Property from the SØR Rusche Collection
STUDIO OF SAMUEL VAN HOOGSTRATEN
Dordrecht 1627 - 1678
THE ANAEMIC LADY
signed centre left on the stair: S.v.H. f.
oil on canvas
69.8 x 56 cm.; 27½ x 22 in.
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The canvas is lined, the paint surface is slightly dirty, and the varnish is slightly discoloured. Some of the green pigments have degraded with time. Inspection under ultraviolet light reveals an opaque varnish. Beneath this it is just possible to discern strengthening to several of the blooms, particularly in the whites and light pinks, as well as some strengthening to some of the shadows and around the outlines of the still life composition. The painting appears to be in fair overall condition. Offered in a carved and giltwood frame with some losses.
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 ('The Property of a Gentleman'), London, Christie's, 27 June 1975, lot 45 (as Samuel van Hoogstraten);
Anonymous sale, London, Christie's, 8–9 December 1994, lot 287 (as Samuel van Hoogstraten), when acquired.
Munich, Haus der Kunst, Die Sieben Sakramente. Abigail O'Brien und der ritualisierte Alltag, 21 January - 12 April 2004;
Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 87;
Hamburg, Bucerius Kunst Forum, Die Geburt des Kunstmarktes. Rembrandt, Ruisdael, van Goyen und die Künstler des Goldenen Zeitalters, 23 September 2017 – 7 January 2018, no. 66.
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. II, Landau 1983, p. 1294, cat. no. 839, reproduced p. 1322 (as Hoogstraten);
W. Sumowski, Gemälde der Rembrandt-Schüler, vol. VI, Landau 1983, p. 3614, vol. II, cat. no. 839 (as Hoogstraten);
J. Bruyn, 'Rezension zu W. Sumowski, Gemälde der Rembrandt-Schüler, II', in Oud Holland, vol. 101, 1987, p. 234, footnote 45 (as a copy after the original in Amsterdam);
C. Brusati, Artifice and Illusion: The Art and Writing of Samuel van Hoogstraten, Chicago 1995, p. 358, cat. no. 63 (as 'possibly autograph');
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 2, Genre, Münster/Hamburg/London 1996, pp. 124–27, cat. no. 29, reproduced in colour (as Hoogstraten);
W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 87, cat. no. 77, reproduced in colour (as Hoogstraten);
F.W. Kaiser and M. North, Die Geburt des Kunstmarktes. Rembrandt, Ruisdael, van Goyen und die Künstler des Goldenen Zeitalters, exh. cat., Munich 2017, p. 104, cat. no. 66, reproduced in colour.
The subject of The Doctor's Visit was favoured by Dutch 17th-century artists as one that was characteristically both humorous and moralistic. The sickly-looking lady observes the viewer while a doctor holds up a flask of urine behind her and another man looks rather apprehensive. The cause of the lady's ailment is hinted at by the painting seen beyond in the far room, which depicts Venus, goddess of love; the foot-warmer, often a covert symbol of passion; and by the cat, which traditionally signifies lust, and which has caught a mouse between its paws. The hints at an illicit affair therefore rather add up to point at the doctor's likely diagnosis.
Another version of this painting is in the Rijksmuseum, Amsterdam. When published by Sumowski in 1983, the figure of the man standing next to the doctor in that painting had been obscured - it has now been restored to its original appearance and the composition is almost identical to the present work.