Workshop of Sir Peter Paul Rubens

The support consists of a single, thin panel with a slight convex bow. There are three old vertical cracks secured to the reverse with vertical batons, one approx 30 cm long upper left running down from the upper edge, a second approx 15 cm long upper centre running down from the upper edge and a third approx 8 cm long lower left running up from the bottom edge. The paint surface is secure under an old yellowed varnish. Whilst the whites have retained much of their original impasto the darker details of the beard have suffered from abrasion. Inspection under UV light is impeded by the varnish although some retouching work in the background and beard can be discerned. Offered unframed.
"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 striking depiction of Christ would have almost certainly been accompanied originally by a pendant of the Virgin facing left. Dr. Hans Vlieghe, in his Rubenianum tome on Rubens' Saints, notes the existence of several copies, executed by the workshop and otherwise, of the presumed lost original pair which Rubens probably executed for Balthazar I Moretus in Antwerp and which Dr. Vlieghe dates to circa 1615-20.¹ The best of all the extant versions would appear to be that formerly with F.A. Drey, London, while amongst the other versions, all of which are inferior in quality to the present work, are the painting formerly in the collection of J.M. Cargher and sold London, Christie's, 6 October 1950, lot 74, and the panel formerly with A. de Heuvel, Brussels, in 1955.²

The present version was executed in Rubens' studio. We are grateful to Mr. Jan de Maere who, on the basis of photographs, has suggested an attribution to Pieter van Lint (1609-1690).


1. See H. Vlieghe, Corpus Rubenianum Ludwig Burchard. Saints, Part VIII, I, London 1972, pp. 32-33, reproduced plates 12 and 13.
2. The latter is the version published and reproduced by Vlieghe (op. cit.), as 'Present whereabouts unknown'.