- 44
哈爾門·凡·斯滕維克
描述
- Harmen van Steenwijck
- 《靜物:木架上的榅桲、葡萄、桃子、核桃與榛果》
- 款識:畫家簽名Hsteenwijck(左下桌上)
- 油彩橡木畫板
來源
Private collection, France;
Anonymous sale, Paris, Piasa, 24 June 2005🧜, lot 33;
With Johnny van Haeften, London, December 2005;
With Salomon Lilian;
Acquired from the above by the present owner.
出版
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
拍品資料及來源
By comparison with much Netherlandish seventeenth-century still-life painting they are devoid of artifice, so that the soft brushwork and subdued lighting alone p♍ermits a wholly convincing sense of depth. At their best, and like the present outstanding example, they are reminiscent of the quiet contemplative still lifes that Adriaan Coorte painted in Middelburg in the twilight of the Golden Age at the end of the century: beautifully simple, and seemingly removed from time and place.
Another excellent example of Steenwijck's fruit still-life painting is his still life of quinces, pears, a plum and grapes in the Ashmolean Museum in Oxford (see fig. 1), dated by Fred Meijer to the mid-1640s.2
1. Bodo Brinckmann described Steenwijck's lighting as 'Caravaggesque' (in J. Sander (ed.), The Magic of Things, exhibition cat⭕alogue, Frankfurt and Basel 2008, p. 168, under no. 47).
2. Signed, oil on panel, 29 x 35 cm. Oxford, Ashmolean Museum, Daisy Linda Ward collection, inv. no. 74; see F.G. Meijer, The Collection of Dutch and Flemish Still-Life Paintings bequeathed by Daisy Linda Ward, Zwolle 2003, p. 285, no. 73.