View full screen - View 1 of Lot 23. The Raising of Lazarus.
23

Jan Symonsz. Pynas

The Raising of Lazarus

Estimate:

25,000

to
- 35,000 EUR

L'œil et l'histoire: paintings from a french private collection (lots 23, 24, 65, 66 and 139, 140, 149, 152, 153, 154, 197)

Jan Symonsz. Pynas

Jan Symonsz. Pynas

The Raising of Lazarus

The Raising of Lazarus

Estimate:

25,000

to
- 35,000 EUR

Lot sold:

25,200

EUR

L'œil et l'histoire: paintings from a french private collection (lots 23, 24, 65, 66 and 139, 140, 149, 152, 153, 154, 197)

Jan Symonsz. Pynas

Alkmaar 1581/2 - 1631 Amsterdam

The Raising of Lazarus


Signed and dated lower centre JA Pynas fecit / 1625

Oil on panel

76,6 x 74 cm ; 30⅛ by 29⅛ in.

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L'œil et l'histoire : tableaux d'une collection privée française (lots 23, 24, 65, 66 et 139, 140, 149, 152, 153, 154, 197

Jan Symonsz. Pynas

Alkmaar 1581/2 - 1631 Amsterdam

La résurrection de Lazare


Signé et daté en bas au centre JA Pynas fecit / 1625

Huile sur panneau

76,6 x 74 cm ; 30⅛ by 29⅛ in.

The painting is in a satisfactory condition.

It is on a panel made of three planks.

Two vertical strengthening wooden pieces are visible on the reverse of the panel, along the joins of the three planks.

The panel is beveled on its upper and lower edges.

The panel is in good condition.

It seems to be sound and stable.

The paint layer is in a satisfactory condition.

A few areas of wear appear.

It does not seem to show any loss or uplift.

Some discolored retouching are visible to the naked eye, along the joins of the planks.

The varnish layer is extremely yellow, thick, uneven and dirty.


Under UV light

Examination under UV light is made difficult by an uneven and thick varnish layer.

Some retouching are visible along the joins between the planks, especially on the left.

A few areas of minor retouching appear, scattered throughout the surface.


Offered with a painted and gilt wood frame.

Please note that Sotheby's does not guarantee the condition of the frame.


Le tableau est dans un état de conservation satisfaisant.

Il est peint sur un panneau constitué de trois planches.

Le dos présente deux pièces de renfort verticales, le long des jonctions des trois planches.

Le panneau est biseauté dans les parties supérieures et inférieures.

Le panneau est en bel état de conservation.

Le support est sain et stable.

La couche picturale est dans un état satisfaisant.

Quelques zones d'usures apparaissent.

Elle ne présente ni manque ni soulèvement apparent.

Des repeints désaccordés sont visibles à l'œil nu au niveau des jointures des planches.

Le vernis est extrêmement jaune, épais, irrégulier et encrassé.


À la lampe UV

La lecture est rendue difficile par la présence d'un vernis irrégulier et épais.

Des repeints sont visibles au niveau des jointures des planches, notamment à gauche.

Quelques repeints de faible importance sont visibles disséminées sur la surface.


Vendu dans un cadre en bois peint et doré.

Veuillez noter que Sotheby's ne garantit pas l'état des cadres.


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.

Anonymous sale, Paris, Me Ferri, 13-14 June 1977.

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Vente anonyme, Paris, Me Ferri, 13-14 Juin 1977.

This work, which is in good condition, is a significant addition to the very restricted group of paintings that can be reliably attributed to Jan Pynas. Signed and dated 1625, it was painted after Pynas returned from Rome, which he visited in 1605 with Pieter Lastman (1583-1633), and where he established, alongside his brother Jacob (circa 1592-1650) and his brother-in-law Jacob Tengnagel (circa 1584-1631), a group of artists whose painting prefigured the art of Rembrandt (1606-1669): they are known today as the Pre-Rembrandtists.


There are two other known paintings by Pynas of the same subject: one was executed in 1605 (Aschaffenburg, Staatsgalerie im Schloß Johannisburg ; inv./cat. no. 6499), the second circa 1615 (Philadelphia, Philadelphia Museum of Art; inv. cat. 471).


This version – the latest since it is dated 1625 – is also the most finished, the most accomplished, the most ambitious. A more mature sense of narrative renders the composition less anecdotal and more dynamic, while the figures have a new breadth which recalls Rembrandt's early manner, when he was still in Leyden. A comparison with a work such as the Stoning of St Stephen (fig. 1, Lyon, Musée des Beaux-Arts, inv. A 2735), painted by Rembrandt that same year, indicates the close relationship between the two artists, both of whom were influenced by Pieter Lastman.

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L’œuvre, qui nous est parvenue dans un bel état de conservation, est un ajout significatif au corpus, très restreint, des œuvres de Jan Pynas dont l’attribution est certaine. Signée et datée de 1625, elle est peinte après le retour de Pynas de Rome, où il s’était rendu en 1605 avec Pieter Lastman (1583-1633), et où il avait, aux côtés de son propre frère Jacob (vers 1592-1650) et de son beau-frère Jacob Tengnagel (vers 1584-1631), formé un groupe d’artistes dont la peinture préfigure l’art de Rembrandt (1606-1669) et que l’on nomme encore aujourd’hui les Pré-rembranesques.


L’on connaît deux autres tableaux du même sujet exécutés par Pynas : l’un en 1605 (Aschaffenburg, Staatsgalerie im Schloß Johannisburg ; inv./cat.n°6499), le second vers 1615 (Philadelphie, Philadelphia Museum of Art ; inv. cat. 471).


Cette version-ci, la dernière chronologiquement puisqu’elle porte la date de 1625, est également la plus aboutie, la plus accomplie, la plus ambitieuse. Le sens de la narration s’est affiné, rendant la composition moins anecdotique, plus dynamique, et les figures ont pris une ampleur nouvelle qui n’est pas sans rappeler la première manière de Rembrandt, alors que celui-ci est encore à Leyde. La parenté avec une œuvre comme La Lapidation de saint Etienne (fig. 1 Lyon, Musée des Beaux-Arts, inv. A 2735), peinte par Rembrandt la même année, témoigne de la proximité des deux artistes, qui ont tous deux subi l’influence de Pieter Lastman.


Fig. 1 Rembrandt, La Lapidation de saint Etienne © Lyon MBA – Photo Alain Basset.