Provenance

Galerie Sanct Lucas

Explore Selected Works

A jumble of pewter plates and a pitcher, glass goblets, a gold chalice, a brass candlestick, and other vessels along with lemons, olives, and the remains of a mince pie are arranged on a cream-white tablecloth bunched on a dark green tabletop in this square still life painting. The scene is painted almost entirely in shades of cool grays, gold, brown, and white against a deep beige background. The objects span width of the canvas across its center. At the left edge of the painting, a vibrant yellow lemon has been cut so its rind curls in a spiral that hangs over the front edge of the table. Behind the lemon, a scissor-like candle snuffer is propped against the wide ledge of the tall brass candlestick, its white candle nearly burned down. A few glistening olives sit in a small pewter plate, and one olive sits on the tabletop near the lemon and candlestick. A glass goblet with a wide stem with textured knubs rests upended on an elaborately chased, gold, footed vessel that has been tipped over so its wide shallow bowl faces away from us. The tall pewter pitcher behind this is dented on its rounded body. The lidded gold chalice next to the jug is the tallest object in the painting. Next to the chalice, along the right half of the painting, is a glass oil cruet with a long, curving spout, a tall, cylindrical vessel holding a small pile of salt, and a straight-sided, low glass holding beer. In front of these objects, an untouched bread roll and knife sit on a pewter plate at the center of the composition. The remains of the mince pie with its pastry crust sit on a large pewter plate to our right. In front of it is a smaller plate holding a broken goblet and a piece of black and white paper rolled into a cone. A few empty oyster shells sit on the table to the left and right, near the lemons and mince pie. The artist signed and dated the painting along the edge of the white cloth near the lower right corner: “HEDA 1635.”
Willem Claesz Heda, Banquet Piece with Mince Pie, 1635, oil on canvas, Patrons' Permanent Fund, 1991.87.1

Banquet Piece with Mince Pie

Willem Claesz Heda · 1635 · oil on canvas ·  Accession ID  1991.87.1

Jan Brueghel the Elder, Wooded Landscape with Travelers, 1610, oil on panel, The Lee and Juliet Folger Fund, 2020.26.1

Wooded Landscape with Travelers

Jan Brueghel the Elder · 1610 · oil on panel ·  Accession ID  2020.26.1

David Teniers the Younger, Two Peasants with a Glass of Wine, c. 1645, oil on panel, Gift of Nell V. Weidenhammer, 1992.27.1

Two Peasants with a Glass of Wine

David Teniers the Younger · c. 1645 · oil on panel ·  Accession ID  1992.27.1

In almost complete darkness, we look across reeds and grasses lining a river spanned by narrow, arched, stone bridge ahead of us in this moonlit, horizontal landscape painting. The horizon comes about a third of the way up the painting, just over the footbridge, and the sky is filled with clouds that glow blush pink, flint gray, and lavender purple. The small, porcelain-white moon casts an opalescent gleam on the water under the arch of the bridge. Barely visible in the gloom, a walking path lined by a fence in the lower right corner leads to a copse of tall trees to our right. Closer inspection reveals a man wearing crimson red and a woman wearing pine green standing together near the gate of a walled enclosure beyond the trees. Moonlight glints on their white collars and cuffs, and on the gold buttons and embroidery on their clothing. Spires and buildings with stepped rooflines along the riverbank are outlined against the illuminated sky, though most of the details of the structures are swallowed in shadow.
Aert van der Neer, Moonlit Landscape with Bridge, probably 1648/1650, oil on panel, Patrons' Permanent Fund, 1990.6.1

Moonlit Landscape with Bridge

Aert van der Neer · probably 1648/1650 · oil on panel ·  Accession ID  1990.6.1

People gather under trees next to an expansive river dotted with boats in this horizontal landscape painting. The people are tiny in scale in the landscape, and they all have light skin. The softly rippling river takes up the right half of the composition. The water is bottle green closest to us, shifting to celestial blue in the distance. The water blends with the same color blue in the sky along the horizon, which comes halfway up the painting. Rowboats and sailboats line the shore along our left and float into the distance, some with sails tied up and others unfurled. In the lower right corner, a ferryboat filled with travelers, horses, and cattle approaches a landing on the lower left. At the landing, a boatman passes a baby to a man standing on the riverbank, while several ladies, a young girl, and a dog wait nearby. On the ground in front of this group is a basket, several packages, and dead fish. A second small group awaits passage just beyond the man receiving the baby. The women wear long dresses and hats or bonnets, and the men wear jackets, knee-length britches, stockings, and caps in shades of royal blue, petal pink, laurel green, ruby red, or white. A copse of trees with tall, slender canopies fills the left third of the composition. People walk along a path through the trees and work in and around boats along the riverbank. Farther back, a stone bridge crosses a stream, and beyond it, tan buildings cluster around a church spire seen through a break in the trees. Above the church, the sky is a pale cream color, and the light streams down to highlight the bridge, buildings, and the water. Birds sit in the trees and fly overhead, while waterfowl gather by the landing, near the lower left. The painting is signed and dated in the lower left: “BRVEGHEL 1607.”
Jan Brueghel the Elder, River Landscape, 1607, oil on copper, Patrons' Permanent Fund and Nell and Robert Weidenhammer Fund, 2000.4.1

River Landscape

Jan Brueghel the Elder · 1607 · oil on copper ·  Accession ID  2000.4.1

A young person with dark blond hair, wearing a knee-length, pale yellow toga, stands playing a violin-like instrument at the center of this long, horizontal landscape painting. A pair of people are to the left and another pair to the right. Most of the people have pale skin, and two of the men have slightly darker, tanned complexions. The person at the center, Apollo, nearly spans the height of the painting. He tips his head back and to our right, toward the instrument on his shoulder, and he looks at us with dark eyes, lips parted. With his other hand, he holds a bow to the instrument’s strings. A dark green wreath of leaves encircles his long hair, and a quiver of arrows is tied with a pine-green ribbon across his chest. His legs are bare, and he wears sandals. An archer’s bow lies on the dirt ground behind his feet. To our right, a man with a dark beard and hair, Marsyas, sits on a rock playing a bagpipe. He faces our left in profile, looking up at Apollo, and he wears a red robe over a royal-blue tunic. Behind him and to our right, near the edge of the panel, a blond woman wearing a rose-pink dress also plays a bagpipe as she looks down onto her reflection in a pool below, in the lower right corner of the composition. Her left foot rests on a white and gold shield, and a golden helmet sits next to her other foot. Marsyas and Apollo appear again as a pair to our left. Marsyas is now nude and tied to a tree, his body facing us, near the left edge of the panel. His mouth is open and he looks toward Apollo, who approaches from our right. Apollo grabs Marsyas’s left wrist, on our right, and holds a knife to the nude man’s upper arm. The set of bagpipes, the quiver of arrows, Marsyas’s clothing, and Apollo’s instrument are strewn on the ground around the men’s feet. The scenes take place in a rocky landscape with dark green shrubs along the bottom edge of the composition and behind the people. A river runs across the land beyond, and people walk along dirt roads in the distance. Trees, craggy cliffs, and a town in the deep distance are painted with icy blue under a blue sky.
Sienese 16th Century, Bartolomeo di David, Apollo and Marsyas, c. 1540, oil on panel, Samuel H. Kress Collection, 1939.1.350

Apollo and Marsyas

Sienese 16th Century, Bartolomeo di David · c. 1540 · oil on panel ·  Accession ID  1939.1.350

Against a dark background, an abundant, colorful arrangement of flowers and fruit fills this vertical still life painting. Set on a stone ledge, a barely visible terracotta vase contains the overflowing bouquet of flowers and greenery. Carnations, tulips, peonies, roses, tuberoses, hops, and other flowers create swirling, circular patterns that sweep across the panel. A delicate stalk of wheat and a few long, thin stems create bright, sinuous lines that span the composition. Peaches and green and purple grapes are piled on the ledge to our right, and an orange butterfly perches below. Barely noticeable, small, pale blue, yellow, white, and orange butterflies hover around the arrangement, while small insects and flies crawl on a few of the flowers and pieces of fruit. Drops of water reflect the light on some of the greenery, fruit, and tulip petals. The flowers are strongly lit across the face of the arrangement, which creates deep shadows to the sides and back.
Jan van Huysum, Still Life with Flowers and Fruit, c. 1715, oil on panel, Patrons' Permanent Fund and Gift of Philip and Lizanne Cunningham, 1996.80.1

Still Life with Flowers and Fruit

Jan van Huysum · c. 1715 · oil on panel ·  Accession ID  1996.80.1