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Lot Essay
When it was with Hoogsteder, Laurens J. Bol believed the picture was by Simon Luttichuys. Later Mr. Fred Meijer proposed an attribution to Pieter Willebeeck, comparing it to a Still Life with the Accoutrements of Smoking and a Lemon, Sotheby's, 12 Dec. 1984, lot 225.
More recently Dr. Sam Segal has argued for an attribution to the Rotterdam artist Heyman Dullaert. Dullaert was once a pupil of Rembrandt, and he believes the tenebresque lighting effects of the picture clearly recall the latter's atmospheric style.
Segal believes the present work should be compared in particular to two other still lifes by Dullaert: a signed still life in the Israel Museum, Jerusalem, and another signed work, on panel, in the Pushkin Museum, Moscow (W. Sumowski, Gemälde der Rembrandt-Schüler, Landau/Pfalz, 1983, VI, p. 3599, under no. 350, illustrated in colour p. 3654, and p. 3704, no. 2260a, illustrated in colour pl. 3847). All share a similar half monochrome coloration, and the reflection of sliver and glass shows a similar technique. The Jerusalem picture also depicts a comparable peeled lemon, and the Pushkin work includes a similar table and bread roll with crumbs.
Dr. ter Molen, Curator of Applied Arts and Design at the Museum Boymans-van Beuningen, Rotterdam, notes that the sliver chafing dish on a fluted circular brazier with ball and claw feet may be dated to the third quarter of the 17th Century.
The picture is sold with a certificate by Dr. Sam Segal, dated 7 April 1995.
More recently Dr. Sam Segal has argued for an attribution to the Rotterdam artist Heyman Dullaert. Dullaert was once a pupil of Rembrandt, and he believes the tenebresque lighting effects of the picture clearly recall the latter's atmospheric style.
Segal believes the present work should be compared in particular to two other still lifes by Dullaert: a signed still life in the Israel Museum, Jerusalem, and another signed work, on panel, in the Pushkin Museum, Moscow (W. Sumowski, Gemälde der Rembrandt-Schüler, Landau/Pfalz, 1983, VI, p. 3599, under no. 350, illustrated in colour p. 3654, and p. 3704, no. 2260a, illustrated in colour pl. 3847). All share a similar half monochrome coloration, and the reflection of sliver and glass shows a similar technique. The Jerusalem picture also depicts a comparable peeled lemon, and the Pushkin work includes a similar table and bread roll with crumbs.
Dr. ter Molen, Curator of Applied Arts and Design at the Museum Boymans-van Beuningen, Rotterdam, notes that the sliver chafing dish on a fluted circular brazier with ball and claw feet may be dated to the third quarter of the 17th Century.
The picture is sold with a certificate by Dr. Sam Segal, dated 7 April 1995.