JACOB WILLEMSZ. DE WET | The Deposition
Property from the SØR Rusche Collection
JACOB WILLEMSZ. DE WET
circa 1610-Haarlem before 1691
signed and dated lower centre: J. de Wet / Ao 163[7?]
oil on oak panel
unframed: 72.7 x 56.5 cm.; 28¾ x 22¼ in.
framed: 94.4 x 77.4 cm.; 37⅛ x 30⅜ in.
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Property from the SØR Rusche Collection is available to view at Sotheby’s, New Bond Street, 13 – 18 September (weekdays 9am – 4.30pm; weekend 12-5pm).
The oak panel is supported by a vertical batten running the height of the panel through the centre to support an old repaired join or split. The paint surface is quite dirty, and the varnish is slightly discoloured. A vertical line of craquelure is visible along aforementioned join or split, running from center of upper margin down to just above the head of the man in black. Inspection under UV light reveals a line of retouching along this, running the height of the panel, with a more concentrated area of restoration visible in the upper centre measuring approximately 2 x 12 cm. Other notable areas of restoration occur through Christ's torso, and along the upper half of the left margin, and in the outline of the cave beside the man in black. There are also some spots of strengthening around the heads of the children at centre left and centre right, in the purple cloak of the turbaned man centre right, in the sleeve of the man in white holding Christ's torso, and in the shadows of the blue clothes of the man at lower right. Other small retouchings are scattered throughout, principally in the sky. None of these distracts from the legibility of the image, and the painting is in overall fair condition.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Please note, Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
Gunnar A. Sadolin, Copenhagen (as Rembrandt);
Anonymous sale, London, Sotheby's, 26 May 1965, lot 166 (as G. van den Eeckhout);
Daan Cevat, London, by 1968;
Acquired for the present collection in 2001.
M.L. Wurfbain and B. Haak, Rondom Rembrandt: De verzameling Daan Cevat, exh. cat., Leiden 1968, p. 37, cat. no. 59;
B. Haak, The Golden Age: Dutch Painters of the Seventeenth Century, London 1984, p. 256, reproduced fig. 540;
W. Sumowski, Gemälde der Rembrandt-Schüler, vol. IV, Landau 1983, pp. 2723 and 2780, cat. no. 1836, reproduced p. 2803;
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 4, Historien und Allegorien, Münster/Hamburg/London 2010, pp. 470-75, cat. no. 81, reproduced in colour.
Leiden, Stedelijk Museum De Lakenhal, Rondom Rembrandt. De verzameling Daan Cevat, 11 April - 16 June 1968, no 59.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
Jacob Willemsz. de Wet was a Dutch painter and draughtsman. It seems unlikely that he is the same as the Jacobus de Wit who was a member of the Alkmaar Guild of St. Luke in 1637, or Jan de Wet (born in Hamburg circa 1617) who was a pupil of Rembrandt. Sumowski has disentangled his work from that of his son, Jacob de Wet the Younger (Haarlem circa 1640 - 1697 Amsterdam), who was active in Edinburgh, and copied a series of paintings depicting the Kings of Scotland, as well as executing some of the decorative work in the Palace of Holyroodhouse.