拍品 252
  • 252

彼得‧克拉斯

估價
20,000 - 30,000 USD
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招標截止

描述

  • Pieter Claesz.
  • 《鋪白布檯面的代爾夫特執壺、火腿、葡萄酒、魚和麵包》
  • 款識:畫家簽姓名縮寫並紀年 PC / 1654(中下)
  • 油彩畫板

來源

Dr. R.R. Woods, by 1957;
William Lowe Bryan Memorial Collection, Indiana University, Bloomington, Indiana;
Anonymous sale, New York, Christie's, 9 June 1978, lot 115a.

展覽

Dublin, Dublin City Gallery, Paintings from Irish collections, May-August 1957, no. 86;
Indianapolis, John Herron Museum of Art, Indiana Colleges Collections, October 1964;
New Brunswick, New Jersey, Haarlem: The Seventeenth Century, 20 February -17 April  1983, no. 26. 

Condition

Panel is uncradled. there is a central horizontal join, slightly visible from the front, that is reinforced on the reverse with battens and tape. the paint surface is under a slightly yellowed varnish. overall the paint surface is very well retained with only some slight thinnesses to some of the background browns at right side. there are some minor scuffs and losses at the extreme edges, probably from rubbing of the frame. ultraviolet light reveals some small retouches at middle right edge and one or two along join. otherwise nothing else fluoresces. In a faux ebony wood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

拍品資料及來源

We are grateful to Fred G. Meijer of the Rijksbureau voor Kunsthistorische Documentatie, The Hague, for confirming the attribution following first hand inspection of the original. Although Martina Brunner-Bulst, from photographs, questions the autograph status of the picture, Meijer has argued that it is a typical signed and dated late work by the artist.