Schooten, Floris van

Los 720
20.04.2023 10:00UTC +01:00
Classic
Startpreis
€ 15 000
AuctioneerNagel Auktionen GmbH
VeranstaltungsortDeutschland, Stuttgart
Aufgeld29,5%
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Archive
ID 933009
Los 720 | Schooten, Floris van
Schätzwert
€ 15 000 – 20 000
Schooten, Floris van - Haarlem um 1585/90 - 1656 - Still life with grapes, ham, medlars, bread and beer. C. 1630/40. Oil/cradled panel. - Fievez, Brussels, Dec. 16 1933, lot 132; Galerie Sanct Lucas, Vienna 1974; Christie's Amsterdam Nov. 9 2010, lot 12, Private Collection Potsdam. Registered in the RKD-Database under no. 281787, as Floris van Schooten, stated measurements 52,2 x 83,5 cm. Half of the still life works listed by Abraham Bredius in his publication on Floris van Schooten published in 1918 (about 120 works) were monogrammed "FvS". Nevertheless, paintings were long time attributed to painters such as W.C. Heda or P. Claesz. Like the entire Dutch still life painting in the early 17th century, Floris van Schooten arrived at an independent still life through market scenes and kitchen pieces with household goods and staffage. It is difficult to distinguish between breakfast, lunch or dinner in the painting presented here - the utensils of a really sumptuous meal are missing, especially the ubiquitous cheese... Conspicuous in our picture with ham, grapes, bread and beer are the medlars on the right edge, which are coequal in the painting’s composition with the other elements. Already Hildegard von Bingen knew in the 12th century to report about the plum-sized "rosaceae" with the taste of pears and figs that the Mespelus germanica is blood-purifying and the consumption of the raw fruits contributes to the general recovery. One finds in the countless still lifes of that time the medlar usually placed at the edge or placed under and beside numerous other fruits such as grapes, quinces, pears, olives, berries, chestnuts, nuts etc.. - So, should we here rather have to do with a kind of hangover breakfast , which above all the medlar identifies as such? In 1612 the paternal family moved to Haarlem, where the political climate was more tolerant to the Catholicism than in the Protestant Amsterdam. The young Floris became a member of the Lucas Guild and 25 years later its dean. His paintings also bear witness to the influence of his contemporaries in Haarlem, such as Floris van Dyck, Pieter Claesz and Roelof Koets. Apart from a few market scenes and kitchen pieces, which indicate his knowledge of the works of Pieter Aertsen and Joachim Beuckelaer, he devoted his artistic life exclusively to the independent still life. He died in 1656 and was buried in the Groote Kerk in Haarlem.
52 x 84 cm
Stilleben mit Trauben, Schinken, Mispeln, Brot und Bier. Um 1630/40. Öl/Holz, rückseitig parkettiert.
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