Felice Fortunato Biggi, called 'Felice dei Fiori' Active in Verona towards the end of the 17th and beginning of the 18th centuries

Anonymous sale, London, Sotheby's, 11 December 1974, lot 48, where acquired by the present owner.

E. Safarik & F. Bottari, in F. Zeri ed., La natura morta in Italia, Milan 1989, vol. I, p. 334, reproduced on p. 338, fig. 396.

The painting is less yellow, less contrasted and more colourful than the catalogue illustration suggests. The canvas has been relined and the lining is still strong. The painting is not dirty and the varnish layer is only slightly discoloured and opaque. The paint surface is in excellent condition, with the impasto on the flowers beautifully preserved. No restoration is visible under ultra-violet light except an area in the extreme lower right corner (where there is a 12cm. line of retouching) and some minor paint loss along the extreme edges. The painting is in excellent condition and a fresh varnish layer will liven it up considerably. This lot is offered unframed.
"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."

The brushwork is typical of the North Italian still-life painter Felice Fortunato Biggi, to whom this painting was attributed when it first appeared for sale over thirty years ago. It has since been published as a mature work by the artist, its handling and composition being likened to those of Gaspare Lopez, who was also working in the Veneto during the first quarter of the 18th century. Biggi, whose nickname was 'Felice dei Fiori', took over Mario dei Fiori's role as one of the most important flower-painters working in Italy towards the end of the 17th and early 18th centuries.