Jens Johannessen

Purchased by the present owner in 1974

Oslo, Kunstnernes Hus, 1971

Hans-Jacob Brun, Jens Johannessen, Maleri, Oslo, 1993, p. 134, illustrated (titled Prelaten)

This condition report has been provided by Hamish Dewar, Hamish Dewar Ltd. Fine Art Conservation, 14 Masons Yard, Duke Street, St James's, London SW1Y 6BU. Structural Condition The canvas has been partially strip-lined onto a wooden keyed stretcher. The canvas has a naturally creased surface but there is no evidence of any structural instability and the canvas is providing a secure and stable support. Paint Surface The paint surface fluoresces unevenly under ultra-violet light but there is no evidence of any retouchings. Summary The painting would therefore appear to be in very good and stable condition and no further work is required.
"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."

Painted in 1970, the present work is one of a small series of works that Johannessen painted at the beginning of the decade that form his 'Patriarch' series. Each work shares a similar format: the composition is divided horizontally in two; the colouring is predominantly red, white and black, and centrally in the lower half of each is a semi-abstracted vestment that clearly carries an ecclesiastical connotation. 

In the present work crisp black and white clothing set against a red background suggests the costume of a rabbi. To either side appears an indeterminate urban background. In other paintings from the series such as Patriarkens Krave (The Patriarch's Collar) and Pavenes Have (The Pope's Garden) a Papal red contrasts with white against a black background (fig. 1). 

In the upper half of each composition, the divide between top and bottom of the canvas cuts across the collar of the clothes, is less figurative and predominantly white. In the present work vertical hieroglyphs suggest an ancient text.

In painting Rabbineren Johannessen employs a reductive technique, scraping at the paint surface to achieve a silky smoothness, obliterate impasto and uncover a vibrant mix of colour combinations that lie just beneath the paint surface. The effect is that of a palimpsest; the scraped back paint surfaces a metaphor.

The present work, together with other works from the series, were shown at the Kunstnernes Hus in Oslo in 1971, an event that proved to be a landmark exhibition for the artist, and a turning point in his career.   

FIG. 1, Jens Johannessen, Patriarch's Collar, Private Collection