three-quarter length, standing, wearing a grey coat with gold buttons and a lace shirt, and holding a portrait madallion, a small copy of the Venus de Medici to the right

STRUCTURE The canvas has been lined PAINT SURFACE The condition appears to be very good. There are some very minor scattered surface marks and a small amount of surface dirt. There appears to be a small area of repair to the upper left of the canvas, in the background, visible on close inspection. ULTRAVIOLET Ultraviolet light reveals some minor re-touching scattered in the background of the painting and some strengthening to the face which can be seen underneath the varnish. FRAME Held in an ornate gilt plaster 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 madallion and ivory artist Jasper van der Hagen is portrayed here holding a portrait madallion, probably in ivory, with the tools of his trade to the right. The statuette in the glass dome is a copy of the celebrated Venus de Medici, one of the most widely copied statues. Copies are recorded in the eighteenth century in marble, in bronze and in alabaster. The most celebrated ivory carver of the period, David Le Marchand, was painted by Highmore in c. 1723 (National Portrait Gallery, London).