- 12
Pieter Claesz. Probably Berchem 1596/7 - 1660 Haarlem
bidding is closed
Description
- Pieter Claesz.
- a still life of a pewter flagon, a tall glass, a chafing-dish and smokers' requisites, all on a draped table
- signed with monogram and dated centre left: PC/ [1]645.
- oil on oak panel
Provenance
Ridder Alphonse de Stuers, The Hague:
His sale (and others, but in his part), Amsterdam, Muller & Mensing, 12 April 1932, lot 264;
With Douwes, Amsterdam, 1937-8;
Jonkheer de Ridder, Kronberg, near Frankfurt-am-Main;
With Gösta Stenman, Stockholm, by 1942, by whom sold in 1944 to
Åke Wiberg, Stockholm;
Thence by descent until sold, New York, Sotheby's, 30 January 1998, lot 35;
With David Koetser, Zurich;
Private collection.
His sale (and others, but in his part), Amsterdam, Muller & Mensing, 12 April 1932, lot 264;
With Douwes, Amsterdam, 1937-8;
Jonkheer de Ridder, Kronberg, near Frankfurt-am-Main;
With Gösta Stenman, Stockholm, by 1942, by whom sold in 1944 to
Åke Wiberg, Stockholm;
Thence by descent until sold, New York, Sotheby's, 30 January 1998, lot 35;
With David Koetser, Zurich;
Private collection.
Exhibited
Stockholm, Galerie Stenman, Gamla mäsarmålningar, no. 13, reproduced in the catalogue plate 2;
Stockholm, Nationalmuseum, Holländska mästare i svensk ägö, 1967, no. 35.
Stockholm, Statens Konstmuseer, long-term loan, inv. D 29623.
Stockholm, Nationalmuseum, Holländska mästare i svensk ägö, 1967, no. 35.
Stockholm, Statens Konstmuseer, long-term loan, inv. D 29623.
Literature
N.R.A. Vroom, De Schilders van het Monochrome Banketje, Amsterdam 1945, pp. 47, 50, 201, no. 58, reproduced plate 38;
I. Bergström, Hollandskt Stillebenmaleri under 1600-talet, Gothenberg 1947, p. 130;
I. Bergström, Dutch Still Life Painting in the 17th Century, New York 1956, pp. 123, 152 (reprinted New York 1983);
N.R.A. Vroom, A modest message as intimated by the painters of the 'Monochrome banketje', Schiedam 1980, vol. I, p. 48, vol. II, p. 31, no. 122, reproduced;
M. Brunner-Bulst, Pieter Claesz. ..., Kritischer Oeuvrekatalog, Lingen 2004, pp. 286-7, no. 142, reproduced (with detail of signature and date reproduced p. 355).
Catalogue Note
Pieter Claesz.'s still lifes from the 1640s often have dominant repoussoir devices - here the porcelain flagon to the left. Several of them are, as here, of upright, though almost square, compositions, and the creamy grey background is also typical of this decade. Many of the elements in this still life recur in his other pictures.
The date on this picture has traditionally always been read as 1645, but Martina Brunner-Bulst has recently correctly read it as 1646.1 She further notes that the removal of about a centimetre from the left edge of the panel has partly effaced the first digit of the date.2 Part of the bevel is visible along the reverse of this edge, so the trimming was minimal.
Alphonse de Stuers (see Provenance) had a distinguished and eclectic collection of paintings, sculpture, tapestries and prints. His sale in 1932 included four magnificent portraits by Mengs painted in Madrid for the Spanish court, a complete ceiling painted by Jacob de Wit, and no less than three still lifes by Pieter Claesz., including the present work.
1. See Literature, p. 287.
2. Idem, p. 355, reproduced in detail.
The date on this picture has traditionally always been read as 1645, but Martina Brunner-Bulst has recently correctly read it as 1646.1 She further notes that the removal of about a centimetre from the left edge of the panel has partly effaced the first digit of the date.2 Part of the bevel is visible along the reverse of this edge, so the trimming was minimal.
Alphonse de Stuers (see Provenance) had a distinguished and eclectic collection of paintings, sculpture, tapestries and prints. His sale in 1932 included four magnificent portraits by Mengs painted in Madrid for the Spanish court, a complete ceiling painted by Jacob de Wit, and no less than three still lifes by Pieter Claesz., including the present work.
1. See Literature, p. 287.
2. Idem, p. 355, reproduced in detail.