Studio of Peter van Lint

Anonymous sale, Paris, Drouot Richelieu, 13 October 1993, lot 9. 

The actual painting is a lot softer in tone than the catalogue illustration suggests. The canvas has a rather firm relining, which has somewhat flattened the paint surface. A small repaired tear can be observed in the figure centre left, and a thin vertical split of approx. 15 cm. is visible in the figure lower centre left. Otherwise, no major damages seem to be apparent. Small discoloured retouchings, relating to older paint losses, can be seen throughout, e.g. in the figure and draperies centre left, in the figures most left, in Jesus' cloak, in the background upper centre, along the right edge and in the floor in the foreground to the right. The paint surface is covered with a dirty layer of varnish and with a fine layer of dirt. Inspection under ultra violet light confirms the retouchings as mentioned above and reveals an additional repaired and retouched horizontal tear of approx. 20 cm. lower centre left, and a few additional retouchings throughout. Inspection under UV-light, furthermore, reveals that the varnish layer has been unevenly cleaned. Offered in a decorative carved black wood frame with a gilt parcel, in good condition. (MW)
"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."

In 1632, portraitist and painter of religious and allegorical subjects, Peter van Lint became a master in the Antwerp guild of St. Luke. He went to Italy shortly afterwards, where he was commissioned to paint portraits, religious paintings and murals for numerous churches in Rome. Upon his return in 1640, he opened an important studio in Antwerp, which attracted at least seventeen recorded pupils, including Godfried Maes (1649 - 1700).

At least three other slightly different versions of this composition are known. A smaller, signed version on panel is in the Kunsthistorisches Museum, Vienna (inv. no. GG 1691). Another version, signed and dated 1642, is in the Koninklijk Museum voor Schone Kunsten, Brussels (inv. no. 3691), while another unsigned version is in a private collection in Milwaukee, Wisconsin. Although the authentic execution by Van Lint is not certain, some aspects of the present work, such as the well executed face of Christ, suggest that this is a studio variant of high quality.