Attributed to Christian van Couwenbergh

A. Blankert, Dutch Classicism in seventeenth-century painting, exhibition catalogue, Rotterdam/Frankfurt 1999, reproduced p. 159, figure 24b (called "A Warrior Kneeling before a Woman on a Throne", as attributed to Christian van Couwenbergh).

Additional literature:

B van Haute, `Willem Bartsius and the art of Dutch history painting', in Oud Holland, vol. 121, 2008, no. 4, pp. 218-220, 223, 224, 225, 244, reproduced p. 219, fig. 2.

 

In Bernadette van Haute's monographic article, which includes as an Appendix a catalogue raisonné of Bartsius' known works grouped by subject, she points out that this is the earliest signed and dated work by the artist, probably painted when the 19-year old artist was living in Leiden.

The canvas has a modern relining and consists of two horizontal canvases joined along the lower centre of the painting. The canvas seam can be made out with the naked eye. The paint surface is clean and secure, with some abrasion, for example in the browner tones. The naked eye can discern an old restored damage of approximately 20 by 5 cm. on Aeneas' right shin/boot, and five vertical tears, ranging from approximately 30cm. to 10cm. in length to the centre and upper right of the painting. Some repainting to the inner arm of the man to the left of Aeneas, as well as a restored hole to the right of the forehead of the man behind Aeneas can also be made out. The retouchings to these damages can in some cases be seen with the naked eye, but all have been well restored and are unobtrusive. Inspection under UV light confirms these retouchings and furthermore reveals scattered strengthenings throughout the painting. UV light does also reveal further damages to the painting, but these do not affect the appreciation of the painting. The faces of the characters in the painting remain largely untouched. Offered in a black painted and gilt wood frame in good condition, if a little rubbed.
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