ABRAHAM VAN BEYEREN (THE HAGUE C.1620⁄1-1690 OVERSCHIE)
ABRAHAM VAN BEYEREN (THE HAGUE C.1620⁄1-1690 OVERSCHIE)
ABRAHAM VAN BEYEREN (THE HAGUE C.1620⁄1-1690 OVERSCHIE)
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PROPERTY FROM A PRIVATE BELGIAN COLLECTION
ABRAHAM VAN BEYEREN (THE HAGUE C. 1620⁄21-1690 OVERSCHIE)

Mussels in pewter and earthenware plates with an upturned roemer, on a wooden table

Details
ABRAHAM VAN BEYEREN (THE HAGUE C. 1620⁄21-1690 OVERSCHIE)
Mussels in pewter and earthenware plates with an upturned roemer, on a wooden table
oil on panel
13 ½ x 18 1⁄8 in. (34.3 x 46.2 cm.)
Provenance
Josef Cremer (1845-1938), Dortmund, by 1914; his sale, Wertheim, Berlin, 29 May 1929, lot 40, as 'Pieter Claesz'.
with Jacques Goudstikker, Amsterdam, by 1931, as ‘Salomon van Ruysdael’.
Confiscated from the above by the Nazi authorities (Hermann Göring), 1940.
with Alois Miedl, ‘Kunsthandel voorheen J. Goudstikker NV’, Amsterdam.
Acquired by Adolf Hitler for the ‘Sonderauftrag Linz’, Linz No. 1212.
Recovered by the Monuments, Fine Arts and Archives Section, transferred to the Munich Central Collecting Point (MCCP No. 4134), 13 July 1945.
Transferred to the Stichting Nederlands Kunstbezit (SNK) from the above, 20 October 1945 (no. 75), and placed under the custody of the following,
Instituut Collectie Nederland (formerly Dienst voor's Rijks Verspreide Kunstvoorwerpen), inv. no. NK 3262, as ‘Abraham van Beijeren’, from 1948-2006, until
Restituted to the heir of Jacques Goudstikker in February 2006; their sale, Christie's, Amsterdam, 14 November 2007, lot 36, where acquired by the present owner.
Literature
H. Voss, ed., Collection Geh. Kommerzienrat Cremer Dortmund, Dortmund, 1914, I, p. 84, without attribution; II, p. 63, no. 161, illustrated, as 'Frans Hals II'.
H.P. Bremmer, ed., Beeldende Kunst, XX, no. 5, September 1933, pp. 37-8, no. 38, illustrated, as 'Salomon Ruisdael'.
O. ter Kuile, Rijksdienst Beeldende Kunst. The Netherlands Office for Fine Arts The Hague. Catalogue of Paintings by Artists Born before 1870. Volume VI. Seventeenth-century North Netherlandish Still Lifes, The Hague, 1985, pp. 80-1, no. VI-9, illustrated.
E. de Heer, F. Kuyvenhoven and E. Mijnlieff, Rijksdienst Beeldende Kunst. The Netherlands Office for Fine Arts The Hague. Old Master Paintings. An Illustrated Summary Catalogue, The Hague, 1992, p. 40, no. 181, illustrated.
Exhibited
Eindhoven, Galerie De Zonnewijzer, Facetten van de 17de eeuwse schilderkunst, 3 April-2 June 1970, as 'Salomon van Ruysdael'.
Lakenhal, Stedelijk Museum, Een stuckie stilleggend goet: Nederlandse stillevens uit de 17e-eeuw in het bezit van de Rijksdienst Beeldende Kunst, 15 November 1985-5 January 1986.

Brought to you by

Lucy Speelman
Lucy Speelman Junior Specialist, Head of Part II

Lot Essay


Just as Abraham van Beyeren's early marine paintings display the influence of Jan van Goyen, so too is this diagonally arranged tonal still life indebted to van Goyen’s son-in-law, Jacques de Claeuw. Van Beyeren probably became acquainted with both artists while resident in The Hague in the 1640s and 1650s. Though previous attributions of this still life have ranged from Frans Hals II to Salomon van Ruysdael (see ter Kuile, op. cit.), it can convincingly be given to van Beyeren on account of a monogrammed still life of similar composition in the Gemäldegalerie der Akademie der Bildenden Künste, Leipzig (inv. no. 1384), perhaps the only other extant work of this type by the artist.

The attribution was endorsed by Dr. Fred G. Meijer following firsthand inspection prior to the 2007 sale.

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