Johann König

Anonymous sale, Stuttgart, Nagel, 10 December 1994, lot 3531;
Anonymous sale, Cologne, Lempertz, 19 November 2005, lot 1086.

The copper sheet is uncradled and flat. The paint surface is secure and generally clean, other than a slight yellowish tinge to the sky and flesh tones. Inspection under ultraviolet light reveals an even varnish and some small scattered retouchings to the clouds at upper right, to the angel at the far left and to the torso and face of Christ. Overall the work is in good condition. The work is offered unframed.
"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."

The stylistic consequences of König's time in Venice and Rome clearly manifest themselves in this mature work of 1637, painted just five years before the artist's death. In the former city he was profoundly affected by the palette of Veronese and his contemporaries, and in the latter by the technical achievement of the miniature landscapes on copper of Adam Elsheimer and Paul Bril.