View full screen - View 1 of Lot 130. CHARLES COLLINS |  STILL LIFE WITH GRAPES, PEACHES, PLUMS AND OTHER FRUIT, A PORCELAIN BOWL, AND A BLUE TIT, ALL ON A DRAPED TABLE.
130

CHARLES COLLINS | STILL LIFE WITH GRAPES, PEACHES, PLUMS AND OTHER FRUIT, A PORCELAIN BOWL, AND A BLUE TIT, ALL ON A DRAPED TABLE

The Property of a Lady

CHARLES COLLINS | STILL LIFE WITH GRAPES, PEACHES, PLUMS AND OTHER FRUIT, A PORCELAIN BOWL, AND A BLUE TIT, ALL ON A DRAPED TABLE

CHARLES COLLINS | STILL LIFE WITH GRAPES, PEACHES, PLUMS AND OTHER FRUIT, A PORCELAIN BOWL, AND A BLUE TIT, ALL ON A DRAPED TABLE

The Property of a Lady

CHARLES COLLINS

London 1680 - 1744

STILL LIFE WITH GRAPES, PEACHES, PLUMS AND OTHER FRUIT, A PORCELAIN BOWL, AND A BLUE TIT, ALL ON A DRAPED TABLE


signed and dated lower left: C. Collins. F.1729

oil on canvas

unframed: 59.9 x 50.6 cm.; 23⅝ x 19⅞ in.

framed: 76 x 66.9 cm.; 29⅞ x 26⅜ in.


Please note: Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot


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The canvas is lined, the paint surface is relatively clean, and the varnish is very dulled and matte. A distinct network of craquelure has developed, visible throughout the painting. A horizontal stretcher mark is visible running through the centre of the canvas. Inspection under ultraviolet light reveals pin-prick retouchings throughout the grapes, some fine lines of retouching in the dark background in the upper half of the painting to the aforementioned network of craquelure, as well as some slightly more concentrated areas of retcouching to a T-shape line in the peaches approx. 3 x 11cm., and to two smaller lines in the vine leaf and stalk of the grapes (the longer of which measures approx. 5cm.). There is also retouching to two short lines in the open fig and grapes on the left, each approx. 2cm. long. There are other retouchings scattered around the margins, most notably to an area in the ledge lower left approx. 1 x 4cm. These do not disturb the overall legibility of the image which will benefit from a refreshed varnish.


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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

With Spink, London;

From whom acquired by the parents of the present owner in the 1980s, for £6,500;

Thence by descent.

Charles Collins painted mainly depictions of animals and birds. In his Anecdotes of Painting, George Vertue noted that Collins 'painted all sorts of fowl and game. He drew a piece with a hare and birds and his own portrait in a hat.'1 Collins looked to 17th-century Dutch art for inspiration, and the present work is a fine example of his homage to the still lifes of the Dutch Golden Age.


1 G. Vertue, Anecdotes of Painting in England, H. Walpole ed., London 1762, vol. 2, p. 122.