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The temporary restriction prevents the large-scale portrait from leaving the country permanently while a UK museum or institution seeks to match the recommended price. Painted late in Rembrandt van Rijn’s career, the work shows a wealthy member of Amsterdam’s 17th-century Mennonite community who lived apart from her husband. Arts minister Ruth Mackenzie said its scale, beauty and centuries-long place in British cultural life made retaining it a priority for cultural partners, funders, philanthropists and Rembrandt admirers.

Details

• Portrait composition: Measuring about 49 inches by 37 inches, the dramatically lit painting presents Hooghsaet in traditional clothing, seated and looking into the distance. She holds white lace in one hand; behind her, an intricate oriental rug serves as a tablecloth, reflecting period fashion.
• Critical assessment: Andrew Hochhauser, chair of the reviewing committee, described it as one of Rembrandt’s finest achievements and part of a rare group of large-scale, three-quarter-length portraits. He highlighted its delicacy, refinement and finish, saying Rembrandt turned relatively ordinary features into a striking image through sensitivity, honesty and psychological insight.
• Export criteria: The Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest found the portrait met all three required tests: a strong connection to British history and national life, exceptional aesthetic quality, and importance to the study of Rembrandt and his work. The committee advises the culture secretary on export cases.
• Ownership history: Hooghsaet owned the portrait until her death in 1685; it then passed to her third husband, Jan Schildt, who died in 1686. It was in Britain by 1752, probably acquired by John Fane, Lord Le Despencer and seventh Earl of Westmorland, for Mereworth House in Kent. It later sold in 1831, 1846 and 1860.
• Recent transactions: The portrait later entered the collection of Colonel Edward Douglas-Pennant, first Baron Penrhyn of Llandegai, and appears to have remained with his family until a 2015 private sale arranged by Sotheby’s. Christie’s brokered the 2025 sale that prompted the export process. Artnet News reported speculation linking seller Rosaline Wong; Christie’s declined to identify either party. Dealer Otto Naumann estimated its value at about $150 million.

Background

Temporary export restrictions are regularly used to give domestic buyers time to retain major works. Joshua Reynolds’s Portrait of Omai received one in 2022; the National Gallery and Getty Museum jointly acquired it the following year for £50 million, and it is due to go on view at the Getty next month.

What’s next

The ban runs through December 26. After that, the owners will have 15 business days to accept offers at £71,696,324.90, plus £754,698.15 in VAT. A signed option agreement could trigger a second deferral lasting nine months.