Lot 142
  • 142

Samuel van Hoogstraten

Estimate
12,000 - 18,000 USD
Log in to view results
bidding is closed

Description

  • Samuel van Hoogstraten
  • The Annunciation
  • Pen and brown ink and wash heightened with white, over black chalk

Provenance

Possibly Hendrick van Limborch,
his sale, The Hague, Hijmbach, 17 September 1759, part of lot 230;
with P. & D. Colnaghi & Co., London, according to an inscription on the old mount;
M.J. Perry;
with Duveen, London (according to Sumowski), c. 1919;
W.R. Valentiner, by whom loaned to the North Carolina Museum of Art, Raleigh,
his sale, Amsterdam, Frederick Muller, 25 October 1932, lot 21;
Guy C. Tomme, Barto, Pennsylvania, by 1981;
sale, Amsterdam, Christie’s, 21 November 1989, lot 38;
with Richard Day, Ltd., London, 1990

Literature

C. Hofstede de Groot, Die Urkunden über Rembrandt, The Hague 1906, no. 1079;
W. Sumowski, Drawings of the Rembrandt School, vol. 5, New York 1981, p. 2630, no. 1186x;
J.S. Turner, Dutch Drawings in the Pierpont Morgan Library, Seventeenth to Nineteenth Centuries, 2 vols., New York 2006, pp. 83-84, under cat. 106, reproduced fig. 38

Condition

Window mounted. There are areas of surface dirt throughout the sheet and some small stains in places. The white heightening is showing some signs of oxidation in places but generally the medium is strong.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

Hoogstraten worked in Rembrandt's studio between October 1641 and January 1648, alongside Abraham Furnerius and Carel Fabritius.  By 1651 he was in Vienna, working at the court of the Emperor Ferdinand III, and after that he travelled to Italy and London, before spending the last dozen years of his life in The Hague and Dordrecht.  Prior to his departure for Vienna, Hoogstraten's drawings were strongly influenced by those of Rembrandt, but his style soon diverged from that of his master.  Sumowski dates this very accomplished and Rembrandtesque work to circa1649.  

A later copy after the present sheet is in the Morgan Library; some of the provenance of the two drawings has previously been confused, but Jane Turner (loc. cit.) clarified the situation.