Jan Baptist van Fornenburgh

With Alfred Brod, London, November 1970;
With P. de Boer, Amsterdam.

Amsterdam, Kunsthandel P. de Boer, Fine Old Master Paintings, June 1971, no 10.

"The following condition report has been provided by Sarah Walden, an independent restorer who is not an employee of Sotheby's. This painting is on an oak panel, partly bevelled along the top edge and with a single central joint. The panel has remained quite flat, with one brief old crack visible at centre left within the vase. The joint has been perfectly reglued perhaps half a century ago with a very fine line of retouching and butterfly supports behind. Apart from this fine line down the crack there is only an occasional tiny line of retouching down the faint grain of the wood in the tulips and a sprinkling of minute touches in the upper right background. The top and base edges have had some more recent scuffs from the frame retouched, particularly at the top left edge, and there are a few older vague, superficial brushstrokes in the moulding near the base, visible under ultra violet light. However the surface is beautifully unworn virtually throughout, with the depths of atmosphere and shadow around the flowers complete, as well as the glazes even within the deeper reds, and the minutiae for instance of the insects, so often worn legless. This report was not done under laboratory conditions."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Van Fornenburgh was born in Delft but was active in the Hague where he enrolled in the Painter's Guild in 1629.  Whilst he is most commonly described as a follower of Ambrosius Bosschaert he was also influenced by fellow Hague artist Jacques de Gheyn's botanical drawings and watercolours.  The influence of each artist is evident in the present work; the shells on the marble ledge are a motif derived directly from Bosschaert, as is the floral arrangment, while the muted palette recalls that of de Gheyn's watercolours.  In addition to the many panels he painted in the manner of Bosschaert (see also lot 54 in this sale), Fornenburgh also executed numerous highly detailed watercolours and gouaches on vellum in the manner of de Gheyn; see. for example, the still life sold in these Rooms, 30 November 1993, lot 4.