- 243
School of Rembrandt van Rijn, circa 1650
Estimate
10,000 - 15,000 USD
bidding is closed
Description
- Biblical Scene
- Pen and brown ink and brown and gray wash over black chalk, within brown ink framing lines;bears numbering in brown ink, lower right: 176
- 205 by 287 mm; 8 by 11ΒΌ in
Provenance
William Young Ottley (1771-1836), London (L.2663)
Condition
Laid down. Some light surface dirt throughout. Top corners made up (sheet would presumably originally have had a shallow arched top). Darkest areas of ink somewhat sunk but media otherwise good and strong. Sold in an antique carved and gilded 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.
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.
Catalogue Note
This bold, broadly drawn study of a complex compositional grouping reflects some of Rembrandt's works of the later 1640s and early 1650s. The shaped top corners must originally have been the edges of a shallow arched top, something that is also seen in some Rembrandt drawings of this period. The pen style is also reminiscent of a group of drawings that Peter Schatborn was the first to attribute to the brilliant but short-lived Carel Fabritius.1 Peter Schatborn has, however, kindly informed us that he believes the drawing can be attributed to Philips Koninck, comparing it in particular with sheets in Dresden and Turin.2 In its striking breadth of execution, it can also be compared with a later (1679) drawing of The Lamentation, in Braunschweig, or The Mocking of Christ, in the Lugt Collection, Paris.3
1. See Drawings by Rembrandt and his Pupils: Telling the Difference, exh. cat., Los Angeles, The J. Paul Getty Museum, 2009-10, pp. 134-143
2. W. Sumowski, Drawings of the Rembrandt School, vol. 6, New York 1982, nos. 1320-1322, 1345, 1348.
3. Ibid., nos. 1355, 1399x
1. See Drawings by Rembrandt and his Pupils: Telling the Difference, exh. cat., Los Angeles, The J. Paul Getty Museum, 2009-10, pp. 134-143
2. W. Sumowski, Drawings of the Rembrandt School, vol. 6, New York 1982, nos. 1320-1322, 1345, 1348.
3. Ibid., nos. 1355, 1399x