Lot 127: Pieter Claesz (Berchem 1597/8-1660/1 Haarlem)

Pieter Claesz (Berchem 1597/8-1660/1 Haarlem) A roemer, a herring and olives on pewter platters, with a roll, a knife, a wine glass and grapes on a partially draped table signed in monogram and dated 'PC / 1643' (the '3' erroneously strengthened to a 5, centre left) oil on panel 17 5/8 x 24 1/8 in. (44.8 x 61.3 cm.)

44.8 x 61.3 cm.

Heinrich Moll, Cologne; Heberle, Cologne, 11-12 November 1886, lot 35. Sir Patrick Donner; Sotheby's, London, 4 April 1962, lot 85 (3,809 gns to R. van Eyck). with de Boer, Amsterdam, where probably acquired by the father of the present owner in the 1970s.

Along with his contemporary Willem Claesz. Heda, Pieter Claesz. was one of the leading still-life painters in 17th century Holland and is considered to be the first exponent of the monochromatic still life. This ‘ontbijtje’ or breakfast piece is a fine example of Claesz.’s work from the 1640s. Having abandoned his previously rich palette in the late 1620s, in favour of a more restrained one of earthy browns, warm ochres and olive greens, Claesz. was able to focus on the arrangement of the various objects. In this composition the light passes through the giant roemer, reflecting the window in the glass, onto the pewter dish containing the herring and the mother of pearl-handled knife on the edge of the table. In doing so Claesz. focuses his attention on the delicate variations in the shapes, materials, texture and reflections of the objects, rendering these in a range of neutral tones against the more dynamically painted white tablecloth and the light-brown tone of the bread roll. Although the foods on the table ostensibly represent a typical Dutch seventeenth-century meal, these objects were in fact deliberately chosen by the artist to display his mastery of textures. In reality ordinary Dutch families would not have access to white bread or olives as all luxury products had to be imported from the Mediterranean or from the grain-rich lands of Scandinavia. Herring, for example, was not in plentiful supply and was caught far out at sea, more often along the Danish coast. From the early 1640s Claesz. was inspired by the more baroque style that had been introduced to the genre of still-life painting by Jan Davidsz. de Heem around 1635. This is evident in the energetic and lively brushwork employed in the grapevines and tablecloth. We are grateful to Fred Meijer of the RKD, The Hague, for confirming the attribution on the basis of photographs.