Still Life with Game Fowl

1. Probably in the artist’s possession, Toledo, before he retired to a Carthusian monastery, in August 1603 [inventory 1603, no. V, (“Un lienzo de frutas adonde está el ánade y otros tres pájaros ques de Diego de Valdivieso”; Jordan in Madrid 1992, pp. 41–43); probably Diego de Valdivieso, Toledo, 1603 [see 1603 inventory cited by Jordan 1992]. Cardinal Bernardo de Sandoval y Rojas, archbishop of Toledo and primate of Spain, Toledo or Huerta de Sandoval, near Madrid (died 1618); acquired from his estate with 4 other still lifes for the decoration of the Galería del Mediodía in the royal hunting lodge of El Pardo, the series completed by an additional still life commissioned for this purpose from Juan van der Hamen [according to a note of 10 September 1619 in the accounts of the royal household; see José María de Azcárate, “Algunas noticias sobre pintores cortesanos de siglo XVII” Anales de Instituto de estudios Madrileños, 6 (1970), p. 60; see also Jordan 2006, pp. 54-58,]; royal inventories of 1653, no. 145 (“145. Un frutero Pequeño Con su marco de oro y negro y un Melon abierto en medio”, A small fruit still life with its black and gold frame with an open melon in the middle; an inventory number 145 is inscribed in the lower left corner of the painting; see Jordan 2006, pp. 58, 300, n. 24) and 1701/03, no. 132 (Fernández Bayton 1981, vol. 2, p. 144, no. 132); probably one of two still lifes by Cotán listed among the paintings from royal residences gathered at the Escorial in 1809 for shipment to Madrid for a projected national museum [Jordan 2008, pp. 136-37 and Ilse Hempel Lipschutz, Spanish Painting and the French Romantics, Cambridge, Mass., 1972, pp. 268-81, especially p. 280]. August L. Mayer, Munich, by 1922 [see Mayer 1922, p. 361]; sold, Munich, Hugo Helbing, November 24–25, 1933, lot 79, pl. 4, as Sánchez Cotán, Küchenstilleben for 380 Marks [the price based on Die Weltkunst 1933; that the picture belonged to Mayer can be deduced from the provenance of no. 74 in this sale, which later entered the Bayerische Staatsgemäldesammlungen]. Private collection, Germany [according to 1955 receipt from Frederick Mont, in curatorial file]. Frederick Mont and Newhouse Galleries, New York, by 1955 [1955 receipt cited above and shipping invoice, in curatorial file]; sold to the Art Institute, 1955.

Recorded by Art Institute of Chicago.

• Los Angeles, UCLA Art Galleries, Dickson Art Center, Spanish Masters, January 25–March 6, 1960; traveled to Fine Arts Gallery of San Diego, March 25–May 1, 1960, cat. 8.
• Caracas, Museo de Bellas Artes de Caracas, Grandes Maestros de los Siglos XV, XVI, XVII y XVIII, November 5–December 17, 1967, cat. 6.
• Forth Worth, Kimbell Art Museum, Spanish Still Life in the Golden Age 1600–1650, catalogue by William Jordan, May 11–August 4, 1985; traveled to Toledo Museum of Art, September 8–November 3, 1985, cat. 4.
• Madrid, Museo Nacional del Prado, La Imitación de la Naturaleza: Los Bodegones de Sánchez Cotán, November 17, 1992–January 17, 1993, cat. 2.
• Chicago, Art Institute, Chicago’s Dream, A World’s Treasure: The Art Institute of Chicago 1893–1993, November 1–January 9, 1994, no cat.
• London, The National Gallery, Spanish Still Life from Velázquez to Goya, February 22–May 21, 1995, cat. 2.
• Boston, Mass., Museum of Fine Arts, El Greco to Velázquez, April 20-July 27, 2008, cat. 52; Durham, North Carolina, Nasher Museum of Art at Duke University, August 21-November 9, 2008.
• Berlin, Gemäldegalerie, Staatliche Museen zu Berlin, El Siglo de Oro: Die Ära Velázquez, 1 July - 30 October 2016; Kunsthalle der Hypo-Kulturstiftung, Munich, 25 November 2016 - 26 March 2017, cat. no. 6.

• August L. Mayer, Geschichte der spanischen Malerei, Leipzig, 1922, p. 361.
• Die Weltkunst 2, no. 49 (December 3, 1933), p. 5.
• August L. Mayer, Historia de la pintura española, Madrid, 1942, p. 384.
• “Accessions of American and Canadian Museums: July-September, 1955,” The Art Quarterly 19 (1956), p. 73, 76 (ill.).
• The Art Institute of Chicago Quarterly 50 (1956), p. 37 (ill.).
• Juan Antonio Gaya Nuño, La Pintura Española fuera de España (Historia y Catálogo) (Madrid, 1958), p. 300, no. 2611.
• Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 409.
• Pontus Grate, Spanska Mästare: En Konstbok från Nationalmuseum (Stockholm, 1960), p. 115, ill.
• Ramón Torres Martín, Zurbarán: El Pintor Gótico del Siglo XVII (Seville, 1963), p. LXXX, fig. 28.
• William Jordan, “Juan van der Hamen y León: A Madrilenian Still-Life Painter,” Marsyas 12 (1964–1965), p. 63, fig. 18.
• Ingvar Bergström, Maestros españoles de bodegones y floreros del siglosXVII (Madrid, 1970), pp. 20-21.
• John Maxon, The Art Institute of Chicago (New York, 1970), p. 256 (ill.).

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Art Institute of Chicago

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Art Institute of Chicago

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Art Institute of Chicago

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Art Institute of Chicago

The Checkerboard

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Table at a Café

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