Lot 193: FLORIS VAN SCHOOTEN

KITCHEN SCENE
signed with initials on the blade of the knife: FVS

35 3/4 by 47 1/2 in.; 91 by 120 cm.

oil on canvas

The Hague, Haags Gemeentemuseum, Nederlandsche stillevens uit viff eeuwen, 1926, cat. no. 4;
Brussels, Palais des Beaux- Arts, La Nature-Morte Hollandaise, 1929, cat. no. 86;
Amsterdam, Kunsthandel J. Goudsikker, Het stilleven, February 18-March 19,1933, cat. no. 278;
Washington, D.C., National Gallery of Art; Boston, Museum of Fine Arts, Still Lifes of the Golden Age, Northern European Paintings from the Heinz Family Collection, May 1989-December 1989, cat. no. 33.

Nederlandsche stillevens uit viff eeuwen, exhibition catalogue, The Hague 1926, cat. no. 4, reproduced p. 5;
De gedekte tafel in vijf. Tentoonstelling ten bate von de Centrale Vereeniging voor Lichamelijk Gebrekkigen, exhibition catalogue, Hags Gemeentemuseum,The Hague 1928, p. 38, reproduced;
De gedekte tafel in vijf eeuwen. Tentoonstelling ten bate van de Stichting Amsterdamsche Kolonie-verpleging voor kinderen, exhibition catalogue, Kunsthandel Goudstikker, Amsterdam1928, p. 48, reproduced;
La Nature- morte hollandaise, exhibition catalogue, Brussels 1929, cat. no. 86, reproduced fig. 21;
E. Zarnowska, La Nature-Morte Hollandaise, exhibition catalogue, Brussels 1929, cat. no. 86;
Het stilleven, exhibition catalogue, Kunsthandel Goudstikker, Amsterdam 1933, cat. no. 278, reproduced fig. 7;
A.P.A. Vorenkamp, Bijdrage tot de geschiedenis van het Hollandsch stilleven in de zeventiende eeuw, Leiden 1933, p. 14;
H.E. van Gelder, W.C. Heda, A. van Beyeren, W. Kalf, Amsterdam 1941, p. 7;
W. Martin, De Hollandsche schilderkunst in de zeventiende eeuw, Frans Hals en zijn tijd, vol. II, Amsterdam 1942, p. 284, reproduced;
N.R.A. Vroom, A Modest Message as Intimated by the Painters of the 'Monochrome bakeje', vol. II, Schiedam 1945, p. 10, cat. no. 249, reproduced figs. 1,85;
P. Gammelbo, "Floris Gerritsz. van Schooten," in Nederlands Kunsthistorisch Jaarboek (XVIII) 1966, cat. no. 5, reproduced fig. 4;
N.R.A. Vroom, A Modest Message as Intimated by the Painters of the 'Monochrome bakeje', Schiedam 1980, vol. I, p. 13, reproduced p.15, fig. 1, vol. II, p. 112, cat. no. 563;
S.A. Sullivan, The Dutch Game Piece, 1984, p. 14, reproduced fig. 19;
I. Bergström, Still Lifes of the Golden Age, Northern European Paintings from the Heinz Family Collection, Washington and Boston 1989, pp. 124-25, reproducedin color, p. 80.

With Galerie van Diemen (Jakob and Rosa Oppenheimer), The Hague and Berlin, from at least 1925;
Their forced liquidation sale Berlin, Paul Graupe, April 26-27, 1935, vol.II, lot 86;
Anonymous sale ("The Property of a Lady"), London, Christie's, March 25, 1977, lot 92;
Anonymous sale, London Phillips, Son and Neale, December 6, 1983, lot 27;
Private collection, USA;
Restituted to the heirs of Jakob and Rosa Oppenheimer in 2009.

Unlike many still life painters, Van Schooten did not confine himself to a specific type of picture, but was equally comfortable with breakfast pieces, fruit pieces, market scenes and large kitchen pieces, such as the present work. These kitchen pieces ultimately derive from the paintings of Pieter Aertsen and Joachim Beuckelaer, but Van Schooten simplifies the format, creating a greater sense of order and stability. We see that here in the long horizontal lines of the shelf and table and the rhythmic alternation of plates and bowls arranged on the shelf. The Kitchen Scene has been dated to the beginning of the 1620s, relatively early in Van Schooten's career and before he fell under the influence of Claesz. and Heda. (1)

1. See Literature, I. Bergström, p. 125.