Property from a European Private Collection
BARTHOLOMÄUS BRUYN THE ELDER
(Wesel or Cologne 1493 - 1555 Cologne)
PORTRAIT OF A MAN
oil on oak panel
13⅞ by 11 in.; 35.3 by 28 cm.
This painting is on a very thin piece of Oakwood with a very slight vertical bow. This picture has probably not been restored in a number of years. UV light reveals some scattered retouches in the face. These have darkened over time and are visible to the naked eye. Some scattered retouches also visible is in the green background. With a cleaning and reevaluation of the small retouches this painting will be ready to hang. In a carved and ebonized wooden 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. 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.
Sir John Frecheville Ramsden, 6thBt (1877-1958), York, England;
His sale, London, Christie's, 11 July 1930, lot 19, to Williams;
Possibly purchased back by Ramsden and sold, London, Christie's, 27 May 1932, lot 47 (as Bruyn), to Fischmann;
Prof. Dr. P. Ganz, Basel;
Private collection, Zurich (here and the above according to a label on the reverse).
Bartholomäus Bruyn founded an important school of portraiture in Cologne, where there was previously no such tradition. He mainly painted the patricians of the city, but none of his portraits are signed, nor documented as his altarpieces are. This likeness is typical of Bruyn's portraits which show careful attention to physiognomy and facial detail, and are set against a colorful, monochromatic background. The sitter has yet to be identified, though his index ring may provide evidence.