Property from the SØR Rusche Collection
JAN DE BRAY
Haarlem circa 1627 - 1697
oil on canvas, shaped top
146 x 152.2 cm.; 57½ x 60 in.
The canvas is lined, the paint surface is relatively dirty, and the varnish is discoloured. The network of craquelure has become more pronounced in the lighter pigments of the sky and the white cloth which Christ lays upon, and the canvas shows evidence of slight wear throughout. There are a handful of faint surface scratches to the left of the angel's wings, and one to the left of the Madonna approx. 3cm. Inspection under ultraviolet light reveals an extensive campaign of retouching throughout, although Christ and the two angels have more scattered retouchings. None of these impede the legibility of the painting, which is ready to hang without need for further intervention. Offered in a plain, ebonised wood frame with some losses.
"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."
Anonymous sale, Amsterdam, Christie's, 3 December 1985, lot 46, when acquired.
Rotterdam 2008, no. 103.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
Rotterdam 2008, p. 86, reproduced p. 103, fig. 103;
Raupp 2010, pp. 74–78, cat. no. 6, reproduced in colour p. 75.
Jan de Bray was the son of the painter Salomon de Bray. Jan spent virutally the whole of his career in Haarlem, bar two years in Amsterdam from 1686–88. In its religious subject matter, this little-known Lamentation is rare; in addition to his history subjects, over half Jan's painted output consists of portraits (individual and double portraits, as well as his extremely important group portraits of the 1660s and 70s relating to the regent and the local militia company).