View full screen - View 1 of Lot 16. Still life of a citron, grapes, an apple and other fruits in a porcelain bowl with a sparrow, with plums and apricots in a gilt tazza and a sliced lemon, olives and capers on a salver, with hazelnuts, flowers and a quail, all upon a ledge.
16

Peter Binoit

Still life of a citron, grapes, an apple and other fruits in a porcelain bowl with a sparrow, with plums and apricots in a gilt tazza and a sliced lemon, olives and capers on a salver, with hazelnuts, flowers and a quail, all upon a ledge

Property from the Grasset Collection

Peter Binoit

Peter Binoit

Still life of a citron, grapes, an apple and other fruits in a porcelain bowl with a sparrow, with plums and apricots in a gilt tazza and a sliced lemon, olives and capers on a salver, with hazelnuts, flowers and a quail, all upon a ledge

Still life of a citron, grapes, an apple and other fruits in a porcelain bowl with a sparrow, with plums and apricots in a gilt tazza and a sliced lemon, olives and capers on a salver, with hazelnuts, flowers and a quail, all upon a ledge

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Property from the Grasset Collection


Peter Binoit

Cologne circa 1590 - 1632 Hanau

Still life of a citron, grapes, an apple and other fruits in a porcelain bowl with a sparrow, with plums and apricots in a gilt tazza and a sliced lemon, olives and capers on a salver, with hazelnuts, flowers and a quail, all upon a ledge


oil on beechwood panel

46.3 x 65.9 cm.; 18¼ x 26 in.


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格拉塞特典藏


彼得・比諾特

1590年生於科隆,1632年卒於哈瑙

《靜物︰臺上瓷盌中的

香櫞、葡萄、蘋果和其他水果、麻雀、鎏金高足淺盤中的李子和杏子、金屬盤子上切開的檸檬、橄欖和刺山柑,榛子、鮮花和鵪鶉》


油彩山毛櫸木畫板

46.3 x 65.9 公分;18 ¼ x 26 英寸

The following condition report is provided by Henry Gentle who is an external specialist and not an employee of Sotheby's:


The oak support is well preserved and of one piece. There is evidence of minor worm damage and two vertical battens have been affixed to the reverse. A central raised horizontal fracture, approximately 10cm in length, can be detected between the lemon and the tazza stem; there is minor paint loss along it. The paint layer is very well preserved, is in good original condition and is stable and secure. Textured brushwork and impasted highlights are retained. Minor repaired loss to the lower left corner can be seen and also to the two apples on the right. Under u-v light recent very minor restoration can be detected on top of an old discoloured and degraded varnish. Fine details are very well preserved and tonal and chromatic subtleties are intact. Significant tonal improvement would be gained with the removal of the varnish.



"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."

Private collection, Madrid;

From whom acquired for the Grasset Collection in 1975.

F.G. Meijer, Brueghel to Canaletto, European Masterpieces from the Grasset Collection, exh. cat., San Diego 2016, p. 21, reproduced in colour;

S. Thomas, A Feast for the Eyes, European Masterpieces from the Grasset Collection, exh. cat., Saint Petersburg, Florida 2019, pp. 34–35, 95–96, no. 11, reproduced in colour. 

San Diego, The San Diego Museum of Art, Brueghel to Canaletto, European Masterpieces from the Grasset Collection, 2 April – 2 August 2016;

Saint Petersburg, Florida, Museum of Fine Arts, A Feast for the Eyes, European Masterpieces from the Grasset Collection, 23 March – 2 September 2019, no. 11.

Born in Cologne, Peter Binoit is one of the most important first-generation German painters of still lifes. He trained in Hanau, possibly under still-life painter Daniel Soreau sometime after 1600 alongside Sebastian Stoskopff and his master's twin sons, Peter and Isaac Soreau. He worked in Frankfurt in the 1620s, returning to Hanau in 1627, the year of his marriage to Daniel Soreau's niece, where he remained until his untimely death in 1632.


This painting, along with the Still life of lemons and pomegranates in a basket (lot 25), confirm Binoit's place as one of the leading still-life practitioners in the German-speaking lands. These charming examples, both painted on typical German beechwood panels, exemplify Binoit's decorative and appealing style, reflecting the unmistakable influence of both his German and Flemish contemporaries. Like the other still life offered here, the composition includes a silver-gilt tazza, overflowing with plums and apricots, possibly a nod to Hanau’s reputation as a leading centre of precious metal working. To the right is a large Chinese porcelain bowl, filled with a variety of fruits which a bird, possibly a sparrow, is resting upon, and in the foreground are carnations, a quail and a pewter dish with a sliced lemon, capers and olives.


A number of motifs, such as the Chinese porcelain bowl and pewter dish, are repeated in a variety of combinations in several of the artist's compositions. However, the quail in the centre of the work is seemingly unique within the artist's œuvre. This still life also appears to be the prototype for a group of works executed by the artist Francesco Codino. It has been suggested that the latter was a member of the Godin family, and had trained in the ateliers of (and may have been related to) both Daniel Soreau in Hanau and Pieter Binoit in Cologne, before emigrating to Italy around 1620.Two versions of this composition by Codino are listed in Bott's monograph, the most similar to this picture, painted on a poplar support, only lacks the motif of the quail in the foreground.2


Although very few works by Binoit are either signed or dated, the similarities in style and handling between this work and the Still life of lemons and pomegranates in a basket to other detailed works by the artist, suggest a date of execution of about 1617.3


G. Bott, Die Stillebenmaler Soreau, Binoit, Codino und Marrell in Hanau und Frankfurt 1600-1650, Hanau 2001, pp. 152–75. 

Bott 2001, p. 221, nos WV.C.25 and WV.C.26. 

3 Meijer 2016, p. 21.