66
66

SOLD BY THE J. PAUL GETTY MUSEUM TO BENEFIT FUTURE PAINTING ACQUISITIONS

Follower of Pieter Claesz. 17th Century
A VANITAS STILL LIFE WITH A SILVER-GILT CUP, SHELLS, BOOKS, A QUILL, AN INKWELL, A SKULL, A SPHERE AND A ROEMER, ALL ON A WOODEN TABLE DRAPED WITH A GREEN CLOTH
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66

SOLD BY THE J. PAUL GETTY MUSEUM TO BENEFIT FUTURE PAINTING ACQUISITIONS

Follower of Pieter Claesz. 17th Century
A VANITAS STILL LIFE WITH A SILVER-GILT CUP, SHELLS, BOOKS, A QUILL, AN INKWELL, A SKULL, A SPHERE AND A ROEMER, ALL ON A WOODEN TABLE DRAPED WITH A GREEN CLOTH
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Details & Cataloguing

Old Master Paintings

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Follower of Pieter Claesz. 17th Century
A VANITAS STILL LIFE WITH A SILVER-GILT CUP, SHELLS, BOOKS, A QUILL, AN INKWELL, A SKULL, A SPHERE AND A ROEMER, ALL ON A WOODEN TABLE DRAPED WITH A GREEN CLOTH
bears monogram and date of 1634 on a book cover centre right

oil on panel


54.8 by 72.5 cm.
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Provenance

With H. Terry-Engell, London, by 1968/9 and possibly with M. Knoedler & Co, Paris, by 1968;
By whom sold to the J. Paul Getty Museum in 1970 (inv. no. 70.PB.37).

Exhibited

London, H. Terry-Engell Gallery, Eleventh annual catalogue : fine sixteenth and seventeenth century Dutch and Flemish paintings: Collection 1968/69, 1968/9, cat. no. 11, reproduced in colour;
Paris, M. Knoedler & Co., Maitres Anciens, 4 June - 31 July 1969, cat. no. 5, reproduced;
London, H. Terry-Engell Gallery, Twenty-Five Important Dutch and Flemish Old Master Paintings, 1970, cat. no. 6, reproduced;
Leiden, Stedelijk Museum De Lakenhal, IJdelheid der ijdelheden; Hollandse Vanitas- Voorstellingen uit de 17de eeuw, 26 June - 23 August 1970, cat. no. 6;
Minneapolis, The Minneapolis Institute of Arts, The J. Paul Getty Collection, 29 June - 3 September 1972, cat. no. 23 (all the above as by Pieter Claesz.);
Los Angeles, University of Southern California, no. 14;
Utrecht, Centraal Museum, cat. no. 1970, lent by Mr. J. Paul Getty (both the above according to labels on the reverse).

Literature

N.R.A. Vroom, A Modest Message as intimated by the painters of the "Monochrome Banketje", Schiedam 1980, vol. I, pp. 95, 97, 100 and 102, reproduced fig. 131, vol. II, p. 21, cat. no. 66 (as also possibly C. Peeters);
C. Grimm, Stilleben: Die niederländischen und deutschen Meister, Stuttgart/Zurich 1988, pp. 116-117, reproduced figs. 61 and 62;
B.B. Fredericksen, The J. Paul Getty Museum, Malibu 1975, p. 116;
B.B. Fredericksen, The J. Paul Getty Museum Guidebook, Malibu 1980, p. 56, reproduced;
B.B. Fredericksen, Masterpieces of Painting in the J. Paul Getty Museum, Malibu 1980, no. 33;
A.K. Wheelock Jr, Perspective, Optics, and Delft Artists Around 1650, New York/London 1977, pp. 209-10 and 220, reproduced figs. 37a and 37b;
J. Grabski, 'Perfectionis Vanitas' in Scritti di storia dell- arte in onore di Federico Zeri, Milan 1984, vol. 2, pp. 709-17, reproduced p. 713, fig. 707;
S. Segal, A Prosperous Past. The Sumptuous Still Life In The Netherlands 1600 - 1700, The Hague 1988, pp. 129 and 216;
I. Bergström, a.o., Stilleben: Die Grosse Zeit Des Europaischen Stillebens, Stuttgart/Zurich 1979, p. 67, reproduced p. 62, fig. 47 (all the above as by Pieter Claesz.);
D. Jaffé, Summary Catalogue of European Paintings in the J. Paul Getty Museum, Los Angeles 1997, p. 26, reproduced, as Attributed to Pieter Claesz.;
N.R.A. Vroom, A Modest Message as intimated by the painters of the "Monochrome Banketje", Schiedam 1999, vol. III, supplement edited by D.M. Klinger, pp. 13, 107 and 113-125,  reproduced p. 14, fig. 2 and pp. 107-9, figs. 80, 81a and 81b (as by Clara Peeters or Pieter Claesz.).

Catalogue Note

According to Fred G. Meijer the handling of this still life is not strong enough for it to be by Pieter Claesz., deeming it to lack Claesz's freshness and transparency. In his opinion it is most probably a (more or less) contemporary copy after an unknown work, of good quality. Chronologically, this composition and the date of 1634, coincides with other works of Claesz. of that time.

According to Vroom (see under Literature, Vroom 1999) this work is closely related to a Vanitas sill life in the Germanisches Nationalmuseum, Nuremberg, which is similar in composition and shows the same sphere. Vroom further suggests that both pictures were painted by the same artist, which he identifies as Clara Peeters (active 1607/8- 1641).

Old Master Paintings

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Amsterdam