ATTRIBUTED TO OTTO MARSEUS VAN SCHRIECK | Kitchen still life with fish, a lobster, and a cauliflower all on a table top, with a butterfly and a dragonfly
Property from the SØR Rusche Collection
Property from the SØR Rusche Collection
ATTRIBUTED TO OTTO MARSEUS VAN SCHRIECK
Nijmegen 1619/20 (?) - 1678 Amsterdam
KITCHEN STILL LIFE WITH FISH, A LOBSTER, AND A CAULIFLOWER ALL ON A TABLE TOP, WITH A BUTTERFLY AND A DRAGONFLY
signed and dated centre right: OTTO / MARSEVS. 1654
oil on tin
unframed: 14.6 x 19.6 cm.; 5¾ in. x 7½ in.
framed: 22.2 x 27.2 cm.; 8¾ x 10¾ in.
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Property from the SØR Rusche Collection is available to view at Sotheby’s, New Bond Street, 13 – 18 September (weekdays 9am – 4.30pm; weekend 12-5pm).
The metal plate is flat and stable, the paint surface is clean, and the varnish is clear and even. The craquelure has become slightly more pronounced in the dark pigments in the lower half of the painting. Inspection under ultraviolet light reveals a thick varnish, which makes it difficult to discern any intervention, bar a small spot in the background, upper left, and a few retouchings along the lower margin, most notably in both corners. In overall good condition.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Please note, Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
E. Gemar-Költzsch, Holländische Stillebenmaler im 17. Jahrhundert, Lingen 1995, vol. III, p. 924, cat. no. 362/1, reproduced p. 923;
S. Steensma, Otto Marseus can Schrieck, Leben und Werk, Hildesheim 1999, p. 201, cat. no. C2.3, reproduced fig. 224 (under Doubtful Works);
L.M. Helmus (ed.), Fish. Still lifes by Dutch and Flemish masters, exh. cat., Utrecht 2004, p. 417, reproduced p. 416;
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 5, Stilleben und Tierstücke, Münster/Hamburg/London 2004, pp. 166-69, cat. no. 34, reproduced in colour;
W. Pijbes, M. Aarts, M.J. Bok et al, At Home in the Golden Age, exh. cat., Zwolle 2008, p. 67, cat. no. 46, reproduced in colour (as van Schrieck);
G. Seelig, Medusa's Menagerie. Otto Marseus van Schrieck and the scholars, exh. cat., Munich 2017, p. 19, reproduced in colour, fig. 7.
Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 46;
Schwerin, Staatliches Museum, 7 July - 15 October 2017; Enschede, Rijksmuseum Twenthe, 5 November 2017 - 11 March 2018, Medusa's Menagerie. Otto Marseus van Schrieck and the scholars, unnumbered.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
This painting is one of the earliest works to be signed and dated by Otto Marseus van Schrieck. It is also his only known fish still life, painted during his Italian sojourn between 1652 and 1657. Best known for his dark, atmospheric depictions of forest floor fauna and flora, as well as snakes, lizards and butterflies - captured specimens of which he would even apply to the paint surface - this work shows us that the young artist started his career painting a different sort of still life. The table top, set at eye level for the observer, and the minute, delicate attention to detail in the varied still life elements, reveal the influence of Van Schrieck's forebears of the previous generation of still life painters, such as Isaac Soreau and Peter Binoit.