JACOB VAN ES | Still life with a wine glass, peeled lemon, bread roll, olives and shrimps

Frau Louise Bellak, Vienna;
Her sale, Vienna, S. Kende, 28 February 1935, lot 36, for 300 Austrian Shillings;
With Galerie Sanct Lucas, Vienna, 1935 (when exhibited in Vienna, see Exhibited);
Private collection, Rotterdam, 1942;
With Gallery A. Staal, Amsterdam, 1950;
From whom acquired by F.C. Butôt (1906–92), Sankt Gilgen, Austria, by 1954;
Thence by descent.

Vienna, Palais Pallavicini, Die Jüngeren Brueghel und ihr Kreis, 16 March – 15 April 1935, no. 70;
Rotterdam, Museum Boymans, Kersttentoonstelling van oude en moderne schilderijen uit particuliere verzamelingen, 23 December 1942 – 1 February 1943, no. 15A;
Delft, Stedelijk Museum 'Het Prinsenhof', Kersttentoonstelling, 21 December 1952 – 1 February 1953, no. 23.;
Dordrecht, Dordrechts Museum, Nederlandse stillevens uit de 17de eeuw, 21 July – 2 September 1962, no. 47;
Salzburg, Museumpavillon im Mirabellgarten, 12 July – 12 September 1972; Münster, Westfälisches Landesmuseum, 26 September 1972 – 14 January 1973, Niederländische Kunst aus dem Goldenen Jahrhundert;
Rotterdam, Museum Boymans-van Beuningen, Hollandse en Vlaamse Kunst uit de 17^e eeuw, 16 February – 1 April 1973.

Probably E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, 1956, p. 156 (as 'Crevettes et Olives');
Niederländisches Kunst aus dem Goldenen Jahrhundert--Gemälde und Zeichnungen im Umkreis grosser Meister aus der Sammlung F.C. Butôt, exhib. cat., Salzburg 1972, pp. 42–43, reproduced;
Hollandse en Vlaamse kunst uit de 17e eeuw: hoogtepunten van minder bekende meesters: schilderijen en tekeningen uit de verzameling F.C. Butôt, exhib. cat., Rotterdam 1973, pp. 42–43, reproduced;
L.J. Bol & G. Keyes, Netherlandish Paintings and Drawings from the Collection of F.C. Butôt, London 1981, pp. 11 and 36, cat. no. 1, reproduced in colour;
E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Brussels 1983, p. 345, cat. no. 2.

The panel is cradled, flat and stable. The paint surface is clean, and the thick varnish is clear and shiny. Inspection under ultraviolet light reveals retouchings scattered throughout the background, probably as a result of old tenting, and more concentrated areas in the table centre and lower right. There are a handful of further small spot retouchings in the lemon peel. In overall good condition.
"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."

Van Es' still lifes are, like this one, characteristically small-scale and modest in their compositions – in this respect they more closely approach the works of the Haarlem monochrome banketje painters of the 1630s than any other Flemish artist.