Joachim Anthonisz. Wtewael

Anonymous sale, London, Sotheby's, July 8, 1992, lot 260, for $14,836 (as by Pieter Wtewael).

Circular panel with join reinforced with wooden pieces. Aforementioned panel join is slightly noticeable on recto. In overall good and recommendable condition. Shading and coloration seem to have remained fresh and in good state, especially in the face and cheeks of the sitter. Wood grains of panel are slightly detectable by naked eye, visible more so in the flesh tones of the left side of neck but not distracting from overall quality. Grains run diagonally across panel. U.V. light reveals small retouches along grains of panel, predominantly away from figure, in the darks of the right background. Only a few small retouches along the grain within the flesh but as stated, these are not disturbing. Minor abrasions to the outer edge of panel. In a carved black painted wood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present composition may be compared to another by Joachim, a Bacchus (see A.Lowenthal monograph on the artist, p. 142, cat. no. A-77), now in the Muzeul Brukenthal. Additionally, this work, along with the Bacchus, might have been intended for an architectural setting, most likely as a series of works designed to be seen from a distance and at a low vantage point. The reasoning for this suggestion is based on the fact that Diana's head is tipped backward, and she is painted from a lowered perspective, thus making the pose seem more natural when seen from below. Additionally, the relatively loose and painterly qualities of this composition lend to the suggestion that it was meant to be seen from a distance.

Wtewael was one of  the most important painters of the generation before Rembrandt. He had in fact probably stopped painting by the time Rembrandt had begun his own career. Wtewael helped introduce the Italian Mannerist style into the Netherlands, a highly eroticized and sophisticated courtly style of painting. After several years spent in France and Italy studying under the Bishop of St.Malo, Wtewael returned to his native Utrecht in 1592 and remained there for the rest of his life. Aside from the fluctuations in taste which at one point found all mannerist art to be too decadent, Wtewael has rightly regained his place among the finest of all Dutch painters.