View full screen - View 1 of Lot 4. Saint Christopher carrying the Christ Child in an extensive river landscape | 《聖克里斯多福揹著聖嬰橫渡大河》.
4

Pseudo Jan Wellens de Cock

Saint Christopher carrying the Christ Child in an extensive river landscape | 《聖克里斯多福揹著聖嬰橫渡大河》

VAT reduced rate

Estimate:

100,000

to
- 150,000 GBP

Property from a Distinguished Spanish Private Collection

Pseudo Jan Wellens de Cock

Pseudo Jan Wellens de Cock

Saint Christopher carrying the Christ Child in an extensive river landscape | 《聖克里斯多福揹著聖嬰橫渡大河》

Saint Christopher carrying the Christ Child in an extensive river landscape | 《聖克里斯多福揹著聖嬰橫渡大河》

Estimate:

100,000

to
- 150,000 GBP

Lot sold:

214,200

GBP

Property from a Distinguished Spanish Private Collection

Pseudo Jan Wellens de Cock

active in Antwerp and/or Leiden, circa 1520 – 1540

Saint Christopher carrying the Christ Child in an extensive river landscape



oil on oak panel

32.5 x 46.9 cm.; 12¾ x 18½ in.


知名西班牙私人收藏

仿揚・韋倫斯・德・科克

1520 – 1540年活躍於安特衛普及 / 或萊頓

《聖克里斯多福揹著聖嬰橫渡大河》


油彩橡木畫板

32.5 x 46.9 公分;12¾ x 18½ 英寸

The following condition report is provided by Henry Gentle who is an external specialist and not an employee of Sotheby's:


Jan Wellens de Cock

St. Christopher

Oil on panel, in a faux painted and velvet covered frame in good condition


The oak support is in a good preserved condition. There is some historic worm damage to the reverse, lower left, and a few further worm holes scattered across the back.

The panel has a very slight convex bow and a horizontal repaired join is visible 1/3 of the way down the panel.


The paint layer is stable and secure and paint texture is very well preserved; this is particularly noticeable through the foliage of the trees and St. Christopher's swirling cape.


Under u-v light, restorations along the repaired join can be seen along with further scattered retouchings to the sky and water, mostly applied to mitigate paint thinness but also minor pin prick losses.


The orb above St. Christopher shows minor abrasion and some thinning of the paint layer is manifest through the rocky arch on the right.


Finer details such as those to the faces, shells, boats and creatures along the bottom of the composition are well preserved.


The colours saturate strongly and tonal variations are intact.


The painting presents well.


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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

With Guy Stein, Paris, 1936;

Baron Robert Gendebien (1885–1954), Brussels, 1937 (his red wax seals and insignia on the reverse);

Thence by descent to his son, Olivier Gendebien (1924–1998);

By whom sold, London, Sotheby's, 30 November 1983, lot 56 (as The Putative Jan Wellens de Cock);

With Galerie Finck, Brussels, 1984;

Probably from whom acquired by the father of the present owners.

P. Wescher, 'Paris Kunsthandel', in Pantheon, February 1937, p. 65, reproduced p. 63 (as Jan de Cock);

J. Lavalleye, 'Un cabinet d'amateur', in Bulletin de la Société Royale d'Archéologie de Bruxelles, 1937, p. 75, no. 11, reproduced fig. 25 (as Jan de Cock);

G.J. Hoogewerff, De Noord-Nederlandse Schilderkunst, vol. III, The Hague 1939, pp. 364–66, reproduced figs 191 and 193 (as Matthijs de Cock);

G.J. Hoogewerff, 'Werken van Matthijs (of Jan) Wellens de Cock', in Mededeelingen van het Nederlandsch Historisch Instituut te Rome, vol. IX, 1939, pp. 44–45, reproduced fig. 2 (as probably by Matthijs de Cock);

M.J. Friedländer, Early Netherlandish Painting, vol. XI, The Antwerp Mannerists..., Leiden 1974, p. 109, note 61;

W.S. Gibson, The Paintings of Cornelis Engebrechtsz., New York and London 1977, p. 260, cat. no. 76b (as a copy with variations of the Von Bissing painting, attributed to the Master of the Vienna Lamentation);

M.R. de Vrij, Jan Wellens de Cock: Antwerp mannerist associate, Amsterdam 2009, pp. 12 and 155, cat. no. 2B, reproduced p. 12, pl. 4 (as ascribed to Matthys Cock?);

J.P. Filedt Kok, Lucas van Leyden en de Renaissance, exh. cat., Leiden 2011, p. 226, n. 6, no. 2, under cat. no. 23 (as a copy of the Von Bissing painting, attributed to the Master J. Kock).

Brussels, Musée Royaux des Beaux-Arts, Un cabinet d'amateur, 27 June – 14 July 1937, no. 11 (as Jan de Cock).