Jacob de Wit Amsterdam 1695 - 1754

With D. Katz, Dieren, before 1940;
Goudstikker-Miedl, who bought it from Katz on 7 August 1940, (according to the Goudstikker-Miedl files at the R.K.D.);
With Goudstikker- Miedl 1940, where bought by
A private collector, Danzig, on 28 March 1944, for 1.250 guilders,
Thence by descent.

We have consulted the heirs to Jacques Goudstikker who have confirmed that they have no claim to this work.

The actual painting is less bright and has less contrast in the colours than the catalogue illustration suggests. The canvas is relined. The paint surface seems to be in good condition. A few small discoloured retouchings are visible to the naked eye in the sky, as shown in the catalogue illustration. A filled and retouched paint loss is visible next to Triton. The paint surface is under a distinctive and coarse craquelure pattern, the varnish is dirty and discoloured. Inspection under UV-light confirms abovementioned retouchings and additional ones in the clouds and in Triton and some minor strengthening in some of the figures as well as in the ceiling's framework. Offered, seperate, with a carved and gilt wood frame, in good condition, a few chips. (JD)
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Following the tradition of Rubens, Jacob de Wit often made oil sketches for his ceiling paintings as an intermediary stage between his preliminary drawing and the final work. These designs were meant to show the artist's creation to which the patron could add changes or approve the work.

The sketch features two of the Three Fates (Schikgodinnen) typically represented by female figures either spinning and measuring or cutting off the thread of life. The upper figure, clad in yellow drapery, is both holding the shears to snip the thread and a bale of wool. She is accompanied by one of the other Fates, also carrying  wool on her.

The inclusion of Mercury and Triton (a rivergod) could possibly refer to an allegorical representation of the textile trade, reinforced by the prominent position of the sheep. Consequently, but rather speculative, this design might have been intended for a cloth merchant's dwelling.

Originally the present work must have been larger, since the edges with the four grisaille putti are cut down.