PROPERTY OF THE HEIRS OF JACOB LIERENS (LOTS 21 AND 22)
JAN DAVIDSZ. DE HEEM (UTRECHT 1606-1684 ANTWERP)

A banquet still life

成交價 英鎊 3,142,500
估價
英鎊 3,000,000 – 英鎊 5,000,000
估價不包括買家酬金。成交總額為下鎚價加以買家酬金及扣除可適用之費用。
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JAN DAVIDSZ. DE HEEM (UTRECHT 1606-1684 ANTWERP)

A banquet still life

成交價 英鎊 3,142,500
拍品終止拍賣: 2021年7月8日
成交價 英鎊 3,142,500
拍品終止拍賣: 2021年7月8日
細節
JAN DAVIDSZ. DE HEEM (UTRECHT 1606-1684 ANTWERP)
A banquet still life
signed 'J.D. de Heem' (lower centre, on the sheet of music)
oil on canvas
54 ¾ x 45 ¼ in. (139.2 x 115.1 cm.)
來源
(Possibly) Clemens August of Bavaria (1700-1761), Archbishop Elector of Cologne, Bishop of Paderborn, Hildesheim and Osnabrück, before at least 1761; his sale (†), Bonn, 22 May 1764 (=8th day), lot 67, ‘Un grand Tableau à Fruits de quatre pieds six pouces de hauteur & trois pieds neuf pouces de largeur, peint par Jean de Heen’ (54 x 45 in.) (54.30 Rt to the following),
Simon Mordechai Baruch (1716-1802), Bad Mergentheim and Bonn.
Anonymous sale; Christian Benjamin Rauschner, Frankfurt, 1765, lot 250, 'Auf Leinwand, Hoch 4 Schuh 6 Zoll, breit 3 Schuh 9 Zoll, Ein Stück mit Früchten. Auf Tuch gemahlt. C'est un tableau avec des fruits. Peint sur de la toile’ (54 x 45 in.).
Charles Searle Hayne (1833-1903), London; his sale (†), Christie’s, London, 16 April 1904, lot 105 (600 gns. to Schaeffer).
Henri James Simon (1851-1932), Berlin, by 1906.
Mrs. U.M. Kneppelhout-Van Braam, Oosterbeek / Mr. Egbert de Langen, Amsterdam / Mr. Count Bottaro Costa, The Hague; Frederik Muller & Cie., Amsterdam, 16 December 1919, lot 29 (8,500 guilders).
Anonymous sale; Frederik Muller & Cie., Amsterdam, 12 April 1921, lot 4a (acquired by Jonas Alexander van Bever, Amsterdam, on behalf of the following),
Jacob Lierens (1877-1949); his sale, Frederik Muller & Cie., Amsterdam, 14 October 1941 (=1st day), lot 311 (NLG 34,000).
Acquired for the “Sonderauftrag Linz” via Hans Posse, 22 October 1941 (for FL. 37,700.- or 30,000 RM) (Linz No. 2044).
Recovered by the Monuments, Fine Arts and Archives Section, transferred to the Munich Central Collecting Point (MCCP No. 4973), 19 July 1945.
Transferred to Amsterdam from the above, 8 July 1946.
Stichting Nederlands Kunstbezit, The Netherlands, 1946, inv. no. 1010, and placed under the custody of the following,
Dienst voor’s Rijks Verspreide Kunstvoorwerpen, Rijksdienst voor het Cultureel Erfgoed, inv. no. NK 2711.
On long-term loan from the above to the Centraal Museum, Utrecht, 1948-2019, inv. no. 10231.
Restituted to the heirs of Jacob Lierens, 2019.
出版
R. van Lutterveld, Kunst van Nederland. Schilders van het Stilleven, Naarden, 1947, pp. 23, 46 and 50, fig. 23.
C.H. de Jonge, Centraal Museum - Utrecht. Catalogus der schilderijen, Utrecht, 1952, pp. 56-7, no. 137 (with inaccurate provenance).
E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Brussels, 1956, pp. 103, 171 and 174 (as two different paintings).
A.P. de Mirimonde, 'Joris et Jan van Son dans les Musées de province', in La Revue des Arts, X, 1960, pp. 7-18.
P. Gammelbo, 'La natura morta Olandese nel seicento', in Antichità Viva 6, 1963, fig. 7.
J. Foucart, Musées de Hollande, la peinture néerlandaise, Paris, 1965, section 33.
G. Bott, 'Stilleben des 17. Jahrhunderts. Jacob Marrell', in Kunst in Hessen und am Mittelrhein, VI, 1966, p. 110.
M.E. Houtzager, et. al., Röntgenonderzoek van de oude schilderijen in het Centraal Museum te Utrecht, Utrecht, 1967, pp. 238-9.
A.P. de Mirimonde, 'Musique et symbolisme chez Jan Davidsz. de Heem, Cornleis Janszoon en Jan II Janszoon de Heem', in Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen, 1970, pp. 280-2, fig. 38 (confusing this painting and its copy).
L. Grisebach, Willem Kalf 1619-1693, Berlin, 1974, p. 125.
R.D. Leppert, The theme of Music in Flemish Paintings of the seventeenth century, II, Munich and Salzburg, 1977, no. 270.
F.W. Robinson, W.H. Wilson, L. Silver, Catalogue of the Flemish and Dutch Paintings 1400-1900, John and Mable Ringling Museum of Art, Sarasota FL, 1980, no. 84 (entry by F.W. Robinson).
E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek, 1983 (2nd ed.), pp. 124, 249, figs. 130, 360 (no. 26) and 362 (no. 131).
O. ter Kuile, Rijksdienst Beeldende Kunst. The Netherlands Office for Fine Arts The Hague. Catalogue of Paintings by Artists Born before 1870. Volume VI. Seventeenth-century North Netherlandish Still Lifes, The Hague, 1985, pp. 50, figs. 33, 51, 116-7 (no. VI-27), 204 and 206.
F.G. Meijer, 'Book review of O. ter Kuile, Rijksdienst Beeldende Kunst. The Netherlands Office for Fine Arts The Hague. Catalogue of Paintings by Artists Born before 1870. Volume VI. Seventeenth-century North Netherlandish Still Lifes', in Oud Holland, C, 1986, pp. 204-206.
I. Ember, et. al., Niederländisch malerei des 17. Jahrhundert aus Budapest, exhibition catalogue, Cologne and Utrecht, Wallraf-Richartz Museum and Centraal Museum, 1987, p. 41, fig. 8 (entry by J. de Meyere).
H. Robels, Frans Snyders. Stilleben- und Tiermaler 1579-1657, Munich, 1989, p. 164.
P. Huys Janssen, 'Schilders in Utrecht 1600-1700', in Historische Reeks Utrecht, XV, Utrecht, 1990, pp. 82-3, fig. 72.
F.G. Meijer, 'Book review of Exh. cat. A Prosperous Past. The Sumptuous Still Life in the Netherlands 1600-1700', in Simiolus, XX, no. 1, 1990-1, pp. 91-8.
S. Segal, Jan Davidsz De Heem and his circle, exhibition catalogue, Utrecht, Centraal Museum and Brunswick, Herzog Anton Ulrich Museum, 1991, pp. 18, 38, 77, 139-41, and addendum p.2, no. 8 (German edition, no. 7A).
I. Schwartz, ‘”Niet hoe veel maer hoe eel” Symboliek en signaturen van Jan Davidszoon de Heem’, in Vitrine, 1991, pp. 13-17.
E. de Heer, F. Kuyvenhoven and E. Mijnlieff, Rijksdienst Beeldende Kunst. The Netherlands Office for Fine Arts The Hague. Old Master Paintings. An Illustrated Summary Catalogue, The Hague, 1992, p. 134, no. 1085.
G.J.M. Weber, ‘Ausstellungen. Stilleben im goldenen Jahrhundert – Jan Davidsz de Heem und sein Kreis’, in Kunstchronik, XLV, no. 4, April 1992, pp. 149 and 161.
R. Trnek, Die holländischen Gemälde des 17. Jahrhunderts in der Gemäldegalerie der Akademie der bildenden Künste in Wien, Vienna, Cologne and Weimar, 1992, p. 176.
P. Sutton and M.E. Wieseman, The Age of Rubens, exhibition catalogue, Boston, 1993, no. 112, pp. 541-3, illustrated (entry by M.E. Wieseman).
M.-L. Hairs, ‘Jan Davidsz. de Heem’ in Le dictionnaire des peintres belges du XIVe siècle à nos jours : depuis les premiers maîtres des anciens Pays-Bas méridionaux et de la Principauté de Liège jusqu'aux artistes contemporains, Ph. Roberts-Jones, ed., Brussels, 1995, pp. 283-284.
P. Taylor, Dutch Flower Painting 1600-1720, New Haven, 1995, p. 95, figs. 56, 160 and 213.
S. Segal, ‘Heem, de. Dutch family of painters’, in The Dictionary of Art, XIV, J. Turner, ed., London, 1996, pp. 288-291.
L.M. Helmus, De verzamelingen van het Centraal Museum Utrecht. 5. Schilderkunst tot 1850, Utrecht, 1999, I, pp. 301-3; II, pp. 929-30.
K. Sidén, ed., Musiken I Konsten. Det klingande 1600-talet. Nationalmusei Årsbok, XLVII, Stockholm, 2001, no. 140-1.
M. Díaz Padrón, et. al., Triumph of the sea: the riches of marine life in XVII-century European painting, Madrid, 2003, pp. 152-3.
F.G. Meijer, Ashmolean Museum, Oxford. Catalogue of the Collection of Paintings. The Collection of Dutch and Flemish Still-Life Paintings Bequeathed by Daisy Linda Ward, Oxford and Zwolle, 2003, pp. 253-4, fig. 58.3.
J. de Meyere, Utrechtse schilderkunst in de Gouden Eeuw : honderd schilderijen uit de collectie van het Centraal Museum te Utrecht, Utrecht, 2006, pp. 213-5.
F.G. Meijer, ‘Jan Davidsz. de Heem’s Landscapes’, in Album Amicorum Marijke de Kinkelder. Collegiale bijdragen over landschappen, marines en architectuur, The Hague, 2013, pp. 253-270.
F.G. Meijer, Jan Davidsz. de Heem 1606-1684, PhD dissertation, University of Amsterdam, 2016, I, pp. 216-7, 219-20, no. A 199, illustrated; II, pp. 222-224, no. A 199.
展覽
Berlin, Kaiser Friedrich Museum, Ausstellung von Werken alter Kunst aus dem Privatbesitz der Mitglieder des Kaiser Friedrich-Museums-Verein, 1906, no. 57.
Delft, Museum 'Het Prinsenhof', Wintertentoonstelling. Van intimiteit tot theatre, 1951-2, no. 30.
Utrecht, Jaarbeurs, Musement, 19 June-13 July 1969.
Leiden, Museum De Lakenhal; and Groninger Museum, Een stuckie stillegend goet, 1985-6, no. VI-27.
Delft, Stedelijk Museum Het Prinsenhof; Fort Worth, Kimbell Art Museum; and Cambridge, Harvard University, A Prosperous Past, The Sumptuous Still Life in the Netherlands 1600-1700, 1988-9, no. 38.
Utrecht, Centraal Museum; and Braunschweig, Herzog Anton Ulrich-Museum, Jan Davidsz de Heem en zijn kring, 16 February-7 July 1991, no. 8.
Madrid, Banco Bilbao Vizcaya, La pintura holandesa del siglo de ora: la escuela de Utrecht, October 1992-February 1993, no. 33.
Boston, Museum of Fine Arts; and Toledo, The Toledo Museum of Art, The Age of Rubens, 22 September 1993-24 April 1994, no. 112.
Nagasaki, Huis ten Bosch, Masters of Utrecht: 17-19th century paintings from the collection of Centraal Museum Utrecht, 1994-5, no. 20.
Stockholm, Nationalmuseum; and Helsinki, Sinebrychoff Art Museum, Törnrosmadonnan. Och andra mästerverk från Utrecht, 1997, no. 15.
Santiago, Museo Nacional de Bellas Artes, Dutch Masters from the Golden Age, 1997-8, no. 22.
Sao Paulo, Pinacoteca do Estado, Mestres do Século de Ouro na Pintura Holandesa, 1998, no. 22.
Vienna, Kunsthistorisches Museum; and Essen, Kulturstiftung Ruhr Essen, Das flämische Stilleben 1550-1680 : eine Ausstellung des Kunsthistorische Museums Wien und der Kulturstiftung Ruhr Essen, 1 September-21 July 2002, no. 90.
Luxembourg, Villa Vauban, The Five Senses in Painting, 19 March-26 June 2016.
注意事項
Specifed lots (sold and unsold) marked with a filled square ( ¦ ) not collected from Christie’s, 8 King Street, London SW1Y 6QT by 5.00 pm on the day of the sale will, at our option, be removed to Crown Fine Art (details below). Christie’s will inform you if the lot has been sent ofsite. If the lot is transferred to Crown Fine Art, it will be available for collection from 12.00 pm on the second business day following the sale. Please call Christie’s Client Service 24 hours in advance to book a collection time at Crown Fine Art. All collections from Crown Fine Art will be by prebooked appointment only. These lots have been imported from outside the EU or, if the UK has withdrawn from the EU without an agreed transition deal, from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
更多詳情
Jacob Lierens (5 February 1877-30 May 1949) was a Jewish businessman and art collector in pre-war Amsterdam. A partner in the company L. Lierens & Co at Prinsengracht 353-355, a concern specialised in the trade of waste paper. Jacob married Henriëtte Johanna Benavente (20 July 1877-10 June 1956) in 1895. The couple had four daughters: Elisabeth (16 February 1900-30 May 1930), Rebecca Bosboom (15 January 1902-21 March 1996), Branca Roselaar (8 October 1905-30 September 1942) and Esther Jessurun Cardozo (3 July 1907-28 November 1971).
Jacob Lierens made his fortune during the 1910s and 1920s, making his mark as an art collector as early as 1919, when a news article noted his “very exquisite collection”. The Lierens collection included Old Master and Dutch Nineteenth Century genre paintings, as well as Chinese and Dutch porcelain. While no inventory remains, publications such as the catalogue of his estate sale at Frederick Muller & Cie in Amsterdam on 18 and 24 October 1949, illustrate the quality and diversity of the collection.
Lierens was a frequent buyer at the auction house Frederik Muller auction house and this is indeed where he acquired the two paintings offered by Christie’s today in 1921 - the de Heem in April and the Hals and van Delen in May. Correspondence and annotated sale catalogues from the 1920s indicate that he was sometimes advised by Jonas Alexander van Bever, notably on the de Heem acquisition. In September 1921, the Lierens family moved to the Villa Johanna at 196 Amsteldijk, Amsterdam.
Following the Nazi occupation of the Netherlands in May 1940, Lierens sought to keep his art collection safe but L. Lierens & Co was ‘Aryanised’ in March 1941 and the family’s home and belongings were confiscated in March 1942. The family moved to a modest residence still in Amsterdam.
In 1943, Lierens and his wife were imprisoned for a time in the Westerbork transit camp, from where many were deported to concentration and extermination camps in Eastern Europe. The Lierens couple were able to secure their release against a payment in jewellery in August of that year. The family went into hiding, surviving thanks to the sale of some of their possessions.
Lierens and his wife survived the war, as did their daughter Esther and her family, who also were in hiding, and their daughter Rebecca and her family, who had fled to New York in 1939. Johanna joined them there following Jacob’s death in 1949. Their daughter Branca Roselaar-Lierens and her husband Emanuel Roselaar (29 March 1895-30 September 1942) perished in Auschwitz.
The two paintings – A merry company in a palatial interior, with musicians and tric-trac players by Dirk Francoisz Hals (the younger brother of Frans Hals) and Dirck van Delen and A banquet still life by Jan Davidsz de Heem – were included in the forced sale of the Lierens’ collection at Frederick Muller & Cie. in Amsterdam on 14 October 1941.
The buyer at the sale was Hans Posse, head of the Linz Special Commission which acquired art on behalf of Adolf Hitler for the “Führermuseum” he planned to build in Linz. Recovered at the end of the war by the Allies’ Monuments, Fine Arts and Archives Section or “Monuments Men”, both paintings were returned to the Netherlands. The paintings were subsequently placed by the Dutch government on long-term loans to the Hals Museum in Haarlem and the Centraal Museum in Utrecht.
In 2019, the present-day Restitution Committee in the Netherlands, set up with the re-emergence of interest in Holocaust-era assets following the Washington Conference of 1998, recommended the restitution of these two paintings to Jacob and Johanna’s heirs.
In loving memory of her grandfather Jacob Lierens, his granddaughter Elisabeth (born 1934) explains: “Staying in his home was like being in a palace. Thanks to my grandfather we could go into hiding during the war. We hid in a small apartment belonging to Mrs. Rika Verweij who had been the nanny of my mother Esther. We remained in the hiding place from mid-1942 until the end of the war. My grandfather succeeded in hiding some of his valuable possessions. To cover the expenses of the hiding place and provide food for himself and the family, he had to sell many of his valuables. After the war, my parents were penniless. They wanted to leave The Netherlands and to immigrate to Curaçao (Dutch Caribbean). Thanks to my grandfather, we could start a new life over there as he paid for the expenses”.
Christie’s is privileged to offer these paintings for sale on behalf of the heirs.

榮譽呈獻

Clementine Sinclair
Clementine Sinclair Senior Director, Head of Department

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