Lot 121: CARSTIAN LUYCKX ANTWERP 1623 -- AFTER 1658

A STILL LIFE OF LEMONS, GRAPES AND PEACHES, WITH A BREAD ROLL AND A SILVER POKAL ON A PARTLY DRAPED TABLE

measurements note
35 by 49.4 cm.; 13 3/4 by 19 1/2 in.

signed lower left: cars. Luckx. fc

oil on oak panel

PROVENANCE

With Lorenzelli, Bergamo, 1971;
With J. Rosenthal, Amsterdam, 1973;
Private collection, France;
With Enneking, Amsterdam, from whom bought by the Herwegs before 1983.

EXHIBITED

Bergamo, Galleria Lorenzelli, 1971, La Natura in Posa, no. 10;
Amsterdam, Kunsthandel P. de Boer, 22 April - 30 May 1983 and Brunswick, Herzog-Anton-Ulrich Museum, 15 June - 31 July 1983, A Fruitful Past....., no. 32;
Utrecht, Centraal Museum, Jan Davidsz de Heem en zijn Kring, 16 February - 15 April 1991, and Brunswick, Herzog-Anton-Ulrich Museum, Jan Davidsz. de Heem und sein Kreis, 9 May - 7 July 1991.

LITERATURE

I. Bergström, in Natura in Posa, exhibition catalogue, Bergamo 1971, no. 10, illustrated in colour;
E. Greindl, Les Peintures Flamands de Nature Morte au XVII^e Siècle, Sterrebeeck 1983, p. 368, no. 1;
S. Segal, A Fruitful Past..., exhibition catalogue, Amsterdam 1983, pp. 67, 118, no. 32, reproduced (German edition entitled Niederländische Stilleben von Breughel bis Van Gogh, pp. 72, 124, no. 32, reproduced);
S. Segal and L. Helmus, Jan Davidsz de Heem en zijn Kring, exhibition catalogue, Utrecht 1991, p. 209, cat. no. 42, reproduced p. 111, fig. 42 (and in the German language addition).

NOTE

Carstiaen Luyckx lived in Antwerp all his life, apart from a brief sojourn in Lille, and he trained under Philips de Marlier and Frans Francken III. Much of his output consists of game still lifes influenced by Frans Snyders and especially by Jan Fyt, but at some point (none of his pictures are dated) he came under the influence of Jan Davidsz. de Heem, presumably after the latter moved from Utrecht to Antwerp in the early 1650s. The Herweg picture is an excellent example of Luyckx' response to De Heem: like his fellow Antwerp painter Willem Gabron, he responded to De Heem's style in his own idiosyncratic manner rather than imitating him, as did, for example, Joris van Son.