PAUL DORIVAL | Still life with a basket of grapes

Mestrallet Collection, Paris, by 1962;
With Maurice Segoura, Paris, by 2000 (both the above as signed and dated 1660 on the reverse); 
Private collection, Paris. 

M. Faré, La nature morte en France, Geneva 1962, vol. II, fig. 130, reproduced (as signed on the reverse); 
C. Benedict, 'Petits Maitres de la Nature Morte en France', in: L'Oeil, nos. 91-92, July-August 1962, pp. 40 and 44;
M. Faré, Le Grand Siècle de la nature morte en France. Le XVIIe siècle, Fribourg/Paris 1974, pp. 144-145, reproduced (as signed and dated 1660 on the reverse);
C. Wright, The French Painters of the Seventeenth Century, Boston 1985, p. 177 (as signed and dated 1660 on the reverse);
C. Salvi, D'après nature. La nature morte en France au XVIIe siècle, Dornick 2000, pp. 76-77, reproduced (as signed and dated 1661 on the reverse);
E. Coatalem, La nature morte française au XVIIe siècle, Paris 2017, p. 150, reproduced on p. 151 (as signed and dated 1660 on the reverse).

The actual painting is warmer in tone than the catalogue illustration would suggest. The painting is in a satisfactory good condition. It has been correctly relined during the second half of the 20th Century which did not flatten the matter too much. The painting is under a slightly dirty varnish layer. We notice a vertical seam all along the painted surface, at ca. 13 cm from the left margin, but it does not bother the reading of the composition. We notice a restoration on the left of the basket, on the ledge between the two branches. Other discolored retouchings can be seen in the wooden brown table and some in the dark background. Under the UV light The painting is under a very thick green uniform varnish which fluoresces. We notice some former restorations at the lower left corner, on the ledge. The basket and the grapes in it seem to be well preserved. Offered with a carved and giltwood frame. Le tableau présente des couleurs en réalité plus chaudes que sur l’illustration au catalogue. Il est dans un état satisfaisant. Le tableau a fait l’objet d’un rentoilage correctement réalisé durant la seconde moitié du XXe siècle, qui n’a pas trop aplati la matière. Il se présente sous une couche de vernis légèrement sale. Nous observons une couture verticale tout le long de la surface picturale, à environ 13 cm du bord gauche, qui ne gêne pas la lecture de la composition. On remarque une restauration à gauche du panier, sur la table, entre deux branches. Des repeints désaccordés sont également visibles sur la table et d’autres dans l’arrière-plan plus sombre. A la lampe UV Le tableau se présente sous un vernis opaque épais et uniforme. On remarque d’anciennes restaurations à l’angle inférieur gauche, sur la table. Le panier et les grains de raisin semblent bien préservés. Dans un cadre en bois sculpté doré.
"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."

Widely published this decorative still life is one of only two known signed still lifes from Paul Dorival's corpus. Documented as signed and dated 1660 on the verso of its original canvas, this painting has since been relined. As an artist listed in the Grenoble region of France, we do not know much about his career as of yet. This work is thus a particularly interesting study for his œuvre. By the choice of this composition, the artist must have known works by Isaac Soreau or Louise Moillon.