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Lot Essay
Executed with consummate assurance, this painting exemplifies Willem Claesz. Heda’s unrivalled ability to evoke a spectrum of textures within a restrained palette. His subtle modulation of tone creates an atmosphere of serene luxury that would inspire generations of still-life painters.
Fred G. Meijer first identified the present panel as the prime version of this celebrated composition at the time of its 1998 sale (see Provenance). Until then, scholars had considered the autograph painting to be the version now in the Museum Mayer van den Bergh, Antwerp (signed and dated 1637; inv. no. 483; see Vroom, op. cit., I, p. 73, fig. 90). Of the ten additional variants catalogued by Vroom (ibid., pp. 66–68, nos. 357a–j), most are attributed to unidentified followers.
The unusually high number of replicas underscores the composition’s popularity and influence. Its structure is quintessential of Heda’s paintings in the 1630s: a cool, near-monochrome harmony of greys, silvers, and muted greens, animated by the scintillating play of light across pewter, glass, and silver. Characteristic motifs, such as dishes of oysters and nuts, appear in several other works from this period. Two objects, however, are less frequently represented by Heda: the earthenware jug at center, which recurs only in a still life dated 1633 in the Museo del Prado (inv. no. P002754; ibid., p. 71, fig. 87), and the elegant silver salt cellar, which also appears only in Heda’s Still Life with Wine Glass dated 1637 in the Musée du Louvre (inv. no. 1319; ibid., p. 60, fig. 75).
We are grateful to Fred G. Meijer for confirming his attribution and for sharing his unpublished essay on the painting (written communication, 23 April 2025).
Fred G. Meijer first identified the present panel as the prime version of this celebrated composition at the time of its 1998 sale (see Provenance). Until then, scholars had considered the autograph painting to be the version now in the Museum Mayer van den Bergh, Antwerp (signed and dated 1637; inv. no. 483; see Vroom, op. cit., I, p. 73, fig. 90). Of the ten additional variants catalogued by Vroom (ibid., pp. 66–68, nos. 357a–j), most are attributed to unidentified followers.
The unusually high number of replicas underscores the composition’s popularity and influence. Its structure is quintessential of Heda’s paintings in the 1630s: a cool, near-monochrome harmony of greys, silvers, and muted greens, animated by the scintillating play of light across pewter, glass, and silver. Characteristic motifs, such as dishes of oysters and nuts, appear in several other works from this period. Two objects, however, are less frequently represented by Heda: the earthenware jug at center, which recurs only in a still life dated 1633 in the Museo del Prado (inv. no. P002754; ibid., p. 71, fig. 87), and the elegant silver salt cellar, which also appears only in Heda’s Still Life with Wine Glass dated 1637 in the Musée du Louvre (inv. no. 1319; ibid., p. 60, fig. 75).
We are grateful to Fred G. Meijer for confirming his attribution and for sharing his unpublished essay on the painting (written communication, 23 April 2025).