Isaak Soreau Frankfurt-am-Main 1604 - in or after 1645

Inherited by the present owner from his father.

"The following condition report has been provided by Sarah Walden, an independent restorer who is not an employee of Sotheby's. This painting is on a fairly thin unbevelled panel, in a single piece probably of oak but with an unusual swirling grain, and possibly of another wood. It has no cracks or no extraneous bars behind and appears beautifully flat, although there does seem to have been flaking in the past, but this might equally have had to do with the adhesion within the paint layers or inconstant atmospheric conditions. However the panel appears to be firm and stable, and with no sign of raised paint or movement. There has been a comparatively recent restoration, and some older retouching rather less visible under UV. Much of this older retouching is in the background and on the ledge surrounding the basket. Interruptions in the original craquelure can be seen in much of this area, and particular wear in the shadow to the right of the basket, with some retouched flaking losses. There may be fewer lost flakes in the dark background and more strengthening of rather thinner paint, fairly extensively towards the sides. Certain parts of the still life itself have also clearly needed reinforcing, especially the darker grapes, which are widely retouched, while the green grapes are beautifully intact. Several patches in the oranges also seem to have been lost and retouched, one quite recently in the orange on the ledge to the left, and one or two older retouchings can be seen in the other oranges at upper left for instance and near the centre. The vine leaves are largely finely intact, sometimes slightly more transparent naturally with age, but almost all undamaged, as are the lovely orange and cherry leaves. The insects have survived well generally apart from a slightly ghostly dragonfly near the top by the grapes. The carnation and cherries are also in good condition. This report was not done under laboratory conditions."
"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."

Although trained with his brother Peter in the still-life tradition of their native Hanau, Isaak was profoundly influenced by Jacob van Hulsdonck in Antwerp, where he is thought to have settled.¹  His works and Hulsdonck's have sometimes been confused, but in fact he had a distinctive style of his own.  Characteristic of him is the vine spray which extends beyond the top of the composition, and the motif of mulberries sitting on a leaf, which is almost a signature, appearing consistently in the lower right of his compositions.²  His brushwork too differs from Hulsdonck's.  His characteristic delicate feathery handling can be recognised particularly clearly in the present picture in the handling of the grapes.

Of the slightly more than fifty works currently known of Isaak Soreau, only five are signed, and three dated (two of those are from 1638). 

We are grateful to Dr. Gerhard Bott for confirming the attribution.  Dr bott, who was unaware of this picture when he published his catalogue raisonné on the artist, dates it circa 1630-40.


1.  The Antwerp brand on the reverse of the present panel is further evidence of his residency in Antwerp.
2.  To be seen, for example, in the picture in the Hessisches Landesmuseum, Darmstadt; those with the Hallsborough Gallery, London, 1957, and P. de Boer, Amsterdam, 1962; and the one sold in these Rooms, 11 December 1996, lot 25; see G. Bott, Die Stillebenmaler Soreau, Binoit, Codino und Marrell in Hanau und Frankfurt 1600-1650, Hanau 2001, pp. 180-81, nos. WV.IS 26-30, all reproduced.