Anonymous sale, New York, Sotheby's, 3 December 1974, lot 156 (as After Bartholomeus van der Helst);
Anonymous sale, New Orleans, New Orleans Auction Galleries, 27 January 2007, lot 324.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This work has not been restored for many years. There are broad and rather aimless restorations faintly visible under ultraviolet light in the dark colors of the father's robes. There are similarly very broad swatches of dark glaze in the hair of the child and in the background above the figures. There are other small damages and broad restorations in the upper right. The dark clothes of the son are almost completely re-glazed. If one cleans the picture, the original paint layer will be revealed quite quickly. The paint layer is abraded overall. This abrasion has weakened some of the more subtle colors; this can be seen particularly in the lace collar of the mother. However, most of the thinness will be in the darker colors, as is very often the case with work from this period. The lining is reasonably competent, although it could be adjusted or replaced. There may be a fairly large loss and repair beneath the collar of the son. The stretcher marks are quite visible. There seems to be an original canvas join, running vertically to the right of the father. The picture and frame need restoration, but the result will be fruitful and satisfying with the right attention.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Once attributed to Bartholomeus van der Helst, this handsome group portrait was likely painted by an anonymous hand in the circle of Jordaens, possibly dating to the 1670s.  Clearly influenced by the Dutch style, the artist was an accomplished portraitist, painting the lace of the lady’s collar in careful, delicate and beautifully portraying the sleeve of the boy in convincing folds.