Adriaen van Utrecht

Anonymous sale ("Property of a Gentleman"), London, Christie's, 7 July 1995, lot 4;
There purchased by the present collector.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This painting has not been restored for many years and will clearly respond well to cleaning. The canvas has an early 20th century lining which for the most part is still supporting the large canvas very well. The paint layer is very dirty and when cleaned, more depth or brightness will be acquired throughout. While there are isolated spots of thinness and a few restorations visible to the naked eye, mainly on the ground beneath the baby chicks it the lower center and the brown peahen in the lower right, the condition seems to be marvelous and not visibly compromised in any area. The impasto is still quite lively and this is an unusually well preserved large picture from this period.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Van Utrecht, a Flemish painter (despite his name), received his early training as an apprentice to Herman de Ryt. Following his apprenticeship, he visited France, Italy and Germany to further his artistic education, and on 14 August 1624, he became master in the Antwerp guild of St. Luke. His oeuvre is mainly comprised of market scenes and still lifes of poultry, game, fish, fruit and vegetables. The present work is highly representative of the type of painting which made van Utrecht sought after in his native Antwerp, and in its abundance of animals also reflects the influence of the older Frans Snyders. It is one of the last works the artist ever executed, as he died in the very year it was painted,1652.

Another autograph version of the present composition, also signed and dated 1652 was formerly with Beisac Gallery, Wiesbaden. That work, according to the Rijksbureau voor Kunsthistorische Documentatie, The Hague, is the second version of the composition, while the present work appears to be the prime example.