Clara Peeters

L'Ecluse collection, Paris;

Their anonymous sale, Paris, Gueffier, 9 March 1767, lot 50 (as ‘Le Portrait d’Agnès Sorau, dite la belle Sorel, peint par Clara’), for 18 livres to Lebrun;

Probably Pierre Lebrun (1704–1771), Paris, or his son, Jean-Baptiste-Pierre Lebrun (1748–1813), Paris;

John Skippe (1742–1812), Upper Hall, Ledbury (bears his monogram ‘IS’ stamped or branded on the reverse of the panel and listed in the inventory of his collection as ‘Agnes Sorel [by] Clara’);

By whom bequeathed to his sister, Penelope Martin, née Skippe (d. 1830), Overbury Court, Overbury;

By inheritance to Waldyve Alexander Hamilton Martin (1854–1929), Upper Hall, Ledbury;

By descent to his son, Evan Hamilton Martin (b. 1883), Overbury;

By inheritance to his brother, John Hanbury Martin (1890–1983), Overbury;

By whom sold, London, Sotheby’s, 30 November 1966, lot 120 (as Clara Peeters, A young woman seated at a table [self-portrait?]), for £3,900;

Where acquired by The Hallsborough Gallery, London, in partnership with Old Masters Galleries Ltd (Wengraf), London;

Anonymous sale (‘The Property of a Gentleman’), London, Phillips, 6 December 1994, lot 41 (as attributed to Clara Peeters, A Vanitas portrait of a lady, believed to be Clara Peeters…), for £28,000;

With P. de Boer, Amsterdam, by March 1995;

With Rafael Valls, London, by 1996;

With Jacques Leegenhoek, Paris;

From whom acquired by the Baron and Baronne de Giey by July 2000;

Thence by descent.

18^th-century MS catalogue of John Skippe’s collection, copy in National Gallery, London, n.p., no. 68 (as ‘Agnes Sorel [by] Clara’);

Weltkunst, 1 April 1969, p. 292, reproduced fig. 2 (as Clara Peeters, Self-portrait);

A. Foster, Acquisitions: 1969. Fine Paintings of Five Centuries, exh. cat., London 1969, n.p., no. 19, reproduced (as Clara Peeters, Portrait of the Artist Seated at a Table with Still Life);

Advertisement in Apollo, vol. XC, no. 92, October 1969, p. xlvii (as Clara Peeters, Self Portrait with Still Life);

The Massachusetts Review, Winter–Spring 1972, vol. 13, no. 1/2, p. 193, reproduced (as Clara Peeters);

E. Greindl, Les Peintres Flamands de Nature Morte au XVII Siècle, Brussels 1983, p. 372, no. 42 (as Clara Peeters, Self-portrait…);

P. Hibbs-Decoteau, Clara Peeters, 1594–ca. 1640, and the development of still-life painting in Northern Europe, Lingen 1992, pp. 47, 51–53, 183, 195, fig. 37, reproduced (as circle of Clara Peeters, Self-Portrait);

Rafael Valls Ltd, Recent Acquisitions, London 1996, no. 30, reproduced in colour (as Clara Peeters, A Self Portrait of the Artist…);

F. Borzello, Seeing ourselves: women’s self-portraits, London 1998, p. 62, reproduced in colour p. 65 (as Clara Peeters, Vanitas Self-Portrait);

S. Segal, in Elck zijn waerom: vrouwelijke kunstenaars in België en Nederland, 1500–1950, K. van der Stighelen and M. Westen (eds), exh. cat., Ghent 1999, p. 143, no. 15, reproduced in colour (as attributed to Clara Peeters, Self-portrait with still life);

E. Bénézit, Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs, Paris 1999, vol. 10, p. 686 (as Clara Peeters, Jeune femme de qualité attablée);

L. Huet, ‘Clara Peeters, Stilleven met vissen’, in Restauratie, vol. I, no. 2, Antwerp 2000, p. 8, reproduced in colour (as Clara Peeters [?], Self-portrait with still life);

Anon., ‘Antiques’, February 2000, p. 10, reproduced (as Clara Peeters);

A. van der Willigen and F.G. Meijer, A Dictionary of Dutch and Flemish Still-life Painters Working in Oils, 1525–1725, Leiden 2003, p. 159 (as Clara Peeters);

R. Zanderink, ‘Nederlandse vrouwen in de kunst’, in Origine, vol. 23, no. 1, 2015, p. 68, reproduced in colour (as Clara Peeters);

L. Huet, ‘De uitnodigende tafels van Clara Peeters’, in OKV (Openbaar Kunstbezit Vlaanderen), vol. 53, no. 2, May 2016, pp. 20 and 22, reproduced in colour (as Clara Peeters, Self-portrait…);

L. Huet, ‘Clara van Antwerpen’, in Zaal Z, vol. 5, no. 17, June–August 2016, p. 39, reproduced in colour (as Clara Peeters, Alleged self-portrait);

C. Weidemann, P. Larass and M. Klier, 50 women artists you should know, Munich 2016, pp. 22, 156, no. 6, reproduced as a detail (as Clara Peeters, Self-Portrait);

A. Lenders, ‘Clara Peeters Lays the Table: Objects and Foods through the Eyes of Seventeenth-Century Viewers’, in The Art of Clara Peeters, A. Vergara (ed.), exh. cat., Madrid 2016, p. 62, reproduced in colour p. 64, fig. 33 (as Clara Peeters, Woman Seated at a Table of Precious Objects);

Clara Peeters: paintings & drawings, Albuquerque 2019, p. 14, reproduced in colour (as Clara Peeters, Self-Portrait);

N. Rudd, The self-portrait, London 2021, pp. 38–9, reproduced in colour (as Clara Peeters, Vanitas Self-Portrait);

A. Vergara-Sharp, Clara Peeters, London 2025, pp. 28 and 31, reproduced in colour p. 29, fig. 16 (as Clara Peeters, Woman Seated at a Table with Precious Objects).