Banquet Still Life

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Banquet Still Life

Holland, 1667
Paintings
Oil on canvas
Canvas: 55 1/2 × 48 in. (140.97 × 121.92 cm) Frame: 67 1/2 × 59 × 4 in. (171.45 × 149.86 × 10.16 cm)
Gift of The Ahmanson Foundation (M.86.96)
European Painting
Not currently on public view

Provenance

Pietro Camuccini (1760–1833), Rome, bequeathed 1833 to his nephew;(1) Giovanni Battista Camuccini, Rome, as Jan Davidsz.

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Pietro Camuccini (1760–1833), Rome, bequeathed 1833 to his nephew;(1) Giovanni Battista Camuccini, Rome, as Jan Davidsz. de Heem, sold 1853 with the collection to;(2) Algernon Percy (1792–1865), 4th Duke of Northumberland, Alnwick Castle, Northumberland, as Jan Davidsz. de Heem, by inheritance 1865 to his cousin;(3) George Percy (1778–1867), 5th Duke of Northumberland, Alnwick Castle, Northumberland, direct descent to; Henry George Alan Percy (1912–1940), 9th Duke of Northumberland, Alnwick Castle, Northumberland, by inheritance 1940 to his brother;(4) Hugh Algernon Percy (1914–1988), 10th Duke of Northumberland, Alnwick Castle, Northumberland, sold 1978 to; [Thomas Agnew and Sons, London, sold ca. 1978 to];(5) [Robert Noortman Gallery, London and Maastricht]. [H(erman) Schickman Gallery, New York, sold 1986 to]; LACMA.

Footnotes

(1) The Camuccini Gallery, Rome, was formed during the early nineteenth century by two brothers, Pietro and Baron Vincenzo Camuccini (1771–1884). Both brothers were painters and printmakers by training, although Pietro became one of the most important art dealers in Rome during the early nineteenth century, when his younger brother Vincenzo Camuccini was one of the most important painters in the city. A Neoclassical painter, Vincenzo was closely associated with the papacy throughout his career: Pius VII appointed him director of the Vatican mosaic studios, superintendent of the Vatican picture galleries, and from 1814 until 1843, Camuccini served as inspector of public paintings for Rome and the Papal States. See Hiesinger 1978.

(2) Giovanni Battista was the son of Vincenzo Camuccini (1771–1844). The collection of seventy-four paintings, including Bellini’s Feast of the Gods, was mostly acquired from Roman palaces. The MS catalogue of the Camuccini collection at Alnwick Castle, "Catalogo ragionato della Galleria Camuccini in Roma descritto da Tito Barberi," Cenno Storico (copy in Collectors Files, Getty Provenance Index), does not include a painting by Van Beyeren. LACMA’s painting, which was lent to the British Institute in 1859 as Jan Davidsz. de Heem, is probably no. 4, described as Giovanni David Deheem, "Una Ragusta, frutti & . . . Da Rotterdam venuto in Italia, condusse questo quadro durante la sua dimora in Roma" (p. 5 of typescript).

(3) The fourth duke was responsible for renovating the castle. As a patron and collector, he sought to inspire English painting by the introduction of examples of Italian art.

(4) Henry George Alan Percy was killed in action in 1940 during World War II.

(5) According to email from Jane Hamilton, Agnews Gallery, to the author, 30 June 2007.
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Bibliography

  • Lehmbeck, Leah, editor. Gifts of European Art from The Ahmanson Foundation. Vol. 3, Dutch Painting, Flemish Painting, Spanish Painting and Sculpture. Los Angeles: Los Angeles County Museum of Art, 2019.
  • Lehmbeck, Leah, editor. Gifts of European Art from The Ahmanson Foundation. Vol. 3, Dutch Painting, Flemish Painting, Spanish Painting and Sculpture. Los Angeles: Los Angeles County Museum of Art, 2019.
  • Zumaya, Diva. The World Made Wondrous: the Dutch Collector's Cabinet and the Politics of Possession. Los Angeles: Los Angeles County Museum of Art, 2023.
  • Schaefer, Scott, and Peter Fusco. European Painting and Sculpture in the Los Angeles County Museum of Art: an Illustrated Summary Catalogue. Los Angeles: Los Angeles County Museum of Art, 1987.

  • Conisbee, Philip et al. The Ahmanson Gifts: European Masterpieces in the Collection of the Los Angeles County Museum of Art. Los Angeles: Los Angeles County Museum of Art, 1991.


  • Duvernay, Bénédicte. "Des Objets Ordinaires à l'Objet de Fernand Léger." Les Cahiers du Musée National d'Art Moderne 130 (2015): 14-35.
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