Acquired by the father of the present owner on the Paris auction market in 1988.
The following condition report is provided by Hamish Dewar Ltd who are external specialists and not employees of Sotheby's:
Structural Condition
The canvas has been lined and strip lined and is securely attached to a mechanical metal
expansion bolt stretcher. This is providing a secure and stable support.
Paint surface
The paint surface has a slightly uneven and degraded varnish layer. The paint surface is stable.
There is a long vertical scratch visible in the centre left of the composition measuring
approximately 46 cm in length and other surface scratches around the left vertical framing
edge. There are other surface scratches in the composition, including one on the back of the
beast holding the wooden pole in the centre right of the composition, this measures
approximately 7.5 cm.
There is a slightly raised horizontal seam or join running across the composition approximately
39 cm below the upper horizontal framing edge.
Inspection under ultra-violet light shows a slightly opaque and discoloured varnish layer.
Inspection under ultra-violet light also shows a number of retouchings, the most significant of
which are:
1) Retouchings around the four framing edges,
3) an area in the upper right of the composition, beneaththe church, measuring approximately
4 x 9 cm,
4) retouchings in the figure in armour in the lower right,
5) scattered retouchings around the central figures in and on the table,
6) scattered lines and small areas of retouching in the red costume of the figure to the left of
the table, and in the animals and beasts in the lower left corner.
There are other scattered retouchings throughout the composition.
It is worth noting that none of these retouchings appear to be significant or excessive and the
figures and animals appear to be largely well preserved.
Summary
The painting would therefore appear to be in good and stable condition and would benefit
from surface cleaning, restoration and revarnishing if required.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
In a maelstrom and cacophony of beastly creatures Saint Anthony sits calmly at his desk turning the pages of his bible. He is about to be interrupted by the temptress but even, then he will not succumb to the devil's advances. Such depictions of St. Anthony's steadfast loyalty to God were extremely popular in 16th century Netherlandish art and continued so into the first years of the 17th century before falling quite quickly out of fashion. This example, grandiose in scale, is a tour-de-force of colour and activity, of hellish violence contrasted with quiet contemplation.
It is a free interpretation of a composition by Jan Brueghel the Elder known best to us today through his drawing in the Kupferstichkabinett, Hamburg Kunsthalle. The artist has however here made numerous amendments and adaptations: of particular note is the quotation from Martin Schongauer’s famous engraving showing St Anthony resolute in the face of the attacks from the onslaught of devilish creatures as he ascends heavenwards in the background. Neither this nor the middle-distance scene, with further Breugel and Bosch-like figures skirting and occupying a river, are included in Jan Brueghel’s design. The artist here has modified the principal setting, lowering the makeshift ceiling above the protagonist, and thus packing the beasts in more closely. He has also added a charming element to the narrative whereby the temptress’s companion leans in to whisper something in her ear just as she taps St Anthony on the shoulder.
Other than the Schongauer engraving Jan Breughel must also have looked at the engravings of his father, some of which seem to have provided the inspiration for several of the diabolic creatures; see for example his engraving 'Superbia' (Pride) from his series devoted to the seven deadly sins.
A painting of the same composition and the same dimensions is in the Museo Nacional de Escultura in Valladolid, Spain. The two versions correspond in their detail. The Valladolid version is said to have been commissioned by the Queen of Spain in 1605. A related painting on copper is last recorded with Galerie Sanct Lukas in Vienna in 1995. However it incorporates a far smaller number of the surrounding beastly devils.1
1. See K. Ertz and C. Nitze-Ertz, Jan Brueghel der Altere, vol. II, Lingen 2008-10, pp. 616-20, cat. no. 293, reproduced.
