LOT 117
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Sébastien Stoskopff Still Life with a Wine Jug, a Red Wine Glass, a Loaf of Bread, a Knife, and Pastries on a Pewter Plate
作品估价：USD 400,000 - 600,000
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成交状态：待拍
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图录号：
117
拍品名称：
Sébastien Stoskopff Still Life with a Wine Jug, a Red Wine Glass, a Loaf of Bread, a Knife, and Pastries on a Pewter Plate
拍品描述：
Sébastien Stoskopff
Strasbourg 1597 - 1657 Idstein
Still Life with a Wine Jug, a Red Wine Glass, a Loaf of Bread, a Knife, and Pastries on a Pewter Plate
indistinctly signed and dated lower left: S[toskop]ff / 1[...]
oil on canvas
canvas: 19 ⅜ by 24 in.; 49.2 by 61.0 cm
framed: 24 by 28 ¾ in; 61.0 by 73.0 cm
Sébastien Stoskopff
Strasbourg 1597 - 1657 Idstein
Still Life with a Wine Jug, a Red Wine Glass, a Loaf of Bread, a Knife, and Pastries on a Pewter Plate
indistinctly signed and dated lower left: S[toskop]ff / 1[...]
oil on canvas
canvas: 19 ⅜ by 24 in.; 49.2 by 61.0 cm
framed: 24 by 28 ¾ in; 61.0 by 73.0 cm
With Matthiesen, London;
From whom acquired by a private collector, England, 1963 until 2006;
Thence acquired by the present owner.
In Sébastien Stoskopff’s evocative meditation on the beauty of the everyday, a selection of everyday objects, isolated against a dark background, are rendered with painstaking exactitude. A master of quiet restraint and austere elegance, Stoskopff reduces a meal to its essential components: bread, wine, and pastries on a pewter dish. These humble objects invite contemplation and convey a subtle (perhaps Eucharistic) symbolism. The diffused golden lighting, sharply defined contours, and textural contrasts—between the brittle crust of the bread, smooth sheen of the pewter, and lacquered gloss of the wickerwork—all attest to Stoskopff’s technical mastery. The sparse composition exemplifies the artist’s distinctive approach to the still life genre, rooted in the Strasbourg tradition and further refined during the painter’s years in Paris and Frankfurt.
Born in Strasbourg at the crossroads of French and German culture, Stoskopff occupies a distinctive position in seventeenth-century still-life painting. Trained in Hanau under the German painter Daniel Soreau, Stoskopff absorbed the crisp precision and restrained palette characteristic of German naturalism. His later move to Paris in the 1620s brought him into contact with French artists such as Lubin Baugin, from whom he learned the refined austerity of the French classical tradition. This dual heritage—Germanic clarity and French compositional sobriety—defines Stoskopff’s mature style. Though rooted in material reality, Stoskopff’s still lifes are often imbued with symbolic or spiritual resonance, aligning them with the broader moralizing tendencies of both traditions.
The present painting belongs to the Parisian phase of the aritist’s career and may be closely associated, in composition and style, with Lubin Baugin’sStill Life with Wafer-Rolls(Paris, Musée du Louvre, inv. no. RF 1954 23), dateable tocirca1630–1635. Another closely related work by Stoskopff, though painted on panel and omitting the pewter plate, was sold at Sotheby’s London in December 1999.1 That work, also dated by Dr. Birgit Hahn-Woernle to around 1630 (the same moment of execution as the present painting)2, reveals a near-identical vocabulary, with only minor adjustments to the spatial relationships between objects. In the former Sotheby’s painting, the knife extends into the viewer’s space as a trompe l’oeil device; in the present canvas, the knife is partially concealed behind the monumental, sculptural loaf of bread—remarkably reminiscent in form and presence of the later works of Luis Meléndez. Here, the pewter plate and bread roll project subtly over the table’s edge, enhancing the composition’s illusionistic depth and inviting a quiet intimacy between painting and beholder.
1 Sold Sotheby's London, 16 December 1999, lot 15.
2 In February 2006, Dr. Birgit Hahn-Woernle endorsed the attribution to Stoskopff and proposed a date ofcirca1630, based on a color transparency.
Strasbourg 1597 - 1657 Idstein
Still Life with a Wine Jug, a Red Wine Glass, a Loaf of Bread, a Knife, and Pastries on a Pewter Plate
indistinctly signed and dated lower left: S[toskop]ff / 1[...]
oil on canvas
canvas: 19 ⅜ by 24 in.; 49.2 by 61.0 cm
framed: 24 by 28 ¾ in; 61.0 by 73.0 cm
Sébastien Stoskopff
Strasbourg 1597 - 1657 Idstein
Still Life with a Wine Jug, a Red Wine Glass, a Loaf of Bread, a Knife, and Pastries on a Pewter Plate
indistinctly signed and dated lower left: S[toskop]ff / 1[...]
oil on canvas
canvas: 19 ⅜ by 24 in.; 49.2 by 61.0 cm
framed: 24 by 28 ¾ in; 61.0 by 73.0 cm
With Matthiesen, London;
From whom acquired by a private collector, England, 1963 until 2006;
Thence acquired by the present owner.
In Sébastien Stoskopff’s evocative meditation on the beauty of the everyday, a selection of everyday objects, isolated against a dark background, are rendered with painstaking exactitude. A master of quiet restraint and austere elegance, Stoskopff reduces a meal to its essential components: bread, wine, and pastries on a pewter dish. These humble objects invite contemplation and convey a subtle (perhaps Eucharistic) symbolism. The diffused golden lighting, sharply defined contours, and textural contrasts—between the brittle crust of the bread, smooth sheen of the pewter, and lacquered gloss of the wickerwork—all attest to Stoskopff’s technical mastery. The sparse composition exemplifies the artist’s distinctive approach to the still life genre, rooted in the Strasbourg tradition and further refined during the painter’s years in Paris and Frankfurt.
Born in Strasbourg at the crossroads of French and German culture, Stoskopff occupies a distinctive position in seventeenth-century still-life painting. Trained in Hanau under the German painter Daniel Soreau, Stoskopff absorbed the crisp precision and restrained palette characteristic of German naturalism. His later move to Paris in the 1620s brought him into contact with French artists such as Lubin Baugin, from whom he learned the refined austerity of the French classical tradition. This dual heritage—Germanic clarity and French compositional sobriety—defines Stoskopff’s mature style. Though rooted in material reality, Stoskopff’s still lifes are often imbued with symbolic or spiritual resonance, aligning them with the broader moralizing tendencies of both traditions.
The present painting belongs to the Parisian phase of the aritist’s career and may be closely associated, in composition and style, with Lubin Baugin’sStill Life with Wafer-Rolls(Paris, Musée du Louvre, inv. no. RF 1954 23), dateable tocirca1630–1635. Another closely related work by Stoskopff, though painted on panel and omitting the pewter plate, was sold at Sotheby’s London in December 1999.1 That work, also dated by Dr. Birgit Hahn-Woernle to around 1630 (the same moment of execution as the present painting)2, reveals a near-identical vocabulary, with only minor adjustments to the spatial relationships between objects. In the former Sotheby’s painting, the knife extends into the viewer’s space as a trompe l’oeil device; in the present canvas, the knife is partially concealed behind the monumental, sculptural loaf of bread—remarkably reminiscent in form and presence of the later works of Luis Meléndez. Here, the pewter plate and bread roll project subtly over the table’s edge, enhancing the composition’s illusionistic depth and inviting a quiet intimacy between painting and beholder.
1 Sold Sotheby's London, 16 December 1999, lot 15.
2 In February 2006, Dr. Birgit Hahn-Woernle endorsed the attribution to Stoskopff and proposed a date ofcirca1630, based on a color transparency.