Property from the SØR Rusche Collection
GERHART VAN STEENWYCK
Delft (?) active circa 1640 - 50
Still life with arms, armour and a drum
signed lower right: Ge[rhart]. Steenwyck
oil on panel
45.5 x 37 cm.; 17⅞ x 14½ in.
The bevelled panel is uncradled, flat and stable, and formed of two vertical planks. The paint surface is clean, and the varnish is clear and even, but has been removed in some parts of the still life. The varnish fluoresces opaquely under ultraviolet light but reveals scattered spot retouchings throughout the dark background, and in the upper left and right corners. The still life itself remains largely untouched, but there are further retouchings along the lower margin. In overall very good 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."
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.