17th century Dutch Still-life - An opulent table with a roemer, oysters and wine

17th century Dutch Still-life, An opulent table with a roemer, oysters and wine attributed to Pieter Van Berendrecht

The present painting is a beautiful and characteristic example of the 17th century Dutch genre of "Monochrome Banketjes". An opulent meal is depicted on a large table, which has been covered by a dark grey tapestry and a white table cloth. On luxurious silver plates, several delicacies are being presented amongst which are a large ham, bread, oysters and a lemon. A roemer, surrounded by an elegant vine and a wine flute have been delicately placed between these plates. A precious pack of black peppers can be seen to the far right, this was a very expensive and coveted possession. An intricately decorated silver cup, a salt cellar, an earthenware mustard cup and other accroutements further enrich the composition, creating a feast for all senses. The painter wonderfully captured how each of these objects reflect the light in their own distinct way, it is a testament to his skill that the painting looks so realistic, almost like a 17th century photograph.

Pieter van Berendrecht or Pieter Jansz. van Beerendrecht (Haarlem, 1616 - Weesp, 1672) was a painter active in the Dutch Golden Age, who specialized primarily in still-lifes and monochrome banquet scenes. His paintings are known for their monochrome style, influenced by Haarlem painters Willem Claeszoon Heda and Pieter Claesz. The monochrome banquet scenes he specialized in often featured a limited palette, emphasizing subtle variations in tone and texture, which required a high level of skill to execute effectively. These works commonly depicted tables set with an array of foods, drinking vessels, and other dining accoutrements, arranged with a keen sense of composition and lighting.

Van Berendrecht was born on May 5th, 1616, in Haarlem as the son of Johannes Pietersz. Berendrecht. He became a member of the local Saint Luke's Guild in 1632. Van Berendrecht's association with the Saint Luke's Guild in Haarlem suggests he was well integrated into the artistic community of his time. The Guild was an important institution for artists, providing them with support and promoting their work. His status as a master painter by 1642 indicates his recognition and respect within this community.

Pieter married in Haarlem in 1644 and remarried in Amsterdam in 1653. In 1662, he was a witness at the wedding of his son Pieter in Weesp, who would later follow him in his footsteps as a painter. Van Berendrecht is also mentioned by his contemporary and fellow painter Vincent van der Vinne, based on whose accounts the works of the monogrammist PVB, have been attributed to Van Berendrecht. Van der Vinne’s writings have been crucial in identifying and preserving the legacy of many artists from this period.

The oil on canvas measures ca. 67 by 101.5 cms and with the frame ca. 122.5 by 86.5 cms.

Provenance:
Sale Roos Amsterdam, October 31st 1905, as P. Claesz.
Sale Roos Amsterdam, November 24th 1986, as Gerrit Willemsz. Heda.
Sale Christie's Amsterdam, November 11th 1996, n°105 (as attributed to Pieter van Berendrecht)
Long considered to be by the hand of Gerrit Willemsz Heda, Dr. Fred Meijer has attributed to present work to Pieter van Berendrecht and it is registered as such with the RKD under number 11046.

The present work has been cleaned by our restorer in 2024. During this cleaning, not only a very thick layer of grimy varnish was removed (which especially coloured the background in a brownish hue), but our restorer also discovered a pentimento to the right of the Roemer. Furthermore a layer of green overpaint which was placed on top of the right table cloth was removed. By removing this unnecessary green overpaint, the original dark grey paint layer (which is very well preserved) reemerged adding to the overall harmony of the composition and emphasising its spirit of the "monochrome banquet".