"A Richly laid table with two Berkemeyers and a Façon-de-Venise Wineglass on a Silver Dish, Olives in a Porcelain Dish, a Bread Roll, a Lemon Peel and a Slice of Lemon on a Pewter Plate, Sweetmeats in a tazza, a Pigeon Pie, a Silver-gilt Standing Cup and Cover, an overturned Silver Flagon, Nuts, a Knife, all on a Table partly draped with two White Linen Cloths" & "The Basket with Fruits and Sprays of Vines"

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Pieter Claesz & Roelof Koets

(1597-Haarlem-1661) & (circa 1592/3 - Haarlem - 1655)

“A Richly laid table with two Berkemeyers and a Façon-de-Venise Wineglass on a Silver Dish, Olives in a Porcelain Dish, a Bread Roll, a Lemon Peel and a Slice of Lemon on a Pewter Plate, Sweetmeats in a tazza, a Pigeon Pie, a Silver-gilt Standing Cup and Cover, an overturned Silver Flagon, Nuts, a Knife, all on a Table partly draped with two White Linen Cloths” & “The Basket with Fruits and Sprays of Vines”

Oil on canvas

136 x 206 cm

signed with monogram PC (on the bread dish) and remnants of a date 16.. (on the pewter plate); painted circa 1648-1650

More info

Notes

the right half of this still life was painted by Roelof Koets (fruits and foliage). Pieter Claesz and Roelof Koets worked together over the years in a total of ten paintings. In the years 1647/48, they worked together on two other paintings apart from this one (Brunner-Bulst p. 182).

In its composition, the rich colours, the impasto brushwork, and the extraordinarily large size, this largest known painting by Claesz comes closest to a large painting in Berlin (BB cat. no 169). Possibly, it was an example for an unsigned and undated still life by or attributed to Cornelius Cruys (RKD Inv. No NK2203).

Provenance

a private collection of a family of Dutch descent living in Frankfurt, and kept in this family for many generations, until circa 1994, when it was sold to a private gentleman collector; sale London, Sotheby’s, 6 July 1994, lot no.68; sale London, Sotheby’s, 3-4 December 1997, lot no.68; Amsterdam, Gebr. Douwes Fine Art; from a private Belgian collection

Exhibition

Leeuwarden, Fries Museum, ‘Van Jan Steen tot Jan Sluijters, De smaak van Douwes’, Nov. 1998 – Feb. 1999, ill. no.10; Haarlem, Frans Hals Museum – Kunsthaus Zürich, “Pieter Claesz, Meester van het stilleven in de Gouden Eeuw”, Nov. 2004 – April 2005, cat.no.44, p. 106, with ill.

Literature

S. Segal, “Masters of the Monochrome Banquet Piece” (addendum to the exhibition catalogue ‘A Prosperous Past’), 1988, fig.4; Martina Brunner-Bulst, “Pieter Claesz. der Hauptmeister des Haarlemer Stillebens im 17. Jahrhundert”, Luca Verlag, Lingen, 2004, cat.no. 167 p. 300 with colour ill. on p. 97 and text on p. 182.

Expertise

Sam Segal, Amsterdam 16 September 1988, as painted entirely by Pieter Claesz, circa 1650