Maerten Boelema de Stomme Sold at Auction Prices

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    • MAERTEN BOELEMA DE STOMME (Leeuwarden, 1611 - Haarlem, 1644). "Still Life with Cherries".
      Dec. 10, 2020

      MAERTEN BOELEMA DE STOMME (Leeuwarden, 1611 - Haarlem, 1644). "Still Life with Cherries".

      Est: €20,000 - €25,000

      Oil on panel. Monogrammed on the right side: "MB". Maerten Boelema was, without a doubt, an excellent painter and a very unique character. He was nicknamed "The Stupid" at the time, as he was deaf and mute, a nickname that he himself had to make fun of, since he included it in the signature of some of his works. His production focuses on the still life and his pieces present, as we can see in the one we now present, a great lyricism, a contained, sober atmosphere, an excellent pictorial invoice, which is translated, above all, in the capture and translation of textures and lights and a delicate chromaticism, with nuanced intonations. Little is known about his short life and career: in 1642 he was a disciple of Willem Claesz Heda, an excellent teacher specialized in still life, in Haarlem. At this time, however, the artist had to be fully trained, and perhaps he joined Claesz Heda to be able to work in the city of Haarlem, before obtaining citizenship or permission to open his own workshop, this being a common procedure since the Middle Ages in an area, the artistic, still very controlled by trade union organizations. Between 1642 and 1644, the date of his death, he produced about twenty still lifes. This canvas offers us a baroque still life typical of the Dutch school, a more intimate and sober image, at a chromatic level, than those of the contemporary Flemish still life. The structure is typical of this moment, with a clear asymmetry and a space shrouded in semi-darkness. Elements very typical of the still life of the one who was his teacher or collaborator, Willem Heda (1594-h. 1680), are appreciated. In the production of this, the so-called “lunch still lifes” are common, with oysters, peeled fruits that reflect the intervention of the human hand (generally lemons), illusionistic effects with foreshortened elements, a content sense of color and composition, etc. During the seventeenth century, various influences, mainly thematic, came to Holland from Flanders. Within the Flemish school there was at this time a great specialization of painters, focused on themes of still lifes, architecture, genre paintings, etc. Undoubtedly, it was in Dutch school painting that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The conjunction of the discovery of nature, of objective observation, of the study of the concrete, of the appreciation of the everyday, of the taste for the real and material, of the sensitivity to the apparently insignificant, made the Dutch artist commune with the reality of the day to day, without looking for any ideal alien to that same reality. The painter did not intend to transcend the present and the materiality of objective nature or to escape from tangible reality, but rather to become involved in it, to get drunk on it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect technique and masterful and a conceptual subtlety in the lyrical treatment of light. Due to the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with a religious theme ended up being eliminated as decorative accessories for devotional purposes, and also mythological stories lost their heroic and sensual tone, according to the new society. . Thus the portrait, the landscape and the animals, the still life and the genre painting were the thematic formulas that gained value by themselves and that, as objects typical of domestic furniture - hence the reduced dimensions of the paintings - were acquired by individuals of almost all classes and social strata.

      Setdart Auction House
    • Maerten Boelema de Stomme (Leeuwarden 1611-after 1644) - A ham and a partially peeled lemon on pewter platters, with a nautilus cup, a...
      Oct. 29, 2019

      Maerten Boelema de Stomme (Leeuwarden 1611-after 1644) - A ham and a partially peeled lemon on pewter platters, with a nautilus cup, a...

      Est: $70,000 - $100,000

      Maerten Boelema de Stomme (Leeuwarden 1611-after 1644) A ham and a partially peeled lemon on pewter platters, with a nautilus cup, a... oil on panel 23 ½ x 31 1/8 in. (59.5 x 79 cm.)

      Christie's
    • Cerchia di Maerten Boelema de Stomme (1611-1664 circa)
      Sep. 25, 2014

      Cerchia di Maerten Boelema de Stomme (1611-1664 circa)

      Est: -

      Cerchia di Maerten Boelema de Stomme (1611-1664 circa) . Un'aringa e pane su un piatto di peltro, bicchieri, una fiasca rovesciata, frutti di bosco su un piatto di ceramica e limone sbucciato su un tavolo in un interno. Olio su tela, cm 43,5x58. Il dipinto raffigura un soggetto tipico della natura morta fiammingo-olandese del Seicento, un tavolo con una tovaglia bianca parzialmente arricciata, su cui poggiano un bicchiere di vino rosso, un recipiente rovesciato, un vassoio metallico con una pagnotta, un bicchiere roemer su un porta bicchiere, un altro bicchiere in cristallo lavorato, un vassoio con un'aringa, una ciotola di fragole, un coltello in scorcio, un limone sbucciato. Grande inventore del genere delle colazioni o post pasto fu il pittore attivo a Lovanio, Martin Boelema de Stomme (circa 1620-dopo il 1664). Boelema è testimoniato come allievo di Willem Claesz. Heda ad Haarlem nel 1642, ed in effetti lo stile e la tipologia dell'opera riportano, in definitiva, proprio alle invenzioni dei capiscuola Heda e Pieter Claesz. Tra tutti i seguaci di questi ultimi, Boelema mi appare il più vicino all'anonimo autore della tela qui esaminata, che sembra riprenderne le tipologie con soluzioni un poco semplificate. L'opera di Boelema compositivamente più prossima a questa è conservata ai Musées Royaux di Bruxelles: ricompaiono infatti, assai simili, il recipiente rovesciato, il bicchiere di vino, il vassoietto con la pagnotta e la tovaglia parzialmente arricciata, mentre il limone sbucciato ed il coltello con il fodero penzolante si trovano nella tavola del Musée des Beaux-Arts a Nantes (se ne vedano le illustrazioni in E. Gemar-Koeltzsch, Holländische Stillebenmaler im 17. Jahrhunderts, Osnabruck 1995, vol. 2, pp. 130-131, figg. 38/2 e 38/4). Il vassoio con l'aringa compare invece, in forme comparabili, in una tavola passata all'asta Sotheby's, Londra, 24 aprile 2008, lotto 45. (Alberto Cottino). Circle of Maerten Boelema de Stomme (1611-1664 circa). Oil on canvas

      Aste Bolaffi
    • Maerten Boelema de Stomme , Leeuwarden 1611 - in or after 1644 A still life with a half-peeled lemon on a pewter dish, a dried fish with capers, a wine glass, roemer, triangular salt cellar and a nautilus-shell cup on a table covered with a dark
      Apr. 24, 2008

      Maerten Boelema de Stomme , Leeuwarden 1611 - in or after 1644 A still life with a half-peeled lemon on a pewter dish, a dried fish with capers, a wine glass, roemer, triangular salt cellar and a nautilus-shell cup on a table covered with a dark

      Est: £20,000 - £30,000

      oil on panel

      Sotheby's
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