Workshop of Joos van Cleve

Mrs. Peter C. Larkin and Miss L. Aileen Larkin, Toronto, by February 1932;
Given by Miss L. Aileen Larkin to the Art Gallery of Ontario in 1945 (Acc. no. 2803).

"A Georgian Mansion, Residence of Mrs. Peter C. Larkin, May Street, Rosedale, Toronto," in Canadian Homes and Gardens, February 1932.

Panel is comprised of two pieces of wood brought together by singular vertical join. Panel is flat and stable. Painting is in generally healthy condition and retains strong coloring without many damages. UV light reveals a varnish that is somewhat streaky but fresh. It also reveals minor retouching along vertical join and a few scattered fills along right edge of panel. Associated retouches along right edge starting to lift ever so slightly. Painting is held in a tabernacle frame with painting and gilding. There are a few minor chips to gilding.
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.

This composition is a variant of the Holy Family by Joos van Cleve, of circa 1520, in the National Gallery, London (inv. no. 1910, 2603). Of the numerous workshop repetitions, this one comes closest to those in the Hermitage, St. Petersburg, and in a private collection, England (see RKD image 41969).  The central figures of the Virgin and Christ Child were usually repeated by the workshop with the aid of a cartoon that was re-used and variations were then made to details of the background or objects on the ledge.¹

 

1.  For a detailed discussion of the workshop practices, see M. Leeflang, Joos van Cleve, A Sixteenth-Century Antwerp Artist and his Workshop, Turnhout 2015, pp. 72-75.