Isaac Claesz. van Swanenburg

Bought by the grandfather of the present owner.

The actual painting is less red and softer in tone than the catalogue illustration suggests. The panel consists of three planks, joined horizontally, and is lightly bevelled on all but the upper sides. The panel has been partially cradled with two vertical strips of wood, and the joins have been reinforced with extra battons. Small paint losses are visible along the upper edge and along the joins, in particular to the centre right, as can be seen on the catalogue illustration. There are two small damages of the panel in the centre along the left and right edges. The paint layer has grown slightly thin in the sky, but otherwise, seems to be in good condition. Particularly, the brushwork in the highlights has been wonderfully preserved. Tiny discoloured retouched paint losses can be observed along the joins, in the area centre right, in the horses on the left, in the green drapery of the woman seated on the right, and in the skirts of the women in the centre. Inspection under Ultra-Violet light confirms the aforesaid, but reveals no further retouching. The paint surface is covered with a shiny and yellowed layer of varnish. Offered in a later plain 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."

In 1600 the Dutch playwright Jacob Duym published a play named Spiegel der Getrouwigheyt (Mirror of Fidelity). Part of the stage directions are very similar to the present painting;

'Conrad the emperor must be clothed well, wearing a tunic painted as gold, with a black eagle on it, having a emperor's crown on his head, and a sceptre in his hand.. The mayor of Wijnsberch must be dressed correctly in the fashion of old and distinguished citizens, with tabards on: the soldiers and the Farmer after the old habit, but after the German manner.'¹

The story of the faithful wives of Weinsberg relates to the siege on 21 December 1140 of the village and castle of Weinsberg by the Emperor Conrad III. During the long siege, Conrad declared that all men would be put to the sword but that the lives of all women and infants would be spared if the city surrendered. The women of Weinsberg sent a message to the King, pleading for their lives and asking to be allowed to carry their most beloved possessions on their backs with them. The Emperor agreed to this. The next morning, when the gate of the castle opened, all the women walked out, with their husbands, brothers and fathers on their backs. Unable to go back on his word, the Emperor let them all go. These wives became known as the Treue Weiber von Weinsberg, the faithful wives of Weinsberg. The castle, still known today near Munich, is known as Weibertreu (Women's Fidelity).

Although there is no proof that the painting followed Duym's play or vice versa, both painter and playwright followed similar formal conventions. In this case we can clearly see how one thought this particular scene should be set out, so it appeared correct and accurate. The purpose or meaning of both works, however, would have been clearly understood by their audiences. A similar theme had already been treated by Swanenburg in an earlier painting, depicting The triumph of David, which is recorded in a contemporary source dated 23 November 1600 and is now in the Stedelijk Museum de Lakenhal, Leiden (inv. no. 442, see fig. 1).² This was commissioned by the Leiden archers Guild, to reflect  the contemporary struggles of the Dutch provinces. In 1572, the city had sided with the Dutch revolt against Spanish rule and played an important role in the Eighty Years' War. Besieged by the Spanish from May until October 1574, Leiden was relieved by the cutting of the dikes, thus enabling ships to carry provisions to the inhabitants of the flooded town. The present work no doubt shared the same purpose as the David and Duym's play, namely the triumph of the underdog Holland over the great tyrant Spain.

Isaac Claesz. van Swanenburg was born on 19 August 1537 in Leiden. Possibly studying under Aertgen van Leyden (1498-1564) or Pieter Cornelisz. Kunst (c. 1490-1560/1), he received his final training from Frans Floris (c. 1520-1570) in Antwerp. After the Spanish siege of Leiden, Van Swanenburg became a Calvinist after staying in Hamburg during the time of the siege. He became Mayor of Leiden in 1596. A true Renaissance man, he not only painted an important cycle of large paintings commemorating the Leiden wool industry but also designed several stained glass windows at the Sint Janskerk at Gouda. He mentored many artists of whom Otto van Veen (1556-1629) and his eldest son Jacob (1571-1638) were the most important. The former was mentor of Sir Peter Paul Rubens (1577-1640) and the latter of Rembrandt Harmensz. Van Rijn (1606-1669).  

We are grateful to Prof. Dr. R.E.O. Ekkart for confirming the attribution on the basis of first hand inspection of the painting, and to Dr. Marieke de Winkel for her help in cataloguing this lot.

1. See J. Duym, Spieghel der Getrouwigheyt, Leiden 1600. 'Conradus de Keyser moet heerlijck gecleet zijn, hebbende eenen wapenrock gheschildert als gout, ende eenen swarten Arent daer op, hebbende een Keysers croon op zijn hooft, ende eenen cepter in zijn hant (....) de Borgemeester van Wijnsberch moeten degelijck gecleet zijn na de wijse van oude degelijcke borgers, met tabbaerden aen: de soldaten ende den Boer na de oude gewoonte, maer al na de Duytsche maniere.' 
2. See R.E.O. Ekkart, Isaac Claesz. Van Swanenburg, 1537-1614, Leids schilder en Burgermeester, Zwolle 1998, p. 53, reproduced no. 33.