Condition report

H.: 62 cm - L.: 24,5 cm (the clock)
H.: 45 cm (the outer vases)

Probably made around 1860, these garnitures are sometimes described as 'made as a gift for the Qing court'.

Condition:
- Overall in good condition with some minor superficial wear to the gilding throughout and the numerals on the dial.
- Possibly lacking an attribute on the lady's lap.
- One dragon handle was detached from one of the side vases during the viewing days. It can be easily reaffixed.
- Lacking one bell to the top of the pagoda and one to the second roof.

Dim.: 59 x 50 cm (the frame)
Dim.: 41,5 x 33,5 cm (the work)

Condition: (UV-checked)
- Excellent.

Signed and dated in the lower middle section.

Commissioned by the Ministry of the Interior in 1820 for the town of Montauban, the painting represents the Vow of Louis XIII. The work was met with great success at the Salon of 1824. Later on  critics made Ingres the main representative of the classical school opposed to romanticism, represented at this salon by Delacroix. It marks the great return of Ingres to the Parisian artistic scene, after years of expatriation in Rome. His work is clearly inspired by his devotion to Raphaël. The abandonment of his stylistic audacity was considered outrageous and bizarre by the critics. The work earned him the Legion of Honor from King Charles X. The painting hangs in the Notre-Dame-de-l'Assomption cathedral in Montauban. (source: Wikipedia)

Aimée Perlet was one of the first porcelain miniaturists of her time. She is the aunt of the painter Pierre Etienne Perlet, pupil of Madame Jacotot.
She worked a lot for the Manufacture de Sèvres between 1825 and 1830, and was admired by Brongniart.

Dia.: 23 cm

Please note the dating on this lot was revised to probably 19th C.

Ref.:
- STAM, Gent, object no. 09087, for a closely related example of 'The Final Judgment'. (link)
- STAM, Gent, object no. 09089, for another example of 'Abraham sees Sodom in flames'. (link) It is stated here that this roundel belongs to a series of medallions depicting the story of Abraham, after prints attributed to Jacob Cornelisz. Van Oostsaenen.

Condition:
- Both in very good condition, with very minor superficial wear.

Provenance: A Belgian private collection.

H.: 23 cm - Dia.: 13,5 cm

A 'Reichsadler Humpen' is the name given to a glass beaker enamelled with the 'Quaternion Eagle' of the Holy Roman Empire, the double-headed eagle, crowned, the spread wings reserved with the 56 shields of the Imperial States, each with an inscribed banner.

Ref.:
- Christie's, London, Dec. 6, 2012, lot 147, for a slightly larger and earlier example, dated 1593. (sold GBP 25.000) (link)

Condition: (UV-checked)
- With a number of reglued breaks throughout, with minor retouching to the enamels on the breaks.

L.: 18 cm - H.: 5,5 m

Condition: (UV-checked)
- Overall in good, decorative condition.
- Numerous typical small chips and spots of glaze loss throughout.
- The head of the beast, an ornament in the middle of the bowl and two on the side showing refilled and retouched portions.

H.: 21,5 cm

Ref.: Boijmans Van Beuningen, Accession number F 177 (KN&V), for a fragment of the other known example of this type. (link)

Condition: (UV-checked)
- Important restorations throughout, including the reconstruction of an important part of the base and app. 1/6th of the body. The original body with multiple reglued and retouched breaks.  The bearded face original. The handle broken off and restuck, the breaks retouched. Two and a half portrait medallions remodelled. The exact extent of the repair hard to discern due to the nature of the restoration. Nevertheless an extremely rare example.

L.: 181 cm

Condition:
- Some wear to the wooden handle, as visible, the main issue being a large age-related split and some 'dryness'.
- Minor oxidation to the metal throughout.

A flamberge is a medieval sword. Swung by a number of heroes of chansons de geste and romances, the name became a generic name for a large sword.
In earlier texts the name is usually given as 'floberge' or 'froberge', but the name developed under the influence of the word 'flamber'.

Swords by this name were wielded by Renaud de Montauban (and his cousin Maugris) in The Four Sons of Aymon (12th C.), Antenor in the Roman de Troie (12th C.), Begon, the brother of the eponymous hero of Garin le Loherain (12th C.) and the hero of Galien le Restoré (15th C.). In early 20th C. works, such swords were wielded by Dom Manuel of James Branch Cabell's Biography of the Life of Manuel and by Prince Valiant.

L.: 102 cm - Dia.: 17,5 cm (each bronze cannon)
Dim.: 99 x 61 x 54 cm (each cannon incl. wooden mount)

Presented on a later custom-made wooden base.

Provenance:
- An important Belgian private collection.

Condition:
- Both bronze cannons in good condition. Superficial patination as visible, as well as minor superficial wear.
- The later wooden stands with some wear. One wheel somewhat damaged. The whole still in stable condition and ready for presentation.

H.: 42,5 cm (incl. stand)
H.: 26,5 cm (the sculpture)

Condition:
- Overall in good condition.
- Superficial encrustation and patination throughout.
- Minor superficial wear throughout. Please refer to the added close up images for a good impression.

Dim.: 10 x 7 cm

Presented in an old conservation box.

Provenance:
- The private collection of Mr. V., The Netherlands.
- Acquired from the French family L. in the south of France.
- (by repute) Preserved in this family since various generations, acquired between the two world wars (interbellum) and placed inside the current presentation box.

Condition: (UV-checked)
- In original, unrestored condition, yet obviously fragmentary.
- The surface crisp, with visible patination.
- An important crack through the wing as visible.

Dia.: 42,5 cm

Domenico Toschi (June 11, 1535 – March 26, 1620) was an Italian soldier, jurist, and cardinal of the Catholic Church.

He was born in Castellarano in Reggio Emilia to a poor family. After having originally served as a soldier, Toschi trained in Rome and became a noted canon lawyer. He wrote the multi-volume legal treatise Practicarum conclusionum iuris in omni foro frequentiorum. He served as Vice-Legate in Bologna and was its governor (1585-1588), and then as a councillor in Tuscany (1588-1592).

He was Bishop of Tivoli from 1595 to 1606. He was created Cardinal-Priest of San Pietro in Montorio on 3 March 1599 by Pope Clement VIII as a reward for successfully governing Rome while Clement was in Ferrara.

He participated in the Papal conclaves of March and May 1605. Toschi was a candidate for the papacy in the May 1605 papal conclave, and was almost acclaimed pope, but Caesar Baronius intervened, objecting that Toschi was unfit for the papacy because his language and dress would cause scandal. Following Baronious' intervention, a scrutiny was taken, and Toschi fell short of election to the papacy by two votes.

He transferred his titular church to Sant'Onofrio in 1604, returning to San Pietro in Montorio in 1610. He resigned as Bishop of Tivoli in 1606, and was replaced by his nephew, Giovanni Battista Toschi. He served as Camerlengo of the Sacred College of Cardinals in 1616–17. He published a number of works on canon law, and was known for fostering the education of indigent students, who like him, had wished to use their education to rise in position. He died in Rome.

Condition: (UV-checked)
- In very good condition, with a few typical minor chips around the rim.

品相報告：（已用紫外線光檢查）
- 盤口沿多處飛皮。

Dia.: 29,5 cm

Condition: (UV-checked)
- Presenting very well.
- A number of small typical superficial chips to the rim and some superficial crazing throughout.
- Three hairlines of ca. 7 cm to the rim.
- A section retouched of ca. 4 x 2 cm behind the helmet, with related three glaze lines on the back.

H.: 25 cm - L.: 19 cm

Condition: (UV-checked)
- One in excellent condition, with negligible glaze loss around the base and to the tip of the spout.
- One with a chip to the spout (with traces of old restoration) and a hairline from the top down to the base, extending along the base as shown.
- The covers both lacking the finials. One otherwise in good condition. The other with a reglued rim chip, some old restoration, another rim chip and damage to the inner rim.

Dim.: 26 x 21 cm

Condition: (UV-checked)
- Generally in very good condition.
- Some baking flaws throughout as visible.
- A few chips to the four corners, the left upper corner with a chip of ca. 2 cm and with two insignificant related glaze lines of ca. 3 cm.

Dia.: 40,5 cm

Condition: (UV-checked)
- A hairline from the rim at ca. 12 o'clock down to the chin, as well as a number of small rim chips throughout.

H.: 20,5 cm

Condition:
- Both looking very crisp, ready for display, with a few small recent repairs executed to a very high standard.
- The albarello inscribed V RASINO: typical superficial crazing to the glaze throughout and glaze loss along the upper and base rim. The base with some minor retouching to superficial chips. In the middle of the base, a drilled hole is restored.
- The albarello inscribed EIL D S D ROSE: typical superficial crazing to the glaze throughout and glaze loss along the upper and base rim. The base with some minor retouching to superficial chips. In the middle of the base, a drilled hole is restored. The rim with a restored chip of ca. 2 x 1 cm and a related hairline extending downwards over ca. 4 cm.

H.: 25 cm

Condition: (UV-checked)
- A section of the rim broken out and reglued.
- A number of superficial glaze flakes and baking flaws throughout.
- A drilled hole for wiring just below the portrait medallion.

Dia.: 38,5 cm

The dish was part of a service made for Alfonso II d'Este, the Duke of Ferrara, by the Patanazzi workshop. The cavetto painted with a deer hunt, the broad border with a frieze of grotteschi, a flaming brazier inscribed 'Ardet Aeternum', the Duke's emblem, at the top, a cartouche with a goddess en grisaille at the base.

Condition: (UV-checked)
- With a restored break across, diagonally, from ca. 1:30 o'clock to ca. 7:30 o'clock. The repair executed to a very high standard and invisible to the naked eye, but showing up under UV-light.

Dia.: 23,5 cm

Condition: (UV-checked)
- An attractive piece, with a bright and shiny lustre glaze.
- A few spots of glaze loss on the rim.
- A restored section of ca. 3 x 1 cm to the rim.

品相報告：（已用紫外線光檢查）
- 盤子口沿幾處剝釉，一處約3x1釐米的修復。

Dia.: 30,5 cm

Condition: (UV-checked)
- Generally in very good condition.
- Three tight hairlines are faintly visible on the front, but somewhat more apparent on the back.
- Typical superficial glaze loss to the underside of the rim.
- Three central unglazed spur marks as visible.
- Some superficial dirt, the dish would benefit from a good cleaning.

H.: 22,5 cm

Condition: (UV-checked)
- Important restoration to the handle.
- Some retouching around the rim.
- Chips around the foot.
- Minor superficial wear throughout.

H.: 18 cm - Dia.: 10,5 cm

The central theme on this cup is a traditional Inca wedding, evident in the flower crowns for both bride and groom.
Next to traditional Inca characters, Spanish soldiers are also depicted. This may refer to the mixed marriage between Beatriz Clara Coya, an Inca princess, and Martín García de Loyola, a Spanish conquistador and governor of the Kingdom of Peru. The marriage was of great political importance for the pacification of Peru. Together they had one daughter, possibly the second theme on the cup.

Similar cups often have a silver finish on the top edge and a silver closing plate at the bottom. These are no longer present with this cup.

Condition: (UV-checked)
- Generally in good, stable, decorative condition.
- A horizontal tension crack, probably somewhat reinforced with a resin-type glue. On the inside, some reinforcement paste also showing.
- A number of small superficial chips and superficial tension lines throughout.
- Presented on a later wooden stand.

Dia.: 22 cm

Provenance: A French private collection.

Condition: (UV-checked)
- In quasi excellent condition, with minor superficial losses to the glaze here and there.
- The lustre-glaze very well preserved, very shiny.

Dia.: 50 cm

Signed LC on the base.

Provenance: A Dutch private collection.

Condition: (UV-checked)
- Quasi excellent, with a number of very small superficial glaze flakes along the rim.

Dia.: 13 cm - H.: 6 cm

Provenance: A French private collection.

Ref.: Museo Nacional González Martí, Valencia, Spain, inventory no. CE1/01591, for a quasi identical bowl. (see added scans no. 3 and 4)

Condition: (UV-checked)
- Typical small chips around the rim.
- Minor superficial wear throughout.
- Part of the foot chipped off, resulting in a small puncture to the bowl, with related tight cracks.

Dia.: 39,5 cm

Provenance: A Dutch private collection.

Condition: (UV-checked)
- Touch-ups to spots of superficial glaze loss to the center, to two spots just next to the rim between 8 and 9 o'clock and around the entire circular inner rim.
- Small chips along the rim.
- Superficial crazing and surface dirt throughout, which would strongly benefit from a good cleaning.

Dia.: 39,5 cm

Provenance: A Dutch private collection.

Condition: (UV-checked)
- A rim section lacking, filled and retouched, between the two holes on the rim.
- Glaze loss to the middle of the central medallion, to the inner and outer rim and to numerous small spots throughout.

Dia.: 33,5 cm (the largest)

Provenance:
- A Dutch private collection.
- All three acquired in the French art market.

Condition: (UV-checked)
- The central dish with the blue motive in good condition, with small rim chips, superficial wear and minor glaze loss.
- The dish on the left with a somewhat dull glaze, superficial crazing and small spots of glaze loss throughout and around the rim.
- The dish on the right with important losses around the rim.

Dia.: 23,5 cm

Provenance: A Dutch private collection.

Condition: (UV-checked)
- The left one with a reglued break across and normal minor superficial wear.
- The right one with a reglued rim section between 3 and 5:30 o'clock, with some related minor retouching, as well as a touch-up to a small glaze flake in the central medallion.

Dia.: 18 cm

Provenance: A Dutch private collection.

Condition: (UV-checked)
- In good condition, with sections of glaze loss to the rim as visible and some minor superficial wear.

Dia.: 37,5 cm

Condition: (UV-checked)
- Several reglued breaks and a missing rim section filled.

L.: 20 cm - H.: 5,5 cm

Condition: (UV-checked)
- In good condition, with minor superficial wear.
- A chip of ca. 5 x 1 cm to the foot.

品相報告：（已用紫外線光檢查）
- 底足一個飛皮，約5x1釐米。

Dim.: 28 x 21,5 cm (the frame)
Dim.: 21 x 15 cm (the plaque)

Condition: (UV-checked)
- Overall in good, hangeable decorative condition.
- Losses to the enamel in the upper left corner, just below the upper righ corner, on the right edge around the far right figure's head and along the lower edge. Related retouching and overspraying in these sections.

Please note the dating on this lot should read: A large inlaid gilt copper applique of Saint Anthony, Limoges, France, 13th C. or later

H.: 35 cm - L.: 10,5 cm (the frame)
H.: 30 cm (the figure)

Mounted on a velvet-covered wooden panel.

Provenance: A Dutch private collection.

Ref.:
- The Metropolitan Museum, New York, accession no. 17.190.812, for a smaller example on original champlevé enamel panel. (link)

Condition: (UV-checked)
- Typical wear to the gilding throughout.
- A number of small superficial dents throughout.
- Minor touch-ups to superficial damage to the nose and the forehead.
- Lacking a turquoise stone to the collar and one to the book.

H.: 74 cm

Condition:
- Overall in very good, stable condition.
- Lacking a small piece to the oak leave ornaments on the crown.
- Typical minor superficial wear throughout, such as age-related faint tension lines, small losses around the base.

Dim.: 16,5 x 16,5 cm (each frame)

Provenance:
- A Belgian private collection.
- Acquired from Zeberg Antiques, Antwerp, in Dec 2009. (by repute)

Both present in their original frame.
Each monogrammed TT for Tobias Tissenaken, the foremost Malines alabaster carver.

Condition: (UV-checked)
- The 'Christ' bust: the alabaster with a number of typical minor tension lines, small superficial chips and some superficial wear. The frame with a small repaired section to the applied frieze in the right corner. The wooden frame with minor superficial wear.
- The 'Mary' bust: the alabaster in excellent condition with negligible minor superficial wear. The frame with a few repaired sections to the applied frieze just above the right corner and just right of the bottom corner. The frame with a small repaired section to the applied frieze in the right corner. The wooden frame with minor superficial wear.

H.: 30 cm - L.: 24 cm

Condition: (UV-checked)
- The jug in good condition with a chip to the low end of the spout and a few negligible minor superficial glaze flakes throughout.
- The cover lacking two of the applied birds and with a small loss to the tail of the present bird, otherwise in good condition.

Dim.: 20,5 x 14 x 13,5 cm (the sculpture)

Presented on a wooden stand, with a plexi case.
Accompanied by an Oxford TL test confirming the age.

Provenance:
- An Irish private collection.
- An American private collection.
- Acquired from Hadji Baba Ancient Art, 1995, with invoice present.

Condition: (UV-checked)
- Small chips and superficial wear throughout.
- The left and middle horse heads broken off and reglued.
- The three horses broken off from the base, with reglued breaks just above the base.
- Both figures with reglued breaks to the necks.
- Further minor touch-ups likely, but hard to asses due to the nature of the material.

Dim.: ca. 13,5 x 13,5 cm
Thickness: 1,3 cm

Condition: (UV-checked)
- Touch-ups to glaze flakes on the rim on the upper right edge, the lower right corner tip and the lower left corner tip. Further minor chips along the rim. All in all a very fine example.

Dia.: 11,5 cm - H.: 2,5 cm

Condition: (UV-checked)
- With a number of visibly reglued breaks and a number of small superficial rim chips throughout.

Dia.: 34,5 cm

Inscribed PWD3 for Prince William the (de) 3rd.

Condition: (UV-checked)
- In very good condition, with a few typical small superficial rim chips and some minor superficial crazing.
- Three central unglazed spur marks as visible.

H.: 38,5 cm - L.: 22,5 cm (incl. cover)

Condition: (UV-checked)
- Generally in good condition.
- Typical small chips and superficial glaze loss around the rim and base.
- Some glaze loss where the lid is applied to the handle.
- A hairline of ca. 4 cm running down from the neck.

H.: 30 cm

Condition: (UV-checked)
- Overall in very good condition.
- Some typical minor baking flaws and crazing throughout.
- A number of typical spots of glaze loss to the rim.

品相報告：（已用紫外線光檢查）
- 罐身多處窯傷、窯粘、縮釉和驚釉。
- 罐口一圈剝釉。

H.: 21,5 cm - L.: 21 cm

Marked D on the base for Jan Teunis Dextra, the 'De Grieksche A' workshop, 1757-1765.

Condition: (UV-checked)
- In quasi excellent condition with a few minor superficial chips to the rim, handles and base rim.

L.: 20,5 cm - H.: 20 cm

Condition: (UV-checked)
- Two of the tubular spouts with some retouching to small rim chips.
- A small touch-up to a chip to one of the base corners.
- A number of typical small superficial rim chips throughout.

H.: 20 cm - L.: 19,5 cm

Marked GVS on the base for Geertruij Verstelle, the 'Het Oude Moriaanshooft' workshop, Delft, 1761-1773.

Condition: (UV-checked)
- The base with some retouching, one to a break to one of the corners and one to the tip of the opposite corner.
- Two tubular spouts with minor retouching to the top rim.
- Otherwise good with a number of typical small chips throughout.
- All repairs executed to a very high standard, quasi invisible to the naked eye.

L.: 20,5 cm - H.: 17,5 cm

Marked CK on the base for Cornelis Koppens, the 'De Metaale Pot' workshop, Delft, 1724-1757.

Condition: (UV-checked)
- In very good condition with a number of typical small superficial chips.
- A small touch-up to a rim chip to the middle spout.

H.: 29 cm

Marked APK on the base for Pieter Kocx, the 'De Grieksche A' workshop, Delft, 1701-1722.

Provenance: A Dutch private collection.

Ref.:
- The Lavino collection, for a smaller example, currently on display in the Kunstmuseum, The Hague. (link)
- Christie's, London, June 3, 2014, lot 4, for a similar but less refined example. (link)
- Rijksmuseum, Amsterdam, Object no. BK-NM-12400-230, for a polychrome example. (link)

Condition: (UV-checked)
- In excellent condition, with some small typical spots of superficial glaze loss to the tip of the finial and to the rectangular openings.

品相報告：（已用紫外線光檢查）
- 幾乎全品，寶塔尖端和方口口沿處典型的小剝釉。

H.: 34,5 cm

Condition: (UV-checked)
- The one on the right: in quasi excellent condition, with negligible glaze loss around the rim and some superficial (removable) traces of rubbing just below the neck.
- The one on the left: the neck replaced with a brass mount. Otherwise in good condition with minor superficial wear throughout and some chips around the base.

H.: 41,5 cm

Condition: (UV-checked)
- Both vases with the top and base rims oversprayed, otherwise good.

品相報告：（已用紫外線光檢查）
- 一對瓶子口沿和底足都噴漆。

H.: 29 cm  

Provenance:
- A Dutch private collection.
- Exhibited in the 1936 exhibition of Ancient Art belonging to the International Trade, with exhibition labels on the base.

Condition: (UV-checked)
- The two outer vases: the one on the far left in good condition, with typical small superficial chips around the rim and base. The one on the far right with a ca. 15 x 5 mm chip on the rim and typical small superficial chips around the rim and base.
- The second and fourth vase: the second vase in good condition, with typical small superficial chips around the rim and base. The fourth vase with a ca. 10 x 3 mm chip on the rim and typical small superficial chips around the rim and base.
- The vase in the middle: a section to the upper rim broken out and reglued, also with typical small superficial chips around the rim and base.

H.: 41 cm (the tallest)

Each marked LPK on the base for the 'De Porceleyne Lampetkan' workshop, Delft, 18th C.

Condition: (UV-checked)
- Both side vases in good condition with typical small chips and spots of glaze loss around the rim and the base. Each with two somewhat larger chips to the rim. One with two negligible tight ca. 3 cm hairlines running down from the rim.
- The covered vase with a large chip just above the foot, situated on the back, as well as typical small chips and spots of glaze loss around the rim and the base. The cover with a number of superficial chips as visible.

Dia.: 35 cm

Condition: (UV-checked)
- Very extensively restored, with a very large number of restored breaks and numerous touch-ups throughout.

Dim.: 22 x 14 cm

Marked D/11 on the back for Jan Teunis Dextra, the 'De Grieksche A' workshop, Delft, 1757-1765.

Condition: (UV-checked)
- In quasi excellent condition with a few small superficial chips to the rim and minor crazing.

品相報告：（已用紫外線光檢查）
- 盤口沿一些小飛皮，全身驚釉。

Dim.: 30 x 11,5 cm

Condition: (UV-checked)
- Both in very good to excellent condition with a few typical small superficial rim chips.

H.: 33,5 cm (incl. lid)
H.: 28,5 cm (the jars)

Each jar marked lpkan for the 'De Porceleyne Lampetkan' workshop, Delft, 18th C.

Condition: (UV-checked)
- The 'Rappe' jar in very good condition with typical minor wear, a horizontal glaze line below the rim, glaze loss around the rim and small superficial chips around the base.
- The 'St Omer' jar with a quasi invisible restoration to a rim chip and a break in the upper half, showing up under UV-light, with related overspraying on the in- and outside, around the upper half of the body. Also with typical minor wear, glaze loss around the rim and small superficial chips around the base. The restoration executed to a very high standard.
- Both brass lids with some pewter consolidations on the inside.

H.: 26 cm (the tallest jar, excl. the lid)

The 'Nagelgeur' jar marked MQ for Quirinus Mesch, the 'De Vier Romeynse Helden' workshop, Delft, 1709-1714.
The 'Spaansche' jar marked lpkan for the 'De Porceleyne Lampetkan' workshop, Delft, 18th C.

Condition: (UV-checked)
- Both in very good condition with typical small superficial chips and superficial wear as visible.

H.: 67 cm (incl. mount and stand)
H.: 48,5 cm (the vase)

Condition: (UV-checked)
- Somewhat reduced at the top.
- A few small superficial chips around the base.
- Otherwise in very good condition with a bright, shiny glaze.

H.: 34 cm

Condition: (UV-checked)
- In excellent condition, with typical minor superficial losses to the glaze around the rim and base.

H.: 43,5 cm

Marked APK on the base for Pieter Kocx, the 'De Grieksche A' workshop, Delft, 1701-1722.

Provenance:
- A Dutch private collection.
- With a label on the base for Van Nie & Winnubst Antiquairs, Amsterdam, The Netherlands.

Condition: (UV-checked)
- The vase in very good condition, with typical small chips and spots of glaze loss around the rim and base.
- The cover with a restored rim chip, a restored break between the finial and the body and a number of small superficial rim chips. The restoration executed to a very high standard and quasi invisible to the naked eye.

Dim.: 81 x 71 cm (the frame)
Dim.: 60 x 51cm (the work)

He was much more appreciated in his younger years and worked with Teniers, Luyckx and De Heem, but his financial rewards were poor; he had the reputation of being a slow worker. Dated works between 1659 and 1690: in Munich a vanitas still life by Jan Davidsz de Heem with flowers by Van Verendael, a vanitas still life in Venice by Hendrick Andriessen with flowers by Van Verendael (Willigen/Meijer 2003, p. 205); in Duverger 1984-2004, Verendael's paintings are cited in Antwerp inventories on a regular basis, attesting to his popularity. (source: RKD)

Provenance:
- A Belgian private collection.

Condition: (UV-checked)
- Overall in good, hangable condition.
- The painting relined on a slightly larger canvas (ca. 3-4 cm on each side), the outer sections retouched as visible on the additional images under UV-light.
- Further minor touch-ups to the dark background as visible on the additional images under UV-light.
- In all likelihood, one leave overpainted to the tulip in the upper right corner, as visible on the additional images under UV-light.
- No damage visible on the back.
- The frame in good condition, with minor tension cracks as visible.