- 173
Pieter Claesz.
Description
- Pieter Claesz.
- Still Life of a Roemer, an Earthenware Jug, an overturned Silver Beaker, a Ham and other Objects arranged upon a draped Table Top
signed with monogram on the knife: PC
- oil on canvas
Provenance
William Graham;
Lady Horner;
Gustav Levander, Sweden;
His deceased sale, London, Sotheby's, 11 July 1973, lot 46, for £8,000 to Dr. Klausen (and wrongly catalogued as on panel);
With Gallery Müllenmeister, Solingen, 1975;
Anonymous sale ("The Property of a Gentleman"), London, Sotheby's, 24 March 1976, lot 58, where withdrawn;
Anonymous sale ("The Property of a Gentleman"), London, Sotheby's, 7 July 1976, lot 60, for £10,000.
Literature
M. Brunner-Bulst, Pieter Claesz., Lingen 2004, pp. 347-8, cat. no. 239, reproduced.
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."
Catalogue Note
This is a late work by Pieter Claesz., dated by Brunner-Bulst on grounds of style circa 1659/60. Pieter Claesz painted few works on canvas, another rare example was sold Amsterdam, Sotheby's, 1 December 2009, lot 40. These works on canvas are usually larger and Brunner-Bulst argues that they were probably specific commissions.
Claesz. greatest talent as a still life painter was the way in which he could convey different textures, seen here in his juxtaposition of different glass and pewter ware, displayed on a soft white table cloth. As was so often the case he depicts a lemon half peeled so one can see the difference between the hard rind and the glistening flesh. His increased interest in texture and confident brushwork is typical of his later, more painterly style.