David Cornelisz. de Heem

The actual painting is stronger in tone than the catalogue illustration suggests. The canvas has a stable relining. The paint surface appears in good condition. There's a small surface scratch in the background upper centre, and another smaller one in the lower left corner. A few small retouchings can be made out with the naked eye in the background, as well as a spot in the upper left corner. The paint surface is under a slightly dirty varnish. Inspection under UV light reveals only a few tiny additional ones in the table, the pumpkin and salt cellar and in some of the foliage. Offered in a plain parcel gilt wood frame in good condition.
"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."

Although clearly signed C. de Heem, from a point of view of style and handling, according to Fred Meijer, it is more likely that this is the work of his son David rather than that of Cornelis himself. However, father and son most probably shared a studio in The Hague around the time the painting was executed (c. 1685-90) and it may well be that Cornelis also signed the more successful products of his son. This certainly explains the curious overlap between the work of Cornelis and David de Heem, in which one can find still lifes by apparently the same hand signed C. de Heem one time and D. de Heem the other. Moreover, apart from the initials, the calligraphy of both signatures is virtually identical. See for example the work sold, London, Sotheby's, 8 July 1981, lot 109, which is signed C. de Heem, together with its pendant, but which should be regarded as by his son, David.