View full screen - View 1 of Lot 43. HAARLEM SCHOOL, CIRCA 1650 | STILL LIFE WITH CARROTS, CABBAGE AND ONIONS, WITH ARTICHOKES, PARSLEY AND ONIONS IN BASKETS ON A WHEELBARROW.
43

HAARLEM SCHOOL, CIRCA 1650 | STILL LIFE WITH CARROTS, CABBAGE AND ONIONS, WITH ARTICHOKES, PARSLEY AND ONIONS IN BASKETS ON A WHEELBARROW

Property from a European Private Collection

HAARLEM SCHOOL, CIRCA 1650 | STILL LIFE WITH CARROTS, CABBAGE AND ONIONS, WITH ARTICHOKES, PARSLEY AND ONIONS IN BASKETS ON A WHEELBARROW

HAARLEM SCHOOL, CIRCA 1650 | STILL LIFE WITH CARROTS, CABBAGE AND ONIONS, WITH ARTICHOKES, PARSLEY AND ONIONS IN BASKETS ON A WHEELBARROW

Property from a European Private Collection

HAARLEM SCHOOL, CIRCA 1650

STILL LIFE WITH CARROTS, CABBAGE AND ONIONS, WITH ARTICHOKES, PARSLEY AND ONIONS IN BASKETS ON A WHEELBARROW


oil on oak panel

unframed: 38 x 30.7 cm.; 15 x 12⅛ in.

framed: 54.1 x 47 cm.; 21¼ x 18½ in.


Please note: Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot


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The panel is uncradled, flat and stable. There is a horizontal strip of canvas support on the reverse across the centre, apparently to support a horizontal split in the panel. The paint surface is clean with a clear varnish and the split barely apparent from the front, even under ultraviolet light, which reveals very little intervention, save for some tiny spots of retouching in the sky. Older intervention is difficult to discern underneath the milky varnish. The painting presents very well in its current state and is 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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

J.F. Menke, 1930;

With D. Katz, Dieren, before 1934;

J.G. Fockema Vié, by 1934;

With J. Goudstikker, Amsterdam, by 1936;

Anonymous sale, London, Christie's, 4 March 1966, lot 63;

Anonymous sale, Amsterdam, Paul Brandt, 5-8 November 1968, lot 115 (all the above as Salomon van Ruysdael);

Mr and Mrs Janssen (1920-2002), Amsterdam;

By whom sold ('A Lady's Taste, The Janssen Collection'), Amsterdam, Sotheby's, 4 November 2003, lot 23, where acquired.

The Hague, Koninklijke Kunstzaal Kleykamp, Tentoonstelling van schilderijen door oud-hollandsche en vlaamsche meesters uit de collectie Katz te Dieren, 1934, no. 55 (as Salomon van Ruysdael);

Zutphen, Stedelijk Museum, Tentoonstelling van schilderijen door 17e eeuwsche Nederlandsche schilders uit de collectie van de Firma D. Katz te Dieren, 13 July - 30 July 1934, no. 27 (as Salomon van Ruysdael);

Arnhem, Gemeentemuseum, on loan from Fockema Vié, 1934 (as Salomon van Ruysdael);

Amsterdam, J. Goudstikker, Catalogus der tentoonstelling van werken door Salomon van Ruysdael, January - February 1936, no. 8 (as attributed to Salomon van Ruysdael).

Traditionally attributed to Salomon van Ruysdael (1600/03-1670), this painting is also closely related to the work of other Haarlem artists such as Jan van Goyen, Pieter de Molijn, and Jan Coelenbier.