oil on canvas;
bears signature lower left on the edge of the table: 'JB Oudry'
Dimensions: canvas: 43 1/4 by 38 1/4 in.; 109.7 by 97 cm.
Condition Report: There is an old glue relining which is firm and stable. There is generally very good retention of the paint surface with lovely detail and strong coloration. There are some small scattered and discolored retouches visible to naked eye on the green table drapery and a small scuff just underneath the tail of the lobster. Under UV light: the aforementioned retouches to the green drapery fluoresce, otherwise nothing else is visible. This painting could be hung as is, however re-addressing of the old discolored retouches would improve the appearance.Offered in an elaborately carved and gilt wood frame.
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.
Literature: H. Opperman, '
Jean-Baptiste Oudry', Chicago 1972 , vol. I, p. 560, cat. no. P526, reproduced vol. II, p. 973, fig. 1 (as an early work by Oudry,
circa 1710, based on a photograph).
H. Gerson, '
Ausbreitung und Nachwirkung der Holländischen Malerei des 17. Jahrhunderts', Amsterdam 1983, p. 220, reproduced fig. 37 (as Oudry).
Provenance: Private collection, Cologne, 1933;
O. Hirschmann, Amsterdam, 1934;
Madame Leboeuf, Epernay;
New York art market, 1966;
There acquired by Emile Wolf, New York;
Thence by descent to the present owners.
Notes: This painting, once thought to be by the French artist Jean-Baptiste Oudry based on a false signature, is by a 19th-century artist looking directly at the still lifes of the Dutch Golden Age, particularly those of Willem Kalf.
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