Osias Beert (I)

Still Life with a Split Artichoke, Fruit in Kraak Porcelain Ware and a Salt Cellar/Pepper Castor

c. 1605 - c. 1615

Scientific examination and reports

  • technical report: I. Verslype / L. Nijkamp, RMA, 13 oktober 2006
  • dendrochronology: P. Klein, RMA, 31 augustus 2007

Provenance

…; collection Cornelis Hoogendijk (1866-1911), The Hague; from whom on loan to the museum, 1907-11 (SK-C-814); donated to the museum from his estate, 1912

ObjectNumber: SK-A-2549

Credit line: Gift of the heirs of C. Hoogendijk, The Hague

The artist

Biography

Osias Beert I ((?) Antwerp c. 1580 - Antwerp 1623/24)

Not much of a biography can be provided for the flower and still-life painter Osias Beert I, whose eminence was recognized in the modern era only in 1894.1H. Hymans, ‘Le Musée du Prado’, Gazette des Beaux-Arts 11 (1894), no. 1, pp. 73-92. The first, published reference to him is his registration in the records of the Antwerp guild of St Luke as an apprentice to ‘Andris van Baseroo’ (i.e. Andries van Baesrode) in 1596.2P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), I, p. 395. He became a master in the guild six years later,3P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), I, p. 419. from which can be calculated his approximate date of birth. Next to nothing is known of Van Baesrode’s work, but he may have been a flower painter.4A garland of flowers by ‘van Baesrode’ is listed in an Antwerp inventory of 1652, E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, VI, p. 301; another is listed in an inventory of 1657, Duverger 1984-2004, VII, p. 434, but this would have been by his son who became a master in 1652/53, see P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), II, p. 234. Beert’s mortuary debt was paid in the guild accounting year 1623/24.5P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), I, p. 600. In all, six apprentices were registered as having enrolled in his studio, the first in 1605/06 may have been related to Maria Ykens whom he married in the Onze-Lieve-Vrouwekerk on 8 January 1606.6P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), I, p. 516, and p. 516 note 3. The frequency of registration increased from 1615 suggesting that the capacity of his studio had grown. In 1622 he was living in the Koning van Mooren on the Gevangenisbrug.7F.J. van den Branden, Geschiedenis der Antwerpsche schilderschool, 3 vols., Antwerp 1883, p. 1118.

Beert – or Beet as his name was also spelt – rarely signed and never dated any of his extant paintings; a small number were executed on copper supports prepared by Pieter Staes and dated between 1607 and 1609, which provides a terminus post quem for their execution. Greindl in 1983 listed twelve signed paintings and eighty which can reasonably be attributed to him.8E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek 1983 (ed. princ. 1956), pp. 335-37. Evidence of his contemporary popularity can be found in a number of early copies or derivations, as well as in the fact that he was selected to introduce the mass of blooms in the Pausias and Glycera executed by Peter Paul Rubens (1577-1640) and his studio circa 1618.9I. Bergström, ‘Osias Beert the Elder as a Collaborator of Rubens’, The Burlington Magazine 99 (1957), pp. 120-24. It may, however, have been the degree of studio participation in the execution of the figures that determined the substitution of Beert in the place of the better-known Jan Brueghel I who would normally have collaborated with Rubens if he alone had been responsible for the figures. Further, as Greindl has pointed out, a table-top still life, most likely the work of Osias Beert I, is depicted by Frans Francken II (see below) in his Gallery Interior in the Galleria Borghese, Rome, dated 1610-15 by Härting.10E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek 1983 (ed. princ. 1956), p. 35; U. Härting, Frans Francken der Jüngere (1581-1642): Die Gemälde mit kritischem Oeuvrekatalog, Freren 1989, p. 372, no. 454. But Beert’s no more than moderate success as an artist is shown by the facts that only two paintings by him are listed in the seventeenth-century Antwerp inventories published by Duverger11E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, II, p. 36; Duverger 1984-2004, VI, p. 39. and that none of his works is itemized in the published accounts of Antwerp dealers of the period.

In the circumstances, and in spite of the precious objects sometimes depicted by him in his art indicating prosperous clientele, it may come as no surprise that Beert was also listed as a dealer in cork.12F.J. van den Branden, Geschiedenis der Antwerpsche schilderschool, 3 vols., Antwerp 1883, p. 1118.

Works by his homonymous son (1622-1678) are hardly known; Greindl records a Still Life, dated 1650, which was sold in London (Christie’s), 12 October 1956, no. 26;13E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek 1983 (ed. princ. 1956), p. 36. his wife was paid 113 guilders and 15 stuivers for a set of Five Senses which he had painted for the rich widow of an auctioneer and silk merchant, Suzanna Willemssen (d. 1657).14E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, VII, p. 434.

REFERENCES
E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek 1983 [ed. princ. 1956], pp. 22-36 and pp. 335-71

Entry

Like other related compositions by Osias Beert I, this painting has in the past been attributed to Louise Moillon (1610-1696) and to Georg Flegel (1566-1638).15The set of four still lifes at Grenoble were catalogued as by Moillon from 1831, until De Boer attributed it to Beert in 1935; M. Destot, Peintres des écoles du Nord: La collection du Musée de Grenoble, coll. cat. Grenoble 1995, p. 41. The workshop replica at Kassel bears a Flegel signature and date 1589, and was catalogued as by Flegel in the 1819 Kassel catalogue; B. Schnackenburg, Gesamtkatalog Gemäldegalerie Alte Meister Kassel, 2 vols., coll. cat. Kassel 1996, p. 58, under no. GK884. Its attribution to Beert was due to Benedict in 1938, who stated that it was the the most beautiful non-signed replica (plus belle réplique non signé) of a work in a private collection, Paris, which was signed with his initials.16C. Benedict, ‘Osias Beert: Un peintre oublié de natures mortes’, L’Amour de l’Art 19 (1938), pp. 307-14, esp. pp. 310, 314, fig. 8; Van Mulders in J. Turner (ed.), The Dictionary of Art, 34 vols., Basingstoke 1996, III, p. 494. That painting was identified as being with the Galerie Mestrallet in 1938 by Greindl in her list of signed works by Beert.17E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek 1983 (ed. princ. 1956), p. 335. She also accepted as autograph another replica in a Belgian private collection which is slightly larger than the present picture.18E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek 1983 (ed. princ. 1956), p. 336, no. 25 and p. 181, fig. 14.

Benedict already listed variants in 1938: with the dealer P. de Boer, Amsterdam, in the museums at Kassel and St Omer19G. Blazy, Musée de l’Hôtel Sandelin de Saint-Omer, coll. cat. St Omer 1981, p. 12, no. 15, as Osias Beert II and as a variant of the Rijksmuseum picture. and in a private collection in Paris. In his 1996 catalogue of the Kassel Gemäldegalerie Alte Meister, Schnackenburg accepted the Rijksmuseum picture as the prototype.20B. Schnackenburg, Gesamtkatalog Gemäldegalerie Alte Meister Kassel, 2 vols., coll. cat. Kassel 1996, p. 58, under no. GK884. Meijer had also accepted it in 1994.21Meijer in Saur Allgemeines Künstlerlexikon: Die Bildenden Künstler aller Zeiten und Völker, Munich 1992-, VIII, p. 258. But whether it is Beert’s prime original would depend on examination of the Mestrallet version and that referred to as in a Belgian private collection by Greindl in 1983.

Many of the motifs appear in other table top still lifes by Beert; for instance the cluster of three cherries, the stem of the wild strawberries with the knife and the bowls of cherries and strawberries occur in the Still Life of Cherries and Strawberries in Porcelain Bowls at Berlin;22Gemäldegalerie, Staatliche Museen Preussischer Kulturbesitz, Berlin: Katalog der ausgestellten Gemälde des 13.-18. Jahrhunderts, coll. cat. Berlin 1975, no. 2/60, pp. 44-45. the bread, diagonally placed, was a favourite motif of his.

The fruit is contained in three Kraak porcelain pieces, products of the reign of the Chinese Emperor Wanli (1573-1619). Rinaldi has identified the wild strawberries as placed in a flat-rimmed dish, the mulberries in a bell (or crow) cup and the cherries in a klapmuts.23M. Rinaldi, Kraak Porcelain: A Moment in the History of Trade, London 1989, p. 65, pl. 35, where dated ‘pre-1624’. No similar decorative motifs are found in Rinaldi’s survey, but that on the rim of the bowl of strawberries, of equidistant flower sprigs, can perhaps be dated circa 1580-1600 by analogy with her ‘Border III’.24M. Rinaldi, Kraak Porcelain: A Moment in the History of Trade, London 1989, pp. 70-71. The bell cup is, according to Rinaldi, a rare type perhaps to be dated from circa 1620-35;25M. Rinaldi, Kraak Porcelain: A Moment in the History of Trade, London 1989, p. 128. if such a dating is correct, it would rule out the presence of the object here because the painting was probably executed fairly early in the century as is argued below. It may be that the object is a ‘crow cup’ (c. 1595-1645), which seems to have been slightly larger than a bell cup;26M. Rinaldi, Kraak Porcelain: A Moment in the History of Trade, London 1989, p. 153. however, the decoration of a flower spray in an ogival panel seems more akin to that on a differently shaped category of bowl of circa 1575-1600.27M. Rinaldi, Kraak Porcelain: A Moment in the History of Trade, London 1989, p. 126, pl. 135.

The knife is probably a ‘Whitsun knife’; Marquardt illustrates an example described as probably German of the second half of the sixteenth century, whose handle is decorated with scales of dark horn and natural coloured mother-of-pearl.28K. Marquardt, Europäisches Essbesteck aus acht Jahrhunderten: Eine Kunstsammlung/Eight Centuries of European Knives, Forks and Spoons: An Art Collection, Stuttgart 1997, p. 26, no. 42 and p. 198, no. 42. The handle of that in the present picture is more elaborate. Similar knives appear in still lifes by Pieter Claesz executed in Haarlem in the 1620s.29P. Biesboer et al., Pieter Claesz: Master of Haarlem Still Life, exh. cat. Haarlem (Frans Hals Museum)/Zürich (Kunsthaus Zürich)/Washington (National Gallery of Art) 2004-05, nos. 5, 12. The wine glass is façon de Venise, while the vessel on the right is a typical rummer.

Unusual is the silver object on the left seemingly found only in still lifes by Beert. It has been described both as a sugar bowl30Coll. cat. 1960, see Collection Catalogues. and as a salt cellar, but is in fact a salt cellar topped by a pepper castor, and quite different to the rectangular shaped salt cellars depicted, for instance, by the Antwerp-based Clara Peeters (active 1607-after 1634; see biography under SK-A-2111) in her 1608/09 Still Life of Oysters, Bread and a Salt.31P. Hibbs Decoteau, Clara Peeters 1594-ca.1640 and the Development of Still-Life Painting in Northern Europe, Lingen 1992, illustrated on p. 14 and p. 178, no. 1. In Beert’s art it would also function as an egg ‘cup’,32As in the picture in Grenoble, M. Destot, Peintres des écoles du Nord: La collection du Musée de Grenoble, coll. cat. Grenoble 1995, p. 41. A salt cellar and egg stand were combined in a single object in an inscribed drawing derived from Francesco Salviati by the goldsmith and ornament engraver Erasmus Hornick (active in Germany after 1555- Prague 1583); J.F. Hayward, ‘The Mannerist Goldsmiths: Antwerp. Italian Influence in the Designs of Erasmus Hornick, Part IV’, The Connoisseur 158 (1965), pp. 144-49, esp. p. 146, no. 4, pl. 4. in which the egg replaced the lid with the pepper castor and rested in the salt.

The design of the object derived from the series of engravings of vessels published by Hans Vredeman de Vries (1527-c. 1607) in 1563; the engraving of one is entitled: ‘A vessel whose upper part will furnish pepper and whose lower part in truth salt’, another ‘a vessel whose lower part carried salt and upper part pepper’.33F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700, Amsterdam/Roosendaal 1948-, XLVII, part 1, nos. 172, 173; Hayward states that the ‘salt-cellar is a typical Fontainebleau design, a combination of French and Florentine features’, see J.F. Hayward, ‘The Mannerist Goldsmiths: Antwerp. Italian Influence in the Designs of Erasmus Hornick, Part IV’, The Connoisseur 158 (1965), pp. 144-49, esp. p. 357 under pls. 208-10. The titles in the original Latin read: ‘Vas cuius superior pars piper/inferior vero sale propinabit’ and ‘Vas cuius pars inferior Sali/superior vero piperi inferuet’. Fuhring states that there is no extant object that can be related to the designs in the Vessels series;34H. Borggrefe et al., Hans Vredeman de Vries und die Renaissance in Norden, exh. cat. Lemgo (Weserrenaissance-Museum Schloss Brake)/Antwerp (Koninklijk Museum voor Schone Kunsten) 2002, under no. 97; see also J.F. Hayward, ‘The Mannerist Goldsmiths: Antwerp, Part III’, The Connoisseur 156 (1964), pp. 251-54, esp. p. 252. however, Baudouin, Colman and Goethals describe silversmiths’ development of the De Vries design in a way which seems not dissimilar to the object depicted by Beert, but without any specific reference.35P. Baudouin, P. Colman and D. Goethals, Orfèvrerie en Belgique/Zilver in België/Silver in Belgium: 1500-1800, Brussels 1998, p. 58. Indeed a simplified version of the design and without the top is depicted by Frans Snijders (1579-1657) in his banquet still life at Dublin, dated by Oldfeld and Robels to the late 1620s36D. Oldfield, Later Flemish Paintings in the National Gallery of Ireland: the seventeenth to nineteenth centuries, Dublin (National Gallery of Ireland) 1992, pp. 130-31, under no. 811; H. Robels, Frans Snyders, Stilleben- und Tiermaler, 1579-1657, Munich 1989, p. 68, no. 135. and is also found on the table at which the Prodigal Son feasts with a lady of easy virtue in the decoration by Frans Francken III (1607-1667) of the wing of a painted cabinet showing the story of the Prodigal Son (BK-NM-4190).

In the absence of any dated extant work by Beert, other factors have to be brought to bear in suggesting a date for the Rijksmuseum still life. The view point is relatively high – not as high as the Still Life with Dives and Lazarus in which the background scene depends on a print executed before 1611,37S. Segal, A Prosperous Past: The Sumptuous Still Life in the Netherlands, 1600-1700, exh. cat. Delft (Stedelijk Museum Het Prinsenhof)/Cambridge (Mass.) (Fogg Art Museum)/Fort Worth (Kimbell Art Museum) 1988, no. 6; RKD note by F. Meijer 2015, under Beert, no. 43. but higher than in the still life painted on a copper stamped by Pieter Staes and dated 1607.38Offered in a sale, London (Christie’s), 29 June 1973, no. 47. Two other reasons suggest a date of execution from around or after the middle of the first decade of the century. A likely influence on Beert’s formulation is the Still Life with Artichokes by Jacques de Gheyn II (1565-1629) dated by Segal to around 1600 and by Biesboer to circa 1605.39S. Segal, A Prosperous Past: The Sumptuous Still Life in the Netherlands, 1600-1700, exh. cat. Delft (Stedelijk Museum Het Prinsenhof)/Cambridge (Mass.) (Fogg Art Museum)/Fort Worth (Kimbell Art Museum) 1988, no. 5, pp. 64-65; Biesboer in P. Biesboer et al., Pieter Claesz: Master of Haarlem Still Life, exh. cat. Haarlem (Frans Hals Museum)/Zürich (Kunsthaus Zürich)/Washington (National Gallery of Art) 2004-05, p. 12, fig. 3. In this work, the split artichokes, the bread, the knife and cup of mulberries make an early appearance. De Gheyn’s influence is predicated on Biesboer’s description of him as ‘an important precursor … [who] may have visited Antwerp on several occasions’. The second reason is the inconsistent viewpoints here adopted: the top of the salt cellar is seen from a higher viewpoint than the bulbous body, as is the bowl of wild strawberries in relation to the bowl of cherries. By analogy, both Taylor40P. Taylor, Dutch Flower Painting 1600-1720, New Haven (Conn.) 1995, p. 137. and Meijer41F.G. Meijer, The Collection of Dutch and Flemish Still-Life Paintings Bequeathed by Daisy Linda Ward, coll. cat. Oxford (The Ashmolean Museum) 2003, p. 179. consider the inexact perspective adopted by Ambrosius Bosschaert I (1573-1621) in the rendering of the base of the vase in the Ashmolean Still Life of Flowers as a ‘mistake [which he] often made in his early work’.42P. Taylor, Dutch Flower Painting 1600-1720, New Haven (Conn.) 1995, note 18. However, it has to be said that Beert may simply have been following the example of De Vries, who could deliberately adopt two viewpoints to show his designs, as he did with the inner and outer sides of the tazza engraved by Hieronymus Cock (1518-1570).43F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700, Amsterdam/Roosendaal 1948-, XLVII, no. 174.

A final consideration concerning a dating of the Rijksmuseum painting is the general availability in Antwerp of Kraak porcelain, imported into the northern Netherlands by the VOC from 1602.44J. Hochstrasse, Still Life and Trade in the Dutch Golden Age, New Haven (Conn.)/London 2007, pp. 122-34. A bowl was depicted by Clara Peeters in a still life of 1611,45A. Vergara (ed.), The Art of Clara Peeters, exh. cat. Antwerp (Koninklijk Museum voor Schone Kunsten)/Madrid (Museo Nacional del Prado) 2016, no. 7. and it is unlikely that Osias Beert anticipated her by more than a few years if at all.

The prominent fly (blue-bottle) on the artichoke is a traditional vanitas symbol.

Gregory Martin, 2022

Literature

E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek 1983 [ed. princ. 1956], p. 336

Collection catalogues

1912, p. 379, no. 1634A (as Louyse Moillon); 1934, p. 194, no. 1634A (as Louyse Moillon, at present attributed to Georg Flegel, whose monogram is on the knife); 1960, p. 34, no. 457 D1 (as Osias Beert, attribution); 1976, p. 107, no. A 2549 (attributed to Osias Beert)

Citation

G. Martin, 2022, 'Osias (I) Beert, Still Life with a Split Artichoke, Fruit in Kraak Porcelain Ware and a Salt Cellar/Pepper Castor, c. 1605 - c. 1615', in Flemish Paintings in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.5968

(accessed 13 June 2025 03:13:08).

Footnotes

  • 1H. Hymans, ‘Le Musée du Prado’, Gazette des Beaux-Arts 11 (1894), no. 1, pp. 73-92.
  • 2P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), I, p. 395.
  • 3P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), I, p. 419.
  • 4A garland of flowers by ‘van Baesrode’ is listed in an Antwerp inventory of 1652, E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, VI, p. 301; another is listed in an inventory of 1657, Duverger 1984-2004, VII, p. 434, but this would have been by his son who became a master in 1652/53, see P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), II, p. 234.
  • 5P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), I, p. 600.
  • 6P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), I, p. 516, and p. 516 note 3.
  • 7F.J. van den Branden, Geschiedenis der Antwerpsche schilderschool, 3 vols., Antwerp 1883, p. 1118.
  • 8E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek 1983 (ed. princ. 1956), pp. 335-37.
  • 9I. Bergström, ‘Osias Beert the Elder as a Collaborator of Rubens’, The Burlington Magazine 99 (1957), pp. 120-24.
  • 10E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek 1983 (ed. princ. 1956), p. 35; U. Härting, Frans Francken der Jüngere (1581-1642): Die Gemälde mit kritischem Oeuvrekatalog, Freren 1989, p. 372, no. 454.
  • 11E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, II, p. 36; Duverger 1984-2004, VI, p. 39.
  • 12F.J. van den Branden, Geschiedenis der Antwerpsche schilderschool, 3 vols., Antwerp 1883, p. 1118.
  • 13E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek 1983 (ed. princ. 1956), p. 36.
  • 14E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, VII, p. 434.
  • 15The set of four still lifes at Grenoble were catalogued as by Moillon from 1831, until De Boer attributed it to Beert in 1935; M. Destot, Peintres des écoles du Nord: La collection du Musée de Grenoble, coll. cat. Grenoble 1995, p. 41. The workshop replica at Kassel bears a Flegel signature and date 1589, and was catalogued as by Flegel in the 1819 Kassel catalogue; B. Schnackenburg, Gesamtkatalog Gemäldegalerie Alte Meister Kassel, 2 vols., coll. cat. Kassel 1996, p. 58, under no. GK884.
  • 16C. Benedict, ‘Osias Beert: Un peintre oublié de natures mortes’, L’Amour de l’Art 19 (1938), pp. 307-14, esp. pp. 310, 314, fig. 8; Van Mulders in J. Turner (ed.), The Dictionary of Art, 34 vols., Basingstoke 1996, III, p. 494.
  • 17E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek 1983 (ed. princ. 1956), p. 335.
  • 18E. Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek 1983 (ed. princ. 1956), p. 336, no. 25 and p. 181, fig. 14.
  • 19G. Blazy, Musée de l’Hôtel Sandelin de Saint-Omer, coll. cat. St Omer 1981, p. 12, no. 15, as Osias Beert II and as a variant of the Rijksmuseum picture.
  • 20B. Schnackenburg, Gesamtkatalog Gemäldegalerie Alte Meister Kassel, 2 vols., coll. cat. Kassel 1996, p. 58, under no. GK884.
  • 21Meijer in Saur Allgemeines Künstlerlexikon: Die Bildenden Künstler aller Zeiten und Völker, Munich 1992-, VIII, p. 258.
  • 22Gemäldegalerie, Staatliche Museen Preussischer Kulturbesitz, Berlin: Katalog der ausgestellten Gemälde des 13.-18. Jahrhunderts, coll. cat. Berlin 1975, no. 2/60, pp. 44-45.
  • 23M. Rinaldi, Kraak Porcelain: A Moment in the History of Trade, London 1989, p. 65, pl. 35, where dated ‘pre-1624’.
  • 24M. Rinaldi, Kraak Porcelain: A Moment in the History of Trade, London 1989, pp. 70-71.
  • 25M. Rinaldi, Kraak Porcelain: A Moment in the History of Trade, London 1989, p. 128.
  • 26M. Rinaldi, Kraak Porcelain: A Moment in the History of Trade, London 1989, p. 153.
  • 27M. Rinaldi, Kraak Porcelain: A Moment in the History of Trade, London 1989, p. 126, pl. 135.
  • 28K. Marquardt, Europäisches Essbesteck aus acht Jahrhunderten: Eine Kunstsammlung/Eight Centuries of European Knives, Forks and Spoons: An Art Collection, Stuttgart 1997, p. 26, no. 42 and p. 198, no. 42.
  • 29P. Biesboer et al., Pieter Claesz: Master of Haarlem Still Life, exh. cat. Haarlem (Frans Hals Museum)/Zürich (Kunsthaus Zürich)/Washington (National Gallery of Art) 2004-05, nos. 5, 12.
  • 30Coll. cat. 1960, see Collection Catalogues.
  • 31P. Hibbs Decoteau, Clara Peeters 1594-ca.1640 and the Development of Still-Life Painting in Northern Europe, Lingen 1992, illustrated on p. 14 and p. 178, no. 1.
  • 32As in the picture in Grenoble, M. Destot, Peintres des écoles du Nord: La collection du Musée de Grenoble, coll. cat. Grenoble 1995, p. 41. A salt cellar and egg stand were combined in a single object in an inscribed drawing derived from Francesco Salviati by the goldsmith and ornament engraver Erasmus Hornick (active in Germany after 1555- Prague 1583); J.F. Hayward, ‘The Mannerist Goldsmiths: Antwerp. Italian Influence in the Designs of Erasmus Hornick, Part IV’, The Connoisseur 158 (1965), pp. 144-49, esp. p. 146, no. 4, pl. 4.
  • 33F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700, Amsterdam/Roosendaal 1948-, XLVII, part 1, nos. 172, 173; Hayward states that the ‘salt-cellar is a typical Fontainebleau design, a combination of French and Florentine features’, see J.F. Hayward, ‘The Mannerist Goldsmiths: Antwerp. Italian Influence in the Designs of Erasmus Hornick, Part IV’, The Connoisseur 158 (1965), pp. 144-49, esp. p. 357 under pls. 208-10. The titles in the original Latin read: ‘Vas cuius superior pars piper/inferior vero sale propinabit’ and ‘Vas cuius pars inferior Sali/superior vero piperi inferuet’.
  • 34H. Borggrefe et al., Hans Vredeman de Vries und die Renaissance in Norden, exh. cat. Lemgo (Weserrenaissance-Museum Schloss Brake)/Antwerp (Koninklijk Museum voor Schone Kunsten) 2002, under no. 97; see also J.F. Hayward, ‘The Mannerist Goldsmiths: Antwerp, Part III’, The Connoisseur 156 (1964), pp. 251-54, esp. p. 252.
  • 35P. Baudouin, P. Colman and D. Goethals, Orfèvrerie en Belgique/Zilver in België/Silver in Belgium: 1500-1800, Brussels 1998, p. 58.
  • 36D. Oldfield, Later Flemish Paintings in the National Gallery of Ireland: the seventeenth to nineteenth centuries, Dublin (National Gallery of Ireland) 1992, pp. 130-31, under no. 811; H. Robels, Frans Snyders, Stilleben- und Tiermaler, 1579-1657, Munich 1989, p. 68, no. 135.
  • 37S. Segal, A Prosperous Past: The Sumptuous Still Life in the Netherlands, 1600-1700, exh. cat. Delft (Stedelijk Museum Het Prinsenhof)/Cambridge (Mass.) (Fogg Art Museum)/Fort Worth (Kimbell Art Museum) 1988, no. 6; RKD note by F. Meijer 2015, under Beert, no. 43.
  • 38Offered in a sale, London (Christie’s), 29 June 1973, no. 47.
  • 39S. Segal, A Prosperous Past: The Sumptuous Still Life in the Netherlands, 1600-1700, exh. cat. Delft (Stedelijk Museum Het Prinsenhof)/Cambridge (Mass.) (Fogg Art Museum)/Fort Worth (Kimbell Art Museum) 1988, no. 5, pp. 64-65; Biesboer in P. Biesboer et al., Pieter Claesz: Master of Haarlem Still Life, exh. cat. Haarlem (Frans Hals Museum)/Zürich (Kunsthaus Zürich)/Washington (National Gallery of Art) 2004-05, p. 12, fig. 3.
  • 40P. Taylor, Dutch Flower Painting 1600-1720, New Haven (Conn.) 1995, p. 137.
  • 41F.G. Meijer, The Collection of Dutch and Flemish Still-Life Paintings Bequeathed by Daisy Linda Ward, coll. cat. Oxford (The Ashmolean Museum) 2003, p. 179.
  • 42P. Taylor, Dutch Flower Painting 1600-1720, New Haven (Conn.) 1995, note 18.
  • 43F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700, Amsterdam/Roosendaal 1948-, XLVII, no. 174.
  • 44J. Hochstrasse, Still Life and Trade in the Dutch Golden Age, New Haven (Conn.)/London 2007, pp. 122-34.
  • 45A. Vergara (ed.), The Art of Clara Peeters, exh. cat. Antwerp (Koninklijk Museum voor Schone Kunsten)/Madrid (Museo Nacional del Prado) 2016, no. 7.