Studio of Dirck van Baburen

F. Pospisil collection, Venice circa 1943;
Frezzati collection, Venice;
Purchased by the father of the present owners in the 1950's;
Thence by descent.

Mexico City, Museo Nacional de Arte Moderno, Palacio de Bellas Artes, Pintura neerlandesa en Mexico siglos XV, XVI y XVII, April-May 1964, p.11, no. 10, reproduced in the catalouge (as Dirck van Baburen).

"Un Olandese figlio spirtuale d'Italia Van Baburen", in Arte Figurativa Antica e Moderna, 3, 1955, p. 29;
J.R. Judson, Gerrit van Honthorst; a discussion of his position in Dutch art, The Hague 1956, p. 67, note 3;
B. Nicolson, Hendrick Terbrugghen, London 1958, p. 119;
J.R. Judson, Gerrit van Honthorst : a discussion of his position in Dutch art, The Hague 1959, p. 68, note 3;
L. J. Slatkes, Dirck van Baburen (c. 1595-1624), a Dutch painter in Utrecht and Rome, Utrecht 1965, p. 138;
B. Nicolson, The international Caravaggesque movement: lists of pictures by Caravaggio and his followers throughout Europe from 1590 to 1650, Oxford 1979, p. 18, (as a copy of a lost painting by Dirck van Baburen);
B. Nicolson, Caravaggism in Europe, vol. 1, Torino 1989, p. 55, (as a copy of a lost painting by Dirck van Baburen).

 

Tightly relined and surface has been slightly pressed as a result. there is still very good retention of the original paint surface and figures still read very well and present a strong image. under a dirty and discolored old varnish. there are some old discolored retouches visible to naked eye in brown background and others visible on music sheet lower left, scattered on flesh areas of both figuers and some in costumes. examination under UV reveals retouches as mentioned; in addition there is some reinforcement of the left pupil of man and on his right nostril; a larger area of retouching can be seen on woman's little finger at far right side and some retoucing on one side of lute. this painting has not been attended to in a long time and many of the old, crudely done retouches are now visible to the naked eye. the painting would benefit from sensitive restoration and should improve and be an impressive picture. In an elaborately carved and gilt wood frame with some nicks and losses.
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.

The present painting is the best workshop repetition of a now lost autograph composition by Baburen.  Another version, much inferior in quality, was formally in the Schloss Wiesentheid in Pommersfelden and cannot be considered to be the production of Baburen's studio. A third version, also not considered to be autograph, was recorded in the N. Kohlhepp collection in Louisville, Kentucky.

Baburen died at a young age after having travelled to Rome.  While there, he fell under the influence of the caravaggisti, and upon his return to Utrecht he became, along with Gerrit van Honthorst and Hendrick ter Bruggen, one of the proponents of Caravaggio's style in the North.  Honthorst's influence is evident in Baburen's later works and it is most likely that our picture also dates from this period in his career. 

We are grateful to Wayne E. Franits for inspecting this picture in the original and for his help in cataloguing this work.