François Habert

With Galerie de Jonckheere;
Anonymous sale, Christie's London, 7 July 2000, lot 48;
There acquired by the present collector. 

Paris, Musée du Petit Palais, Peintres de Fleurs en France 17e-19e Siècles, 19 May – 2 September, 1979, no. 13.

M. Faré, Le grand siècle de la nature morte en France, le XVIIe siècle, Fribourg, 1974, p. 271;
E. Coatalem, La nature morte française au XVIIe siècle, Dijon 2014, p. 186, reproduced p. 187. 

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This work on panel is reinforced with a wooden framework on the reverse, and the reverse of the panel has been painted. The paint layer is very stable, and no cracks have developed in the wood. However, there is a noticeable warp in the panel, most prominently in the upper right. The condition of the paint layer is extremely good. There are a few small retouches in the darker colors of the background and across the bottom of the picture beneath the table. There are only a couple of small dots in the still life itself, including a spot of retouching in the white narcissus in the center. If the varnish were slightly freshened, the painting could be hung as is.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

François Habert was active in Paris from about 1643-1652, though little is known about his life, including whether he was French or Flemish.  As Eric Coatalem notes, the prices listed for his paintings in 18th century inventories indicate that he was an important and successful artist.¹  His paintings, of which only a handful are known today, range from large-scale, grand tablescapes with ornate fabrics, food, and objects to more restrained compositions such as the present painting.

1. See Coatalem, under Literature, p. 184.