Herman Henstenburgh

Jhr. J. Goll van Franckenstein (L.2987, his number N^o444);
Conte Marenze, Bergamo, circa 1800;
sale, London, Christie's, 5 April 1977, lot 37

Hoorn, Westfries Museum, Herman Henstenburgh, Hoorns schilder en pasteibakker, 1991

Anne M. Zaal, 'Herman Henstenburgh 1667-1726,' Dissertation, Vrije Universiteit, Amsterdam, 1991,  no. A 036;
idem: Herman Henstenburgh (1667-1726), Hoorn 1991, reproduced p. 8, fig. 7 

Unframed. Remains of old glue staining along the right edge of the verso. Light scattered foxing throughout. The sheet has been slightly cut down at the upper edge. The vellum is somewhat buckled, mainly in the upper part of the sheet. Overall in good condition, the gouache still strong and fresh.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Herman Henstenburgh, together with his teacher Johannes Bronckhorst and son, Anton Henstenburgh, was one of a trio of notable natural history artists from the Dutch town of Hoorn, who also worked, perhaps primarily, as pastry-bakers.  These three artists define Dutch natural history drawing of the period around 1700, standing as a crucial stylistic link between the generally more scientifically motivated drawings of the 17th century, and the greater emphasis on decoration often seen in the works of subsequent generations.

From the time of the Tulip Mania, if not before, Dutch natural history draughtsmen had, perhaps in contrast to their painter colleagues, sought above all else to record and document faithfully the rich variety of species of the natural world, and even though their drawings were often very beautiful, they served primarily as catalogues of the contents of various collections of naturalia. Yet unlike their predecessors, Bronckhorst and Henstenburgh rapidly moved on from making drawings that simply recorded the appearance of a particular plant or animal, to making complete compositions which, while generally very accurate in terms of natural history, were clearly conceived first and foremost as decorative independent works of art.

Henstenburgh soon achieved a technique of astonishing virtuosity, in which immense refinement of touch and mastery of color combine to produce some of the most beautiful natural history watercolors of the period.