Studio of Adriaen van der Werff

The actual painting is softer in tone than the catalogue illustration suggests. The single panel is flat and stable and lightly bevelled on all sides. No damages are apparent. Retouching can be observed in the sky, in the skull centre right, and smaller ones are visible in the red drapery and in the rocks lower and upper right. Otherwise, the paint layer is in excellent condition. The paint surface is covered with a lucid, slightly uneven layer of varnish. Inspection under Ultra-Violet light confirms the abovementioned retouchings, and reveals more recent ones along the left and upper edges. Offered in a plain polished wood frame, in good condition. (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."

A near identical composition is in the Hermitage, Saint Petersburg, which Barbara Gaehtgens considers to be either by Pieter van der Werff himself, or as a collaboration piece between the two brothers in which Pieter copied a motif from Adriaen, who in his turn, finished the painting and signed the work.¹ Both in the former and in the present work, the figure of the penitent Magdalene is a blow-up of a Mary Magdalene featuring in a painting by Adriaen which stayed for two weeks with Pieter in 1719, as we know from documents.²
 
The signature of Adriaen along with the other existing versions suggest that Adriaen must be seen as the inventor of this composition, but considering the lack of brilliancy and sculptural force in the figure of Mary Magdalene, an attribution to the workshop of Adriaen, possibly Pieter, is therefore more apt.

We are grateful to Dr. Barbara Gaehtgens for her help in cataloguing this lot. She suggests an attribution to Pieter van der Werff and workshop on the basis of a photograph.  

1. See B. Gaehtgens, Adriaen van der Werff, Munich 1987, p. 357, cat. no. 101, reproduced.
2. op. cit., p. 355, cat. no. 100, reproduced p. 356.