Provenance

Sotheby's, Amsterdam

Sotheby Mak van Waay

Explore selected works

A basket holding a pile of several kinds of fruit and two blue and white porcelain plates nearly fills this horizontal still life painting. More fruit is scattered around the smoke-gray ledge on which the basket sits, and the background is purple-tinged gray. The basket sits near the back edge of the ledge, and it has ribbed sides so pieces of round fruit, perhaps apples, are visible inside. Green, red, and purple grapes, green and orange grape leaves, apples, plums, apricots, an orange, and a quince are piled between the two blue-painted plates, which are propped in the basket at an angle to hold the fruit like cupped hands. More fruit, including plums, quince, cherries, and medlars, cover most of the ledge around the basket. The scene is lit from our left so the fruit casts shadows to our right. The artist signed the painting near the lower right corner, “B. vander. ast.”
Balthasar van der Ast, Basket of Fruits, c. 1622, oil on panel, Collection of Mrs. Paul Mellon, 1992.51.1

Basket of Fruits

Balthasar van der Ast · c. 1622 · oil on panel ·  Accession ID  1992.51.1

A basket overflowing with flowers sits on a table alongside fruit, berries, and seashells in this horizontal still life painting. The wide, low straw-colored basket has a woven base and more open, rib-like sides. The bouquet is made up of white and pink roses, a sky-blue iris and another with pale yellow and lavender-purple leaves. There are also a carnation striped with red and white, flame-orange poppies, and at least three tulips, including one that is scarlet red, a white tulip veined with red, and one with red petals streaked with yellow. Other flowers and dark green stems and leaves fill out the arrangement. The basket sits on a slate-gray tabletop that extends off both sides of the painting. Four shells sit to our left of the basket. These include a woodcock murex shell with a spiraling head with spikes and a long, spiny tail; an elongated, smooth conch shell with an ivory-white and brown calico surface; and light blue snail shell. Finally, closest to us, the largest, spiraling triton shell is occupied by a hermit crab. A sprig of glowing red berries sits at the front center of the composition. To our right, a cluster of fruit includes purple and green grapes on the vines, red cherries, a red plum, and two pieces of yellow and blush-pink fruit. The scene is lit from our left against a darkened background, so a dragonfly in the upper right corner is nearly lost in shadow. The artist signed the painting in the lower left corner, “B.vander.ast.”
Balthasar van der Ast, Basket of Flowers, c. 1622, oil on panel, Collection of Mrs. Paul Mellon, 1992.51.2

Basket of Flowers

Balthasar van der Ast · c. 1622 · oil on panel ·  Accession ID  1992.51.2

Two roosters, a rabbit, and three small birds hang from the top of this vertical still life painting, so the heads of one white rooster and the rabbit come to rest on a dark stone ledge, about a third of the way up the composition. To our left, the tawny-brown rabbit’s nose faces us as the head rests on an azure-blue purse with silver lining. A pair of scissors is tucked behind the strap, which falls down over the ledge. To our right, the head of the rooster curves away with its red coxcomb coming toward us. A black fly rests on the rooster’s comb. The black tail feathers of another rooster arc out behind it, near the upper right corner of the painting. In front of the rabbit's bound, hind legs is a small bird with puffed, silvery-gray feathers, and one black leg tied up with a dark cord. To our left are two more small birds, one with gray, cream, and tan feathers, the other with cream, golden orange, and lapis blue. These two are secured with their beaks pointing upward. Two white and scarlet-red caps, falcon’s hoods, are strung up by white ribbon near the pair of birds. Below the ledge is a carved scene with nude or nearly nude people, but this area is mostly in shadow. Behind the animals is a dark, nearly black wall.
Willem van Aelst, Still Life with Dead Game, 1661, oil on canvas, Pepita Milmore Memorial Fund, 1982.36.1

Still Life with Dead Game

Willem van Aelst · 1661 · oil on canvas ·  Accession ID  1982.36.1

The image shows a dirt path winding into the distance under a lush green tree canopy. The horizon is low in the composition where the path disappears beyond a distant bridge, adding depth. The brushstrokes give a textured effect, enhancing the depiction of foliage. The dominant color is green, with hints of earth tones from the path and flecks of blue from the sky. A figure in a red coat and black hat leans against a tree on the right.
Jurriaan Andriessen, A Wooded Path at Treslong, near Hillegom, 1789, black chalk and watercolor on blue laid paper, William B. O'Neal Fund, 2019.61.1

A Wooded Path at Treslong, near Hillegom

Jurriaan Andriessen · 1789 · black chalk and watercolor on blue laid paper ·  Accession ID  2019.61.1

The image shows a central female figure elevated among clouds. She has long hair and wears flowing robes. Cherubic figures surround her. The scene has a celestial quality, with soft clouds and rays in the background. Two additional figures are positioned on either side of the central figure. The background consists of swirling clouds.
Abraham Bloemaert, The Virgin in Glory, pen and brown ink with brown wash heightened with white over black chalk on blue paper, Ailsa Mellon Bruce Fund, 1979.3.1

The Virgin in Glory

Abraham Bloemaert · · pen and brown ink with brown wash heightened with white over black chalk on blue paper ·  Accession ID  1979.3.1

The image is a detailed pen drawing of a vast landscape with rugged terrain. The horizon is high, showing an expansive view of the landscape stretching into the distance with hazy mountainous forms. The mountains are rendered with fine lines. The drawing shows intricate mountains, rolling hills with trees, an old round tower, and small structures. In the distance, there are buildings among the trees. The drawing uses meticulous pen lines to create a delicate and textured impression. The color palette is monochromatic with earthy sepia tones.
Jacob Savery I, Panoramic River Landscape, c. 1590, pen and brown ink over traces of black chalk on laid paper, Ruth and Jacob Kainen Memorial Acquisition Fund, 2016.101.3

Panoramic River Landscape

Jacob Savery I · c. 1590 · pen and brown ink over traces of black chalk on laid paper ·  Accession ID  2016.101.3

The image features a winter scene with numerous people skating and socializing on a frozen river. In the distance, there is a village with several small church towers. The drawing is meticulous, with fine linework capturing details like architecture, people, and bare trees. The color palette is warm sepia, creating a vintage effect. Closest to the viewer, figures are engaging in various winter activities. Further into the distance, tall trees line the river's edge, leading the eye to more buildings and natural elements in the background.
Hans Bol, Winter Landscape with Skaters, c. 1584/1586, pen and brown ink and wash on laid paper, Gift of Robert H. and Clarice Smith, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.15.1

Winter Landscape with Skaters

Hans Bol · c. 1584/1586 · pen and brown ink and wash on laid paper ·  Accession ID  1991.15.1

The image shows a rural scene with a village setting. The viewpoint is slightly downward. The horizon, marked by small structures and trees, is in the far distance. The drawing uses soft pencil strokes and shading to depict trees, buildings, and figures. Three figures are carrying bundles of sticks. More figures and trees can be seen. An old building is at the center right. The color palette is muted browns and grays. The sky has a few small birds.
Esaias van de Velde I, Villagers Skating on a Frozen Pond, 1625, black chalk with brown wash on laid paper, Ailsa Mellon Bruce Fund, 1994.79.1

Villagers Skating on a Frozen Pond

Esaias van de Velde I · 1625 · black chalk with brown wash on laid paper ·  Accession ID  1994.79.1

The image depicts a man seated on clouds, reading a book. He holds a pen in one hand. He has sharp features, a hat, and is wearing robes and a cloak. A lion's head emerges from the clouds to his left, holding a stone tablet. The background consists of stylized clouds and a glowing halo surrounds the man's head.
Peter Candid, Saint Mark the Evangelist, c. 1600, pen and brown ink and wash, heightened with white over black chalk on laid paper, laid down, Ailsa Mellon Bruce Fund, 2001.11.1

Saint Mark the Evangelist

Peter Candid · c. 1600 · pen and brown ink and wash, heightened with white over black chalk on laid paper, laid down ·  Accession ID  2001.11.1