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Workshop of Joachim Patinir (Dinant or Bouvignes c. 1480-1524 Antwerp)
This lot is offered without reserve. THIS LOT IS SOLD WITHOUT RESERVE
Workshop of Joachim Patinir (Dinant or Bouvignes c. 1480-1524 Antwerp)

Saint Jerome in the Wilderness

Workshop of Joachim Patinir (Dinant or Bouvignes c. 1480-1524 Antwerp)
Saint Jerome in the Wilderness
oil on panel
13¾ x 10¾ in. (35 x 27.3 cm.)
Paul Cassirer, Berlin, by 1926.
Dr. M. Mierowsky, Berlin.
Musée d'Art et d'Histoire, Geneva, on loan, 1948.
with Wildenstein, London, 1959.
M.J. Friedländer, Die Altniederländische Malerei, Leiden, 1934, IX, p. 158, no. 241, as 'Circle of Patinir.'
H. Skipp, 'Current shows and comments', Apollo, LXX, no. 414, August 1959, pp. 13-14, as 'Patinir'.
R.A. Koch, Joachim Patinir, Princeton, 1968, pp. 46-7, 82, no. 30a, fig. 65.
H.G. Franz, Niederländische Landschaftsmalerei im Zeitalter des Manierismus, Graz, 1969, II, p. 13, fig. 13.
M.J. Friedländer, Early Netherlandish Painting, New York, 1973, IXb, p. 123, no. 241, pl. 229, fig. 241, as 'Patinir'.
H. Friedmann, A Bestiary for Saint Jerome: Animal Symbolism in European Religious Art, Washington, D.C., 1980, p. 338, as 'Workshop of Patinir'.
London, Wildenstein, Paintings by Rembrandt, Boucher, Cézanne, Hals, Guardi, Gauguin and others, 17 June-1 August 1959, no. 22.
London, Wildenstein, Religious Themes in Painting from the 14th Century Onwards, 16 March-5 May 1962, no. 32.
Brussels, Koninklijke Musea voor Schone Kunsten, De eeuw van Brueghel: de schilderkunst in België in de 16de eeuw, 27 September-24 November 1963, no. 187.
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This lot is offered without reserve.

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Alexandra Nicholls
Alexandra Nicholls

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Lot Essay

The subject of Saint Jerome in the Wilderness is one that was treated on a number of occasions by Patinir and his workshop. The composition of the present studio version is perhaps closest to a version by Patinir in the Prado, although certain elements appear to be direct quotations from other versions: for instance, the figure of Saint Jerome appears in nearly the same position, in reverse, in a triptych in the Metropolitan Museum of Art, New York, while the red cloak draped over the branch is identical to one in a version in the Musée du Louvre, Paris.

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