JACOMO VICTORS | THREE PIGEONS AND A ROOSTER BY A PAIL OF WATER

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.