Jacob Marrel

Anonymous sale, London, Christie's, 22 June 1936, lot 137 (as 'J. Moortel').

The painting is less yellow and brighter than the catalogue illustration suggests. The panel support consists of three horizontal flat and stable panels which are secured on the reverse by three horizontal battens. The paint surface is secure and stable under a glossy varnish with the impasto well preserved. Inspection under UV light reveals retouchings along the lower panel join. These are not obtrusive and have been sympathetically applied. Some further retouchings flouresce in the melon centre left, around the oranges lower right and some specks in the oranges themselves, some retouchings in the central fruit, in the darker shades of the leaves and aound the leaves upper centre and centre right, and along the upper panel join. The main central section of the fruit apears untouched and well preserved. Offered in a later carved and 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."

We are grateful to Drs. Fred G. Meijer of the R.K.D. in The Hague, for identifying this as a late work by Jacob Marrel, following first-hand inspection. The second 'r' of the signature has been subsequently altered into a 't' in an attempt to transform the signature into that of Jan Mortel. The calligraphy of the signature is Marrel's, however, and it corresponds to that of a similar work by him in a German private collection (see RKD website no. 190239; sold Zurich, Koller, 21 June 1985, lot 5040). With the latter work the present panel has much in common, notably the very particular execution of the grapes, vine leaves and stalks, as well as the strongly horizontal arrangement of objects along the table-top.