View full screen - View 1 of Lot 33. Still life of fruit, including lemons, grapes, pears and cherries, together with a hazelnut, all arranged on a table largely draped with a blue cloth | 《靜物:桌子上的檸檬、葡萄、紅梨、櫻桃及一顆榛子,藍色布覆蓋大半桌面》.
33

Jan Davidsz. de Heem

Still life of fruit, including lemons, grapes, pears and cherries, together with a hazelnut, all arranged on a table largely draped with a blue cloth | 《靜物:桌子上的檸檬、葡萄、紅梨、櫻桃及一顆榛子,藍色布覆蓋大半桌面》

VAT reduced rate

Estimate:

200,000

to
- 300,000 GBP

The Property of a Private Collector

Jan Davidsz. de Heem

Jan Davidsz. de Heem

Still life of fruit, including lemons, grapes, pears and cherries, together with a hazelnut, all arranged on a table largely draped with a blue cloth | 《靜物:桌子上的檸檬、葡萄、紅梨、櫻桃及一顆榛子,藍色布覆蓋大半桌面》

Still life of fruit, including lemons, grapes, pears and cherries, together with a hazelnut, all arranged on a table largely draped with a blue cloth | 《靜物:桌子上的檸檬、葡萄、紅梨、櫻桃及一顆榛子,藍色布覆蓋大半桌面》

Estimate:

200,000

to
- 300,000 GBP

Lot sold:

289,800

GBP

The Property of a Private Collector

Jan Davidsz. de Heem

Utrecht 1606 - 1683/4 Antwerp

Still life of fruit, including lemons, grapes, pears and cherries, together with a hazelnut, all arranged on a table largely draped with a blue cloth


signed and dated upper left: J. De heem f / Ao. i653 (see catalogue note)

oil on canvas

19.1 x 23.5 cm.; 7½ x 9¼ in.


私人收藏

楊・戴維茨・德・赫姆 1606 - 1684年

《靜物:桌子上的檸檬、葡萄、紅梨、櫻桃及一顆榛子,藍色布覆蓋大半桌面》


款識:藝術家簽名並紀年J. De heem f / Ao. i653(左上,見圖錄說明)

油彩畫布

19.1 x 23.5 公分;7½ x 9¼ 英寸

The following condition report is provided by Thomas Art Conservation who is an external specialist and not an employee of Sotheby's:


Jan Davidz de Heem

Still Life


This small picture is in very good condition overall, free of wear and any meaningful loss. The freshness of the colors and delicacy of the paint handling are immediately apparent. Note how even the miniscule hairs on the caterpillar remain perfectly intact. Only the blue pigment used for the draped fabric shows any aging effects; here a slight amount of agerelated fading has developed. The few lines of craquelure in the paint are only visible under the closest examination. The painting appears to be nearly without retouching, with only a few very minor retouches in the lemon, visible under ultraviolet (UV) illumination. There may exist some touches of restoration around the date, but UV did not reveal any further insight. The picture has been glue lined to a secondary plain weave canvas, and attached to a five-member keyable bridle-joint stretcher. The tacking margins and turnover edges are covered with brown paper tape. The support is planar and appears to be structurally sound. A thick and slightly dull synthetic varnish coats the surface; although apparently free of discoloration, the darks are not completely saturated by the varnish and the surface has a slightly waxy appearance. This painting may be displayed in its current state. If desired, the

saturation of the varnish could be boosted slightly with a light coat of a lower molecular weight varnish.


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.

Van Saceghem, Ghent;

His sale, Brussels, Le Roy, 2 June 1851, lot 20, for 90 Francs;

Possibly Sir Edward Bacon;

Barnet Lewis, 2 Hamilton Place, London, and Foxbush, Hildenborough, Kent;

His posthumous sale, London, Christie's, 28 February 1930, lot 93 (as dated 1653), for 50 Guineas to Heather;

With Arthur Tooth, London, 1931–33;

Sydney J van den Bergh, Wassenaar, by 1959 until after 1965;

With Edward Speelman, London;

With Herman Shickman, New York, 1968;

John Lowenthal, New York, 1968;

Private collection, New York.

The Burlington Magazine, January 1931, p. xxxi, reproduced (advertisement placed by Arthur Tooth);

J. Pilz-von Stein, Intentionen der holländischen Stillebenmalerei zwischen 1640 und 1680, Diss., Munich 1965, pp. 110 n. 37, 129, cat. no. 27a;

F.G. Meijer, Jan Davidsz. de Heem 1606–1684, (online) 2016, Part 1, p. 185 reproduced no. A 169), p. 322, (reproduction of original form of signature), Part 2, Catalogue Raisonné, pp. 188–89, no. A 169, reproduced.

Laren, Singermuseum, Twee Nederlandse colecties schilderijen uit de vijftiende tot en met de zeventiende eeuw en een collectie oude aardewerk, 1959, no. 52;

Leiden, Stedelijk Museum de Lakenhal, 17de Eeuwse meesters uit Nederlands particulier bezit: oude meesters uit de collectie de heer en mevrouw Sidney van den Bergh-Bendix, 1965, no. 23;

New York, Herman Shickman, 1968, no. 16, reproduced.