Master Paintings Part I

Master Paintings Part I

View full screen - View 1 of Lot 122. A Still Life with Cherries and Strawberries in Wanli Dishes, an Orange on a Pewter Plate with a Knife, Gooseberries, Red, White and Black Currants, Mulberries, a Berkemeier and a Stoneware Jug on a Table Covered with a White Tablecloth.

Property of a New York Private Collector

Pieter Claesz.

A Still Life with Cherries and Strawberries in Wanli Dishes, an Orange on a Pewter Plate with a Knife, Gooseberries, Red, White and Black Currants, Mulberries, a Berkemeier and a Stoneware Jug on a Table Covered with a White Tablecloth

Auction Closed

January 26, 05:50 PM GMT

Estimate

1,000,000 - 1,500,000 USD

Lot Details

Description

Property of a New York Private Collector

Pieter Claesz.

Berchem 1597/8 - 1660/1 Haarlem

A Still Life with Cherries and Strawberries in Wanli Dishes, an Orange on a Pewter Plate with a Knife, Gooseberries, Red, White and Black Currants, Mulberries, a Berkemeier and a Stoneware Jug on a Table Covered with a White Tablecloth


signed in monogram and dated lower left: PC Ao 1621

oil on panel

panel: 17⅞ by 25 in.; 45.5 by 63.5 cm.

framed: 27¼ by 33¾ in.; 69.2 by 85.7 cm.

Please refer to the online catalogue for updated literature for this lot.
Anonymous sale (collection of John Holland et al.), London, Christie's, 11 April 1913, lot 101;
Sydney Morse (1854-1929), London;
By whose estate sold, London, Christie's, 26 July 1929, lot 38, to Dunthorne;
With Rembrandt Gallery, London, 1935 - 1938;
Eric C. Francis, West Monkton, United Kingdom;
By whom sold, London, Sotheby's, 5 July 1984, lot 258;
With David Koetser, Zurich, 1985;
With Richard Green, London, 1988, until at least 1991;
Private collection, Milan;
With Richard Green, London;
From whom acquired by the present collector. 

N.R.A. Vroom, De schilders van het monochrome banketje, Amsterdam 1945, cat. no. 17;

I. Bergström, Studier i Holländisdkt Stillebenmaler under 1600-Talet, Göteborg 1947, p. 120f, reproduced fig. 100;

I. Bergström, Dutch Still Life Painting in the Seventeenth Century, London 1956, p. 114, reproduced fig. 100;

M. Millner Kahr, Dutch Painting in the Seventeenth Century, New York 1978, p. 196;

H. Bauer, Holländische Malerei des 17. Jahrhunderts, Munich 1979, pp. 84, 87, reproduced p. 85;

N.R.A. Vroom, A Modest Message as Intimated by the Painters of the 'Monochrome Banketje,' Schiedam 1980, vol. II, p. 16, cat. no. 39, reproduced;

B. Haak, Hollandse Schilders in de Gouden Eeuw, Amsterdam 1984/Das Goldene Zeitalter der Höllandische Malerei, Cologne 1984/The Golden Age: Dutch Painters of the 17th Century, New York 1984, p. 247, reproduced fig. 517;

P. Lorenzelli, Orbis pictus:Natura Morta in Germania, Olanda, Fiandre, XVI-XVIII Secolo, exhibition catalogue, Bergamo 1986, p. 135, reproduced fig. 61;

S. Segal, A Prosperous Past: The Sumptuous Still Life in the Netherlands 1600-1700, exhibition catalogue, pp. 121 and 215, note 5;

E. Gemar-Koeltzsch, Holländische Stillebenmaler im 17. Jahrhunderts, Lingen 1995, vol. II, p. 227, no. 76/1, reproduced;

A.W. Lowenthal, "Pieter Claesz.," The Dictionary of Art, London and New York 1996, vol. VII, p. 369;   

M. Brunner-Bulst, Pieter Claesz. Der Hauptmeister des Haarlemer Stillebens im 17. Jahrhundert, Lingen 2004, pp. 8, 137-138, 206, cat. no. 1, reproduced in color p. 9;

P. Biesboer, ed., Pieter Claesz. Master of Haarlem Still Life, exhibition catalogue, Zwolle 2004, pp. 16, 37-38, 114, cat. no. 1, reproduced in color (detail) pp. 8 - 9, 13;

A. Blankert, "Pieter Claesz. als uitvinder van de asymmetrische diagonaal," in "Gij zult niet feestbundelen," 34 bijdragen voor Peter Hecht, Amsterdam 2016, pp. 17-20.