Pieter van Boucle

The canvas is relined. To the naked eye the picture presents itself well. There are a few very small scattered retouches located in a few of the still life elements. There are also retouches along the right and bottom edges of the canvas, which are probably due to rubbing from an old frame. The varnish appears uneven under UV, but not old or discolored. Good detailing remains and good retention of coloring. Overall in very nice 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.
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.

We are grateful to Fred G. Meijer of the Rijksbureau voor Kunsthistorische Documentatie, The Hague, for endorsing the attribution to Pieter van Boucle on the basis of a photograph.  Drs. Meijer believes the painting is probably a relatively late work, but does not exclude that it could have been executed in the 1650s.

Van Boucle is first recorded in Paris in 1623 with his father Charles (probably identifiable with the engraver Carel van Boeckel who qualified as a master in the Antwerp guild in 1603).  It is thought that Pieter van Boucle may have been a pupil of Frans Snyders, whose style he closely emulates, though there is no documentary evidence in Antwerp to support this. He appears to have remained in Paris and worked there until his death in 1673.