Gerard Seghers

Said to bear unidentified collector's mark, a rat inscribed in a circle, on the verso, but not visible as drawing laid down

Rotterdam, Kunsthal, European Master Drawings Unveiled, 2002, pp. 73-74, cat. no. 28, reproduced

Laid down. Loss at bottom left corner, made up with blue paper. Creases across middle, and tears coming down from that along saint's left thigh. Top right corner made up. Stain top right corner and at top of right arm with small loss. Small loss and crease bottom right corner.
"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."

The attribution of this drawing is based on its similarity to a painting by Seghers of the subject, in the Leconfield Collection, Petworth, Sussex, which is also known through an engraving by Pontius.¹  Seghers left Antwerp for Italy where he stayed for almost a decade, absorbing the influence of Caravaggio and his followers.  After a trip to Spain he returned to Antwerp where he worked with Rubens and became a court painter to the Archduchess Isabella Clara Eugenia.  For an artist of such importance, very little is known of his drawings and it is to be hoped that more will come to light.

1. See Rotterdam, loc. cit.