NICOLAES VAN VEERENDAEL (ANTWERP 1640-1691)
NICOLAES VAN VEERENDAEL (ANTWERP 1640-1691)
NICOLAES VAN VEERENDAEL (ANTWERP 1640-1691)
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NICOLAES VAN VEERENDAEL (ANTWERP 1640-1691)

A tulip, roses, iris and other flowers in a glass vase on a stone plinth

細節
NICOLAES VAN VEERENDAEL (ANTWERP 1640-1691)
A tulip, roses, iris and other flowers in a glass vase on a stone plinth
oil on panel
15 x 11 in. (38 x 28 cm.)
來源
with John Mitchell Fine Paintings, London, 1985.
[Property of a Private Collector, Los Angeles, California]; Sotheby’s, New York, 2 June 1989, lot 24.
with Galerie de Jonckheere, Paris, where acquired by the following,
Private collection, by whom sold,
[The Property of a Private Collector]; Christie’s, New York, 27 January 2010, lot 9, where acquired by the present owner.
展覽
Sydney, Martyn Cook Antiques, The Inspired Spirit: Three Centuries of European Painting, 1995, no. 17.
注意事項
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.

榮譽呈獻

Joshua Glazer
Joshua Glazer Specialist, Head of Private Sales

拍品專文

The Antwerp-born still life painter Nicolaes van Veerendael trained with his father, Willem van Veerendael, and became a master in the city’s Guild of Saint Luke by 1657, still in his mid-to-late teens. While several allegorical scenes with monkeys in the style of Jan Brueghel I and David Teniers II are known, van Veerendael specialized in floral still lifes. His earliest paintings are stylistically and compositionally indebted to Daniel Seghers, though employ stronger contrasts and richer detail. By the 1670s, van Veerendael’s bouquets became less formal, while his late works from 1680 on exhibit greater freedom of brushwork.

The present painting is an early work, datable to the early 1660s on account of the delicate glazes used to model the highly composed floral bouquet and glass vase in which the artist cleverly depicted himself reflected before a window. Deceptively simple and understated in appearance, the composition evidently enjoyed broad appeal, for a somewhat more static variant on copper which is signed and dated 1662, is also known (fig.1). In addition to slight differences in the floral arrangement, the bouquet in the version on copper rests on a ledge which runs the width of the composition, includes a butterfly and lacks the reflected self-portrait.

We are grateful to Fred Meijer for endorsing the attribution on the basis of photographs and proposing a date of circa 1662.

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