THE PROPERTY OF A PRIVATE COLLECTOR
Laurens Bol (see Literature) saw an almost puritanical simplicity in this intimate still life, composed on a diagonal, which he viewed as prefiguring Adriaen Coorte's similarly composed still lifes of fifty or more years later. In fact, Fornenburgh's still lifes including this one, reflect the influence of his townsman Jacques de Gheyn.
For a related composition, in which the butterfly, the lizard and the mouse recur, the latter two in reverse, see P. Gammelbo, Dutch Still-Life Painting from the 16th to the 18th Centuries in Danish Collections, 1960, pp. 34-5, no. 33, reproduced. The same rose recurs in another simple Fornenburgh composition with a lizard and a tulip aranged on a stone ledge set on a diagonal in a painting formerly with Cramer, The Hague.1
1. See L.J. Bol, Goede Onbekenden, Utrecht 1982, p. 88, reproduced p. 89, fig. 5.
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