- 117
SOUTH-NETHERLANDISH OR NORTHERN FRENCH SCHOOL, CIRCA 1500-1510 | A Diptych:Christ as Man of Sorrows; Mater Dolorosa
估價
40,000 - 60,000 EUR
Log in to view results
招標截止
描述
- A Diptych:Christ as Man of Sorrows; Mater Dolorosa
- oil on panel, with rounded tops, in semi-engaged frames
- each wing, painted surface: 24,5 x 15 cm; 6 5/8 x 5 7/8 in.
來源
Georges Renand, Paris
His sale, Hôtel Drouot, Collection Georges Renand, 31 may 1988, lot 28
Edouard and Jeanine Chapet, Paris (purchased in the sale mentioned above)
His sale, Hôtel Drouot, Collection Georges Renand, 31 may 1988, lot 28
Edouard and Jeanine Chapet, Paris (purchased in the sale mentioned above)
Condition
To the naked eye : The diptych seems to be in a satisfactory condition. It is painted on two flat oak panels. Frames are partially integrated. Part of the decoration of the background has been lost. The Virgin : We can notice some retouches in the Virgin’s fingertips. A small crack is visible from the top left border to the veil ring, on around 3 cm. We can observe a 0.5 cm-uplift on the right border. Under UV light : The diptych is under an old uniform green varnish.
"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."
"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."
拍品資料及來源
We are grateful to Dr. Suzanne Laemers of the RKD, Drs. Peter van den Brink of the Suermondt-Ludwig Museum in Aachen and Dr. Valentine Henderiks of the Université Libre de Bruxelles for their assistance in cataloguing this lot.
Stylistically, this nice diptych shows some features of the Brussels' school of painting and might have been inspired by one of Simon Marmion's (1420-1489) to whom it was formerly attributed, giving the similarities of our painting with some of his followers1. As for the Christ's figure, it is close to a lost model attributed to Hugo van der Goes that might have been known by our painter. The hands show some analogies to those painted by the Master of the Gold Brocade2. Starting from the 15th Century, the production of private devotion works of art; in particular those with an association of the Christ and His Mother, showing a great pathos, had a massive and unprecedented development at the turn of the 16th Century in Northern France and South Netherlandish workshops.
1. L'Héritage de Rogier van der Weyden. Peinture à Bruxelles 1450-1520, cat. exp., Bruxelles, Musées Royaux des Beaux-Arts de Belgique, 12 octobre-21 novembre 2013, cat. 67-68, pp. 286-287.
2. J.-L. Pypaert, Autour de la Madone Renders, Bruxelles, 2008, cat. 30, p. 212.
Stylistically, this nice diptych shows some features of the Brussels' school of painting and might have been inspired by one of Simon Marmion's (1420-1489) to whom it was formerly attributed, giving the similarities of our painting with some of his followers1. As for the Christ's figure, it is close to a lost model attributed to Hugo van der Goes that might have been known by our painter. The hands show some analogies to those painted by the Master of the Gold Brocade2. Starting from the 15th Century, the production of private devotion works of art; in particular those with an association of the Christ and His Mother, showing a great pathos, had a massive and unprecedented development at the turn of the 16th Century in Northern France and South Netherlandish workshops.
1. L'Héritage de Rogier van der Weyden. Peinture à Bruxelles 1450-1520, cat. exp., Bruxelles, Musées Royaux des Beaux-Arts de Belgique, 12 octobre-21 novembre 2013, cat. 67-68, pp. 286-287.
2. J.-L. Pypaert, Autour de la Madone Renders, Bruxelles, 2008, cat. 30, p. 212.