Jacobus Linthorst

Anonymous sale, New York, Sotheby's, 18 June 1974, lot 133;
There purchased by Bernard Palitz. 

The panel is flat and stable with a horizontal grain and is cradled on the reverse. There are two fine repaired horizontal cracks running the width of the panel in the central and lower sections which have been filled and retouched and are visible in raking light. The paint surface is good overall with two small inpainted losses in the background byeside the basket at right, now discolored and a third in the below those in the ledge, each approximately 1/2 by 1/8 in. These could be reapplied if desired but the painting is otherwise ready to hang. A reading under UV is impeded by a the varnish but only minor retouches in the background appear to fluoresce along with older retouching to aforementioned cracks. Offered in an elaborately carved gilt wood 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.
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.

While little is known of Linthorst's artistic training, his bright palette and opulent compositions clearly reflect the influence of Jan van Huysum (1682-1749) and his contemporary Jan van Os (1744-1808).  Linthorst appears to have spent his entire life in his native Amsterdam and is recorded there as a member of the Guild of Saint Luke from 1789.  He was the teacher of the still life painter Jan Evert Morel (1769-1808).

This fruit and flower still life reveals Linthorst's fondness for dense and solid compositions of overlapping elements.It also demonstrates Linthorst's distinctive technique. He often used strong whites with thin strokes of colour, rather than glazing to a tinted colour, thus giving his pastel flowers and fruit a delicate and almost translucent appearance, as can be seen in particular in the grapes in this still life. 

We are grateful to Fred G. Meijer of the Rijksbureau voor Kunsthistorische Documentatie, The Hague, for confirming the attribution to Linthorst following first hand inspection.