Thierry Beherman, Godfried Schalcken (Paris, 1988), nos. 209 and 210. His nos. 249 and 250 were once wrongly attributed to Schalcken. Mention must also be made here of a Vanitas Still Life in Geneva, Switzerland, which is ascribed to Schalcken on the basis of the lettering around a clock, which is read as “G[…]lken”; Frédéric Elsig, L’art et ses marches: La peinture flamande et hollandaise, XVIIe–XVIIIe siècles, au Musée d’art et d’histoire de Genève (Geneva, 2009), 352, no. 230; Thierry Beherman, Godfried Schalcken (Paris, 1988), no. 354. That painting has been attributed to Schalcken for more than two centuries, since it was reproduced in 1815 by Landon as a line engraving in his Galerie de M. Massias, 144–45, planche 69, Tableau de nature morte, effet de lampe, par Schalken. This painting is not likely to be identical with the Vanity by Scalken in Mr. Sykes Sale 1733 (1st Day), lot 67; see Mansfield Kirby Talley, “Small, usuall, and vulgar things”: Still-Life Painting in England 1635–1760, Walpole Society 49 (London, 1983), 210. In spite of its very old attribution, the painting in Geneva is not the work of Schalcken.
Peter Hecht, “Candlelight and Dirty Fingers, or Royal Virtue in Disguise: Some Thoughts on Weyerman and Godfried Schalken,” Simiolus 11, no. 1 (1980): 31–35.
Fred G. Meijer, The Collection of Dutch and Flemish Still Life Paintings Bequeathed by Daisy Linda Ward (catalogue of the Daisy Linda Ward collection of paintings of the Ashmolean Museum) (Zwolle, 2003), 273, note 2.
Complicating an assessment of the signature, the N is missing due to damage to the paint surface. With thanks to the restorer of the Dordrechts Museum, Lidwien Speleers, who in November 2012 allowed me to study the panel unframed and in good lighting conditions, including ultraviolet light.
In contrast to the assertions made in Fred G. Meijer, The Collection of Dutch and Flemish Still Life Paintings Bequeathed by Daisy Linda Ward (catalogue of the Daisy Linda Ward collection of paintings of the Ashmolean Museum) (Zwolle, 2003), 273 n. 2.
See Thierry Beherman, Godfried Schalcken (Paris,1988), no. 117, for the Portrait of a Lady, and no. 43 for the large canvas in Prague. For the latter painting, see also Hanna Seifertova, in Anja K. Sevcik, National Gallery in Prague: Dutch Paintings of the 17th and 18th Centuries (Prague, 2012), no. 395, with an illustration in color.
Samuel van Hoogstraten, Inleyding tot de hooge Schoole der Schilderkonst: Anders de zichtbaere werelt; Verdeelt in negen leerwinkels, yder bestiert door eene der zanggodinnen… (Rotterdam, 1678), 181: “Zeker Schilder, mijn lantsgenoot, had laetst zijn vlijt dapper betoont: want hy had een groote en wel opgehoopte schootel met schoone Persikken uittermaeten sappich en net uitgeschildert, en zich in stuk voor stuk dapper gequeeten. Ik verwonderde my, die ziende, over zijn vlijt en gedult” (A certain painter, my fellow townsman, recently demonstrated his diligence by portraying a large dish piled high with beautiful peaches, extremely juicy and perfectly rendered, having acquitted himself well in each and every one. Upon seeing that, I was amazed at his diligence and patience).
It is always possible, of course, that Schalcken had seen and possibly admired the peach still lifes by his fellow townsman on an earlier occasion, without this exerting an immediate influence on his work. It is undeniable that Schalcken painted Van Calraet-like peaches only after Van Hoogstraten had praised them in his book.
Fred G. Meijer, The Collection of Dutch and Flemish Still Life Paintings Bequeathed by Daisy Linda Ward (catalogue of the Daisy Linda Ward collection of paintings of the Ashmolean Museum) (Zwolle, 2003), 272–73, and Görel Cavalli-Björkman, Dutch and Flemish Paintings, 3 vols. (Stockholm, 2005), 446–47, no. 450.
Abraham van Calraet, on the other hand, had examined Schalcken’s work closely. Several of his genre pieces, painted in the style of Schalcken, were once attributed to him. An example is Thierry Beherman, Godfried Schalcken (Paris,1988), no. 286, which in my view is by Van Calraet. The small oval painting A Laughing Man with a Glass of Wine was also ascribed to Schalcken. Ineke Wansink of the RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History) has reattributed this panel to Van Calraet; see the note on the photograph kept at the RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History). In 1966 this small panel was on display at Norwich Castle Museum as a Schalcken as part of the exhibition Dutch Paintings from East Anglia; at the time it belonged to the collection of T. R. C. Blofeld at Hoveton, Wroxham, Norfolk; see M. Rajnai, Dutch Paintings from East Anglia: Loan Exhibition, 20 July–29 August 1966 (Exh. cat. Norwich Castle Museum) (Norwich, 1966), no. 40 (14.6 x 11.4 cm; not illustrated).
This panel, measuring 42 x 37.8 cm, was last seen at a sale in London (Phillips, 5 December 1995, lot 26, with an illustration in color). It is signed in full at the lower left: 167(0) fecit A v kalraet Beeltsneijder. The type of signature indicates that this is one of Van Calraet’s earliest still lifes. A reproduction of it can also be found on the RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History)’s website, images, no. 10751.
See the report by Ian Tyers, “The Tree-Ring Analysis of 12 Panel Paintings from the Leiden Gallery, New York” (November 2012), 26.
The characterization of wood is based on visual examination only. There are bevels along all but the left edge as viewed from the reverse.
Based on visual examination of the X-radiograph. The machine toolmarks are not noted in the Dordrecht examination report.
Based on visual examination of the high-resolution image. The ground color and underlayer are not noted in the Dordrecht examination report.
The red layer overlaps the yellow leaves.
Entry based on December 2011 examination report by Lidwien Speleers, paintings conservator, Dordrecht Museum, and information gleaned by reexamining the front and verso images and the X-radiograph.