Barent Fabritius

Dr. Hans A. Wetzlar, Amsterdam, by 1952;
Captain Eric C. Palmer, M.C., Wooburn Green, by 1953 and 1956;
Anonymous sale, London, Sotheby's, 16 December 1999, lot 159, where bought on behalf of the present owner.

Delft, Het Prinsenhof, Prisma der bijbelse kunst, 1952, no. 37;
London, The Matthiesen Gallery, Rembrandt's Influence in the 17th Century, 1953, no. 28, reproduced in colour in the catalogue;
Leiden, Stedelijk Museum De Lakenhal, Rembrandt als Leermeester, 1956, no. 42.

M.J. Friedländer, Collection Dr. H. Wetzlar, Amsterdam, Amsterdam 1952, p. 12, cat. no. 30, reproduced fig. 9 (as with possible signature centre right);
D. Pont, Barent Fabritius 1624-1673, The Hague 1958, pp. 17ff., 107-8, cat. no. 14, reproduced fig. 9 (dated to circa 1645-50);
W. Sumowski, "Rezension von: D. Pont, Barent Fabritius", in Kunstchronik, vol. XII, 1959, p. 288;
W. Sumowski, Drawings of the Rembrandt School, New York 1979, vol. IV, p. 1810 (dated to the early 1650s);
W. Sumowski, Gemälde der Rembrandt-Schüler, Landau/Pfalz, 1983, vol. II, p. 934 (with false monogram centre right).

The painting is slightly less red in tone than the catalogue illustration would suggest. The unbevelled oak panel consists of two planks, joined horizontally halfway down the composition. The painting appears relatively recently cleaned and restored, and the varnish is shiny. The paint surface has worn a little throughout and to the naked eye there appear to be numerous scattered retouchings in the background and in the floor area. Other discoloured retouchings can be observed in the leg of the figure to the left, and a few in the background figures. Inspection under ultra-violet light reveals retouching along the panel join as well as strengthening to all the dark areas of the picture, particularly in the background, lower left, and on the step lower right. All the shadows of the figures have also been strengthened and though the figures are on the whole better preserved than other parts of the picture, they have all been outlined and strengthened (e.g. in their beards and shadows of their clothes). The two figures behind the priest are rather worn and have been strengthened and the priest himself has retouchings on his mitre, on his face, and on his red sleeve. The restoration is not immediately obvious to the naked eye, though the painting does appear to have been restored quite extensively on closer inspection. Small strips of wood have been attached to the edges of the painting to fit it into its gilt plaster frame (in good condition). *JN
"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."