A Still Life with a Berkemeier, Matches, clay Pipes, a Tobacco Box, and a Brazier.
Oil on Panel, 28.2 x 45.7 cm
Signed in monogram and dated lower left: PC 1638
Provenance:
Private collection, England; Amsterdam, D. Komter Gallery, 1921;
Amsterdam, Bernard Houthakker Gallery;
Dieren, D. Katz Gallery, by 1931;
New York, art market; Wassenaar, collection Sidney J. van den Bergh, until 1975;
With Hans Cramer, The Hague;
Private collection, New York;
Private collection, Belgium, from 2006 until 2020.
Exhibition:
Dieren, Kunsthandel D. Katz, 1937, 16e en 17e eeuwsche Hollandsche schilderijen, cat. no. 14 (as dated 1635);
Delft, Museum Het Prinsenhof, 1952/53, Nederlandse meesters uit particulier bezit, cat. no. 12 (as dated 1633);
Laren, Singer Museum, 1959, Kunstschatten. Twee Nederlandse collecties schilderijen …, cat. no. 37 (as dated 1633);
Dordrecht, Dordrechts Museum, 1962, Nederlandse stillevens uit de zeventiende eeuw, cat. no. 34 (as dated 1633);
Leiden, Stedelijk Museum de Lakenhal, 1965, 17e eeuwsche meesters uit Nederlands particulier bezit, cat. no. 11 (as dated 1633);
Bucharest, Muzeul de Artă al Republicii Socialiste România, 1972, Olandezul la el acasá şi în lume, p. 89 ;
New York, National Academy of Design, 1988, Dutch and Flemish Paintings from New York Private Collections, cat. no. 12, p. 44, ill.;
Haarlem, Frans Hals Museum, Zürich, Kunsthaus, Washington, National Gallery of Art, 2004-2005, Pieter Claesz. Master of Haarlem Still Life, cat. no. 30, p. 74, ill., pp. 52, 123.
Literature:
H.P. Bremmer, in: Beeldende Kunst, vol. IX.3, 1922, no. 19, ill. (as dated 1633);
A.P.A. Vorenkamp, Bijdrage tot de geschiedenis van het Hollandsch stilleven in de zeventiende eeuw (diss. Leiden), 1933, p. 32, note 1 (as dated 1633);
N.R.A. Vroom, De Schilders van het Monochrome Banketje, Amsterdam, 1945, pp. 23, 42, 43 (fig. 30), 104 (fig. 87), 199, no. 34 (as dated 1633);
I. Bergström, Studier i Holländisdkt Stillebenmalerei under 1600-Talet, Göteborg 1947, p. 128 (as dated 1633);
I. Bergström, Dutch Still-Life painting in the Seventeenth Century, London 1956, p. 122 fig. 15 p. 305 (as dated 1633);
A.B. de Vries, Verzameling Sidney J. van den Bergh, Wassenaar 1968, no. 40 pp. 40-41, ill. (as dated 1638);
N.R.A. Vroom, A modest message as intimated by the painters of the “Monochrome Banketje”, Schiedam 1980, Vol. 1, pp. 36, 117, fig. 39, 156, Vol. 2, no. 84 p.24 (as dated 1638);
A.W. Lowenthal, ‘Pieter Claesz,’ in: J. Turner (ed.), The Dictionary of Art, London/New York, 1996, p. 369;
M. Brunner-Bulst, ‘Pieter Claesz. The Rediscovery of the Painter and His Origins,’ in: Pieter Claesz. Master of Haarlem Still Life, Zwolle 2004, p. 52.;
M. Brunner-Bulst, Pieter Claesz., der Hauptmeister des Haarlemer Stillebens im 17. Jahrhundert, 2004, pp. 252-53, cat. no. 86, ill.;
H. Grootenboer, The Rehetoric of Perspective. Realism and Illusionism in Seventeenth Century Dutch Still-Life Painting, Chicago, 2005, pp. 75-76, fig. 6.
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