This dashing portrait of a young nobleman, which remained within his family until the early 1990s, displays such a luminous quality and sensitivity that it is no surprise that Jakob Ferdinand Voet became one of the most prominent and fashionable portrait painters in Europe. It was painted circa 1670 – 1675, in the Roman period of the artist’s career, when Voet was at the height of his powers, much in demand as the most fashionable painter for the Italian nobility and English Grand Tourists, such as the present sitter.
Likely commissioned from the artist by the sitter; by descent to Colin Crewe, Nether Hall, Old Newton, Stowmarket; his sale
Christie's, London, 20 November 1992, lot 3; where acquired by
George Pinto (1929 - 2018).
F. Petrucci, Ferdinand Voet (1639-1689), detto Ferdinando de 'Ritratti', Rome, 2003, pp. 14, 69 and 264, no. 259, illustrated.
Flemish by birth, Voet’s artistic ambition led him to Rome and latterly Paris, where his stylish technique and attention to detail in costume was eagerly endorsed by the most fashionable and eminent sitters. The artist’s phenomenal success was in part also due to his renowned affability, enabling him to obtain the favour of new patrons and to maintain his professional relations with all the major families of the Roman nobility. He travelled extensively in Italy, executing numerous commissions in Como and Milan and it is probable that he also travelled to Genoa, and certainly to Florence, Modena and Parma. His tenure in Rome, from 1663 to 1679, was consistently marked by great patronization from the Papal court and the local aristocracy, such as the Mancini and Colonna families. 
Voet had a highly successful international career, mainly working in Italy but spending the last years of his life as pittore del Re - official portraitist to the Sun King Louis XIV in Paris. With such international production, his reputation even surpassed that of Pierre Mignard, Carlo Maratta, Giovanni Maria Morandi and Baciccio, his main rivals in the genre. Voet is perhaps best remembered for his series of Les Belle Romane – that is, entire galleries of portraits of the most enchanting women of Rome. Inspired by the Mancini sisters, these portraits from 1672 onwards included sitters from the Chigi, Savoia and Massimo families, as well as other celebrated Italian dynasties. The paintings were so popular that Voet was repeatedly asked to reproduce replicas and versions.
Voet spent the final years of his life in France where he executed numerous portraits of the court nobility. In Paris, he obtained the title of ‘painter to his most Christian Majesty’ and his career appeared to be further on the ascent when he died suddenly at his home on the Quai de Guer, near Pont Neuf on 26 September 1689.
 A series of letters from the Odescalchi archive, published by Marco Pizzo, show that Voet’s sojourn to Lombard lasted about a year in 1680. Furthermore, from the correspondence of Francesco Maria della Porta with Livio Odescalchi, it becomes clear that Voet was even summoned by Charles II of Spain to execute court portraits some time between February and early May 1680. See: Marco Pizzo, ‘Livio Odescalchi e i Rezzonico. Documenti su arte e collezionismo alla fine del XVH secolo’in Fondazione Giorgio Cini - Saggi e memorie di storia dell'arte, 1732.
 His production of ecclesiastical portraiture was prodigious, including ‘rows’ of fourteen cardinals and the official image of the Odescalchi Pope, Innocent XI.
 Cristina Geddo, ‘New Light on the Career of Jacob-Ferdinand Voet’, from The Burlington Magazine, vol. 143, no. 1176 (March 2001), p. 138.