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Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 84:

Technical notes: The support consists of a plain
piece of medium woven plain weave fabric. The painting
was lined and all the tacking edges are cut off in line with
the present stretcher which is covered with brown paper.
The preparation of the support consists of a whiteish,
possibly chalk, ground covered by a thinly rendered
brownish imprimatura. The paint layer is partially thin
with areas of impasto.

The paint layer is heavily abraded. It is also worn in
certain areas.The painting underwent conservation treatment
in 1868, 1929 and 1980.

Provenance: Coll. Holterman-Wahrendorff;
bequeathed by Martin von Wahrendorff in 1863; KM
1861, no. 1221.

Exhibited: Stockholm 2010, no. 65.
bibliography: Sander IV, p. 119, no. 21; Göthe 1887,
p. 90; Göthe 1893, p. 111; NM Cat. 1958, p. 76; Greindl
1983, p. 351, no. 143; NM Cat. 1990, p.138.

This painting is a companion piece to no. 85, both
with the same provenance. The execution is characteristic
of Fyt in its tonality. The motif is also very typical.
He painted a number of similar compositions in which
he varied the combination of motifs. Especially the
woodcocks and partridges are frequently found in his
work. It seems likely that Fyt’s game pieces served as
mementoes or trophies of a hunt but they were also
much admired for their decorative effects. In his compositions
Fyt introduced branches that entwine elegantly
around the game and frequently positioned a
basket in the background, as in this picture. A branch
with blackberries can be seen in the bottom left-hand
corner of the painting. Another characteristic feature
is Fyt’s tactile rendering of the birds’ feathers and the
verisimilitude of other details in the paintings.

GCB
[End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 84:

Technical notes: The support consists of a plain
piece of medium woven plain weave fabric. The painting
was lined and all the tacking edges are cut off in line with
the present stretcher which is covered with brown paper.
The preparation of the support consists of a whiteish,
possibly chalk, ground covered by a thinly rendered
brownish imprimatura. The paint layer is partially thin
with areas of impasto.

The paint layer is heavily abraded. It is also worn in
certain areas.The painting underwent conservation treatment
in 1868, 1929 and 1980.

Provenance: Coll. Holterman-Wahrendorff;
bequeathed by Martin von Wahrendorff in 1863; KM
1861, no. 1221.

Exhibited: Stockholm 2010, no. 65.
bibliography: Sander IV, p. 119, no. 21; Göthe 1887,
p. 90; Göthe 1893, p. 111; NM Cat. 1958, p. 76; Greindl
1983, p. 351, no. 143; NM Cat. 1990, p.138.

This painting is a companion piece to no. 85, both
with the same provenance. The execution is characteristic
of Fyt in its tonality. The motif is also very typical.
He painted a number of similar compositions in which
he varied the combination of motifs. Especially the
woodcocks and partridges are frequently found in his
work. It seems likely that Fyt’s game pieces served as
mementoes or trophies of a hunt but they were also
much admired for their decorative effects. In his compositions
Fyt introduced branches that entwine elegantly
around the game and frequently positioned a
basket in the background, as in this picture. A branch
with blackberries can be seen in the bottom left-hand
corner of the painting. Another characteristic feature
is Fyt’s tactile rendering of the birds’ feathers and the
verisimilitude of other details in the paintings.

GCB
[End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 84:

Technical notes: The support consists of a plain
piece of medium woven plain weave fabric. The painting
was lined and all the tacking edges are cut off in line with
the present stretcher which is covered with brown paper.
The preparation of the support consists of a whiteish,
possibly chalk, ground covered by a thinly rendered
brownish imprimatura. The paint layer is partially thin
with areas of impasto.

The paint layer is heavily abraded. It is also worn in
certain areas.The painting underwent conservation treatment
in 1868, 1929 and 1980.

Provenance: Coll. Holterman-Wahrendorff;
bequeathed by Martin von Wahrendorff in 1863; KM
1861, no. 1221.

Exhibited: Stockholm 2010, no. 65.
bibliography: Sander IV, p. 119, no. 21; Göthe 1887,
p. 90; Göthe 1893, p. 111; NM Cat. 1958, p. 76; Greindl
1983, p. 351, no. 143; NM Cat. 1990, p.138.

This painting is a companion piece to no. 85, both
with the same provenance. The execution is characteristic
of Fyt in its tonality. The motif is also very typical.
He painted a number of similar compositions in which
he varied the combination of motifs. Especially the
woodcocks and partridges are frequently found in his
work. It seems likely that Fyt’s game pieces served as
mementoes or trophies of a hunt but they were also
much admired for their decorative effects. In his compositions
Fyt introduced branches that entwine elegantly
around the game and frequently positioned a
basket in the background, as in this picture. A branch
with blackberries can be seen in the bottom left-hand
corner of the painting. Another characteristic feature
is Fyt’s tactile rendering of the birds’ feathers and the
verisimilitude of other details in the paintings.

GCB
[End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 84:

Technical notes: The support consists of a plain
piece of medium woven plain weave fabric. The painting
was lined and all the tacking edges are cut off in line with
the present stretcher which is covered with brown paper.
The preparation of the support consists of a whiteish,
possibly chalk, ground covered by a thinly rendered
brownish imprimatura. The paint layer is partially thin
with areas of impasto.

The paint layer is heavily abraded. It is also worn in
certain areas.The painting underwent conservation treatment
in 1868, 1929 and 1980.

Provenance: Coll. Holterman-Wahrendorff;
bequeathed by Martin von Wahrendorff in 1863; KM
1861, no. 1221.

Exhibited: Stockholm 2010, no. 65.
bibliography: Sander IV, p. 119, no. 21; Göthe 1887,
p. 90; Göthe 1893, p. 111; NM Cat. 1958, p. 76; Greindl
1983, p. 351, no. 143; NM Cat. 1990, p.138.

This painting is a companion piece to no. 85, both
with the same provenance. The execution is characteristic
of Fyt in its tonality. The motif is also very typical.
He painted a number of similar compositions in which
he varied the combination of motifs. Especially the
woodcocks and partridges are frequently found in his
work. It seems likely that Fyt’s game pieces served as
mementoes or trophies of a hunt but they were also
much admired for their decorative effects. In his compositions
Fyt introduced branches that entwine elegantly
around the game and frequently positioned a
basket in the background, as in this picture. A branch
with blackberries can be seen in the bottom left-hand
corner of the painting. Another characteristic feature
is Fyt’s tactile rendering of the birds’ feathers and the
verisimilitude of other details in the paintings.

GCB
[End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 84:

Technical notes: The support consists of a plain
piece of medium woven plain weave fabric. The painting
was lined and all the tacking edges are cut off in line with
the present stretcher which is covered with brown paper.
The preparation of the support consists of a whiteish,
possibly chalk, ground covered by a thinly rendered
brownish imprimatura. The paint layer is partially thin
with areas of impasto.

The paint layer is heavily abraded. It is also worn in
certain areas.The painting underwent conservation treatment
in 1868, 1929 and 1980.

Provenance: Coll. Holterman-Wahrendorff;
bequeathed by Martin von Wahrendorff in 1863; KM
1861, no. 1221.

Exhibited: Stockholm 2010, no. 65.
bibliography: Sander IV, p. 119, no. 21; Göthe 1887,
p. 90; Göthe 1893, p. 111; NM Cat. 1958, p. 76; Greindl
1983, p. 351, no. 143; NM Cat. 1990, p.138.

This painting is a companion piece to no. 85, both
with the same provenance. The execution is characteristic
of Fyt in its tonality. The motif is also very typical.
He painted a number of similar compositions in which
he varied the combination of motifs. Especially the
woodcocks and partridges are frequently found in his
work. It seems likely that Fyt’s game pieces served as
mementoes or trophies of a hunt but they were also
much admired for their decorative effects. In his compositions
Fyt introduced branches that entwine elegantly
around the game and frequently positioned a
basket in the background, as in this picture. A branch
with blackberries can be seen in the bottom left-hand
corner of the painting. Another characteristic feature
is Fyt’s tactile rendering of the birds’ feathers and the
verisimilitude of other details in the paintings.

GCB
[End]

Foto: Erik Cornelius / Nationalmuseum 2009

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