DescriptionJoannes FijtAntwerp 1611 - 1661Animals before a figure of Bacchus
Pen and brown ink and wash on blue paper;bears inscription, lower left: Snijders feci..297 by 531 mmCondition reportVerso : 2 small vertical strips of blue paper semi-reinforce the vertical crease in the middle
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."Catalogue noteA student of Frans Snyders Joannes Fijt (also known as Jan Fyt became a master in the Antwerp guild of St. Luke in 1629-30. Having lived and worked in Paris, Venice, Rome and Naples, from 1641 he worked primarily in Antwerp, where he became a leading painter of still lifes. His drawings are extremely rare: in her 1956/1983 account of Fijt's life and work, Edith Greindl only accepted fourteen as authentic works by the artist1, and few more have come to light since that time. The appearance of this large, impressive and very well preserved sheet, closely comparable in handling to drawings by the artist in the British Museum2 and the Wadsworth Athenaeum, Hartford, Connecticut3, is therefore of considerable significance. It has been suggested that this grand drawing – arguably the finest by the artist that has survived – may have been made as a design for a tapestry, a type of drawing that several of Fijt’s Flemish contemporaries, particularly Jacob Jordaens made with some regularity, but it could also have been a study for a large painting, or simply an independent work in its own right.
1. E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Brussels 1956/Paris 1983
2. Inv. no. Gg,2.279; W. Bernt, 'Die Niederländischen Zeichner des 17. Jahrhunderts', I, 1957, no. 241, fig. 241
3. Greindl, op. cit., 1983, no. 295; reproduced A.-M. Logan, Flemish Drawings in the Age of Rubens, Selected Works from American Collections, exh. cat., Wellesley, Davis Museum and Cultural Center, and the Cleveland Museum of Art, 1993-4, no. 25
DescriptionJoannes FijtAntwerp 1611 - 1661Animals before a figure of Bacchus
Pen and brown ink and wash on blue paper;bears inscription, lower left: Snijders feci..297 by 531 mmCondition reportVerso : 2 small vertical strips of blue paper semi-reinforce the vertical crease in the middle
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."Catalogue noteA student of Frans Snyders Joannes Fijt (also known as Jan Fyt became a master in the Antwerp guild of St. Luke in 1629-30. Having lived and worked in Paris, Venice, Rome and Naples, from 1641 he worked primarily in Antwerp, where he became a leading painter of still lifes. His drawings are extremely rare: in her 1956/1983 account of Fijt's life and work, Edith Greindl only accepted fourteen as authentic works by the artist1, and few more have come to light since that time. The appearance of this large, impressive and very well preserved sheet, closely comparable in handling to drawings by the artist in the British Museum2 and the Wadsworth Athenaeum, Hartford, Connecticut3, is therefore of considerable significance. It has been suggested that this grand drawing – arguably the finest by the artist that has survived – may have been made as a design for a tapestry, a type of drawing that several of Fijt’s Flemish contemporaries, particularly Jacob Jordaens made with some regularity, but it could also have been a study for a large painting, or simply an independent work in its own right.
1. E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Brussels 1956/Paris 1983
2. Inv. no. Gg,2.279; W. Bernt, 'Die Niederländischen Zeichner des 17. Jahrhunderts', I, 1957, no. 241, fig. 241
3. Greindl, op. cit., 1983, no. 295; reproduced A.-M. Logan, Flemish Drawings in the Age of Rubens, Selected Works from American Collections, exh. cat., Wellesley, Davis Museum and Cultural Center, and the Cleveland Museum of Art, 1993-4, no. 25
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