Marten Pepyn Antwerp 1575 - 1642/3

Overall condition very good and fresh. Remains of old mounting hinges along top and left edges, verso. Very small thin spot, lower left corner. Light wrinkles towards lower right corner. Some slight staining towards left edge, particularly towards top. One or two light brown spots, top centre and top right. Some very light surface dirt and foxing. Sold unframed.
"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."

This drawing has previously gone under a wide range of names, ranging from Simon Vouet to Hendrick de Clerck, but has recently been recognised as the study, with certain differences in details, for a painting (fig. 1) in the Maagdenhuismuseum, Antwerp, executed by the rare Antwerp painter, Marten Pepyn.¹  The son of a relatively humble merchant, Pepyn rose to be a figure of some significance in the Antwerp art establishment: in 1632, van Dyck painted his portrait, and Rubens' wife, Isabella Brant, was godmother to one of his children.  Despite this, his works are relatively rare, and his drawing style has never been defined.  This securely connected drawing is therefore rather important, as the first documentary drawing on which further attributions to the artist can, in time, be based.  Stylistically, Pepyn's paintings have regularly been associated with Mannerist influences from artists such as his compatriot Maerten de Vos, and the Dutchmen Hendrick Goltzius and Cornelis van Haarlem.  In this drawing, it is the influence of de Vos that is most obvious, but the style is nonetheless a very personal one, and it is therefore possible, after some centuries, to see exactly how Marten Pepyn approached the creation of his paintings.

1. See J. de Maere and M. Wabbes, Illustrated Dictionary of 17^th Century Flemish Painters, 3 vols., Brussels 1994, plate 963