Turkey, partridge and pigeons on a terrace signed 'HIEPES' (on the stone step, lower left) oil on canvas 99.5 x 156cm (39 3/16 x 61 7/16in).
PROVENANCE Private Collection, Lausanne. With Silvano Lodi, Campione d'Italia, 1971.
EXHIBITED Valencia, Centro Cultural Bancaja, Tomás Yepes, 26 September-26 November 1995, no. 16. Remagen, Arp Museum Bahnhof Rolandseck, Kunstkammer Rau: Das Auge des Sammlers, 5 February 2009-29 August 2009, no. 7, illustrated p. 65. Remagen, Arp Museum Bahnhof Rolandseck, Kunstkammer Rau: Köstlich! - Stilleben von Frans Snyders bis Giorgio Morandi, 10 February 2012-14 October 2012, no. 16, illustrated p. 49.
LITERATURE A. Pérez Sánchez, Valencia: Tierras de España, Madrid, 1985, p. 302. A. Pérez Sánchez, La nature morte espagnole du XVIIe siècle à Goya, Fribourg and Paris, 1987, p. 154, fig. 158. A. Pérez Sánchez, Historia del arte valenciano, Valencia, 1989, p. 150, fig. 4. W.B. Jordan and P. Cherry, Spanish Still-Life from Velazquez to Goya, exh. cat., National Gallery, London, 1995, p. 197, note 12. A. Pérez Sánchez and B. Navarrete Prieto, Tomás Yepes, Fundación Bancaja, 1995, no. 16; p. 68, illustrated p. 69. P. Cherry, 'Tomás Yepes', The Burlington Magazine, vol. 138, no. 1116, London, March 1996, pp. 200-201. F. Scheffler, 'Thomas Yepes en Valencia', Archivo Español de Arte, Madrid, 1996, vol. 69, no. 273, p.131, ill. p. 132, fig. 1. O. Kornhoff, Kunstkammer Rau: Das Auge des Sammlers, Cologne, 2010, p. 64, no. 7, illustrated p. 65. S. Blöcker, Kunstkammer Rau: Köstlich! - Stilleben von Frans Snyders bis Giorgio Morandi, Bielefeld, 2012, p. 97, no. 16, illustrated p. 49.
The present painting and the following lot are typical examples of the work of Tomàs Hiepes, or Yepes, the leading artist active in Valencia in the mid 17th Century. Whilst he is documented as working on landscapes and religious paintings, it was his still lifes that established his formidible local reputation, as evinced by the eulogistic entry for the painter in Marcos Antonios Orellana's 18th Century Biografía pictórica valentina in which his still lifes are compared to those of the famous Zeuxis.
The present work is signed 'HIEPES' on the stone step, lower left, suggesting a date of post 1649 at which point the artist changed the form of his signature from 'YEPES' to 'HIEPES'. His decision to incorporate his signature into one of the objects making up the still life is typical; he often chose to do so, perhaps in an attempt to avoid interrupting the pattern-making quality of works such as this. He is also known to have signed the reverse of his canvases, possibly for a similar reason.
The painter may have seen the work of Juan van der Hamen as a young man in Madrid as the latter's influence is certainly discernible, particularly in Hiepes's depictions of flowers. He chose, however, to follow a more independent, idiosyncratic path stylistically, which clearly found favour with the local clientele as his output was prodigious.