Jan de Bray

Siegfried Bendixen (1786-1864), Hamburg and London;
By whom sold, London, Christie's, 17 December 1836, lot 35, for £1-2s. to Elfred Blaker;
F.E. Lintz, The Hague;
By whom sold, Amsterdam, Frederik Muller & Cie., 27 April 1909, lot 76 (according to Hofstede de Groot, cited by Von Moltke under Literature);
Arthur Kay (1861-1939), London and Tregortha, Winton Drive, Glasgow;
Captain von Geyer, Vegeholm, Sweden, by 1938;
Thence by descent.

A. von Wurzbach, Niederländisches Künstler-Lexikon, vol. III, Leipzig 1911, p. 38;
J.W. von Moltke, 'Jan de Bray', in Marburger Jahrbuch für Kunstwissenschaft, vol. 11/12, 1938-39, p. 469, cat. no. 37;
J. Giltaij, Jan de Braij 1627/1628-1697. Schilder en Architect, Zwolle 2017, pp. 87-88 and 312, cat. no. 13 and under cat. no. T90, reproduced in colour p. 87.

In overall very good condition. The panel is formed of a single plank, which is uncradled, flat and stable. The paint surface is dirty and the varnish is very discoloured. There are small spots of discoloured retouching visible in the sky through the open door. Inspection under ultraviolet light is impeded by the thick, milky varnish but reveals a more recent retouching to a loss at the top of Mercury's foremost sandal. Offered in a plain, stained wood frame in very good condition.
"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 subject, taken from Ovid's Metamorphoses, served as an admonition not to succumb to envy. Three sisters, returning from the festival of Minerva and carrying sacred baskets on their heads were espied by Mercury, who immediately fell in love with Herse, the most beautiful of them. Another of the sisters, Aglauros, was consumed with jealousy, and in the scene depicted here, implored Mercury not to enter her sister's chamber. He will touch her with his wand, and she will be turned to black stone, reflecting the nature of her thoughts. 

Jan, and his father Salomon de Bray made finished drawn copies after their own and others' paintings, often dated to the day, and Salomon's other sons Dirck and Joseph de Bray continued the family studio practice, copying paintings by their father and elder brother. Joseph drew a copy after the present painting which is now in the Rijksprentenkabinet, Amsterdam, which he signed and dated Josepho. 1658 2/6.¹ The date, 2nd February 1658, reveals that the painting, also dated 1658, was finished by the very beginning of February of that year. The drawing is also inscribed with a precise description of the subject.

As Pieter Biesboer noted, Jan de Bray's early history pictures from the decade of the 1650s are dominated by the influence of his father Salomon. This is certainly true of the present example, with its small scale and muted colours.² 

1. See Giltaij 2017, p. 312, cat. no. T90, reproduced in colour.
2. See P. Biesboer (ed.), Painting Family: The De Brays, exh. cat., Zwolle 2008, p. 19.