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拍品專文
In a letter to the present owner of 25 November 1999, Professor Armin Zweite, the director of the Kunstsammlung Nordrein-Westfalen, confirms the attribution to Marten de Vos, having inspected the picture in the original. He compares this hitherto unpublished picture with an upright composition of the same subject by the artist in the Herzog Anton Ulrich-Museum, Brunswick (see A. Zweite, Marten de Vos als Maler, Berlin, 1980, p. 290, no. 76, illustrated). He dates both pictures to circa 1570-1575.
A print of the same subject, also in horizontal format, by Antonie Wierix after Marten de Vos (dated 1585) shows a similar composition (ibid., fig. 199). However there are numerous differences: most noticeably, in the picture, Abraham's head is depicted in three-quarter profile, looking up to his left at a different angel, and the incense burner is positioned to his right instead of his left. In the print, the artist decided to exclude the figures of Abraham and Isaac walking to the place of Sacrifice, as depicted in the centre of the picture. The simultaneous depiction of several passages of a story in the same picture was probably considered somewhat old-fashioned by the time the print was made and was therefore omitted. Furthermore, the extended landscape - depicted in great detail - and colourful sky are different in the print, as is the position of the two men resting by Abraham's donkey. These differences suggest that, although the print reminds one of the present picture, it does not derive from it, but rather from another work the artist painted later in his career.
A print of the same subject, also in horizontal format, by Antonie Wierix after Marten de Vos (dated 1585) shows a similar composition (ibid., fig. 199). However there are numerous differences: most noticeably, in the picture, Abraham's head is depicted in three-quarter profile, looking up to his left at a different angel, and the incense burner is positioned to his right instead of his left. In the print, the artist decided to exclude the figures of Abraham and Isaac walking to the place of Sacrifice, as depicted in the centre of the picture. The simultaneous depiction of several passages of a story in the same picture was probably considered somewhat old-fashioned by the time the print was made and was therefore omitted. Furthermore, the extended landscape - depicted in great detail - and colourful sky are different in the print, as is the position of the two men resting by Abraham's donkey. These differences suggest that, although the print reminds one of the present picture, it does not derive from it, but rather from another work the artist painted later in his career.