- 76
Samuel van Hoogstraten
Description
- Samuel van Hoogstraten
- The Visitation
- Pen and brown ink with brown and red wash within brown ink framing lines
Provenance
Schneider Collection, 1876 (according to Sumowski);
M.A. Marmontel,
his sale, Paris, 25-26 January 1883, lot 245 (as Rembrandt);
sale, Paris, 28-29 March 1898, lot 54;
Professor E. Perman, Stockholm,
thence by descent to the present owner
Exhibited
Literature
Condition
"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."
Catalogue Note
Sumowski related the present drawing to another by Hoogstraten representing the same subject, in the Amsterdams Historisch Museum.1 That drawing is dated 1646, and he dates the present sheet to around the same time. William W. Robinson has very kindly confirmed that this belongs to a group of some fifteen highly finished and pictorial drawings by Hoogstraten, almost all of them now in public collections, which he will discuss in a forthcoming article in Master Drawings.2 The combination of media seen in all these drawings is broadly similar, although the use of red wash is here more restricted than in some of the other sheets. The attribution to Hoogstraten has also been confirmed by Peter Schatborn.
1. W. Sumowski, op cit., no. 1121x
2. The article will be the published version of his paper delivered at the Getty Museum symposium, Drawings by Rembrandt and his Pupils, Telling the Difference, in February 2010.