ABRAHAM VAN CALRAET (DORDRECHT 1642-1722) - photo 1
ABRAHAM VAN CALRAET (DORDRECHT 1642-1722) - photo 2
ABRAHAM VAN CALRAET (DORDRECHT 1642-1722) - photo 3
ABRAHAM VAN CALRAET (DORDRECHT 1642-1722) - photo 4
ABRAHAM VAN CALRAET (DORDRECHT 1642-1722) - photo 5

ABRAHAM VAN CALRAET (DORDRECHT 1642-1722)

Lot 212
18.05.2022 14:30UTC +01:00
Classic
Sold
€ 47 880
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 761382
Lot 212 | ABRAHAM VAN CALRAET (DORDRECHT 1642-1722)
Estimate value
€ 30 000 – 50 000
ABRAHAM VAN CALRAET (DORDRECHT 1642-1722)Natures mortes aux pêchesmonogrammé 'AC.' (en bas, à droite) (chacun)huile sur panneau, une paire38 x 59 cm (15 x 23 in.) (chacun) Provenance Collection du chevalier Joseph Guillaume Camberlyn (1783-1861), La Haye et Bruxelles, Pays-Bas ; puis par descendance à Jean-Baptiste Camberlyn d'Amougies (1772-1834), Gand, Pays-Bas ; puis par descendance à Hyacinthe Camberlyn d'Amougies (1877-1931), Pepingen, Belgique ; puis par descendance aux actuels propriétaires, Belgique. Post lot text ABRAHAM VAN CALRAET, STILL LIFES WITH PEACHES, OIL ON PANEL, A PAIR, MONOGRAMMEDMany of Abraham van Calraet’s (1642-1722) paintings have for a long time been wrongly attributed to Albert Cuyp (1620-1691), painter of the Dutch golden age and master of van Calraet, with whom he shared the monogram ‘AC’. It is only at the beginning of the 20th century that the Dutch art historian Abraham Bredius (1855-1946) traced van Calraet’s signature in notarial acts, and was able to disassociate from Cuyp’s oeuvre certain still lifes bearing the monogram ‘AC’ (A. Bredius, ‘Further light upon the painter Calraet (Kalraet)', The Burlington Magazine, septembre 1919, XXV, 198, p. 120). However, it was not until 2015 that a monographic exhibition is dedicated to the painter, taking place at the Bredius Museum and titled Geen Cuyp, wel Calraet (‘Pas Cuyp mais bien Calraet’). A painter and a sculptor from Dordrecht, Abraham van Calraet established himself principally as a painter of landscapes and animals, mainly horses and cows. We do nonetheless know a few still lifes by his hand.These often show peaches arranged in Chinese porcelain bowls, often of the type known as Wanli, or strewn on the table amongst grapes and butterflies, sometimes including shells and cherries. These different elements are ingeniously arranged and brought to the fore through a subtle play of light and colour, which emphasize their forms and textures (G. Koeltzsch, Holländische Stilllebenmaler im 17. Jahrhundert, Lingen, 1995, II, p. 212). The silken feel of the peaches is immediately perceptible in our pair of paintings, whose composition is typical of the artist. We can relate our paintings to Peaches and Bowl of peaches, in the collection of the Boijmans van Beuningen Museum in Rotterdam (inv. 1394 and 1392). Our paintings are particular in the artist’s corpus in that they are the only ones that can be considered a pair. We also note that one of our panels bears on its reverse the seal of the knight Joseph Guillaume Camberlyn d’Amougies (1783-1861), a renowned collector or paintings and prints. A staunch supporter of the king William I (1772-1843), he had espoused a military career as an officer in the Dutch army. After the 1830 revolution, he settled in Brussels where he dedicated himself entirely to his collection of prints and paintings which included, amongst many others, the Goldfinch by Carel Fabritius (1622-1654), today in the Mauritshuis of the Hague (inv. 605). He also published several studies on the primitives, namely Memling (1430-1494). We would like to thank Dr. Fred G. Meijer for suggesting an attribution to Abraham van Calraet and for his help in the writing of this catalogue entry.
Artist:Abraham van Calraet (1643-1722)
Applied technique:Oil on panel
Art style:Old Masters
Genre:Still life
Place of origin:Western Europe, Europe, The Netherlands
Auction house category:Paintings
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