Peter Wtewael

Possibly Johan Pater and Antonietta Pater-Wtewael, Utrecht, until 1655;
Possibly Johan van Nellesteyn and Hillegonda van Nellesteyn-Pater, Utrecht, from 1655;
Private collection, London, by 1971;
Anonymous sale, London, Christie's, 26 May 1978, lot 107;
Anonymous sale, London, Christie's, 23 February 1979, lot 97;
Anonymous sale, London, Sotheby's, 5 July 1984, lot 342 (wrongly as on panel);
Offered, London, Bonhams, 7 December 2005, lot 48.

A.W. Lowenthal, Joachim Wtewael and Dutch Mannerism, Doornspijk 1986, pp. 177-8, cat. no. D-8, reproduced plate 169.

The catalogue illustration is representative for the actual painting. The canvas has a rather firm relining. No damages seem to be apparent. There is some abrasion in the greenish tones of the drapery lower right, and in the upper centre, and in the figure in the centre background. The faces of the putti and in particular that of the young girl on the right has been very nicely preserved. A few small retouchings can be observed in the green drapery lower right, in the central background figure, in the red draperies centre left and upper right, in the monkey and in the background in the decorations of the bed. Under Ultra-Violet light the paint surface looks more substantially restored. The paint surface is covered with a lucid and shiny layer of varnish, and the painting seems to be recently cleaned. Offered in a plain black ebonised wood frame, in good condition. (MW)
"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."

This painting is one of four recorded versions representing an Allegory of Love by Peter Wtewael.¹ Although initially published in her dissertation as probable copies after Joachim Wtewael, Lowenthal lists the two versions known to her at the time as original compositions by Peter in her published monograph.²  While all the versions are indebted to the works of Joachim produced in the 1620s, the bulky human figures and the relatively simple draperies are typical of Peter's work. Compare, for example, his signed Adoration of the Shepherds, in the Wallraf-Richartz Museum, Cologne (inv. no. 62)³ and the signed Caritas, in a private collection, Denmark.⁴ The fact that the three full versions differ in minor details, such as the patterned tile floor in the painting sold at Christie's (see note 1), and that the chamber pot has been rethought in the present work also suggest that this is a repetition of a primary composition, possibly a lost work by Joachim.⁵ The possibility that Joachim and Peter may have collaborated on works such as this should not be ruled out yet and deserves further attention.⁶

We are grateful to Dr. Anne Lowenthal for confirming the attribution on the basis of a photograph.

1. See Lowenthal under Literature, and the work sold, London, Christie's, 22 April 2005, lot 8. A fragmentary version of the left part of the composition was sold, London, Sotheby's, 10 December 2001, lot 315.
2. Lowenthal, op. cit., p. 177.
3. idem, p. 175, cat. no. D-2, reproduced plate 162.
4. idem, p. 181, cat. no. D-21, reproduced plate 183.
5. Written communication Dr. Anne Lowenthal, September 2008.
6. For the complex relationship between Peter and Joachim Wtewael see A. Lowenthal, 'Joachim/Peter Wtewael, Father/Son, Master/Pupil', in A. Golahny et.al., In His Milieu, Essays on Netherlandish art in Memory of John Michael Montias, Amsterdam 2006, pp. 279-86.