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Shown from about the hips up, a man with peachy skin, wearing an ink-black hat and coat with a bright white collar, looks out at us against a dark background in this vertical portrait painting. He stands with his body angled to our right and his face turned to look at us with dark gray eyes. His slim face is framed in long, brown curls under his tall, brimmed hat, which is cocked a little to our right, away from us. He has a straight, prominent nose, lightly flushed cheeks, and a wispy, light brown mustache above a small, pointed goatee under his lower lip. His neck is encased in a broad, starched, white linen collar, its wings lying along his collarbones. His velvety black coat has a row of tightly spaced buttons down the front. A cummerbund or sash wraps around his waist and hips. He rests his right hand, on our left, against his hip near his lower back, palm facing out. He wears a light, dove-gray glove on his opposite hand, and holds a second glove in that hand. The background is earth brown. The portrait is painted loosely, with broader brushstrokes in some areas, such as the hand at his hip and in the folds of the black garments.
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Shown from about the hips up, a man with peachy skin, wearing an ink-black hat and coat with a bright white collar, looks out at us against a dark background in this vertical portrait painting. He stands with his body angled to our right and his face turned to look at us with dark gray eyes. His slim face is framed in long, brown curls under his tall, brimmed hat, which is cocked a little to our right, away from us. He has a straight, prominent nose, lightly flushed cheeks, and a wispy, light brown mustache above a small, pointed goatee under his lower lip. His neck is encased in a broad, starched, white linen collar, its wings lying along his collarbones. His velvety black coat has a row of tightly spaced buttons down the front. A cummerbund or sash wraps around his waist and hips. He rests his right hand, on our left, against his hip near his lower back, palm facing out. He wears a light, dove-gray glove on his opposite hand, and holds a second glove in that hand. The background is earth brown. The portrait is painted loosely, with broader brushstrokes in some areas, such as the hand at his hip and in the folds of the black garments.

National Gallery of Art · Painting

Adriaen van Ostade

Frans Hals

Date
1646/1648
Medium
oil on canvas
Dimensions
overall: 94 × 75 cm (37 × 29 1/2 in.) framed: 119.06 × 99.22 × 9.53 cm (46 7/8 × 39 1/16 × 3 3/4 in.)
Classification
Painting
Accession number
1937.1.70
Credit line
Andrew W. Mellon Collection
Time span
1601 to 1650
Department
CNE-B
Original NGA record Wikidata

Subjects and terms

  • painted surface
  • Baroque
  • Dutch
  • male
  • portrait
  • Dutch Paintings of the Seventeenth Century (NGA Online Editions)
Provenance

Buckston family, Sutton on the Hill, Derbyshire; (sale, Sotheby & Co., London, 5-6 May 1919, 2nd day, no. 285);[1] Brown, acting for (Thos. Agnew & Sons, Ltd., Arthur J. Sulley & Co., and Colnaghi & Co., London);[2] purchased 9 May 1919 by (M. Knoedler & Co., London and New York); sold 1 November 1919 to Andrew W. Mellon, Pittsburgh and Washington, D.C.;[3] deeded 28 December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA. [1] In this auction the picture was listed as _Portrait of the Artist_ by Nicholas Berghem [Berchem]. The auction catalogue states that the painting was "The Property of a Gentleman". Francis Russell of Christie's kindly provided the name of the family that consigned the painting (letter of 10 March 2003 to Arthur Wheelock, in NGA curatorial files). [2] The fact that the purchase was by joint account of the three dealers is given in the Public Collections section of The Getty Provenance Index Databases. The painting was Agnew’s joint account number J-1817 and Colnaghi’s number A-720. Colnaghi also sold one third of their share to H.M. Clark. Christopher Kingzett of Agnew’s confirmed Agnew’s purchase of the painting at the 1919 sale, but does not mention the joint account with Sulley and Colnaghi (letter, 7 March 1984, to Arthur Wheelock, in NGA curatorial files). [3] Letter, 14 February 1984, Nancy Little, Librarian at M. Knoedler & Co., to Arthur Wheelock, in NGA curatorial files. Knoedler’s recorded their purchase as from Agnew’s; the painting was Knoedler stock number 14774.

NGA object ID 77. Collection metadata is reproduced under CC0. This work is included because its NGA published-image record is marked open access; visitors should recheck the source record before substantial reuse.