Lot 55
55
No VAT will be charged on the hammer price, but VA… Read more The Property of the Executors of the late Sir Emmanuel Kaye, C.B.E. (Lots 23, 25, 27, 30, 36, 52, 55)
Attributed to Willem Kalf (Rotterdam 1619-1693 Amsterdam)

Peaches, a rose and a partly-peeled lemon in a Wan-li 'kraak' porselein bowl with a silver gilt standing cup and detached cover, a roemer of white wine, a silver platter, a knife and a rose on a carpeted marble ledge

Details
Attributed to Willem Kalf (Rotterdam 1619-1693 Amsterdam)
Peaches, a rose and a partly-peeled lemon in a Wan-li 'kraak' porselein bowl with a silver gilt standing cup and detached cover, a roemer of white wine, a silver platter, a knife and a rose on a carpeted marble ledge
oil on canvas
27 7/8 x 23¼ in. (71 x 59 cm.)
in an English 18th Century carved and gilded frame
Provenance
The Mauritshuis, The Hague, inv. no. 666, for which acquired in 1902 and deaccessioned in 1962.
with S. Nystad, The Hague, 1962.
Literature
S. Kalf, 'Willem en Cornelia Kalf', Morks Magazijn, 23, 1921, p. 283, illustrated, as Willem Kalf.
R. Warner, Dutch and Flemish Flower and Fruit Painters of the XVIIth and XVIIIth Centuries, London, 1928, fig. 54, as Willem Kalf.
W. Martin, Die holländische Malerei in der 2. Hälfte des 17. Jahrhunderts, Weisbaden-Berlin, fig. 306, as Willem Kalf.
K.-H. Hering, Silberschmiedegefäße auf niederländischen Stilleben des siebzehnten Jahrhunderts, phil. diss., Berlin, 1955, p. 40, as Willem Kalf.
L. Grisebach, Willem Kalf 1619-1693, Berlin, 1974, no. 100a, pl. 153, as After Willem Kalf.
Exhibited
The Hague, Gemeentemuseum, Nederlandsche stillevens uit vijf eeuwen, 1916, no. 64, as Willem Kalf.
London, Victoria and Albert Museum, International Art Treasures Exhibition, 1962, no. 24.
Special notice
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

Lot Essay

Mr. Fred Meijer of the RKD, to whom we are very grateful, regards this as an autograph work by Kalf, on the basis of photographs. This would reaffirm the traditional view of the painting as autograph, an opinion only challenged by Grisebach, loc. cit., who catalogued it as a copy of the picture in the Detroit Museum of Arts. However, there are numerous differences between the two compositions - indeed the only similarities are the arrangement of the same cup and cover and of the cut lemon peel. Grisebach, who had probably only seen the present picture through an old photograph in the RKD, explained the differences by hypothesizing that they were either the invention of the copyist, or that the picture is after a different, lost original.

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