The Deposition

細節

Workshop of Gerard David (Oudewater, nr. Gouda c. 1460-1523 Bruges)
The Deposition
oil on panel, arched top
14½ x 10½ in. (36.9 x 26.7 cm.)

來源

D. José d'Alava, Seville, no. 74; from whom bought in 1902 by
Dr. Joachim Carvallo (1869-1936), Paris.
Laurent Meeus, Brussels, by 1927, by whom given to the grandfather of the present owners.

出版

L. Amaudry, 'The Collection of Dr. Carvallo at Paris', The Burlington Magazine, XXII, no. 6, January 1905, p. 294, no. I, illustrated, as attributed to Gerard David, or Gerard David and Adriaen Isenbrandt.
E.F. von Bodenhausen, Gerard David und seine Schule, Munich, 1905, pp. 195-6, no. 43, illustrated, as Gerard David.
M. Conway, 'Gerard David's Descent from the Cross', The Burlington Magazine, CLXIV, no. 29, November 1916, p. 310, as maybe by David.
M.J. Friedländer, Early Netherlandish Painting, Leiden and Brussels, 1971, p. 104, no. 192b, pl. 200, as copy.
M.J. Friedländer, Early Netherlandish Painting, XI, Leiden and Brussels, 1974, p. 86, no. 165b, as Isenbrandt (listed as in the Laurent Meeus collection and then mistakenly listed as in the T.P. Grange collection, London).
H.J. Van Miegroet, Gerard David, Antwerp, 1989, p. 285, no. 15b, as copy.

展覽

London, Art Gallery of the Corporation of London, Exhibition of works by Flemish and modern Belgian painters, ed. A.G. Temple, May-July 1906, p. 48, no. 46, as Gerard David.
London, Royal Academy, Exhibition of Flemish and Belgian Art, January-February 1927, p. 144, no. 93, as Gerard David.

注意事項

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

拍品專文

The collection of Dr. Joachim Carvallo in Paris was examined by Léonce Amaudry in a series of three articles published in The Burlington Magazine (XX, no. 6, November 1904, pp. 95-6; XXI, no. 6, December 1904, pp. 179-91; XXII, no. 6, January 1905, pp. 294-312) where it was described as a 'collection of pictures which should include works of all schools, but chiefly of the Spanish school and of the primitive painters of every provenance'. In his last article, which was devoted to the early pictures of different schools, Amaudry detailed the attributional discussions around this picture, observing that 'the three persons on the left are indisputably by Gerard David' and that 'it is possible that the work may have been finished off by this pupil [Adriaen Isenbrandt]'.

Baron von Bodenhausen similarly attributed this panel to late David, and Friedländer included the painting in both the volumes on David and Isenbrandt (op. cit.). In fact, ultimately the composition relates to the painting by Gerard David in the Frick Collection, New York, of which there is an autograph replica in the Uffizi, Florence, as well as a replica attributed to Isenbrandt in the John and Mable Ringling Museum, Sarasota. Our painting only partly repeats the above composition, and in this it appears to be close to two other panels listed by Friedländer as on the Vienna art market, and in the Cathedral in Saragossa. Sir Martin Conway (op. cit.), on the basis of a photograph, believed that 'whether it is David or not, a version of this [abbreviated] type by David must have existed'.