40
40
Attributed to Osias Beert and Studio
Antwerp circa 1580 - 1623
STILL LIFE WITH OYSTERS AND OLIVES ON TIN PLATES, TOGETHER WITH A SILVER SPICE BOX, A NAUTILUS CUP AND A WAN-LI BOWL WITH SUGARED COOKIES
Estimate
50,00070,000
JUMP TO LOT
40
Attributed to Osias Beert and Studio
Antwerp circa 1580 - 1623
STILL LIFE WITH OYSTERS AND OLIVES ON TIN PLATES, TOGETHER WITH A SILVER SPICE BOX, A NAUTILUS CUP AND A WAN-LI BOWL WITH SUGARED COOKIES
Estimate
50,00070,000
JUMP TO LOT

Details & Cataloguing

Tableaux, Sculptures et Dessins Anciens et du XIXe siècle

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Paris

Attributed to Osias Beert and Studio
Antwerp circa 1580 - 1623
STILL LIFE WITH OYSTERS AND OLIVES ON TIN PLATES, TOGETHER WITH A SILVER SPICE BOX, A NAUTILUS CUP AND A WAN-LI BOWL WITH SUGARED COOKIES

Catalogue Note

This image of elegant dishes and other costly objects attractively arranged upon a steeply pitched tabletop is highly characteristic of Osias Beert's art. Although a pioneer in the early history of still life, Beert was long forgotten; his œuvre has only gradually been reconstructed in the later 20th Century. Born in Antwerp around 1580, Osias Beert was a leading figure in the first generation of Flemish still-life painters. In 1596 he became a pupil of the obscure Andris van Baseroo, and subsequently joined the Antwerp guild of St. Luke in 1602. It is likely that Beert did not become wealthy practicing his art, since his house was situated in a modest area of the city and he was also active as a cork merchant.

While Beert's œuvre now includes more than twenty signed paintings, there are no dated ones known, only some of his coppers are stamped with the mark of the metal worker Peeter Stas, and dated 1607, 1608 or 1609. The combination of oysters, regarded as luxurious delicacies, and sweetmeats appears frequently in Beert's art, surrounded by other objects of luxury such as the gilt cup and silver spice box. This spice box is probably of Spanish or Flemish origin, and the impressive nautilus cup is probably German.

Dr Fred G. Meijer has kindly confirmed the attribution on the basis of photographs, and we thank him for his help in cataloguing this lot.

According to Dr. Meijer there is (or was, it seems to have disappeared in WW II) another version of this composition in Warsaw (oil on panel, 54 x 80 cm; Muzeum Narodowe w Warszawie) which was traditionally attributed to Osias Beert, but which is not entirely up to his quality of execution. Both our painting and the one from Warsaw have stronger and weaker areas. In his opinion it may well be that there was an entirely autograph version of this composition and that the present work and the Warsaw painting are studio versions, probably with some assistance of the master himself. Overall, the quality of our version seems better that of the Warsaw painting.

Tableaux, Sculptures et Dessins Anciens et du XIXe siècle

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Paris