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拍品专文
Little is known about Adriaen Kraen. He is first recorded in Haarlem in 1637 and a year later he is mentioned as a pupil of Jacob de Wet I whose sister he married. By 1642 he was one of the masters of the Haarlem guild. Only a few signed and even fewer dated pictures from his hand are known, one being a picture which was with Douwes, Amsterdam, in 1977, dated 1642. Many of Kraen's pictures have been attributed in the past to his Haarlem colleagues Pieter Claesz. and Willem Claesz. Heda and the works of these painters have many characteristics in common. All three artists obviously specialized in the so-called monochrome banketjes, of which the present picture is a good example. A picture with a similar composition was sold in these rooms, 11 May 1994, lot 26. Post Lot Text This lot has been imported from outside the EU 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 the invoice. Please see Conditions of Sale for further information.
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The panel is made up of four boards horizontally joined. The right edge is bevelled to the upper section. There are three rectangular joints to the upper right hand corner, three to the lower right and two to the lower centre, supporting historic faults. The panel remains stable. Examination in natural light shows some restoaration to the lower panel join. There are some minor frame abrasions to the edges of the panel. There is a small point of paint loss in the backgroundto the centre right. There are some very minor points of retouching to the dark tones in the lower left corner. The panel presents well in natural light. Examination under UV light confirms the aforementioned retouching in the lower left hand corner. It reveals restorataion along the lower panel join. There is some minor retoucing to the shadows on the whites of the cloth lower centre. The dark outlines of the roemer and the tazza have been retouched in places. There appears to have been some retouching to the background at an earlier date. There is a varnish that preculdes further examination. The paint is stable. The details of the composition remain fully appreciable.