View full screen - View 1 of Lot 17. JAN SYMONSZ. PYNAS | Mary Magdalene kneeling at the foot of the cross.

JAN SYMONSZ. PYNAS | Mary Magdalene kneeling at the foot of the cross

UK: Greenford Park WarehouseReserves


3,000 to - 4,000 GBP

Property from the SØR Rusche Collection

JAN SYMONSZ. PYNAS | Mary Magdalene kneeling at the foot of the cross

JAN SYMONSZ. PYNAS | Mary Magdalene kneeling at the foot of the cross


3,000 to - 4,000 GBP

Lot sold:



Property from the SØR Rusche Collection


Alkmaar 1581/2 - 1631 Amsterdam


signed and dated lower right: J. Pynas fec 1610.

oil on oak panel

unframed: 81.5 x 59.1 cm.; 32⅛ x 23¼ in.

framed: 97.9 x 75.3 cm.; 38½ x 29⅝ 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 uncradled, flat, and stable with a vertical join or split running the height of the panel, approximately 15 cm from the right hand margin. The paint surface is relatively clean and the varnish is slightly discoloured. In raking light retouching is visible along the aforementioned join. Inspection under UV light confirms this and further reveals a fine line of retouching to a shallow vertical surface split running from the left of the upper margin past the end of the cross (approximately 20 cm long), as well as some small retouchings in the upper left corner along the crossbeam of the crucifix. Very fine pin prick retouchings that follow the wood grain are scattered through Christ's fleshtones and in Mary Magdalene's face and chest. There are very few other scattered spot retouchings. The painting appears ready to hang and is in overall fairly good 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.

A. Brantjes, Vught, 1960;

Anonymous sale, Amsterdam, Christie's, 7 May 1996, lot 33, where acquired.

W. Pijbes, M. Aarts, M. J. Bok et al, At Home in the Golden Age, exh. cat., Zwolle 2008, p. 115, cat. no. 120, reproduced in colour;

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 4, Historien und Allegorien, Münster/Hamburg/London 2010, pp. 350-54, cat. no. 59, reproduced in colour.

's-Hertogenbosch, Noordbrabants Museum, van Passie tot Pasen, Lijdenvoorstellingen in de Nederlanden 1450-1900, 13 February - 20 April 2002;

Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 120.

The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.

When this painting appeared on the market in 1996 it constituted a significant addition to the œuvre of Jan Symonsz. Pynas. The striking composition and subject are very unusual in early Dutch 17th-century painting, though not at all unfamiliar in the art of the Italian High Renaissance. 

The figure of the Magdalene here is repeated from Pynas' earliest dated work of 1605 - The Raising of Lazarus, in the Museum of Aschaffenburg.1 In depicting her at the foot of the cross, Pynas was the first of the Pre-Rembrandtists to address this theme, which Pieter Lastman (Rembrandt's teacher), would also take up in 1615.