Jacob Fransz. van der Merck ('s-Gravendeel circa 1610 - 1664 Leiden) and Cornelis Jansz. de Heem (Leiden 1631 - 1695 Antwerp)

Private collection, Westphalia;
Art market, 1961;
Anonymous sale, Paris, Cornette de St.Cyr, April 16, 1986, lot 69.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This painting has recently been restored and although the retouches could be augmented slightly, the picture could be hung as is. The reverse of the panel has been cradled, the paint layer is stable and the panel is flat. Retouches are very accurate and concise for the most part. They address the three original joins in the panel which run horizontally, some abrasion primarily in the background, to a lesser degree in the parrot and even less so in the still life itself. The still life and the bird still appear quite fresh. However, there is considerable retouching in the background which although attractive, does need to be mentioned. Further retouches could be applied to the tail of the parrot, particularly to strengthen some of the abrasion, yet overall the picture is very presentable and could be hung as is.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This elegant still life is unusual in that it was painted by two different and distinct artists - Jacob Fransz. van der Merck and Cornelis de Heem  - working at least thirty years apart. 

As Fred G. Meijer of the Rijksbureau voor Kunsthistoriches Documentatie, The Hague, points out, Van der Merck originally conceived the composition along far more sober lines, probably during the 1640s.  By the 1670s or early 1680s, the painting would have seemed somewhat out of date and thus De Heem adapted it to a more modern taste. This he achieved by adding the flowers and the strongly coloured orange and plums to the right; indeed, the addition of the orange may have been added in recognition of the young stadtholder Willem III of the house of Orange. That De Heem was satisfied with his contribution is corroborated by the fact that he subsequently signed the painting, possibly obliterating Van der Merck's original signature in the process. The practice of 'modernising' paintings was not uncommon; Gerrit Willemsz. Heda's Still life with a nautilus cup and an overturned tazza of 1646 that sold London, Sotheby's, December 5, 2007, lot 40, was later adapted by Pieter de Ring who, some ten years later, added the fruit, tablecloth and dark background.