THEODOR BOEYERMANS | Madonna and Child

The canvas appears to be thinly lined and is stable on its stretcher. The painting reads well and presents a strong and crisp image beneath an old varnish. There are three spots of restoration in the lower quadrant, none of which are distracting to the naked eye, all of which have associated stable patches on the reverse: a thin line upper forearm of the Madonna's right forearm, in the right knee of the Child, as well as in the child's right foot. Inspection under UV reveals two additional spots of retouching in the lower costume of the Madonna, a spot in the lower staff of Christ, and some areas in the darks along the extreme edges of the canvas. It also reveals some scattered spots of retouching in the background, for example to the left of the virgin's shoulder, and also some very thin and fine strokes of retouching, mostly cosmetic, scattered here and there throughout the figures, their faces and their costumes, with a larger concentration in the upper shadowed face of the Christ child. The painting can be hung as is, and it is offered in a decoratively carved darkwood frame with painted gilt decorative accents and a decoratively carved gilt liner.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Theodor Boeyermans lived in Antwerp and turned to painting later in life, joining the Guild of Saint Luke there in 1654 at the age of thirty four.  Unlike the more expressive painterly output of his contemporaries, he championed the classically refined, idealized, and balanced style of Rubens and Van Dyck.  In this simple and serene composition, rendered with a restrained palette, a softly illuminated Madonna and Child appear against a darkened background locked in a tender embrace.  The elegance of their gestures is further enhanced by the delicately modeled fabric of the Madonna's dress, saturated with Boeyermans' trademark hue of a shimmering silver. We are grateful to Dr. Hans Vlieghe, who has seen the present lot firsthand, for endorsing the attribution.