Studio of Gerard David Oudewater near Gouda circa 1460 - 1523 Bruges

Prince Sebastien de Bourbon;
E. Pacully, Nice;
His sale, 1903 (possibly unsold);
E. Pacully sale, Paris, Hotel Drouot,  5 July 1938, lot 17, reproduced no. V;
Pierre Bautier, Brussels;
Private collection, Brussels,
Thence by descent.

Bruges, L'Exposition de Primitifs Flamands, 1902, no. 218 (as by David).

Elseviers Maandschrift, Amsterdam 1903;
E. von Bodenhausen, Gerard David und seine schule, Munich 1905, p. 191, no. 41c, reproduced;
S. Reinach, Répertoire des peintres du moyen âge et de la Renaissaince (1280-1580), vol. IV, Brussels/Paris 1918, p. 256;
M.J. Friedländer. Die Alt-Niederländische Malerei, vol. VI, Berlin 1934, p. 152, no. 203a;
M. J. Friedländer, Early Netherlandish Painting, vol. VIb, Leiden/Brussels 1971, p. 106, no. 203a, reproduced plate 206, (as a replica).
H.J. van Miegroet, Gerard David, Antwerp 1989, p. 300, no. 32a.

The actual painting is a bit warmer in tone than the catalogue illustration suggests. The single panel is cradled. A restored surface crack is visible along the upper edge. A discoloured retouching is visible in the centre of the virgin's face as well as a few scattered pinpoint paint losses. The paint surface is under a dirty and discoloured varnish layer. The varnish layer fluoresces under UV-light and seems to be unevenly cleaned.Offered in a later, plain gilt wood frame. (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."

Although there are many versions known of this composition, the one formerly in the Wetzlar collection in Amsterdam, is generally accepted as the prime version. The present version however, differs in some aspects from all known copies or studio versions, particularly in the hands of the Virgin. Here, her left hand is supporting Christ's head, whereas in the Wetzlar picture she uses her right hand. The presence of the underdrawing, beautifully preserved and most clearly visible in the Virgin's face, also reveals the painter of this version chose not to paint all her tears.
Miegroet dates the Wetzlar picture around 1510; the soft contours, small measurements and the delicate character of the dramatic pose are typical characteristiscs of David's later style.¹


1. See Miegroet, under Literature.