140a. [12]  [12]Although the bases of the Leipzig and National Gallery of Art paintings are similar, slight differences do occur. ), they determined after restoration that it was an “old copy.” Agnew’s subsequently sold the painting at auction on August 18, 1970. Finally, Kalf re-created the rough texture of the skin with sure touches of the brush. Museo Thyssen-Bornemisza, Madrid. For a discussion of artists working in Kalf’s manner, see Ima Blok, “Willem Kalf,” Onze Kunst 35 (January–June 1919): 143– 145; and Fred G. Meijer, “In der Nachfolge von Willem Kalf,” in Gemaltes Licht: Die Stilleben von Willem Kalf 1619–1693, ed. [1] Probably Colonel Towers. Its edges are carefully wrought to show both the irregular cut of the knife and the thickness of the skin. Title: Still-Life with Nautilus Cup Creator: Marten Boelema de Stomme Tags: Dutch Provenance: Bukowskis, Stockholm, Wilhelmina von Hallwyl, Stockholm 1904 Physical Dimensions: w380 x h500 mm (Without frame) Painter: Marten Boelema de Stomme Artist info: De Stomme,”the mute one” studied for Willem Claesz. Thus it is no assurance of authenticity. 62.292; see Sam Segal, A Prosperous Past: The Sumptuous Still Life in the Netherlands, 1600–1700 [Delft, 1988], 195, 249, no. Still Life with Nautilus Cup, Frans Sant-Acker, 1648 - 1688 oil on canvas, h 66cm × w 56.5cm More details SEE OUR 2020 HOLIDAY SHIPPING GUIDELINES. They tip slightly on the lip of a shallow dish that protrudes out from the table. You can check the price for shipping of the order on the shopping cart screen. Both letters are in NGA curatorial files. The turban shell, for example, sits directly on the head and hand of the putto in the Leipzig painting, whereas in the National Gallery of Art painting it is raised above the putto by three circular forms. A Still Life With A Nautilus Cup, A Silver Salt Cellar, Etc. The fish, salt and nautilus all have a connection to the sea – perhaps the picture was a commission from a guild of merchants who dealt in such goods. Gerrit doesn’t necessarily want to give an impression of instability – he may have used this method to show skill at projecting objects into space towards us. The turban shell, for example, sits directly on the head and hand of the putto in the Leipzig painting, whereas in the National Gallery of Art painting it is raised above the putto by three circular forms. 1662. In Kalf’s own hand the rind has a three-dimensional presence as it twists and turns in space. He gives no reason for having determined this work to be a copy. Heda, so there may have been collaboration. The lemon peel in Still Life with Nautilus Cup exhibits none of these characteristics. Still Life with Nautilus Cup by Claesz Heda is, therefore, not framed, and will be sent to you rolled up and packaged in a strong and secure postal tube. The roemers, the silver jug and the salt pot all appear in paintings by Willem: Still life: Pewter and Silver Vessels and a Crab and Still Life with a Lobster. Price: US $100.73. Still Life with Fruit The Fitzwilliam Museum. The lesser quality of the painting is most evident in the lack of definition of the lemon rind and the relatively coarse rendering of the tapestry. On top are the gilded figures of Neptune and some feisty-looking tritons, his fierce mythical attendants, riding a sea-horse with wings. no. The focus is a precious drinking cup made from a nautilus shell. It has been lined with the tacking margins trimmed, although cusping present along all edges suggests that the original dimensions have been retained. [1]  [1]For Jan Vos’ poem, written in 1654, see Lucius Grisebach, Willem Kalf, 1619–1693 (Berlin, 1974), 21; for Vondel’s poem, published in 1663, see Lucius Grisebach, Willem Kalf, 32. Smooth surfaces were rendered with highlights blended wet-into-wet, while a thick paint and a fingerprint were used to texture the orange peel. Doubts about the attribution have also been expressed verbally by Ingvar Bergström, Sam Segal, Claus Grimm, and Fred G. Meijer. For Jan Vos’ poem, written in 1654, see Lucius Grisebach, Willem Kalf, 1619–1693 (Berlin, 1974), 21; for Vondel’s poem, published in 1663, see Lucius Grisebach, Willem Kalf, 32. SPECIAL ADVISORY: In accordance with Yale University’s revised COVID-19 protocols, the Yale University Art Gallery will close to the public beginning Friday, October 16, 2020. Still Life with Nautilus Cup and Fruit by Johann Georg Hainz, Netherlands, undated, oil on canvas - Chazen Museum of Art - DSC02086.JPG 3,148 × 3,973; 3.22 MB. De Heem rendered the mother-of-pearl gleam of the exotic nautilus shell with remarkable precision. For a discussion of artists working in Kalf’s manner, see Ima Blok, “Willem Kalf,” Onze Kunst 35 (January–June 1919): 143– 145; and Fred G. Meijer, “In der Nachfolge von Willem Kalf,” in Gemaltes Licht: Die Stilleben von Willem Kalf 1619–1693, ed. [fig. No conservation has been carried out since acquisition. The signature at the lower left crosses over drying crackle but not the age cracks. He may have used this method to show skill at projecting objects into space towards us. Lucius Grisebach, Willem Kalf, 1619–1693 (Berlin, 1974), 279, however, explained the weakness of the painting that he considered to be the original by dating it to the end of Kalf’s career: “Qualitativ stellenweise recht schwaches Spätwerk.”. A Still Life with Fruit and Lobster National Galleries of Scotland, Scottish National Gallery. Closed, East Building © 2021 National Gallery of Art   Notices   Terms of Use   Privacy Policy. The most firmly dated of these three specimens is also one of the most beautifully and delicately engraved: it is the nautilus-shell silver standing-cup and cover by Bartel Jamnitzer, a leading goldsmith of Nuremberg, which was purchased in 1588 by the Landgrave of Hesse-Cassel, Wilhelm IV, and is still preserved in Kassel (H. 41 cm; see E. Link, ‘Die Landgräfliche Kunstkammer Kassel’, 1976, pl. Kalf was one of the great Dutch masters of still life painting. The nautilus cup, a polished turban shell mounted on an elaborately wrought, gilded-silver base in the form of a putto holding a horn of plenty, appears in a number of Kalf’s still lifes of the late 1660s. Still-Life with a Nautilus Cup (1662, Museo Thyssen-Bornemisza, Madrid) is an example by Kalf which places a peeled lemon at the centre of his still life composition. probably by another hand, lower left on edge of tabled: W.Kalf. 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