Property from the SØR Rusche Collection
Dordrecht 1630 - 1674
AN OLD WOMAN IN PRAYER
oil on canvas
unframed: 66.2 x 51.1 cm.; 26⅛ x 20⅛ in.
framed: 79.5 x 65 cm.; 31¼ x 25½ in.
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The canvas is lined, the paint surface is slightly dirty, and the varnish is clear and even. There is a degree of wear visible throughout, and seemingly slight bitumenisation in the craquelure in the tail of the woman's turban to her left. Inspection under ultraviolet light reveals recent restoration, which consists of fine strokes throughout the background and in the darks of the woman's waistcoat. Although the varnish fluoresces opaquely, the woman's turban, hands and face appear to be untouched. 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.
Anonymous sale, London, Sotheby's, 6 July 1988, lot 233, when acquired.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
W. Sumowski, Gemälde der Rembrandt-Schüler, vol. VI, Landau 1983, p. 3692, cat. no. 2190, reproduced p. 3774;
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 2, Genre, Münster/Hamburg/London 1996, pp. 36–39, cat. no. 6, reproduced in colour.
Cornelis Bisschop was the pupil of Ferdinand Bol, a close associate and pupil of Rembrandt van Rijn, and it is presumed he entered his studio in Amsterdam sometime in the late 1640s. He was married in Dordrecht in 1653, and had eleven children, of whom Abraham and Jacobus became painters. Shortly before his death he was invited to go to Denmark as court painter. His portraits and tronies, such as the present work, show the influence of Nicolaes Maes, another Dordrecht painter working in Amsterdam, whom he likely knew.