Property from the SØR Rusche Collection
Amsterdam? 1640 - 1705 Amsterdam
THREE PIGEONS AND A ROOSTER BY A PAIL OF WATER
signed and dated centre right: JAcomo Victors / f: / 1672
oil on canvas
unframed: 73.6 x 89.7 cm.; 29 x 35¼ in.
framed: 87.5 x 103 cm.; 34½ x 40½ in.
Please see shipping calculator link: click here.
The canvas is lined, the paint surface is stable, with a relatively clear and even varnish. There are no major damages visible to the naked eye. Inspection under ultraviolet light reveals very little; the varnish fluoresces opaque, making previous restoration difficult to discern, although there would seem to have been an old horizontal tear, approximately 10in. long, running from the pail through the leg of the rooster, to the beam at the right (running through the first part of the signature), with two tears running off this, towards the lower edge of the canvas. This damage has been well-restored and is not immediately visible. There appear to be further repairs to small tears at the lower left margin. There also appears to be an area of restoration in the upper right corner. Other small restorations appear to be of a more cosmetic nature. In overall fair 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, Sotheby Mak van Waay, 10 April 1957, lot 406;
F.C. Butôt, Sankt Gilgen, Austria, from whom acquired.
Salzburg, Museumpavillon im Mirabellgarten, 12 July – 12 September 1972; Münster, Westfälisches Landesmuseum, 26 September 1972 – 14 January 1973, Niederländische Kunst aus dem Goldenen Jahrhundert, unnumbered;
Rotterdam, Museum Boymans-van Beuningen, Hollandse en Vlaamse Kunst uit de
17e eeuw, 16 February – 1 April 1973, unnumbered;
Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 129.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
Niederländisches Kunst aus dem Goldenen Jahrhundert--Gemälde und Zeichnungen im Umkreis grosser Meister aus der Sammlung F.C. Butôt, exh. cat., Salzburg 1972, p. 170, reproduced;
Hollandse en Vlaamse kunst uit de 17e eeuw: hoogtepunten van minder bekende meesters: schilderijen en tekeningen uit de verzameling F.C. Butôt, exh. cat., Rotterdam 1973, p. 170;
K.J. Müllenmeister, Meer und Land Licht des 17. Jahrhunderts. Tierdarstellungen in Werken niederländischer Künstler, vol. III, Bremen 1981, cat. no. 497;
L.J. Bol, G. Keyes and F.C. Butôt, Netherlandish paintings and drawings from the collection of F.C. Butôt by little-known and rare masters of the seventeenth century, London 1981, p. 64, cat. no. 15, reproduced;
L.J. Bol, Holländische Malerei nahe den grossen Meistern. Landschaften und Stilleben, Brunswick 1982, p. 235, reproduced fig. 221;
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 5, Stilleben und Tierstücke, Münster/Hamburg/London 2004, pp. 248–51, cat. no. 56, reproduced in colour;
W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 121, cat. no. 129, reproduced in colour.
Victors probably trained alongside Melchior d'Hondecoeter in the workshop of Jan-Baptiste Weenix in Amsterdam. After his training he left for Venice where he stayed for most of the 1660s, returning to the Netherlands by 1670. In Venice he enjoyed considerable success, and is also when he italianicised his name from Jacobus to Jacomo – as seen in the present painting. His work was to have a have a profound influence on the younger Venetian artist Giovanni Agostino Cassana.