Leilão Bidspirit | Natureza morta - aves, frutos,

Natureza morta - aves, frutos, crustáceo, pão, almanaque, vidros e porcelanas chinesas do reinado Wanli - Material: óleo sobre tela Origem: escola flamenga Conservação: reentelado, pequenos restauros Dimensões: Dim. - 107 x 84 cm Notas: duas obras desse autor encontram-se expostas no Museu Hallwylska, Estocolmo, assinada e datada de 1693 (vd. Museu_ProvidedCHO_Hallwylska_museet_13433.html); e no Rijksmuseum, Amesterdão, assinada (vd. https://www.rijksmuseum.nl/en/search/objects?q=nellius&p=1&ps=12&st=Objects&ii=0#/SK-A-1751,0). Pinturas com esta mesma autoria foram vendidas na Christie's (vd. https://www.christies.com/lotfinder/searchresults.aspx?sc_lang=en&lid=1&searchFrom=searchresults&entry=martinus%20nellius&searchtype=p&action=search) e na Sotheby's (vd. https://www.sothebys.com/en/search-results.html?query=martinus%20nellius). Na identificação de uma das pinturas leiloadas, os peritos salientaram as seguintes características do pintor também presentes nesta pintura: ”Another distinct feature in many of Nellius' compositions, as in this painting, is the sheet of paper, often folded as a small paper bag in which tobacco was sold, inscribed with the word 'almanac'. See for example the one sold, London, Sotheby's, 5 July 2007, lot 149.” - (vd. http://www.sothebys.com/fr/auctions/ecatalogue/lot.51.html/2011/omp-am1098). Bibliografia: 1) Petra ten-Doesschate Chu - Im Lichte Hollands: Holländische Malerei des 17. Jahrhunderts aus den Sammlungen des Fürsten von Liechtenstein und aus Schweizer Besitz exh. cat. Basel, Kunstmuseum, 1987, pp. 184-185, no 66, with illustration. 2) E. Haverkamp-Begemann, K. Ahrens - Wadsworth Atheneum Paintings. The Netherlands and German-speaking Countries. Fifteenth-Nineteenth Centuries, Hartford, 1978, p. 167, no. 102, p. 123. 3) Luca Bild-Lexikon, Holländische Stilllebenmaler im 17. Jahrhundert, vol. 3, Lingen 1995, p. 733. No catálogo da Dorotheum na venda de uma pintura de Nellius, encontra-se citada esta fonte, registando ”Nellius should be accorded an exceptional role in Leiden, since he is a ‘naive intimist’.... Because he lowered the eye-level of all of his pictures down to the edge of the table, the objects depicted turn ... into three-dimensional forms giving the appearance of being tangibly near. Yet Nellius’ particular, almost sfumato-like rendition of light and shade removes all of the objects from haptic proximity and reorders them in a realm of atmospheric appearance beyond concrete materiality...” 4) A. van der Willigen & F.G. Meijer, A Dictionary of Dutch and Flemish Still-life Painters working in oils, 1525 - 1725, Leiden, 2003.