GERHART VAN STEENWYCK | Still life with arms, armour and a drum

With A. van der Meer Gallery, Amsterdam, 1963;

F.C. Butôt, Sankt Gilgen, Austria, from whom acquired in circa 1990.

Salzburg / Münster 1972–1973, unnumbered;

Rotterdam 1973, unnumbered;

Münster, Westfälisches Landmuseum für Kunst und Kulturgeschichte, 25 November 1979 – 24 February 1980; Baden-Baden, Staatliche Kunsthalle, 15 March – 15 June 1980, Stilleben in Europa, no. 133;

Rotterdam 2008, no. 107.

The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.

Salzburg / Münster 1972–1973, pp. 132–33, reproduced;

Rotterdam 1973, pp. 136–37, reproduced;

L.J. Bol, Holländische Maler des 17. Jahrhunderts, Braunschweig 1973, p. 359, reproduced p. 358, fig. 320;

G. Langemeyer et al., Stilleben in Europa, exh. cat., 1979, p. 250, cat. no. 133, reproduced p. 247;

A. Veca, Vanitas – il simbolismo del tempo, Bergamo 1981, p. 104, reproduced fig. 126;

Bol & Keyes 1981, pp. 46–47, cat. no. 6, reproduced p. 47;

Bol 1982, p. 340, reproduced fig. 297;

E. Gemar-Költzsch, Holländische Stillebenmaler im 17. Jahrhundert, Lingen 1995, vol. III, p. 953, cat. no. 375/1, reproduced;

Raupp 2004, pp. 224–27, reproduced in colour p. 225;

Rotterdam 2008, p. 106, no. 107, reproduced.

This painting is one of only three signed works by Gerhart van Steenwyck on which the identity of this artist rests. Only a handful of other paintings have been ascribed to him – interior still lifes featuring a similar interest in the meticulous depiction of gleaming armour. It is believed that the artist may have worked in Delft alongside painters such as Anthonie Palamedesz. specialising in guardroom scenes, and possibly Leiden, with knowledge of the fijnschilder works of Gerrit Dou, amongst others.