Follower of Marinus van Reymerswael
Specified lots (sold and unsold) marked with a fil… Read more
Follower of Marinus van Reymerswael

Saint Jerome in his study

Details
Follower of Marinus van Reymerswael
Saint Jerome in his study
oil on panel
40 1/8 x 48 ½ in. (102 x 123 cm.)
Provenance
Anonymous sale [The Property of an Institution]; Christie's, London, 13 July 1979, lot 134, where acquired by a private collector until sold,
Anonymous sale; Christie's, London, 22 April 2005, lot 69.
Special notice
Specified lots (sold and unsold) marked with a filled square not collected from Christie’s by 5.00 pm on the day of the sale will, at our option, be removed to Cadogan Tate. Christie’s will inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at Christies.com/storage. Please call Christie’s Client Service 24 hours in advance to book a collection time at Cadogan Tate Ltd. All collections will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm. Lots are not available for collection at weekends.

Lot Essay

Wearing his customary anachronistic cardinal's garb, Saint Jerome sits at a table in his study, his left hand resting on his most recognizable attribute, the skull. The bookstand holds a tome open to a page showing the Last Judgment, which alludes to his meditations on the end of earthly existence and the vanity of life, as illustrated by the skull and the cross. Other items in the study also function as symbols of mortality, such as the candle on the shelf. Behind him sits the lion, in reference to the popular hagiographical belief that Jerome had tamed a lion in the wilderness by healing its paw.
Beginning in the fifteenth century, Saint Jerome became the patron saint of literati, and depictions of him as a penitent in the desert were joined by others of him in his studio, showing his work as an intellectual, surrounded by writing material and books. The saint is here shown aged and excessively thin. His forced gestures and the exaggerated shapes of his hands are characteristic of Marinus van Reymerswaele's depictions of the saint.

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