Property from the SØR Rusche Collection
The Hague 1653 - after 1685
TROMPE L’ŒIL WITH A FALCON AND ITS PREY
indistinctly signed lower right: C.bilcius
oil on canvas
unframed: 62.9 x 44.5 cm.; 24¾ x 17½ in.
framed: 70.6 x 52.5 cm.; 27¾ x 20¾ in.
Please see shipping calculator link: click here.
The canvas is lined. The paint surface is clean - the varnish is clear and even. Inspection under ultra violet light reveals pin-prick retouchings throughout and some more concentrated retouching around the trompe-l'oeil frame. The painting is in overall good condition
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Anonymous sale, Amsterdam, Paul Brandt, 7 April 1975, lot 67, when acquired.
Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 5.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
K. Nicolaus, DuMont's Bild-Lexikon zur Gemäldebestimmung, Cologne 1982, pp. 197–98 and 203, reproduced pp. 199 and 204, figs 160c–d, and 164k–l;
K. Nicolaus, 'Signaturen - echt oder gefälscht', in Kunst & Antiquitäten, no. 3, Munich 1988, reproduced figs 9–11;
E. Gemar-Költzsch et al., Holländische Stillebenmaler im 17. Jahrhundert, Lingen 1995, vol. II, p. 111, cat. no. 29/2, reproduced in colour vol. I, p. 121, plate 13;
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 5, Stilleben und Tierstücke, Münster/Hamburg/London 2004, pp. 62–65, cat. no. 7, reproduced in colour;
W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 36, cat. no. 5, reproduced in colour.
Cornelis Biltius specialised in trompe l’œil depictions of game, hunting equipment and letter racks. Cornelis was originally from The Hague but worked in various locations in Germany from the 1670s and between 1680 and 1686 was in the service of the Oberhofmeister of the Electorate of Trier Von Bronsar.
This work was formerly overpainted so that the form of the bird in the falcon’s claws was disguised. It has now been returned to its original appearance, as has the signature, which had been adapted to suggest that the painting was the work of Cornelis' father, Jacob Biltius (1633–81).