Lot 3
  • 3

Gottfried Wals Cologne 1590/95 - 1638/1640

bidding is closed

Description

  • Gottfried Wals
  • St John the Baptist in the wilderness
  • oil on silver, oval, in its original boarskin case

Provenance

Anonymous sale, London, Sotheby's, 13 July 1983, lot 67 (as attributed to Jacob Pynas), where bought by Daan Cevat.

Literature

A. Repp, Goffredo Wals.  Zur Landschaftsmalerei zwischen Adam Elsheimer und Claude Lorrain, Cologne 1986, pp. 77-8, no. 15, reproduced fig. 15.

Condition

The catalogue illustration is representative for the actual painting. The single, oval silver plate is flat and stable. Tiny spots of paint loss along the edges. A larger paint loss is visible on the rock to the outer left as well as three minor paint losses in the lower centre. Otherwise the paint surface is in fair condition. The paint surface is under a slightly dirty and yellowed varnish layer. Inspection under UV-light reveals some retouchings in the sky. The varnish layer seems to be unevenly cleaned. Offered in a case, which is good condition. (JD)
"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."

Catalogue Note

When he bought this picture in 1983, Daan Cevat doubted the attribution to Pynas, thinking that Goffredo Wals, of whom he had owned another work (see Repp under Literature, p. 76, no. 14), was more likely to have painted it.  He therefore drew it to the attention of Anke Repp, who subsequently confirmed the attribution and published it.