GERRIT VAN VUCHT | Still-life with tric-trac game and various tableware all atop a wooden table, a stool with smoking materials to the left, two chairs and a cello to the right

With Denis Komter, Amsterdam;

His sale, Amsterdam, Sotheby Mak van Waay, 9-12 March 1926, lot 71 (as Gerrit Heda);

Private collection, Hamburg, 1926-42;

With J. Denijs, Amsterdam, 1942;

Sale, Amsterdam, J.M. van der Meulen, 27 November 1945, lot 9 (as Gerrit Heda or J. Gillig; according to Haak, see Literature);

Willem M.J. Russell, Amsterdam, by 1970;

From whom acquired in 1981 (as a pendant with the painting by the same artist offered in May 2019).

N.R.A. Vroom, De Schilders van het Monochrome Banketje, Amsterdam 1945, p. 143 (as Gerrit Willemsz. Heda);

J.G. van Gelder, Catalogue of the collection of Dutch and Flemish still-life pictures bequeathed by Daisy Linder Ward. Ashmolean Museum, Oxford, Oxford 1950, p. 86, under cat. no. 31 (compared with a work attributed to Gerrit Willemsz. Heda);

B. Haak, 'Gerrit van Vucht, een Stillevenschilder to Schiedam', in Oud Holland, vol. 72, 1957, pp. 118-20, cat. no. 6, reproduced fig. 6;

P. Gammelbo, Dutch Still-Life Paintings from the 16^th to the 18^th Century in Danish collections, Leigh-on-Sea 1960, p. 66, under cat. no. 74;

E.W.G. van Maanen et al, Gerrit van Vucht 1610–1697. Een 17e-eeuws stillevenschilder te Schiedam, exh. cat., Schiedam 1966, cat. no. 2, reproduced;

S.H. Levie (ed.), 17 de-eeuwse schilderijen uit de verameling Willem Russell, exh. cat., Amsterdam 1970, p. 123, cat. no. 95, reproduced;

N.R.A. Vroom, A Modest Message as Intimated by the Painters of the 'monochrome banketje', Schiedem 1980, vol. II, p. 138, cat. no. 716, reproduced;

S. Sullivan, The Dutch Gamepiece, Totowa 1984, p. 105;

J. Bokhoven, Schiedamse schilders in de Gouden Eeuw, exh. cat., Schiedam 1987, p. 25, cat. no. 13, reproduced p. 28;

E. Gemar-Költzsch et al, Holländische Stillebenmaler im 17. Jahrhundert, Lingen 1995, vol. III, cat. no. 425/2, reproduced;

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 5, Stilleben und Tierstücke, Münster/Hamburg/London 2004, pp. 260-63, cat. no. 59, reproduced in colour;

W. Pijbes, M. Aarts, M. J. Bok et al, At Home in the Golden Age, exh. cat., Zwolle 2008, p. 38, cat. no. 7, reproduced in colour.

Schiedam, Stedelijk Museum, Gerrit van Vucht 1610-1697. Een 17e-eeuws stillevenschilder te Schiedam, 10 June - 29 August 1966, no. 2;

Amsterdam, Historisch Museum, 17 de-eeuwse schilderijen uit de verzameling Willem Russell, 20 June - 13 September 1970, no. 95;

Schiedam, Stedelijk Museum, Schiedamse schilders in de Gouden Eeuw, 19 December 1987 - 24 January 1988, no. 13;

Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 7.

The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.

Gerrit van Vucht specialised in still life painting, particularly ‘banketje’ (banquet pieces) or ‘ontbijtjes’ (breakfast pieces), works executed in a limited palette of colours, which led to their description as ‘monochrome banquet pieces’, of which Pieter Claesz. and Willem Claesz. Heda were the foremost proponents. A number of Van Vucht's works have been mistakenly attributed to other artists painting in this style, and only around 30 works attributed to Van Vucht are known today, though contemporary inventories suggest his output was far greater than this. The majority of his paintings are executed on a similarly small scale to the present panel, with a characteristic tendency to depict the still life at a certain distance from the viewer and well within the overall composition.

Another work by Van Vucht, depicting a kitchen still life, was sold in the May 2019 Online sale of paintings from the SØR Rusche collection. Though that and the present work have always been associated with one another as pendants in their published history, Raupp posits the present painting as a later work, and dates the other to an earlier period.