Another Annunciation to the Shepherds, now in the Fine Arts Museums of San Francisco (inv. no. 52.14, fig. 1) has also been given to Pynacker though Harwood has questioned the attribution on stylistic grounds.1 While elements of the San Francisco picture such as the long, white-haired goat and coarse fencing, are largely characteristic of the artist’s works from the mid-1660s, the loose application of paint is not consistent with his paintings of that date.2 This broader manner of painting is notable in the artist’s work from around the 1670s. The San Francisco panel is larger, measuring 15 1/8 19 in.; 38.5 by 48.2 cm., and includes an angel delivering the news, upper left. It is possible that the present painting may also have at one time included that celestial figure. According to Minty, Arthur Wheelock was the first to observe the absence of beveling on the reverse of the upper and left edges, suggesting that the format of the panel had been modified.3 The alteration must have been made early on in the painting’s history. As early as 1773, when the painting was offered in Johan van der Marck’s sale (see Provenance), the measurements listed are comparable with its dimensions today.4
We are grateful to Laurie Harwood for endorsing the attribution on the basis of photographs.
1. L. Harwood, under Literature, p. 113, cat. no. B6, under “Unresolved Works”, reproduced plate 104.
2. Ibid.; New Orleans 1997 under Literature, p. 107, note 5.
3. New Orleans 1997, op. cit., p. 107, note 7 cites a letter from Arthur Wheelock dated 31 July 1996.
4. Ibid., note 6; The 1773 sale lists the painting as, “Paneel, h. 7 ½ b. 9 duim.”
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