Provenance

Rob Smeets

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A cage, net, hunting horn, powder bag, pouch, two whistles, a bow and arrow, and a small, round hood for a bird are arranged in and around an arched niche set into a cream-white wall in this vertical still life painting. The objects are lit from our upper left so soft, slate-gray and powder-blue shadows are cast across the walls. The niche is framed with a wood border. Centered in the niche, the wooden cage has an arched top and closely spaced bars. The hood sitting atop the cage is a scarlet-red cap that would fit onto the head of a falcon. It is topped with a red pompom on a short stick, like an antenna. A sheathed knife with a bone-white handle and a long, curving, hunting horn lean against the front of the cage. The horn lightens from black where one would blow into the horn to a shimmering sage green at the wide end, which rests against the cage. A bow and arrow lie across the floor of the niche, under the cage, and a tangle of netting is tied to the horn, near the foot of the cage to our left. A pine-green whistle is affixed to or looped through the top of the cage, under the falcon’s hood, and hangs down past the ledge. A powder horn and bag hang on a canary-yellow cord looped over a nail driven into the wall over the alcove, to our left, and a pouch with a tassel hangs from a nail to our right.
Christoffel Pierson, Niche with Falconry Gear, probably 1660s, oil on canvas, Patrons' Permanent Fund, 2003.39.1

Niche with Falconry Gear

Christoffel Pierson · probably 1660s · oil on canvas ·  Accession ID  2003.39.1

A half-peeled pomegranate, a few nuts, a bunch of purple grapes, and a glass of pale yellow wine sit on the corner of a stone ledge against a dark background in this vertical still life painting. The corner of the chipped gray ledge is close to and lines up with the lower left corner of the painting. Two hazelnuts sit near the front of the ledge, and a twig with three more nuts in papery husks are attached to a twig. Behind that, the flaring cup of the wineglass is made up of flat panels, which are inwardly scalloped along the upper edge, like an upside-down badminton shuttlecock. The stem is made of intertwining ropes of clear and black glass. At the lower center of the composition, the glistening, scarlet-red seeds of the pomegranate contrast with the rust-orange rind. Another twig of hazelnuts is between the pomegranate and the bunch of frosty purple grapes. The vine and a broad, dark green leaf arches over the grapes and pomegranate. The objects are brightly lit from our left against a charcoal-gray background. Molding under the ledge can be made out in the shadows across the bottom edge of the painting. Closer inspection reveals tiny water droplets on the stone ledge and the pomegranate. The artist signed and dated the painting in cursive text on the front face of the ledge, near the lower right corner: “J: Walscappel 1675.”
Jacob van Walscapelle, Still Life with Fruit, 1675, oil on panel, Juliet and Lee Folger/The Folger Fund, 2001.71.1

Still Life with Fruit

Jacob van Walscapelle · 1675 · oil on panel ·  Accession ID  2001.71.1