Jacob Jordaens and Workshop

M. de Coninck, Brussels;
With Galerie K. Haberstock, Berlin, by 1928;
Edith Mendelssohn- Bartholdy, London, by 1944;
Lady Annan;
By whom sold, London, Sotheby's, 14 May 1986, lot 23, for £25,000 (as Studio of Jacob Jordaens);
Mrs. M. Ullstein, London.

Brussels, Musée d'Art Ancien, Exposition d'oeuvres de Jordaens et son Atelier, 27 October - 12 November 1928, no. 11.

L. van Puyvelde (ed.), Jordaens et son Atelier, exhibition catalogue, Brussels 1928, pp. 12-13, no. 11 (as Jordaens);
L. van Puyvelde, Jordaens, Brussels 1953, p. 38, reproduced p. 49, fig. 29 (as Jordaens);
M. Jaffé, Jacob Jordaens, exhibition catalogue, Ottawa 1968-9, p. 125 (as Workshop of Jordaens);
State Pushkin Museum of Fine Arts. Catalogue of Paintings, Moscow 1995, p. 441.

The canvas has been recently cleaned, relined and restretched. Overall in reasonably good condition. The paint surface has suffered from wear in a number of areas in the past: in the sky, the ox, in the Virgin's robe and in the foreground. Inspection under ultraviolet light reveals these areas to have been retouched in order to disguise the wear, and shows in addition delicately-executed infilling of craquelure in the cupids' fleshtones, in the face of the angel, in Saint Joseph's robe and in the fleshtones of the Virgin and child. There are also some scattered retouchings in the sky, along the left, upper and right margins and in the dark foliage. This lot is offered in a late, heavy carved gilt wood frame in the French style, with some scrapes and surface knocks, but structurally sound.
"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."

This is a secondary version of Jordaens' larger canvas in the collection of Baron Borrekens (100 by 185cm). Both paintings were executed in the same year, 1641. Amongst other versions are those in the Pushkin Museum, Moscow (135 by 201cm); sold New York, Christie's, 15 October 1992, lot 64 (122 by 174cm); and Van Gelder collection, Brussels (113 by 114cm). The composition very loosely derives from Rubens' treatment of the subject in the museum in Kassel.

Leo van Puyvelde (see Literature, 1953) mentions the painting as signed and dated 1641 (I.Ior. Fe 1641). The signature (but not the date) is also mentioned on the Witt Library mount citing the ownership of Haberstock in 1928.

Jaffé (see Literature, 1968), mentions both the present lot and the Borrekens version as workshop replicas, giving primacy to the Pushkin version. Julius Held considered the Borrekens version as the prime original.