Marten van Valckenborch

Anonymous sale, Copenhagen, Bruun Rasmussen, 17 May 1984, lot 8;
Anonymouse sale, Zurich, Eberhart Auktionen, 31 May 1989, lot 469;
Private Collection, Switzerland.

A. Wied, Lucas und Marten van Valckenborch. Das Gesamtwerk mit kritischem Oeuvrekatalog, Freren 1990, cat. no. 29, pp. 239, 262, reproduced, plate 32.

There is a recent glue relining. the paint surface is generally well retained in the foreground areas which have nice retention of the detail. the sky and distant landscape have been rather pressed, but these areas still read well. under ultraviolet: there is a repaired compound tear in foliage at upper right, other retouching in sky at center and upper left (to address what appears to be another tear or puncture). other scattered small retouches here and there in landscape. In a black frame with gilt scrolled ornamentation at corners and cente, and gilt inner and outer edges.
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.

In his monograph on Marten and Lucas van Valckenborch (see Literature), Alexander Wied dates the present painting to the 1590s.  Marten's early works closely follow the style of his brother Lucas; the present picture marks one of the first examples of the broader, more sinuous style that Marten began to develop shortly before his brother's death in 1597.  Wied notes that it almost certainly formed part of a series of the seasons, with its depictions of the traditional autumn labors of fruit picking (September), grape harvesting and wine making (September/October) and the fattening of pigs (November).  The naturalistic rendering of the changing leaves on the large oak is highly unusual in 16^th century painting, and the fact that Valckenborch executed Autumn scenes on numerous occasions attests to the popularity of the image.¹

1. See Literature, Wied 1990, cat. nos. 10, 20, 22, 27 and 33.