Pieter Nason (The Hague 1612-1688/1690)
VAT rate of 17.5% is payable on hammer price plus … Read more PROPERTY FROM THE COLLECTION OF THE BBAG - ÖSTERREICHISCHE BRAU-BETEILIGUNGS-AKTIENGESELLSCHAFT (Lots 13, 29, 56, 62 and 118)
Pieter Nason (The Hague 1612-1688/1690)

A silver-gilt cup and cover, an upturned roemer resting on a nautilus shell, grapes on the vine and a partly-peeled lemon with a knife on a silver plate on a draped table

Details
Pieter Nason (The Hague 1612-1688/1690)
A silver-gilt cup and cover, an upturned roemer resting on a nautilus shell, grapes on the vine and a partly-peeled lemon with a knife on a silver plate on a draped table
signed with initials and dated 'PNa..../16..' (PN linked, lower right)
oil on panel
18 5/8 x 23½ in. (47.3 x 59.7 cm.)
Provenance
Wetzlar collection, Amsterdam.
R. von Temsky, from whom acquired by the present owners on 28 February 1944 for 35,000 reichmarks.
Literature
E. Zarnowska, La Nature-Morte hollandaise, Brussels/Maastricht, 1929, no. 28, as Pieter Claesz.
N.R.A. Vroom, De schilders van het Monochrome Banketje, Amsterdam, 1945, no. 230, fig. 97, as Pieter Nason.
N.R.A. Vroom, A Modest Message, Schiedam, 1980, II, p. 102, no. 513, as Clara Peeters, illustrated.
Special notice
VAT rate of 17.5% is payable on hammer price plus buyer’s premium.

Lot Essay

We are grateful to Mr. Fred Meijer of the RKD for confirming the attribution after inspecting the painting in the original. Still lifes by the artist are rare and he is far better known as a portraitist in the tradition of Van Mierevelt and Van Ravesteyn under whom he trained. Mr. Meijer considers the present work to be an early work by the artist, datable to the early 1640s when Nason produced a small number of still lifes close in style to Abraham van Beyeren (who was also active in The Hague at that time), including those in the Gemäldegalerie, Berlin, and the Statens Museum for Kunst, Copenhagen. The components of the present still life also reveal a considerable debt to the Haarlem painters Pieter Claesz. and Willem Claesz. Heda, with whose work Nason must have been familiar.

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