Lot 28: Peter Wtewael , Utrecht 1596 - 1660 three cardplayers around a table lit by a candle oil on canvas

bears monogram lower right on the edge of the table: GH oil on canvas

measurements note 80 by 103.2 cm.; 31 1/2 by 40 5/8 in.

London, Robilant and Voena, Dutch and Flemish Caravaggesque Paintings from the Koelliker Collection, 2005.

L.J. Slatkes, "Review of the Benedict Nicolson, The International Caravaggesque Movement", in Simiolus, no. 12, 1981-82, p. 178;
C.J.A. Wansink, "Some History and genre Paintings by Willem van der Vliet", in Mercury, no. 6, 1987, p. 3;
C.J.A. Wansink, "Review of A.W. Lowenthal, Joachim Wtewael and Dutch Mannerism", in Oud Holland, no. 103, 1989, p.176;
J. Bikker in Dutch and Flemish Caravaggesque Paintings from the Koelliker Collection, exhibition catalogue, London 2005, pp. 70-73.

Possibly Antonetta Wtewael and Johan Pater, the artist's sister and brother-in-law, 1655;
With Galerie Pompadour, Cannes, 1950 (as Gerrit van Honthorst);
Anonymous sale, Monaco, Christie's, 7 December 1987, lot 11;
Anonymous sale, London, Christie's, 8 December 2004, lot 31, where acquired by the present owner.

PROPERTY FROM THE LONDON RESIDENCE OF LUIGI KOELLIKER
This striking, Caravaggesque composition is one of a small number of works by Pieter Wtewael, the eldest son of the Utrecht mannerist painter, Joachim Wtewael. Although his style was formed under the influence of his father, Pieter was more profoundly inspired by the new artistic developments practiced by the Northern Caravaggisti, with their interest in the effects of light and dark. In the present composition, the light source is hidden behind the raised hands of the card player at the left, illuminating the three figures but leaving the background in darkness, lending the scene a sense of drama and tension. Despite the artist's evident talent, his career as a painter appears to have been relatively short: dated pictures range from 1624 to only 1630;υ1 a situation perhaps explained by Sandrart's observation made following his visit to Utrecht in 1626 that the artist had devoted his energies to the flax business, in which he found some considerable success. υ2 Another version of this composition owned by the Arniston Estate Trustees was recorded as 'Circle of Trophime Bigot' by Nicolson.υ3 A note on the provenance:
In the inventory of the estate of Antonetta Wtewael and Johan Pater, the artist's sister and brother-in-law, taken in 1656, the following entry may be identifiable with the present work: "Een kaerdtspeelder van P. Wttewael" [A card player by P. Wttewael].υ4
1. A. W. Lowenthal, Joachim Wtewael and Dutch Mannerism, Doornspijk 1986, p. 30, footnote 32.
2. J.van Sandrart, in Teutsche Academie, 1675-79, part 2, book 3, chap. 15, 289, recording an observation made following his visit to Utrecht in 1626, 'One of his [Joachim's] sons practiced this profession also, and came along far in it, and would have achieved great learning in this art, if he had remained active in it. For they have fallen in love with the flax business and have made a fine fortune in it'. Recorded in A. W. Lowenthal, op. cit. , p. 30, footnote 31.
3. B. Nicolson, Caravaggism in Europe, vol. I, Oxford 1979, p. 64, no. 883, and Turin 1990, vol. II, plate 883.
4. See A.W. Lowenthal, op. cit., p. 192.