Circle of Jan Cossiers

The actual painting is slightly warmer in tone than the catalogue illustration suggests. The canvas has a stable relining. The paint surface has grown slightly thin in the background, but otherwise, seems to be in very good condition. Particularly the impasto brushwork in the highlights, for example, in the necklace, has been beautifully preserved. Some strengthening and small retouchings can be observed in the cloak of the saint, in the angel's draperies and in the background centre right. The paint surface is covered with a clear and glossy layer of varnish. Inspection under ultra violet light confirms the aforementioned retouchings, and reveals four small repaired and retouched damages in the centre, centre left, and upper centre right. Furthermore, inspection under ultra violet light reveals additional tiny scattered retouchings in the figures' faces, and spots of retouching along the outer edges. Offered unframed. (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."

This painting shows clear stylistic similarities with a painting representing Salome with the head of Saint John the Baptist¹ that belonged to a group of works that was formerly attributed to Joachim von Sandrart, but which was correctly rejected by Christian Klemm in his monograph on the artist.² The figures in the Salome and the present work share the same highly mannered folds in the drapery, a dramatic light effect in the faces and a comparable representation of the hands. Since Jan Cossiers has been suggested as the author of the Salome painting, an attribution to an artist from the artistic circle of Jan Cossiers for the present work is therefore adequate.³ Saint Francis of Paola also demonstrates the influence of Jacques de l'Ange (active in Flanders around 1640) but he cannot be considered as the author, since his design and modelling differentiate too much.³

We are grateful to Dr. Bernhard Schnackenburg for his help in cataloguing this lot.

1. The painting was sold Cologne, Lempertz, 16 May 1998, lot 1127, reproduced plate XXXI. 
2.See for this rejected group in Sandrart's oeuvre, Christian Klemm, Joachim von Sandrart: Kunstwerke und Lebenslauf, Berlin 1986, p. 323.
3. See for the work of Jacques de l'Ange, B. Schnackenburg, 'Jacques de l'Ange. Ein flämischer Maler zwischen Jan Cossiers und Matthias Stom...', Wallraf-Richartz-Jahrbuch, vol. 66, 2005, pp. 109-138.