CORNELIS NORBERTUS GYSBRECHTS | VANITAS STILL LIFE WITH A SKULL, SHEET MUSIC, VIOLIN, GLOBE, CANDLE, HOURGLASS AND PLAYING CARDS, ALL ON A DRAPED TABLE
Estimate: 8,000 - 12,000 GBP
Property from the SØR Rusche Collection
CORNELIS NORBERTUS GYSBRECHTS
Antwerp 1610 - 1678
VANITAS STILL LIFE WITH A SKULL, SHEET MUSIC, VIOLIN, GLOBE, CANDLE, HOURGLASS AND PLAYING CARDS, ALL ON A DRAPED TABLE
signed and dated lower left: C N Gysbrechts A. 1662
oil on canvas
unframed: 59.5 x 71.4 cm.; 23⅜ x 21⅛ in.
framed: 79.5 x 91.5 cm.; 31¼ x 36 in.
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The canvas is lined. The paint surface is relatively clean and the varnish is clear. There are discoloured visible retouchings scattered in the dark background. Inspection under ultraviolet light confirms these, and reveals further scattered retouchings, most notably in the dark pigments beneath the table, and in the upper right quadrant. In overall fairly 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.
Private collection, Holland, whence acquired in 1972.
Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 78;
Baden-Baden, Staatliche Kunsthalle Baden-Baden, Gutes böses Geld. Eine Bildgeschichte der Ökonomie, 5 March – 19 June 2016, unnumbered.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 5, Stilleben und Tierstücke, Münster/Hamburg/London 2004, pp. 130–33, cat. no. 25, reproduced in colour;
W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 88, cat. no. 78, reproduced in colour;
H. Bündge and L. Heese (eds), Gutes böses Geld. Eine Bildgeschichte der Ökonomie, exh. cat., Bielefeld and New York 2016, reproduced in colour p. 100.
Arrangements such as this provide the viewer not only with the opportunity to reflect on the themes of the brevity of life and the vanity of worldly concerns, but also to wonder at the artist’s skill in depicting a variety of textures and surfaces, and the realistic effects of light on these objects.
Gysbrechts was well-travelled. Born in Antwerp, he worked in Belgium, Germany, Denmark and Sweden. This painting was probably executed in Germany, where it is known that Gysbrechts was in the early 1660s. Later that decade, particularly when he had moved to Denmark and was in the service of Kings Frederik III and Christian V at Rosenborg Castle, Gysbrechts abandoned pure vanitas still life paintings, such as this one, to incorporate the same themes into ever more complex trompe l’œil compositions.