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Report Case Study 25 ANNEX A Case 22 (2015-16) Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA) Expert Adviser to the Secretary of State that Case 22 (2015-16): Portrait of a Boy by Ferdinand Bol Meets Waverley criterion two EXECUTIVE SUMMARY Ferdinand Bol (1616-1680) Portrait of a Boy Oil on canvas, 170 x 150 cm Signed and dated lower left: FBol.1652./ Ætatis. 8. jaer [FB in ligature] Condition Judging from a high resolution image only, the condition seems to be exceptionally good. Provenance The Fagel family, The Hague; By descent to Griffier Hendrik Fagel III (1765-1838), The Hague and London; The Griffiers Fagel sale London (Coxe, Burrell, Foster), 22-23 May 1801, lot 32; There bought by Frederick Howard, 5th Earl of Carlisle (1748-1825) for 42 pounds for his London residence at Grosvenor Place; Removed to Castle Howard by 1825; Thence by descent at Castle Howard; Sale London (Sotheby’s), 8 July 2015, lot 11 (£5,189,000, incl. premium). Exhibited London, British Institution, 1821, no. 24; London, Agnews, Loan Exhibition of Pictures by Old Masters, 1925, no. 17; London, Royal Academy of Arts, Dutch Pictures 1450-1750, Winter Exhibition 1952-53, no. 268; Kingston-upon-Hull, Ferens Art Gallery, Dutch Painting in the Seventeenth Century, 1961, no. 8. Literature W. Buchanan, Memoirs of Painting, London 1824, vol. I, p. 304; G. F. Waagen, Works of Art and Artists in England, vol. III, London 1838, p. 210; Descriptive Catalogue of the Pictures at Castle Howard, 1845, no. 90; G. F. Waagen, Treasures of Art in Great Britain, London 1854, vol. III, p. 326; Descriptive Catalogue of the Pictures at Castle Howard, 1874, no. 118; H. Avray Tipping, ‘Castle Howard, Yorkshire’, Country Life, 61, 25 June 1927, p. 1046; A. Blankert, Ferdinand Bol 1616-1680: een leerling van Rembrandt, Diss., Utrecht 1976, p. 247, no. A139; A. Blankert, Ferdinand Bol (1616-1680): Rembrandt’s pupil, Doornspijk 1982, pp. 59, 67, 142, no. 138, pl. 149; W. Sumowski, Gemälde der Rembrandt-Schüler, Landau-Pfalz 1983, vol. I, pp. 312, 408, no. 169, fig. 169; B. Haak, The Golden Age. Dutch Painters of the Seventeenth Century, London 1984, p. 365, reproduced fig. 769; M. Van der Meij-Tolsma, ‘Ferdinand Bol’, in The Grove Dictionary of Art, London 1996, vol. IV, p. 251, fig. 2. Archival Documents [not consulted] Inventory of Grosvenor Place, the London residence of the 5th Earl of Carlisle, Ms. C. 1812, no. 26; Grosvenor Place Inventory, Ms. C. 1820, p. 5; 5th Earl of Carlisle, Probate Inventory, Ms. 1825, p. 11, Billiard Room, Castle Howard, ‘F. Boll, A Dutch Boy’; Georgiana, Countess of Carlisle, Descriptive Catalogue of Pictures, Ms. 1837, p. 20, no. 114, Music Room; 6th Earl of Carlisle, Probate Inventory, Ms. 1849, p. 127, no. 90, Music Room; 7th Earl of Carlisle, Probate inventory, Ms. 1865, p. 172, no. 90, Music Room; J. Duthie, Manuscript Catalogue of the pictures at Castle Howard, vol. I, 1878, inv. no. 127; J. Duthie, Manuscript Catalogue of the pictures at Castle Howard, vol. II, 1880, inv. no. 114; Hawkesbury, Catalogue of Portraits and Miniatures at Castle Howard and Naworth Castle, c. 1904, p. 35, no. 514, Long Gallery; Rosalind, 9th Countess of Carlisle, Manuscript catalogue of pictures at Castle Howard, 1918, p. 13, no. 114; L. Jones, Manuscript catalogue of pictures at Castle Howard, Castle Howard Ms., 1926, no. 114. Waverley II: Is the object of outstanding aesthetic importance? This is Ferdinand Bol’s grandest child portrait and perhaps his most remarkable portrait. Exceptionally well preserved, it belongs to a small group of child portraits from the 1650s. Uniquely in his oeuvre, it combines a superb portrait with an eye- catching still life of the highest quality. Little known until it was sold earlier this year – only for the second time in more than 200 years – this picture is undoubtedly one of the greatest portraits of a child from the Dutch Golden Age. There is no comparable painting by Bol in any public or – as far as I am aware – private collection in Britain. Note: The painting has been in Britain since 1801 (or slightly earlier) when it was bought by Frederick Howard, 5th Earl of Carlisle (1748-1825). Displayed at Castle Howard since 1825, it has formed part of one of the most distinguished private collections in Britain for more than 200 years. Although, in my view, this does not fully justify a Waverley I classification, the Committee may wish to consider this aspect. DETAILED CASE Ferdinand Bol (1616-1680) is regarded as one of Rembrandt’s most talented pupils. Born in Dordrecht, he trained locally with Jacob Geritsz Cuyp before joining Rembrandt’s workshop in Amsterdam from about 1636 until 1641, when he sat up his own studio on the city. Bol was a prolific painter and draughtsman of portraits as well as of biblical, mythological and allegorical subjects. He received prestigious commissions from the Dutch Admiralty, for the newly built Amsterdam Town Hall (now Royal Palace), and from other public institutions. Bol was a fashionable and highly successful portrait painter from about 1650, when he abandoned Rembrandt’s style in favour of a more finished and colourful approach. The Portrait of a Boy is the most refined of his six portraits of living children (he painted one child on its deathbed). One is a half-length of a girl (Metropolitan Museum, New York), another is the large group portrait of children in a goat cart (Louvre, Paris), while a third one is a double-portrait of two girls (art market, London, 2010 and before). The remaining three are life-size full-length portraits of single figures; apart from the picture from Castle Howard there is one in the Bass Museum of Art, Miami Beach, and another in the Museum Boijmans Van Beuningen, Rotterdam. This latter one, the Portrait of Otto van Waeyen (fig. 1), is the only work that compares to the Portrait of a Boy in size and quality, although it is less opulent and not as lavishly embellished in the boy’s costume and the still life elements. Different from most child portraits, especially of younger children, the Portrait of a Boy places the boy in an ‘adult’ setting (including a big glass of wine) and emphasises his ‘grown up’ status through costume and pose. These qualities in particular single out Bol’s Portrait of a Boy as perhaps the grandest of all his portraits – he painted only one full-length single-figure portrait of an adult sitter – and as one of the most remarkable child portraits of the Dutch Golden Age. In the past, the sitter of the Portrait of a Boy was identified as Bol’s son. However, Bol married only in 1653, the year after the picture was painted, and the couple’s first child was not born until 1655. Moreover, full-length portraits in general and of children on this scale in particular are rare in the Dutch Golden Age. The sumptuous costume and accessories such as the roemer-glass, the silver plate, and the expensive oriental carpet clearly mark the child of particularly wealthy parents. (It may be worthwhile to check again for members of the Fagel family, who owned the portrait in the 18th century.) Compared to the continent, British collections are not particularly rich in paintings by Bol. Characteristic portraits are at the National Gallery, the Wallace Collection and Kenwood House (all London). A superb pair, the artist’s self-portrait and his wife, is in the Schroeder Collection whilst another pair in the collection of the Duke of Westminster has recently been (re-)attributed to Rembrandt and his studio. There are, as far as I am aware, no full-length or child portraits by him in any British collections. The rarity of the subject and opulence of the full length Portrait of a Boy combined with its size, superb quality and condition make it a unique picture in Bol’s oeuvre and a hugely important portrait from the Dutch Golden Age that justifies a Waverley II classification. APPENDIX Fig. 1 Ferdinand Bol, Portrait of Otto van Waeyen, 1656, oil on canvas, 158 x 120.5 cm, Museum Boijmans Van Beuningen, Rotterdam (inv. no. 1071). .
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