Joris van Son

E. McGregor Duncan, London;
Anonymous sale, London, Sotheby's, 13 July 1977, lot 68, for £10,000, where acquired by the present owner.

The painting is in very good condition. The canvas support appears in good condition, attached onto a stretcher with all the keys present, the overall tension is excellent. There is a label and canvas stamp on the reverse. The paint layers are in a relatively good condition, the adhesion between the paint and ground layers and the support appears stable at present, there is evidence of some flaking during the painting's history, most noticeably at the top right corner and areas of lifting and delaminating paint layers scattered throughout. There is a small area of delamination above the signature located in the lower right corner and evidence of previous consolidation in the area adjacent. There are lifting flakes predominantly located in the right half, these are stable at present. There are small losses scattered throughout the centre of the composition and along the lower and right edges where some appear matt and slightly light in appearance. The campaign of over-paint appears to have been applied over the existing varnish layer. The varnish layer is slightly discoloured and fluoresces in ultra violet. It appears to have been partially thinned and there is a thicker layer of discoloured natural resin varnish over the signature. The painting was examined in the frame.
"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."

Although Flemish by birth Joris van Son responded most acutely to the work of the Utrecht painter Jan Davidsz. de Heem (1606-1684). De Heem moved to Antwerp in 1636, remaining until 1667, and van Son doubtless encountered him there at an early stage in his career. His fruit still lifes, such as this, are particularly indebted to de Heem, although van Son's are characterised by a softer lighting than those of his elder. Baptised in 1623 in Antwerp, he entered the guild of St. Luke there in 1643/4 and in 1647 became a member of the pious bachelor society. He was married in 1656 and produced a son, Jan Frans van Son (1658-1715), who moved to England where he found a ready market for his own still lifes.

Apparently the same stone niche, with several identical chips and cracks, features in a work sold in these Rooms, 11 December 1991, lot 216.