Adriaen Jansz. Kraen

Anonymous sale, Amsterdam, Mak van Waay, 15 December 1953, lot 19 (as P. Claesz.).

The panel is cradled, flat and stable. The paint surface is slightly dirty and the varnish is slightly discoloured, but much of the impasto remains intact. There is a very superficial, curved surface scratch which extends from the top of the overturned silver goblet to the centre of the overturned roemer. Inspection under ultraviolet light reveals a thick, milky varnish beneath which it is difficult to discern any previous restoration. There is some retouching along a horizontal surface split which extends from the edge of the table on the left margin, to halfway through the white cloth beneath the overturned vessels, and some spot retouching amongst the grapes, left. There appears to be scattered strengthening in the darks of the background, notably around the overturned roemer, right, and in the fronds of the vine leaves, upper left. In very good overall 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."

Kraen was first recorded in Haarlem in 1637, and is known to have been a pupil of Jacob de Wet I. In 1642 he was one of the guild-masters at Haarlem, where he was buried 37 years later. The œuvre of Adriaen Kraen went for a long time unrecognised, which explains the painting's previous attribution to Kraen's older townsman Pieter Claesz. (1596/7–1661), on whose style Kraen based his own. According to Erika Gemar-Koeltzsch, Vorenkamp was the first to set him apart in 1933, and by 1980 Vroom was able to list fifteen works by him.¹ The crossed tazza and silvergilt cup that Kraen has included in this still life is a characteristic motif of the artist, as is the representation of the silver apostle spoon leaning across the broken pie crust.² The same knife handle that we see here was described by Vroom in another signed painting: 'the knife-handle, covered with seal-skin and a silver button at its end might also be seen as the master's signature.'³

We are grateful to Fred G. Meijer of the RKD, The Hague, for endorsing the attribution to Adriaen Jansz. Kraen on inspection of high resolution images.

1. See E. Gemar-Koeltzsch, Holländische Stillebenmaler im 17. Jahrhundert, Lingen 1995, vol. II, p. 568; and N. R. A. Vroom, A modest message as intimated by the painters of the 'Monochrome Banketje', Schiedam 1980, pp. 86–88.
2. See the panel signed and dated 1642, in a private collection, Switzerland, Vroom 1980, reproduced fig. 248.
3. Vroom 1980, p. 186.