Abraham Janssens

The panel appears stable, is cradled along all four edges and there is evidence of old brackets running the length of the centre which have since been removed. It is waxed on the reverse and appears to be made up of two planks. There is a cleavage running the length of the panel vertically at center, further smaller cracks from the upper and lower edges and another in the lower left corner as visible in the catalogue image. There is minor frame abrasion on the upper and lower edges. The paint surface is in good condition with minor losses, some of which repaired, along the cracks. Inspection under ultra violet is obscured beneath a very thick, milky varnish. Some retouches are apparent along all edges and lower right corner, along the cracks. There are two small patches of restoration in the lower right section of the globe, the larger of which is approximately 4 by 1 1/2 in. The varnish may possibly be concealing further older restorations. The painting is offered in a carved 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.

This Heraclitus employs Janssens' characteristic use of bold handling with crisp coloration. Furthermore, it demonstrates his close connection to Rubens. The two artists were both active in Antwerp in 1609 when they created works for the State Room of the town hall in Antwerp. Rubens executed an Adoration of the Shepherds (Mueso del Prado, Madrid) and Janssens executed a Scaldis and Antwerpia (Koninklijk Museum voor Schone Kunsten, Antwerp). This particular composition is known in at least one further version of seemingly inferior quality to the present work, sold London, Christie's, 17 July 1931, lot 107.

We are grateful to Jan de Maere for supporting the attribution to Janssens, based on photographs.