Ontbijt of silver and glassware on a draped table, with vines, fruits and baked goods

Name: PIETER CLAESZ (BERCHEM 1597/1598-1660/1661 HAARLEM)
Brand: Ontbijt of silver and glassware on a draped table, with vines, fruits and baked goods
Price: 85000.00 GBP
Availability: SoldOut

Price Realised GBP 107,100

Estimate

GBP 60,000 - GBP 80,000

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PIETER CLAESZ (BERCHEM 1597/1598-1660/1661 HAARLEM)

Ontbijt of silver and glassware on a draped table, with vines, fruits and baked goods

Price Realised GBP 107,100

PIETER CLAESZ (BERCHEM 1597/1598-1660/1661 HAARLEM)
Ontbijt of silver and glassware on a draped table, with vines, fruits and baked goods
signed with artist's monogram and dated 'PC 163[9]' (lower left)
oil on canvas
33⁷⁄₈ x 45⁷⁄₈ in. (86 x 116.5 cm.)

Anonymous sale [B.A. Baron van Verschuer and others]; Frederik Muller & Cie, Amsterdam, 26 November 1901, lot 372, illustrated, incorrectly catalogued as on panel.
Anonymous sale; Mak van Waay, Amsterdam, 26 October 1954 (=1st day), lot 5, illustrated, where acquired by the following,
H.A.A. de Vos, Amsterdam.
Anonymous sale; Sotheby Mak van Waay, Amsterdam, 12 May 1975, lot 302.
Anonymous sale; Palais d'Orsay, Paris, 4 November 1978, lot 11.

N. Vroom, A Modest Message as intimated by the painters of the 'Monochrome Banketje', Schiedam, 1980, I, p. 186, fig. 254; II, p. 86, no. 425, as 'A. Kraen' and either dated '1635' or '1639'.
M. Brunner-Bulst, Pieter Claesz: der Hauptmeister des Haarlemer stillebens im 17.Jahrhundert , Kritischer Oeuvrekatalog, Lingen, 2004, p. 255, no. 90.

This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Please note this lot is the property of a consumer. See H1 of the Conditions of Sale.

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Lot Essay

Pieter Claesz was widely recognised as one of the preeminent still life artists of his generation. The Dutch art historian Abraham Bredius described his paintings as being: ‘distinguished by their beautifully luminous colours, the large amount of light, and the excellent painting, especially of metal objects; [they] are among the best still lifes of the seventeenth century’ (A. Bredius, ‘Der wahre Name des Meisters PC’, Zeitschrift für bildende Kunst, XVIII, 1883, p. 167). Dated '163[9]', this painting was executed at a transitional period in the artist's stylistic development. Where his paintings of the 1630s were marked by a sober monochrome palette, those of the 1640s displayed a baroque theatricality, influenced by the sumptuous banquet scenes of Jan de Heem’s first Antwerp period. Claesz was especially gifted when it came to capturing the glint of light on metal, as evidenced by the subtle highlights and clever reflections in the gilt cup and silver ewer in this painting; it was in these passages that his painterly bravura was most appreciable. Indeed, at the end of the decade Constantin Huygens included his name in the list of painters who would contribute to the Oranjezaal in Huis ten Bosch Palace, working under Jacob van Campen, where Huygens contracted him to paint the gold and silver objects. It is likely that the gilded covered cup used in the present composition was a studio prop, as it can be found in several other paintings from the period, such as the Tabletop still life with pie of 1637 in the Museum Briner und Kern, Winterthur. In the present picture, Claesz balanced the volume of the metal and glass elements with the colours of the fruit and foods on the table, to create a sense of harmonious luxury.