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Still LifeLate 18th Century
Late 18th Century
$51,667.39
£38,000
€44,361.21
CA$71,537.23
A$77,748.68
CHF 41,666.19
MX$944,007.09
NOK 523,093.71
SEK 485,089.91
DKK 331,323.62
About the Item
In the manner of Jan Davidsz De Heem. This painting is in the Dutch Golden Age manner and is catalogued as such, however we believe the picture dates around the 18th Century and could be as late as the very early 19th Century which is a later period, however the identity of the painter is currently being investigated by a number of our trusted researchers and I have enclosed a report which relates to a former owner of the painting; "The arms are the bookplate of Caroline Janetta, Countess of Essex, more specifically this is an impalement of the arms of Capel to the dexter ( for her husband Arthur Algernon Capel, 6th Earl of Essex, whom she married on the 14th July 1825 ) with the arms of the Beauclerk Dukes of St. Albans to the sinister ( her paternal arms ). The arms are surmounted with an Earls' coronet. She was the third daughter of William Beauclerk, 8th Duke of ST. Albans by his wife Jeanetta Nelthorpe. Caroline was born 28th June 1804 and died at Cassiobury Park on 22nd August 1862. See complete Peerage Vol 5 pp..148-149. " She therefore acquired or purchased the picture between 1825 and 1862. The bookplate is in the Franks collection at the British Library, number 5085, and I append the image of the complete version. To see the remains of the bookplate look to the image on the reverse side of the panel.
The Duke of Beauclerk was known to reside on the outskirts of London at Upper Gatton which is in Surrey near Reigate, and the painting was discovered within the county of Surrey. Furthermore the Beauclerks were well known for disposing of their art collections intermittently and we are led to believe that this painting may have been awarded as a wedding gift, in part, to the marriage of the Caroline Jannetta to Arthur Algernon. It is known that the Beauclerks family name appears in various art and auction catalogues although there is no explicit record online that William 8th Duke gifted paintings to the couple. The evidence of this occurrence is coincidental but the remnants of the label to the reverse side of the picture displays a general cavalier approach to the ownership of high art which has been a common denominator within aristocratic circles.
There is at the lower left of the shelf remnants of a signature which is currently inadmissible as evidence of the painter, we hope to update this brief biography when we have fulfilled the research task, which is obviously taking some time. The painting has been held in storage for several years and is now being offered for sale at a figure that could well change post identification of the painter. The picture is unsigned but has an indecipherable script which has yet to be examined.
Jan Davidsz. de Heem or in-full Jan Davidszoon de Heem, also called Johannes de Heem or Johannes van Antwerpen or Jan Davidsz de Hem (c. 17 April 1606 in Utrecht – before 26 April 1684 in Antwerp), was a still life painter who was active in Utrecht and Antwerp. He is a major representative of that genre in both Dutch and Flemish Baroque painting.
De Heem was born in Utrecht as Johannes van Antwerpen. He studied first under his father David de Heem the Elder (1570–1631), then under Balthasar van der Ast. His "middle name", Davidsz, is a patronym referring to his father's name. He lived in Leiden from about 1625 to 1629, where he studied in 1629 under David Bailly (1584- c. 1657). His professional name, "de Heem", means literally "the home". He moved to the Southern Netherlands and joined the Guild of Saint Luke of Antwerp in 1635 or 1636 and became a burgher of that city in 1637. However he was often absent, as attested by the duties he had to pay for this. His remarkable talent gained him a considerable reputation. He could hardly satisfy the demand. De Heem was considered one of the greatest painters of his time. He was well paid and a portrait of Prince William III surrounded by a cartouche of flowers and fruit was sold for 2000 guilders, one of the highest prices ever paid for a painting during the Dutch Golden Age. His sons worked together with him in his workshop on the commissions for new paintings. He retouched their work and put his signature on the paintings.
He remained in Antwerp until 1667, when he moved back to Utrecht, where records trace his presence from 1668 to 1671. He left Utrecht in 1671 when French troops were approaching the city. It is not known when he finally returned to Antwerp, but his death there is recorded in the guild books. Van Heem married twice, first with Alette van Weede with whom he had three surviving children on her death in 1643, one of which, Cornelis, would become a still life painter. He married a second time in 1644 with Anna Catherina Ruckers with whom he had six more children, one of whom was Jan who would also become a still life painter.
De Heem was one of the greatest painters of still lifes in the Netherlands, combining a brilliance and harmony of colour along with an accurate rendering of objects: flowers, in all their variety; European and tropical fruits; lobsters and oysters; butterflies and moths; stone and metal; snails and sea shells. A number of de Heems, of whom Jan Davidsz. was the most distinguished, painted works in similar styles, that are often hard to distinguish. These include a brother, two sons, of whom Cornelis became particularly successful, and at least one grandson by each son.
This family of painters started with the unknown father of David de Heem the Elder (1570–1631) and an unknown brother. This anonymous brother had a son, Jan or Johannes de Heem (c. 1603 - probably after 1659), a painter of still lifes, flowers and fruits.
David de Heem the Elder had two sons, also painters: Jan Davidsz. de Heem (1606- before 26 April 1684) and David Davidsz. de Heem (1610 - after 1669).
Jan Davidsz. de Heem had three sons, all painters; from a first marriage: David Janszoon de Heem (29 November 1628 - ?), Cornelis de Heem (1631–1695) and from a second marriage Jan de Heem (1650 - ?)
Cornelis de Heem had one son who was a painter: David Corneliszoon de Heem (1663–1718)
I have included another brief biography, for your interest, of De Heem.
Jan Davidsz de Heem (1606–1683/4) was a celebrated Dutch still-life painter of the Golden Age. He was born in Utrecht and, after a period in Leiden, moved to Antwerp around 1635, where his style transformed.
Key career highlights:
Initially influenced by simpler, Dutch still-life traditions, De Heem's work took on a more opulent, flamboyant style in Antwerp.
He became known for his intricate "pronkstilleven" (sumptuous still lifes) featuring a cornucopia of lavish objects, including glass, insects, exotic fruits, and precious metals.
His paintings often included moral or religious symbolism, such as vanitas elements that reminded viewers of the transience of life.
De Heem ran a productive workshop, with his sons Cornelis and Jan Jansz also becoming skilled still-life painters.
He was widely influential and highly regarded in his time, and today his works are held in major museum collections around the world. This painting is the closest impression to DE Heem I have owned and has been within my own collection since purchasing it, I hope a new owner will enjoy the picture as I have these last years.
- Creation Year:Late 18th Century
- Dimensions:Height: 32 in (81.28 cm)Width: 25 in (63.5 cm)Depth: 3 in (7.62 cm)
- Medium:
- Movement Style:
- Circle Of:Jan Davidsz. de Heem (1606 - 1684, Dutch)
- Period:
- Condition:
- Gallery Location:Douglas, GB
- Reference Number:Seller: No. 3101stDibs: LU2373217142602
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