Petrus Willebeeckactive Antwerp c.1632 - after 1652Still life of peaches, apricots and other fruit in a Chinese porcelain bowl, with an artichoke and poppy seed pods on a ledgesigned upper left: petrus. willebeeckoil on panelunframed: 49.4 x 64.4 cm.; 19½ x 25⅜ in.framed: 72.3 x 87.3 cm.; 28½ x 34⅜ in.品相: The panel is cradled, flat and stable. The paint surface is clean and the varnish is clear. A horizontal panel join is visible in raking light running the full width of the work, approximately 16cm from the upper margin. There are two small diagonal scratches to the paint surface above the artichoke. Inspection under ultraviolet light reveals the opaque varnish beneath which are visible minor retouchings scattered throughout, notably along the horizontal panel join. The painting presents well and is in overall good 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. 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."来源: With Harari & Johns, Ltd, London;From whom acquired by the present owner in 1986.来源2: A. van der Willigen and F.G. Meijer, A dictionary of Dutch and Flemish still-life painters working in oils, 1525–1725, Leiden 2003, p. 219. 来源3: Petrus Willebeeck is first recorded in the ledger of the Guild of Saint Luke in Antwerp in 1632 as a pupil of Edwaert Snayers. Fifteen years later, in 1647, he is recorded as a master in his own right, taking on Pieter Cousynas as his pupil in 1648. Pictures by the artist are scarce, and only few signed examples are recorded. The majority of them reflect the strong impression Jan Davidsz. de Heem made upon his arrival in Antwerp in 1635, embracing the exuberance and richness of the Flemish baroque movement.By contrast, this panel is simpler, depicting a dimly lit stone ledge laden with a mixture of local goods and expensive and exotic imports, such as a Chinese porcelain bowl in the centre of the composition. Fragile and expensive items like this were brought to the Netherlands by the Dutch East India Company. The foreground of the composition is dominated by a large artichoke, a vegetable that until the 16th century was largely unknown to Northern Europe. From the mid-17th century artichokes became increasingly popular at European courts; their hearts were considered luxury ingredients and it was claimed they had aphrodisiac properties. To the left are two poppy seed pods, possibly a nod to the important role the Netherlands was playing at the time in the extensive opium trade with China.