both three-quarter length, she seated, wearing a red silk dress and fur stole, he standing, in military dress with a breastplate and blue sash, a staff in his left hand, in a wooded landscape

Anonymous sale, Christie's London, 12th June 2002, lot 28 where bought by the late owner

Oliver Millar, 'Weesop: flesh on a skeleton', Burlington Magazine, October 2001, pp. 627-628, fig. 43

STRUCTURE The canvas has been lined. PAINT SURFACE The paint surface appears to be in good condition. There are a few very minor surface marks which should clean off easily, and a small abrasion to the upper left of the canvas. ULTRAVIOLET Ultraviolet light reveals that re-touching has been carried out to the faces and hands of both sitters, as well as parts of the background, though mostly in the upper right, lower right and lower left of the canvas. FRAME Held in an auricular carved wood frame
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The late Sir Oliver Millar wrote extensively in the above article about the paintings which might be attributed to a Jan or John Weesop. First mention of this artist was made to George Vertue by 'Sykes' (presumably William Sykes the painter), who subsequently noted the details available (see Vertue, Notebooks, I, in the Walpole Society, XVIII, 1930, p. 49.)

Sir Oliver compares his style 'with the qualities [he took] from Van Dyck and his evocation of a slightly Dobson-like mood.' Furthermore, Weesop 'could for a brief🍬 period have presented something of a challenge to Lely, Hayls or Soest.' The flamboyance and confidenc❀e with which this portrait is painted owes a clear debt to van Dyck.

Sir Oliver Millar points out that this portrait is particularly close in style to the portrait of  Lord Grandison & Mr Villiers, by Weesop (The Duke of Buccleuch, on loan to the Government Art Collection). Furthermore, the Grandison portrait is very closely based on Van Dyck's double portrait of the Earl of Newport and George Goring (The Newport Restorat�🧜�ion Foundation, Rhode Island) (Fig.1.)

While the identity of the sitters in this pꦡortrait are unknown, we can presume that they come from the inner circles of the aristocracy and most probably with Royalist sympathies, as Sir Oliver Millar clarifies, Weesop 'clearly enjoyed the patronaꦍge of a number of influential patrons.'