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A porcelain plate with red and green grapes, a pewter plate with a knife, nuts, a pear and a glass of wine on a table top

A porcelain plate with red and green grapes, a pewter plate with a knife, nuts, a pear and a glass of wine on a table top
signed in monogram 'I·S·F·' (center right, next to the grapes)
oil on copper
14 5/8 x 20 3/8 in. (37.2 x 51.7 cm.)
with Duits, London, by April 1939, until sold to the following,
with Kunsthandel Pieter de Boer, Amsterdam, by 1939, as Sebastian Stoskopff (inv. no. 2739).
Jacob 'Jaap' Polack, Amersfoort/Amsterdam, acquired from the above, June 1939.
Confiscated by the 'Dienststelle Mühlmann,' 1941, following the occupation of The Netherlands.
Acquired from the above by Hans Posse on behalf of Adolf Hitler for the Fürer-Museum at Linz (Linz no. 2421), as Sebastian Stoskopff.
Recovered by the Monuments Fine Arts and Archives Section from Alt Aussee, Austria, and transferred to the Munich Central Collecting point, 18 October 1945 (MCCP no. 10555).
Restituted to Jacob Polak, March 1949.
Anonymous sale; Sotheby's Parke Bernet, New York, 6 December 1973, lot 138, as Osias Beert, where acquired by the following,
with Newhouse Galleries, New York, by 1974, as Jan Soreau.
with Richard Green, London, by 1975, as Jan Soreau.
with Galerie J. Kraus, Paris, by 1976.
Private collection, Germany, by 1984.
Anonymous sale; Fine Art Metz Auktionhaus, Heidelberg, 5-10 December 2009, lot 299, where acquired by the present owner.
Advertisement, Apollo, C, 1974, p. 21, illustrated, as Jan Soreau.
Advertisement, Connaissance des Arts, May, 1977, illustrated.
G. Schurr, 'In the Paris Galleries', The Connoisseur, CXCIV, 1977, p. 70, illustrated.
C. Grimm, Glück und Glas. Zur Kulturgeschichte des Spessart-glases, Munich, 1984, p. 344 and 346, no. 6.
G. Bott, Die Stillebenmaler Soreau, Binoit, Codino und Marrell in Hanau und Frankfurt 1600-1650, Hanau, 2001, pp. 107, 112 and 188, fig. 95, no. WV.IS.49.
The Hague, Koninklijke Kunstzaal Kleykamp, Tentoonstelling van oude schilderijen der collectie N.V. Kunsthandel P. de Boer, 8 June-3 July 1939, no. 90, as S. Stoskopff.
London, Richard Green, Annual Exhibition of Old Master Paintings, 1975, no. 12, as Jan Soreau.
Paris, Galerie J. Kraus, Premier Exhibition, September 1976, no. 9.
Frankfurt, Schirn Kunsthalle, Georg Flegel 1566-1638: Stilleben, 18 December 1993-14 February 1994, no. 163 (entry by K. Wettengl).
Sale Room Notice
Please note the updated provenance. This painting was restituted to Jacob Polack in March of 1949.

Please note that on the basis of images, Fred Meijer suggests the present lot should be catalogued as ‘Attributed to Isaak Soreau’.

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Jonquil O’Reilly
Jonquil O’Reilly Vice President, Specialist, Head of Sale

Lot Essay

Isaac Soreau likely began his career in his father Daniel Soreau’s workshop and specialized in painting table-top still lifes. Daniel was a successful wool-merchant, controlling trade in Hesse and Wetterau and is thought to have turned to painting at an advanced age. Although no paintings by Daniel are extant, his pupils are documented, including his twin sons, Isaac and Peter, and Sebastian Stoskopff, who took over his studio and possibly the education of his sons. The present painting first appeared on the art market in 1939, with an attribution to Stoskopff, with whose work Isaac’s shares striking similarities (loc. cit.). Both artists set their still lifes on table-tops against a dark background, with the objects presented bathed in uniform light, showcasing the meticulous rendering of textures.

This painting was first correctly recognized as the work of Soreau by Claus Grimm in 1984 (loc. cit.) and shares many similarities with his Still life with a dish of strawberries, now in the Cincinnati Art Museum (fig. 1, inv. no. 1960.496), dated to the early 1630s. Both works present fruits and nuts spread across a table-top, which appears to slant forward, granting the viewer a better vantage point. In both works special care is paid to the description of the porcelain and table-wear, including similar wine glasses. In the present painting, the handle of the inlaid knife terminates in a horseshoe, while in the Cincinnati picture a spoon terminates in a hoof.

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