Lot 44: PIETER CORNELISZ VAN EGMONDT

PIETER CORNELISZ VAN EGMONDT LEIDEN CIRCA 1620 - AFTER 1663 AN ARTIST IN HIS STUDIO, POSSIBLY A SELF-PORTRAIT, NEXT TO A VIOLIN, A GLOBE, A SCULPTURE AND A SEA SHELL ON A DRAPED TABLE oil on panel 34.6 by 30.6 cm.

G. Sjöberg, in Konsthistorik Selsk. Publ., 1922, pp. 105-8;
B. Rapp, 'Iets over een onlangs ontdekt werk van Jacob van Spreeuwen', in Oud Holland, no. 62, vol. II, 1947, p. 73, reproduced;
L. Gowing, Vermeer, London 1952, p. 143, nt. 11;
E.F. van der Grinten, 'Le cachalot et le mannequin', in Nederlands Kunsthistorisch Jaarboek, vol. 13, 1962, p. 126;
H. van Hall, Portretten van Nederlandse beeldende kunstenaars, Amsterdam 1963, p. 312;
E.A. de Klerk, 'De Teecken-Const, een 17de eeuws Nederlands Traktaatje', in Oud Holland, vol. 96, 1982, p. 47, nt. 127;
H.-J. Raupp, Untersuchungen zu Künstlerbildnis und Künstlerdarstellung in den Niederlanden im 17. Jahrhundert, Hildesheim 1984, p. 349, reproduced p. 501, fig. 224;
E.J. Sluijter et. al., Leidse Fijnschilders. Van Gerrit Dou tot Frans van Mieris de Jonge 1630-1760, exhibition catalogue, Zwolle 1988, pp. 41, reproduced p. 60, fig. 31;
E. Griffey, 'The Artist's Stage: the schilderkamer as site of play in the 17th Century, in De zeventiende eeuw, vol. 15, 1999, p. 57, reproduced fig. 57 (all of the above as by Jacob van Spreeuwen);
K. Kleinert, Atelierdarstellungen in der niederländischen Genremalerei des 17. Jahrhunderts: realistisches Abbild oder glaubwürdiger Schein?, Petersberg 2006, pp. 222-3, no. 21 (as by Pieter Cornelisz. van Egmondt).

Collection v. Hallwil, Stockholm, 1923 (unrecorded in the catalogue of 1928);
Collection Sjöberg, Stockholm;
Anonymous sale, Stockholm, Auktionsverk, 27 November 2008, lot 2234;
Anonymous sale, Paris, Delorme - Collin du Bocage, 17 June 2009, lot 31, as signed with monogram (all of the above as by Jacob van Spreeuwen).

We are grateful to Fred G. Meijer of the R.K.D., The Hague, for suggesting the attribution to Pieter Cornelisz. van Egmondt.