Follower of Jan Baptist Bosschaert

Both canvases have a recent relining and the paint surface has been pressed as a result. In the former the blue and purple pigments have suffered wear. Neither canvas has a particularly dirty paint surface. Inspection under ultraviolet light shows in the former an uneven varnish; a repaired tear in the lower left measuring 13 cm, another repaired horizontal tear upper centre measuring 11cm. There are scattered retouchings in the blossoms. In the latter there is also an uneven varnish, recent retouchings to the grapes and a 30 cm. scratch lower right corner. Furthermore there are small old scattered retouchings throughout the blossoms and fruit. There is possibly a very fine seam or repair arch across the upper half above the still life, but the reason for this is not obvious because we cannot view the reverse of the original canvas. Perhaps it is a mark from a smaller curved-top frame used previously. The line of the arch is also noticeable under raking light. The pair are offered in carved gilt wood frames, in good condition, apart from both have small knocks upper right.
"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."

The acanthus decorated rims visible on both krater vases, the mounts on the small Delft or Chinese vase with putti, and the mounts on the Japanese imari vase all appear to be Louis XVI, and therefore suggest that the painted vases may have been added later, or altered from their original appearance, to match the taste of a late eighteenth century collector.