Hendrick van der Burch

Frauenholz collection, Nürnberg;
S. C. Michel, Mainz, before 1886;
His sale, Berlin, Rudolph Lepke, 27 February, 1917, lot 30 (as by Pieter de Hooch);
Dr. W. von Pannwitz, Berlin;
Collection of Catalina von Pannwitz, Berlin and Amsterdam.

Dusseldorf, Dusseldorf Kunsthalle, Bilder von älteren Meister, 1886, no. 58 (as by Pieter Codde);
Mainz, Mainz Stadttheater, Bilder aus Mainzer Privatbesitz, 15 May-6 June 1887, no. 46 (as by Pieter Codde);
Rotterdam, Rotterdam Boymans Museum, Vermeer:oorsprong en invloed: Fabritius, De Hooch, De Witte, 7-19 September 1935, no. 32 (as by De Hooch).

W. Bode, in Repertorium für Kunstwissenschaft, vol. 10, 1887, p. 34 (as by P. de Hooch);
H. Thode," Die Ausstellung von Gemälden aus Mainzer Privatbesitz in Mainz im Mai 1887", in Dr. H. Janitschek, Repertorium für Kunstwissenschaft, vol. 10, Berlin and Stuttgart 1887, p. 412;
C. Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII Jahrhunderts, Esslingen 1908, vol. I, p. 551, cat. no. 270 (as by Pieter de Hooch);
A. de Rudder, Pieter de Hooch, Brussels and Paris 1914, p. 102 (as by Pieter de Hooch);
M. J. Friedländer, Die Kunstsammlung von Pannwitz, I, Munich 1926, p. 11, no. 52, reproduced pl. XLI, no 52 (as by Pieter de Hooch);
Clotilde Brière-Misme, "Tableaux inédit ou peu connus de Pieter de Hooch", in Gazette des Beaux Arts, 1927, pp. 370, 376, 378, reproduced p. 367 (as by Pieter de Hooch);
W.R. Valentiner, "Pieter de Hooch Part Two", in Art in America, vol 15, 1927, p. 68, note no. I (as by de Hooch);
W.R. Valentiner, "Pieter de Hooch: The Master's Paintings in 180 Reproductions", in Klassiker der Kunst , vol. 35, Berlin-Leipzig 1929, reproduced p. 21 (as by Pieter de Hooch);
C. H. Collins Baker, "De Hooch or not De Hooch", in The Burlington Magazine, vol 57, no. 331, October 1930, p. 198 (as by Pieter de Hooch);
P. Sutton, Pieter de Hooch, Ithaca 1980, pp. 122-123, cat. no. B9, reproduced pl. 173.

The panel is made from a single piece of wood which is flat, stable, and cradled. Overall this picture is in good condition with much original paint still preserved. The palette is monochromatic yet still retains a richness, with some original impasto still in-tact. UV light reveals slightly dirty varnish which could respond well to a light cleaning. A few small scattered retouches are visible in the background, however these are not disturbing at all. Overall in a nice state of preservation. In a carved wooden frame with a gilt liner.
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.

The present painting was first attributed to De Hooch by Hofstede de Groot (see literature). This was subsequently supported by Friedländer and Valentiner. Peter Sutton listed it in his 1980 catalogue raisonné (see literature) as tentatively attributed to De Hooch. He has subsequently ascribed this work to Hendrick van der Burch, who was most probably De Hooch's brother in law and painted similar tavern scenes. 

We are grateful to Peter Sutton for confirming the attribution (verbal communication).