancaster, 1986), no. A 58.
Ian Tyers dendochronological report, November 2010.
John Twilley scientific examination report, 31 January 2013.