Madonna and Child with the infant Saint John the Baptist, Saint Catherine of Alexandria, another female martyr saint, and God the Father, Pieter Fransz. Isaacsz.
Pieter Fransz. Isaacsz.
Helsingor 1569-1625
Madonna and Child with the infant Saint John the Baptist, Saint Catherine of Alexandria, another female martyr saint, and God the Father
oil on canvas laid on panel, the corners made up
unframed: 179.8 x 127.4 cm.; 70¾ x 50⅛ in.
framed: 209.6 x 156.4 cm.; 82½ x 61⅝ in.
Condition Report:
The canvas is laid down on a panel that is made up of three vertical planks, supported on the reverse with wooden and metal battens. The upper corners have been made up, along with a strip along the upper margin, where the panel was originally curved. The join just left of centre is visible under raking light, and there is some associated retouching. The paint surface is relatively clean with a yellowed varnish, and there is a slight degree of wear throughout. There are vertical lines of visible retouching where the paint has started to lift, for example in the Madonna’s face. And there are some surface scratches, including by the Virgin’s left elbow. Inspection under ultraviolet light confirms the aforementioned retouchings and further reveals areas in each of the figures, most notably in the Christ Child and the Infant Saint John the Baptist. There are larger retouchings throughout the drapery of the figures in the lower half of the painting, as well as along the join on the right. There is retouching in the form of a halo around the Madonna’s head. The retouchings have been sensitively executed and the painting is in overall moderate condition.
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Pieter Fransz. Isaacsz.
Helsingor 1569-1625
Madonna and Child with the infant Saint John the Baptist, Saint Catherine of Alexandria, another female martyr saint, and God the Father
oil on canvas laid on panel, the corners made up
unframed: 179.8 x 127.4 cm.; 70¾ x 50⅛ in.
framed: 209.6 x 156.4 cm.; 82½ x 61⅝ in.
Condition Report:
The canvas is laid down on a panel that is made up of three vertical planks, supported on the reverse with wooden and metal battens. The upper corners have been made up, along with a strip along the upper margin, where the panel was originally curved. The join just left of centre is visible under raking light, and there is some associated retouching. The paint surface is relatively clean with a yellowed varnish, and there is a slight degree of wear throughout. There are vertical lines of visible retouching where the paint has started to lift, for example in the Madonna’s face. And there are some surface scratches, including by the Virgin’s left elbow. Inspection under ultraviolet light confirms the aforementioned retouchings and further reveals areas in each of the figures, most notably in the Christ Child and the Infant Saint John the Baptist. There are larger retouchings throughout the drapery of the figures in the lower half of the painting, as well as along the join on the right. There is retouching in the form of a halo around the Madonna’s head. The retouchings have been sensitively executed and the painting is in overall moderate condition.
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