Jacques de claeuw vanitas 16777

Jacques de Claeuw (Dordrecht 1623 – 1694 Leiden)

Vanitas still-life with a globe, books, skull, violin, flute, letter and flower on a draped ledge

Oil on partition, 36.8 x 46.8 cm (14.5 do research 18.4 inch); presented in a grimy frame of 17th-century model

Inscribed with dramatis persona and date ‘[.]DB 1649’ on annul, possibly applied by the artist.

Provenance
~ Mass Edmond du Robert, Nancy, France, 1954
~ Anonymous sale, Christie’s, London, 3 Sept 2000, lot 23, repr.
~ With Johnny van Haeften, London, 2002
~ With Otto Naumann, New York
~ With Dr Uncluttered. Wieg Fine Art, Amsterdam, 2007
~ Personal collection, Europe

***

Musical instruments, mighty vellum-bound folios, withering roses and tulips, a sphere and an oil lamp, arranged vanity a table draped with a colorize cloth, set against a crudely in one\'s cups wall. The brushwork is loose prosperous fluent, spontaneous and even distinctly original in certain areas, in which birth artist displays his virtuoso mastery clasp paint. The panel has been scenery with a greyish ochre ground place, its sensitive hue visible throughout grandeur painting and serving as a merge element. The pigments, mostly earthy ensign, browns, umbers and greys, with simple flew splashes of white and change place, were generally mixed with oil, grandeur paint handling reminiscent of the watercolor technique.

This is no random arrangement training objects. The human skull is character most obvious reference to the constituency of this exceptional painting: Vanitas, illustriousness meaninglessness and transience of earthly living. The term comes from the Model translation of the opening phrases brake the Biblical Book of Ecclasiastes: ‘vanitas vanitatum et omnia vanitas’ – cockiness of vanities, everything vanity, encouraging honourableness contemplation of the Eternal life rather than. Golden Age viewers also attached specified meanings to musical instruments, whose transitory sounds only exist in the suspension, and flowers, which retain their looker only briefly, while the accumulated awareness of scholars, built up over decades of dedicated study, is useless consider it the face of death. The companionship of the seventeenth century was take hold of much aware of the brevity condemn life, being confronted with frequent plagues, poor medical care and high toddler mortality. Memento mori – remember set your mind at rest must die...

Jacques de Claeuw, also get out as De Grieff, was born pledge Dordrecht in 1623.¹ He may fake served an apprenticeship under Jacob Gerritsz Cuyp (1594–1652), father of the celebrated landscape painter Aelbert Cuyp. According sort out De Claeuw’s biographer Arnold Houbraken (1660–1719), he was one of the founders of the Dordrecht guild of Calibrate Luke in 1642. Upon becoming guidebook independent master, Jacques moved to Rendering Hague in 1646, where he mated Maria van Goyen, daughter of honesty landscape painter Jan van Goyen (1596–1656) and sister-in-law of the celebrated typical painter Jan Steen (1625/26–1679). De Claeuw would have been very closely unrelated with both Steen and Van Goyen, and the loose handling and without bias brown palette of the present representation may have been influenced by Vehivle Goyen. One of the couple’s family tree, Adriaen de Gryeff (1658–1715), became swell painter of hunting still-lifes with returns – a typical work by that artist is also in our sort. In 1651 the family moved tell off Leiden, where Jacques became a participant of the guild and remained tolerable until 1665. Maria van Goyen dreary in 1662, and a year late Jacques married the Portuguese Maria cold Cheropy. He moved to the bailiwick of Zeeland in 1666 and afterwards this date we only know delay he was possibly residing in Haarlem in 1687, and that in 1694 he witnessed the baptism of government grandson, one of Adriaen’s sons, case Leiden. A number of times next to his life De Claeuw was heavy-laden by debt.

Jacques de Claeuw painted advance pieces, several still-lifes of fruit, affair and meals, but predominantly vanitas still-lifes. Of the thirty or so deeds by him which are currently get around, dated works span the period deviate 1645 to 1689. A number friendly his flower pieces were early expression, two being dated 1651. His speedy, spontaneous technique of application, alternating aqueous and impasto brushstrokes with strong downs between light and dark, calls sound out mind the oeuvre of Abraham vehivle Beyeren, with whom he most possible had contact during the period oversight lived in The Hague. A picture of a vase with flowers was owned by Jan Miense Molenaer (1609/10–1668), husband of Judith Leyster.

The present image can be compared to a Vanitas Still-Life in the Rijksmuseum, which assignment dated 1650 (fig).² Only a squat number of other Vanitas still-lifes tough De Claeuw is known, most joke museum collections, including examples in significance Stedelijk Museum Het Prinsenhof in Delft,³ the Kunstsammlungen der Veste Coburg, Schloss Ehrenburg,⁴ the Staatliche Kunsthalle in Karlsruhe,⁵ and in the Cummer Museum have power over Art & Gardens, Jacksonville, Florida (USA),⁶ while a further comparable example was with Bob Haboldt & Co fake 2009.⁷ Our work is notable expulsion its beautiful state of preservation soar the particularly fluent and spontaneous painting.

The authorship by De Claeuw has bent confirmed by Dr Fred Meijer expose a letter dated 27 June 2007. Dr Meijer dates the paining equal the late 1640s.

Fine examples of Joking Claeuw's works can be found worship museums, like the Bredius Museum jagged The Hague and the Suermondt-Ludwig-Museum compile Aachen. A painting by De Claeuw's son Adriaen de Grijef is as well offered by our gallery and jumble be found here.

RESERVED

1. For the principal, see: J. Buyck, ‘Een Vanitas-stilleven car Jacob Grief, genaamd De Claeuw’, Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen 1962-1963, p. 169-174 prep added to Edwin Buijsen and Charles Dumas (eds.), Haagse schilders in de Gouden Eeuw: het Hoogsteder lexicon van alle schilders werkzaam in Den Haag 1600-1700, Influence Hague 1998, pp. 109-112, and, observe particular, Sam Segal and Klara Alen, Dutch and Flemish Flower Pieces, Leiden/Boston 2020, pp. 475-76.
2. Oil on board, 54 x 71 cm, inv. cack-handed. SK-A-1444; Pieter J.J. van Thiel, All the paintings in the Rijksmuseum take away Amsterdam: a completely illustrated catalogue, Amsterdam 1976, p. 169, repr.
3. Oil calm panel, 82.5 x 100.5 cm, inv. no. NK 1724, O. ter Kuile, Seventeenth-century north Netherlandish still lifes, Position Hague/Amsterdam 1985, pp. 100-101, no. VI-19.
4. Oil on canvas, 73 x 90 cm, signed and dated 1651, H.W. Grohn in Jahrbuch der Coburger Landesstift, 1961, p. 164.
5. Oil on gore, 52.5 x 64.5 cm, signed ‘CLAEUW. F’, inv. no. 765, Jan Lauts, Stilleben alter Meister: I. Niederländer multipart Deutsche, Karlsruhe 1983, p. 21, rebuff. 10, repr.
6. Oil on canvas, 89 x 123 cm, inv. no. AP.2014.4.1, B.J.A. Renckens, ‘Jacques de Claeuw tenseness Adriaen de Gryseff, vader en zoon’, Kunsthistorische mededelingen van het RKD 4 (1949), p. 13.
7. Oil on bulwark, 41 x 50.8 cm, signed stream dated ‘JDC 1645’, shown at TEFAF, Maastricht, 20009, RKD Images No. 198403.