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JAN DAVIDSZ. DE HEEM (Utrecht 1606 – 1684 Antwerp) a Still Life Of VP4587 JAN DAVIDSZ. DE HEEM (Utrecht 1606 – 1684 Antwerp) A Still Life of a Glass of Wine with Grapes, Bread, a Glass of Beer, a peeleD Lemon, Fruit, Onions anD a Herring on a pewter Dish, on a Table DrapeD with a green Cloth SigneD anD DateD upper right: J. De heem f / Ao : 1653 . Oil on panel: 13 x 19 ½ in / 33 x 49.5 cm PROVENANCE ProbablY collection Jean De Jullienne (1686-1766), Chevalier De l’OrDre De St Michel, Paris His posthumous sale, Pierre RemY, Paris, 30th March 1767, lot 126i (240 livres to Montulé) Bertran Collectionii With Duits Ltd., LonDon, in the 1950s From whom bought bY a private collector BY Descent in a private collection, SwitzerlanD, until 2013 To be incluDeD in the forthcoming catalogue raisonné of the work of Jan DaviDsz. De Heem being prepareD bY FreD G. Meijer, as cat. no. A 168. Jan DaviDsz. De Heem (or: Johannes De Heem) was born in Utrecht, where his father, a musician, had moveD from Antwerp. In 1625 the Young painter moveD to LeiDen, where he is recorDeD until 1631. His teacher is unknown, but much of his earliest work (painteD 1625- 1628) shows a strong influence of the MiDDelburg-born Utrecht still-life painter Balthasar van Der Ast. Upon leaving LeiDen, he presumablY spent some time in AmsterDam, but bY March 1636 he had settleD in Antwerp. He paiD his membership fees to the Antwerp guilD for the first time During the administrative Year 1635/36 (which runs from September to September). ProbablY bY 1660 he had settleD in Utrecht again, but he may alreadY have spent longer sojourns there During the previous Years. He was not, however, recorDeD as a member of the Utrecht guilD until 1669iii. Following the French invasion in 1672 he returneD to Antwerp, where he died in 1684. Jan DaviDsz. De Heem was one of the most DistinguisheD anD influential still-life anD flower painters of the seventeenth centurY. In the course of his career, more than anY other still-life painter, he exploreD new areas anD trieD new styles anD techniques, Developing new approaches as well as emulating the work of others, always in a highlY inDiviDual manner. His success was substantial anD he attracteD a large following, both in the northern anD southern NetherlanDs, as well as abroad. The present still life is a characteristic work of the artist from the first half of the 1650s; it is clearlY DateD 1653. The first half of the 1650s was a verY proDuctive perioD for De Heem, During which he painteD some of his best still lifes. Until 1655, De Heem also DateD his works with some regularity, which proviDes a soliD basis for the Dating of still lifes that the artist DiD not Date himself. During this perioD, De Heem, at arounD the age of thirty-seven, was at the top of his abilities as an artist anD proDuceD a wiDe variety of still lifes, both in size anD in type, ranging from garlanDs of fruit anD flowers arounD a central motif, pure vanitas still lifes, floral bouquets anD large luxurY still lifes, to more moDest compositions such as the present work. In 1653, De Heem DateD a total of nine known still lifes, incluDing the painting DiscusseD here. Several more can be assigneD to the same Year on the basis of stylistic comparison. Despite its relativelY small size, this still life of fruit, onions, a herring anD shrimps possesses a Distinct monumentality. In part, this is Due to its composition. Like manY still lifes of this type, it has been built up within a triangle, the corners of which are the lower corners anD the top centre of the painting. The eYe of the viewer is Drawn towarDs a seconD triangle, within the outer triangle, formeD bY the lemon, the bread roll anD the plate with the herring, all of which catch more light than the other motifs. ArounD them, the artist has also constructeD a clever play of light, among which are the DelicatelY painteD reflections in the glass à la façon de Vénise anD the white wine that it contains anD in the way the unDersiDe of the vine leaves are lit up. The juicY fruit of the lemon is juxtaposeD bY the harD pewter plate, the two glasses anD the opaque surface of the bread roll. De Heem renDereD these Different textures with great accuracY anD takes his comparisons a step further bY adDing the translucent, shinY grapes anD the warm reD, equallY translucent cherries. Their colours have been built up with thin, semi- transparent paint glazes. BY placing this arrangement in front of a softlY lit, rather Dark backgrounD, De Heem attaineD a strong sense of three-Dimensionality in his picture, which is enhanceD bY the highlights on the tenDrils anD branch of the vine. This still life shares manY features with other works from the same Year. The Venetian-style wine glass is a recurring motif in manY of De Heem’s still lifes from the first half of the 1650s. It appears in the still life from 1653 in the Los Angeles County Museum of Art (inv. no. M.86.95) anD in a small still life in the Musée-Hôtel Le Vergeur in Rheims, among others. The heavY tablecloth with its characteristic V-shapeD folD is also a recurring feature in manY works from 1650 to 1653. The herring is not a regular feature in De Heem’s still lifes. Here, it is the most eye-catching motif, renDereD head up, rather similar in treatment to the one in the still life in the Liechtenstein collection, from 1651 (inv. no. 777)iv. OnlY one further still life with a herring in De Heem’s oeuvre is known, in the Museum of Fine Arts in Ghent (inv. no. 1902-G). The onions anD the beer glass, as in the other two still lifes, are companions to the (probablY pickleD) herring. In a poem bY Jacob Westerbaen, first published in 1633, In praise of pickled herring, both the nourishing anD meDical qualities of the fish are praiseD, anD above all its taste. It shoulD be serveD with onions, bread anD butter, the author tells his readers, anD a glass of beer on the siDe is highly recommendeDv. This still life of a glass of wine verY probablY belongeD to the textile manufacturer Jean De Jullienne (1686-1766), Chevalier De l’OrDre De St Michel, a major Parisian collector anD a frienD anD patron of Antoine Watteau. Jullienne stuDieD Drawing with Jean-François De TroY anD engraving with François Boucher. He owneD more than 500 of Watteau’s Drawings, manY given to him bY Watteau himself, anD in 1726 publisheD a book of engravings after the artist which kept Watteau’s memorY alive throughout Europe. Jullienne’s collection incluDeD thirteen RembranDts, Watteau’s Mezzetin (Metropolitan Museum of Art, New York) anD 203 Dürer prints. Jan DaviDsz. De Heem was born in Utrecht to a familY of Flemish Descent, at Easter time 1606, which woulD have been the last week of April. His father, DaviD Jansz. van Antwerpen, was a musician anD not, as most earlY literature woulD have it, a painter. He DieD in 1612 anD De Heem’s mother remarrieD a Year later to a bookbinDer anD book Dealer of German origin. In the spring of 1625 the familY moveD to LeiDen, where theY had familY connections. There, the painter starteD to use the surname De Heem, anD there his artistic career kickeD off. However, the first mention of the Young artist can be founD in the recorDs of the orphanage boarD in Utrecht, from which we learn that in FebruarY 1625, still registereD as ‘Jan DaviDtsz. van Antwerpen’, he was planning a journeY to ItalY. The funDs for that trip, however, were not granteD, probablY out of fear that his virtuallY bankrupt stepfather woulD usurp them before theY coulD be put to their proper use. Who traineD the Young De Heem in Utrecht has not been recorDeD, but in all likelihooD it was the still-life painter Balthasar van Der Ast (1593/4-1657). De Heem’s earliest paintings were clearlY inspireD bY van Der Ast’s compositions, anD the fact that he liberallY borroweD motifs from recent works bY that master During his earlY Years suggests that he must at least have had intimate knowleDge of van Der Ast’s proDuction arounD 1624. In December 1626, Jan DaviDsz. De Heem marrieD Aletta van WeeDe, a girl from his native city, Utrecht. TheY had several chilDren, anD the baptism in April 1631 of their son Cornelis, the later still-life painter, is the last sign of De Heem’s presence in LeiDen. ProbablY Due to Debts, he must have left the city shortlY after, without further notice. ProbablY he moveD to AmsterDam – his work from the following Years shows an affinity with that of Jan Janz. Den UYl, who was working there, while several of his colleagues, among them Pieter Potter (1597/1600-1652) anD RembranDt (1606-1669), moveD to AmsterDam arounD the same time – but there is no recorD of him there. Some five Years later, bY March 1636, De Heem had settleD in Antwerp, enrolling as a master painter in the local guilD of St Luke some time During the administrative Year 1635-1636, anD registering as a poorter (citizen) on 28th August 1637. ArounD that time, Jan Lievens (1607- 1674), with whom De Heem was acquainteD from his LeiDen Years, Drew his portrait. During the following Years De Heem’s artistic career starteD to flourish, certainlY from 1640 onwarDs, but biographical Details remain scarce.
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