Johannes Baers

Bönninghausen-van Nispen tot Sevenaer Collection, Wassenaar;
Private collection, Europe;
Thence by descent.

L. J. Bol, 'Goede onbekenden': hedendaagse herkenning en waardering van verscholen, voorbijgezien en onderschat talent, Utrecht 1982, p. 76, reproduced fig. 3;
E. Gemar-Koeltzsch, Holländische Stillebenmaler in 17. Jahrhundert, Lingen 1995, vol. 2, p. 64, cat. no. 11/4, not reproduced.

The canvas has an old but sound relining and has fairly recently been cleaned, re-stretched and restored. The picture is in very good overall condition, with no signs of any major damages or repairs. Ultra-violet light reveals scattered minor repairs, mostly in the in the background, strengthening to details of the grapes and the fruit in the basket and some strengthening to the shadows. The restoration has been well carried out, the varnish remains clear and even and the painting should require no further attention. Offered with a later parcel gilt and faux tortoiseshell frame
"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."

Little is known about the life and work of Johannes Baers. He may be the Hans Baers, recorded in 1618 as a member of the Antwerp Guild, but his working life seems to have been spent in Utrecht, and his work was recorded in Amsterdam inventories as well. His paintings clearly reflect the influence of both Roelandt Savery (1576-1639) and Balthasar van der Ast (1593/4-1657), both of whom were working in Utrecht in the 1620s. This is one of three works combining the motifs of both fruit and flower displays and enlivened by numerous insects, all of which bear a similar monogram. The others were those sold Cologne, Lempertz, 29 November 1968, which was also dated 1624, and a panel recorded with P. de Boer in Amsterdam in 1973, and later sold London, Christie's, 10 April 1981, lot 92.¹ His work has also been confused in the past with that of Van der Ast's nephew Johannes Bosschaert (circa1607-1628).

1. See Bol, under Literature, p. 77, reproduced fig. 4. The signature form appears to be identical to that on the present work.