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Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 237: 
 
Technical notes: The painting’s support is a cradled
oak panel (± 0.4–0.6 cm thick) consisting of two horizontal,
butt-joined, radial boards with a horizontal grain.
Bevelling occurs along the left and right edges on the
verso. The panel has been thinned, and one of the dowels
used to align the butt join has then become visible on
the verso. Conservation records indicate that the panel
was cradled in 1967. The panel, which had broken into
seven separate pieces along horizontal checks in the
direction of the wood grain, was at that time re-assembled.
The damaged lower left corner and several shorter
horizontal checks of varying length, extending from the
left and right edges, have been repaired. Wormholes and
exposed tunnels are visible on the verso, some filled with
a wax-like substance. Dendrochronology has determined
a felling date for the tree between c. 1624 and 1640.
With a minimum of two years of seasoning of the wood,
the panel would thus have been available for use by 1626
at the earliest. The wood originates from the region of
Western Germany/the Netherlands.

Paint was applied thinly in opaque and semi-transparent
layers, barely covering the smooth, light buffcoloured
ground, which hides the wood grain of the support
and remains visible in many places, in the still life
objects as well as the grey background. Mild impastos
occur in the brilliant white and yellow highlights, on the
fins of the carp and the rim of the brass dish, on the
opened oyster in the left foreground, the white crab on
the right, and the oysters in the earthenware dish at the
upper right. Infrared reflectography partially revealed a
dark underdrawing in the form of fine contour lines and
details in a dry medium, in the carp, the brass dish, the
white crab, the lobster and the oysters at the upper right.
The drawing is loose but controlled, and is mostly
adhered to in the final painting. A few minor pentimenti
were detected, for example, the fin along the back of the
carp was initially drawn and painted as slightly more
extended, the tail was painted a slightly different shape,
the antennae of the lobster were drawn in different positions
from those in the final painting, the earthenware
dish at the upper right was somewhat larger. Discoloured
retouching, visible to the naked eye, covers losses of the
paint and ground layers along the repaired horizontal
checks in the panel and along the four edges. Scattered
retouches are visible throughout the still life, but mainly
concentrated in the grey background. The painting
underwent conservation treatment in 1967 and 1994.

Provenance: Coll. Otte Sköld; Coll. Arna Sköld; purchased
in 1966.

Exhibited: Stockholm 2000, no. 198.

Bibliography: Supplement 1972 to NM Cat. 1958, p.
7; NM Cat.1990, p. 405.

This painting was said to be Flemish when donated to
the museum by its former Director, the painter Otte
Sköld. It is often, however, difficult to determine the
nationality of the painters of the still lifes produced in
abundant numbers in the Netherlands of the 17th century.
This still life is a typical representation of what
was called a “Bancketje”, a table laid with food. For
contemporary viewers a painting of this kind could
serve as a familiar allusion to daily life, to common
everyday meals or festive celebrations. Paintings
depicting fish may also invoke associations to the
country’s economy in which fish were a significant
source of nutrition.
GCB
[End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 237: 
 
Technical notes: The painting’s support is a cradled
oak panel (± 0.4–0.6 cm thick) consisting of two horizontal,
butt-joined, radial boards with a horizontal grain.
Bevelling occurs along the left and right edges on the
verso. The panel has been thinned, and one of the dowels
used to align the butt join has then become visible on
the verso. Conservation records indicate that the panel
was cradled in 1967. The panel, which had broken into
seven separate pieces along horizontal checks in the
direction of the wood grain, was at that time re-assembled.
The damaged lower left corner and several shorter
horizontal checks of varying length, extending from the
left and right edges, have been repaired. Wormholes and
exposed tunnels are visible on the verso, some filled with
a wax-like substance. Dendrochronology has determined
a felling date for the tree between c. 1624 and 1640.
With a minimum of two years of seasoning of the wood,
the panel would thus have been available for use by 1626
at the earliest. The wood originates from the region of
Western Germany/the Netherlands.

Paint was applied thinly in opaque and semi-transparent
layers, barely covering the smooth, light buffcoloured
ground, which hides the wood grain of the support
and remains visible in many places, in the still life
objects as well as the grey background. Mild impastos
occur in the brilliant white and yellow highlights, on the
fins of the carp and the rim of the brass dish, on the
opened oyster in the left foreground, the white crab on
the right, and the oysters in the earthenware dish at the
upper right. Infrared reflectography partially revealed a
dark underdrawing in the form of fine contour lines and
details in a dry medium, in the carp, the brass dish, the
white crab, the lobster and the oysters at the upper right.
The drawing is loose but controlled, and is mostly
adhered to in the final painting. A few minor pentimenti
were detected, for example, the fin along the back of the
carp was initially drawn and painted as slightly more
extended, the tail was painted a slightly different shape,
the antennae of the lobster were drawn in different positions
from those in the final painting, the earthenware
dish at the upper right was somewhat larger. Discoloured
retouching, visible to the naked eye, covers losses of the
paint and ground layers along the repaired horizontal
checks in the panel and along the four edges. Scattered
retouches are visible throughout the still life, but mainly
concentrated in the grey background. The painting
underwent conservation treatment in 1967 and 1994.

Provenance: Coll. Otte Sköld; Coll. Arna Sköld; purchased
in 1966.

Exhibited: Stockholm 2000, no. 198.

Bibliography: Supplement 1972 to NM Cat. 1958, p.
7; NM Cat.1990, p. 405.

This painting was said to be Flemish when donated to
the museum by its former Director, the painter Otte
Sköld. It is often, however, difficult to determine the
nationality of the painters of the still lifes produced in
abundant numbers in the Netherlands of the 17th century.
This still life is a typical representation of what
was called a “Bancketje”, a table laid with food. For
contemporary viewers a painting of this kind could
serve as a familiar allusion to daily life, to common
everyday meals or festive celebrations. Paintings
depicting fish may also invoke associations to the
country’s economy in which fish were a significant
source of nutrition.
GCB
[End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 237: 
 
Technical notes: The painting’s support is a cradled
oak panel (± 0.4–0.6 cm thick) consisting of two horizontal,
butt-joined, radial boards with a horizontal grain.
Bevelling occurs along the left and right edges on the
verso. The panel has been thinned, and one of the dowels
used to align the butt join has then become visible on
the verso. Conservation records indicate that the panel
was cradled in 1967. The panel, which had broken into
seven separate pieces along horizontal checks in the
direction of the wood grain, was at that time re-assembled.
The damaged lower left corner and several shorter
horizontal checks of varying length, extending from the
left and right edges, have been repaired. Wormholes and
exposed tunnels are visible on the verso, some filled with
a wax-like substance. Dendrochronology has determined
a felling date for the tree between c. 1624 and 1640.
With a minimum of two years of seasoning of the wood,
the panel would thus have been available for use by 1626
at the earliest. The wood originates from the region of
Western Germany/the Netherlands.

Paint was applied thinly in opaque and semi-transparent
layers, barely covering the smooth, light buffcoloured
ground, which hides the wood grain of the support
and remains visible in many places, in the still life
objects as well as the grey background. Mild impastos
occur in the brilliant white and yellow highlights, on the
fins of the carp and the rim of the brass dish, on the
opened oyster in the left foreground, the white crab on
the right, and the oysters in the earthenware dish at the
upper right. Infrared reflectography partially revealed a
dark underdrawing in the form of fine contour lines and
details in a dry medium, in the carp, the brass dish, the
white crab, the lobster and the oysters at the upper right.
The drawing is loose but controlled, and is mostly
adhered to in the final painting. A few minor pentimenti
were detected, for example, the fin along the back of the
carp was initially drawn and painted as slightly more
extended, the tail was painted a slightly different shape,
the antennae of the lobster were drawn in different positions
from those in the final painting, the earthenware
dish at the upper right was somewhat larger. Discoloured
retouching, visible to the naked eye, covers losses of the
paint and ground layers along the repaired horizontal
checks in the panel and along the four edges. Scattered
retouches are visible throughout the still life, but mainly
concentrated in the grey background. The painting
underwent conservation treatment in 1967 and 1994.

Provenance: Coll. Otte Sköld; Coll. Arna Sköld; purchased
in 1966.

Exhibited: Stockholm 2000, no. 198.

Bibliography: Supplement 1972 to NM Cat. 1958, p.
7; NM Cat.1990, p. 405.

This painting was said to be Flemish when donated to
the museum by its former Director, the painter Otte
Sköld. It is often, however, difficult to determine the
nationality of the painters of the still lifes produced in
abundant numbers in the Netherlands of the 17th century.
This still life is a typical representation of what
was called a “Bancketje”, a table laid with food. For
contemporary viewers a painting of this kind could
serve as a familiar allusion to daily life, to common
everyday meals or festive celebrations. Paintings
depicting fish may also invoke associations to the
country’s economy in which fish were a significant
source of nutrition.
GCB
[End]

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