Attributed to Artus Wolfordt Antwerp 1581 - 1641

The actual painting is a bit warmer in tone than the catalogue illustration suggests. The canvas has a rather stiff relining, which has flattened the paint surface somewhat. It has grown thin in places, e.g. in the background, in the boy's hair and the Saint's draperies to the lower half, but otherwise seems to be in good condition. There are some small spots of paint loss along the edges. Some older paint losses have been crudely over painted, e.g. to the lower left, along the right edge, in the Saint's hair, and in the boy's neck. More tiny discoloured retouchings can be observed in the boy's face, in the Saint's ear, and to the background. The paint surface is under a thick and glossy layer of varnish. Inspection under ultra violet light confirms the retouchings as mentioned above, and reveals additional small scattered retouchings throughout. Offered in a later, plain black wooden frame with a gilt fillet, a few loses. (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."

Amongst Wolfordt's most characteristic works are serial representations of the Twelve Apostles, the Four Evangelists and Four Fathers of the Church, shown half-length. The large output of various versions that have come down to us, often differing in quality, suggests that he must have had a workshop. The positioning of the figures in the picture plane, combined with their bulky appearance is characteristic for the artist's treatment of the subject.  Wolfordt's work is discussed at length by Hans Vlieghe, `Zwischen Van Veen und Rubens: Artus Wolffort (1581-1641) ein vergessener Antwerpener Maler', in Wallfraf-Richartz-Jahrbuch, vol. XXXIX, 1977, pp. 93-196.