Tulips, roses, carnations, lilies and other flowers in a sculpted vase depicting Venus and Cupid, strawberries in a cabage leaf, other berries and a snail, all on a stone ledge; and Oranges, a watermelon, plums, peaches, a pear, a pomegranate, peppers, black and white grapes, a lemon and a corn on a cob, all on stone steps with snails, a beetle and butterflies nearby

细节

Jan Mortel (Leiden 1652-1719)
Tulips, roses, carnations, lilies and other flowers in a sculpted vase depicting Venus and Cupid, strawberries in a cabage leaf, other berries and a snail, all on a stone ledge; and Oranges, a watermelon, plums, peaches, a pear, a pomegranate, peppers, black and white grapes, a lemon and a corn on a cob, all on stone steps with snails, a beetle and butterflies nearby
oil on canvas
the first 87.4 x 68.9 cm.; the second 87.1 x 67.9 cm.
a pair (2)

来源

Anonymous sale; Lange, Berlin, 7 April 1938, lot 32, as Franz W. Tamm, where purchased by the family of the present owner.

注意事项

Christie’s charges a premium to the buyer on the Hammer Price of each lot sold at the following rates: 29.75% of the Hammer Price of each lot up to and including €5,000, plus 23.8% of the Hammer Price between €5,001 and €400,000, plus 14.28% of any amount in excess of €400,001. Buyer’s premium is calculated on the basis of each lot individually.

拍品专文

Jan Mortel was a pupil of Jan Porcellis van Delden, grandson of the marine painter, in Leiden, and became a member of the guild there in 1675. His early output was strongly influenced by the work of Jan Davidsz. de Heem and is characterised by strong colours, and dramatic lighting; later in his career, Mortel became influcenced by Abraham Mignon.

Fred Meijer points out that in circa 1707-8 Mortel actually borrowed elements directly from a picture by Mignon now in the Gemäldegalerie Dresden, for his own pictures (see F. Meijer, The Collection of Dutch and Flemish still life paintings bequeathed by Daisy Linda Ward, Zwolle, 2003, p. 259). The impact of Mignon's influence in the present compositions is also evident in the rich tonality and meticulous rendition of detail.

We are grateful to Mr. Fred Meijer of the RKD, The Hague, for confirming the attribution after inspection of the original (verbal communication, 15 March 2007).