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462

Jan Toorop

Het Offer (The Sacrifice)

Jan Toorop

Jan Toorop

Het Offer (The Sacrifice)

Het Offer (The Sacrifice)

Authenticity guarantee

What is guaranteed?

Jan Toorop

1858 - 1928

Het Offer (The Sacrifice)


a. signed JThToorop, and indistinctly dated (lower left)

b. signed JThToorop, dated 1927. and inscribed MOEDER Agnes WESTERMANN (lower left)

c. signed JThToorop. and dated 1927. (lower right), inscribed Heil: Paterke van Hasselt (upper right) and PAULUS: I. THESS. 4,1-7 (lower left)

d. dated 1927 and inscribed Zuster an Huf. S.R.S. Reinildehius – Amsterdam (lower right)

e. signed JThToorop. and dated 1927. (lower right)

pencil, coloured pencil and crayon on paper

a. 21.6 by 60cm., 8½ by 23⅝in.

b. 21 by 12.5cm., 8¼ by 4⅞in.

c. 21.8 by 19.3cm., 8 by 7in.

d. 21 by 23.5cm., 8¼ by 9¼in.

e. 21 by 44.2cm., 8¼ by 17⅜in.

Executed in 1927.

a.

Executed on several sheets of cream wove paper glued together by the artist, not laid down and attached to the mount with strips of Japanese paper along all four edges on the reverse. The sheet is also reinforced with Japanese paper in other places on the reverse. The sheet is extended with a horizontal strip of paper along the bottom edge, most likely by the artist himself. There are artist's pinholes to the upper and lower left corners, to the upper right corner, to the left side of the upper edge and by the right wrist of the bearded man on the right. There is a small repaired cut to the left side of the upper edge. There is a vertical folding line running across the left side of the composition which is inherent to the artist's working method. There is some minor creasing towards the centre of the upper edge. The sheet is lightly time-stained and there is foxing in places. This work is in overall good condition.


b.

Executed on cream wove paper, not laid down and attached to the mount with strips of Japanese paper along all four edges on the reverse. There is some minor creasing to the upper and lower right corners. The sheet is lightly time-stained and there is foxing in places. This work is in overall very good condition.


c.

Executed on cream wove paper, not laid down and attached to the mount with strips of Japanese paper along all four edges on the reverse. The lower edge is unevenly cut. There are artist's pinholes in each corner. There is a tiny repaired tear to the lower right edge. The sheet is time-stained and there is foxing in places. This work is in overall very good condition.


d.

Executed on cream wove paper, not laid down and attached to the mount with strips of Japanese paper along all four edges on the reverse. There is wear to the corners. There is a vertical folding line running across the right side of the composition which is inherent to the artist's working method. The sheet is lightly time-stained and there is foxing in places. This work is in overall very good condition.


e.

Executed on two sheets of cream wove paper glued together by the artist, not laid down and attached to the mount with strips of Japanese paper along all four edges on the reverse. The right edge of the sheet is deckled. There are artist's pinholes to the lower and upper left corners, as well as in places along the lower and upper edges. Some of the pinholes have been repaired. There are vertical folding lines running across the sheet on the left and right side of the composition, which are inherent to the artist's working method. The sheet is lightly time-stained and there is foxing in places. This work is in overall very good condition.


"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."

Please note that the successful buyer of this lot will be unable to collect this lot immediately after the sale. Please contact the department for further details.
Wilhelmus Josephus Rudolphus Dreesmann, Amsterdam (probably the commissioner of the work)
Anton Caspar Rudolphus Dreesmann, Amsterdam (by descent from the above by 1954)
Maria Christina Johanna Van Spaendonck-Dreesmann, Belgium (by descent from the above)
Weijermars Antiquairs, Amsterdam (by circa 1999-2000)
Acquired from the above by the family of the present owner in circa 1999-2000
Albert Charles Auguste Plasschaert and Jan Nieuwenhuis, Jan Toorop Herdenking, 1929, illustrated p. 9
J. van Kilsdonk, Bij de dood van een bijzondere vrouw, Zijn er nog heiligen nabij, Maasbode, 1961, second drawing illustrated p. 7
Gerard van Wezel, Jan Toorop: Zang der Tijden, The Hague/Zwolle, 2016, no. 388, illustrated in colour p. 240 (as a single sheet)
Den Haag, Pulchri Studio, Ere-tentoonstelling Jan Toorop, 1928, no. 239
London, Royal Academy of Arts, Exhibition of Dutch Art, 1450-1900, 1929
Utrecht, Centraal Museum, Tentoonstelling van werken van Jan Toorop, 1941, no. 188
Breda, De Beyerd Cultureel Centrum, Jan Theodoor Toorop, 1957, no. 65
Den Haag & Groningen, Gemeente Museum & Groninger Museum, Kunstenaren der Idee. Symbolistische tendensen in Nederland, ca.1880-1930, 1978-79, no. 160, illustrated in the catalogue
Stugart & Utrecht, Wüttembergischer Kunstverein & Centraal Museum, Van Gogh tot Cobra, Nederlandse schilderkunst 1880-1950, 1981, no. 220, illustrated in the catalogue