JAN DAVIDSZ. DE HEEM (UTRECHT 1606-1684 ANTWERP)
JAN DAVIDSZ. DE HEEM (UTRECHT 1606-1684 ANTWERP)
JAN DAVIDSZ. DE HEEM (UTRECHT 1606-1684 ANTWERP)
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JAN DAVIDSZ. DE HEEM (UTRECHT 1606-1684 ANTWERP)
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PROPERTY FROM THE COLLECTION OF DR HERMANN RÖCHLING (1929-2020) SOLD TO BENEFIT THE ACQUISITION FUND OF THE STAATLICHE KUNSTHALLE KARLSRUHE (LOTS 26, 27, 28, 29, 30 & 31)These paintings are being sold to benefit the Staatliche Kunsthalle in Karlsruhe, Germany, selected from the collection bequeathed to the museum by the late Dr. Hermann Röchling (1929-2020) of Baden Baden. Dr. Röchling, who began collecting art in the early 1990s, was recognised as a major benefactor and art donor to the museum. Dr. Hermann Röchling was a committed proponent of the Washington Principles, financially supporting provenance research undertaken by the museum and, on an ad hoc basis, providing funds to enable the institution to re-acquire works of art that were successfully restituted. The late Dr. Hermann Röchling was a well-respected economist and academic and promoted music and the arts through his Fontana Stiftung.All proceeds from this sale will benefit the museum.
JAN DAVIDSZ. DE HEEM (UTRECHT 1606-1684 ANTWERP)

Fruit on a silver platter with lobsters on a partially draped table

细节
JAN DAVIDSZ. DE HEEM (UTRECHT 1606-1684 ANTWERP)
Fruit on a silver platter with lobsters on a partially draped table
signed 'J . D Heem f.' (lower right, on the table)
oil on panel
10 ¾ x 15 ¼ in. (27.3 x 38.6 cm.)
来源
Mrs. Elizabeth Murray Usher of Cally, O.B.E. (1903-1990); Sotheby's, London, 27 November 1963, lot 85, 3,620 gns. to the following,
with Thomas Agnew & Sons Ltd., London.
Private collection, England.
with Robert Noortman, by 1988, where acquired by the following,
Anonymous sale [The Property of a Gentleman]; Sotheby's, London, 12 December 2002, lot 25, where acquired.
出版
C. Grimm, Stillleben: Die italienischen, spanischen und französischen Meister, Stuttgart and Zurich, 1995, p. 31, fig. 21.
G. Cavalli-Björkman, Dutch and Flemish Paintings, III, Stockholm, 2010, p. 360, fig. 1.
F.G. Meijer, Jan Davidsz. de Heem 1606-1684, PhD dissertation, 2016, pp. 145-6, 160-1, 169, 359, 413, no. A 126, illustrated.

荣誉呈献

Maja Markovic
Maja Markovic Director, Head of Evening Sale

拍品专文

Jan Davidsz. de Heem was arguably the leading still life painter active in the Lowlands in the second half of the seventeenth century. The artist led a peripatetic career, exemplifying the tendency of seventeenth-century artists to move between the Northern and Southern Netherlands, even as the region splintered due to the Dutch revolt against Spain. Through his frequent relocations, de Heem gained exposure to a rich variety of still life imagery that informed his dazzling, innovative paintings celebrated for their dynamism and finely rendered naturalistic details.

The present painting can be dated with near certitude to 1650, a period which Dr. Fred G. Meijer has described as one that ‘ranks among the most productive and most successful in terms of quality of Jan Davidsz. de Heem’s entire career’ (op. cit., p. 160). Three paintings by de Heem dated 1650 are known, including a nearly identical composition in the National Galleries of Scotland in Edinburgh (fig. 1). Meijer has recently convincingly argued that the painting in Edinburgh is, in all probability, a second version of this painting. Though the arrangement of the fruit, crayfish, table and tablecloth are identical in both paintings, there are significant differences, most notably in the handling of the foliage in the two works. The smooth handling of the leaves in this painting is quite close to de Heem’s approach to foliage in the 1640s, including a similar composition datable to 1649 (see Meijer, op. cit., no. A 122), while the ‘crisp, “bubbly” type’ found in the Edinburgh painting is typical of de Heem’s work in the first half of the 1650s (op. cit., p. 161).

The success of the present composition is confirmed not only by the two autograph versions but the existence of further examples by or attributed to artists in his circle. A painting by de Heem’s follower and possible pupil, Joris van Son, depicting the foliage as it appears in the present painting is in the Nationalmuseum, Stockholm (inv. no. NM 635). A further example after the Edinburgh painting signed with the initials ‘C.D.H.’ and dated ‘1690’ was sold Christie’s, Amsterdam, 18 November 1993, lot 123.

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