JASPER GEERAERTS (ANTWERP C. 1620-IN OR AFTER 1649 AMSTERDAM)
JASPER GEERAERTS (ANTWERP C. 1620-IN OR AFTER 1649 AMSTERDAM)
JASPER GEERAERTS (ANTWERP C. 1620-IN OR AFTER 1649 AMSTERDAM)
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PROPERTY FROM A MEMBER OF THE DREESMANN FAMILY
JASPER GEERAERTS (ANTWERP C. 1620-IN OR AFTER 1649 AMSTERDAM)

A bowl of peaches and grapes with a roemer and a peeled lemon, on a pewter plate, on a draped table

細節
JASPER GEERAERTS (ANTWERP C. 1620-IN OR AFTER 1649 AMSTERDAM)
A bowl of peaches and grapes with a roemer and a peeled lemon, on a pewter plate, on a draped table
signed and dated 'Jasper. Geerardi.. / fecit. 1648...' (lower left, on the table)
oil on panel
29 3/8 x 22 7/8 in. (74.6 x 58 cm.)
來源
(Possibly) Anonymous sale; Philippe van der Schley et. al., Amsterdam, 29 April 1817 (=1st day), lot 30 (f 7.15 to Gerrit Lamberts).
Anton Fahne (1805-1883), Fahnenburg, Düsseldorf, and by inheritance to,
Max Pflaum (1841-1908) and Emma Pflaum, née Fahne (1836-1905), Fahnenburg, Düsseldorf.
Anonymous sale; F.A.C. Prestel, Frankfurt, 10 December 1913, lot 8.
Private collection, Rhineland; Lempertz, Cologne, 10 May 1916, lot 49.
[Property from the Saidye Bronfman Foundation]; Christie's, London, 8 December 1995, lot 219.
with Salomon Lilian, Amsterdam, 1996, from whom acquired by the present owner.
出版
A. Fahne, Die Fahnenburg und ihre Bildergallerie : unter Rückblick auf die Geschichte ihrer Umgebung, Cologne, 1873, p. 124, no. 207, pl. 23.
W. Bode, 'Die Austellungen Gemälde aus Privatbesitz in Düsseldorf und Brussel in Herbst 1886', Repertorium für Kunstwissenschaft, X, 1887, p. 41.
A. von Wurzbach, Niederländisches Künstler-Lexikon, I, Vienna and Leipzig, 1906, p. 570.
N.R.A. Vroom, De schilders van het monochrome banketje, Amsterdam, 1945, no. 128.
E. Greindl, Les Peintres Flamands de Nature Morte au XVIIe Siècle, Brussels, 1960, p. 355, no. 4.
N.R.A. Vroom, A Modest Message, as Intimated by the Painters of the 'Monochrome Banketje, Schiedam, 1980, I, p. 166; II, p. 56, no. 268.
F.G. Meijer, 'A Fragment of a Pronkstilleven by Jasper Geerards in the Bredius Museum', The Hoogsteder Mercury, IV, 1986, p. 44, fig. 6.
展覽
Düsseldorf, Kunsthalle, Bilder von älteren Meistern, 5 September–7 October 1886, no. 112 (lent by Pflaum, Fahnenburg).

榮譽呈獻

Lucy Speelman
Lucy Speelman Junior Specialist, Head of Day Sale

拍品專文


Little is known about Jasper Geeraerts’s life. He was probably born in Antwerp and was listed as an apprentice painter in the city’s Guild of Saint Luke in 1634/5. A ‘Gasper Geeraerdi’ is first documented as a master in the guild a decade later. He must have moved to Amsterdam in or before August 1649, the year after this painting, when he reported a theft of a still life from his studio in the city. Geeraerts had passed away in or before October 1654, when his wife, Anna Geerardi, is described in a notarial document as a widow.

Geeraerts’s surviving paintings display a close affinity with still lifes by Jan Davidsz. de Heem, with whom Geeraerts may have studied in Antwerp in the 1630s (de Heem settled in Antwerp in 1636). A similarly conceived roemer and lemon to those visible here can be found in Geeraerts’s large-scale fragment in the Museum Bredius in The Hague.

Though ‘practically unknown even to art historians’ (Meijer, op. cit., p. 43), in part due to the scarcity of his works, in his own day Geeraerts was a leading still life painter whose pictures entered some of the most important collections of their day. Among the early owners of his paintings was Archduke Leopold Wilhelm (1614-1662), governor of the Spanish Netherlands from 1646 to 1656, whose collection included Geeraerts’s pronk still life sold Christie’s, Amsterdam, 14 May 2003, lot 189 for EUR 107,550.

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