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JAN BAPTIST VAN FORNENBURGH | Still life of flowers in a Wan-Li porcelain vase, resting on a stone ledge with a mouse, observed by a scarlet macaw
估價
40,000 - 60,000 GBP
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招標截止
描述
- Still life of flowers in a Wan-Li porcelain vase, resting on a stone ledge with a mouse, observed by a scarlet macaw
- signed with monogram and dated lower centre: IB F. 1629
- oil on oak panel
- 24.7 x 31.3 cm.; 9 3/4 x 12 3/8 in.
來源
With P. de Boer, Amsterdam;
W. Reineke, Amersfoort, by 1962;
Private collection, Germany, 1988;
With Charles Roelofsz, Amsterdam 1992–93 (when exhibited both years at TEFAF, Maastricht).
W. Reineke, Amersfoort, by 1962;
Private collection, Germany, 1988;
With Charles Roelofsz, Amsterdam 1992–93 (when exhibited both years at TEFAF, Maastricht).
展覽
Dordrecht, Dordrechts Museum, Nederlandse stillevens uit de zeventiende eeuw, 21 July – 2 September 1962, no. 51;
Laren, Singer Museum, Modernen van toen 1570–1630 – Vlaamse schilderkunst en haar invloed, 15 June – 1 September 1963, no. 70;
Amsterdam, Gallery P. de Boer, 13 March – 11 April 1982; and 's-Hertogenbosch, Noordbrabants Museum, 29 April – 30 May 1982, A flowery past – A survey of Dutch and Flemish flower painting from 1600 until the present, no. 47;
Delft, Stedelijk Museum Het Prinsenhof; Cambridge, Massachusetts, Fogg Art Museum; and Fort Worth, Texas, Kimbell Art Museum, A Prosperous Past. The sumptuous still life in The Netherlands 1600–1700, 1988 – 1989, no. 22;
Amsterdam, Nieuwe Kerk, De Tulpen en de Kunst, 8 October – 6 November 1994, no. S14;
Vic-sur-Seille, Musée Départemental Georges de la Tour, Un Cabinet Imaginaire, Natures Mortes et Vanités du XVIIème Siècle, 10 May – 4 September 2005, no. 14.
Laren, Singer Museum, Modernen van toen 1570–1630 – Vlaamse schilderkunst en haar invloed, 15 June – 1 September 1963, no. 70;
Amsterdam, Gallery P. de Boer, 13 March – 11 April 1982; and 's-Hertogenbosch, Noordbrabants Museum, 29 April – 30 May 1982, A flowery past – A survey of Dutch and Flemish flower painting from 1600 until the present, no. 47;
Delft, Stedelijk Museum Het Prinsenhof; Cambridge, Massachusetts, Fogg Art Museum; and Fort Worth, Texas, Kimbell Art Museum, A Prosperous Past. The sumptuous still life in The Netherlands 1600–1700, 1988 – 1989, no. 22;
Amsterdam, Nieuwe Kerk, De Tulpen en de Kunst, 8 October – 6 November 1994, no. S14;
Vic-sur-Seille, Musée Départemental Georges de la Tour, Un Cabinet Imaginaire, Natures Mortes et Vanités du XVIIème Siècle, 10 May – 4 September 2005, no. 14.
出版
H.E. van Gelder, 'Jan Baptist van Fornenburgh de Oude', Mededelingen van de Dienst voor Kunsten en Wetenschappen, The Hague 1931, p. 242;
I. Bergström, 'Dordrecht impressions', Apollo, vol. 77, 1963, pp. 448 and 450, reproduced fig. 2;
P. Gammelbo, 'Some flower still lifes by Jan Baptist van Fornenburgh', Artes, Periodical of Fine Arts, vol. I, October 1965, pp. 9 and 12, cat. no. XIII;
S. Segal, A Flowery Past – A Survey of Dutch and Flemish Flower Painting from 1600 until the Present, exh. cat., Amsterdam 1982, p. 94, cat. no. 47, reproduced;
L.J. Bol, 'Goede onbekenden', Tableau, vol. 4, no. 3, December 1981/ January 1982, p. 260, reproduced fig. 3;
L.J. Bol, Goede onbekenden – Hedendaagse herkenning en waardering van verscholen, voorbijgezien en onderschat talent, Utrecht 1982, pp. 87–88, reproduced p. 87, fig. 3;
S. Segal and W.B. Jordan, A Prosperous Past. The Sumptuous Still Life in The Netherlands 1600–1700, The Hague 1988, pp. 108 and 234, cat. no. 22, reproduced in colour p. 107;
G. Diss and L. Turnherr, Un Cabinet Imaginaire, Natures Mortes et Vanités du XVIIème Siècle, exh. cat., Vic-sur-Seille 2005, pp. 18–19, cat. no. 14, reproduced.
I. Bergström, 'Dordrecht impressions', Apollo, vol. 77, 1963, pp. 448 and 450, reproduced fig. 2;
P. Gammelbo, 'Some flower still lifes by Jan Baptist van Fornenburgh', Artes, Periodical of Fine Arts, vol. I, October 1965, pp. 9 and 12, cat. no. XIII;
S. Segal, A Flowery Past – A Survey of Dutch and Flemish Flower Painting from 1600 until the Present, exh. cat., Amsterdam 1982, p. 94, cat. no. 47, reproduced;
L.J. Bol, 'Goede onbekenden', Tableau, vol. 4, no. 3, December 1981/ January 1982, p. 260, reproduced fig. 3;
L.J. Bol, Goede onbekenden – Hedendaagse herkenning en waardering van verscholen, voorbijgezien en onderschat talent, Utrecht 1982, pp. 87–88, reproduced p. 87, fig. 3;
S. Segal and W.B. Jordan, A Prosperous Past. The Sumptuous Still Life in The Netherlands 1600–1700, The Hague 1988, pp. 108 and 234, cat. no. 22, reproduced in colour p. 107;
G. Diss and L. Turnherr, Un Cabinet Imaginaire, Natures Mortes et Vanités du XVIIème Siècle, exh. cat., Vic-sur-Seille 2005, pp. 18–19, cat. no. 14, reproduced.
Condition
The single oak panel is uncradled, flat and stable. The paint surface is clean and the varnish is very slightly discoloured. Inspection under ultraviolet light reveals a thick varnish, underneath which fine, horizontal lines of retouching are visible scattered throughout the table, and in the background, centre left. More sparsely scattered, small spots are visible in the mouse and macaw, with a more concentrated area in the parrot's neck, as well as a handful of spots along the upper margin and in the upper right corner. Pinprick retouchings are visible in the pink bloom, centre left, and the vase, but the still life appears otherwise largely untouched. The painting is in overall good condition.
"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."
"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."
拍品資料及來源
The conjunction of a macaw and a flower still life is unusual in Dutch 17th-century painting, although this is the subject of Jeronimus Sweerts' only known signed work, which was included in the same exhibition as the present picture in 2005 in Vic-sur-Seille.1 Fornenburgh included a scarlet macaw in a painted study of various birds, a signed work that was with Johnny van Haeften in 2002. 1 Dated 1626; see Diss and Turnherr 2005, p. 40, reproduced.