Pieter Angellis

Probably Robert Child (d. 1782), 36 Berkeley Square, London and Osterley Park House, Middlesex;
Thence by descent to the present owners.

The signed and dated oval panel is cradled and flat. The paint surface appears to be in very good condition with no damage or loss of paint visible to the naked eye except for minor frame abrasion around the edges and evidence of an old well restored vertical split down the grain of the panel going through the seated man's hat, but this in only really visible under a raking light. Examination under ultraviolet confirms the aforementioend retouchings to the split and frame abrasion and reveals an uneven discoloured varnish which impedes inspection, but overall there appears to have been little intervention. Offered in a decorative gold painted frame with plaster roundels and an oval slip.
"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."

Pieter Angellis was born in Dunkirk and trained in Antwerp where he was Master of the Guild from 1715-16. In 1716 he moved to London and set up residence in Covent Garden. He stayed in England until 1728 and this attractive scene is typical of his style which combined the narrative vigour of Teniers with the elegant French refinement of Watteau, particularly apparent in his figure groups. His small scale genre scenes, such as this, which often feature still life arrangements of vegetables, proved particularly popular in English aristocratic circles.