DUTCH AND FLEMISH FLOWER PIECES

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DUTCH AND FLEMISH FLOWER PIECES Paintings, Drawings and Prints up to the Nineteenth Century

VOLUME I

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DUTCH AND FLEMISH FLOWER PIECES Paintings, Drawings and Prints up to the Nineteenth Century

VOLUME I

Sam Segal and Klara Alen Translation: Judith Deitch

LEIDEN . BOSTON | iii

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DUTCH AND FLEM I SH F LOWE R PIECE S

Pieter II Holsteyn, Fritillaria meleagris, watercolour on laid paper bound into an album (38.5 cm x 23.5 cm x 10.5 cm), RHS Lindley Library, London. iv |

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For Maja, with all my love

|v

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Graphic-design and lay-out: Annelies Mikmak, Heino Printing and binding: Wilco, Amersfoort Composed in Dutch, the text was translated into English by Judith Deitch and edited by Philip Kelleway Publication of this book was made possible thanks to generous support of: Dr. med. Bettina Leysen Rose-Marie and Eijk van Otterloo and the Center for Netherlandish Art at the Museum of Fine Arts, Boston With additional support of the M.A.O.C. Gravin van Bylandt Stichting This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface

Library of Congress Control Number: 2020938655 ISBN ISBN ISBN ISBN

978-90-04-33589-9 (Set) 978-90-04-43929-0 (Volume 1) 978-90-04-43930-6 (Volume 2) 978-90-04-42745-7 (E-Book)

All rights reserved Copyright 2020 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. This book is printed on acid-free paper.

Cover illustrations: Front cover illustration: Dirck de Bray, Flowers strewn in front of a vase with flowers, dated 1674, panel, 40.5 x 35.7 cm, Mauritshuis, The Hague. Back cover illustration: Margareta Haverman, Flower piece with fruit in a niche, dated 1716, panel, 79.4 x 60.3 cm, The Metropolitan Museum of Art, New York. vi |

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Contents

VOLUME I Introduction

xvi

Acknowledgements

xx

Chapter 1 | Backgrounds: Historical, Botanical, Cultural and Aesthetic The Northern and Southern Netherlands in the Seventeenth Century Flower Still Lifes and Flower Pieces The Function and Meaning of Flower Still Lifes Symbolism and Religion Decoration Practice and Artistic Skill Composition and Style Appreciation and Appraisal Flowers in Interiors Botanical Writings after Antiquity Gardens and Garden Flowers Flower Fashion Tulips Roses Native Species

1 3 4 6 6 6 8 9 9 11 13 16 19 20 23 24

Chapter 2 | On the Symbolism of Flowers and Animals in Still Life Paintings

25

Sources The Bible and Apocrypha Scientific Works of Classical Antiquity Medieval Encyclopaedists Literary Works and Mythology from Classical Antiquity Religious and Profane Poetry and Prose since the Middle Ages Collections of Proverbs and Sayings Engravings with Texts Books of Symbols Emblem Books Devices Herbals, Medicinal Books, and Cookbooks Florilegia and Other Flower Books, Fruit Books, Insect Books and Animal Books Manuals by and for Painters Works of Art and Their Traditions Satirical Texts Books of Fables Old Dictionaries Publications on Symbolism Generalized Meanings Interpretations

29 29 30 30 31 31 31 31 34 34 34 35 35 35 35 36 36 36 36 37 38

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Themes Symbols of Mary, Christ and God The Glory of Creation The Song of Songs The Seasons The Months Vanitas: Vanity, Vacancy and Transience The Choice between Good and Evil

39 39 40 40 42 42 42 49

The Symbolism of Flowers and Plants in Paintings – A Selection Adonis species – Pheasant’s Eye, including Fire Pheasant’s Eye Agrostistemma githago – Corn Cockle Alcea rosea – Hollyhock Amaranthus tricolor – St. Joseph’s Coat Anemone species – Anemone Aquilegia vulgaris – Columbine Arctium species – Burdock Bellis perennis sensu lato – Daisy Borago officinalis – Borage Calendula officinalis – Pot Marigold Celosia cristata – Cockscomb Centaurea cyanus – Cornflower Chelidonium majus – Greater Celandine Citrus aurantium – Orange Blossom Convallaria majalis – Lily of the Valley Consolida and Delphinium – Larkspur Convolvulaceae species – Bindweed/Morning Glory Crocus sativus – Saffron Crocus Cyclamen species – particularly Annulated Sowbread (Cyclamen hederifolium) Cypripedium calceolus – Lady’s Slipper Dianthus caryophyllus – Pink/Carnation Erysimum cheiri – Wallflower (see also Matthiola incana, Stock) Fragaria vesca – Strawberry Fritillaria imperialis – Crown Imperial Fritillaria meleagris – Snake’s Head Fritillary Hedera helix – Ivy Helianthus annuus – Sunflower Hyacinthus orientalis – Hyacinth Iris – various species Lilium species – Lily Lilium candidum – Madonna Lily Malva species – Mallow Matthiola incana – Stock Myosotis species – Forget-me-not Narcissus – various species – Narcissuses Paeonia – various species – Peony Papaver somniferum – Opium Poppy Passiflora species – Passion Flower Pisum sativum – Pea Plantago species – Plantain Primula species – Auricula Rosa – various species – Rose Rosmarinus officinalis – Rosemary Taraxacum officinale sensu lato – Dandelion Trifolium species – Clover Triticum aestivum – Wheat Tulipa – various species – Tulip

50 51 51 51 52 52 53 53 54 54 54 55 55 56 56 56 57 57 57 57 58 58 59 59 59 61 61 61 64 65 65 65 66 66 66 66 66 67 69 69 69 69 69 70 70 70 71 72

viii |

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CONT ENT S

Veronica species – Speedwell Vinca species – Periwinkle Viola odorata – Sweet Violet Viola tricolor – Pansy

73 73 74 74

The Symbolism of Animals in Paintings – A Selection Deer Mice Lizards Frogs Birds Goldfinches Spiders Insects Dragonfly Grasshoppers Dung Beetles and Sexton Beetles Stag Beetle Ladybird Caterpillars and Butterflies Honeybee Bumblebee Wasps Ants Flies Shells Nautilus Snails

75 75 75 76 76 77 77 77 78 78 78 79 79 79 80 81 82 82 82 83 83 84 84

Chapter 3 | Artists’ Materials and Techniques

87

The Support The Ground Imprimatura Underpainting and Underdrawing Paint Layers Pigments Preparation Coherence Dutch vs. Flemish Still Lifes The Representation of a Flower or Animal Alterations and Restorations Butterflies Drawings Research into Flower Pieces Roses Tulips Irises

89 90 90 90 91 91 92 93 93 94 94 95 95 95 97 100 103

Chapter 4 | The Development of Flower Pieces Style Material Expression The Picture Plane Background Foreground Containers

107 109 110 110 111 111 111 | ix

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The Bouquet Space Depth and Perspective Colour Composition Light The Flowers Supplementary Work

Chapter 5 | The Prehistory of the Flower Piece Illuminated Manuscripts The Ghent Altarpiece Flower Pieces in other Religious Paintings and Portraits Precursors of the Painted Flower Piece Early Flower Studies The Earliest Painted Flower Pieces – A Comparative Analysis

Chapter 6 | The Early Period (ca. 1600-1620) Characteristics of the Earliest Flower Pieces

Artists of the Northern Netherlands

112 114 114 115 116 117 118 121 124 129 136 138 143 143 161 164 167

Gillis van Coninxloo III | Jacques de Gheyn II | Jacob Vosmaer | Jacob Savery | Roelandt Savery | Ambrosius Bosschaert I | Adriaen van Nieulandt | Christoffel van den Berghe | Nicolaes Gillis | Jan Serange | Pieter van der Voort | F. (?) van Remunde

Artists of the Southern Netherlands

210

Jan Brueghel I | Pieter Brueghel II | Andries Daniëls | Juliaen Teniers I | Gaspar van den Hoecke I | Abraham Govaerts | Andries Snellinck | Andries van Baesrode I | Osias Beert I | Clara Peeters | Jacob van Hulsdonck | Michiel Simons I | Jeremias van Winghe | Jan van Balen | Peter Binoit | Hendrick van der Borcht I

Chapter 7 | The Second Quarter of the Seventeenth Century (ca. 1620-1650) Tulip Mania Important Innovators of the Flower Piece Characteristics of the Flower Piece in the Second Period (ca. 1620-1650)

Artists of the Northern Netherlands

259 261 263 263 265

The Painters of the Bosschaert Dynasty Balthasar van der Ast | Johannes van der Ast | Johannes Bosschaert | Ambrosius Bosschaert II | Abraham Bosschaert | Jeronimus Sweerts | Anna Splinters

265

Other Artists in the Tradition of Bosschaert and Savery Jacob Marrel | Bartholomeus Assteyn | Jacob Gerritsz Cuyp | Dirck van Delen | Johannes Matham | Dirck van Poelenburg | Gillis de Bergh | Evert van Aelst | Anthony Claesz | Hans Bollongier

289

Artists following in the Footsteps of Jacques de Gheyn Jan Baptist van Fornenburgh | Dirck van der Mast | Joris Gerritsz van der Lier | Johannes Baers

311

Other Painters of the Northern Netherlands Cornelis de Beer | Harmen van Bolgersteyn | Boys | Camphuysen | Johannes Flups | Frans van Dalen | Maria de Grebber | Margareta de Heer | Lettré | Judith Leyster | Cornelis Stooter | Monogrammist JF | Simon Peter Tilman

317

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Artists of the Southern Netherlands

325

Artists in the Tradition of Jan Brueghel I Jan Brueghel II | Anna Maria Janssens | Samuel van den Hecken | Abraham van den Hecken | Magdalena van den Hecken | Alexander Adriaenssen

325

Daniël Seghers and his Followers Daniël Seghers | Philips de Marlier | Frans Ykens | Catharina Ykens I | Jacob Foppens van Es

337

Frans Snyders and his Followers Frans Snyders | Adriaen van Utrecht | Joannes Fyt | Jan Roos

351

Other Painters of the Southern Netherlands Bulgert | Leo van Heil | Balthasar Huys | Jacob van Ostayen | Isaak Soreau | Jacques van Uden | Thomas Willeboirts Bosschaert

357

Chapter 8 | The Second Half of the Seventeenth Century (ca. 1650-1700) Characteristics of the Flower Piece in the Second Half of the Seventeenth Century

Artists of the Northern Netherlands

361 364 366

The Declining Influence of the Bosschaerts Johannes Goedaert | Helena Roovers | Pieter van de Venne | Jan Olis | J. van Slechtenhorst | Pieter Jansen | Johannes Moninckx II | Maria Moninckx

366

Jan Davidsz de Heem and his Circle Jan Davidsz de Heem | Cornelis de Heem | Claes de Heem (?) | David Cornelisz de Heem | Jan Jansz de Heem | Abraham Mignon | Hendrik Schoock | Gerrit de Haen | Cornelis Kick | Jacob van Walscappelle | Jan van Rossum | Pieter de Ring | Martinus Nellius | Maria van Oosterwijck | Geertgen Wyntges | B. Wackis | Henricus Maria Weerts | Johannes Borman | Laurens Craen | Jan Mortel | Jacob Rotius | Nicolaes (?) van Suchtelen | Pieter Gallis | Michiel Simons II | Jan Grasdorp

378

Willem van Aelst and his Followers Willem van Aelst | Isaac Denies | Nicolaes Lachtropius | Louis Michiel | Ernst Stuven | Jochem (van) Windtraken | Eltie de Vlieger | Hendrick de Fromantiou | Elias van den Broeck | Philip van Kouwenbergh | Willem Grasdorp I | Simon Verelst | Herman Verelst | Cornelis Verelst | Johannes Verelst | Abraham de Lust | Adriaen van der Spelt | Willem Frederiksz van Royen | Otto Marseus van Schrieck | Abraham Jansz Begeyn | Nicolaes Berchem | Philippus Brandis | G.M.

426

Abraham van Beyeren and other Painters with a Fluid or Loose Brushstroke Abraham van Beyeren | Jacques de Claeuw | Leendert van Beke | Abraham Susenier | Cornelis Brouwer

472

Other Painters of the Northern Netherlands David Bailly | Karel Batist | Gerrit Battem | Anthonie Marinusz Beauregaert | T. Bellechiere | J. (or H. or J.H.) Bern | Willem Beurs | K. de Bie | Jakob Bogdáni | Jan Boogaert | Pieter van den Bosch | Bartholomeus Brandon | Brauch | Dirck de Bray | Joseph de Bray | Johannes Bronckhorst | A. vander Cabel | Abraham van Calraet | Pieter Cosijn | Stephanus Cosijn | Ernst van Dalen | Isabella Dedel | Christiaen van Dielaert | Evert van Doyenburgh | Ottomar Elliger I | Caesar van Everdingen | Johannes Fabritius | William Gowe Ferguson | François de Geest | Margaretha van Godewijck | Reinier de la Haye | Willem de Heer | Herman Henstenburgh | Van Heusden | Magdalena Hofmann | Justus van Huysum I | Isaak Kleynhens | Gerard and Jacques de Lairesse | Pieter de Leeuw | Cornelis Lelienbergh | Robbert van Mandevyll | Jan Marcelis | Daniël Marot I | Cornelis May | Maria Sibylla Merian | Cornelis van der Meulen | Michiel van Musscher | Matthijs Naiveu | Elisabeth Neal | Catharina Oostfries | Monogrammist JE or EJ | Adam Pijnacker | Isaak van der Put | Anna van den Queborn | C. van der Radt | Pieter Gerritsz van Roestraeten | Alexander Ruwel | Pieter Jansz van Ruyven | Salomon van de Sande | François van Santwyck | Godfried Schalcken | Pieter Schuyten | Pieter van Slingelandt | Caspar Smits | J [an?] Smits | A. Stevens | Esaias Terwesten | Arent van Tongeren | Michiel van Uffelen | Juffer Uylenburgh | Jan van der Vaart | Vandenburgh | Lodewijck Vay | Jan Verschuren | Adriaen Huibertsz Verveer | Titia van Vierssen | Vincent Laurensz van der Vinne I | Carel de Vogelaer | Isaac Vroomans | Jan Weenix | Maria Willaerts | Dirck Willems | Matthias Withoos | Pieter Withoos | Johannes Withoos | Alida Withoos | Maria Withoos | Frans Withoos

479

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Artists of the Southern Netherlands

554

The Brueghel Dynasty Ambrosius Brueghel | Jan Pieter Brueghel | Abraham Brueghel | Henri Ferdinand Brueghel | Jan Baptist Brueghel

554

Artists following in the Footsteps of Daniël Seghers Jan Philip van Thielen | Maria Theresia van Thielen | Anna Maria van Thielen | Francisca Catharina van Thielen | J. and/or G. van Bloclant | Jan Anton van der Baren | Philip van der Baren | Jan van den Hecke I | Carstian Luyckx | Hieronymus Galle | Anthonie van Eeckhout | Jan van Kessel I | Ferdinand van Kessel | Jan van Kessel II | Nicolaes van Verendael | Cano | C. de Vil or de Uil | Gaspar Thielens | Gaspar Peeter Verbruggen I

561

Gaspar Peeter Verbruggen II and his Followers Gaspar Peeter Verbruggen II | Pieter Frans de Bailliu | Jean Baptist de Crepu | Frans van Cuyck de Myerhop | Jan Baptist de Gheyn | Johannes Lotyn

590

Artists following in the Footsteps of Jan Davidsz de Heem Jan Pauwel Gillemans I | Jan Pauwel Gillemans II | Joris van Son | Jan Frans van Son | Frans van Everbroeck | Jacob Caproens

597

Artists following in the Footsteps of Joannes Fyt Peeter Boel | Jan Baptist Boel

604

Other Painters of the Southern Netherlands François van Aken | Hendrick Andriessen | Isaac Bernard | J. van der Borght | Michel Bouillon | Jean de la Bouverie II | Jan Peeter van Bredael I | Abraham Couchet | Jacques Damery | Walther Damery | Daniël van den Dyck | Van Eck | Van der Elst | Melchior de la Faille | Carel Fonteyn | Geerard | Gerard Goswin | James de Hamilton | Joannes Hermans | Nicola van Houbraken | Peter van Kessel | Giacomo Legi | Lutgeert | Egidius Nuemans | Jean Michel Picart | Bartholomeus van Winghen

605

VOLUME II Chapter 9 | The Eighteenth Century (ca. 1700-1800) Characteristics of the Flower Piece in the Eighteenth Century

Artists of the Northern Netherlands

629 631 634

Rachel Ruysch, her Family, and her Followers Frederik Ruysch | Rachel Ruysch | Anna Ruysch | A. van den Bergh | Catharina Backer

634

The Van Huysum Dynasty Jan van Huysum | Jacob van Huysum | Josua van Huysum | Michiel van Huysum | Francina Margaretha van Huysum

650

Artists following in the Footsteps of Jan van Huysum Margareta Haverman | Johan Willem Frank | Josina Margareta Weenix | Coenraet Roepel | Jan van Os | Pieter Gerardus van Os | Cornelis Kuipers | Jacobus Linthorst | Jan Hendrik Fredriks | Johannes Christiaan Roedig | Wybrand Hendriks | Paulus Theodorus van Brussel | A. van Tongeren | Gerrit Johan van Leeuwen | Hermanus Uppink | J. Niels | F.R. Pieters | A. Klein

671

Artists following in the Footsteps of Jan van Huysum: Watercolourists and Draughtsmen H. Berninck | Johannes de Bosch | Jacob Buijs | Jan Jansz Gildemeester | Pieter van Loo | Cornelis Ploos van Amstel | Oswald Wijnen

704

Gerard van Spaendonck and his Followers Gerard van Spaendonck | Cornelis van Spaendonck | Willem van Leen | Christiaan van Pol | Nicolaas Frederik Knip I | Josephus Augustus Knip | Cornelis Johannes Schaalje | Jan Evert Morel I

714

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Other Painters of the Northern Netherlands Adrianus Apol | Benedictus Antoni van Assen | Jan Augustini | Pieter Barbiers III | Wernerd de Beet | Daniël van Beke | Jacques Estienne Benoist | Jean Bernard | Cornelis Bisschop II | Leendert Brasser | Maria van Broyel | Bruijn | Johannes Cornelis de Bruyn | Jan Buiteveld | P. van Buren | Adriaen Coorte | Helena Margareta van Dielen | J. van Dieviel | J. van Diren | Catharina Dubois | Johannes Le Francq van Berkhey | Laurens Gelderblom | T. van Geyl | Cornelis van Glashorst | Willem Grasdorp II | A.R. Griffier | J.E. Haag | Anna van Hannover | Johanna Helena Herolt-Graff | J.C. Hilst | Hendrik Jacob Hoet | Pieter Hofman | Elisabeth Georgina van Hoogenhuyzen | Hendrik Hoogers | G. van Hooren | Jordanus Hoorn | Cornelis Houtman | J.B. Huys | J.F.C. Jacobs | A. van Jonge | Reint Albert de Jonge | Jan Kelderman | Andreas Kinderman | Pieter Klinkhamer II | Jan Kraÿ | Jacob l’Admiral II | Arie Lamme | J. van Lemmen | Hendrick Lofvers | Johannes Hermanus van Loon | Abraham Meertens | Agatha van der Mijn | Cornelia van der Mijn | Herman van der Mijn | J. Mulckenhof | Jacoba Maria van Nickelen | Jan van Nickelen | Barbara van Nijmegen | Elias van Nijmegen | A. van Olst (?) | M.J. van Olst | Maria Margaretha van Os | Jacobus Ouwater | J. van Pielier | Antoni Piera | Joris Ponse | Louis François Gerard van der Puyl | Gerrit Rademaker | Pieter Recco | A. Ree | Annette Reijerman | P.A. Robart I and II | R.G. Robart | R.H. Robart | Willem Robart | J. Roepel | Gerard Sanders | Anna Barbara Schilperoort | Hendriks Petrus Schindelaar | Johan Joseph Schomper | W(illem?) Schouten | Maria Geertruida Snabilié | Sonneman | Johannes Sonnenberg | C. Stoppelaer | Abraham van Strij | Albartus Otto Swalue | Frans Jurjens Swart | Johan Wilhelm Tengeler | Pieter Terwesten | Abraham Teixeira de Mattos | Johannes Teyler | Jan Hendrik Troost van Groenendoelen | Adriana Verbruggen | Verhoek | The Van der Vinne Family | Vincent Laurensz van der Vinne II | Laurens Jacobsz van der Vinne | Laurens Vincentsz van der Vinne | Vincent Jansz van der Vinne | Carel Borchart Voet | Jacobus Vonk | Alexander Vos | Jan Abel Wassenbergh I | Jacob Campo Weyerman | A.D. Wit | Adrianus van Wÿck | Gerard Joseph Xavery | Jacob Xavery | Joost Zeeman

Artists of the Southern Netherlands

733

845

Artists following in the Footsteps of Jan van Huysum and Gerard van Spaendonck Pieter Faes | J.B. Faes | Jan Frans Eliaerts | Georg Frederik Ziesel | Jan Frans van Dael | J.B. van Dael | Jean Baptiste Berré | Michel Joseph Speeckaert | M. van Spaey | Pierre Joseph Thys | Philips Jacob Peeters | Pieter Joseph Sauvage | C.G. Sauvage

845

Artists following in the Footsteps of Gaspar Peeter Verbruggen II Balthasar Hyacinth Verbruggen | H. Berck | Jacobus Seldenslach | Jan Baptist Bosschaert | J.(F.?) van der Beken | Jan Baptist Morel | H. Morell | Jean René Morel | Jean Baptiste Morel II | Jean Pierre Morel | Jacob Melchior van Herck | Coclers family | Johannes Baptista Petrus Coclers | Jean George Christian Coclers | Henri Joseph Léonard Eugène Coclers | Jean Dieudonné Deneux | Carolus Bigée | Arnold Smitsen | P. Blom | Pieter Casteels III | Pieter Frans Casteels | Simon Hardimé | Pieter Hardimé

863

Other Painters of the Southern Netherlands J. Balen | J. Van Bernard | Jan Baptist Bouttats | M. van Buiten | Petrus Gerardus Philippus Colin | Marie Diffiori | Guillaume Dominique Jacques Doncre | Johann(es) van Dorne | Martin van Dorne | Jan Baptist Govaerts | Jan Josef Horemans II | Margarita van Horne | J.F. van der Hulst | Paul Joseph de Kock | Cornelis Lens | Jan Frans Jozef Mertens | Henri Albert Imbert des Motelettes | Antoine Plateau | Van der Putte | Antoine Ferdinand Redouté | Pierre-Joseph Redouté | Jean Baptiste De Roy | Maria E.J. Schepers | Pieter Snijers | Franciscus Tan | Peter Tillemans | Dominique Joseph Vanderburch | S. Vermeirsch | Hendrik van Waterschoot | Karl Wuchters

890

Chapter 10 | The Flower Piece as Print Replication, Loss and Dispersion: Challenges for the Researcher of Prints The Uses of Prints Early Prints of Flower Pieces The Later Tradition of Printed Flower Pieces Influences on – and from – Foreign Art Dutch and Flemish Printmakers of Flower Pieces up to 1800 Adriaen Collaert | Crispyn de Passe I | Hendrick Hondius I | Jacob Matham | Johann Theodor de Bry | Pieter van der Keere | Nicolaes de Bruyn | Claes Jansz Visscher, Nicolaes Visscher II and Nicolaes Visscher III | Cornelis Kick | Jan van Somer | Gerard van Keulen | Pieter van den Berge II | Pieter Mortier | Maria Sibylla Merian | J. Waterloos | Johannes Teyler | Gerard Valck | Pieter Schenk I and his sons Pieter II & Leonard | Jacobus Coelemans | Justus Danckerts I and his sons Theodorus, Cornelis II and Justus II | Carel Allard | Abraham Munting | F. van Swijnen | Barent Velthuysen | Cornelis Ploos van Amstel and Oswald Wijnen | Bernardus Schreuder | Hendrik Schwegman | Hendrik Leffert Mijling | Noach van der Meer II | Anthonie van den Bos

917 919 921 922 926 934 936

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Chapter 11 | About Florilegia What is a Florilegium? Charles Jourdain Adriaen Collaert, Crispyn de Passe I and Jacques le Moyne Crispyn de Passe II Pierre Vallet, Johann Theodor de Bry and Emanuel Sweert Basilius Besler Other Florilegia and Flower Books from the Late Sixteenth and Early Seventeenth Centuries Manuscripts

Chapter 12 | Botanical and Zoological Aspects in Art The History of Flowers in Science and Art The Systematic Organization of the Plant Kingdom and Names Used in this Study Flower Classification and Flower Pieces Tulips Narcissuses Irises Opium Poppy Auricula Garden Nasturtium Forget-me-not Roses Animal Classification and Flower Pieces

Appendix 1 | Flora Flower and Plant Species in Still Lifes and other Paintings, Prints and Drawings Glossary of Botanical Terms Select Bibliography

Appendix 2 | Animalia Animal Species in Still Life Paintings and Drawings Select Bibliography

997 999 1000 1000 1011 1015 1022 1023 1027 1031 1033 1034 1035 1036 1039 1039 1039 1039 1039 1040 1040 1040 1042 1045 1100 1104 1106 1108 1141

Bibliography

1144

Index

1207

Photograph Credits

1227

Detail Fig. 9.4 xiv |

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Introduction

Every work of art is a witness to two people: the artist and the viewer. In many cases, however, a third person intervenes between them – the art expert, who may be an art historian, an art critic, or someone else who has a vision of a work of art to express. Each of these individuals represents a group of people who have been formed by, and form a part of, a specific culture. The artist has usually been brought up in a certain tradition by a teacher rooted in a particular school of thought, while the art historian has followed a different tradition, and the viewer yet another. In addition, all of them may have formulated a personal vision of what art is or should be, while if they are contemporaries they may also be united by an overarching aesthetic. Looking at the works of art that form the subject of this book in their original milieux, it is important to note that the culture of the time was permeated by ideas from the Christian religion, which impacted the daily lives of most people – albeit in the Reformation and PostReformation periods with regional differences between Catholic Southern Netherlands and Protestant North. This corner of Europe was also heavily infused with Renaissance ideas and ideals, including those of Humanist thinkers like Erasmus, while retrospectively a historical study of flower pieces also reveals the rising impact of rationalism, technocracy, and even economics. Such a layered perspective towards a work of art applies in equal measure to the visual arts as it does to the other fine arts such as music, where the roles of composer, conductor, performer and listener each embrace a different approach. In every case there is ample space for the role of individuals with their own idiosyncratic nature, education and personal levels of experience – physical, mental and spiritual. Moreover, individual awareness and consciousness are extremely important. There is a substantial difference between looking and seeing, between hearing and listening, between intellectual analysis and passionate study, or between experiencing, understanding and appreciating art. Preferably one achieves a harmony between all these different psychological elements. The key to this harmony is the ability to be attentive. We can focus our thoughts on the beauty of lifeless objects, or on the allure of plants, flowers and other living creatures, or on the appeal of architecture and topography, or on nature and the cosmos. These are all areas of interest that are partially determined by curiosity, and by science or technology, whether or not they are also simultaneously influenced by fashion and taste. The soul may be moved, but the heart may also be stirred: by wonder, by admiration, or by even more complex and deeper emotions. Art is not pure mimesis, it is not merely imitation, but rather always involves the surprise of discovery and the intensifying of reality. Art alters reality: it compresses or expands it, rearranges or transforms it. Thus it represents not only exterior but also an interior world. Art can surprise the viewer – as a sudden revelation of a universe never seen before, or of what one has simply failed to observe. At the other end of the spectrum of visual experience, we might ask ourselves the question now and then where decoration ends and art begins. Although pertinent, this is not a question that will be further explored here: in this study we will be occupied with what has generally been classified as a flower piece, regardless of what its intrinsic quality or value is considered to be; quality will be approached as much as possible in objective terms. We experience wonder and undergo a sense of revelation very naturally when we feel love, for example when we observe a baby growing and developing in complete surrender and trust: it is a drama that captivates our attention, which means we can often watch a sleeping or playing child for hours. In just the same way we can be moved by the myriad diversity of nature. Once we have developed our own ability for heightened awareness, we can experience nature on many different levels, whether we are looking at a panoramic landscape of woods or mountains, or a single tree or plant, a branch, a flower, or any detail whatsoever, even the most minute nuances of colour in a single petal. Moreover, we are capable of discovering beauty everywhere and in everything we experience, even in things which have been culturally designated as disordered or decayed, just as Vincent van Gogh found beauty in a pair of old shoes. Generally we only perceive at any given moment what we can register at a certain basic level of observation. At other times most people fixate on a certain cluster of observable points and xvi |

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usually do not see the wood for the trees – or the trees for the wood – let alone the fine details nature has created. Some biologists, on the other hand, have a very well developed eye for details, particularly when looking through a camera or microscope. Such painstaking details can be found in the illustrations accompanying biological publications, although as already stated, art is more than exact biological observation – art is the discovery and intensification of reality, a reality which can be altered, extended, or transformed by the artist’s mind. Artists invite us to recognize different levels of seeing and perceiving. Thus plants and flowers may be incorporated into an artistic composition on a smaller or larger scale, as a natural or symbolic component, or to achieve an artistic or decorative effect. Although flowers may be painted in a natural setting, this was seldom the case for works executed before the second half of the nineteenth century. Before that time, single flowers and plants were rendered in drawings – coloured or uncoloured – for botanical and aesthetic reasons: as part of larger collections revealing the beauty of nature, or for flower and bulb growers to display their wares, or as studies for paintings. Sometimes these paintings, but more especially the drawings themselves could be reworked as prints and produced in multiples. The degree of attentiveness an artist brought to the task of representation depended on the intended goal and the personal aptitude of his or her attention. In order to obtain an artistic result it is not at all necessary that a flower be represented precisely and in detail. In addition, the setting of a flower piece may be a neutral background or a background with different textures, for example a stone niche, or a garden or landscape, which may or may not harbour a symbolic meaning, and which also affects our state of perception. An artist can approach the work of creation on different levels of awareness, or from a state of complete attentiveness. All viewers think themselves capable of making differentiations in quality where factors such as professional skill, originality and artistic talent are involved, but in addition we must be conscious of certain important influences in an artist’s life, for example those deriving from upbringing or the method of instruction, plus how the artist experienced looking and seeing. An artist who paints flower still lifes is not necessarily engaged in such work out of the strict motivation of financial gain. There may be a strong drive to re-create visual reality, or to depict and monumentalize in art precious objects, or to create a harmonious image – whether for decorative purposes or simply as a human response to the sense of wonder aroused by the beauty and diversity of shapes and colours around us. In order to write well about art one must reflect on what is to be conveyed and how these ideas are to be composed. One must realize that in order to make valid evaluative judgements about works of art it is imperative to have studied these works directly oneself and not depend too much on photographic reproductions. Not that such material is of no use at all for study – it is indeed possible to learn a great deal by such analysis – but there is much more that can be learned from experiencing the original work of art directly, particularly when considering its execution and its quality. The scholar whose writing about art has not been based on seeing the original works themselves can easily be reduced to theorizing or display a tendency to re-hash and repeat what others have said. This means that mistaken observations or interpretations may be uncritically adopted and transmitted instead of discovering and experiencing for oneself – and preferably also feeling for oneself – that which is essential. When writing about art, scholars may limit themselves to certain aspects in which they specialize, yet it is always necessary to support any research with a broader context than any single subject of study. If someone, for example, should want to compile a catalogue raisonné, that person ought not to restrict their focus on the work of that one artist, his or her masters, and other immediate influences, but must also include the related works of contemporaries and followers, in order to arrive at more precise differentiations. It is also necessary to become informed and remain informed about developments in the scholarly literature, and to deepen one’s understanding of the culture of the period. Naturally we can never come to know everything and must recognize where knowledge ends and conjecture begins – whether | xvii

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about a painting’s subject or meaning, or about an artist’s inspiration. Ultimately, every viewer will form a personal vision, interpretation and evaluation, whether provisional or enduring. Due to cultural differences, the vision developed by someone today will probably be totally different from that of any of the artist’s contemporaries. There is nothing wrong with that, as long as we realize that no vision is objective and that there is no one correct interpretation. A certain modesty is salutary in carrying out this work, attained in the consciousness that one’s research is merely a reflection of the true work of art and the artist behind it – that what one finds or thinks to have found is never really original, even though an intelligent researcher can uncover many significant latent meanings and develop insightful new ideas. The text presented here brings together and greatly expands my studied observations of 35,000 original drawings, paintings and prints viewed in museums, exhibitions, libraries and other collections over nearly six decades. The resulting analyses are supported by the intensive study of articles, books and exhibition catalogues. The very first impulse towards such an extensive study was a three-day visit in 1960 to an exhibition in Ghent on Flemish flower painters; the more direct prompting was a proposition in my 1969 dissertation on ecology that flowers can frequently help in dating works of art and/or identifying artists. As a result, I was invited to assist in curating my first exhibition in 1970 and to write the accompanying catalogue. Only a very small portion of my research into Dutch and Flemish still lifes is contained in the current publication on flower pieces, but a number of general issues are treated here that are also pertinent to other genres in addition to flower pieces, particularly other kinds of still lifes. It has not been possible for me to make exhaustive use of all the information I have collected over the years. My extensive accumulated documentation, some of it in a pure form without annotation or comment, has been donated to the Netherlands Institute for Art History (RKD) in The Hague, where it is accessible as the Segal Still Life Documentation to anyone who would like to make use of it in order to continue and deepen this research. The donated material includes many more photographs, closeup photographs, slides and reproductions of still lifes than the RKD had in its collection hitherto. As the Segal Project part of the documentation has been arranged and catalogued in an efficient manner in the online databases RKDartists& and RKDimages with much additional information about the provenance of paintings, including sale catalogues and inventories dating back to the seventeenth century, in addition to references of further literature. It also includes my descriptions of, and species identifications for, those paintings and drawings whose original I have studied. An extensive specialized library of books – including herbals and other early modern sources, with literature on botany and zoology, as well as emblem books – which were previously lacking in the RKD’s holdings, have also been donated.1 I am very happy that a number of students and art historians have already been able to make use of these resources and hope that more will do so in the future. In the literature only the latest, usually revised edition of a source has been mentioned, but not always the most recent publications if those works primarily duplicate widely known information. This survey includes many new artists’ names, and also much new biographical data, information about provenance, and literature. I discovered many names of new artists, particularly in the eighteenth century, who have only been treated sparingly or not at all in the standard biographies; these are of course rarely important artists and frequently amateurs. I have always endeavoured to give my colleagues their due credit when it comes to original discoveries and ideas which I have acknowledged in my publications, although some scholars forget to do this. It is my hope that this book will lead to 1

In the course of the Segal Project (2008-2011) more than 5,600 still life paintings and drawings were described in RKDimages (https://rkd.nl/en/explore/images#search=simple&query=segal-project (accessed 24 September 2019)). The complete known work of 42 artists, whose oeuvre was researched by Sam Segal, has been put online. About the Segal Project see Van Leeuwen 2010.

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further research by others who will take up the task with enthusiasm and integrity. There are still many problems to be solved and uncertainties to be cleared up, such as about attribution and provenance, as well as a greater level of accuracy to be obtained in dealing with the history of scholarship. The order and arrangement of the artists in Chapters 6 through to 10 requires some explanation. As much as possible, artists have been sorted into groups centred around the work of one important artist, whose influence – partially also through apprentices – had a substantial impact on followers and reinvigorated the flower piece genre. However, older influences sometimes remain visible and were carried forward in flower pieces by artists who chose alternative ways to renew interest in, and enthusiasm for, paintings of flowers. Usually there is a group of ‘other’ artists who do not clearly fall under any particular influence, either because they developed their own unique style, or because too few works by them (and sometimes none at all) are known so far. In such cases those few facts we do know may be useful for further research, whether confirming an uncertain signature or monogram, or clarifying information in old inventories or auction catalogues. The survey offered in this book endeavours to include every artist I encountered in the literature or other sources, even if no works by that artist are now known or if the name of the artist is uncertain. This inclusive approach is meant as encouragement to other researchers who may perhaps run into these names elsewhere and can then supplement our collective knowledge. When confusion arises, one needs to take into consideration the possibility that names and dates may have been tampered with, incorrectly deciphered, or erroneously reported in publications. The research in this book has no pretensions to being the final word on how to approach the subject of flower pieces in paintings, drawings and prints. It has been partially and unapologetically shaped based on my personal taste and vision of these works, but also in the fervent hope that it will be useful to others, and that some readers will be able to build upon these foundations. Certainly such a study is never complete. I have attempted to bring together and synthesize the field of art history with botany and zoology. My original training in botany gave me the knowledge required to precisely recognize and identify many European plants and flowers, but was deficient when it came to the exotic species. The current expertise of growers of garden and house plants turned out also to be insufficient for determining the riches of the plant kingdom represented in the paintings of earlier centuries. Therefore it was necessary for me to search out and consult old herbals and other contemporary flower books like florilegia. In identifying insects, shells and birds my colleagues in zoology have given me their support. It is my intention that the materials, documentation and specialized library donated to the Netherlands Institute for Art History in The Hague should serve to reinforce the interdisciplinary nature of this study integrating art history and biology. Finally, for collectors and art lovers, this work should stand as an introduction to the technical skills, artistic talents, and originality of these Dutch and Flemish artists.

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Acknowledgements

After I graduated with my degree in Biology from the University of Amsterdam in 1960, I was asked to set up a research institute whose mission would be to study plants and their environments. Due to a personal interest in visual art, at the same time I also started my own research into flowers and plants in paintings and drawings. After an initial exhibition in 1970, for which my contribution to the catalogue was a historical survey of the development of the flower piece up to the twentieth century, I received a request from Professor Jan van Gelder in Utrecht to continue and expand my research, for which he ensured support in the form of a grant from the Netherlands Organisation for Scientific Research to conduct work in European museums for three years and to take photographs, for which a separate grant for a photographer was given. At a later stage I received another grant from the British Council to conduct research in British museums and country houses. The photographic material thus acquired formed the foundation of what grew into a substantial collection of photographic images and reproductions, extensively augmented with illustrations from books, and with museum, auction house and art dealer catalogues, which were generously sent to me – usually free of charge – for many years. I would like to express my sincere thanks for this material. In return, I have offered advice about artist attributions, and frequently also identifications of flowers and insects in paintings, to public institutions and art dealers, as well as to private collectors. Remuneration was exclusively used for further research. Over the years I have written and compiled many catalogues for exhibitions, as well as making reports for, or other contributions to, galleries and museums in Europe, North America, Japan and Australia on the subject of still lifes. All this documentation – approximately 80 metres of photographs, reproductions and books, including a number of rare books from the sixteenth century (e.g. early modern books about plants and animals such as herbals and emblem books) – has been donated to the Netherlands Institute for Art History (RKD) in The Hague; in addition, a number of still life paintings and a collection of drawings and prints have been donated to various museums and libraries in the Netherlands and Belgium. I would like to thank the institutions and museums for their cooperation, including the Netherlands Organisation for Scientific Research and the British Council. Many auction houses, dealers and a number of museums kindly provided me with images for this book or gave me permission to make use of my own material without requiring a fee. More particularly, I want to express my personal gratitude to innumerable friends and interested acquaintances who have stimulated, supported and assisted me in this research over the years, especially the late Professor Jan van Gelder, former Rijksmuseum director Simon Levie, and the former curator of the RKD database Rieke van Leeuwen, as well as the staff of museums and the larger auction houses, and those dealers in particular who understand that experts make an important contribution to our collective knowledge and should be fairly compensated for their efforts. I want to thank Adi Huber posthumously for his friendship and confidence, and my more recent supporter Brian Capstick, who financed the Segal Project at the RKD for a number of years, for which Sander Erkens was engaged in actually carrying out the documentation work, as well as correcting portions of the text presented here, and with whom I am pleased to have had a fine working relationship. I also want to thank Arjan van Dijk and Francis Knikker of Brill publishers for their very congenial collaboration in the making of this book. This publication has been made possible by the generous financial assistance of private collectors and friends: Rose-Marie and Eijk van Otterloo; Bettina Leysen; an anonymous donor; and the support of the M.A.O.C. Gravin van Bylandt Stichting. To all, my most heartfelt thanks. I wish to thank Philip Kelleway for his valuable contribution; as an art historian and as a master of the English language. Finally, I received excellent scholarly assistance from Klara Alen, with whom I hope to collaborate more in the near future. Sam Segal Norwich, May 2018

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AC K NOWLED GEM ENT S

Some art historians are inquisitive and perceptive by nature, but have difficulty putting their observations and thoughts into words. Others can write in a polished style with effortlessness, but may lack the desirable first-hand experience of viewing and handling original works of art. Sam Segal was able to combine many of the qualities required to be a great art historian, a wealth of practical handson knowledge of art, an instinctive curiosity laced with wisdom, in addition to being an accomplished wordsmith. He was also an exceptional biologist, a connoisseur, a meticulous documentalist, and a passionate curator of exhibitions. His publications, library and archive are indispensable for all those with an interest in still life paintings, drawings and prints including academics, conservators, curators, art dealers and collectors and will remain so well into the future. I am extremely grateful to Margareta Haverman (Chapter 9) that she (and my curiosity) directed me almost ten years ago to Sam Segal and his particularly extensive library and archive on the Prinsengracht, Amsterdam. Since that initial warm welcome, I never really got away again. It was a real pleasure to be able to assist Sam in his research and to exchange ideas and knowledge. We worked with great enthusiasm and pleasure together with the assistance of Philip Kelleway to prepare this special book project for publication. I would like to thank Maja Passchier and Joes Segal for their continued support and interest in the project. Thanks to them I was given the opportunity to finish Sam’s final and definitive magnum opus after he had sadly passed away before its completion. In addition, Philip Kelleway deserves an acknowledgement. The help I received from him was invaluable, especially relating to the English language and unearthing obscure art-historical minutiae. Dear Sam, I would have loved to have had you here a little longer. I am certain that you would be really delighted with the finished work. Thank you for giving your wise advice, for guiding and encouraging me to observe more closely and for letting me discover that simplicity is the most beautiful thing. I will continue your research with heart and soul and encourage others to do the same. Klara Alen Hoeilaart, October 2020

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CHAPTER 1

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1

Backgrounds: Historical, Botanical, Cultural and Aesthetic

The Northern and Southern Netherlands in the Seventeenth Century Sometimes small nations have been given a great role to play in cultural history, such as ancient Greece more than two millennia ago, and later Rome. The Low Countries, too, made their entrance on the world stage starting in the fifteenth century when Flanders became a centre of industry and global trade, which by the sixteenth century had concentrated itself in Antwerp. At the same time, visual art blossomed in the Southern Netherlands, excelling to the point that it could compete with the art of Italy, which had already reached its first peak in the later Middle Ages. In the seventeenth century the Northern Netherlands, with its leading cultural and political centres in the western provinces of Holland and Zeeland, became one of the most affluent nations of the world, with economic interests and colonies in Asia and the Americas. In Flanders artists such as Jan van Eyck (ca. 1390-1441) and Rogier van der Weyden (1399/1400-1464) flourished in the fifteenth century, while Pieter Brueghel I (1526-1569) dominated the sixteenth century and Peter Paul Rubens (1577-1640) the seventeenth century. In Holland, Rembrandt (1606/07-1669) and Johannes Vermeer (1632-1675) thrived in the seventeenth century, later to gain renown the world over. From the Middle Ages through to the seventeenth century religion played an essential role in daily life, although this influence gradually declined, especially in later periods. Paintings from earlier epochs, however, cannot be completely understood without giving sufficient attention to the mentality of the then prevailing Christian world view. It is also important not to neglect the influence of the Renaissance and Humanism. Until the middle of the sixteenth century, Christendom and Catholicism were identical in Europe. It was Christ’s teachings that came first, but even during the Middle Ages affective piety revealed a growing interest in the life of Jesus in general and the suffering of his crucifixion in particular. Already early on the Virgin Mary, too, as his mother, came to play a large role in religious practice and belief, and through the doctrine of the Immaculate Conception, gave rise to the figure of a divine intermediary who could be approached with prayers for help, forgiveness of sins, or as an intercessor before God. A large number of saints also, with their wondrous acts and martyrdom for the faith, contributed to the identity of the religious community. Subsequently, the Reformation of the sixteenth century advocated a kind of purifying monotheism, without the veneration of Mary and the saints, while resisting the power, hierarchy and authority of Renaissance popes, condemning their worldly ways of living, their selling of indulgences for the remission of sins, and the excessive and costly ornamentation of churches. This led to some extreme measures, such as the violent iconoclasm of 1566 in the Low Countries, during which a great number of religious sculptures and works of art were destroyed.1 In Flanders, the opposition put up by the Spanish, as representatives of Catholicism who had controlled the Netherlands from 1556, was intense. It was to be expected that Protestant refugees from the South would head to the Northern Netherlands, where people spoke the same language and where the Reformation had already had a tremendous impact. In the North Protestantism had by this time evolved into different forms, and among them the followers of Calvin – Calvinists or gereformeerden – were the most fervent and the most powerful, although they did not have the biggest following. Initially, the Protestants did not tolerate Catholicism; gradually, however, more moderate reformed groups won the upper hand. Certain areas of the Northern Netherlands in fact remained predominantly Catholic. But it was in Flanders that religious works of art could still be seen publicly, paintings which, incidentally, could include still lifes in the form of wreaths or cartouches of flowers encircling the central religious subject matter. If such religious art was on view at all in the reformed churches in the North, then most frequently this revealed some connection with the Old Testament. In the sixteenth century, Antwerp was a city of approximately 200,000 inhabitants and the most important centre for industry and world trade, having surpassed Venice and Lisbon. During the Dutch revolt 1

History has repeated itself many times: consider, for example, the Crusades, the destruction of Chinese culture by the Tartars in the twelfth century, the destruction of Buddhist images by Islamic forces, and the Cultural Revolution in China in the twentieth century.

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against Spain, the city was taken by the Spanish Duke of Alva in 1585. In response, the Hollanders blockaded the mouth of the river Scheldt, which connects the port of Antwerp with the North Sea. The closest competitor for Antwerp’s sea trade was the city of Middelburg in the province of Zeeland, which accommodated many refugees from Flanders; simultaneously Amsterdam proved itself capable of becoming the most important trading centre of the North. Until 1714 the Southern Netherlands remained under Spanish rule, which tolerated the Roman Catholic faith exclusively. Adherents of the Reformation in the South were forced to convert back to Catholicism or go into exile. Approximately 600,000 people fled to the North, bringing with them financial assets, possessions, knowledge and professional training in crafts and industry, as well as skills in the fine arts.2 To a considerable extent these refugees were responsible for the blossoming of culture and affluence known as the ‘Dutch Golden Age’. Religious art was forbidden in the strict Calvinist churches, and the interiors were intentionally kept free of decoration in contradistinction to the baroque interiors of many Catholic churches. This tendency towards simplicity had a substantial influence on the art produced in Holland during the seventeenth century. After a period when artistic traditions were closely associated with religion and commissions from the Church, as in the Southern Netherlands, the new way of life brought possibilities for fresh sources of inspiration and originality. This gave rise to novel forms of representation: landscapes, seascapes and cityscapes; group portraits; genre scenes of daily life; and still lifes, partially inspired by details that had been depicted in the larger religious works in Flanders. In the seventeenth century, the Northern Netherlands, which as the Dutch Republic had fought and won a war of liberation against the Spanish rule of King Philip II, was one of the richest countries in the world, and within this geographic area the province of Holland was the most affluent. There were many well-to-do citizens, some of them receiving incomes from the commercial trading of the United East India Company (Verenigde Oost-Indische Compagnie or VOC). Rich burghers could afford a garden in town with exotic flowers, the very wealthiest citizens, a country house and garden outside the largest cities. But, of course, there were many who had very limited means, especially in the other six provinces beyond Holland. They could not, perhaps, buy expensive paintings, but they bought the works of the lesser masters or of copyists, who sometimes produced paintings en masse in workshops where assistants were hired to paint in various details. Paintings like these were sold at the art market in the Netherlands and abroad.3 They formed the most important decoration in the home at the time.

Flower Still Lifes and Flower Pieces

As will be clear, ‘the Netherlands’ in this period means both the Southern and the Northern Netherlands. For the study of flower still lifes we are primarily concerned with the provinces in Flanders, especially the province of the city of Antwerp, in the South; and the province of Holland, as well as several adjacent provinces in the North, particularly Zeeland and Utrecht where the most important painters of still lifes were active in the cities of Middelburg, Utrecht, Delft, Dordrecht, Haarlem and Amsterdam. There is some confusion in the literature about the meaning of a number of concepts relating to still lifes. A flower still life is a still life depicting predominantly cut or plucked flowers in any form, for example, a festoon, a garland, a swag, a wreath, or flowers entwined around a stone cartouche. In addition to flower arrangements and flower still lifes, there are also fruit arrangements and fruit still lifes, while composite forms also occur. A festoon is made up of a number of flowers (and/or fruit) and hangs down from a single point, usually a metal nail. A garland consists of flowers (and/or fruit) twisted together and hangs from two (and sometimes more) fixed points.4 A swag is a group of flowers woven into a long tail-like chain that is not hanging and may in fact be held by someone. Around 1700 we see swags in Flemish paintings wound about garden vases.5 A wreath is a circular form composed of flowers entwined together usually in the shape of a circle or oval. A cartouche still life may consist of one, but more often consists of several clusters of flowers that stick out through the openings of a cartouche, typically made of stone. The wreath as well as the cartouche still life generally depict a central religious subject in a medallion, usually painted 2 3 4

5

Huizinga 1933, pp. 18 and 26. As seen, for example, in a painting done in the style of David Vinckboons (1576-1631/33) showing a flower piece in a marketplace, in Würzburg 2012, p. 38 (Löwenfeld collection, without further details). According to Taylor 1995, pp. 134, 212 n. 59, the terms festoon and garland ought to be used, following De Lairesse, in exactly the opposite way, see De Lairesse 1707, II, pp. 366-368. De Lairesse however, only discusses the festoon and nowhere writes about the garland. Up to today, the terminology has been used interchangeably in the literature, especially in English. The definitions given here are intended to specify these distinctions and indicate how the terms are most commonly applied in modern languages. For example, in the work of Gaspar Peeter Verbruggen II (1664-1730) and Jan Baptist Bosschaert (1667-1746) (Fig. 9.155).

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by a different artist than the one who painted the flowers or fruit. In a cartouche still life the different parts may be held together by intertwined stems, usually of Ivy.6 Wreaths and cartouches were mainly painted in Antwerp.7 The term ‘flower arrangement’ in material life refers to a grouping of a number of real flowers, usually in a bouquet. But in a work of art ‘flower piece’ refers to a special kind of flower still life: a painting in oils on canvas, wood or copper, and also in other techniques on paper or vellum, usually depicting a bouquet in a vase or other container such as a basket (only rarely a single flower), or as loose flowers against a background, or in a nosegay, tied or joined together in a posy. A flower piece may be supplemented with ‘extra work’. Such extra work or supplements often consist of small living creatures, especially butterflies and other insects, but they may also appear as a lizard or a mouse, occasionally shells, and at times other lifeless objects. Ordinarily a flower piece is regarded as a form of still life, defined as a work with primarily inanimate or static objects such as cut flowers or fruit, dead animals, food, laid tables or fine items made of precious metals or glass, possibly supplemented with living creatures so long as they do not take up a large area of space. Plants or flowers appear quite frequently in other kinds of artistic representations besides still lifes, but only rarely planted in a garden or in a natural environment.8 From the sixteenth up to the middle of the nineteenth century, flower still lifes consisted mainly of cultivated exotic cut flowers, although at times cultivated varieties of native plants were also used, on the odd occasion supplemented with wild-growing flowers. Almost without exception, flowers in a garden or natural setting only came to be painted in the nineteenth century. Very rarely do we see flowers that bloom at the same time of year. Flower still lifes, therefore, are not representations of actually existing scenes, nor was that the intention. They represented an idealized harmonious image of beauty that could often be simultaneously understood as conveying a symbolic message. The creation of a flower piece might be based on diverse studies or sketches of flowers, or made directly alla prima from nature. Studies could be made in oils on canvas; or on paper, usually in black chalk or pencil with notations about the colouring; or in colour with watercolour or body colour (gouache); or in combinations of media. Designs for composition might also be sketched in advance, although very few examples of such sketches have been preserved.9 In addition to the artist, apprentices, who were often younger members of the family, may also have made use of such studies. Frequently we see the same flower or butterfly reappear in different works, sometimes in other colours or in reverse, possibly by using a contre épreuve or counterprint technique, made by pressing a wet watercolour onto another sheet of paper.10 For paintings alla prima, flowers were filled in during the next flowering period, and sometimes for a second application, the following year. Many painters worked on multiple paintings at the same time, crafting flower still lifes during the approximately four months in which the flowers bloomed, as Jan Brueghel I (1568-1625) relates in a letter of 1606.11 And in a letter of 1742, Jan van Huysum (1682-1749) writes that he must wait until the following year for the flowering of a certain Rose.12

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If a cartouche still life has been cut or sawn up by an unscrupulous art dealer in order to get more flower paintings out of it, then this can often be directly observed from the remnants of Ivy. Examples of all types of flower still lifes, with images, are in Osaka, Tokyo & Sydney 1990, pp. 15-17. One example is Flowerbed with Tulips by Jacob Gerritsz Cuyp (1594-1652), dated 1638, panel, 38 x 76 cm, Dordrecht, Dordrechts Museum, inv. no. 977/523 (Fig. 7.19). Early representations of plants in a natural setting are extremely rare and do not depict ornamental flowers. One example is Albrecht Dürer’s (1471-1528) famous Grosse Rasenstück (Great Piece of Turf) of 1503, a watercolour now in the Albertina in Vienna. In plant pieces, usually referred to as wood still lifes or sottoboscos, there is no natural setting and certainly no woods. These are fantasy scenes with dramatic plants growing right out of the ground, frequently thistles but also ornamental flowers, often set against a tree trunk and often with snakes or other living animals or insects (which may be native to different parts of the world); they could be called ‘forest floor pieces’, or sometimes when set in a cave ‘grotto pieces’. Artists who painted in this genre include Otto Marseus van Schrieck (ca. 1614-1678), Matthias Withoos (1627-1703) and Elias van den Broeck (ca. 1652-1708); and for the grotto pieces, Abraham Mignon (1640-1679). A related sub-genre is the ‘mushroom piece’ in which mushrooms are the focal point. All these natural fantasy scenes are often regarded as still lifes, too, but should rather be seen as collections of different forms of life which had been painted in China for centuries. Studies of flowers that are recognizable for their use in paintings are known for Jacques de Gheyn II (1565-1629), Christoffel van den Berghe (ca. 1590-after 1628), Balthasar van der Ast (1593/94-1657) and Justus van Huysum I (1659-1716); and in Germany, Georg Flegel (1566-1638). Design sketches of flower paintings are known for Jan van Huysum (1682-1749); these sketches are usually described as studies. This technique was most often applied in prints in order to soften the hard black lines; after they had been coloured in, the result was similar to a watercolour. See Chapter 5. Schlie 1900, p. 141; see Chapter 8.

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The Function and Meaning of Flower Still Lifes

Flower still lifes do not give a representation of an existing bouquet or formation of flowers. Not only do they contain varieties that grow in different seasons, but in a number of cases the arrangement would be impossible because the stems are too long or the vase too small. Furthermore, some of the varieties depicted are unsuited to be used as cut flowers because they wilt quickly or do not open in a vase, such as Bindweed, Small Morning Glory or Great Morning Glory, and also species of Cistus. Vases with flowers start to appear in the fifteenth century as decorations for churches, and from that same time we also see vases with flowers in interiors in representations of the Annunciation. An early example of this is a little vase with White Lilies in the Annunciation by the workshop of Robert Campin (ca. 1378-1444), a contemporary of Jan van Eyck (Fig. 5.9a). There are still older examples by Italian painters, and possibly the oldest example is a small, somewhat primitive majolica flower vase of Madonna Lilies in an Annunciation by the Sienese painter Duccio di Buoninsegna (active 1278-1319).13 It is possible to suggest the purpose of such flower still lifes in broad outline, but nuances in meaning can often no longer be discerned.

Symbolism and Religion

Symbolism and moral significance were most often associated with Christian themes, which in turn played a large role in visual art. The use of flowers with a symbolic and moral meaning begins in Italian art in the fourteenth century and in Flemish art in the fifteenth century, initially in the works of Jan van Eyck. In addition to flowers used in such a way in paintings, we also encounter them in the decorated borders of religious manuscripts, particularly Books of Hours.14 From the end of the sixteenth century, prints of flower pieces were composed with texts that explained their symbolic meaning.15 For a long time the symbolism was apparent, although it was only immediately evident when a text accompanied a work of art; however such symbolism declined in the course of the seventeenth century and thereafter. Flower pieces were a meaningful vehicle for devotion, which may be deduced from inscriptions on two vases by Ludger tom Ring II (1522-1584) painted in 1562, which form a pair. We read: ‘IN VERBIS: IN HERBIS: ET IN LA[BORE]’, meaning ‘[God is] in words, in plants and in works’ (Figs 1.1 and 1.2).16 These are flower pieces that were painted in Westphalia a few decades before the start of the tradition of Netherlandish flower pieces. They may be seen as art that express the glory of God’s Creation in general, while the Madonna Lily, the German Iris and the indigenous Yellow Iris should be seen as references to Mary and Christ.17 Somewhat later, still lifes would also meaningfully evoke death and the afterlife, especially by reflecting on the brevity of life.

Decoration

Painted flower pieces were intended as decoration for domestic interiors. They were not representations of actual situations, but rather harmonious illusions. As the religious and moral function faded into the background, the decorative function emerged more strongly. Partially due to this change, technique and style changed too over the course of time, and more and more attention came to be given to the detailed representation of material objects and colour composition. For the time being, exotic flowers could only be bought by those with significant worldly wealth. This especially validates the notion that a bouquet was a reproduction of a collection, and accordingly had value as an object denoting status. Expensive paintings bestowed prestige, and flower pieces created by famous painters were among the most expensive works of art. Many artists received commissions by princes and members of the aristocracy: Jan Brueghel I was commissioned by Cardinal Federico Borromeo in Milan; Roelandt Savery (1576-1639) by Emperor Rudolf II in Prague; Willem van Aelst (1627-1683) by the Grand Duke Ferdinando II de’ Medici of Tuscany; Rachel Ruysch (1664-1750) by Johann Willem, Elector Palatine in Düsseldorf; Maria van Oosterwijck (1630-1693) by King Louis XIV in Paris; Jan van Huysum by the Duke of Mecklenburg-Schwerin and other princes and noblemen in Germany, Poland, 13 14 15 16 17

Predella of an altarpiece from 1308-1311 for the Cathedral of Siena, panel, 44.5 x 45.8 cm, London, The National Gallery, inv. no. NG1139. See Chapter 5. See Chapter 2. Münster, LWL-Museum für Kunst und Kultur, on loan from the Westfälisches Kunstverein, inv. nos WKV 82 and 83; Münster & Baden-Baden 1979-80, pp. 220-223, with other interpretations; Segal 1996a, II, pp. 390-393, nos 76-77; Impelluso 2004, p. 98. See Chapter 2.

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Figs 1.1 and 1.2 Ludger tom Ring II, A pair of flower pieces, dated 1562, panel, 63.4 x 24.6 cm and 63.8 x 26.6 cm, LWL-Museum für Kunst und Kultur, Münster.

France and England; and Gerard van Spaendonck (1746-1822) by princes and nobility of France. Flower pieces might also be given as gifts through diplomatic channels by city aldermen or other government authorities. The Jesuit order in Antwerp used works by one of its members, Daniël Seghers (1590-1661), as gifts to promote the Society’s relations with other powerful bodies. Similarly, in 1606 Jacques de Gheyn II (1565-1629) received six hundred guilders from the States General in The Hague for a flower piece that was intended as a gift for Maria de’ Medici, the consort of the French king. In 1621, Ambrosius Bosschaert I (1573-1621) received one hundred guilders from Prince Maurice of Orange for a painting that was intended for a courtier. And around 1670 Jan Davidsz de Heem (1606-1684) received two thousand guilders for a cartouche with flowers and fruit with a portrait of William III of Orange. These were extremely high sums of money for the time and rather exceptional; naturally the other thousand painters of flower still lifes could not count on receiving such remuneration, and their prices seldom rose above one hundred, occasionally two hundred, guilders. Perhaps fruit and sumptuous still lifes adorned dining rooms, vanitas still lifes studies, and flower still lifes sitting rooms. The decorative function particularly comes to the fore with pendant paintings, which were quite popular in the eighteenth century. At that time too paintings were also designed as |7

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chimneypieces or supraporte (above a door), the latter frequently painted from a worm’s-eye view. Jan Brueghel I wrote to Cardinal Borromeo in Milan in 1606 that flowers remind us of the beauty of nature: ‘I believe that never were so many, and so many rare flowers painted, and then with such effort. In the Winter they will be a marvellous sight: some of the colours are very close to nature’.18 That the flower pieces indeed brightened the residence of the Cardinal is evident from one his letters.19

Practice and Artistic Skill

At first glance painting a flower piece would seem to be easier than painting a portrait or a more lifelike scene. Caravaggio (1571-1610) created a lovely piece with fruit in a basket at the end of the sixteenth century that can now be viewed at the Pinacoteca Ambrosiana in Milan.20 He is credited with saying that painting the portrait of a flower is an art that demands a great deal of patience from an artist: he has to know how to deal with colour and colour effects in order to achieve the right variation in both positioning the flowers and lighting. Caravaggio suggests that a good flower piece demands just as much labour as a portrait.21 It is true that movement and facial expression play no role in a flower piece. But upon further reflection this is not completely the case concerning movement, for success in this art depends on rendering the subtler aspects of vitality and suppleness, tender forms and nuances of colour. Furthermore, harmonious composition plays a major role in a flower piece, and for that subtlety is of greater importance than overall design. A high-quality flower piece has a ‘soul’, which can often be better understood the more one looks at the painting; a flower piece of lesser quality fails to hold the viewer’s attention for very long. This of course applies not only to flower pieces, but to all works of art. Anyone who wants to buy an expensive flower piece is frequently better off obtaining the work for a few weeks on trial to see what the effect is over time before concluding the actual purchase. The apparent simplicity of flower pieces makes them the perfect practice terrain for artists who are developing their skills. If they are capable of painting a good flower piece then they are well on their way to mastering other subjects. There are quite a number of flower pieces that form the only known example (or one of only a few examples) in that genre by artists who have expertise in one or more other areas, and a few of these flower pieces are rare gems, for example the works of Christoffel van den Berghe (ca. 1590-after 1628) and Dirck de Bray (ca. 1635-1694) (Fig. 6.18 and Figs 8.71 and 8.72). In such instances, however, the paintings certainly do not always display an artist’s highest quality work when he or she has another area of specialization, which could well be the case with the portrait and genre painter Godfried Schalcken (1643-1706) (Fig. 8.97). A number of artists specialized in painting flowers and also in painting fruit. The best of them must have been aware of the challenge of creating beauty by means of sheer artistic concentration and taken delight in reproducing the finer details of flowers and insects, which incidentally could be rendered in different ways, as can be seen when closely comparing the works of painters such as Jan Brueghel I, Jan Davidsz de Heem and Jan van Huysum. But even artists with a broader brushstroke, those with the socalled ‘loose hand’, could deliver high quality, as we see in the work of Abraham van Beyeren (1620/211690) (cf. Fig. 8.64). The aim of these artists was to create a given reality as an illusion of harmony in shape and colour with a controlled expression of material substances and natural lighting effects. In the course of time these ideals came to be realized with increasing sureness.22

18 See Chapter 6; Crivelli 1868, pp. 74-75. 19 Jones 1988, p. 269. 20 Canvas, 47 x 62 cm, Milan, Pinacoteca Ambrosiana, inv. no. 151. There is no consensus on the date, usually between 1595 and 1603. 21 According to Marquis Vincenzo Giustiniani (1564-1637); Bottari 1822-25, VI, p. 122: ‘Caravaggio disse, che tanta manifattura gli era a fare un quadro buono di fiori, come di figure’. 22 The high degree of specialisation in still lifes applied not only to the diverse forms of flower and fruit pieces, but also to mushroom pieces, the various types of still lifes where objects are arranged on tables (such as monochrome banketjes and laid tables), (dead) game and fowl still lifes, fish still lifes, insect pieces, shell still lifes, tobacco pieces (tabakjes), kitchen still lifes, pantries, stable pieces, barnyard pieces, slaughter still lifes, different types of vanitas still lifes (among them book still lifes), sumptuous still lifes (pronkstillevens), cupboard still lifes, music still lifes, religious still lifes, scientific still lifes, weaponry still lifes and trophy pieces, different versions of trompe l’oeil still lifes (among them quodlibets – literally a gallimaufry of objects seemingly randomly arranged as if held to a board by ribbons, frequently containing letters or other documents and writing materials). Combinations as well as pieces combining different elements can also be found between the various types, as can transitions to other genres of paintings, such as kitchen pieces, market pieces, hunting pieces and interiors.

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Composition and Style

There are remarkable variations in the composition and style of flower still lifes and flower pieces from one period to the next, but also within certain periods. These differences will be treated in the chapters dealing with each specific period, as well as in the discussion of individual painters and works of art. There were also changes in fashion, and, along with these, diversity in the choice of flowers for still lifes over the course of time treated here. Naturally, in addition to differences in composition and style, there is a significant range in quality. This can, in part, be described in objective terms, but frequently additional accompanying subtle differences are difficult to describe and impossible to quantify. A practised eye will immediately be able to discern subtleties in quality intuitively, for example in relation to shape and dimension: for an ornate dish in excessive proportions may be deeply ludicrous, or unbalanced in relation to placement and colour combinations when looking at the juxtaposition of objects of different sizes. It is possible to learn refinement in looking and seeing, and if someone has been sufficiently trained or has substantial experience, that person develops a kind of sense that no longer needs to translate itself into intellectual terms of analysis and synthesis, but seems rather to be semi-conscious. One also learns that quality can go hand in hand with originality, and that some artists reach their creative peak when they are young, others at a more mature age, and still others at the end of their career. There are but few artists, however, whose output remains at their highest level throughout their careers. The student of still lifes must understand this range of quality in order to avoid making the assessment that only the best works of any particular artist are ‘true’ works. Moreover, he or she will be able to see that a good artist is capable of working in different styles even within one single work of art.

Appreciation and Appraisal

In the seventeenth century all types of still lifes were popular, but in the eighteenth century predominantly flower and fruit still lifes were painted. Thereafter interest waned until the nineteenth century when a whole new vision of style and technique was developed. In the twentieth century an interest in old still lifes revived gradually, and during the second half of the twentieth century the paintings fetched higher and higher prices at auction, and collecting still lifes almost became a rage. Different reasons may be cited for this. For centuries these paintings had been seen as boring and were overlooked. In museums, too, they were, until recently, like latchkey children, many works remaining in depots and only a few of the big names exhibited – for flower still lifes this means works by artists such as Jan Brueghel I, Ambrosius Bosschaert I, Jan Davidsz de Heem and Jan van Huysum. Bosschaert was only rediscovered in the nineteenth century, and this was followed in the twentieth century by the rehabilitation of painters such as Balthasar van der Ast (1593/94-1657), Willem van Aelst and Rachel Ruysch. In this latter period, too, still lifes began to be recognized as a genre of painting that was essential for a complete understanding of Dutch and Flemish art history, at a time when these works were relatively inexpensive. Accompanying the renewed appreciation of still lifes were fresh insights into their beauty and symbolic content. The trade profited from this and did its best to promote still lifes even in times of recession, as in the 1930s. That a high value was placed on still lifes in the seventeenth century is clear from the prices that were paid for the best works. These are not at all in keeping with the estimation of art theorists of the time, who regarded these pieces simply as imitations of dead material objects. A few art critics, such as Samuel van Hoogstraten in his Inleyding tot de hooge schoole der schilderkonst of 1678, place them on the lowest rung in the hierarchy of painting subject matter.23 But in the seventeenth and eighteenth centuries, high sums were paid for works by the most sought-after painters – prices on a par with other genres of painting. The average price was perhaps lower than for a history painting or a landscape, but that had more to do with the format.24 Nonetheless in some academic circles the evaluation of still life painting was certainly not positive. In 1667, André Félibien offered the following judgement: [...] that’s why in this Art different Practitioners occupy themselves with different kinds of subjects; it is clear that those who occupy themselves with the most difficult and most noble things, and therefore leave aside the most simple and most common, ennoble themselves by their illustrious work. Thus someone who paints landscapes perfectly is above another who paints nothing but fruit, 23 Van Hoogstraten 1678, pp. 74-75. 24 About the prices of seventeenth century paintings in the early modern period see Korthals Altes 2001 and 2003. For the evolution of prices of flower still lifes at auction during the eighteenth century see Carpreau 2009.

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flowers or shells. Someone who paints living animals is worthy of more esteem than those who paint representations of nothing but dead things without movement; and just as man’s body is God’s most perfect work on this earth, it is also most certainly the subject whose rendering is an imitation of God, and therefore painting human figures is much more excellent than all the rest.25 Gerard de Lairesse, too, in his Groot schilderboek of 1707 dismissed still lifes as having little significance.26 These are the very sources which later art historians have used – up to our own time – as the basis for placing still life paintings on the bottom rung when it comes to the evaluative criticism of painting. The fact that these theorists relate highly personal visions has very likely been overlooked. These theories about the iconology of still lifes, although authoritative, were nevertheless not widely supported. Moreover, both Van Hoogstraten and De Lairesse painted still lifes, although these are exceptions in their oeuvre and not ordinarily counted among their most accomplished works.27 We must also take into account that still lifes were often painted as a training exercise for young painters. Still life paintings are very useful for practising control in learning how to represent the material world, and for experimentation with colour, which all demand highly developed technical skills. This would not have interested all artists, but it is possible to imagine that for some it presented quite an appealing challenge. Painting still lifes demands precision in observation in order to attain faithfulness in representation of the different material objects and colour nuances. Opponents to the opinions of Van Hoogstraten, Félibien and De Lairesse may be found in the writings of a number of authors and poets of the seventeenth century, including Joost van den Vondel, who was considered the greatest literary author of the time in the Netherlands. In 1750, Johan van Gool gave the highest praise to the flower painters Rachel Ruysch and Jan van Huysum.28 In the eighteenth century, Jan Brueghel I, Jan Davidsz de Heem, and also Abraham Mignon (1640-1679) remained highly valued, as may be deduced from estimates in auction catalogues. Nearly all seventeenth-century and eighteenth-century still life painters more or less fell into oblivion in the nineteenth century, even painters such as Ambrosius Bosschaert I and Balthasar van der Ast. Expertise also declined, as can be inferred from the inability at the time in differentiating the works of Jan Brueghel I (1568-1625) from his son Jan Brueghel II (1601-1678), a distinction that even in our own time occasionally raises problems. In the beginning of the twentieth century there was also little appreciation for seventeenth-century and eighteenth-century still lifes, as witnessed by a withering quotation of Vogelsang: ‘neither De Heem, nor Van Huysum, nor even the womanly hand of Rachel Ruysch would we dare to trust in this day even for a table decoration’.29 Vogelsang was later appointed to the rank of Professor in art history. And as late as 1961, when the tide was beginning to turn in Europe, the British art historian and collector Reitlinger wrote: ‘[...] the worship of Van Huysum, the most mechanical and the least inspired of the ‘masters of the tight brush’, showed eighteenth-century taste at its most deplorable.’30 At the beginning of the twentieth century a few small exhibitions of still life paintings were mounted by art societies and art dealers in the Netherlands and Belgium. The most important exhibitions of the interbellum were organized in The Hague, Brussels, and Amsterdam.31 The exhibition organised by

25 ‘[...] c’est pourquoi comme dans cet Art il y a differents Ouvriers qui s’appliquent à differents sujets; il est constant qu’à mesure qu’ils s’occupent aux choses les plus difficiles & les plus nobles, ils sortent de ce qu’il y a de plus bas & de plus commun, et s’anoblissent par un travail illustre. Ainsi celui qui fait parfaitement des païsages est au-dessus d’un autre qui ne fait que des fruits, des fleurs ou des coquilles. Celui qui peint des animaux vivans est plus estimable que ceux qui ne representent que des choses mortes & sans mouvement; & comme la figure de l’homme est le plus parfait ouvrage de Dieu sur la terre, il est certain aussi que celui qui se rend l’imitateur de Dieu en peignant des figures humaines, est beaucoup plus excellent que tous les autres’. Félibien 1668, Préface. 26 De Lairesse 1707, II, p. 260. 27 Van Hoogstraten (1627-1678) painted trompe l’oeil still lifes, for example those now in the Akademie der bildenden Künste in Vienna (dated 1655, canvas, 92.3 x 72.2 cm, inv. no. GG-1406), in Zámek Kroměříž (canvas, 90 x 70.8 cm, inv. no. KE 3193, O 35) and in the Prague Castle Picture Gallery (canvas, 49 x 51.5 cm, inv. no. O 108); De Lairesse (1641-1711) produced a cartouche with flowers, fruit, birds, butterflies and other insects with allegories of the Seasons in bas relief (dated 1664, panel, 67.3 x 89.3 cm, Bayerische Staatsgemäldesammlungen, Staatsgalerie Aschaffenburg (Schloss Johannisburg), inv. no. 6509). 28 Van Gool 1750, I, pp. 210-223; 1751, II, pp. 13-33. 29 Vogelsang 1905, p. 363. 30 Reitlinger 1961, p. 24. 31 The Hague 1926, Brussels 1929, Amsterdam 1933 and 1935. See bibliography for an overview.

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Pieter de Boer in Amsterdam in 1935 focused exclusively on flower still lifes.32 In England the interest in Netherlandish still lifes began somewhat earlier, as is evident from the publication of Arthur E. Bye (incidentally an American) of 1921, and the important overview by Ralph Warner of 1928 that even now is still used as a source on account of its images.33 In 1939 the important collection of Netherlandish still lifes owned by Lady Daisy Linda Ward inherited from her husband ended up in its entirety in the Ashmolean Museum in Oxford, and somewhat later large portions of the collection of Henry Rogers Broughton found their way to the Fitzwilliam Museum in Cambridge.34 Interest in the genre was stimulated further by exhibitions and publications, such as Ingvar Bergström’s monograph of 1947 in Swedish, and more particularly the English language revised edition of 1956, Dutch Still Life Painting in the Seventeenth Century, in which Dutch still lifes were interpreted in relation to their symbolic meanings.35 In 1955 and later publications, Marie Louise Hairs discussed Flemish still lifes, and at the same time Laurens J. Bol began his enthusiastic publications on and exhibitions of Dutch still lifes, although Bol refrained from addressing allegorical interpretations.36 Later surveys in the form of still life exhibitions in all parts of Europe, and in North America, Australia, and Japan contributed to the burgeoning new interest.37 There was something else that stimulated the new appreciation of old still lifes. These are paintings that frequently radiate a certain atmosphere of intimacy that leads to reflection and stillness – in some measure due to the arrangements in space, and in part to the profound attention that the artists bestowed on their works – and thus it is not strange that they speak to those who have a subtle feeling for beauty and culture.

Flowers in Interiors

The question may be posed whether vases with flowers were to be found in the home. Many indications of this can be found in paintings, even if we do not know if they were based on reality. In a number of cases we view a vase with flowers within or directly outside a depicted interior, as in the painting of an art cabinet by Frans Francken II (1581-1642), which includes flowers by Andries Daniëls (Figs 1.3 and 6.30).38 Sometimes paintings of flowers are included as part of an architectural piece, a genre painting or family portrait.39 These examples, however, are not material evidence that this was an actual practice in living quarters. Bouquets in vases are also found in allegorical paintings, such as depictions of Spring or of the sense of Smell, or other subjects, for example in the representation of Superbia by Hieronymus Bosch (ca. 1450-1516), or in works with an allegorical and a historical meaning, such as Rubens’s ‘Four Philosophers’.40 Occasionally flower vases carry a clear symbolic meaning, but this is by no means always the case. Sometimes we see a flower vase in a painting on a windowsill next to a genre scene, as in the work of Jan Steen (1625/26-1679), or in a recess or niche next to a servant, as in the work of Gerard Dou (1613-1675).41 32 Amsterdam 1935. 33 Bye 1921; Warner 1928. A reprint with extensions was published by Segal in 1975. 34 For the still life paintings bequeathed by Ward (1883-1937) see Van Gelder 1950 and Meijer 2003. For the Broughton (19001973) bequest see Neve 1974, London 1993 and Scrase 1997. 35 Bergström 1947 and 1956. 36 For publications by Hairs and Bol see the bibliography. For the exhibitions of Bol see Dordrecht 1954, 1955, 1958, 1962 and Dordrecht & Amsterdam 1959-60. 37 See bibliography for a list of exhibition catalogues. 38 Antwerp, Koninklijk Museum voor Schone Kunsten, inv. no. 816. 39 Examples of idealized architectural pieces are known to have been executed by Nicolaes de Giselaer (1583-1654/59), Bartholomeus van Bassen (ca. 1590-1652) and Sebastiaan Vrancx (1573-1647). De Giselaer places large bouquets of flowers from different seasons in baroque vases in front of a mantel. Nicolaes de Giselaer, Forecourt of a Palace with Figures, dated 1621, panel, 51.4 x 64.1 cm, Cambridge, Fitzwilliam Museum, inv. no. 422, a replica or copy of a painting in the Netherlands Institute for Cultural Heritage, panel, 75 x 106 cm (Schilderijenzaal Willem V, The Hague 1977, p. 3, no. 7 (as Flemish school, early seventeenth century; Segal in Osaka, Tokyo & Sydney 1990, p. 72 n. 39)); Bartholomeus van Bassen, The Rich Man and Lazarus, dated 1624, panel, 55.4 x 86.3 cm, Hannover, Niedersächsisches Landesmuseum, inv. no. A.M. 757. For other examples see the list in the Segal Still Life Documentation in the RKD, The Hague. 40 For Bosch see Chapter 2 and Segal in Osaka, Tokyo & Sydney 1990, pp. 34-35, Fig. 20; Peter Paul Rubens, Peter Paul Rubens, Philip Rubens, Justus Lipsius and Johannes Woverius (‘The Four Philosophers’), panel, 167 x 143 cm, Florence, Palazzo Pitti, inv. no. 85. 41 For example in Jan Steen, Adolf and Catharina Croeser, dated 1655, canvas, 82.5 x 68.5 cm, Amsterdam, Rijksmuseum, inv. no. SK-A-4981; Gerard Dou, Woman at a window, dated 1663, panel, 38.4 x 27.6 cm, Cambridge, Fitzwilliam Museum, inv. no. 34 and Gerard Dou, Woman in a window, dated 1657, panel, 37.5 x 29.1 cm, Waddesdon Manor (Buckinghamshire), collection of Baron de Rothschild. Other examples of paintings with flowers in a vase (selection): Cornelis de Visscher I, A widow with her daughter, dated 1576, panel, 136 x 108 cm, Paris, Musée du Louvre, inv. no. R.F.1950-42; Maerten de Vos,

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Fig. 1.3 Frans Francken II and Andries Daniëls, A collection of paintings and rarities, dated 1618 and 1619, panel, 56 x 85 cm, Koninklijk Museum voor Schone Kunsten, Antwerp.

A contemporary reference to bouquets in interiors can be found in Roemer Visscher’s 1614 emblem book Sinnepoppen (the text was composed in 1590): ‘Just as young women deck the best place in their rooms with a fresh Nosegay of lovely Flowers: yet but a mere eight days and they toss it on the dung heap’.42 The engraving shows a bouquet of cultivated flowers, with Roses, Tulips and a Crown Imperial at the top (Fig. 1.4). A notable example of a bouquet in an interior appears in the background of a family portrait of the Flemish diplomat, substantial property holder and art collector Prince Charles II of Arenberg with his wife Anne Croy-Chimay and their children by Frans Pourbus II (1569-1622), which is thought to have been painted in the last decade of the sixteenth century. It too has a Crown Imperial at the top plus an enormous Apothecary’s Rose in the centre, around which easily recognizable smaller flowers have been arranged, such as Poet’s Narcissus, Tazetta Narcissus and Golden Narcissus, Turk’s Cap Lily, German Iris, Hyacinth, Poppy Anemone and Crown Anemone; two Tulips are lying on the table, while a parrot (probably an African Grey Parrot) looks on from its perch on the windowsill.43

42

43

Family portrait of Antonius Anselmus, Joanna Hooftmans and their children Gillis and Joanna, dated 1577, panel, 103 x 166 cm, Brussels, Koninklijke Musea voor Schone Kunsten van België, inv. no. 3689 (Fig. 1.9); Sebastiaan Vrancx, Company, dated 1624, panel, 61 x 84 cm, sale Frederik Muller, Amsterdam, 14 December 1948 from the collection of L.M. Hedema of Almelo; Frans Francken II, Scholars in an art cabinet, dated 1612, panel, 89.2 x 102.2 cm, London, Johnny Van Haeften 2000; Frans Francken II, Abraham Ortelius and Justus Lipsius, dated 1617, canvas, 52.5 x 73.5 cm, Paris and New York, Haboldt 2000; Frans van Mieris I, The Allegory of Transience, dated 1661, panel, 26 x 28 cm, Amsterdam, Rijksmuseum, inv. no. A263; Quiringh van Brekelenkam, Old woman with a spindle, dated 1662, panel, 26.5 x 22.3 cm, London, Larsson 1965; Cornelis Bega, Servant girl asleep, dated 1663, canvas, 35.7 x 30 cm, London, John Mitchell & Co 2001; Michiel van Musscher, Family portrait of Johannes Meerman, dated 1669, panel, 53 x 44.5 cm, Paris, Musée du Louvre, inv. no. 1840; Pieter van Slingelandt, Michiel Comans and his wife Elisabet van der Maersch, dated 1669, canvas, 71 x 63 cm, Amsterdam, Rijksmuseum, inv. no. A4135; Emanuel de Witte, Man and woman with servant, dated 1678, canvas, 68.5 x 86.5 cm, London, Terry-Engell Gallery. Flowers in a vase appear also in seventeenth-century paintings by Job Berckheyde, Reinier de la Haye, Pieter de Hooch, Jacob Jordaens, Cornelis de Man, Gabriël Metsu, Carel de Moor II, Caspar Netscher, Adriaen van Ostade, Peter Paul Rubens, Godfried Schalcken, David Teniers I, Aleida Wolfsen, Domenicus van Tol; and also in eighteenth-century works by Cornelis Troost, Philip van Dyck and Jacob Hoet. For other examples see the list in the Segal Still Life Documentation donated to the RKD. ‘Ghelijck als de Ioffrouwen een versche Ruycker van schoone Bloemen setten in het best van haer kamer: maer het duert gheen acht daghen, of zy werpen die op de mishoop’. Visscher 1614, emblem LIX, ‘Iong Hovelingh, out schoveling’ (‘Young a-courting, old a thwarting’), which means first beautiful and useful, later thrown away. Amsterdam, Rijksprentenkabinet, inv. no. BI-1893-3539-126. Canvas, 223 x 227 cm, Leuven, University of Leuven, inv. no. 54052. Laca (2008, p. 31) attributes this work to Raphael Coxcie (1540-1616), who was in close contact with Clusius and also praised as a great artist by Dodonaeus and Lobelius, which strikes me as an unlikely attribution. The bouquet appears to be a simplified composition modelled on botanical prints of the period, for example those by Jacob Kempener (active 1586-1650) with a large central bloom (Figs 10.24-29), and those

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Fig. 1.4 Roemer Visscher, Iong Hovelingh, out schoveling from Sinnepoppen, 1614, 137 x 188 mm, Rijksprentenkabinet, Amsterdam.

Botanical Writings after Antiquity

Ancient Greek and Roman knowledge of the world is preserved in original manuscripts, but most of these were copied in later periods. This also holds true for their knowledge of plants and animals. It was only much later that (often emended) texts and illustrations appeared in print based on those copies, along with commentaries and translations, frequently in multiple versions. The original images that accompanied these sources have not been preserved. The copies, usually made by monks who had no knowledge of the plants they were writing about, do contain images that are almost completely unrecognizable in later printed editions. From Greek Antiquity on plants were used for their medicinal properties. A Byzantine manuscript from ca. 512 has been preserved containing the text of the Greek botanist Pedanios Dioscorides, with more or less recognizable plants in colour which are based on earlier representations.44 More original is the work from around the third century BCE, Historia Plantarum by Theophrastus. Dioscorides’ De Materia Medica in five books was a standard work for medicinal, nutritional and culinary knowledge of herbs until the fifteenth century, and was still appearing in printed editions well into the seventeenth century. The most popular revisions were those of Andrea Mattioli, which appeared in numerous printings from 1544 on, accompanied by many good but imprecise illustrations; other Western herbals adopted much information from these. With regard to the text, the oldest herbals looked back to medieval encyclopaedic manuscripts on healing plants, plants used for culinary purposes, and those used as building materials. There are manuscripts dating from the late Middle Ages on health with illustrations from human culture, mostly images of gardens, such as the Tacuinum Sanitatis in Medicina.45 There are no extant paintings of cloister gardens, however we do have examples related to the cult of the Virgin Mary as an enclosed garden or

44 45

with a Crown Imperial and an African Grey Parrot, such as a 1599 print by Elias Verhulst (ca. 1575-1601) (Fig. 10.3). The choice of flowers in the painting also corresponds with those of the earliest prints, which leads one to infer a just slightly later date for the family portrait, immediately after 1600. Vienna, Österreichische Nationalbibliothek, MS Codex Vindobonensis Med. Gr.1. It belonged to the Greek Princess Anicia Juliana (ca. 460-before 532). A lovely facsimile has been published (Graz 1965-1970) with a separate commentary. See Blunt 1950, pp. 10-13. Preserved in four codices from ca. 1380 (Université de Liège, MS 1041), ca. 1390 (Vienna, Österreichische Nationalbibliothek, MS 2644), and the fifteenth century (Paris, Bibliothèque National de France, and Rome, Biblioteca Casatenense); based on the Arabic work Taqwin es-sihha by Ibn Butlan written in Antioch before 1064 and translated into Latin in the thirteenth century at the request of King Manfred of Sicily. There are facsimile editions of the Viennese Tacuinum and related manuscripts.

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hortus conclusus, which is also sometimes found in tapestries. The concept derives from the Song of Songs: ‘A garden inclosed is my sister, my spouse; a spring shut up, a fountain sealed’.46 Mary was an allegorical representation of the bride, analogous with Ecclesia, the Church. In the patristic interpretation of Jerome, Mary was the bride: ‘Hortus conclusus [...] similtudinem habet Matris Domini, matris et virginis’.47 One of the most famous illustrations of this is the Paradiesgärtlein with fifteen different species of identifiable flowers, painted by an anonymous master from the Upper Rhine area around 1410 and now in the Städel Museum in Frankfurt.48 After 1470 the first herbals were printed, often with very imprecise woodcuts based on illustrations in manuscripts that had been copied or rewritten numerous times. To a great extent they were based on the Naturalis Historia of Pliny and various medieval manuscripts such as Macer Floridus, erroneously attributed to the poet Aemilius Macer.49 One of the oldest is the Buch der Natur by Konrad von Megenberg, first printed in 1475 in Augsburg, which, although it does not only discuss the plants, contains one page of woodcuts with various plants – most of them unrecognizable – including possibly a Cornflower in a pitcher with the monogram IHS.50 The first real herbal is the Latin untitled work referred to as the Herbarius (also known as Herbarius Latinus and by other titles) by Peter Schöffer, published in Mainz in 1484, with very primitive illustrations obviously not taken from nature.51 Of more importance is the Herbarius zu Teutsch (also called the Ortus Sanitatis and other titles), published a year later by the same printer, attributed to the physician Johann Wonnecke von Kaub, who had travelled to the Holy Land to study the plants around the Mediterranean that had been described in Antiquity.52 This German-language edition was not a translation of the Latin Herbarius and had better illustrations, some of them created by Erhard Reuwich (ca. 1450-after 1505) of Utrecht. Another herbal is Den Herbarius in Dyetsche, published by Johannes Veldener in Dutch in 1484 and printed in Culemborg, a town just south of Utrecht.53 From the later fifteenth century until after 1530, many mostly anonymous publications appeared that were partially based on these sources. The images were drawn without shadows, just like the woodcuts in the herbals that followed in the sixteenth century. In the sixteenth century, initially in Germany and later in the Netherlands, herbals were issued with fine woodcuts that were sometimes also coloured in. The first one, published in 1530, by Otto Brunfels (ca. 1488-1534), was the Herbarium Vivae Eicones. Between 1531 and 1536 a second and third part followed, printed in Strasbourg, all parts with full-page woodcuts after drawings from nature by Hans Weiditz II (1495-ca. 1537).54 In 1532 the German language Contrafayt Kreüterbuch appeared with 77 new illustrations, commissioned by the printer.55 A number of the original drawings for these woodcuts (although cut up) are preserved in the Burgerbibliothek in Bern (Fig. 1.5).56 The watercolours were quite possibly influenced by the botanical watercolours of Albrecht Dürer (1471-1528) from about 1526, painted only a few years earlier, but they differ in their outlining of the plants – something that is useful for the printmaker. Brunfels’s text was, for a large part, still based on the classical botanical-medical lore of the Herbarium zu Teutsch, but primarily because of the fine woodcuts this edition can be seen as the model for all the large herbals that were subsequently printed. It was followed in 1539 by the German language New Kreütter Buch by Hieronymus Bock (1498-1554) without woodcuts, although later editions are illustrated.57 But the great leap forward in terms of botanical illustrations came in 1542 and 46 Song of Songs 4:12. 47 Jerome, Adversus Jovinianum. 48 Panel, 26.3 x 33.4 cm, Frankfurt, Städel Museum, on loan from the Historisches Museum, Frankfurt, inv. no. HM54. 49 De viribus herbarum, a didactic poem by Odo Magdunensis of Meung on the Loire from the eleventh century, and others. See Mayer & Goehl 2003. 50 Von Megenberg 1475. IHS is a medieval monogram that is interpreted in different ways, mostly as Iesus Habemus Socium, ‘We have Jesus as a friend’, and thus a sign of faith in Christ. 51 Schöffer 1484. 52 Von Kaub 1485. It is also attributed to Johann[es] Dronnecke and Johannes de Cuba. 53 Veldener 1484. This edition was based on Schöffer 1484. In 1486 Veldener published a Latin edition in Leuven. Veldener 1486. 54 Brunfels 1530-36. 55 Brunfels 1532-37. 56 Bern, Burgerbibliothek, inv. no. BBB ES 71 (1). Fig. 1.5 shows Weiditz’s Daffodill (Narcissus pseudonarcissus) as it appeared in Brunfels 1530, p. 129 and the German language edition of 1632, p. LII; see Rytz 1936, p. 9 and Pl. 1. Although the woodcuts in the herbals by Brunfels are lovely, they often miss the subtlety and detail of the watercolours. The watercolours were discovered in 1930 in the pages of a herbarium owned by Felix Platter (1536-1614), who was a physician and university professor in Basel. See the facsimiles in Rytz 1936. 57 Bock 1539.

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1543 with De Historia Stirpium and the New Kreüterbuch by Leonhart Fuchs (1501-1566), with full-page woodcuts sometimes containing figures in lively detail by Veit Rudolph Speckle after Albert Meyer and Heinrich Füllmaurer (ca. 1500-1547/48); the text of these books, however, was still partially based on Dioscorides.58 These three authors – Brunfels, Bock and Fuchs – are therefore the ‘forefathers’ as it were of the herbal. All of them may be found in modern facsimile editions.59 The first edition of the Cruijdeboeck of Rembert Dodoens (1517/18-1585), better known as Dodonaeus, followed in 1554, published in Antwerp, with several illustrations after Fuchs.60 A number of revised and expanded editions followed, including the last edition of 1644 which formed an important synthesis of knowledge up to that point in time.61 The primary goal of all these herbals was to describe the medicinal properties of plants. From 1574 onwards Dodonaeus was a physician in the service of the Habsburg Emperor Maximilian II, and from 1576 until 1580 he was appointed to his successor Rudolf II. In the interim botany had begun to expand and was becoming a scientific form of knowledge, with scholars, inspired by a sense of wonder for the many forms and colours in nature, travelling to far-off lands to see and describe new plant types. These plants were also cultivated in botanical gardens, the oldest such being founded in 1543 in Padua. Charles de l’Escluse (1526-1609), better known as Carolus Clusius travelled to Spain, south-eastern Europe and the Alps. He served as hortulanus (chief gardener) to Emperor Rudolf II in Vienna, and brought Tulips and other exotic plants back with him to Leiden. He became a professor at the founding of the Leiden University in 1577, and played an important role in the creation of its botanical garden. In addition to Tulips, Clusius also introduced the Hyacinth, Crown Imperial, Anemone, Jasmine and Lilac to Holland, although they were in part already known in Antwerp; he also brought back potatoes and tomatoes. His most important work is the Rariorum plantarum historia, published by Plantijn in Antwerp in 1601, which contained a lot of information about Tulips.62 Plantijn had already published works by Dodonaeus and Lobelius (Matthias de l’Obel) (1538-1616), and often used the same woodcuts in different books. In 1581 he published a complete survey of woodcuts up to that time: Plantarum seu stirpium icones with 2191 woodcuts (Fig. 1.6), among them those made after Pieter van der Borcht I (ca. 1535-1608).63 A large number of the original blocks have been preserved and can be found in the Museum Plantin-Moretus in Antwerp.64 In England, The Herball or Generall Historie of Plantes by John Gerard was renown, appearing for the first time in print in 1597.65 But Dodonaeus’s Cruijdeboeck, published in 1554, remained the leading herbal compilation of the time. The title-page for the 1608 and certain later editions, executed by the Leiden printmaker Willem Isaaksz Swanenburgh, shows a circular portrait of Clusius in the lower left and a circular portrait of Dodonaeus in the lower right. Beside the title on the left we see a globular cactus in a pot and on the right an Opuntia, both species from the New World, while on both the left and right of a column we see a twotiered vase with a Turk’s Cap Lily on a long stem. Additional ornamentation on the title page includes festoons, garlands and cornucopiae of fruit.66 From the end of the seventeenth century scientific works of botany on the subject of plants grown in botanical gardens started to appear, with copper engravings based on watercolours by highly skilled artists.67 The study of plants was greatly advanced by the use of the magnifying glass from the late sixteenth century onwards. Closely intertwined with the idea of botany as an emerging science was the growing interest of a wider public in beautiful and exotic flowers. 58 Fuchs 1542 and 1543. The original drawings are preserved in the Österreichische Nationalbibliothek in Vienna. The images were often imitated in later herbals. 59 In addition to these three publications, there was the Kreutterbuch by Eucharius Rösslin I, printed in Frankfurt in 1533; it is primarily a compilation of earlier books, and many illustrations are reverse images after Brunfels. Rösslin 1533. 60 Dodonaeus 1554. 61 Dodonaeus 1644. 62 Clusius 1601. 63 Lobelius 1581a, part 1, p. 123. The work was dedicated to Severinus Gobelius, physician to the Duke of Prussia. About Pieter van der Borcht see Depauw 1993. For Plantijn see Antwerp 1993. A Spring Snowflake may also be found in Bock 1552, Lobelius 1581, part 1, 159 and Clusius 1601, p. 168. 64 Antwerp 1993, pp. 130-138. 65 Gerard 1597. 66 Dodonaeus 1608 and 1644. 67 Lovely examples are the illustrated publications on the Hortus Botanicus in Amsterdam by Johannes (1629-1692) and Caspar (1668-1731) Commelin based on 420 extant watercolours by the hand of several artists, including Johannes (1672/731708) and Maria (1676-1757) Moninckx, Alida Withoos (ca. 1659-1730), Johanna Helena Herolt-Graff (1668-after 1723) in eight (and one later) large folio albums in the collection of the University of Amsterdam; see Wijnands 1983.

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Fig. 1.5 Hans Weiditz, Daffodil, ca. 1529, watercolour, ca. 390 x 260 mm, Burgerbibliothek, Bern. Fig. 1.6 Lobelius (Matthias de l’Obel) (attributed), Spring Snowflake from Plantarum seu stirpium icones, 1581, private collection.

Gardens and Garden Flowers

During the last quarter of the sixteenth century, princes and patricians in Europe started to acquire ornamental gardens in which beautiful and predominantly exotic flowers were grown. The majority of the latter came from the area of the Mediterranean and Asia Minor. These plants were extremely expensive and thus only the rich could afford such a garden. Ornamental gardens from this period and at the start of the seventeenth century cannot be compared with the ornamental gardens today around homes and country estates: they were like cabinets of curiosities out-of-doors that could be used for ostentatious display. Each flower had to be easy to view individually, as in a botanical garden, and thus the borders were not planted according to later ideas of beauty; rarity, in fact, was of much more significance than beauty. It is possible to trace a development both in the traditions and fashion in garden design, as well as in the species of flowers that were grown. These were not the oldest gardens in the world. The ancient world had after all known the gardens of Babylon, Pompeii and Rome that were seen as a kind of extension of nature. In a restored wall painting in Pompeii we see a garden of the Vestal Virgins enclosed by rows of columns with flowers placed between the statuary, stone tables, fountains and garlands.68 A fresco containing citrus trees was transferred in 1869 from the Villa of Livia in Prima Porte to the Palazzo Massimo alle Terme in Rome.69 Moreover, flowers and fruit can be seen in painted ceilings by Giovanni da Udine (1487-1561/64) from around 1518 in the Villa Farnesina in Rome.70 There were gardens in Persia in the late Middle Ages and in Turkey in the late sixteenth century that contained species of flowers that found their way to Europe, such as the Hyacinth, the Crown Imperial, Irises, Pinks (especially the Carnation) and Turban Buttercups. In 1521, the Spanish saw Aztec flower gardens in Montezuma in Mexico containing species imported from the mountains. In 1561, the Spaniard Monardes published the first book about American plants, which included the Sunflower. From America also came species of Marigold, Garden Nasturtium, Marvel of Peru and Garden Balsam. 68 Gwynne-Jones 1954, p. 31, Pl. 4. 69 Bazin 1960, p. 9 70 Bazin 1984, pp. 58-61, with list of the species.

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Botanical gardens specialized in growing exotic plants, especially ornamental flowers. The species were usually acquired as bulbs, sometimes as tubers or rhizomes, and only later also in the form of seeds. In 1568, Hans Vredeman de Vries (1525/26-1609) published a series of prints of architectural designs containing geometrical gardens with vases around a fountain; each vase contained a single flower or a few Carnations. In 1583 he produced a series of geometrical garden designs with flowerbeds.71 These prints seem to have retained their status as a valuable source of garden design until after the middle of the seventeenth century, as may be seen in the Hortus Floridus, a florilegium from 1614 by the still young Crispyn de Passe II (ca. 1594-1670).72 In the print with a garden and a figure in the foreground we see Tulips, Irises, Crocuses, Hyacinths, Squill, Anemones, Crown Imperial, Pyrenean Turk’s Cap Lily, Auriculas, Gladiola, Peony, Columbine, Snake’s Head Fritillary, Grape Hyacinth, Narcissus, Arum, and others; a French Rose and Honeysuckle are climbing around the left pillar, and Snowball and Lilacs around the right one (Fig. 1.7).73 In another print of a garden from the Hortus Floridus the following can be identified: Roses, Carnations, Hollyhocks, French and African Marigolds, Sunflower and Tobacco (Fig. 1.8).74 The text of the florilegium mentions thirty gardens in the cities of Utrecht, Amsterdam, Haarlem and Leiden, which De Passe possibly used for making his prints.75 Gardens may be further observed in a number of prints and paintings from the time.76 In Antwerp and its environs, too, gardens were to be found. For example, Pieter van Coudenberghe, an apothecary in Antwerp, kept a garden in Borgerhout with approximately six hundred different species of flowers.77 Ornamental flowers began to appear in copper engravings in published florilegia in the period between ca. 1586 and the first quarter of the seventeenth century (and later reissues).78 The engravings were sometimes coloured. The earliest florilegium is that of Jacques le Moyne de Morgues (ca. 15331588), a French Huguenot from Dieppe who moved to England, where, about 1585, the florilegium was published in London. A number of watercolours of flowers by this artist are preserved and may be found in different locations.79 Later, series of flowers began to appear in watercolour, and a number of them exclusively devoted to Tulips were collected into Tulip books. These could be used by growers and dealers to display the flowers to potential buyers of Tulip bulbs during the seasons when the flowers were not blooming – in the Autumn and the Winter before they would be planted in the ground – and also served to differentiate the related varieties. Painted flower pieces served the purpose of display. They were an important form of decoration, since aside from expensive wall hangings and possibly hand-coloured prints there were scarcely any other means of decorating the walls of interiors. In addition, the flower pieces were able to convey a message that could be symbolically interpreted, inspired by sources such as emblem books.80 71 Segal in Osaka, Tokyo & Sydney 1990, pp. 42, 159-161, no. 12A-C with bibliography. 72 There was also a Dutch edition, Den Blomhof, a French edition, Jardin de Fleurs, both in 1614; and an English edition, A Garden of Flowers in 1615; see Chapter 11. 73 Upperville (Virginia), Oak Spring Garden Foundation, inv. no. RB1171. 74 Upperville (Virginia), Oak Spring Garden Foundation, inv. no. RB1171. 75 Segal 1987, p. 95. 76 Examples of prints with gardens: Pieter van der Heyden after Pieter Brueghel I, Ver; Crispyn de Passe I, Ver, 1604; in Dodonaeus 1608 (on the title page the garden is copied in reverse with a few modifications); in De Bry 1611 and 1612, and based on De Bry, in Sweert 1612; Cats 1618, p. 52, emblem XXVI; Hondius 1623, pp. 21-22 (A. Van der Venne); Hendrick Hondius I after David Vinckboons, Ver, 1618; Cats 1632, p. 158, emblem LII; Hendrick Hondius I after Jan Wildens, Aprilis from a series of months. For more examples see Chapter 10 and the Segal Still Life Documentation in the RKD, The Hague, also for examples from later periods. Examples of paintings with gardens: Pieter van Avont and Jan Brueghel I, Flora in a garden, copper, 47.8 x 70.4 cm, Vienna, Kunsthistorisches Museum, inv. no. 1692; Peter Paul Rubens and workshop, Rubens with his wife Hélène Fourment and his son Nicolaes walking in the garden, ca. 1630, panel, 98 x 130.5 cm, Munich, Alte Pinakothek, inv. no. 313; David Teniers I, Vertumnus and Pomona before a garden, dated 1638, copper, 47 x 61.4 cm, Vienna, Kunsthistorisches Museum, inv. no. 738; Willem van Schoor and Gillis van Tilburgh, The hotel of Nassau in Brussels, dated 1658, canvas, 123.5 x 203 cm, Brussels, Koninklijke Musea voor Schone Kunsten van België, inv. no. 224. For more examples see Crisp 1979 and the Segal Still Life Documentation in the RKD, The Hague, also for examples from later periods. 77 Vandewiele 1993, p. 23. 78 For an introduction with a survey of florilegia, see Chapter 11. 79 London, The British Museum; Washington, Dumbarton Oaks, and London, Victoria & Albert Museum; see Hulton et al. 1977. It is highly unlikely that his work was influenced by Jean Bourdichon (ca. 1457-1520/21) and that it in turn influenced Jacques de Gheyn II (1565-1629) and Crispyn de Passe I (ca. 1564-1637), as Brenninkmeijer-de Rooij tried to demonstrate without success (Brenninkmeijer-de Rooij 1996, pp. 42-44 and Figs 43-46). The differences are too great, and similarities will always occur when depicting the same species. 80 See Chapter 2.

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Fig. 1.7 Crispyn de Passe II, Garden from the Hortus Floridus, 1614, engraving, 187 x 267 mm, Oak Spring Garden Foundation, Upperville, Virginia.

Fig. 1.8 Crispyn de Passe II, Garden from the Hortus Floridus, 1614, engraving, 195 x 270 mm, Oak Spring Garden Foundation, Upperville, Virginia.

They could also be seen as the representation of a flower collection, the underlying idea being a display of the myriad beauty of Creation. At the beginning of the seventeenth century flowers were traded at the international fair in Frankfurt am Main, and around the same time growers began to establish themselves in the provinces of North and South Holland. Exotic flowers were extremely expensive. We can gain an impression of the prices commanded by flower bulbs at auction from various records, including Tulip books, a few surviving letters, and several printed price lists.81 Grower Nicolaas van Kampen of Haarlem compiled a 81

See Harvey 1972, pp. 65-74, for an overview from the beginning of the seventeenth century in England, with a list from ca. 1677 from William Lucas in London with approximately 350 plants, seeds and roots, also including herbs, vegetables and medicinal plants. For an example of prices in a Tulip book see Segal 2019.

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price list, dated 1739, and containing more than 1500 ‘species’: Tulips, Hyacinths, Anemones, Ranunculus, Narcissuses, Crocuses, Lilies, Fritillaries, Crown Imperial and Cyclamen – combining both the old and new flower fashions of the time.82 Moreover, in 1773 dealers from Leiden published a list with the names of approximately 950 Tulips and 250 Hyacinths; the majority of these names cannot be found in seventeenth-century sources.83 On account of speculation, the prices for flowers could become excessively inflated. This happened to the prices of Tulips between 1633-1637, the period of Tulip Mania, the Tulip craze; and the exact same thing happened one hundred years later with the prices for Hyacinths.

Flower Fashion

During Antiquity and the Middle Ages, plants were valued in the first place for their medicinal properties, as a source of food, and trees primarily as building materials. Cloisters, castles and later on palaces had their own herb gardens and orchards. Palaces also had ‘gardens of love’ or ‘pleasure gardens’, which were separated by walls, fences, or (Rose) hedges, frequently with a fountain, where it was possible to retire from the world. There are descriptions of such gardens as early as the thirteenth century in the work of Albertus Magnus.84 Starting in ancient Greece, plants had been described in writing; in the Middle Ages these definitions were often compiled in encyclopaedic works.85 In addition, we have several lists from the Middle Ages of plants that were grown.86 It sometimes happened that ornamental flowers achieved a name or fame because of their beauty or scent. In mythology flowers and plants were attributes of the gods, for example the Rose of Aphrodite in Greece and Venus in Rome; or, as in Ovid’s Metamorphoses, they were attributed to the transformation of a human body, as was the case with Adonis and Daphne. During certain celebrations in ancient Rome Rose petals were strewn about. In the Middle Ages a limited number of species of flowers were grown for the decoration of altars, for example Lilies (especially the Madonna Lily), Irises, Roses, Peonies, Violets, Carnations and Columbine, and a few other kinds which we see in tapestries or in the strewn flowers that decorate the borders of Books of Hours. It was only in the sixteenth century that new species of flowers started to flood Europe – mostly from the Alps, Southern Europe, and Asia Minor, with a few from the Americas – and this inundation reached its first highpoint in the seventeenth century. After that, a new wave of varieties of these species ensued, both by spontaneous means and by cultivated hybridization, as well as by other methods of growth, such as mutations, monstrosities and changes caused by viruses.87 In order to find out what species of flowers were known, we can consult herbals and flower books from the sixteenth through the eighteenth centuries. Paintings and drawings give us extra information, not only regarding the types of flowers that had been recently acquired, but also regarding which cultivars were popular in a given period. If we take as our point of departure bulbs, tubers and rhizomes (and leaving aside the few annuals and ordinary rooting plants that were grown from seed), it appears that between 1500 and 1550 there were only eleven species known, as far as can be ascertained from herbals, paintings and miniatures. During the next fifty years this increased by fifty species, and half of those were only introduced in the last ten years of the sixteenth century. Between 1600 and 1615 approximately one hundred and twenty new species were introduced, followed by a marked decrease in new introductions so that by the 1690s only thirty new species were added. In the seventeenth century there was, in fact, an enormous growth in the number of hybrids and varieties, particularly of Tulips, of which nearly a thousand cultivars received their own individual name between 1630 and 1640. Around 82 Krelage 1946, facing p. 272. 83 W. van Hazen, H. Valkenburgh & Co. The printed list is unpublished and forms part of the Segal Still Life Documentation in the RKD, The Hague. 84 Albertus Magnus, De vegetabilibus, pp. 636-663; Crisp 1979, pp. 23-33. 85 A few examples: Theophrastus, Historia Plantarum; Vergil, Georgica; Dioscorides, Codex Vindobonensis; Melito of Sardis, De lignis et floribus; Isidore of Seville, Etymologiarum; Hrabanus Maurus, De Universo; Vincent of Beauvais, Speculum naturale; Albertus Magnus, De vegetabilibus; Thomas of Cantimpré, Liber de Natura Rerum. 86 Charlemagne’s decrees listing plants for his castles: Caput 70 of Capitulare de villis vel curtis imperialibus from around 820, also attributed to Louis the Pious of Aquitania (Gascoigne) in France and dated ca. 795 (Fischer 1929, p. 132). A complete list is in Meyer 1856, pp. 401-412; the list is headed by the Madonna Lily and Roses. 87 Small variations are called forms, only clearly inherited forms are called varieties, while cultivated varieties denote forms introduced by growers that were often propagated by non-sexual means by cutting and rooting; crossings or hybrids are introduced by pollination (spontaneous or otherwise) of different varieties or species; mutations are sudden genetic changes, sometimes only effecting parts of the plant; monstrosities are deviations, which may be caused by viruses or by galls caused by insects. Occasionally such deviations were expressly passed on, for example in the case of many forms with multi-coloured leaves. The viruses were only discovered in the nineteenth century after Pasteur’s research.

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1690 there was a new wave of species introduced from South Africa, approximately forty species within twenty years, followed by thirty species in the following fifty years up to 1760, when a new wave started with approximately fifty new species from all parts of the world.88 The earliest florilegium in the Low Countries was compiled by Adriaen Collaert (ca. 1560-1618) in the last decade of the sixteenth century and had several types of flowers on each page (Fig. 11.3). It could be used as a model book by all kinds of practitioners of the applied arts, for example by embroiderers and goldsmiths. Later florilegia often consisted of a series of prints for flower lovers, usually bundled together in an album. In 1608, Pierre Vallet (ca. 1575-ca. 1650) published a florilegium of the flowers in the garden of Henri IV in Paris (Fig. 11.13).89 This was followed in Germany by Johann Theodor de Bry’s (1561-1623) Florilegium novum in 1611 (Fig. 11.16); by the Florilegium of Emanuel Sweert (1552-ca. 1612) in 1612 (Fig. 11.17); and by the Hortus Eystettensis of Basilius Besler (1561-1629) in 1613, which depicted 667 species in large format (Fig. 11.19). In 1614 in the Netherlands the Blomhof of Crispyn de Passe II was published in both Utrecht and Arnhem, which is best known by the title of the Latin edition: Hortus Floridus (Fig. 11.11).90 Further information is provided by a series of coloured drawings, some of them made on commission.91 These drawings were often bundled together into albums, sometimes in the form of a Tulip book. We know of such albums for a number of artists including Jacques de Gheyn II, Balthasar van der Ast (Fig. 7.8), Pieter van Kouwenhoorn (1599-1654; Fig. 11.22), Jacob Marrel (1613/14-1681), Anthony Claesz (1607-1649), Jacob Vosmaer (ca. 1584-1641), Pieter Holsteyn II (ca. 1614-1673), François de Geest (ca. 1635-before/in 1682; Figs 11.23 and 11.24), and Pieter Withoos (1654/55-1692); and in the eighteenth century for Aert Schouman (1710-1792), members of the Van der Vinne family, and Hendrik Schwegman (1761-1816).92 Outside the Netherlands, too, quite a few important series of drawings were produced, including, in the sixteenth century, one by the Swiss Conrad Gesner (1516-1565); and in the seventeenth century those by the Bohemian resident of Frankfurt am Main Georg Flegel (1566-1638), the German Hans Simon Holtzbecker (ca. 1615-1671), and the Frenchman Nicolas Robert (1614-1685). There were also flower books of significant interest produced in the eighteenth century, such as the albums created by the German Johann Weinmann (1683-1741).

Tulips

Tulips were the flowers that aroused the most awe and fascination. They are striking flowers first because of their size and shape, but also perhaps even more because of their enormous range of variation in colour and colour patterns. Originally the colouring of species Tulips (or botanical Tulips) was predominantly a single hue: red, purple, yellow or white, possibly with combinations of colours at the edges or at the base, although rarely with different colour patterns. With hybridization (sexual propagation) colours can be mixed and form patterns of stripes, flecks or flames. Cross-breeding between the more closely related species occurs in nature when these grow together in proximity; this is because in terms of evolution Tulips are still quite ‘young’, and the differentiation of the different species 88 Segal 1982c gave numbers based on Monocotyledon plants; imported plants were, for the most part, made up of Monocotyledon bulbs. Large numbers of Dicotyledon plants, which make up a greater portion of the plant kingdom, were mostly introduced after 1800. If we take a look at the combined number of species (including botanical species that were not seen as ornamentals or useful plants) then we arrive at the following cumulative totals: approximately 5,000 by 1600; 10,000 by 1700; 20,000 by 1800; 200,000 by 1900; and more than 500,000 in our own times (cf. Cailleux 1953). This number is less than the total number of insect species that far exceeds one million. 89 Vallet drew the plants in the garden of Henri IV where Jean Robin was hortulanus. 90 De Bry was born in Strasbourg. His work appeared in 1611 in a small print run, followed in 1612 by a larger printing, which is the edition usually referred to in the literature. Supplements were issued in 1618. De Bry adopted a number of prints from Vallet. Sweert hailed from Holland and his florilegium was intended as a sale catalogue for bulbs at the annual fair in Frankfurt. He copied several of De Bry’s prints, which the latter in turn had copied from Vallet. Besler described the flowers in the garden of the prince and bishop of Eichstätt. Besler’s and De Passe’s florilegia each appeared in four parts coinciding with the four seasons of the year. De Passe published a few supplements. There are re-issues of all these publications, most of them in facsimile. An extensive discussion of the florilegia can be found in Segal 2001; see also Chapter 11. 91 Drawings done in watercolour, gouache, or in mixed-techniques are referred to here and elsewhere as watercolours. 92 For the dates of publication see the following chapters. In addition to the list above, the botanical garden of Amsterdam is the source of such a book dating from the end of the seventeenth century by Johannes and Maria Moninckx and others; cf. footnote 67. The earliest dating of a Tulip book is found in the copy in the NEHA Amsterdam (1630): a large collection with sixteenth-century watercolours by different artists, including Jacques van Corenhuyse (died 1584). The Libri Picturati watercolours in the Biblioteka Jagiellońska in Kraków include drawings possibly by Pieter van der Borcht I (ca. 1535-1608) and certainly those of a monogrammist LMPT; about the drawings in Kraków see De Koning et al. 2008.

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has not yet developed to the point where constant traits strictly determine each individually.93 When different kinds of wild Tulips are brought together in nurseries and gardens then cross-breeding may occur between different species that do not naturally grow in the same area, or even between those from lands that lie far apart. Hybrids can cross-breed again with other species or sub-species, or even with other hybrids, as long as no sterility barrier arises, as usually first arises between distantly related species. There was, however, another very different reason for the multifariousness: a virus carried by aphids. Certain hybrids may exhibit a genetic pattern with favourable traits, such as larger size and more robust and resilient forms that live longer, which make them suitable for cultivation. More often though hybrids show a weakening of the inherited traits making them more susceptible to viral attack. In both cases the shape and colouring are no longer uniform and unchanging, which means that in the following generations they will weaken even further, since the virus is passed on to the descendants. Carolus Clusius noticed this weakening in 1601, but he could not find a good reason for it because viruses were unknown at the time. Colour patterns in hybrids may, generally speaking, be differentiated from those caused by viruses because the colour patterns of species, sub-species, varieties and mutants are marked by high contrast, whereas in those affected by the virus the colours blend into one another. A good grower today recognizes a Tulip with a virus and will immediately remove it, bulb and all, in order to prevent further contamination.94 According to Clusius, a merchant of Antwerp received several Tulip bulbs from a member of the crew of a ship that had sailed from Istanbul, which he thought were some kind of edible onion. But the taste did not appeal to him so he threw them out with the rubbish in the garden. From there, a merchant from Mechelen, Joris van de Rye, took them and grew them into beautiful Tulips.95 In 1601, Clusius wrote a scientific treatise on the Tulip and its many varieties. Lobelius had preceded him, publishing in 1581 an extensive description of the Tulip’s treasures, illustrated with twenty-five woodcuts. Clusius, however, provides observations and explanations of a more scientific kind.96 As already mentioned, the Tulips that were thought to be the most rare were extremely expensive – the prices soared to over ten thousand guilders for a single bulb in 1637, after which a crisis set in. Tulip Mania has received extensive treatment in scholarly literature, starting with Krelage’s seminal publications of 1942.97 References to the history of the Tulip in the period are therefore kept brief in the present discussion. We encounter the first Tulips in two watercolours dating from after 1555 in an album of plant drawings, in large part executed by the Swiss Conrad Gesner. The first report comes in 1561 and is also from this same Gesner, who describes a Tulip he had seen in 1559 in the garden of Heinrich Herwart in Augsburg.98 Both the first depiction and the first description are of species (botanical) Tulips. The original watercolours have been preserved and can be found in the University Library in Erlangen.99 After Gesner, Dodonaeus published another species Tulip, with illustration, in 1568 (reprinted in 1569).100 In the meantime, the Flemish Ogier Ghislain de Busbecq (or Gisleen van Busbeke, ca. 1522-1592) had also seen Tulips in a palace garden in Turkey while he was in Constantinople (Istanbul) from 1555 to 1562 for peace negotiations as envoy of the Habsburg Emperor Ferdinand I. The oft-repeated story that he brought Tulips to Vienna and is therefore the source of Tulip importation into Western Europe is incorrect. It is true that De Busbecq wrote a letter dated 1555 saying that he had seen Tulips, however the letter is part of his literary memoires written later, in any case after 1562, and is therefore not a description of Tulips brought over by him.101 It is impossible that De Busbecq saw Tulips flowering in December 1554, as he wrote, but perhaps he saw them later. He did send other seeds and bulbs to Vienna. In 1570, Clusius brought the Tulip from Vienna to Mechelen in Flanders, and in 1593 to Leiden where, in 1601, he com93 94 95 96

97 98 99 100 101

My own botanical research in Kazakhstan, as well as that of others, has confirmed this. The variety of Tulips in the seventeenth and eighteenth centuries is discussed in detail in Chapter 12. Krelage 1946, p. 453. Lobelius 1581, part 1, pp. 160-169; Clusius 1601, pp. 137-152 with 52 woodcuts. Of the woodcuts included in Lobelius, seven are not included in Clusius and six are new. See also Segal in Osaka, Tokyo & Sydney 1990, pp. 43-44, 161-162, nos 13 and 14, with illustrations and more detailed information about the texts and illustrations in the herbals of Dodonaeus, Lobelius and Clusius. Krelage 1942 & 1942a. For further discussion see, for example, Segal in Osaka, Tokyo & Sydney 1990, pp. 161-163, nos 13-15, and Amsterdam 1994 with illustrations of the earliest Tulips, pp. 74, 76; also Pavord 1999 and Dash 1999. This Tulip is immortalized in a print and was published in 1561. Gesner 1561, p. 213. MS inv. no. 2386, fol. 220v. and 466br.; facsimile by Zoller & Steinmann 1987-91, II, pp. 18 and 111, the Kurdistan Tulip (Tulipa systola Stapf or Tulipa stapfii Turrill) and the Wild Tulip (Tulipa sylvestris) respectively. More extensive discussion by Segal in Lisse 1992, pp. 10, 78 n. 6. Dodonaeus 1569, pp. 205-206. Von Martels 1989, p. 69.

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Fig. 1.9 Maerten de Vos, Family portrait of Antonius Anselmus, Joanna Hooftmans and their children Gillis and Joanna, dated 1577, panel, 103 x 166 cm, Koninklijke Musea voor Schone Kunsten van België, Brussels. Fig. 1.9a Maerten de Vos, Flowers in a vase, detail from Fig. 1.9.

posed his scientific treatise about Tulips and their many varieties, as already mentioned. Tulips had, in fact, as reported above, turned up previously in the ports of Venice and Antwerp, and via Antwerp, and possibly via other routes, made their way to Holland. The first Tulip to be found in a painting appears in a family portrait by the Antwerp artist Maerten de Vos (1532-1603) dated 1577 (Figs 1.9 and 1.9a).102 According to tradition, Clusius was indirectly responsible for the commercial growing of Tulips in the area around Haarlem, spawning a horticultural industry that makes Holland famous right up to the present day. He grew the Tulips in the Hortus Botanicus in Leiden and in his own garden, and sent bulbs to Tulip lovers at home and abroad. His correspondence on the subject has been preserved.103 It is said that Tulips were stolen from his garden, and that this accounted for the beginnings of Tulip growing in Holland on a larger scale. In an early still life by Joris Hoefnagel (1542-1600), a watercolour of 1594, we see a yellow Tulip with pink tinged edges (Fig. 5.17).104 From the year 1600 we begin to see multi-coloured, variegated Tulips, initially, however, not yet in the ‘broken’ forms with patterns such as stripes, flecks and flames on a white or yellow ground. Such is the case in a watercolour by Jacques de Gheyn II of 1600 representing forms of the Persian Tulip (Tulipa clusiana), which may cross with each other (Fig. 6.5).105 Thereafter we mostly encounter broken Tulips that sometimes display three or even five different colours, such as the hybrid Flemish Tulip that are often included in the paintings of Jan Brueghel I between 1606 and ca. 1620, as well as in the paintings of other Flemish painters of the period. In general, Tulips with related colour patterns occur in the works of a single artist, which indicates cultivation from the same progenitors and probably also by the same grower, such as in the works of Jacques de Gheyn, Ambrosius Bosschaert I, Jan Davidsz de Heem and Abraham Mignon. At the end of the seventeenth century we witness ever more clearly a tendency for growing brightly coloured Tulips that are practically round on sturdy, long stems, and that remained so until the nineteenth century. Certain rare Tulips with a specific colour pattern were much loved and very expensive. In the 1630s the prices became enormously inflated through speculation. This rose to excessive proportions and reached its high-point in 1637, as was the case for the red and white Semper Augustus, which was only known from the few examples in the possession of pensionary Dr. Adriaen Pauw of Amsterdam in the garden of his country house in Heemstede.106 In 1623, one thousand guilders was offered for a single

102 Brussels, Koninklijke Musea voor Schone Kunsten van België, inv. no. 3689. 103 In the Universiteitsbibliotheek Leiden. Through the ‘Clusius Correspondence Project’ (Huygens Institute for the History of the Netherlands and the Clusius Community 2.0) metadata belonging to all known 1,600 letters, scans of some 1,170 letters, and transcriptions of nearly 1,000 letters were made available. See clusiuscorrespondence.huygens.knaw.nl (accessed 10 May 2018). 104 Oxford, Ashmolean Museum of Art and Archeology, inv. no. 56e. 105 Paris, Fondation Custodia, inv. no. 5655, f. 2. 106 A pensionary or raadspensionaris was an official in the province of Holland or one of its cities during the seventeenth and eighteenth centuries, who could give legal counsel to and for the legislature of the province or city.

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bulb, but by the 1630s an offer of thirty-thousand guilders plus other personal property was made for three bulbs. This offer was rejected.107 The Tulip Mania, the craze for Tulips, had far-reaching economic repercussions. Because trade in Tulips had not been regulated in the form of a guild anyone could get involved. People were selling flower bulbs of flowers unknown to them to others to whom they were also unknown, possibly via agents, and these agents came from all ranks and classes of society. It was in fact not known at the time, or people did not want to know, that the Tulips, which would only flower for two weeks, were often inconsistent in their shape and colour pattern, and might be weakened in successive generations by the effects of a virus, that little bulbs often lack vigour, and that there were methods for propagating bulbs by vegetative cultivation. The market collapsed, and that meant for many an end to their fortune and the beginning of a financial recession, since frequently large sums had been borrowed for the purchase of Tulip bulbs and it was not easy or possible to recoup this money. In just this way the landscape painter Jan van Goyen (1596-1656) remained mired in debt his whole life long. After this period certain kinds of Tulips continued to be quite expensive right through the eighteenth century, although they seldom fetched more than a few hundred guilders, and a great many kinds of bulbs were for sale for a couple of guilders apiece.

Roses

Along with Tulips, there was a partiality at the time for representing Roses. Among Roses we can see already around 1630 a certain diversity and range of colours, primarily in Gallica Roses. In addition, the Sweet Briar (Rosa rubiginosa) of native origin was depicted, as well as the Austrian Briar (Rosa foetida), which stemmed from the region of Persia. Later these were followed by the Austrian Copper (Briar) (Rosa foetida cv. Bicolor), and in the second half of the seventeenth century the Sulpher Rose (Rosa hemispherica), both of the same Gallica family.108 Early on the White Rose (Rosa x alba), a hybrid occurring in different shapes, mostly double or half-full flowered, also appeared in art. The form of the French (Gallica) Rose and its hybrids, including crossings among its own varieties, are recognizable in the period. Its botanical form with five petals, like all botanical Roses, originally derives from Central and Southern Europe, but that is seldom how they are seen in flower pieces. Instead, it is usually the double flowering or full forms that we encounter, and the hybrids are often double or half full. The most common form from Roman times up to approximately 1630 was the Apothecary’s Rose (Rosa gallica cv. Officinalis). The shape of this flower is a more or less flattened bowl. It is a strongly scented Rose that was used, and still is, in the perfume industry in France. Already in the sixteenth century we also see the Damask Rose, quite often a dark red hybrid (Rosa x damascena). The Provins Rose (Rosa x provincialis), a Rose nearly spherically shaped with a slight indentation that from above exhibits a division into three ‘compartments’, was in fashion from about 1640 until the end of the seventeenth century. The name Provins Rose refers not to Provence in the southwest of France, but to the little town of Provins close to Paris, to this day celebrated for its nurseries and cultivation of Roses. In the second quarter of the seventeenth century the Batavian Rose (Rosa gallica cv. Batava) may be distinguished, a less flattened intermediary form. The most important Rose in the eighteenth century was the Cabbage Rose (Rosa x centifolia), which we encounter in the majority of the flower pieces of that period, most prominently in those by Jan van Huysum and Gerard van Spaendonck. It is a glossy, round Rose that is distinguished by a rather deep indentation. However, the Hundred-petalled Rose known to the Romans (and later to others) is not the same as the Cabbage Rose that would come to be called Rosa centifolia. Another, later form of the Cabbage Rose from the end of the eighteenth century was the Moss Rose (Rosa x centifolia cv. Muscosa). The most well-known hybrids are the Rosa Mundi (Rosa gallica cv. Versicolor) and the York and Lancaster Rose (Rosa x damascena cv. Versicolor), both of which are two-tone white and pinkish red and usually half full or full flowered. Other hybrids are the White Cabbage Rose (Rosa centifolia x R. alba) and the Yellow Cabbage Rose (Rosa x huysumiana), which appear in the eighteenth century.109

107 See more extensive discussions in Van Damme 1899-1903, pp. 16-17; Krelage 1946, pp. 471-473 and Segal in Lisse 1992, pp. 8, 21 n. 20. 108 The abbreviation ‘cv.’ stands for ‘cultivated variety’ or ‘cultivar’. 109 For the Yellow Cabbage Rose see Segal 2006-07, p. 88. For an overview of Roses in still lifes together with their lines of descent see Segal in ‘s-Hertogenbosch 1980-81, pp. 90-95.

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Native Species

The most exotic plants came from bulbs, sometimes in fact from tubers, such as Cyclamens. Of the quite frequently occurring native plants found in flower pieces, which in all probability were also cultivated, the following should be named: Lily of the Valley (Convallaria majalis), Summer Snowflake (Leucojum aestivum), Snake’s Head Fritillary (Fritillaria meleagris), Pansy (Viola tricolor), Forget-menot (Myosotis palustris), along with Liverwort (Hepatica nobilis) and Columbine (Aquilegia vulgaris), which also occurred with double/full cultivars, just as the majority of the cultivars of Wood Anemone (Anemone nemorosa), Kingcup (Caltha palustris), and Bachelor’s Buttons (Ranunculus acris var. multiplex). Double-flowered forms of many species were especially popular in the eighteenth century. The species that were characteristic of each successive period of style will be named in the discussion of that particular period below. In a few cases, it should be noted, flower pieces display species that were, in fact, not yet known in the botanical literature of the time. One example is a painting by Laurens Jacobsz van der Vinne (1712-1742) from the year 1736 (Fig. 9.129) with South African plants from the Hortus Botanicus in Leiden including the Pelargonium inquinans, a predecessor of our Horse-shoe Pelargonium (Pelargonium x hortorum), which became popular much later; as well as Zantedeschia, which only came into fashion in the time of Vincent van Gogh (1853-1890); and Protea, of which a number of species have only become available relatively recently as merchandise over the last few decades. The Tiger Flower (Tigridia pavonia) was included as an illustration by Dodonaeus in 1574, but we only see it again first at the end of the eighteenth century.110 And a Magnolia is to be found in two works by Georg Flegel from about 1620, but is first mentioned in the botanical literature towards the end of the seventeenth century, and only represented pictorially in 1743.111 It should also be noted that some species that appear in nineteenth and twentieth-century forgeries of old masters had never been mentioned in the botanical literature of the earlier centuries. 110 Dodonaeus 1574, p. 470, also in Lobelius 1581a, p. 111. 111 Segal 2003-04, p. 101.

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CHAPTER 2

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2

On the Symbolism of Flowers and Animals in Still Life Paintings

The word ‘symbol’ entered the vernacular European languages via medieval ecclesiastical Latin from the Greek sumbállein, which combines the prefix sun- (‘together’) with the verb bállein (‘to throw’, a meaning which can be discerned in the words ‘ballistic’ and ‘problem’). A symbol, therefore, is something that has been thrown into a pile, or more abstractly, things that come together and by doing so become equivalent. Hence the term symbolism means a representation of something else: the representation and the specific meaning or interpretation ‘fall together’. Specific animals, plants or objects may be used to represent a specific meaning, but in order to be effective that meaning must be well known from the circulation of sayings or written texts. An hourglass, for example, may be used as a symbol indicating transient phenomena, because the time it takes for the sand to empty from the uppermost glass bulb to the lower one is relatively short. By extrapolation, the relative brevity of human life (as with the hourglass) can be contrasted with eternity, or conversely, classified along with the transience of life in general. Often a symbol may contain multiple meanings, as well as different or even opposing connotations. For example, an owl, as an attribute of the goddess Pallas Athena, can symbolize wisdom, but an owl can also represent stupidity because it sees poorly in the daytime, which may function as a metaphor for human spiritual blindness or lack of intelligence. The English proverb ‘like an owl in an ivy bush’ denotes someone with a vacant look. The common factor between these two symbolic interpretations is wisdom, positive or negative; it then depends on the context of the image or text which of the interpretations is being implied. Moreover, different levels of meaning are available for any symbol because a single animal may also represent all animals or the whole animal kingdom. Hence a bird, any bird, may be a symbol of the thinking faculty of the mind, while certain kinds of birds have, in addition, their own symbolic meanings. Flowers, too, may generally symbolize transience, but again different species or forms may also carry their own meaning. Furthermore, shapes, signs, numbers and colours may invoke a generalized meaning, for example white as a symbol of purity. Thus a Rose may symbolize love, and a White Rose love in its purest form. This is not to say, however, that flowers always have an intended symbolic meaning when they appear in a work of art or that they always have to be interpreted symbolically. Even if we are not conscious of the fact, our lives are saturated with symbols. Take written language, for instance, where a letter stands in the place of an audible sound, while in chemistry letter combinations stand for individual chemical elements, and in mathematics we use signs for an amount, a concrete or abstract concept, or for calculation indicators, such as a ‘+’ for addition. We give everything a name, but a name is not by any means capable of expressing the full meaning of what it signifies. If we speak about love at any particular moment in time, then each one of us will probably be thinking of something or someone else. And yet there is only one concept love, and it is not even possible to define or describe it. That which is beyond all things, all ideas, and all states of being is impossible to describe, and any name that you give it subtracts something from the full, complete meaning. This is the reason why in the holy scriptures of diverse religions the name of the supreme being or essential abstraction is written in a special form, usually with a capital letter in modern translations, which attempts to sanctify it; or the name of the divine is not to be pronounced at all, or substituted for another term, as in the Christian prayer: ‘Our Father, who art in heaven, hallowed be Thy Name’. In art forms such as music, poetry, dance or mime, as well as in visual art, that which is impossible to express in words, such as love, may very well be approached through our feelings and emotions. Symbolism is a very common occurrence. Every word carries a semantic meaning, for example the word ‘car’, or the word ‘red’, but a ‘red car’ is a limiting of cars, and a ‘small red car’ is a further limiting. In everyday spoken language we use many images and metaphors, for example in sayings such as ‘to make an ass of oneself’, which is not about asses, but about people who expose themselves to ridicule. The language of symbols is a cultural issue, and it is strongly dependent on time and place. Symbols have an important function in literature, especially in poetry. In religion they also play an important role and are intelligible to many, as is the case with the symbolism used by Jesus in the parables of the New Testament. Much Christian symbolism was doubtlessly better understood in the Middle Ages and | 27

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the centuries immediately following than it is in our own time. Sometimes symbolism has been codified in well-known literary works, such as fables or their re-workings. For example, in the first century CE, the Greek author Physiologus composed a re-working of Aesop’s fables with a commentary giving these stories Christian allegorical readings; through the many later translations these stories became just as popular in the Renaissance as the fables of Jean de la Fontaine.1 When forming interpretations, we must keep track of the fact that art of the Renaissance and the seventeenth century must be seen against the background of a religion that was much more strongly bound up with everyday life than it is today. There were other popular sources in the period as well that fed into symbolic meaning, such as emblem books, which may be compared to the comics of today – a comparison that is, of course, not completely accurate, but nonetheless should get the point across. On the other hand, we should not automatically assume that every flower piece was intended to be interpreted symbolically. Even less should we assume that every flower in a flower piece has its own symbolic meaning, although it may be possible that specific meanings are attributable in particular cases. If a specific interpretation seems possible or evident, then this may be a valid way of understanding the entire composition, or the total meaning may be a synthesis of a number of meanings derived from disparate elements. An example of a generalized meaning for flower pieces is the theme of transience: for every flower lives only a short while in relation to, for example, a tree, or a human being, or an elephant, or eternity. This symbolism of transience may be reinforced by certain specific details in the painting, such as fallen petals, leaves that have been eaten away, or some typical object such as a skull or an hourglass. Or a flower piece might express the glory of Creation and the Creator in its multiplicity of life forms, shapes and colours, and this could potentially be reinforced by specific species with a particular placement, such as Tulips or Irises at the top of a bouquet, which may signify an orientation towards heaven or kingly glory. Certain flowers or combinations of flowers may imply another kind of interpretation, for example a Sunflower may signify a constant orientation towards heaven because it turns towards the sun, or a Poppy from which opium is produced may signify sleep; together these two could represent Day and Night, and at the metaphoric level, clear awareness as opposed to spiritual slumber or ignorance. In some cases other pairs of opposites can acquire a meaning which is frequently clarified by the ‘extra work’ supplementary to the flowers, such as insects or shells. Thus a caterpillar may suggest the transience of life on earth, and a butterfly, which can rise up towards heaven, redemption from sin and thus the choice that every human being has between living a life of good or choosing evil. Sometimes a pictorial composition was meant to be understood as a series of meanings that go together, such as the Four Elements, the Four Seasons or the Five Senses. Here too we have to be aware that there can be a considerable difference between the skill, knowledge and intentions of the artist, on the one hand, and the knowledge, understanding and frame of mind of the viewer, on the other. Usually we do not know whether the artist was familiar with any specific written sources that deal with symbolism: printed editions might be available only in small print runs or in unfamiliar languages. In addition, sources might be either highly intellectual and philosophical, or widely appreciated and easily accessible, such as the works of Jacob Cats, which were often reprinted. The symbolism of certain species was, however, sometimes in fact well known through many sources. For example, Picinelli, who in his Mondo Simbolico of 1653 gives a summary of symbolic meanings supported by quotations, reports sixty-eight meanings for the Rose, but gives scant information for other kinds of flowers. The sacred Christian symbolism of the Middle Ages was augmented in the Renaissance with symbolism from Classical Antiquity.2 Later a profane symbolism was added that referred to daily life. In the seventeenth century, Jacob Cats differentiated three levels of meaning and elaborated on these in his emblems: the literal meaning, the figurative (metaphorical) usually moral meaning, and the religious meaning. Taking up his line of thought, in flower pieces we can also differentiate similar layers of meaning. Firstly, there is a material or physical level where the subject of the paintings is taken at its literal level and reference is made to what the senses can apprehend. Secondly, there is a conceptual or intellectual level where still lifes can be interpreted using analogy and metaphor, often of a moralizing nature, as there is a moral lesson to be learned, and where metaphor can be defined as a union between 1

2

Practically nothing is known about Physiologus. It is assumed that he lived in Alexandria. Some scholars have placed his dates around the beginning of the CE, others somewhat later. It is known that the Roman writer Phaedrus lived at the beginning of the first century CE. His Fabulae Aesiopiae have been said to be a reworking of Physiologus, but probably it was the other way around. Fontaine was inspired by Aesop and Phaedrus, and also by the fables of the Sanskrit Pancatañtra which had been translated very early in the Middle Ages, first in Persia. See Behling 1967.

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different kinds of phenomena. These phenomena could spring from different times and places, and can bring a generally valid idea or a prevailing principle to light, for example medicine indicating insight. And finally, there can be a spiritual level in which the origins of things are considered, usually from the viewpoint of Christian belief. Over the course of time the importance of symbolism waned. The change from a more universal or religious meaning to an individual one is a general historical tendency in the cultural history of the West during the last five hundred years. A significant turn took place during the first half of the nineteenth century, the period of Romanticism. The importance of symbolism had already profoundly diminished during the eighteenth century under the influence of Rationalist thought. Romanticism was a movement that, in reaction to eighteenth-century Rationalism, placed a greater focus on the individual. At that time there was a feeling that a single meaning should be attached to each of the different kinds of flowers. Many species of flowers then received a new symbolic attribute that was oriented towards individual human relations. These interpretations can be found in a new form of literature that manifested itself particularly in France, but was also popular in England. Already in the first half of the nineteenth century little books on this theme enjoyed great popularity, such as Le langage des fleurs, which appeared in many editions and translations.3 Since that time the older ideas and interpretations have existed in a kind of dormant state in the literature of the earlier periods. Yet today the nineteenth-century literature regarding symbolism is more or less forgotten among the general public. In European culture today, flower symbolism plays only a limited role in a few religious festivals, as well as at weddings and funerals. Symbols offer the possibility of interpretations and ‘keys’ to interpretation, but these should never be taken as certainties. It is also possible that significances and allusions escape our notice, and in all likelihood that has often occurred in the last two centuries, this being a time when symbolism changed or became obscured from our view. However, in the course of the twentieth century the interest in symbolism grew among academics and more research was conducted in this area, with the danger of over-interpretation. This is how the idea arose that we should look for a symbolic meaning in every flower. In 1941 the Dutch cultural historian Johan Huizinga wrote of the interpretation of seventeenth-century still lifes: ‘A portion of the meaning in this art remains obscure to us. It is full of veiled references and allusions that we, even with the most detailed studies, will never be able to unravel. In a flower piece there is a symbol behind every flower. In a still life every object carries, in addition to its natural meaning, an emblematic meaning’.4 This may possibly be the case in a religious painting from the fifteenth or sixteenth century, but is less probable for most (later) still lifes. Nonetheless, we usually have no notion of the conscious or half-conscious intentions of the artist, and we can choose to interpret them or not, and presumably that is also how it was at the time when these were first produced. Nowadays we need certain ‘keys’ in order to come to a realization of how people were capable of thinking in the past. Today everyone is free to approach these works of art according to their own understanding, with both exaggerations and limitations as the result, with appreciation or aversion for the religious aspects, with personal ideas that either are or are not in keeping with ancient literature, or with the well-known literature of the time, or with proverbs and sayings, and through this personalized approach it sometimes happens that an attempt will be made to force specific ideas on other people. I would, therefore, like to reiterate: all references are only keys, and that means that only seldom is it necessary to attribute to every flower in a painted flower piece an individual symbolic meaning. We must not forget that there also exists in these works something we could call the pure challenge of representing beauty and harmony. In truth, visual art is always a substitute for, or a supplement to, reality, and usually in an altered or imaginative form. Art may be an imitation or the free expression of an idea or concentration of ideas. It is also often allegorical: objects may have their own assigned meaning or may be attributes of a person or event; the allegory may be religious, mythological or historical.

Sources The Bible and Apocrypha

The Bible was unquestionably the most important basis for the symbolic understanding of flowers and fruit up to and including the sixteenth century – thus throughout the period when visual art was almost exclusively of a religious nature – and it continued to play an important role throughout the entire 3 4

De la Tour 1819. Huizinga 1941, p. 133.

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seventeenth century. For centuries the Bible was the most widely read book in the Western world. The first Dutch translation was published in 1524, and within eight years there were twenty-five editions.5 But in the texts of the Bible flowers and fruit are usually referred to in general and not by specific species. The two exceptions are the grape and the grapevine. Frequently the identifications of actual varieties of plants, that we are familiar with are conjectures or later interpolations, such as choosing the apple as the name of the fruit of the ‘Tree of the Knowledge of Good and Evil’ in the garden of Paradise in the book of Genesis. In addition to Genesis, the book called Proverbs is important for still life painting on account of its many passages dealing with the transience of life. Verses from the canonical Song of Songs were sometimes used as well, such as on the frontispiece of a florilegium by Adriaen Collaert (ca. 1560-1618) from the 1590s (Fig. 2.4).6 The most important texts from the New Testament are taken from the Sermon on the Mount, for example in a painting by Jan van Huysum (1682-1749) of about 1723 in the Amsterdam Museum (Fig. 9.14).7 That there were other textual sources as well for the general idea of transience can be inferred from a print by Jacob Matham (1571-1631) of 1599 in which a number of quotations from both the Old and New Testaments are included (Figs 2.6 and 10.23).8 Of the apocryphal books of the Bible – traditional texts that had not been canonized – references were drawn primarily from the Book of Wisdom, in which King Solomon is introduced as the speaking voice in the first of the two parts; and Ecclesiasticus or the Wisdom of Jesus, the son of Sirach (or ‘Jesus Sirach’ for short).9 A valuable aid for investigation of Biblical texts is the Concordantie by Abraham Trommius, which contains references to texts, individuals and concepts.10

Scientific Works of Classical Antiquity

Reference has already been made to the manuscripts with herbal lore from ancient Greece. Of at least equal importance is the Naturalis Historia of Pliny the Elder from the first century CE, which condenses a great deal of knowledge of Antiquity. Pliny’s text was also cited by medieval encyclopaedists. His work has been reprinted many times up to the present day and is available in many different translations.11

Medieval Encyclopaedists

The Fathers of the Church and other exegetes who attempted to explain Biblical texts, have, since the second century, ascribed symbolic significations to flowers in encyclopaedic manuscripts, particularly to medicinal plants, trees and fruit. These texts, which were copied by hand before the advent of printing, played a critical role in the Renaissance and their ideas were frequently adopted by later writers. The original authors include Melito of Sardis (second century), Isidore of Seville (seventh century), Hrabanus Maurus (ninth century), Hugh of St. Victor (twelfth century), Hildegard von Bingen (10981179) and Petrus Berchorius (fourteenth century), to name only the most important encyclopaedists with regard to plants. Except for Melito, these texts were all composed in Latin. They are usually based on the Bible or interpretations of the Bible, but also on the literature of Classical Antiquity such as Pliny, as well as on classical medical sources that were known in manuscript. The ornamentals in these sources are limited to the few kinds of flowers that were grown in cloister gardens, and the healing powers of these, as well as of wild flowers, can be of significance in understanding flower still lifes metaphorically as healing spiritual weakness or spiritual disease.12

5 6

Bonger 1941, p. 18. Sometimes interpreted as spoken by Christ following his death or by Mary Magdalene ‘Noli me tangere’ (‘Do not touch me’); Segre 1996, p. 179, with illustration and pedigree. Amsterdam, Rijksprentenkabinet, inv. no. RP-P-OB-100.151. 7 Jan van Huysum, Flowers in a terracotta vase decorated with a text from the Sermon on the Mount, canvas, 80.5 x 62 cm, Amsterdam, Amsterdam Museum, inv. no. SA 7523; Segal 2006-07, pp. 179-183, no. F12. 8 Amsterdam, Rijksprentenkabinet, inv. no. RP-P-OB-6580; Widerkehr & Leeflang 2007-08, II, pp. 47-48, no. 164, Fig. 164. See also Chapter 10. 9 A complete reissue of the original Dutch translation by Jacob and Pieter Keur was published in 1975 with an introduction by W.C. van Unnik. The books of the Bible considered apocryphal by Protestants are included in Catholic Bible translations as ‘deuterocanonical’. Unnik 1975. 10 Trommius & Martinus 1672 and Trommius 1685-91, with many revised and enlarged editions up to our own time. 11 Pliny, Naturalis Historia. 12 These Patristic texts are reproduced in several places including in Migne’s Patrologia Latina (221 vols, 1844-1865) and Patrologia Graeca in (161 vols, 1857-1866), see bibliography. The Segal Still Life Documentation in the RKD, The Hague, contains photocopies of these texts or their references to plants and animals, sometimes with a Dutch translation.

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Literary Works and Mythology from Classical Antiquity

Flowers play a limited role in Greek and Roman literature. It is primarily in mythology that we find a number of symbolic interpretations, especially in Ovid’s Metamorphoses, such as in the story of Venus and Adonis. Mythology may also play a role in the supplementary work added to flower pieces, for example in background images of gardens in paintings by Jan van Huysum (Fig. 9.13). In addition, the harmonious country life as glorified in Pastoral, Georgic and Arcadian poetry plays a role, especially in eighteenth-century art.

Religious and Profane Poetry and Prose since the Middle Ages

Many medieval lyrics and songs mention flowers that are linked to the virtues of the Virgin Mary or indicate a connection with Christ or God. Beuken and Axters give overviews of this symbolism from Middle Dutch lyrics, as does Behling primarily for the German poetry of the Middle Ages.13 Quite a few types of flowers can be found in the strewn borders of Books of Hours and also in the religious art of the Middle Ages – both in carved decorations in churches and cathedrals and in Netherlandish paintings from approximately 1430, starting with Jan van Eyck (ca. 1390-1441).14 Garden poetry of the Dutch Renaissance, the hofdichten that were composed in the seventeenth and eighteenth centuries, describe the gardens of princes and aristocrats in verse. We frequently find references to the literature of Antiquity in these works because this was knowledge that authors wanted to display. We rarely, however, find in these hofdichten an original perspective with regard to symbolism. An overview can be found in Van Veen’s De soeticheydt des buyten-levens, vergheselschapt met de boucken – Het hofdicht als tak van een Georgische literatuur.15 The same notion with regard to originality holds for funerary poetry; an anthology of graveyard poems can be found in Witstein’s Funeraire poëzie in de Nederlandse Renaissance.16 Naturally contemporary literature is of great significance. In the works of Shakespeare, Vondel and Cats, for example, not only do we find interpretations of flowers with particular meanings, but we also gain insight into the cultural expression of the time.

Collections of Proverbs and Sayings

Collections of proverbs were compiled by important Dutch authors such as Desiderius Erasmus in his Adagia of 1500; Jacob Cats in his Spiegel van den Ouden en Nieuwen Tijdt of 1632; and by Carolus Tuinman in the eighteenth century.17 That even the hardest stone can survive the passing of time is a notion re-affirmed by Cats in his explanation of the value of proverbs: ‘Proverbs have preserved and (up to this very age) handed down that which neither metal pillar, nor carved monument, nor the hardest marble stone could keep from the gnawing tooth of all-consuming time’.18 This citation is directly relevant to the damaged and cracked tables and walls we see again and again in still lifes. Sometimes proverbs or aphorisms are actually cited directly in a still life, for instance in works of Jan Davidsz de Heem (16061684), such as a flower piece with the text ‘Memento mori’ (‘Remember your death’) (Fig. 8.10).

Engravings with Texts

Starting in the sixteenth and running right through the seventeenth century, hundreds of copper engravings were printed in which flowers appeared, often in a series. Frequently they form part of a representation of the Seasons, the Senses or the Elements, and frequently they are attended by an allegorical figure, usually a god or goddess from classical mythology. The accompanying texts, mostly in Latin, were borrowed or drawn from the Bible or the Classics, or they were composed by Humanist contemporaries. These kinds of prints display a tendency to depict flowers collectively with one generalized meaning rather than each flower separately. Flowers then represent primarily such notions as Spring, Smell, or the Earth. An example is a series of four engravings by Crispyn de Passe I (ca. 1564-1637; Fig. 10.20).19 Every individual print in the series can, at the same time, be linked with one of the Four Winds and points of 13 14 15 16 17 18 19

Beuken 1936; Axters 1946; Behling 1967. For the carved decorations in churches and cathedrals see Behling 1964. Van Veen 1960. Witstein 1969. Erasmus 1500; Cats 1632; Tuinman 1726-27. ‘Spreeckwoorden hebben behouden, ende (tot deze eeuwe toe) overgebracht het gene dat noch metale pilare, nog ghehouwe sarcken, noch harde marmer-steenen, van den knagenden tant des al-verterenden tijts hebben konnen bewaren’. Cats 1632, p. [7]. Franken 1881, pp. 209-210, nos 1170-1173. Other examples in Osaka, Tokyo & Sydney 1990, pp. 148-153, nos 2-5; see Chapter 10.

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Fig. 2.1 Jacob Hoefnagel after Joris Hoefnagel, Title page from Archetypa Studiaque, 1592, engraving, Fondation Custodia, Paris.

the compass, with one of the Continents, one of the Seasons, one of the planets of the zodiac, and one of the times of the day. These prints are also, in the majority of cases, provided with inscriptions as well as familiar gods with their attributes. From the end of the sixteenth century transience became a general theme, and in the visual arts this subject sometimes came to be focused on a specific kind of flower, such as an Anemone that is quickly losing its petals.20 A special form of the theme of transience can be found in series of engravings of flowers, insects and other living creatures with accompanying text, such as the Archetypa Studiaque patris Georgii Hoefnagelii by Jacob Hoefnagel (1573-1632/33) of 1592, created after a series of drawings in reference to the Elements – Earth, Water, Fire and Air – by his father, Joris Hoefnagel (1542-1600) (Fig. 2.1).21 In these prints (and the original drawings) many more animals are depicted than plants. The texts are partially adopted from the Bible and the Psalms, among others, to some extent from classical literature, and partially from the Adagia of Erasmus. In addition to transience, a few inscriptions refer to the abundance of nature or plenitude as a form of revelation given to use by the Creator, or, in some other instances, this abundance is itself also an indication of the ephemeral (Figs 2.2 and 2.3).22 Transience has remained a common theme in the arts up to the modern age. An example from 1913 is a woodcut by Maurits Escher (1898-1972) of a stem of Tiger Lilies with the texts: ‘Gaudentes alienam / mirantur tabem’ (‘By rejoicing in disarray / they esteem decay’), and ‘U zij bewust / hetgeen wij derven: / ons vroeg versterven / een oogenlust’ (‘Be aware / of our loss: / our early death / is a feast for the eye’).

20 21 22

For example Pieter Claesz (1597-1661), Vanitas still life, dated 1625, panel, 29.5 x 43.5 cm, Haarlem, Frans Hals Museum, inv. no. 68-158. Hoefnagel 1592. Paris, Fondation Custodia, inv. no. PL-1(1). Hoefnagel 1592, I.8 ‘Flos cinis [...]’: ‘The flower is ashes. The land is crowned with lilies, humankind with virtue and the heavens with stars; a brave man drinks, like a lion, the sweet with the bitter’; source: Erasmus 1500, chil. IV, cent. IV, ed. 1612, p. 963 and VI.1 ‘Hoc variare [...]’: ‘The diversity of the earth is wonderful, it is the glory of the supreme Creation. May everything that has been created by the word of the Eternal Creator speak his name and utter praise with the sound’; sources: Augustinus, Adversus Petiliani Literas, II, 66 and Erasmus 1500, chil. IV, cent. VII, ed. 1612, p. 1032. See also Segal in Osaka, Tokyo & Sydney 1990, pp. 154-155, no. 7. Paris, Fondation Custodia, inv. nos PL-1(9) and PL-1(41).

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Fig. 2.2 Jacob Hoefnagel after Joris Hoefnagel, Flos Cinis from Archetypa Studiaque, 1592, engraving, Fondation Custodia, Paris.

Fig. 2.3 Jacob Hoefnagel after Joris Hoefnagel, Hoc variare from Archetypa Studiaque, 1592, engraving, Fondation Custodia, Paris. | 33

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Books of Symbols

An important collection of texts about symbols can be found in the Hieroglyphica by Joannes Pirius Valerianus, published in 1556.23 This was followed in 1593 by the publication of the Iconologia of Cesare Ripa, which was partially based on Valerianus as well as on Alciati’s emblems and other sources.24 Ripa’s Iconologia was originally published in Italian, a second language for many artists who made a study trip to Italy. The book quickly became popular and was translated into other languages.25 A Dutch translation by Dirck Pietersz Pers appeared in 1644 known as the Pers edition. Ripa dealt with many abstract concepts, such as Virtue and Patience, sometimes accompanied by an illustration of an allegorical figure with attributes. In 1653 Picinelli published his Mondo Simbolico with numerous quotations, initially in Italian, but later Latin versions were published.26 He based his material in part on unpublished manuscripts found in Italian monasteries. Picinelli could not, of course, be considered a source for artists from the first half of the seventeenth century, although some of his sayings that had not been published before had, in fact, been common knowledge and in general use.

Emblem Books

Emblem books are the fruit of Humanism. To put it in a somewhat simplified form, it could be said that an emblem consists of three parts that together encompass a complete interpretation: a motto (lemma), usually above the engraving; an illustration (pictura or icon); and an explanation and commentary (explicatio), often in the form of an epigram and usually with quotations. The prototype is Andrea Alciati’s Emblematum liber of 1531, of which numerous republications and augmented editions appeared, whose emblems frequently were adopted or adapted by the emblematici or emblematists, later compilers of emblem books.27 Alciati himself had based his work in part on the Adagia of Erasmus, while many of his successors based themselves more extensively on classical literature, but they all attempted to be original, meaning that everyone could add new ideas or interpretations (Alciati spoke of ‘new concepts’). These and other various historical texts about emblems are witnesses to the polysemous messages and multiplicity of understanding of emblems.28 Of great significance for plants and flowers is the Symbolorum et Emblematum of Joachim Camerarius (1534-1598): the first volume of 1590 contained one hundred plant emblems (with a foreword to the edition of 1593).29 The other three volumes, each with one hundred emblems, dealt with animals. All volumes were issued in several editions. Of equally great importance were the two ‘centuries’ (hundreds) of emblems gathered together in the Nucleus Emblematum Selectissimorum of Gabriel Rollenhagen, printed in 1611 and 1613, plants being the subject of a number of the emblems included.30 Crispyn de Passe I’s fine circular engraved prints, each with a motto around the circumference and an epigram below, created a very attractive unified form.31 The emblem books produced by Cats in Dutch and published from 1618 on were extremely popular and were reprinted many times even throughout the eighteenth century and thereafter. Many more emblem books were issued, published both in Latin and in other languages, and although a large quantity were of a religious nature, there were also a number on worldly subjects. The editions of emblem books that deal with plants – whether directly or indirectly – are, however, limited, and often these deal with trees, but even more frequently with animals.32

Devices

Devices compiled in anthologies called impressa (singular impressum) – for example, the three volume Symbola divina et humana by Jacobus Typotius, first printed in Prague in 1601 – were often a secondary kind of source for the symbolic meanings of flowers and plants.33 An impressum combines an image 23 The name Hieroglyphicon comes from a work of the Hermetica known as the Hieroglyphica, ascribed to a certain ‘Horapollo’, treating Egyptian hieroglyphics and translated by an author named Philippus. Valerianus 1556. 24 Ripa 1593. 25 Ripa 1644. For Ripa see Miedema 1987 and Segal in Osaka, Tokyo & Sydney 1990, p. 156, no. 8. 26 Picinelli 1653. 27 Alciati 1531. 28 Segal in Osaka, Tokyo & Sydney 1990, p. 40. 29 Camerarius 1590-1604. 30 Rollenhagen 1611 and 1613. 31 It is possible that these emblems stood as a model for the famous circular emblematic vanitas still life painted by Torrentius (Jan Simonsz van der Beeck) (1589-1644) in 1614, now in the Rijksmuseum in Amsterdam (panel, 52 x 50.5 cm, inv. no. SK-A-2813). 32 For a survey of emblem books see Praz 1939-47 and the greatly enlarged publication of 1964 (reprinted 1975 and 2001), and Landwehr 1970. A good overview that is separated into categories, including plants, is given by Henkel & Schöne 1967. 33 Typotius 1601.

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with a motto, but without any further accompanying text as in an emblem, and is linked to a particular person. The device chosen in each case communicates a personal ideal.

Herbals, Medicinal Books, and Cookbooks

During the incunable period (up to the end of the fifteenth century), printed herbals were first predominantly directed at the medicinal use of plants. As such, plants could be given a symbolic meaning for good, as a healing plant, or for ill, as a poisonous plant or drug; the meaning given might be metaphorical. Initially, the approach to plant science was taken over from what was already known, particularly in sources deriving from Greek Antiquity and the Islamic Middle Ages. From the early medieval period the concept of a ‘signature’, as promulgated by Galen, a physician in the Roman Empire, was an important aspect of plant lore. According to this doctrine, the external characteristics of a plant are said to be relevant to the healing of those parts of the body to which it is visually similar, such as kidney-shaped leaves for kidney disease, heart-shaped leaves for heart disease, liver-shaped leaves for liver disease, and spotted leaves for lung disease, an example of the latter being Lungwort (Pulmonaria officinalis). The Creator was said to have intentionally provided these clues to plants’ healing properties, although their actual effectiveness had never been proved. Medicinal books might also provide symbolic interpretations of plants, such as Johan van Beverwijck’s Schat der gesontheyt of 1636 (with later reprints), which also deals with culinary herbs.34 The most usable of such books from a practical point of view is the herbal by Dodonaeus in the expanded version published in 1644, which included much of the ancient vision of plant science.35 Cookbooks, too, may be significant in this regard, but primarily for the symbolic signification of various fruits, vegetables and herbs.

Florilegia and Other Flower Books, Fruit Books, Insect Books and Animal Books

These books were not, in the first place, intended to provide symbolic interpretations, but sometimes contain such information implicitly in the way in which the subject matter is classified. Examples of this are the categories of the Seasons or Elements, or the naming of certain kinds or species that might refer to a particular characteristic, such as Ivy (Klimop (‘climb-up’) in Dutch). Naming may also be based on verbal similarities, for example equating the Dutch Akelei (Aquilegia) with the eagle (aquila in Latin) and the English Columbine with the dove (columba in Latin); or the traditional Dutch name Nagelkruid and the German Nelke for Carnation because of their clove-like scent (clove is kruidnagel in Dutch); or the colour of liver associated with the flowers of Liverwort.36

Manuals by and for Painters

Starting in Italy, a number of painters wrote treatises on the topic of art theory, and about their predecessors and/or contemporary fellow artists. A few of them were also attentive to the symbolism of still lifes. For Dutch art these painter-authors were Carel van Mander (1548-1606) and Gerard De Lairesse (1641-1711). First, Van Mander with his Uytbeeldinge der Figueren, which appeared in 1604 at the same time as his Schilder-boeck; these two works were frequently bound together.37 Second, De Lairesse, with his Groot schilderboek, the first edition appearing in 1707, where he classifies certain species of plants and animals as attributes of the gods, and equated certain abstract concepts with colours and species. De Lairesse also discusses the meaning of a number of objects; his definitions are not by any means always in accordance with what seventeenth-century paintings would seem to emphasize.38

Works of Art and Their Traditions

Texts in works of art often contribute significantly to their understanding. Sometimes we see banderols in manuscripts or prayer books, which are ribbon-like scrolls bearing an inscription in the form of a waving banner, often with the edges unfurled. Texts in prints have already been mentioned. Paintings with epigraphs are also of importance in understanding symbolism. An early example can be found in Hieronymus Bosch’s (ca. 1450-1516) painting Table of the Seven Deadly Sins.39 In the early modern period, many painters based their work on tradition or direct imitation, seeing themselves as followers of 34 35 36 37 38

Van Beverwijck 1636. Dodonaeus 1644. Leverkruid is an archaic name in Dutch, the plant is presently known as Koninginnekruid. Van Mander 1604. De Lairesse 1707; Book eleven of the second volume treats still lifes and their objects, Book twelve flowers; for colours see Book four of the first volume. 39 Panel, 119.5 x 139.5 cm, Madrid, Museo Nacional del Prado, inv. no. 2822.

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well-known predecessors such as Jan Brueghel I, Jan Davidsz de Heem or Jan van Huysum. Convention brought with it the practice of portraying certain specific objects in paintings time and again, such as metal goblets in sumptuous still lifes, while innumerable finely crafted objects of the period – for example by gold and silversmiths – are rarely or never seen. Many traditional objects had an obvious meaning that was understood by everyone, such as a skull or an hourglass as indications of transience. Flowers had been painted for many centuries in Chinese art before they came to be painted in Europe – often provided with lines of poetry or other texts, as well as in beautiful scroll paintings depicting fragments of nature. This phenomenon in art scarcely penetrated European consciousness until Vincent van Gogh (1853-1890) was introduced to the much later versions of such paintings in Japanese woodcuts, which significantly influenced his works.

Satirical Texts

The Tulip craze, Tulip Mania, with its highpoint in 1637, and the equivalent mania about Hyacinths a century later, spawned satirical writings and prints on the vanity of the trade in these flower bulbs.

Books of Fables

Many of the above-mentioned sources provide information, which can sometimes elaborate on the significance of the symbolic meanings of plants and animals in a greatly expanded form, such as in the work by Gabriel Rollenhagen. In ancient books of fables we find much additional information about how animals were interpreted, for example in the fables of Aesop and Physiologus in Greek and the Roman Phaedrus in Latin.

Old Dictionaries

Old dictionaries from the Middle Ages and Renaissance are good sources for early folk names of plants, as are modern compendia of plant names.40

Publications on Symbolism

There are many more recent publications on symbolism that often provide specific details about plants, animals and objects. These publications report information for a restricted number of species following a limited selection from the scholarly literature, and they frequently repeat each other’s findings. A few publications deal with the plants in the Bible. In the latter case the subject is the plants of Asia Minor, which Bible texts do not always present in a clear manner, and which in turn gives rise to different interpretations. An example in this regard are the ‘Lilies of the field’ mentioned in the Sermon on the Mount in the New Testament that are interpreted not only as Lilies, but also as the lovely Poppy Anemone (Anemone coronaria) from the Mediterranean region. Botanists have also attempted to put names to the different kinds of living things in mythology, although this is not always convincing or successful and often leads to doubtful interpretations in the literature published later. Another subject of interpretation focuses on the herbs used for medicinal purposes; these are mostly based on herbals and occasionally on particular medical theories, for example that a person only needs to have the herbs in direct proximity for healing to take place. One of the first to try to tackle flower symbolism specifically was Elisabeth Haig, who in 1913 presented quite a few of her own interpretations.41 Lislotta Behling, on the other hand, based her interpretations for the most part on literary sources.42 An important reference work on this subject is Mirella Levi d’Ancona’s The garden of the Renaissance of 1977, in which ancient and medieval literature is extensively cited.43 The interpretations of the paintings, however, must be approached with a critical eye since many of the identifications are incorrect and seem to have arisen from her own imagination. A good survey of plant and flower symbolism does not yet exist.44

40 41 42 43 44

For example: Gerth van Wijk 1911-16, Backer 1936 and Marzell 1943-79. Haig 1913. Behling 1964 and 1967. Levi d’Ancona 1977. The Segal Still Life Documentation in the RKD, The Hague, preserves many photocopies of hard-to-find records, such as those of medieval authors, as well as many older and more recent sources in book form. In one separate section of the documentation with many images and a wealth of botanical, zoological and other references to the scholarly and primary literature, an attempt has been made to bring together as much informative material as possible for each species, including data about fruit and other objects in still lifes or printed engravings that were often collected into ‘model books’.

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Generalized Meanings

Flowers appear not only in flower still lifes, but also in other types of still lifes, in religious and allegorical paintings, and to a lesser extent in paintings on secular subjects such as portraits or genre pieces. In each of these genres of painting flowers have their own function, which may be decorative or contribute to the symbolic meaning, whether that meaning is clear or obscure. It may be that all the flowers together carry one meaning; or that a certain group with common characteristics has a meaning, for example flowers of a certain colour; and it may also be that one particular kind of flower bears witness to its own special meaning. The meanings can be interpreted at different levels, as we read in philosophical prefaces, such as those by the spiritual Renaissance Neo-Platonist Marsilio Ficino; in prefaces to emblem books, such as those by Andrea Alciati and Jacob Cats; in books about the lives of painters, such as the one by Carel van Mander; and in books of symbols, such as the one by Picinelli. One individual plant, animal or object may possess multiple connotations: which one of them is valid in any given instance depends on the context. Their meanings may even be antithetical, as was already pointed out by Cats and others.45 An apple, for example, can be a symbol of good as well as of evil, or it may stand for the choice between the two, as in the story of the testing of Adam and Eve in the Book of Genesis. The interpretation could be in bono or in malo – with a positive or a negative force – or sometimes in choosing one of the two. Flowers in general – and particularly in a bouquet – may stand as a symbol for the glory of the Creator or for transience; and in an allegorical presentation for the Element of Earth, the Season of Spring, or the Sense of Smell. The symbolism of plants is frequently based on characteristics or traits of a species or group of species, such as shape, size, number, colour, smell or taste, origin, its way of growing, location of growth, season of growth, its time of day of flowering, medicinal use or other practical applications, monetary value, and sometimes the name of a person. In general, trees symbolically stand for life force; fruit for fertility, Taste, or Autumn; grains for Summer; and edible roots and tubers for Winter.46 Small or low-growing plants, such as the Daisy and the Sweet Violet, are often associated with humility, as are flowers that hang their heads, like the Lily of the Valley and the Snake’s Head Fritillary. Flowers that point upwards, such as the Tulip, demonstrate their orientation towards the sun and heaven, and do so all the more if they turn towards the sun, such as the Pot Marigold and Sunflower. Plants with prickles or thorns are frequently associated with the Passion of Christ and the Christian martyrs, but also, when considered as waste ‘weeds’, with sin, vice or the devil. Thistles might also at the same time be symbols of infertility, according to references to the term ‘weed’ in various places in the Bible. These plants belong to the very few plants that could have a negative connotation. Among them we must also include mushrooms. Mushrooms were seen as the devil’s or witches’ plants, particular species such as the Stinkhorn. Perhaps we are meant to understand Thistles and mushrooms along these lines in forest floor pieces, which often represent snakes in a nocturnal scene. Antithetically, these works also often contain butterflies or dragonflies, signs of the liberation of the redeemed soul, and sometimes plants with medicinal purposes, such as Mallows. Climbing plants, Ivy and Vine for example, could be understood in connection with human bonds, such as camaraderie. The number three stands primarily for the Holy Trinity, so for example in the leaf form of different species of Clover, Columbine, Strawberry, Liverwort, Peony, Greater Celandine, Ivy and (most species of) Vine; as well as in the three colours of the Pansy. The colour white was usually regarded as a sign of cleanliness or purity. With regard to other colours, there are many obscurities and inconsistencies in the literature on symbolism. Purple is often connected with dominance, blue with heaven, green with nature, yellow with the sun, and red with passionate love – for example in the Dutch flower names Brandende liefde (‘Burning love’, in English Maltese Cross) and Kooltje vuur (‘Coal of fire’, in English Pheasant’s Eye). It is possible that flowers were painted that were used by artists for preparing their pigments, such as the Cornflower or Rose Campion, or those used as thickeners for oil paints, such as Lavender and Rosemary, all of which are chiefly in evidence in sixteenth-century works.47 The Orange Lily is on occasion seen in connection with the Princes of the House of Orange. 45 Cats 1627, p. 10; see also Amsterdam 1976, p. 25, and Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 13 and 15. 46 Trees and fruit have been left out of this analysis. For the symbolism of fruit see Amsterdam & Braunschweig 1983, Chapter 2. 47 Although Rosemary can be found in early seventeenth-century flower pieces by Jan Brueghel I (1568-1625) and Ambrosius Bosschaert I (1573-1621), among others, and may in those contexts have indicated a different meaning.

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Fragrant and sweet-smelling flowers, such as Jasmine and Orange Blossom, are often associated with the virtues, particularly those of the Virgin Mary; plants with a bitter taste, with suffering. There is vegetation that, depending on how it is cultivated or what kind of further applications it receives, can be sour or sweet, such as the Seville Orange, which often occurs in paintings starting in the fifteenth century. This plant functions as a symbol of love that can be both bitter and sweet, or as a symbol of the ability to differentiate, and therefore is associated with the forbidden fruit of Paradise. Adam and Eve were prohibited from eating this fruit because they would acquire the knowledge of good and evil instead of the disinterested innocence of their Edenic existence. A subspecies of the Seville Orange is the Adam’s Apple, but it is seldom depicted in works of art. The Seville Orange is related to that always sweet ripe fruit, the Orange. Other flowers may be beautiful but lack a lovely scent, such as the Crown Imperial, which can stand for vanity. Spring flowers may symbolize Spring itself, while plants that bloom or bear fruit around a certain holiday may be linked with that celebration, such as Daffodils symbolizing Easter, or Peonies Pentecost, or the Christmas Rose (Hellebore) as a symbol of Christmas. Flowers might also be connected with the name day of a saint, such as Redcurrant symbolizing John the Baptist (Johannesbeere in German). Evergreen plants that do not lose their leaves in Winter, such as Ivy, were associated with eternity. In centuries before our own many more plants were attributed with healing, medicinal powers than today, and that held not only for wild species of plants, but also for quite a large number of ornamental plants, including the plants which have as the second part of their Latin scientific name officinalis, or a derivative form, for example Calendula officinalis (Pot Marigold). Primarily in religious paintings, the generalized symbolic healing characteristics of plants may be intended, predominantly as hope for the restoration of health, something that also applied to the common natural species Dandelion (Taraxacum officinale) and Great Plantain (Plantago major), which were not painted in still lifes. In early still lifes we do sometimes see the native and common Greater Celandine (Chelidonium majus), which was used as a remedy for eye ailments. Most plants were interpreted for their positive characteristics, in bono, and a few for their negative ones, in malo. This interpretation in bono and in malo might be accompanied by the choice between good and evil, which can again, metaphorically, be represented by Day and Night. Day species turn towards the sun, such as Sunflower and Pot Marigold, or close their flowers at the end of the afternoon, such as the members of the Bindweed Family, including Great Morning Glory and Small Morning Glory. The Opium Poppy, from which sense-numbing morphine is derived, is a night flower.

Interpretations

It is not always clear whether an artist wished to express a symbolic meaning in any given instance; but if that is the case, then we should, interpret the painted symbol according to texts or attributes that convey a definite clear meaning, such as a skull. If we have merely an intuition of a certain meaning, that message must be apparent from the context of the painting, preferably supported by well-known literature from the time period of the artist. Occasionally we have access to information from an artist’s inventory that he or she possessed certain written sources, in the majority of cases the Bible. Also it is possible for every viewer to invent personal interpretations of symbols. Some of the introductions to proverb collections and emblem books instruct the reader that an interpretation should be flexible or that several levels of understanding are possible. In his foreword to the Spiegel van den ouden en nieuwen tijdt, Jacob Cats has the following to say about proverbs: ‘They should be fully malleable and elastic to cover multiple situations, and also be diverse in their nature, for the great enjoyment of listeners and readers, they should be reasonably easily twisted or turned, and remarkably expandable so as to apply to things in other situations’.48 According to this insight, therefore, proverbs are susceptible to more than one interpretation, including interpretations that go well beyond the literal meaning. The symbolic interpretation of a work of art has to fulfil certain requirements. The first condition is that we must assert, and more preferably be able to demonstrate, that the artist was familiar with a substantive meaning for the symbol, whether this runs according to the interpretation of an external source or not. But most of the time we only know an interpretation for certain if texts or sources within 48 ‘Datse geheel buygsaem en reckelijck zijnde tot veelderley saecken, oock verscheyden van aert wesende, met groot vernoeghen van hoorders en lesers, gevoegelijck konden worden verdraeyt, en tot andere gelegentheden van saecken merckelijcken konnen worden uytgebreyt’. Cats 1632, p. [4], with an extended passage on the preconditions that proverbs must meet in order to be considered good proverbs.

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the art itself bear witness to it. More often we know very little about the intellectual background of an artist, or his or her world view. Acceptable sources must be contemporary or older, and directly or indirectly accessible with regard to the language as well as the level of the artist’s education and knowledge. Books that were printed in small numbers or did not enjoy a broad dissemination would not be accessible to all artists, nor would those that appeared in a foreign or unknown language, or divulged as part of an ambitious intellectual plan. Many of the older sources were written in Latin. Texts that were generally well known were the translated Bible texts and some of the popular vernacular works, such as those of Cats, which were issued in large print runs and reprinted. A limited number of books had been written by and especially for artists, such as Carel van Mander’s Schilder-boeck of 1604, which was inspired by several older Italian sources, primarily Vasari. We must realize that the written sources were based on existing ideas, and probably also to a large extent on daily life, for which no original source may be identified. The Strawberry, for example, can be seen in innumerable religious paintings and miniatures from the fifteenth century on and must have had a symbolic meaning ascribed to it that was well known, or was viewed in some customary way, but sources for it are scarcely to be found. Trefoil leaves can be linked to the Holy Trinity; the ground-growing, creeping stems to humility; early, soft and healthy fruit to Spring, heavenly sustenance or resurrection; and white flowers to purity – for such connotations were held as general meanings. On occasion the known source has a later date than the work of art. In that case, it is possible that the idea should either be sought in the kind of cultural generalities just mentioned, or was original to the artist’s thinking, or lies outside the reach of our current knowledge. Interpretations may also depend on the psyche of the interpreter. One person restricts his or her analysis to that which can be proven based on source material; another one operates according to a particular theoretical framework – for example, a religious or perhaps rather a secular approach, or a method that has mass appeal, such as an erotic interpretation; yet another leaves a much greater space around the symbolic meaning, and realizes that he or she was not present at the time of painting, and that both artist and viewer should be allowed to pursue different lines of thought according to their own nature and intelligence; finally, others simply give their imaginations free reign. The last group is the most dangerous and, alas, also quite numerous. It is also advisable to deal carefully with narrow-minded know-alls, who are keen first and foremost to champion their own inflexible points of view. Upon close inspection, the real evidence behind their arguments is often lacking, such as in a number of cases with the analyses of Erwin Panofsky (1892-1968). The psyche of the researcher may also be responsible for certain interpretations being mindlessly adopted due to a lack of powers of discernment, or for tactical reasons, while yet other accounts are given out strictly in order to position oneself against someone else. Frequently a good, valid interpretation is simply a question of observing closely.

Themes Symbols of Mary, Christ and God

Religious art makes use of a limited number of plant species as specifically sacred symbols which may also be present in still lifes. From the fifteenth through to the seventeenth centuries in particular these are usually symbols that communicate veneration of the Virgin Mary or Christ, and occasionally of God the Father or the Holy Ghost. However, in a number of cases it is impossible to make any clear differentiation since the same kind of flower may be used as a symbol of both Mary and Christ, like the Madonna Lily, or as a symbol of both God the Father and Christ, such as the Carnation. The other most frequently encountered flowers in this category include different varieties of Roses, Irises, Stocks, and Pot Marigold, in addition to the native Columbine, Sweet Violet, Three-coloured Violet and Lily of the Valley, as well as the Strawberry, the flower as well as its fruit. Other kinds of plants functioning as symbols of the divine are rarely seen in flower still lifes but do appear in the strewn borders of Books of Hours; these are especially Speedwell and Pea blossom or their pods, and native species such as various kinds of Clover, Plantain species and Dandelion. If a flower piece or flower still life carries the intention of emphasizing a Christian religious way of seeing, that is often done by putting a striking flower at the top of the bouquet, for example a Madonna Lily. Flower still lifes also sometimes contain plants that clearly point to the suffering of Christ, especially those with prickles or thorns, as well as species of Passion Flower (mostly the Blue Passion Flower).

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The Glory of Creation

Those flower still lifes that include many different species of plants may represent the sheer abundance of life forms and colour patterns, the beauty and abundance of the earth that the Creator bestowed upon humankind. That very theme has been approached in many ways from the Middle Ages on, for example in the works of Hugh of St. Victor in the twelfth century, who emphasized the notion that the totality of Creation is a witness to God and itself teaches us about nature. In the sixteenth century Joris Hoefnagel discussed this theme in several places in relation to his watercolours of animals and plants, and we can read some additional texts in the same vein in the Archetypa of 1592, the series of engravings by his son Jacob Hoefnagel after the work of his father. One example from this series is an engraving with the motto ‘Festina lente’ (‘Make haste slowly’), with the following citation from the Bible: ‘O God, thou hast taught me from my youth: and hitherto have I declared thy wondrous works’ (Fig. 2.27).49 Another engraving (Fig. 2.3) is accompanied by the text: ‘The diversity of the earth is wonderful, it is the glory of the supreme Creation. May everything that has been created by the word of the Eternal Creator speak his name and utter praise with the sound’.50 In an engraving with a garden with figures by Claes Jansz Visscher (1587-1652) after Adriaen van de Venne (ca. 1588-1662) we read: ‘Ex minimis patet ipse Devs’ (‘God manifests himself in the most trifling things’), and a six-line poem supports the notion that the hand of God is everywhere to be read in His Creation.51 Many other seventeenth-century texts bear witness to this principle, for example those of Petrus Hondius and Samuel van Hoogstraten.52 One of the most well known works of Jan Brueghel I is a bouquet in a wooden tub with 130 identifiable species, plus more than 10 species of insects, painted around 1608 (Fig. 6.26).53 In a flower wreath attributed to Daniël Seghers (1590-1661) the number of species is above 200.54 Roelandt Savery (15761639) painted a flower piece in 1624 with 64 different kinds of flowers, and even more amazing, 44 species of animals.55 In none of these paintings is there any hard evidence that the artist wanted to suggest the praise of God, or that contemporaries understood it that way, but nonetheless it is quite probable.

The Song of Songs

That flowers can be seen as symbols of Christ is implied by allegorical readings of a famous poetic Biblical text, the Song of Songs, as mentioned above. This text had been interpreted in many different ways, sometimes merely as a collection of profane love songs, but in the Christian tradition it had mostly received religious meanings that read the love referred to in the poem as Christ’s holy love for the Church or the human love of God. An engraving from Adriaen Collaert’s Florilegium (Fig. 2.4) is based on the Song of Songs and displays Christ as the bridegroom facing the bride, an allegory of the Church.56 It is the first engraving in the earliest florilegium and therefore it set its stamp on the whole genre. Because this florilegium is a key text for artist craftsmen, it is also of significance for the depiction of flowers among other artisanal trades. The Latin text in this engraving runs as follows in the translation of the King James version: ‘I am the rose of Sharon, and the lily of the valleys. As the lily among thorns, so is my love among the daughters. I am come into my garden, my sister, my spouse: I have gathered my myrrh with my spice [...]’.57 The Lily and the Lily of the Valley in particular received a significance by means of this text. Myrrh is a costly substance used in fragrances. That the Song of Songs remained important for flower symbolism well into the eighteenth century is proved by a text in a painting by Jan van Huysum (Fig. 9.14). 49 Hoefnagel 1592, I.2; ‘Deus, docuisti me a inventute mea; et usque nunc pronuntiabo mirabilia tua’; Psalm 71:17. The motto Festina lente was attributed by the Roman author Caius Suetonius Tranquillus (ca. 77-ca. 130 CE) to the Emperor Augustus as one of his favourite Greek proverbs (Divus Augustus 25.4); it is also cited by Erasmus. Hoefnagel cites Psalm 70 of the Vulgate, later reordered to 71 in the Book of Psalms. 50 Hoefnagel 1592, IV.1; ‘Hoc variare decus mundi est haec gloria summi Artificis. Omne quod Aeternus per verbum condidit auctor, Autoris nomen celebret, laudesque resultet’; Augustine, Contra Litteras Petilliani, II, 66 and Erasmus 1500, chil. IV, cent. VII, ed. 1612, p. 1032. The engraving includes the double Columbine and a Fritillary, butterflies and other insects, a snail and a seahorse; Segal in Osaka, Tokyo & Sydney 1990, p. 155, no. 7b. Paris, Fondation Custodia, inv. no. PL-1(41). 51 Hondius 1623, pp. 21-22, ‘Lof-gesang’ (‘Song of Praise’). The text and illustration are in Briels 1987, pp. 235-236. 52 Hondius in Hof-wetten, appended to the Dapes inemptae of 1621, p. 530; Van Hoogstraten 1678, p. 346. 53 Vienna, Kunsthistorisches Museum, inv. no. 570; Ertz 1979, p. 581, no. 144. There are many copies of this painting as well as imitations. See Chapter 6. 54 Daniël Seghers and Frans Francken II, canvas, 131 x 91 cm, Rafael Valls, London 2005. For the identification of the species, see the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. 55 Panel, 130 x 80 cm, Utrecht, Centraal Museum, inv. no. 2310; extensively discussed with identifications in Segal 1985-86, pp. 131-134, no. 44. 56 Amsterdam, Rijksprentenkabinet, inv. no. RP-P-OB-100.151. 57 ‘Ego flos campi, et lilium convallium. Sicut lilium inter spinas, sic amica mea inter filias. Veni in hortum meum soror mea sponsa, messui mijrrham meam cum aromatibus meis’. Song of Songs 2:1-2 and 5:1.

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Fig. 2.4 Adriaen Collaert after Philips Galle, Christ in the garden, engraving, 178 x 129 mm, Rijksprentenkabinet, Amsterdam.

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The Seasons

Spring is the season whose praises are sung the most when it comes to vegetation; it is also the season linked with the sense of Smell and the goddesses Flora and Venus. In one of the engravings of his son Jacob of 1592, Joris Hoefnagel sighs: ‘[...] Omnia vere vigent, et veris tempore florent et totus fervet veneris dulcidine mundus’ (‘[...] All things flourish in Spring, and in springtime and the whole world blossoms and glows with the sweetness of Venus’) and in a further example ‘Magnus veris honos, et odoræ gratia Floræ’ (‘Great is the glory of Spring and the fragrance of flowers by the grace of Flora’).58 Springtime plants such as Winter Aconite (Eranthis hyemalis), Liverwort (Hepatica nobilis) and Crocuses were given religious meanings such as resurrection and hope in salvation, while grains were associated with the Summer, fruit and grapes with Autumn, and tubers and roots with Winter. Evergreen plants such as Ivy, Citrus species and Laurel, were seen as symbols of eternity or eternal fame. Occasionally a flower piece and a fruit piece were painted as pendants representing the Seasons, such as Spring and Autumn. We see examples of this already in the calendars of Books of Hours, as well as in later works by Balthasar van der Ast, Jan van Huysum and his followers, and others.59 There are also paintings containing a mixture of flowers and fruits that encompass the entire growing season.

The Months

A few artists immortalized the twelve months, such as Jacob van Huysum (1688-1740; Fig. 9.17) and Pieter Casteels III (1684-1749) in the 1730s. One of Casteels’s series of twelve flower pieces and one of his series of twelve fruit pieces were engraved (Fig. 10.9).

Vanitas: Vanity, Vacancy and Transience

Every flower is allotted only a short lifetime in comparison with the duration of human life. In this way a bouquet may in its totality symbolically stand for transience, something that appears clearly from various epigraphs in paintings, such as Memento Mori. Without an epigraph, however, it is not always so clear, but there may be other indications that clarify the meaning, such as leaves that have been chewed at by insects or damaged by viruses, or fallen petals. And then there may be supplementary work that makes the meaning more apparent, such as a skull or an hourglass. One of the clearest examples is a little painting by Philippe de Champaigne (1602-1650) with a damaged skull on a stone slab, to the left a glass vase with a Tulip and to the right an hourglass.60 Using this as a model, Jean Morin (ca. 1607-1650) made an etching putting to the left of the skull a costly, intricately tooled gold timepiece and to right the same type of glass vase holding one Rose with both a full bloom and a bud, and a leaf that has been eaten away, while a single Rose petal lies on the table. The whole is accompanied by the epigraph: ‘Quid terra cinisque superbis / Hora fugit, marcescit Honor, Mors imminet atra’ (‘Why worldly Pride leads to ruin: Time flies, Honour fades, dark Death threatens’).61 The symbolic transience of a whole bouquet is expressed in a very straightforward way in an emblem by Roemer Visscher with the motto ‘Jong Hovelingh, out schoveling’ (‘Young a-courting, old a thwarting’), with a detailed explanation (Fig. 1.4).62 A painting by the Antwerp-born Gillis Coignet I (ca. 1542-1599) painted in Hamburg in 1595 offers a representation of the Allegory of Vanity (Fig. 2.5).63 In addition to vanity in this piece, there are well-defined attributes of transience, such the bubble-blowing homo bulla, plus objects that signify the Five Senses (including musical instruments), illusion (such as masks), and fame (the laurel wreath). On a stone slab at the bottom we read the motto: VANITAS VANITATUM OMNIA VANITAS (‘Vanity of vanities, all is vanity’, from Ecclesiastes 2). A luxuriant bouquet in a ceramic vase is included in the composition, and such flowers as a Cypripedium (Cypripedium calceolus) can be seen – an Orchid from the mountain areas of the Northern Hemisphere, which appears but seldom in early works of art.64 In Dutch this 58 Hoefnagel 1592, ‘Vna Hirvundo non facit [...]’ II.6; ‘Magnus veris honos [...]’ III.3. 59 Balthasar van der Ast (1593/94-1657), copper, 18.1 x 22.8 cm, Washington, National Gallery of Art, inv. nos 1992.51.1 and 1952.51.2; Jan van Huysum, (from panel to) canvas, 79 x 60 and 80 x 60.5 cm, The State Hermitage Museum, Saint Petersburg, inv. nos CE 1015 and CE 1049; For Van der Ast see Wheelock 1995, pp. 5 and 8 and for Van Huysum see Segal 2006-07, pp. 184-187, 206-209, nos F13 and F18, with extensive description and identifications. 60 Panel, 28.4 x 37.4 cm, Le Mans, Musée de Tessé, inv. no. 10.572. 61 London, The British Museum, inv. no. 1868.0612.469. 62 ‘Ghelijck als de Ioffrouwen een versche Ruycker van schoone Bloemen setten in het best van haer kamer: maer het duert gheen acht daghen, of zy werpen die op de mishoop’. Visscher 1614, II, emblem LIX, ‘Jong Hovelingh, out schoveling’ (‘Young a-courting, old a thwarting’), which means first beautiful and useful, later thrown away. 63 Bayeux, Musée d’Art et d’Histoire Baron Gérard, inv. no. P0336. More information on this can be found in the Segal Still Life Documentation in the RKD, The Hague. 64 It does appear, for example, on the title page of Clusius’ Rariorum plantarum historia of 1601, in an engraving by Jacques de Gheyn (Fig. 6.4).

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Fig. 2.5 Gillis Coignet, Allegory of Vanity, dated 1595, canvas, 200 x 158 cm, Musée d’Art et d’Histoire Baron Gérard, Bayeux.

species is known as Vrouwenschoentje, ‘Lady’s Slipper’, an older name in Dutch is Venusschoentje, ‘Venus’ Slipper’. This painting was composed before the early vanitas bouquets, such as the 1599 engraving by Carel van Mander discussed below, as well as the more complicated representations of bouquets with attributes of transience, such as the 1637 painting by Jacob Marrel (1613/14-1681), in which each of the Senses has been given a place (Fig. 7.16). One of the earliest vanitas flower pieces was designed by Carel van Mander, who had moved from Flanders to the Netherlands, and engraved in 1599 by Jacob Matham (Figs 2.6 and 10.23).65 The engraving shows a bouquet extending upwards from a tall, narrow vase set on a balustrade between two open arches which afford a view of a mountainous landscape with a few small figures and buildings. To the left of the vase sits a putto holding up a text, and to the right a skeleton with an arrow sitting in a wooden sarcophagus similarly holding aloft a text. Further to the left on the windowsill are a severed hand, a weaver’s shuttle, 65

Amsterdam, Rijksprentenkabinet, inv. no. RP-P-OB-6580; Widerkehr & Leeflang 2007-08, II, pp. 47-48, no. 164, Fig. 164. See also Chapter 10.

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Fig. 2.6 Jacob Matham after Carel van Mander, Flower piece with vanitas motifs, dated 1599, engraving, 392 x 308 mm, Rijksprentenkabinet, Amsterdam.

and an hourglass; to the right, a censer and a skull, and on the wall the shadow of a figure who is not present. The following texts point to the theme of transience and approaching death: Cartouche above left O mensch ghij sijt een wandel gast op aerde[n]. U vleijs is hooij, uw heerlijckheijt een blom.66 Ay arm slijck, en assch die door houaerde U hoogh verheft, u wort gheuraeght [gevraagd] waaro[m] (‘O Man, upon this earth thou art a wanderer Thy flesh is straw, thy glory a flower. Ay, poor clay and ashes raised up high By pride, thou shalt be asked why’) Cartouche above right Die werlt [wereld] hier wel eenen boom ghelijckt. Ghij Mensch het blat dat wast en valt v[er]dwenen. U leven is een schadu die haest wijckt, Ja nevel, damp, en rook die haest is henen. (‘That world here is very similar to a tree. Thou, Man, the leaf that waxeth, withereth, and is spent. Thy life a shade that quickly fadeth, Naught but mist, vapour, smoke and quickly thence’.) On the vase (with sundial) Een ure ghelt het al WAECKT, WANT GHY EN WEET DACH NOCH URE (‘For one hour as for all AWAKE, FOR THOU KNOWST NOT THE DAY NOR THE HOUR’) Above the head of the putto Bedencke[n] leert ons t’elcken keer Dat wij moeten stervven o, heer Op dat wij daer door onbedroghe[n] Te recht verstandich worden moghen (‘Thinking teaches more and more That we must die, O Lord, Hence, thus, through just surmise We may rightly become wise’) Above the head of the skeleton Beschiel u huijs om daeghts becliven Sterven moet ghij, niet levend blive[n] Gheen blijfstadt hier u Mensch ghebuert Dus soeckt een stadt die eeuwich duert

66 Isaiah 40:6-8: ‘All flesh is grass, and all the goodliness thereof is as the flower of the field: The grass withereth, the flower fadeth: because the spirit of the Lord bloweth upon it [...]. The grass withereth, the flower fadeth: but the word of our God shall stand for ever’. This passage is often alluded to in texts that address the theme of transience.

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(‘Suddenly thou keepst thy days at home, No more with the living, thou shalt die alone, No city of refuge, Man, can you find here, Go seek one for eternity elsewhere’) On the sarcophagus Ick was als ghij nu wel zijt Ghij wert als ik metter tijt, (‘I was as thou art now Thou shalt be as I am, in time’) Cartouche below left De breedd’ eens handts is hier o’ Mensch u leven: Ja cort en quaed, vol moijt en commer groot: T’vervliegt oock snel als spoele doet int weven: Dus op den tijt hier acht en op de doodt. (‘With a broad stroke, O Man, here is your life: Short and vile, full of toil, struggle, strife: It flies as fast as a shuttle through the weft: Consider hence in time, think here on death.’) Cartouche below right O Mensch ter wijl hier alles moet vergangen Soo wandelt recht voor Godt niet ijdel romt: Want beter hij nooijt leven had ontfa[n]ghen Die niet en waeckt, wanneer de heere comt, een is nodich. (‘O Man, while everything yet here must surely pass, Justice neither wanders before God, nor vainly roams: For ‘twere better never life to have compass’d For the one who wakes not, when the Lord comes, one is needful.’) Below left Est vere putris mortis homuncio vermis, Cuius vita cito cedit, abitque pede. Æthereas genitrix quem flens effundit in auras: principium a lachrymis qui capit ipse suum. (‘Our little man is a worm with his stinking death, His life passes quickly and is gone with a stride. His mother casts him weeping into the air: He whose beginning arises first from tears.’)

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Below right Tristia qui longo traducit tempora luctu, Tempora diversis undique plena malis. Attento que si perpendas pectore lector, Sic viucs, ut sit mox tibi dulce mori. (‘Sorrowful the one surrendered to long years of lamentation, Years filled full of harm, assailed on all sides by tribulations. Should you, reader, consider this closely in your heart, You will live such that to die soon is the sweetest part.’)67 The eight-line Latin poem was written by the Humanist Cornelis Schonaeus (1541-1611). The other texts are based on the Bible and the Apocrypha but are usually not direct quotations; this, however, does not apply to the words ‘one is needful’ which is taken directly from Luke 10:42 (‘one thing is needful’), meaning only one thing is important. This refers to the story of Jesus in the house of Mary and Martha where the latter complains that she has to care for the household and is busy serving, while Mary sits at the feet of Jesus. Jesus answers that Mary has chosen the best portion: listening to his teachings. The figures and objects in Matham’s art are directly linked to some of the texts that appear in it: the wanderer to the first line of the cartouche below left; the living tree to the first line of the cartouche above right and the dead tree to the second line; the shadow to the third line and the censer to the cartouche below left; the shuttle (a spool on which wool was wound for weaving) to the third line; the putto to the didactic text above its head; the skeleton to the admonishing text above its head and on the coffin; and the skull also to this latter text. In the seventeenth century transience was frequently seen in connection with religion. In the foreword to Emanuel Sweert’s Florilegium of 1612 we read: ‘[…] to understand how short and uncertain is life, and on the other hand, how great is the grace of God […]. From which we learn that the life of man is like a Flower of the field that quickly withers’.68 Still lifes that have transience as their theme are usually called vanitas still lifes. These are not necessarily flower pieces. Vanitas entails three elements: vanity, transience and emptiness. Vanity may also refer to flowers since in seventeenth-century works of art, and sometimes in later works, they were expensive, exotic species and so indications of ostentatious display. Emptiness refers to vacancy of mind, which goes well with the fault of vanity. Such emptiness can be expressed literally in empty, expensive objects, such as exotic shells, for instance in a flower piece by Jan Davidsz de Heem containing a polished Turban shell (Fig. 8.10), but also possibly in a skull.69 Vanitas, as a form of illusion, may be understood as the antithesis of veritas, truth.70 Vanitas was a central theme of a great many written works of the seventeenth century in the Low Countries, including sermons, as well as in paintings and prints. It is evident that the theme carried the admonition to turn to virtue, to improve one’s earthly life, and thereby earn the reward of eternal life. Vanitas is depicted as a theme in a number of prints. In the 1590s Johann Theodor de Bry (1561-1623) engraved a series of six flower pieces, bouquets in baroque vases after Jacob Kempener (active 15861650) entitled Polyptoton de Flore (The Variance of Flowers), with the texts given below as epigraphs (Figs 10.24-29).71 They are numbered 1 to 6, and each has a text with a sequential declension of the word flos (Latin for flower) in the nominative, genitive, dative, accusative, vocative, and ablative:

67 Thanks to Chris Heesakkers, Professor Emeritus in Neo-Latin at Leiden University, for providing a Dutch translation at my request, including sources from comparable Latin texts of Antiquity and references to the Schonaeus edition, Amsterdam 1646, pars tertia, p. 277. 68 ‘[…] te begrijpen hoe kort en onbeduidend het leven is, en anderzijds, hoe groot Gods genade is […]. Daaruit leren wij dat het leven van de mens slechts is als een veldbloem, die spoedig verdort’. Cited in Bleiler 1976, foreword. 69 Canvas, 87.5 x 65 cm, Dresden, Gemäldegalerie Alte Meister, inv. no. 1265; Segal in Utrecht & Braunschweig 1991, pp. 181183, no. 28. 70 Cf. Heckscher & Wirth 1967, p. 138, with a reference to a publication by Antonius van Bourgoingne of 1639, which was given a Dutch edition in 1643 (Van Bourgoingne 1643). 71 Amsterdam, Rijksprentenkabinet, inv. nos RP-P-2004-317 to 322; Hollstein in Hollstein et al. 1951, IV, p. 43, nos 451-456; Hollstein in Hollstein et al. 1953, IX, p. 234; Segal 1997, p. 69. There are a few editions and later copies extant, among others a version in reverse by Johann Bussemacher (active 1580-1613) (Fig. 10.30) and one with altered texts by the Frenchman Jean Messager (ca. 1570-1649). See Chapter 10.

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1 FLOS speculum vitæ modo vernat et interit aura72 (‘The Flower is a mirror of life that blooms a moment then withers with the wind’) 2 FLORIS imago fugax rapidi nos admonet ævi (‘The quickly changing image of the Flower warns us about eternity’) 3 FLORI par iuvenis tener est crescentibus annis (‘The tenderness of youth in the increasing years is like the tenderness of a Flower’) 4 FLOREM si ostendet feret ipso tempore fructum (‘If it displays the Flower, it bears the fruit at that same time’) 5 O FLOS sic Vernans iuvenili ætate pudorem (‘O Flower, let modesty bloom in the Spring of your youth’) 6 A FLORE accipias honeste Vivere discas (‘You can learn to live virtuously by understanding the Flower’) There is an engraving on this same theme of 1612 by Simon de Passe (ca. 1595-1647) after Crispyn de Passe I (Fig. 2.7).73 Above left we read in calligraphic lettering: ‘MEMENTO MORI’ (‘remember your death’ or ‘remember that you will die’). We see a putto pointing to a skull resting on two bones. To the left behind him is an hourglass, and to the right a baroque vase with flowers. The text of the epigraph translates as: ‘Look and see, the changeability of life and of death are like the glory of a lovely flower that only remains unblemished for a short while. In the same way the life of a child moves forward with shaking steps. Scarcely is it born or its fragile body begins to perish’.74

Fig. 2.7 Simon de Passe after Crispyn de Passe I, Memento Mori, dated 1612, engraving, 337 x 275 mm, Rijksprentenkabinet, Amsterdam. 72 73 74

In the bouquet are two Lady’s Slippers, an Orchid from Central Europe mentioned above. Amsterdam, Rijksprentenkabinet, inv. no. RP-P-OB-15.844; Franken 1881, p. 220, no. 1241; Veldman 2001, pp. 183-184; Segal in Osaka, Tokyo & Sydney 1990, pp. 30-31, 154, no. 6 as after Crispyn de Passe II; Segal 2004, pp. 70, Fig. 44, 72; for a complete description with identifications of the flowers see the Segal Still Life Documentation in the RKD, The Hague. ‘En vitæ mortisque Vices ceu floris amœni / Gloria quæ parvo tempore tuta manet / Sic pueri incertis procedit passibus ætas / Nascitur et subito vita caduca perit’.

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Fig. 2.8 Joannes Meyssens after Hendrick Hondius I, Memento Mori, dated 1626, engraving, 215 x 274 mm, Rijksprentenkabinet, Amsterdam.

In 1626, Joannes Meyssens (1612-1670) created a complicated print after Hendrick Hondius I (15731650) with a number of texts (Fig. 2.8).75 Above we read: ‘T EYNDE CROONT HET WERCK’ (‘the end crowns the work’), and below: ‘MEMENTO MORI’, and above that: ‘FINIS CORONAT OPVS’ (‘the crown of work is its end’). The skull is crowned with a laurel wreath, a symbol of eternal fame and honour, while symbols of all the fine arts are also depicted. A special case of vanitas is formed by the works of art connected with the Tulip Mania. In these works vanity is often expressed by means of a costly Tulip at the top of a bouquet which is very large in proportion to the other flowers.76

The Choice between Good and Evil

Many paintings that represent transience also contain elements that point to its opposite, the permanence of eternity. Here a choice is being posited, the one faced by all the living: the choice between earthly, transient life and heavenly, eternal existence. The latter may be acquired in the afterlife if one has lived a morally good, virtuous life instead of a sinful one. The antithesis between heavenly and earthly is particularly visible through the depiction of living creatures – especially butterflies, caterpillars, and other insects – that appear in a great number of still lifes as supplementary work. Butterflies and dragonflies are symbols of the soul and its capacity of to ascend upwards to heaven. A dragonfly is sometimes linked with psyche, the soul. Further insects emphasize other aspects, such as earth-bound caterpillars, dung beetles or sexton beetles, or a fly as a symbol of corruption and decay. Thus, vanitas still lifes frequently display at the same time signs of earthly life and the release from it, which may together take the form of a snail or a caterpillar – itself capable of evolving into a butterfly. Some plants, too, contribute to the idea of eternity, such as Ivy that stays green in Winter. Sometimes we see Ivy draped around a skull, as in the painting by De Heem mentioned before (Fig. 8.10). The opposition between good and evil can also be expressed by certain species of flowers, which in addition also present an opposition between Day and Night. Typical daytime flowers are the Pot Marigold and the Sunflower that turn to face the sun during the course of the day and therefore point 75 76

Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1904-15; Orenstein 1994, p. 27, no. 20-2(4). See Chapter 7.

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heavenwards. A typical night flower is the Opium Poppy which supplies the drug opium, a numbing, soporific substance that can be interpreted metaphorically as a state of spiritual blindness; this could have a special reference to religion, therefore meaning blind to ‘the truth’ of Christian doctrine. Moreover, since Jan Davidsz de Heem, the Opium Poppy has frequently been painted facing away from the viewer. A beautiful example of the opposition between Day and Night in a flower piece that shows a Sunflower opposite a Poppy was painted by Maria van Oosterwijck (1630-1693) (Fig. 8.25).77 Two poems by Joost van den Vondel describe these two flowers as symbolic flowers.78 The theme of the choice between good and evil is supported by many sources. Choice itself is, after all, a general principle that every person has to face daily and pertains to every moment, even if it rarely concerns things of great significance or of a fundamentally moral nature. Every option is determined by decisions based on an interweaving of daily practice, philosophy, religion and knowledge. The theme of making the right choice runs right through the entire range of world literature, and is just as evident in sacred as in profane texts. It also arises in numerous places in the Bible. It is first found in the Bible story of the Fall of Adam and Eve, the first humans, who ate the forbidden fruit that brought to light the difference between good and evil, by which any neutral virtue was lost. One of the most well-known stories from Greek mythology is the narrative of the hero Hercules, who in his twelve labours engaged in a struggle against all kinds of evil forces and eventually was taken up into the realm of the gods, and hence earned immortal life. The path he follows leads to a fork in the road where he must make a choice. This narrative is represented innumerable times in European art, where virtue and vice are embodied allegorically as two female figures.79 In the Middle Ages, the theme of the virtues and vices was extremely popular, and they were itemized and ranked in many different ways. Such discourses usually go back to the Psychomachia of Prudentius who lived in the fourth century CE, the first ‘pure’ medieval allegory representing a battle of the soul in its choice between seven pairs of virtues and vices. Several hundred medieval manuscripts of this work have been preserved, a portion provided with commentary or adaptations. It is the first allegorical Christian doctrinal poem in Latin literature. In the visual arts of the Middle Ages, too, we find pictorial representations in somewhat amended forms, such as the seven cardinal virtues and the seven deadly sins. That they would long play a leading role in European thought can be seen in series of prints from the sixteenth century, for example a famous series by Pieter Brueghel I, as well as the Table of the Seven Deadly Sins by Hieronymus Bosch in the Prado in Madrid.

The Symbolism of Flowers and Plants in Paintings – A Selection Flowers are the jewels of mother earth and amongst the most wondrous of her treasures. Flowers are also signs of coming into being and passing away, not only temporally, but also eternally. Moreover, we find flowers in all forms of art appealing to all Five Senses: there are flowers in songs, in dance, as well as in visual art, many species with their own particular meaning. First and foremost it must be asserted that it could but seldom have been an artist’s intention to allot each flower in a flower piece its own special meaning, and certainly not if such a work contained different species of flowers. If messages were being suggested to the viewer, then these would primarily be, as already mentioned, the general thematic meanings that are applicable to flowers altogether, such as transience, and even then only with certainty if a text or supplementary work makes this clear. In addition, one has to question whether every mouse, fly or shell really was meant to point out this symbolic meaning. Two places where clear symbolic connotations often do come into play are in religious paintings and in portraits. In a flower piece, in a number of cases it is in fact possible that only one particular species is assigned a meaning, particularly if this specimen is placed in a conspicuous place – usually at the top of a bouquet, but sometimes also if it is placed outside the bouquet in the foreground – and then it may also possibly function as an antithesis to another meaning, for example a Carnation in bono in opposition to a shell in malo; or a Marigold exactly in the middle of a bouquet may function as an effect like the rays of the sun. The survey given below should be considered as a key to possible interpretations of flower still lifes.80 The scholarly literature regarding flower symbolism is 77 78 79 80

Canvas, 62 x 47.5 cm, The Hague, Mauritshuis, inv. no. 468; Segal in Osaka, Tokyo & Sydney 1990, pp. 220-221, no. 54. See further in this Chapter under Helianthus annuus, Sunflower, and Papaver somniferum, Opium Poppy. See Panofsky 1930, with sources and examples; Pigler 1974, II, pp. 125-127, with different examples. On account of Taylor (Taylor 1995, pp. 53-54, following De Jongh in Auckland 1982, p. 31), some scholars seem to be seeking to assign to every individual flower in flower pieces a particular meaning. To my knowledge only a single example is known that supports this method: a description of a flower piece in which the meaning of the entire work has been

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copious, and a large part consists of uncritically repeating what others have written. It is senseless to try to be exhaustive in this. Much of the information can be traced back to medieval encyclopaedists, such as Melito of Sardis and Isidore of Seville, or to the poetry of the Middle Ages and Renaissance. In the following selection use has been made of these sources. In the secular poetry of the seventeenth century and later, flowers often acquired a metaphoric meaning regarding personal love, but about that nothing will be said here because there is scarcely any relation, or none at all, between this notion and flower paintings.81 Art does sometimes set up a relation between flowers and the glorification or honour of a prince, for example Rudolf II was honoured in this way by Joris Hoefnagel. In the survey below only a selection is given of the symbolic meanings of species and their sources.82 For a few of the flowers and animals an expanded overview accompanied by their medieval sources is given, for example for the grasshopper (see further below). It should not be assumed that all the sources were known to every artist. This selection is given in alphabetical order according to the scientific Latin name that the species is known by the whole world over. Grateful but critical use has been made of Levi d’Ancona’s The garden of the Renaissance for many sources from the Middle Ages and Renaissance.83 A large number of the manuscript sources of medieval commentators, especially with regard to the religious documentation for Christianity, were published between 1844 and 1880 in the magisterial series Patrologia Latina and Patrologia Graeca, edited by Jacques Paul Migne.

Adonis species – Pheasant’s Eye, including Fire Pheasant’s Eye

Adonis species are similar to small Anemones to which they are related. For that same reason they are also to be interpreted as symbols of the brevity of life, all the more because most of the varieties, which are small and bright red, are annuals. The name ‘Adonis’ is of Phoenician origin and means ‘Lord’ (compare the word Adonai in Hebrew). In Greek mythology Adonis was held to be a mortal god of beauty and desire; he also had a relationship with the goddess Aphrodite (Venus). After becoming wounded, his blood changed into flowers that return anew each year. This complex mythology can already be found in the poetry of Sappho (ca. 600 BCE), but the most well known version of the story is in Ovid’s Metamorphoses.84 Adonis species grow in an area that stretches from Central and Southern Europe across to Central Asia.

Agrostistemma githago – Corn Cockle

The Corn Cockle used to grow primarily in fields of rye, but has become a rare species. Together with the Hollyhock and the Cornflower this species can be a harbinger of the harvest Season. Dodonaeus calls it Eye of Christ and Rose of Mary, among other names, which is similar to the meaning of Pinks, a species that is a kind of relative.85

Alcea rosea – Hollyhock

According to authors of Classical Antiquity, the leaves of Hollyhocks were a medicinal treatment for many diseases, wounds and bites, such as those of snakes and scorpions.86 In the Middle Ages, the Hollyhock was seen as a symbol of salvation. The old Latin name, Althaea, was supposed to indicate that the species grew on higher ground and that this sturdy plant would prevent people from falling from such heights.87 The meaning as a phallus or fertility symbol would seem to be unfounded.88 The Hollyhock is an annual or biennial species of the Mallow family (Malvaceae), that were understood to be medicinal in the same way. The origin of the plant is unknown, possibly it is native to China or Asia Minor.

81 82 83 84 85 86 87 88

purported to have a connection to the ritual of the mass. On the other hand, I am aware of examples of paintings that have been described as meaningless, but which contain clear indications of a meaning, for example due to neglect of the symbolic meaning of a coffin. On symbolism, see further the Segal Still Life Documentation in the RKD, The Hague. Examples are to be found in diverse collections, such as that of Axter 1946; see also Taylor 1995, Chapter 2. A more extensive survey with many commentaries by medieval exegetes can be found in the Segal Still Life Documentation in the RKD, The Hague. Levi d’Ancona 1977. Atallah 1966; Ovid, X, pp. 725-739. Dodonaeus 1554, p. 194. Hippocrates; Pliny, Naturalis Historia, XX, 84; also in Dioscorides, De Materia Medica, III-CLVII. Vincent of Beauvais, Speculum naturale, X, 33; also in Isidore of Seville, Etymologiarum, XVII, 9 and Albertus Magnus, De vegetabilibus. Ghent 1986, pp. 142-143, no. 18.

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Amaranthus tricolor – St. Joseph’s Coat

Camerarius describes the St. Joseph’s Coat as never wilting under the motto ‘Nunquam languescimus’ (‘We will never fade’), also as fearless and the crown of a peaceful old age.89 Ripa defines it in terms of eternal beauty and power (because of its use as a dried flower), and its immortality.90 The derivation of the name Amaranthus is from the Greek and means ‘never wilting’. With regard to this plant Reusner notes: ‘Semen Ecclesiae, sanguis piorum’ (‘The blood of the faithful is the seed of the Church’), and further links it to martyrdom.91 The St. Joseph’s Coat is an annual, unknown in the wild, and probably originally from Indonesia. It is grown in other tropical countries and in Eastern Asia, also as a vegetable.

Anemone species – Anemone

The Latin name Anemone derives from the Greek anemos (wind) because the quickly fallen petals are easily carried along by the wind (compare the English name Windflower). The name is already mentioned by the Greek scholar Theophrastus in the fourth century BCE. For this plant Camerarius devises the motto: ‘Brevis est usus’ (‘Brief is its use’) (Fig. 2.9). An explanation under the emblem reads in translation: ‘Fleeting life, how easily is your thread broken? Struck by a soft breeze the Anemone quickly sinks to the ground’. In the commentary, in which references are made to Ovid, Seneca and Pliny, it is noted that fame, too, is spread abroad by the wind, that life is but short in its duration and the beauty of women subject to mutability.92 Klinkhamer offers weakness as the Anemone’s symbolic me-

Fig. 2.9 Joachim Camerarius, Anemone from Symbolorum et Emblematum, 1688, engraving, RKD, The Hague. 89 90 91 92

Camerarius 1590-1604, I, emblem LXI. Ripa 1644, pp. 4, 7, 8, 53, 87, 368, 485, 563. Reusner 1581, I, emblem XXXIII. Camerarius 1590-1604, I, emblem LXIX.

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aning, and Ferguson the blood of the martyrs who died for Christ.93 The most common species in paintings is the Poppy Anemone (Anemone coronaria), which occasionally crops up in modern literature as the ‘Lily of the field’ referred to in the Sermon on the Mount. This species is common in Asia Minor and grows on the Mount of Olives in Jerusalem. One medieval name for it is Herba Santa Margaretae, Saint Margaret’s plant.94

Aquilegia vulgaris – Columbine

The five-spurred petals of the Columbine look like doves, hence the English name derived from the Latin columba meaning dove. The dove was widely seen as a symbol for the Holy Spirit, who assisted the Virgin Mary conceiving the Son, Jesus. The dove was also a symbol of peace, as in the story of Noah in the Old Testament. The meaning of the Holy Spirit was understood by philosophers and mystics as having a broader significance, for instance as the source of the mind’s inspiration, or as the human soul attributed with divine or universal principles. In addition, the trefoil leaves of the Columbine were connected to the Holy Trinity. Columbines appear predominantly in religious paintings starting in the fifteenth century. The Columbine is also a symbol of love, usually the Virgin’s sacred love, but also love of the profane sort, although even then mostly in a spiritual or Platonic sense, for example in the names and mottos of Dutch chambers of rhetoric: De Blauwe Acoleyen, ‘In minnen groeyende’ (The Blue Aquilegia, ‘Increasing in love’) in Rotterdam; De Roode Acoleyen, ‘Wy Leyden liefd’ (The Red Aquilegia, ‘We loved Leiden’ or ‘We suffer for love’ [Leyden as a pun]) in Leiden and De Witte Acoleyen, ‘Liefd is’t fondament’ (The White Aquilegia, ‘Love is the foundation’) also established in Leiden; and among the others one in Vlissingen, in the province of Zeeland, with the somewhat divergent name De Blau Acoleyen, ‘Den geest ondersoecket al’ (The Blue Aquilegia, ‘The spirit enquires into all’).95 We encounter the Columbine as a symbol of transience in the writings of Erasmus, who is cited in a series of watercolours depicting the Four Elements by Joris Hoefnagel.96 Jean Bourdichon (ca. 1457-1520/21) depicted an Aquilegia around 1508 (with one single regular flower, which was an exception), and above inscribed the text Angelica, and underneath Ancolie.97 Angelica refers to an angel, which may very well be the Archangel Gabriel of the Annunciation. A Columbine with five ‘doves’ is beautifully represented in a flower piece by Dirck de Bray (ca. 16351694), executed in 1671 (Fig. 2.10).98 The Latin name Aquilegia is related to the word aquila, eagle, and thus we find it in Albertus Magnus who compared the petals to eagles.99 The Columbine is a native species that grows in Europe and Asia.

Fig. 2.10 Dirck de Bray, Columbine, detail from Fig. 8.71.

Arctium species – Burdock

Burdock almost never appear in flower pieces, and but rarely when they have been placed in a garden scene. They do, however, appear quite often in forest floor pieces. In the Schoole der wereld by François van Hoogstraten, Burdock are presented in a similar manner to an emblem (but without engraving) under the motto: ‘Op het zien van een breed Dockzeblad’ (‘Upon seeing the broad leaf of the Burdock’).100 Here Burdock is considered a useless weed: it is better not to bear fruit at all than to bear bothersome fruit – after all, Burdock’s burrs have the irritating habit of sticking to your clothing. The Great Burdock (Arctium lappa) is mentioned in some older manuscripts as a healing medicinal treatment for wounds and snake bites, which probably goes back to Dioscorides, and also as a diuretic, according to the North African ‘Pseudo Apuleius’, whose works have been preserved in a few scarce medieval manuscripts.101

93 94 95

Klinkhamer 1740, emblem XIV; Ferguson 1967, p. 27. Fischer 1929, p. 12 Schotel 1871, II, pp. 234-292, cf. Löber 1988, pp. 263-264. Fritz 1952 compiles 85 different meanings for the Columbine. See also Panofsky 1939, pp. 146, 416, including as symbol of the pains of Mary (cf. the French ‘Ancolie’); Koch 1964, pp. 74-75; Ward 1975, p. 205. For one of the numerous misidentifications and translations in the art-historical literature see Schneider 1990, p. 135 who gives Aquilegia in English as ‘Honeysuckle’. 96 Ignis XXXIII from The Four Elements, watercolour, 143 x 184 mm, Washington, National Gallery of Art, inv. no. 1987.20.5.34 and Ignis XXIX from The Four Elements, watercolour, 100 x 137 mm, Berlin, Staatliche Museen zu Berlin, Kupferstichkabinett, inv. no. KdZ 4814; Vignau-Wilberg 2017, p. 98, no. A6 and pp. 112, 114, no. A6 e. 97 Horae ad usum Romanum, dites Grandes Heures d’Anne de Bretagne, Bibliothèque nationale de France, Paris, MS Latin 9474, fol. 28r. 98 Private collection, London. See also Fig. 8.71. 99 Albertus Magnus, De vegetabilibus, II, VI, 135. 100 Van Hoogstraten 1682, CXII, pp. 247-248, after Hall 1630. 101 Vienna, Österreichische Nationalbibliothek, MS Codex Vindobonensis Med. Gr.1. (Dioscorides), and ‘Pseudo Apuleius’ manuscript with poor-quality drawings in the Universiteitsbibliotheek Leiden, MS Voss. Lat. Q9; see further Dodonaeus 1644. The medicinal effects seem only to have been taken seriously in recent times, based primarily on translated Chinese sources. | 53

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Bellis perennis sensu lato – Daisy

The Daisy can be found primarily in religious art and is another Mary plant, as well as a symbol of humility since the plant grows and blooms close to the ground and can tolerate being trodden upon. Medieval names in Dutch are Maeghdelieve (‘Maid’s Love’) and Sinte Marieen Cruut (‘Saint Mary’s Herb’). It is a native species that grows in Europe and Western Asia. The French name Marguerite also gave rise to its meaning as a sign of Saint Margaret.

Borago officinalis – Borage

Borage was used as a medicine for heart problems and also as a salad herb. In Eastern philosophy, the heart is the centre of the spirit, while in the West it is associated with feelings. According to diverse sources this plant was supposed to drive away impure thoughts.102 Borage was originally native to the area of the eastern Mediterranean, but later came to grow wild in many places in Europe.

Calendula officinalis – Pot Marigold

According to nearly all sources of symbolic meanings since the early Middle Ages, Marigolds signify reliance on heaven or God because the flower turns to face the sun over the course of the day. The older names preserve this notion, for example in Dutch Sonnenkruyt, in Spanish Sponsa del Sola and in Latin Solsequiem. The appropriate motto ‘Non inferiora sequutus’ (‘I do not care about lesser things’), which may also mean things in the lower world or on earth, appears in an early emblem book by Claude Paradin printed in 1551 (Fig. 2.11).103 Later on that same motto was adopted by emblematists for the Sunflower, which also turns to face the

Fig. 2.11 Claude Paradin, Pot Marigold from Devises Heroïques, 1557, engraving, RKD, The Hague. 102 Becker 1992, p. 47. 103 Paradin 1551, pp. 41-42.

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sun. The Marigold and Sunflower, along with the Tulip, occur in one of François van Hoogstraten’s emblems where they are interpreted as signifying God’s concern for the salvation of humankind, including His grace.104 The accompanying commentary exhorts human beings to reflect on higher, heavenly, spiritual things, and hence on God. Shakespeare addresses this subject in Sonnet 25: Great Princes’ favourites their fair leaves spread But as the marigold at the sun’s eye; And in themselves their pride lies buried, For at a frown they in their glory die. The Marigold can also be a flower of death, as is evident in older names such as the Dutch Doodenblôme; or as a flower of Mary, as in the Middle Dutch Marienblomkijn and to this day in the English Marigold.105 This flower was also held to have healing powers.106 The Marigold (Goudsbloem in Dutch, ‘Golden Flower’) occurs in several names of the chambers of rhetoric in the Low Countries: in Antwerp De Goudsbloem with the motto ‘Groeyende in deuchden’ (‘Growing in virtues’), and in Gouda Die Goutsbloeme with the motto ‘Uyt jonsten [plezier] begrepen’ (‘Understood by the last pleasure’).107 Marigold is a species originally from south-western Europe.

Celosia cristata – Cockscomb

The Cockscomb is seen almost exclusively in eighteenth-century paintings, for example those by Jan van Huysum. It is a relative of the Amaranthus and has, according to Pliny, the same symbolic significance when it is a dried flower: immortality.108 The origins of this annual, which had already arrived in Europe in 1563, is unknown, but probably it hales from the tropics. In some parts of the world it is considered edible.

Centaurea cyanus – Cornflower

The Cornflower grows in grain fields, particularly fields of rye, and was dedicated to Ceres, goddess of the harvest.109 The blue flowers contain the photo-sensitive chemical cyanine that makes them turn quickly to a greyish white. When mixed with alum, this water-soluble pigment was formerly used for watercolour painting. The species is seen foremost in religious paintings, as well as in the strewn borders of manuscript miniatures, and also as a kind of Mary plant. It was used as an ornamental, for example in wreaths around the heads of angels and female saints, but also for any figure of purity, like those praised in medieval Dutch lyrics, for example: Bloemkens blauwe staen in ‘t coren, Si staen geverwet ghelijc lasuere, Die alle maechdekens toe behoren Ende alle reyne creaturen [...]110 (‘Flowers of blue standing in the corn, There they stand painted the colour of azure, They belong to all maidens And to all pure creatures [...]’) And these flowers also express steadfast dedication to God, for example: [...] Een blaubloeme soe wast hier op Daer men ghestedicheit bi versteet; Want wie ghestadich blijft bi God, Hi es die den loen ontfeet [...]111 104 Van Hoogstraten 1682, LV, pp. 114-116, after Hall 1630. 105 Marzell 1943-79, I, p. 215; Gerth van Wijk 1911-16, I, pp. 215-216. 106 For example by Dodonaeus 1644, p. 404. 107 About the Antwerp chamber of rhetoric see Van Bruaene 2004. For Gouda see Van Dixhoorn 2004. 108 Pliny, Naturalis Historia, XXI, 3.47. 109 According to De Lairesse 1707, II, p. 262. 110 Axters 1946, p. 85, no. 45, fourth stanza. 111 Axters 1946, p. 84, no. 44, seventh stanza.

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(‘[...] A blue bloom grows here from the sod Its meaning is steadfastness; For whoever stays steadfast to God, With his right reward is blessedness [...]’) Just like the grain it grows among, the Cornflower is a symbol of the Resurrection.112 This species was also indicated as a medicine for eye disease. The Cornflower was the insignia of the seventeenth-century chamber of rhetoric De Korenbloem in The Hague.113 This annual originally came from the lands of the central and eastern Mediterranean, but now grows all over Europe in grain fields.

Chelidonium majus – Greater Celandine

The Greater Celandine has yellow flowers and was considered to have healing properties for eye diseases. Metaphorically these diseases were understood as not being able to ‘see clearly’ and understand, thus pointing to a mental lack of insight. We see this species in religious paintings and sometimes in still lifes from the beginning of the seventeenth century. It is a common, native, Eurasian plant.

Citrus aurantium – Orange Blossom

Orange blossom was considered a symbol of pure and eternal love because the tree is evergreen and blooms the whole year round. This symbolism is often connected with the Virgin Mary, but also with profane love. The fruit of the tree is the Seville Orange, also known by other names including Paradise Apple.114 Often the fruit is taken to be the same as the fruit of the ‘Tree of the Knowledge of Good and Evil’ in the Bible because it tastes both bitter and sweet, something that also applies to love. The Adam’s Apple is a certain type of Seville Orange.115 Citrus species (oranges, limes, etc.) are all originally from south-east Asia.

Convallaria majalis – Lily of the Valley

The sweet little Lily of the Valley was known as a Christ plant and even more widely as a Mary plant. The Lily of the Valley was traditionally associated with the ‘Lily of the field’ in the Song of Songs: ‘Ego flos campi et lilium convallium’ (‘I am the Flower of the field and the Lily of the valley’). In a hymn by Adam of St. Victor (1110-1192), Mary is addressed as the one who gave birth to Christ, she is both the one Flower of the field and sole Lily of the Valley.116 At the same time, this flower functioned as a symbol of meekness on account of the way the blossoms hang near the ground, for example in a statement by Eadmer of Clare (1060-1124) in his exegesis on the Song of Songs: ‘Ego lilium convallium id est flos humilum’ (‘I am a Lily of the Valley, meaning a humble flower’).117 This flower appears in countless religious paintings, for example, in the Paradiesgärtlein painted by an anonymous master from the Upper Rhine area around 1410; in works by Albrecht Dürer (1471-1528); and in a great number of Netherlandish flower pieces.118 It appears as a plant of Christ in, for example, the Baptism of Christ by Gerard David (ca. 1460-1523) of 1502, and as a plant of Mary in, for instance, the wreath of Mary as Queen of Heaven in the Van Eyck’s Ghent altarpiece (Fig. 5.7).119 Occasionally we see saints with this flower, for example Saint Veronica as painted by the workshop of Robert Campin around 1420.120 From ancient times the Lily of the Valley was prized as a medicinal plant and is found as such in medieval manuscripts, for example in the Physica of Hildegard von Bingen as a medicine against ulcerations, snake bites and epilepsy; it is contained in all the older herbals.121 In our period it was used

112 According to a Latin prayer book from Milan composed about 1430 by Michelino da Besozzo, in the Pierpont Morgan Library, New York, MS M.944, fol. 26v. 113 Van Boheemen & Van der Heijden 1999, pp. 304-306. The Cornflower was already used as the device of an unnamed chamber of rhetoric in the sixteenth century. 114 For example by Luycken 1711, pp. 370-373. 115 Segal in Amsterdam & Braunschweig 1984, Chapter 1. 116 Adam of St. Victor, Sequentiae, col. 1503: ‘Flos campi, convallium singulare lilium, Christus ex te prodiit’. Further cited by Augustinus, Jerome and others. 117 Eadmer of Clare, De Quatuor Virtutibus, col. 583. 118 Panel, 26.3 x 33.4 cm, Frankfurt, Städel Museum, on loan from the Historisches Museum, Frankfurt, inv. no. HM54. See the Segal Still Life Documentation in the RKD, The Hague. 119 The middle panel of a triptych, 182 x 132.2 cm, Bruges, Groeningemuseum, inv. no. 0000.GRO0035.I-0039.I. About the Ghent altarpiece see Chapter 5. 120 The middle panel of a triptych, 151.8 x 61 cm, Frankfurt, Städel Museum, inv. no. 939A. 121 Riethe 2007, p. 468.

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as a treatment for heart disease and other illnesses. The flower is depicted in portraits of a number of physicians and learned men, including a portrait of Erasmus by Dürer.122 This flower species is found throughout the whole Northern Hemisphere.

Consolida and Delphinium – Larkspur

Larkspurs were thought to have a healing effect on wounds and various illnesses.123 They were also taken to be royal flowers and symbols of knighthood (Riddersporen in Dutch, ‘Knight’s Spurs’). This symbolism derived from the name of the plant: knights are faithful higher powers, such as kings. Hence the Wild Larkspur is called ‘kingly’: Consolida regalis (from the Latin rex, ‘king’), in English Knight’s Larkspur and in French Dauphinelle consoul; the full variety is called cv. Imperiale; and the Mediterranean False Larkspur Consolida ajacis, is named after the ancient Greek hero Ajax. Most Consolida varieties are annuals, but the Delphiniums are perennials, the name of the latter originating from the notion that the buds look similar to dolphins.

Convolvulaceae species – Bindweed/Morning Glory

Bindweed species, such as the native Bindweed (Calystegia sepium) and Lesser Bindweed (Convolvus arvensis), open their flowers in the morning and close them in the afternoon, twisting their petals into a scroll. They are therefore ‘day flowers’ that are sometimes positioned in paintings against ‘night flowers’ like the Poppy. The Bindweeds are not suitable for use as cut flowers since their blooms do not open or scarcely open in a vase. In flower pieces the most commonly seen varieties are the Small Morning Glory (Convolvulus tricolor) and the American Great Morning Glory (particularly the Ipomoea purpurea). Their behaviour is beautifully expressed in a Japanese haiku by Moritake, which refers to a different species (in English translation): The Morning Glory Today reveals most clearly My own life cycle.124

Crocus sativus – Saffron Crocus

The stamens of the Saffron Crocus from Asia Minor have been used for centuries to prepare the yellow spice saffron that is used to give colour and flavour to rice dishes. We see Crocuses depicted in wall paintings in Pompeii dating from the first century BCE.125 Most species of Crocus bloom early in the year and are sometimes regarded as harbingers of Spring and signs of the Resurrection, thus as Christ plants.126

Cyclamen species – particularly Annulated Sowbread (Cyclamen hederifolium)

Cyclamen were also known as Pig’s Bread, or in Latin panis porcinis, English Sowbread and German Schweinsbrot, because the flattened tubers look like a round bread and pigs like to eat them.127 In Antiquity they were used, according to Theophrastus, to prepare love potions, and, according to Pliny, were dissolved in wine for poisoning.128 On the other hand, Dodonaeus calls the Ivy-leaved Sowbread (Cyclamen europaeum) a medicine for snake bites and useful against the poison of the Sea Hare (Lepus marinus), a mollusc that exudes a dark purple toxic malodorous substance when in danger. But Cyclamen were also dedicated to Mary, as may be inferred by the old name Sigillum Beate Mariae, Blessed Mary’s Seal. The red spot in the centre of the flower was then seen as her bleeding sorrow.129 The Annulated Sowbread is a species from the area around the Mediterranean Sea.

122 For the portrait of Erasmus see, for example, the engraving in the Metropolitan Museum of Art, New York, inv. no. 19.73.120. 123 Stated as such in the herbal by Mattioli in various editions of the sixteenth century and later. 124 Buchanan 1973, p. 77. This is the last haiku composed by the writer, who was a high priest of the Ise Temples in Japan. The Morning Glory is seen here as a symbol of the brevity of human existence: life is beautiful, but fragile. 125 Jashemski 1979, pp. 151, 181. 126 Heilmeyer 2006, p. 30. 127 Boerhaave 1720, p. 621. The tubers contain a poisonous substance, cyclamine, to ward off consumption, but some mammals are resistant to it. 128 Pliny, Naturalis Historia, XXV, 67, 115, but elsewhere as suitable for fashioning a flower chain (21:27,51) 129 Bauhin 1620, p. 69.

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Cypripedium calceolus – Lady’s Slipper

This lovely low-growing Orchid from the limestone-rich Alps makes an appearance in a few early engraved flower pieces and was known as a Mary plant, including as Calceus St. Mariae, St. Mary’s Sandal, a name bestowed by medieval monks.130

Dianthus caryophyllus – Pink/Carnation

We encounter the Pink or Carnation not only in flower pieces, but quite often in religious paintings and portraits starting in the fifteenth century where the flower can usually be seen held in the hand of Mary or Christ; in profane representations it is frequently placed in a garden vase. In sacred works it is associated with Christ, and in portraits most likely primarily with belief in Christ.131 The religious connotations may be inferred from the different names for the Carnation in European languages. The Latin name Dianthus derives from the Greek, Dios anthos, God’s flower. This name occurs in Theophrastus, too: flower of Zeus. In the scientific name Dianthus caryophyllus the second word is also derived from the Greek meaning cloves, because of its similar spicy scent. This appellation was given by Pliny. The clove itself, because its shape is reminiscent of a nail, became a symbol of the Passion of Christ, who was nailed to the cross. The shape of the Carnation may also bring to mind a nail. The French name Giroflée is a derivation from caryophyllum. The more usual French name is Oeillet de Dieu, God’s Eye, or simply Oeillet. The Clove (Caryophyllus aromaticus) was regarded not only as a kitchen herb, but also as medicinal, and as a substance with magical properties. It is in fact still used as a natural anaesthetic, for example for toothaches. The Latin name carnatio and the English name Carnation refer to the flesh-colour of the flower, and therefore was also interpreted as ‘made flesh’, that is in association with the incarnation of Christ, and accordingly the hope of redemption. Moreover, the Carnation was considered to be a curative for eye diseases, thus metaphorically an aid to seeing the truth, which in the period meant the truth given through the teachings of Christ. Occasionally we encounter Carnations that have grown proliferations, in which a new stem with a flower grows right through another flower. For interpreting these, a link was made to the Resurrection, but actually in most cases what we see represented is a sprig of Rosemary growing out of the flower, which is a symbol of both love and death.132 In secular works the Carnation may have significance as a plant of love or marriage. This is how it is interpreted in the scholarly literature on portraiture, possibly because cloves were understood to be an aphrodisiac.133 It has even been suggested that this meaning might pre-date the religious meanings.134 But in the majority of portraits, the Pink or Carnation is, as already noted, a sign of faith in Christ. The similarly shaped African Marigold replaces the Carnation in a number of religious paintings and portraits. In several religious paintings and in still lifes from the beginning of the seventeenth century we encounter a Carnation inserted into a mound of butter, a sign of over-abundance; or placed with some strawberries – the earliest fruit of the year and thus also a sign of the Resurrection and hope of redemption; we also see these flowers in banquet still lifes that were possibly connected with a marriage.135 With regard to the hope of redemption, a Virgin and Child by Hugo van der Goes (1440-1482) is of interest, with, on the original frame, the words ‘En Esperance’ (‘In Hope’).136 One of the chambers of rhetoric in Haarlem had the name De Witte Angieren (The White Carnation), and the motto ‘In liefde getrouw’ (‘True in love’), which is to say true to Christ.137 The Pink is a species that is originally native to the area around the Mediterranean and right across Asia to the Himalayas.

130 Fischer 1929, p. 12. Also in a Madonna and child in a landscape that is attributed to Pieter Claeissens I (ca. 1499-1576), panel, 38.5 x 30.5 cm, P. de Boer Gallery, Amsterdam 1980. 131 An early example is a portrait of a woman by Hans Memling (ca. 1433-1494). From a diptych, panel, 43 x 18 cm, New York, The Metropolitan Museum of Art, inv. no. 49.7.33. 132 An example is the portrait of a woman by Bartholomäus Bruyn I (1493-1555) of about 1520. Panel, 80.3 x 58.5 cm, Frankfurt, Städel Museum, inv. no. 969. 133 Haarlem 1986, p. 33, with sources (p. 63 n. 5); Beuchert 1996, p. 237. 134 Taylor 1995, p. 72. 135 Bergström 1958 (in Swedish) and Milman 1996. A Carnation stuck in butter can be seen in paintings by Pieter Aertsen (15081575) and others; and one put together with strawberries in early still lifes by Frans Snyders (1579-1657), Jacob van Hulsdonck (1582-1647), Jacob Foppens van Es (ca. 1596-1666) and others. 136 From a triptych, panel, 20.1 x 14.1 cm, Frankfurt, Städel Museum, inv. no. 802. 137 Van Dixhoorn 2004.

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Erysimum cheiri – Wallflower (see also Matthiola incana, Stock)

The Wallflower is Pliny’s and Dodonaeus’s Viola lutea or Yellow Violet.138 A chamber of rhetoric in Gouda was named De Geele Fioletten.139 The Wallflower originally came from the area around the Mediterranean and Asia Minor, where fissures in rock form its natural location for growth, and thence it spread to Central and Western Europe.

Fragaria vesca – Strawberry

Strawberry plants appear predominantly in religious paintings and miniatures, frequently with flowers and fruit. Ovid characterizes this species as a plant from the Golden Age, a mythic paradise.140 The Strawberry plant puts forth the earliest fruit of the year, has white flowers and grows low to the ground with downward hanging fruit, characteristics that give rise to thoughts of the Resurrection of Christ, the meekness and purity of the Virgin Mary, and together with its trefoil leaf, symbolism of the Holy Trinity.141 In the paintings of Clara Peeters (active 1607-1621) we sometimes see Rosemary with fragulae de auro, little gilded decorations in the shape of strawberries.142 In still lifes of the old masters we usually see Wild Strawberries, which grow throughout the whole Northern Hemisphere. The strawberries cultivated for consumption from the middle of the eighteenth century on have been hybridized with American species.

Fritillaria imperialis – Crown Imperial

The Crown Imperial is native to the Himalayas. It was first recorded in 1553 in Italy and in 1573 arrived in Vienna where Clusius became acquainted with it. When in bloom the Crown Imperial is majestic, but it also lets its flowers hang down which denotes humility. Later the fruits point up, towards heaven. Camerarius composed the motto: ‘Modesta juventus, honesta senectus’ (‘Modest youth, honest old age’), and he explains this further: ‘Learn from me, my boy, my virtue, not from a proud flower, let your head in ripe old age be crowned with fruit’.143 Youth is called upon to show modesty and elders to set a good example in their wisdom and experience (Fig. 2.12). There is also a quotation from Cicero: ‘Apicem senectutis esse autoritatem’ (‘The crown [height] of old age is authority’).144 Jacob Cats expresses this sentiment in a long poem accompanied by a lovely illustration from the artist Adriaen van de Venne (Fig. 2.13) in the following way: […] Wanneer de Plante bloeyt, dan heltse na beneden, En druckt haer ootmoet uyt, als met geboge leden […] Maer alsse rijper wert, dan is haer deftigh wesen, Niet laegh, gelijck het plagh, maer hooger opgeresen; Sy geeft haer in de lucht, en siet den Hemel aen, En blijft oock, alsse sterft, in die gedaente staen […] Waer toe, geminde ziel, soo veelderley gedachten, Wilt na een stil gemoet, en na den Hemel trachten […]145 (‘[…] When the plant blooms, then she hangs ever downward, And shows her obedience in her hanging limbs […] But when she grows riper, then her elegant presence No longer low like sod, but risen up on high; And looking on Heaven, she gives herself to the sky, And stays so when she dies, in this very form […] Whither goest, beloved soul, thy so many thoughts, Would’st with peaceful mind try to reach to Heaven […]’)

138 Pliny, Naturalis Historia, XXI, 14; Dodonaeus 1554, pp. 186-187. 139 Van Dixhoorn 2004. 140 Ovid, Metamorphoses, I, 104. 141 Milman 1996, pp. 133-134 n. 38. 142 For example in the earliest dated still life by Clara Peeters of 1607 (panel, 24 x 37 cm, private collection). See Antwerp & Madrid 2016-17, p. 15. 143 Camerarius 1590-1604, I, emblem LXXI. 144 In Cicero, De Senectute, 61: ‘Apex est autem senectutis auctoritas’. 145 Cats 1656, pp. 39-40, XL. Antwerp, Erfgoedbibliotheek Hendrik Conscience, inv. no. C 1710:7,2.

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Fig. 2.12 Joachim Camerarius, Crown Imperial from Symbolorum et Emblematum, 1668, engraving, RKD, The Hague.

Fig. 2.13 Adriaen van de Venne, Crown Imperial from Hof-gedachten, 1655, Erfgoedbibliotheek Hendrik Conscience, Antwerp.

The motto Cats uses originally appeared in Paradin in 1551, who applied it to the Marigold and also made a connection between it and heavenly love.146 The Crown Imperial is an impressive sight, but it is also malodorous and therefore may be a sign of vanity, as we read in satires on the Tulip Mania. As a Christ plant, the Crown Imperial is praised in a famous Middle Dutch poem that begins with the words: ‘Heer Jezus heeft een hof�en daer schoon blomkens staan’ (‘Lord Jesus has a little garden where beautiful flowers stand’); further on it reads: Noch wasser een die boven al spanden de croon, […] Coron’Imperiale, twas de liefde schoon […]147 [‘And there was one that stood above them all, […] It was pure love, Crown Imperial […]’)

146 Paradin 1551, p. 41. 147 Axters 1946, p. 81, no. 43, fourth stanza.

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And we can read in Poirters of it as a Mary plant: […] Den meesten roem van al den roem Dat is u schoon ghenades bloem. Want ghy ver-bidt en sweert en stael, Dat is u Croon-Imperiael.148 (‘[…] The most fame of all the famed That you are, sweet mercy’s flower. For you deflect both sword and steel That is thy Crown Imperial.’)

Fritillaria meleagris – Snake’s Head Fritillary

The Snake’s Head Fritillary is one of the loveliest native species that can withstand competition from the slender Tulip quite well, but in contradistinction to the Tulip its flowers hang downwards towards the ground. This gives rise to the concept of beauty united with humbleness. The species grows wild in headlands from Europe through the Caucasus, possibly its native area just as it is for the Tulip.

Hedera helix – Ivy

As early as Catullus, Ivy stood for friendship and faithfulness because by climbing up the trunk it forms a close bond with the tree.149 Camerarius celebrates Ivy too for its habit of growing over the walls of ruins because the tendrils hold the walls together: ‘Si vivet vivam’ (‘If one lives the other lives’), a symbol of mutual friendship since their mutuality is in the interests of both.150 These good qualities are evident in the works of various emblematists. But this same Camerarius, and with him a number of other emblematists starting with La Perrière in 1540, also accuse the Ivy plant of being ungrateful, for it could well be that the Ivy kills the tree that it entwines, or destroys the wall it climbs upon.151 In reality, however, Ivy does not feed on the sap of the tree, but is nourished by means of its own roots in the ground, and attaches itself to its host by means of aerial roots. In Virgil and other Roman authors, Ivy is a symbol of the eternal fame of poets and other illustrious figures because the leaves stay green in Winter.152 For Pliny it is a symbol of immortality.153 Horace linked Ivy with the gods.154 In flower still lifes it can, in all likelihood, always be taken as a reference in bono, on account of the evergreen leaves; but in landscapes, in certain cases, a reference in malo needs to be taken into consideration, on account of the perceived choking nature of the plant. This species occurs all across Europe and through Turkey and Morocco; it has also made itself at home elsewhere in the Northern Hemisphere.

Helianthus annuus – Sunflower

The Sunflower is native to Peru, where it was honoured by the Incas as a symbol of the sun. Dodonaeus was the first to describe it in 1568, basing his observations on the example in the garden of Jean de Brancion at the court of Margareta of Parma in Brussels. The Sunflower had been brought there from the garden of the University of Padua, where Jacopo Cortusa was hortulanus (chief gardener).155 As stated earlier, the heliotropism of the Sunflower means that it turns to face the sun during the day (compare in this regard the French name Tournesol and the Italian Gerasole). This same behaviour is exhibited by the Heliotrope and the Pot Marigold. The symbolism of the Sunflower partially overlaps with that of the Pot Marigold. According to Camerarius, the Sunflower is a symbol of divine wisdom and righteousness, and he gives it the motto: ‘Non inferiora secutus’ (‘I don’t follow the lower [world]’); he adds: ‘just as the rays of the sun cause the plant to turn, so turns my soul gracefully towards You, O 148 Poirters 1673, fol. 5r. 149 Catullus, Carmina, 61, ll. 31-35. 150 Camerarius 1590-1604, I, emblem LIIII. 151 La Perrière 1540, emblem LXXXII; Camerarius 1590-1604, I, emblem XXVI; Cats 1627, emblem XLI; and others. 152 Virgil, Eclogues, VII, 25. 153 Pliny, Naturalis Historia, XVI, 62, 152; Alciati 1551, p. 219. 154 Horace, Odes, I, 1.29-30. 155 Dodonaeus 1568-69, epilogue. Possibly the first depiction in a painting can be found in the Expulsion from Paradise by Hans Hoffmann (ca. 1530-1591/92). Panel, 31 x 44 cm, Vienna, Kunsthistorisches Museum, inv. no. 917; the painting had previously been regarded as Netherlandish ca. 1560. It was attributed to Hoffmann and dated 1580/90 by Koreny and Segal. See Koreny & Segal 1989-90.

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Fig. 2.14 Crispyn de Passe I, Sunflower from Selectorum Emblematum Centuria Secunda, 1613, engraving, RKD, The Hague.

Christ’. Camerarius goes on to explain that human beings must direct their eyes towards the generous Giver of all that is good, instead of looking downwards towards the earthly which is transient as is all flesh (including the body).156 Zacharias Heyns offers the motto: ‘Christi arctio imitatione nostra’ (‘Let us follow Christ more steadfastly’), with a text from the Gospel of John 8:12: ‘I am the light of the world: he that followeth me shall not walk in darkness, but shall have the light of life’ (Fig. 2.15), plus a reference to Boethius’s De Consolatione Philosophiae: ‘Truly, He [God] may be called the sun, for He looks down on everything’.157 The Sunflower is also a symbol of profane love. In his Amorum Emblemata of 1608, Otto van Veen has a cupid pointing to a Sunflower accompanied by the following text: Der sonnen blom altijdt draeyt na der sonnen ganghen: Soo doet een minnaer oock, die nae zijn Lief hem wendt Daer hy sijn hert en gheest en sijn ghesicht na sendt; Om haer altijdt te sien is meest al sijn verlanghen158 (‘The sun flower ever turns with the sun’s tread: And so does a lover too, to his Beloved he wends so strong He sends his heart, soul, face along; To see her always is his most desire and dread.’) Furthermore, the Sunflower was a symbol of Day in opposition to the Opium Poppy as a symbol of Night, while together they represented the antitheses good and evil, as in two poems by Vondel. Here he personifies Day as follows: 156 Camerarius 1590-1604, I, emblem XLIX; the same motto appears in Rollenhagen 1613, emblem LI, see Fig. 2.14. 157 Heyns 1625, D2; Segal 1985a, p. 99; Bruyn & Emmens 1956 and 1957. 158 Van Veen 1608, emblem XXXVIII; see also Haarlem 1986, pp. 87-92.

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Fig. 2.15 Zacharias Heyns, Sunflower from Emblemata, 1625, engraving, RKD, The Hague.

O, schoonste jongelingk, uw blonde lokken zwaayen Om ’t hoofd, en in den hals, en geven eenen glans; U voegt het sneeuwwit kleed, uw hoofd die blijde krans, Uw eene hand de torts; de zonnebloemen draayen In d’andre hand zich om, en volgen ’t lieve licht. Gij zijt de Dag, of voert den Dag in uw gezicht.159 (‘O lovely youth, your golden locks flowing O’er your head and throat, with radiance glowing. You wear a snow-white robe, upon your head a crown And in your hand a torch. The Sunflowers turn around In your other hand to follow the light apace. You are Day, or carry daytime in your face.’) In a different poem, about the art of painting imitating nature, Vondel also mentions the Sunflower: Gelyk de zonneblom haar oogen Uit minne draeit naar ’s hemels bogen, En volght met haer gezicht Het alverquickend licht, De zon, die ’t al zyn verwe geeft 159 Porteman 1987, pp. 144-153. Vondel makes reference to allegories painted in 1643 by Joachim von Sandrart (1605-1688) based on Ripa’s Iconologia; see Segal in Osaka, Tokyo & Sydney 1990, p. 221 n. 8; Joachim von Sandrart, Allegory of the Day, dated 1643, canvas, 148 x 123 cm, Augsburg, Städtische Kunstsammlungen, Deutsche Barockgalerie, inv. no. L 757, on loan from the Bayerische Staatsgemäldesammlungen, Munich. For the poem about night see Papaver somniferum, Opium Poppy, below.

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En daer geboomte en plant by leeft; Zoo volght de Schilderkunst, Uit aangebore gunst, Ontsteecken van een heilig vuur De schoonheid van Natuur, Met hare streecken en penseelen Geeft doode doecken en panneelen Het leven, waer ze zweeft en zwiert; Verkloeckt de menschen, en ‘t gediert. O eedle Schildermin, O tiende Zang-godin, Wy loopen u, met d’andre negen Parnas-godinnen tegen; Van zingen noch van speelen moe: Ontfang dees kroon: zy komt u toe!160 (‘Just as the Sunflower’s eyes Turn in love to the skies, And follows with her sight The lively quickening light, The sun, which gives it all its colours That tree and plant live by; So turns the Painter’s Art, Naturally on its part, Kindled by an holy fire Nature’s beauty to desire, With her brush she enamels Giving life to canvas and panels Once dead; where she floats and glides, There man and beast come alive. O Noble Painter’s Love, O You, tenth Goddess above, We rush to you and others nine, Parnassus goddesses divine. Who of singing and playing tires never: Receive the crown: it’s yours forever!’) We often see a Marigold in the centre of a flower piece. In the last quarter of the seventeenth and the beginning of the eighteenth centuries, however, the Sunflower sometimes takes its place, for example in work by Pieter Withoos (1654/55-1692; Fig. 8.112). More often it appears at the top of a flower piece, which is more logical from an aesthetic point of view.

Hyacinthus orientalis – Hyacinth

As well as being a symbol of virtue in general, the Hyacinth was said to be a symbol of faith, according to Honorius of Autun, on account of its heavenly-blue colour and because, according to the Fathers of the Church, it had been mentioned by the Prophets.161 The blue colour often had signification in combination with other religious symbolism. Hrabanus Maurus sees the Hyacinth as symbolizing heavenly reward for good deeds carried out based on the description of Aaron’s garment in the Book of Exodus, in the words of the Vulgate: ‘Mala punica facies, ex hyacintho, et purpurea’, where Hyacinth means blue (‘and beneath the hem of it thou shalt make pomegranates of blue, and of purple’).162 For Thomas de Cisterciensis, it was a symbol of grace.163 160 Van den Vondel, Werken, V, p. 820. Composed upon the occasion of the induction on the 21st of the Month of Wine (October) 1654 by the Broederschap der Schilderkunst (Brotherhood of Painters) in the St. Joris-doelen in Amsterdam, by painters, sculptors and their patrons. 161 Honorius of Autun, Speculum Ecclesiae, col. 1018 and in Sigillum Beatae Mariae, col. 510 C-D. 162 Hrabanus Maurus, Allegoriae in Sacram Scripturam, col. 965; Exodus 28:33. 163 Thomas de Cisterciensis, In Cantica Canticorum Commentarii, col. 587.

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The Hyacinth is mentioned by Berchorius in the fifteenth century as a symbol of Christ based on the Song of Songs as well as other texts; in the thirteenth century Peter of Celle referred to it in connection with the Incarnation.164 Richard of Saint-Laurent regards it as a Mary plant: ‘Flos hiacynthinus, qui color celestis est Mariae enim conversatio in caelis erat’ (‘The colour of the Hyacinth flower is the colour of heavenly Mary, for it is associated with heaven’).165 John of Damascene also associates it with Mary: ‘Ave hyacinthus flammei coloris virginitatis vellus’ (‘Hail Hyacinth glowing with colour, cloud of virginity’).166 The Hyacinth is native to Western Asia.

Iris – various species

The flower species that appears most frequently in painting from the fifteenth century on is the German Iris (Iris germanica), although in the seventeenth century there followed many other species and hybrids. Irises were taken as symbols of lordship and majesty, on earth as well as in heaven. We are familiar with the Iris in heraldry as fleur-de-lis in the family shields of the princes of Florence and France and their kindred, and in the insignia of a number of cities in France and Germany. In many medieval sources the Iris is a symbol of divine dominion, a sign of the Virgin Mary as Queen of Heaven, or of Christ himself. The sturdy pointed leaves were seen as sword-shaped and thus as symbols of the power of discernment: the sword cuts away things of evil.167 In Greek and Roman mythology, Iris, associated with the rainbow, was the messenger of the gods on account of its many colours. Christianity adopted this notion of a divine or ‘good message’ for the plant. Most of the species displayed in paintings come from the Mediterranean basin or Central Europe; the Yellow Iris (Iris pseudacorus) is a native.

Lilium species – Lily

Numerous written sources since the early Middle Ages mention the Lilium candidum or Madonna Lily (see below), but much less has been said about other kinds of Lilies. Lilies do appear, however, as the ‘Flowers of the field’ in the Sermon on the Mount. In religious art there is sometimes evidence of the Lily among the thorns, following the interpretation of Jerome that the Lily is the bride of the Song of Songs, also associated with Mary. In the reading of Camerarius the Lily’s motto is ‘Semper inclyta virtus’ (‘Virtue always triumphs’).168 The Central European Orange Lily (Lilium bulbiferum) was sometimes connected with the Dutch royal House of Orange, as well with the city of Florence. The variety called croceum, the Few-flowered Lily, can be found in rye fields well into the Low Countries.

Lilium candidum – Madonna Lily

As a symbol for Mary, the Madonna Lily is just as important as the Rose. In the hands of the Archangel Gabriel or in a vase, this Lily is an attribute of the Annunciation, the conveyance of the message to Mary of the coming birth of Christ. Its whiteness is linked to Mary’s purity, and in Catholic doctrine to the Immaculate Conception. The Madonna Lily was also an attribute of many saints.169 Carel van Mander wrote in 1604: ‘De witte lely beteyckent suyverheyt des ghemoets, en schoonheyt’ (‘The White Lily signifies purity of mind and beauty’); and before that Ripa had already linked the Madonna Lily to purity and chastity.170 It is quite possible that the trumpet shape of the plant was carried over into its symbolic meaning, emphasizing the stateliness of the Annunciation, since princes would be greeted with a flourish of trumpets. The Madonna Lily was also understood to be the ‘Lily of the field’, as in a painting by Jan van Huysum now in the Amsterdam Museum (Fig. 9.14), and this despite the fact that, botanically speaking, there is little cause for doing so.171 In addition, the Madonna Lily was interpreted in connection with the bride or the ‘Flower of Sharon’ in the Song of Songs, for example in works by Adriaen Collaert and Jan Davidsz de Heem. A chamber of rhetoric in Leiden chose the name De Witte Lelie with the motto ‘In liefden groeyende’ (‘Growing in love’).172 The species originates from an area stretching from south-eastern Europe to Israel. 164 Berchorius 1499, II, pp. 104-105; Song of Songs 5:14; Peter of Celle, Sermo, col. 665 D. 165 Richard of Saint-Laurent, Mariale de Laudibus, p. 673. 166 John of Damascene, Homilia, col. 856 B. 167 According to Peter Damian in Carmina Sacra et Preces, col. 940. 168 Jerome, Interpretatio, col. 1189-1190; Camerarius 1590-1604, I, emblem LXXXIX. 169 Berchorius 1499, II, p. 63. With regard to chastity, many sources, including Berchorius, are based on Psalm 92 and on the Roman poet Tibullus; see further Levi d’Ancona 1977, pp. 210-216, including a list of the related saints. 170 Van Mander 1604, Uytbeeldinge, p. 134v.; Ripa 1644, pp. 264-265. 171 Segal in Delft & Houston 2006-07, pp. 179-183, no. F12. 172 Van Dixhoorn 2004.

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Malva species – Mallow

Mallows were held to have medicinal properties for many ailments, including snake bites and scorpion stings.173 It is a day flower whose petals fold up towards evening. Native species from Europe or the Northern Hemisphere are most frequently represented in art. The graceful Crisp Mallow (Malva crispa), which was mainly painted in the eighteenth century, is originally native to Russia.

Matthiola incana – Stock

Stock has long been considered a Christ plant. Older names for it in Dutch are Nagelbloem (‘Nail Flower’ in relation to its clove-like scent) and Giroffelebloem (compare the French Giroflée and English Gilliflower). The related yellow Wallflower in Van Eyck’s Ghent altarpiece has the same significance. In Antwerp there was a chamber of rhetoric called De Violieren which belonged to the Guild of Saint Luke with the motto: ‘Uyt ionsten versaemt’, meaning ‘United in pleasure’.174 Stock comes originally from the lands around the Mediterranean and the Canary Islands. The name Violier is similar to Viola or Violet, which is often a symbol of memory and meditation (compare the French Pensée and the English Pansy). It is depicted as such in a Book of Hours for the Lords of Tournai with the text ‘Mourir convient’ (‘It is fitting to die’) on banderols near the flower accompanying two images of a deathbed vigil, where figures at a wake offer prayers around a coffin.175 Violets in the same images are accompanied by the text ‘Pension à la mort’ (‘Think on death’). The name Maagdelijk violen in Dutch (‘Chaste violets’) given by Dodonaeus also suggests Maarts viooltje, the Dutch name for Sweet Violet.176

Myosotis species – Forget-me-not

The meaning of the Forget-me-not is inscribed in its name: memory. This name did not yet exist in the Middle Ages when the plant was known by different names such as Oculis consulis, the monkish name Oculis Christi and in Middle Dutch Ogelin.177 The white centre of the little blue flower is reminiscent of an eye, and according to Pliny, an eye salve was made from Forget-me-nots. In paintings the native (Water) Forget-me-not (Myosotis palustris) is mainly represented, which was likely also to be cultivated.

Narcissus – various species – Narcissuses

As springtime flowers Narcissuses, particularly Daffodils (Narcissus pseudonarcissus), are associated with the Resurrection of Christ and with Easter (cf. the German name Osterglocken). According to Greek mythology the boy Narcissus was obsessed with his own beauty and drowned when he saw his reflection in a spring by trying to embrace it; at the moment of death he was transformed into a flower. In flower symbolism it is not the outer, fleeting and mutable beauty of youth, but the beauty of the pure divine soul that ought to be the recipient love.178 Since Pliny it was thought that Narcissus flowers would heal wounds. Most species are native to Southern Europe.

Paeonia – various species – Peony

Camerarius bestowed on the Peony the motto ‘Caduca Voluptas’, meaning fleeting pleasure, luxuriousness that quickly decays, or lost glories, and adds that he too, just like the Hundred-petaled Rose, will quickly decompose, as do all things of beauty (Fig. 2.16).179 Voluptas means both desire and pleasure, while caduca means fallen. Ovid says that outward beauty is a fragile possession. Peonies are related to Anemones, which also swiftly wither and decay. Frequently the relatively large and heavy full Peony (Paeonia officinalis plena) is painted hanging over the right side of the table, as in paintings by Jan Davidsz de Heem and Jan van Huysum, among others. But this Peony, which blooms around Whitsun, may for that reason also be associated with the Holy Spirit, moreover, because of its trefoil leaves, it may remind the viewer of the Holy Trinity. Whitsun is a Christian holiday based on the Jewish harvest festival of ‘first fruits’ (Shavuot), the first harvest, which commemorates when the Holy Spirit was received in all languages by the first group of Christ’s disciples. This festival is, therefore, interpreted as the beginning of the Christian religi173 Including Horace, Epodes, 2, 58; and Isidore of Seville, Etymologiarum, col. 636 (XVII, X, 5). 174 Van Bruaene 2004. 175 Koninklijke Bibliotheek, The Hague, MS 76 G 4, fols 108v.-109r. I am indebted for this reference to Dr. Anne Margreet As-Vijvers, who was so kind as to send me a manuscript copy of her article. As-Vijvers 2016, p. 256, Fig. 10. 176 Dodonaeus 1554, p. 189. 177 Fischer 1929, p. 12. 178 Valerianus 1556 (1610), II, XXXII. 179 Camerarius 1590-1604, I, emblem LXII. The motto is from Virgil, Aeneid, VI.170.

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Fig. 2.16 Joachim Camerarius, Peony from Symbolorum et Emblematum, 1668, engraving, RKD, The Hague.

on. In the Middle Ages it was a custom to strew the church with the petals of the abundantly blooming (full) Peony. Possibly that is the reason why it stands out slightly above the other flowers in the arrangement in early seventeenth-century paintings, such as one by Jan Brueghel I. In Mechelen there was a chamber of rhetoric named De Peoene.180 According to Dioscorides, the Peony was a medicinal plant that contained a remedy for poisoning, and according to Johannes Agricola it was a symbol of chastity.181 The species is native to an area stretching from southern France through the Balkans.

Papaver somniferum – Opium Poppy

The Opium Poppy is a symbol of sleep and night, and consequently of forgetfulness and unknowing; it appears in emblems, mottos and impressa as ‘Per non dormire’ (‘Sleep not by this’).182 The substance for making opium, which is both soporific and analgesic, is extracted from the unripe fruit of the plant. In an allegorical poem about Night, the pendant to Day (see Helianthus annuus, Sunflower), Vondel characterizes the Poppy antithetically: Bruinette, ik zal mij aan uw schoonheid niet vergapen. Uw krans van mankop sluit om ’t suizebollend hoofd. De zwartheid van uw kleed geen licht van starren dooft, De kloot uw elboog stut. Uw ogen moeten slapen. Twee kinders, van den slaap verwonnen en verkracht, De nachtuil en de muis verbeelden mij den Nacht.183 180 Van Bruaene 2004. 181 Dioscorides De Materia Medica, III-CLI; Agricola 1539, p. 184. 182 Ripa 1644, p. 470; Typotius 1601, pp. 126-127; Isidore of Seville, Etymologiarum, col. 627 (XVII, IX, 31); Virgil, Georgics, I, 78. See further Vignau-Wilberg 1969, I, p. 153, II, p. 60. 183 Porteman 1987, pp. 144-153. Vondel makes reference to allegories painted in 1643 by Joachim von Sandrart (1605-1688) based on Ripa’s Iconologia; see Segal in Osaka, Tokyo & Sydney 1990, p. 221 n. 8; Joachim von Sandrart, Allegory of the Night,

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Fig. 2.17 Cesare Ripa, Opium Poppy in Occidente from Iconologia, 1644, engraving, RKD, The Hague.

(‘Brunette, I won’t be captivated by your loveliness. Around your nodding head the crown of seed-pods shivers, The blackness of your robe snuffs not the light of the stars, The clod under your elbow. Eyes full of sleep’s heaviness. Two children, ravished from sleep with fright, The night owl and the mouse, show me the Night.’) The fruit of the Opium Poppy, in Dutch maankop, has many moon-shaped Poppy seeds. In ancient culture it was an attribute of the goddess Ceres (or Cybele) and a symbol of fertility;184 the Poppy was also an attribute of Venus.185 In opposition to its symbolic meaning as forgetfulness and ignorance, the Poppy is, in bono, a symbol of wakefulness and memory: ‘Evento buono’, a good outcome after a refreshing sleep.186 Ripa depicts an old man holding three seed-pods, with a bat as a creature of the Night, against a setting sun. The man’s mouth is covered by a cloth denoting silence and rest, and his head is crowned with a star (Fig. 2.17).187 In paintings we seldom see the botanical, purple-violet variety of Opium Poppy, but rather the full vermilion or red variety. It is likely that, when looking at flower pieces, we are to think of the significance in malo, particularly when the Poppy is turned facing away from the viewer, as in paintings of Jan Davidsz de Heem and his followers. The species is presumably a Mediterranean native, but has been extensively cultivated, especially in Central Asia.

184 185 186 187

canvas, 147 x 122.5 cm, Staatsgalerie im neuen Schloss Schleissheim, Munich. Ovid, Metamorphoses, XI, 605; Ripa 1644, p. 277. For example, in Valerianus (1556) 1610, LVIII, XVII; Junius 1565, emblem XXXVI. Ripa 1644, p. 184. Ripa 1644, p. 627.

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Passiflora species – Passion Flower

The Passion Flower is rarely represented in the seventeenth century, but when it is, it is nearly always the Blue Passion Flower (Passiflora coerulea). A few other species had been discovered in South America in the sixteenth century. Nicolás Monardes described the Passion Flower in 1579 and compared it to shapes associated with the Passion.188 The peculiar structure of the pistils and stamens also prompted the Jesuits to see in it the instruments of the Passion and hence to call the flower Flos Passionis Christi. Another species (Passiflora incarnata) was sent in 1605 to Pope Paul V in Rome and cultivated there. In 1609, Simon Parlasca wrote an extensive treatise comparing the flower with the symbols of the Passion.189 We find its first appearance in painting in several early works by Daniël Seghers. The Passion Flower as the proliferation of a Carnation in the Madonna and Child by Joos van Cleve (1485-1541) and his workshop in the Cincinnati Art Museum is certainly a later addition.190

Pisum sativum – Pea

Peas – in many instances with the pod – are often seen represented in the strewn borders of miniatures, but also sometimes in flower pieces, for example in those by Jan Davidsz de Heem. They should probably be interpreted in a religious sense in the same way as wheat: from the peas, the seed, new life emerges, thus they symbolize the Resurrection. Taurellus sees the pea as powerful in its weakness – ‘Firmi sunt roboris instar’ (‘They have the strength of the oak’) – instead of expressing power through hardness or force, for the thin stems pull themselves upward by their tendrils.191 Peas, native in areas from eastern Asia and through Ethiopia, were already being cultivated in the Stone Age.

Plantago species – Plantain

Plantain species, particularly Great Plantain (Plantago major) but also including Ribwort Plantain (Plantago lanceolata), were used as healing plants for wounds. They appear almost exclusively in religious works. These species have been spread over the whole world by human activity.

Primula species – Auricula

Primula means firstling, designating it as a springtime plant, which is why Auriculas are interpreted in connection with the Resurrection, such as by Adam de Basseia in the thirteenth century: ‘Haec est Iesse virgula ex qua veris primula gloriosa prodiit’ (‘She [Mary] is a branch of the tree of Jesse from which the glorious firstling [Jesus] has arisen’).192 The Auricula also symbolizes Peter as bearer of the keys of heaven.193 Both native and alpine species are represented in visual art, in particular the (Garden) Auricula (Primula x pubescens) in many colour combinations.

Rosa – various species – Rose

Numerous books have been written about Roses and the vast majority of them have ventured to put forward the most divergent forms of symbolism.194 Roses are the most frequently depicted flower in the fine arts, and in flower pieces they appear particularly often. To be sure, they are always beautiful, decorative flowers, in every era. From Greek Antiquity through to the present day, Roses are a symbol of love. The Rose was an attribute of the goddess of Love, Aphrodite in Greece and Venus in Rome, and the flower was later dedicated to the Virgin Mary. Up to our own time the Rose is a sign of affection. Marian symbolism is graced by Roses in abundance, with and without thorns, as well as Rose wreaths. Those having Roses with thorns can be linked to the suffering of Christ and the martyrs, but also to the unblemished Mary who could not be injured by thorns, or was protected by a Rose hedge. Many emblematists presented the Rose with a Lily among the thorns.195 The Rose usually symbolizes Mary, and thus we see her sometimes enclosed in a hedge of Roses, especially in early Italian and German paintings. In a manuscript of 1530, Gautier de Coincy calls the Sweet Briar a Mary plant.196 Usually doubles or even more frequently full Roses are depicted that, on account of their luxuriousness, can be linked with voluptuo188 189 190 191 192 193 194 195 196

Monardes 1579, p. 347. Marzell 1943-79, III, col. 587. Panel, 61.1 x 46.3 cm, Cincinnati (Ohio), Cincinnati Art Museum, inv. no. 1981.130. Taurellus 1602, p. M7. De Basseia, De Beata Maria Virgine, p. 315. Agricola 1539, p. 194. Levi d’Ancona 1977, pp. 330-348 with many sources from the Middle Ages. For example Whitney 1586, p. 21. Levi d’Ancona 1977, pp. 369-370.

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usness and transience, just like the double Peony.197 The Rose, particularly the medicinal Apothecary’s Rose (Rosa gallica cv. Officinalis), is a symbol of fragrance because of its sweet scent, while it is also a symbol of Virtue.198 The scent made it suitable for the perfume industry and was one of the reasons for religious and mythological appreciation of Roses. Several emblematists wrote that the most important property of a Rose, even more important than its beauty, was its scent, for example Taurellus: ‘Rosea rosa vivit odore’ (‘The Rose lives through its scent’), which is lasting just like true love.199 According to Cats, the Rose keeps its scent – its best virtue – even after it has bloomed.200 In opposition to these positive interpretations is the notion of the Rose as a symbol of transience: ‘Vita rosa est’ (‘Life is like a Rose’).201 Many species of Roses grow in the Northern Hemisphere.202

Rosmarinus officinalis – Rosemary

Besides being a culinary herb, Rosemary is a funeral plant and a symbol of eternity. It features in a widely anthologized poem by Vondel, ‘Uitvaert van mijn dochterken’ (‘Funeral of my little daughter’), written for the 8-year-old Saartje: [...] De speelnoot vlocht (toen ‘t anders niet moght zijn) Een krans van roosmarijn, Ter liefde van heur beste kameraat [...]203 (‘[...] The playfellow wove (when it couldn’t be otherwise) A wreath of rosemary, Out of love for her best friend [...]’) In Das Kräuterbuch of 1543, Leonart Fuchs notes that the smell drives away bad thoughts or the tendency towards evil.204 In Shakespeare’s Hamlet, Ophelia says: ‘There’s Rosemary for you, that’s for remembrance: I pray you, love, Remember’. There is another reason Rosemary functioned as a funeral plant: the smell helped to somewhat mask the odour of corpses. The species was considered to have healing properties for many ailments and bites. Rosmarinus officinalis is native to Southern Europe and Asia Minor.

Taraxacum officinale sensu lato – Dandelion

The Dandelion was used as a curative plant for diverse ailments, thus it was regarded metaphorically as a curative of evil thoughts and as such it is present almost exclusively in religious paintings. One medieval name for it was Herba benedicta, Blessed Herb.205 Dandelion species occur all over the world but are difficult to differentiate.

Trifolium species – Clover

Because of their three leaves Clover symbolize the Trinity. Camerarius’s motto is ‘Procul este profani’. The explanation in Camerarius reads in translation: ‘Away with the godless. God as Trinity makes the godless take to flight, as the greatly blessed Clover drives away the wicked snake’.206 For Ripa, the plant Clover carries the meaning Speranza, Hope, although in our own day it is the rare and deviant four-leafed-clover that is said to bring good luck.207 Clover appears primarily in religious paintings. There are many species, but the ones we see most often are the native European Red Clover (Trifolium pratense) and White Clover (Trifolium repens) from the Northern Hemisphere.

197 198 199 200 201 202 203 204 205 206 207

For example by Van Mander in his Wtlegghingh of 1604, p. 124v. Cats 1618, emblem XL. Taurellus 1602, p. E7. Cats 1618, emblem XL. Cats 1627, emblem XI. For species of Roses, hybrids and their relationship appearing in art see Segal in ‘s-Hertogenbosch 1980-81, pp. 90-96. Van Lennep 1912, p. 117. Fuchs 1543, Cap. CLXXXI. For example as used by Bock 1552, p. 162. For Dandelions in art see Segal 1987a, with bibliography. Camerarius 1590-1604, I, emblem LXXIIII. Ripa 1644, p. 205.

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Triticum aestivum – Wheat

Grain – particularly wheat – is frequently included in allegorical paintings of the Elements as an offering to the goddess Ceres and, at the same time, as a sign of Summer. In religious painting they can be seen in such scenes as the Adoration of the Child. Grains were seen as symbols of the Resurrection, and therefore of the salvation of the soul that was allowed to ascend to heaven. This is because from the grains of wheat (the seed) a new plant – new life – is germinated. The idea may be found in various places in the New Testament; it was also immortalized in 1557 by Claude Paradin in visual form with the motto: ‘Spes altera vitæ’ (‘Hope in another life’) (Fig. 2.18).208 As foodstuff grain can also be connected with the notion of spiritual sustenance, or as a treasured gift of good-will from God to humankind, for example by Dirck Piertersz Pers who writes ‘Fructus millecuplus’ (‘The acres that bear rich fruit’), adding the rhyming note: ‘God leeft die ‘t al geeft’ (‘God lives and gives’).209 Wheat was often painted in flower still lifes by Jan Davidsz de Heem and his followers, and also included in bouquets. Wheat around a skull in vanitas paintings may be interpreted as eternal fame. Triticum aestivum has been domesticated for approximately ten thousand years in the area between Syria and Ethiopia and was cultivated from currently unknown hybrids.

Fig. 2.18 Claude Paradin, Wheat from Devises Heroïques, 1557, engraving, RKD, The Hague.

208 Paradin 1551 (1557), p. 258. Cf. Gospel of John 12:24. 209 Pers 1614, emblem XXIV.

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Tulipa – various species – Tulip

Tulips originated in Central and Western Asia and are reported in Persian literature as early as 1100 when the famous poet Omar Khayyàm expressed himself the following way in one of his poetic stanzas: As when the Tulip for her morning sup Of Heavenly vintage from the soil looks up, Do you devoutly do the like, till Heav’n To Earth invert you – like an empty Cup.210 In 1590, Camerarius assigned the Tulip a symbolic meaning that is reminiscent of this upward-gazing Tulip with its orientation towards heaven, using the motto ‘Langvesco sole latente’ (‘I wither when the sun is hidden’), while a related motto reads in translation: ‘Just as this flower goes limp and withers when the sun is not shining, so too does our being without the light of Heaven’ (Fig. 2.19).211 This is a reference to the human dependence on God, but he adds also that everyone is at liberty to interpret this

Fig. 2.19 Joachim Camerarius, Tulips from Symbolorum et Emblematum, 1668, engraving, RKD, The Hague. 210 Trans. Edward Fitzgerald. There are other translations that can be traced back to other manuscripts and can therefore differ significantly with regard to substance, meaning and depth. 211 Camerarius 1590-1604, I, emblem LXXXVIII.

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in a different way. This notion of Tulips was then taken over by other emblem books and literary works, and we see it return two years later in an engraving by Jacob Hoefnagel, after designs by his father Joris, including one with two Tulips and the motto: ‘Nil mihi cum tenebris, si nox, si nubila, claudor: Soli me pando, sol mihi solus amor’ (‘I have nothing to do with darkness, when it’s night, when it’s overcast, I remain closed: I open myself to the sun, the sun is my only love’).212 This refers to the disposition of a faithful heart towards God. Jacques Callot (1592-1635), in a series entitled Kloosterleven in emblemen (‘Cloister Life in Emblems’), presents us with an engraving with two Tulips standing up straight and another with two Tulips bent down under a night sky.213 For the Tulip as a symbol of God’s concern for humankind, including by means of grace, see further under Marigold (Calendula). Tulip symbolism could also be used to refer to princes and royalty, for example by Joris Hoefnagel who applies it to Rudolf II, and by Rollenhagen in 1613 who adds the motto: ‘Ad regis Nutus’ (‘At the king’s beck and call’).214 The abundant glory of Creation was associated with Tulips because of their sheer multiplicity of shapes and colours. The Tulip was also interpreted as the ‘Lily of the field’ in the Sermon on the Mount; in the twentieth century botanists associated the ‘Lily of the field’ with the Tulipa saronensis, which grows in Israel. The Rose of Sharon, referred to in the Song of Songs, also prompted thoughts of Tulips in the seventeenth century, for example in a pamphlet of 1636 attacking the Tulip trade: ‘A flower of Saron, this is a name for Christ, Cant. 2.1, and this is the true Tulip that we ought to plant in the court of our hearts and observe, and to which all other flowers refer us teachings and signs’.215 In a different kind of interpretation, the Tulip was associated with fleeting beauty and luxuriousness on account of the inflated prices it could demand during the Tulip Mania. The Tulip belonged to the goddess Flora, who was degraded from an ideal beauty to a lewd lady in satirical prints during the Tulip Mania.216 It was particularly as a symbol of the transience of vanitas that we most often encounter the Tulip in early prints and paintings – vanitas in the sense of things that decay and pass away, as well as in terms of the state or quality of being vain and morally void. Vain because Tulips were expensive status symbols accumulated by collectors; morally void because their acquisition was putting material values above spiritual substance. Such an interpretation can, for example, be found in Roemer Visscher’s Sinnepoppen of 1614, with the motto: ‘Een dwaes en zijn gelt zijn haest ghescheijden’ (‘A fool and his money are soon parted’) (Fig. 2.20).217

Veronica species – Speedwell

Speedwell contains the notion ‘praise of God’ in its (Dutch) name Ereprijs, also because it was considered to be a medicinal plant and as such was a symbol of the Redemption. The Latin name Veronica comes from ‘vera unica’ (‘one truth’). The most commonly depicted species are the native Germander Speedwell (Veronica chamaedrys) and, in the eighteenth century in particular, the Long Speedwell (Veronica longifolia).

Vinca species – Periwinkle

The meaning of the name Vinca can be interpreted in two different ways. First from vincire, to bind or encircle, because girls wove garlands from them, also for brides. A different interpretation is from the lexical source vinco, I conquer, because the plant is evergreen (compare the German name Immergrün). The type most frequently appearing in art is the (Lesser) Periwinkle (Vinca minor), but the Great Periwinkle (Vinca major) also occurs. Both are first and foremost Mary plants, the name in Dutch being Maagdenpalm (‘Virgin’s Palm’). They are native to Southern Europe, but the (Lesser) Periwinkle has adapted and spread to Central and Western Europe.

212 213 214 215

Hoefnagel 1592, III.12. With Latin and French texts; see also Amsterdam, Rijksprentenkabinet, inv. no. RP-B-OB-4967. For Hoefnagel see Vignau-Wilberg 2017; Rollenhagen 1613, emblem XXV. Zacharias Cornelisz 1636, fol. 12: ‘Een bloem van Saron, soo werdt Christus ghenoemt, Cant. 2.1, en dit is de rechte Tulp die men in den hof des herten behoort te planten en waer te nemen, waervan alle andere bloemen een leeringh en aenwijsinge sijn’. 216 About the Tulip see Amsterdam 1994. 217 Visscher 1614, I, emblem V. Tulips in painting received extensive analysis in Amsterdam 1994; their symbolism, with many examples and illustrations, is discussed on pp. 8-23. For their many varieties see Segal in Lisse 1992. Amsterdam, Rijksprentenkabinet, inv. no. BI-1893-3539-11.

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Fig. 2.20 Roemer Visscher, Een dwaes en zijn gelt zijn haest ghescheijden from Sinnepoppen, 1614, 137 x 188 mm, Rijksprentenkabinet, Amsterdam.

Viola odorata – Sweet Violet

On account of its low-growing habit and downward nodding flowers the Sweet Violet stands for humility and modesty. We find it described this way in diverse medieval manuscripts, and it is frequently designated as a Mary plant, often in combination with beauty or love, as for example by Bernard of Clairvaux: ‘O Mary, violet of obedience, lily of purity, rose of love’.218 It is also designated as a Christ plant, for example in the medieval Dutch lyric: ‘Heer Jesus heeft een hof�en daer schoon bloemen staen [...]. De soete violetten zijn ootmoedigheyt [...]’ (‘On Lord Jesus’ head lovely flowers bloom [...]. The sweet violet is obedience [...]’).219 Camerarius offers the motto: ‘Humilibus dat gratiam’ (‘He gives grace to the lowly’).220 A number of different medieval authors call the Sweet Violet a saints’ plant;221 while for Honorius Fortunatus (sixth century) it was a Paradise plant.222 Violets are an early-flowering springtime species. In the art-historical literature the Pansy is occasionally confused with the Sweet Violet, but the symbolism of the Violet is not entirely clear-cut. The species grows throughout Western Europe through to Central Asia.

Viola tricolor – Pansy

The Pansy is a symbol of the Passion, of memory and meditation (compare the French name Pensée). It also symbolizes the Holy Trinity on account of the three-coloured petals and the more or less three-lobed leaves. In the herbals, too, the species is referred to as a triform flower.223 The Pansy occurs right across Europe and Asia into Siberia. With regard to memory, the Pansy may be depicted in conjunction with a vigil for the dead, as it is, for example, on the leaf of a prayer book containing a coffin encircled by Pansies.224

218 219 220 221 222 223 224

Bernard of Clairvaux, Vita Mistica, col. 668-669. Axters 1946, p. 81 no. 43, second stanza; also pp. 83, 86, 269. Camerarius 1590-1604, I, emblem LXXIII. For example, Ambrosius, Commentarius in Cantica Canticorum, col. 1871; Hrabanus Maurus, De Universo, col. 528. Honorius Fortunatus, De Virginitate, col. 267. Ambrosini, Panacea ex Herbis, p. 1; Junius, Nomenclator, p. 160. Koninklijke Bibliotheek, The Hague, MS KB 76 F 20, fol. 124r.

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The Symbolism of Animals in Paintings – A Selection Deer

Deer appear in flower pieces by Jan Brueghel I and his followers in the decorations on Chinese porcelain vases (Fig. 6.25), even though this was not a common practice on real Chinese vases. Deer are further seen in hunting pieces, as well as the dead stag or deer in game still lifes and paintings of pantries. Quite possibly they are a reference to Psalm 42, where the soul is said to long for God just as a deer pants for a spring of water. This Psalm was set to music by Palestrina, Buxtehude, Händel and Mendelssohn, and others. The hart (male deer) is also a symbol of Christ (see under Stag Beetle, in Dutch Vliegend hert, ‘Flying hart’).

Mice

In many sources the mouse is accused of the sin of gula, gluttony, and of being an animal that causes much damage and signifies sin.225 For Vondel it is a nocturnal animal; and for Hoefnagel a mouse is like a person who falsely creates high expectations.226 In the emblem with the motto ‘Steeckt u in gheen gat of sieter deur’ (‘Don’t put yourself in a hole or door with a bolt’) (Fig. 2.21), Roemer Visscher depicts a mouse in a trap and warns us to be careful when embarking on adventures ‘want hulp van vriende[n] is een krancke stut, daer luttel op te vertrouwen is; ende ghemeenlijck faeljeertse als de saecken qualijck gaen’ (‘for help of friends is a weak crutch, you can scarely depend upon it; and commonly fails when things are going poorly’).227 Jacob Cats devotes eight emblems to the mouse (and yet more to the mouse and the cat), sometimes as tempted by bacon in a trap.228 Most of the time the mouse depicted is a domestic variety (Mus musculus).

Fig. 2.21 Roemer Visscher, Steeckt u in gheen gat of sieter deur from Sinnepoppen, 1614, 137 x 188 mm, Rijksprentenkabinet, Amsterdam.

225 Valerianus (1556) 1610, XIII, XXXI. 226 For Vondel see under Opium Poppy; Hoefnagel 1592, IV.2: ‘Quid dignum tanto feret hic promissor hiatu? / Parturiunt Montes, nascetur ridiculus Mus’. 227 Visscher 1614, II, emblem XXXI. Amsterdam, Rijksprentenkabinet, inv. no. BI-1893-3539-96. 228 For example Cats 1627, emblem XII. | 75

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Lizards

The lizard is a symbol of the Resurrection that appears quite often in still lifes. Frequently it gazes upward. Creatures that slough off their skin or undergo a metamorphosis, or that awake after hibernation are frequently animal symbols of the Resurrection. This symbolism goes back to Physiologus, an untraceable Greek Christian from Alexandria, who, at the beginning of the CE, wrote fables that were used as the basis of many later European fables. These animal stories are consistently given a Christian moral by the author. Physiologus was quite popular in the sixteenth century and thereafter. In one of Physiologus’s fables, a lizard became blind in old age, but guided by instinct, looked for a crack in a wall facing East; with the dawn its powers of sight returned. According to the commentary this represents a troubled spirit searching for wisdom from the East, which comes from Christ. He will open the eye of the heart, and the old garments shall be as new.229 This narrative was often repeated in medieval sources and in emblem books.230 For Physiologus, the particular lizard of the fable is the Wall Lizard (Podarcis muralis), which is common around the Mediterranean, but in flower pieces we usually see the native Sand Lizard (Lacerta agilis) and sometimes the Green Lizard (Lacerta viridis). In the older scientific literature, as well as in medieval and later writings on symbolism, and even in recent art-historical literature, lizards and salamanders are frequently confused.231 Salamanders, especially the Fire Salamander, rarely occur in still lifes. These creatures are usually interpreted as harmful or threatening, or lead to deception; as such, they are found in prints dealing with witches.232

Frogs

Frogs are cited predominantly as symbols of Resurrection, and this was true even in ancient Egypt.233 In 1581, for example, Holzwart says in regard to ‘Resurrectio carnis’ (‘The Resurrection of the flesh’ – as in ‘the body’): ‘just as a frog awakes in springtime, so God can judge us worthy after death and rising into heaven’.234 In the same year Reusner also associates this with frogs: ‘Spes altera vitae’ (‘Hope in the next life’).235 In other places frogs are referred to in a positive way, for Cats, for example, they signify happiness independent of wealth.236 The frog is a true amphibian that can live on land as well as in water, and this led to both positive and negative interpretations. In Paradin’s Devises heroïques of 1551 we read: ‘Mihi terra lacus’que’ (‘The earth and lakes are mine’); and in the expanded Dutch version of 1615: Het vaste dorre lant, de poelen en de meiren, Die zijn mij even nut, om mij wel te geneiren. (‘The dry land, the pools as well as lakes, For generation both provide equally for my sake.’) He goes on to explain that when on dry land one must be true to one’s friends, but whoever only displays friendship on terra firma is not a true friend.237 Camerarius says that the frog is the greatest king of water and land, even though it really is just an ordinary animal.238 Under the influence of Light, however, it will keep silent and see the truth, a notion based on Valerianus.239 Negative interpretations abound. In the lexicon Hieroglyphicum Sacro-Profanum of the 1720s, one finds a great number of examples going back as far as Homer, Horace and Ovid.240 From Book VI of the Metamorphoses, in the translation of Vondel, we read: 229 Seel 1987, p. 7; cf. Zachariah 3:8 and 6:12; Luke 1:78, which reads: ‘Through the tender mercy of our God; whereby the dayspring from on high hath visited us’, and elsewhere in the Bible. 230 For example, usually as the ‘Saura’: Isidore of Seville, Etymologiarum, col. 447 (XII, IV, 37); Hugh of St. Victor, De Bestiis, col. 429 (II, XXVIII); Thomas of Cantimpré, Liber de Natura Rerum, VIII, 34; Vincent of Beauvais, Speculum naturale, XX, 55; Albertus Magnus, De animalibus, XXV, 32 and 38; Von Megenberg, ed. Pfeiffer 1961, pp. 276-279. 231 Aldrovandi 1602; Jonston 1660, pp. 160-167; Henkel & Schöne 1967, pp. 662-664. 232 For example in Alciati 1551, p. 57: ‘In fraudulentos’, cunning deception; and Saavedra 1640, emblem 48, ‘Sub luce lues’, dissembling hidden by a beautifully coloured skin. 233 Spiegelberg & Jacoby 1903. 234 Holzwart 1581, emblem LXX. 235 Reusner 1581, emblem XXXV. 236 Cats 1632, II, emblem XVI. 237 Paradin 1551, p. 48; Paradin 1551 (1615), emblem XXXVI. 238 Camerarius 1590-1604, IV, emblem LXXI; but in emblem LXXIII he says that truth drives out lies, and that frogs startled by the light of truth desist from speaking evil. 239 Camerarius 1590-1604, IV, emblem LXXIII; Valerianus 1556 (1610), XXIX, XLI. 240 Koning 1722-27, III, pp. 281-284.

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Noch kunnen ze doorgaans den vuilen bek niet snoeren: Zy moeten schaamteloos vuil spreken in de moeren. De heesche keel zwelt aan den hals heel bol en dik: Met opgespalkte bek begraauwen ze elk in ’t slik.241 (‘Nor can they hardly keep their dirty mouth holes shut: Shamelessly must they speak in ponds their smut. The rasping throat swells, the neck is thick and hollow: With gaping trap they clap up all and swallow.’) Physiologus regards a frog on land as a sign of greed or of being tempted by warmth, but these desires cannot be sustained, so then it dives into the concupiscence of the voluptuous senses.242 In the Hebrew Bible the second plague of frogs is sent to the Egyptians as punishment.243 For Jews the frog is an unclean animal.244 Augustine says that heretics and philosophers are like frogs who, because of their pride and vanity, contradict Christian truth with their croaking and mislead others; they do not give food for souls.245 Roemer Visscher recounts, under the motto ‘Nerghens beter’ (‘Nowhere better’): ‘Meum est propositum in taberna mori’ (‘I am predisposed to die in a tavern’), following a medieval folksong in which frogs’ voices are compared with the croaking chatter of drunkards.246 The frogs that are most commonly depicted are the Edible Frog (Rana esculenta) and the Common Frog (Rana temporaria). A toad, it should be noted, usually carries a negative force, for example in prints about witches, and for Horapollo, who interprets them as satanic.247

Birds

Birds are symbols of the wandering soul, and, just like butterflies, of the liberated soul which ascends into heaven, for example in a poem by Cats: [...] Het lichaam is de koy, die houdt de ziel ghevanghen; De doot die maecktse los, die maecktse vrye ganghen; Waerom, ô christen hert, waerom doch hier ghevreest; Al velt de doot het lijf, sy maeckt een vryen gheest.248 (‘[...] The body is the cage that holds the soul in prison; It’s Death who sets her free, gives her a free horizon; Why then, O Christian heart, here cling to fear in all; Though Death hews flesh, she frees your soul from pall.’)

Goldfinches

The Goldfinch is a symbol for the sufferings of Christ and for martyrdom because of the blood-red colour on its head and the fact that it dwells among thistles, the seeds of which serve as its food. In Camerarius we read: ‘His ego sustentor’ (‘With these I am fed’), meaning a resilient person sees the whips of fate as a kind of sustenance.249 This notion can already be found in the medieval encyclopaedists, for example in Isidore of Seville who says that the Goldfinch lives on thorns and prickles.250

Spiders

The symbolism of spiders, both in bono and in malo, is thoroughly treated in emblems and other literature. Antonius van Bourgoingne presents both connotations together as sharp insight, on the one hand, and uselessness, on the other.251 Often a spider is compared with an insect, as in Cats: ‘Bonis bona, malis mala’ 241 242 243 244 245 246 247 248 249 250 251

Koning 1722-27, III, p. 281. Seel 1987, pp. 42-43. Exodus 8. Probably the frogs referred to are the Rana ridibunda that grow to 15 cm. According to the prohibitions in the Book of Leviticus 11. Cited by Bochart in De Ranis, see Koning 1722-27, III, p. 284. Visscher 1614, II, emblem XLIII. Horapollo 1505, p. 612. Cats 1627, p. 127. Camerarius 1590-1604, III, emblem LXXV. Isidore of Seville, ed. Möller 2008, p. 487; see Friedmann 1946. Van Bourgoingne & Gheschier 1643, pp. 2-9.

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(‘Good in good things, evil in evil ones’), and ‘Daer ’t bietje [bijtje] suycker vint, juyst uyt dat eyghen kruyt, daer suyght de vuyle spin vergiftich voetsel uyt’ (‘Where the bee finds nectar right in the herb’s green, there the foul spider sucks poison feeding keen’).252 Van Mander and others describe its uselessness: ‘Het Spinnewebbe wijst aen een onnut werck oft Const’ (‘The Spider’s web signifies a useless work or Art’).253 Spiders receive their most unfavourable characterization from the Church Fathers and in the Bible, for example in the Book of Job, where a house of deception for those who have forgotten the path to God is characterized as a weak web.254 François van Hoogstraten sees spiders as devils who constantly lay snares for our souls.255 Ripa, too, calls the spider evil.256 A number of emblematists point out that small insects are victims of spider webs, but the stronger insects, such as bees or wasps, can break out of them, for example Paradin: ‘Lex ex lex – De wet is sonder wet, als elck heur maeckt en breeckt, als sij de rijcke spaert, en d’arme straft of wreeckt’ (‘The law has no law, if each make and break it, if it spares the rich, but the poor suffer and take it’); or Camerarius: ‘Violentior exit’ (‘The stronger just go through it’).257 Cats links that strength to love: ‘Non intrandum, aut penetrandum’ (‘Do not enter it, but penetrate it’), ‘Die ’t spel niet can, die blijfter van’ (‘He who cannot play the game stays out of it’), and the spider web as ‘Venus warre-net’ (‘The confusing net of Venus’).258 On the other hand, Goedaert values the spider with its web on account of its industriousness.259 Moreover, the spider is seen as a symbol of the Sense of Touch, as in the Bible: ‘The spider taketh hold with her hands, and is in kings’ palaces’.260 For Heyns the spider signifies domesticity as well as spiritual solemnity.261

Insects

Hoefnagel often sees little creatures as wonders of God’s Creation, frequently with references to Biblical texts, usually the Psalms. This is likewise the method in more scientific works about insects of the period, such as those by Thomas Moffett and Johannes Goedaert.262 Following Aristotle and Theophrastus, Hoefnagel connects insects with the Element of Fire on account of their metamorphoses, multiplicity of shapes and lively motility.

Dragonfly

Dragonflies and damselflies are represented in the strewn borders of prayer books and in seventeenth-century flower pieces, but little can be found about their symbolism in literature. It would be expected to harmonize with the symbolism of the butterfly as the soul (psyche) set free to rise into heaven.263

Grasshoppers

The grasshopper is mentioned in ninety-four different places in the Bible, usually as a plague and punishment from God that destroys the harvest, for example as one of the ten plagues sent to the Egyptians in the Book of Exodus. Thus we find the grasshopper as a chastisement from God in Ripa and others.264 Alciati provides a depiction of a devilish grasshopper, as a memorial to the famine in Lombardy in 1542 (Fig. 2.22).265 The grasshopper is often confused with the cricket in terms of its symbolism, for example in images accompanying Aesop’s fable about the cricket and the ant handed down from Classical Antiquity, which can be found in many different versions in later fable literature and emblem books. In the fable, the cricket has neglected to lay in a store of food for Winter, while the ant has taken this precaution. In Roemer Visscher, Camerarius, and others, a grasshopper is depicted instead of a cricket. Roemer Visscher adds the motto: ‘Ick eet mijn korenken groene, en jae groene’ (‘I eat my corn green, very green’), meaning I live from one moment to the next and have no care for tomorrow.266 For these 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266

Cats 1627, pp. 132-133; cf. Junius 1565, emblem XXXIII. Van Mander 1604, Uytbeeldinge, p. 132r. Job 8:13-15; cf. Isaiah 59:4. Van Hoogstraten 1682, XV. Ripa 1644, p. 423. Paradin 1551 (1615), emblem LXXX; Camerarius 1590-1604, III, emblem CXIX; other examples are La Perrière 1540, emblem XLIX and De Bry 1592, emblem XIX. Cats 1618, emblem XXIX; cf. Poirters 1646, p. 12; the first emblem has a girl tatting lace tempting a lover into her net. Goedaert 1662-69, III, pp. 146-150. For Goedaert see Chapter 8. Proverbs 30:28. Heyns 1625, pp. 18-20, 30-32. Moffett 1634 and Goedaert 1662-69. Vignau-Wilberg 1969, no. 136. Ripa 1644, pp. 439-440. Alciati 1551 (1621), p. 550. Visscher 1614, II, emblem XXXIII; Camerarius 1590-1604, III, emblem XCVI; cf. Holzwart 1581, emblem XLIX.

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insects Camerarius offers: ‘Expecto donec veniat’ (‘Hope in expectation of grace’).267 But again in a positive sense, as a creature that loses its skin, the grasshopper was also a sign of the Resurrection, and then too it had provided food for John the Baptist. Goedaert praises grasshoppers, just as Solomon does in the Bible, as a powerful people because of their order.268

Dung Beetles and Sexton Beetles

In Paradin we see a Dung Beetle, who feeds on dung, dying in a Rose because it cannot withstand the delicious scent, with the admonition that some young people take delight in avoiding virtuous advice.269

Stag Beetle

The Stag Beetle (Lucanus cervus, in Dutch Vliegend hert, ‘Flying Hart’) has an outgrowth on its head that looks like the antlers of a stag, and on account of this similarity with the hart (male deer) it was seen as a symbol of Christ. We sometimes encounter this beetle in religious paintings, including works by Dürer, but it also appears in a number of flower pieces, particularly those from the second quarter of the seventeenth century.270 It is quite possible that the Stag Beetle is the beetle mentioned by Habakkuk in the Bible and taken by several of the Church Fathers as a sign of Christ.271

Ladybird

The symbolic meaning of the Ladybird is to be found in its different names. One old Germanic name was Freyafugle, bird of Freia, the goddess of Love. In the course of Christianization that name became in Dutch Hemelbeestje (‘Heaven’s Creature’) or Ingetsje (‘Little Angel’), later Lieveheersbeestje (literally ‘Our Dear Lord’s Creature’). Freia was supplanted by Mary, as in the German (Marienkäfer) and English (Ladybird) names.272 The species that appears most often is the 7-spot Ladybird (Coccinella septempunctata).

Fig. 2.22 Andrea Alciati, Grasshopper from Emblemata, 1621, RKD, The Hague. 267 Camerarius 1590-1604, III, emblem XCVI. 268 Goedaert 1662-69, III, pp. 115, 119-121. In European still lifes, we rarely encounter swarming field grasshoppers. The swarming species are usually identified as locusts. Under special conditions they may multiply enormously and form plagues, particularly in the subtropical regions of the whole world. The Migratory Locust (Locusta migratoria), however, is rare in Europe. All grasshoppers are rich in protein and are eaten in African and Asian countries. In the Bible and the Koran reference may in fact also be made to the Desert Locust (Schistocerca gregaria), which occur in a swath reaching from Africa to India. Field grasshoppers are sometimes called locusts in English, e.g., the distinct American Locust (Schistocerca americana). 269 Paradin 1551 (1557), p. 215; Whitney 1586, p. 21. 270 Albrecht Dürer (1471-1528), Adoration of the Magi, panel, 98 x 111 cm, Uffizi, Florence and Virgin with many animals, watercolour and black chalk, 319 x 421 mm, Vienna, Albertina, inv. no. 3066; Jacob Marrel (1613/14-1681), Flowers in a terracotta vase, panel, 39.5 x 30.5 cm, Frankfurt am Main, Historisches Museum Frankfurt, inv. no. B57.10. 271 Habakkuk 2:11; Augustine and Ambrose, among others; see Cambefort 1994. 272 Compare the Rose that was transferred from being an attribute of Venus to an attribute of Mary.

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Caterpillars and Butterflies

The caterpillar is bound to earthly existence, consumes leaves, and represents the human life on earth that carries the burden of sin. It also has the possibility of beginning a new life by developing into a butterfly that can free itself from earthly encumbrances and fly away up into the sky. This theme is treated by Cats in the last emblem of his emblem book, and for a good reason. The butterfly is an emblem of the resurrection of the contemplative soul that has freed itself from earthly wishes and desires: ‘Amor elegantiae pater’ (‘Love is the father of refinement’) (Fig. 2.23).273 The symbolism of the butterfly cannot be separated from the metamorphosis of the caterpillar into a butterfly. The metamorphosis of the earthbound caterpillar, attached to plants and trees, via pupa and cocoon into the butterfly, make the caterpillar analogous to the rebirth of sinful human beings who are drawn towards earthly things but who, when finally oriented towards the heavenly truth, find victory in death and are reborn in their children. For the Ancient Greeks the butterfly was psyche, the soul, and in folk belief the human soul could fly out of the body after death like a butterfly flies out of its cocoon. This species also received a more detailed analogy to the course of human spiritual life: the

Fig. 2.23 Jacob Cats, A butterfly emerging from its cocoon from Proteus, ofte, Minne-beelden verandert in Sinnebeelden, 1627, RKD, The Hague.

273 Cats 1627, emblem LII; Segal in Osaka, Tokyo & Sydney 1990, pp. 158-159, no. 11; Jorink 2007, p. 170, Fig. 2 and 2010, p. 195, Fig. 28.

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caterpillar is like the earthly existence of humankind, the pupa the stage of introspection, the cocoon the stage of death, and creeping out of the cocoon in the transformation into a butterfly was seen as the equivalent of the resurrection of the soul liberated from the body. We encounter such an interpretation in Goedaert, for example, in his Metamorphosis Naturalis published between 1662 and 1669, where he subjects the metamorphosis to a precise investigation, just as Maria Sibylla Merian (1647-1717) was to do later. But the earliest, somewhat primitive, description is to be found in the Church Fathers Basil and Ambrose.274 In medieval literature Dante describes the resurrection of the human soul as the transformation of the earthly ‘worm’ into a divine angelic butterfly that ascends into the light.275 Butterflies can be found in wall paintings in Pompeii.276 We also often see them in the strewn borders of Books of Hours. Butterflies appear on medieval sarcophagi, for example one in the Campo Santo in Florence, as well as in Renaissance emblem literature, including in works by Cats, Poirters and Luyken.277 The poor caterpillar is, during its short existence, food for birds and diverse insects, even though there are species that are protected by poisonous bristles. The texts of the Bible are silent on this count. The Bible speaks of caterpillar plagues as punishment from God that attack olive trees and destroy grape harvests.278 For the emblematists the caterpillar is earthly man or a sinner. Cats compares prostitutes and their visitors with caterpillars or moths.279 Birds, which as symbols of the wandering spirit and the liberated soul consume caterpillars, were seen as contributing to the destruction of evil. An exception is the Silk Moth (Bombyx mori) that faces its destruction as an offering to human greed.280 About being freed from desires, Camerarius writes: ‘Purus vut erumpam’ (‘That I may purely stride forth’).281 That such thoughts also occurred elsewhere in the world may be discovered in a haiku by the famous Japanese poet Kobayashi Issa (1763-1827), freely translated as follows: On a vase of flowers the silent butterfly also listens to the Only One. In Ripa the butterfly symbolizes onbedachtsaemheyt, someone with a lack of consideration, which might be called ‘flighty’ in today’s English.282 A subject often treated in the emblem books is the butterfly that, drawn by the light of a candle, goes to meet its death. This alludes to moths and night flyers. For example, Cats writes: ‘Stultitiam patiuntur opes – Komt niet tot yet, ‘t is elck verdriet’ (‘Wealth tolerates stupidity – Do not approach it, it always ends in sorrow’), referring also to the moth that destroys clothing.283 This subject is not found in still life painting.

Honeybee

The Honeybee is usually seen as a symbol of usefulness and industriousness, for example by Camerarius: ‘Labor omnibus unus’ (‘One labour for all’) and ‘Sine injuria’ (‘Without damage’).284 It was in this way that the Honeybee was celebrated by the Fathers of the Church and medieval theologians, including Bernard of Clairvaux, and by the mystic Jan van Ruusbroec who remonstrates both man and bee to remain at one with God through proper consideration and love.285 In Cats we find an interpretation in malo: ‘Improbitas pæna ipsa sui’ (‘Wickedness punishes itself most of all’), because when the bee stings it loses its stinger and dies.286

274 Basil, Homilia V, col. 93-118. 275 In Purgatorio Canto 10.114-17: ‘perceive ye not / that worms we are, created but to form / the angelic butterfly, which flies unscreened / to judgment?’. 276 Jashemski 1979, p. 104. 277 Luijten & Blankman 1996, pp. 132-134 and 136-139. 278 In the sixteenth-century Dutch Statenvertaling of the Bible, the following verses contain references to caterpillars: Deuteronomy 28:39, Psalm 78:45-46; Joel 1:4 and 2:25; Amos 4:9. In other translations the evildoers are not always called caterpillars. 279 Cats 1632, pp. 133-135, with reference to the apocryphal Ecclesiasticus 19:3 and others. 280 For example in Sambucus 1564, pp. 136 and 160. 281 Camerarius 1590-1604, III, emblem XCV. 282 Ripa 1644, p. 361. 283 Cats 1627, emblem LII; see also Corrozet 1540, p. L2v; Junius 1565, emblem LXIX; Camerarius 1590-1604, III, emblem XCVII; Van Veen 1608, pp. 102-103; also Erasmus (1500) 1536, I, XI, LI. 284 Camerarius 1590-1604, III, emblems XC and XCI; cf. Reusner 1581, II, emblem XXIX. 285 Poukens & Reypens 1944-48, I, II.1.4, p. 138 and II.2.2, pp. 159-160. 286 Cats 1627, emblem XXXII.

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Bumblebee

In the 1644 Dutch edition of Ripa, who is following Virgil, the Bumblebee is a vain creature that steals honey which has been diligently collected by Honeybees, while ‘Het Byken naerstigh om haer buyt, drijft d’hommel van haer korven uyt’ (‘The Honeybee keen to protect her spoils, drives the bumble away from her hive and toils’).287

Wasps

François van Hoogstraten presents a wasp as a useless lay-about and a terrible tease.288

Ants

Time and again in the Bible there are references to ants, including Proverbs where we read: ‘Go to ant, thou sluggard; consider her ways, and be wise: which having no guide, overseer or ruler, provideth her meat in Summer, and gathereth her food in the harvest’ and ‘The ants are a people not strong, yet they prepare their meat in the Summer’.289 Based on these texts the ant became a symbol of diligence, frugality and saving for a rainy day, just what we learn in the famous fable The Cricket and the Ant from Jean de la Fontaine, which in turn was based on the Greek fable by Aesop. Besides diligence and its hardworking nature, the ant is also a symbol of prudence and foresight.290

Fig. 2.24 Claude Paradin, Flies from Devises Heroïques, 1557, engraving, RKD, The Hague. 287 288 289 290

Ripa 1644, p. 90. Van Hoogstraten 1682, LXIII, after Hall 1630. Proverbs 6:6-8 and 30:25. For example in Erasmus (1522) 1540, I, p. 565; Reusner 1581, II, emblem XXIX; Hoefnagel 1592, II.19; Van Mander 1604, Wtlegghingh, p. 128v.; Heyns 1625, pp. L 1-3; Heyns 1547, pp. 107-108; Goedaert 1662-69, III, 1669, pp. 128-136.

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Flies

In the Bible and the apocryphal Book of Wisdom the fly is designated as a punishment from God.291 As maintained by the Christian writer Melito of Sardis, a fly is a sign of demonic desire; and according to Jerome and Hugh of St. Victor, the fly is to be compared with a sinner; while on the authority of Valerianus it is a shameless creature, a sign of corruption and decay, an idea in agreement with Jerome.292 Camerarius offers: ‘Scabrisque tenacius haerent’ (‘They cling more tenaciously to a rough surface’).293 This idea was already worked out earlier by Paradin: the fly sticks to foul rather than clean things, just like a human being is more easily taken in by evil than by good (Fig. 2.24).294 Later on emblematists based their thinking mostly on Ecclesiastes 10:1: ‘Dead flies cause the ointment of the apothecary to send forth a stinking savour: so doth a little folly him that is in reputation for wisdom and honour’. Given this statement we therefore ought to have Blowflies such as Bluebottle Flies in mind. The extremely common Housefly (Musca domestica) is at home everywhere. In Hoefnagels’ Archetypa, Erasmus is cited: ‘Quod invocatus lubenter coenito! Musca sum’ (‘If I want to have dinner uninvited, it’s clear that I’m a fly’).295 According to Vondel, the lazy fly perishes in his misery, but the ant has the blessing of the Lord.296 In Sambucus the fly is assigned the phrase: ‘Temeraria ignorantia’ (‘Overbold ignorance’), since the fly has no shame, is irritating, and does not let itself be chased away easily.297 Van Mander reports: ‘De Vlieghe beteyckent moeylijckheyt, omdat se so hartneckich den menschen quelt’ (‘The fly signifies difficulty, because it torments people so stubbornly’).298

Shells

Shells, particularly the most exotic types, were costly collectors’ items, and Roemer Visscher, for example, satirized their powers of attraction with the motto: ‘Tis misselijck waer een geck zijn gelt aen leijt’ (‘It’s sickening what a fool spends his money on’) (Fig. 2.25).299 In flower pieces containing expensive exotic flowers such shells could reinforce the aspect of vanity and also contribute to the notion of emp-

Fig. 2.25 Roemer Visscher, Tis misselijck waer een geck zijn gelt aen leijt from Sinnepoppen, 1614, 137 x 188 mm, Rijksprentenkabinet, Amsterdam.

291 292 293 294 295 296 297 298 299

Isaiah 7:17-19; Wisdom 16:9. Melito of Sardis, De avibus, pp. 517-518; Valerianus (1556) 1610, p. 269; Picinelli 1653, lib. VIII, cap. XIII. Camerarius 1590-1604, III, emblem XCVIII. Paradin 1551 (1557), p. 71. Hoefnagel 1592, I.5, cf. III.10; Erasmus (1500) 1536, IV, VII, XLIII. Van den Vondel 1617, LVII. Sambucus 1564, p. 66. Van Mander 1604, Wtlegghingh, p. 132r. Visscher 1614, I, emblem IV; Segal in Osaka, Tokyo & Sydney 1990, p. 158, no. 10. Amsterdam, Rijksprentenkabinet, inv. no. BI-1893-3539-10.

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tiness – literally – as well as transience, because they are the dead encasings of living shellfish. However, in many instances it is not necessary or demonstrable that the shells, like the flowers, were meant to be interpreted as vanitas objects.300 Shells were naturally also symbols of water and the sea.

Nautilus

In paintings with shells that contain a clear vanitas message, the shells present are frequently polished Nautilus shells, the house of a species of octopus. Much more frequently Nautilus shells are offered for viewing in vanitas paintings without flowers and in sumptuous still lifes, and then regularly as a costly nautilus cup set on a silver or gilt foot. This Nautilus (Nautilus pompilius) is native to the Indian Ocean. It was considered a symbol of steadfastness and sureness because people saw it rocking on the waves like a ship that would pull through saved by divine mercy. Philibert van Borsselen wrote a poem on this subject in 1611: Ghelijck dees edel Shelp’ haer schoonen luyster haelt Van s’Hemels grootste Licht, end van haer weder straelt In s’menschen aengesicht, end t’droeve hert vervreugt: So moet de mensche, wien in zijn ghemoed verheuget Een vonck van t’Hemels licht genad’lijc is ontgloeyt, En tot een heyligh vier door Godes Geest ghevoeyt, Bevlytighen dat hy’t ook anderen toe-lichte, Bevordere Gods eer, end synen naesten stichte: End delve niet den schat die God hem stelt ter hand In sijn ongrondigh hert, maer elwaerts geef te pand [...]301 (‘Just as the noble Shell derives its lovely lustre From Heaven’s greatest Light, and reflects it o’er In men’s faces, sending joy to saddened heart, So must the man, who inwardly hopes a spark From Heaven’s light once mercifully ignited Will to a holy fire by God’s great power be lighted, Eager that he will enlighten others won, Praising God’s glory, and the life to come: And digs not for treasure God places in his palm In his unsettled heart, but elsewhere offers as a pawn[...]’) The Paper Nautilus (Argonata argo) is a species from the Mediterranean Sea, and it is already mentioned by Aristotle and Pliny, and later by Camerarius, as a ship at sea.302

Snails

A tremendous amount has been written about snails, including about their symbolism both in bono and in malo. As far back as Cicero they were seen as signs of domesticity; and as symbols of secrecy, we can point to references in Corrozet, Holzwart, Van Mander, Camerarius, Cats and Poirters, and this list is not exhaustive.303 Corrozet’s lovely wreathed emblem has the motto: ‘Secret est à louer’ (‘Secrecy is to let’), with the explanation (Fig. 2.26): Ainsi que le Lymas se tient En sa coquille, en grand secret: Tout ainsi l’homme se maintient, Clos, & couvert comme discret.304 300 Taylor 1995, pp. 46-47 describes a flower piece by Ambrosius Bosschaert I in the Mauritshuis in The Hague as being problematic, as he says it is not certain, whether it is a vanitas piece or not. He argues that in the oeuvre of Bosschaert no other vanitas elements appear in the work other than flowers. But the problem is non-existent, both artist and viewer were free to decide for themselves what the items meant or how they were seen. 301 Van Borsselen 1611, p. C7r. 302 Aristotle, History of Animals, 525a and 622b; Pliny, Naturalis Historia, IX, 88; Camerarius 1590-1604, IV, emblem XLIX. 303 Van Mander 1604, Uytbeeldinge, p. 132v.; Camerarius 1590-1604, IV, emblem XCVII; Poirters 1646, p. 257. 304 Corrozet 1540, p. D3v.

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Fig. 2.26 Gillis Corrozet, Snail from Hecatomgraphie, 1540, engraving, KB | Nationale bibliotheek, The Hague.

(‘Just as the Snail keeps to itself, In its shell, greatly in secret: So too man should keep himself, Close and covert, in this way discrete.’) Holzwart composed the motto: ‘Domus amica, domus optima’, in modern English we would say, ‘There’s no place like home’.305 Cats wrote: ‘Blijft binnen u schelpen, dat sal u helpen’ (‘Stay inside your shell, that will help you’).306 Snails interpreted as prudence or caution, based on their trait of feeling along with their horns, are found in texts as far back as Pliny. As a symbol of self-knowledge, we can find quotations deriving from Cicero, Erasmus, Persius and Camerarius. Cicero relays the phrase: ‘Omnia mea mecum porto’ (‘I carry everything that’s mine with me’); Persius offers the motto: ‘Tecum habita’ (‘Live with yourself’); and according to Camerarius a man is good who is secretive, cautious and independent.307 A philosopher always carries his intellectual goods with him and thus cannot be struck down by fate. Diverse emblematists make reference to the difficult path the snail must travel, especially when climbing up a hill, crossing a bridge or scaling a column, for example Rollenhagen: ‘Lente sed attente’ (‘Slowly but attentively’).308 Slowness cuts two ways – it might mean caution, or it might mean laziness as it does for Ripa.309 In Hoefnagels’ Archetypa we find an interesting image: a large snail with the motto ‘Festina lente’ (‘Make haste slowly’), and a reference to the Bible (Fig. 2.27).310 The motto was assigned to Augustine by Suetonius and treated later by Erasmus in the Adagia.311 305 Holzwart 1581, emblem XXVII. 306 Cats 1632, II, Spreucken ende Spreeck-woorden, p. 9. 307 Cicero, Paradoxa Stoicorum, I, 8; Erasmus (1500) 1536, I, IV, XXXVII; Persius, Satyrae, IV, 52: Camerarius 1590-1604, IV, emblem XCVII. See also Camerarius 1590-1604, IV, emblems XCVIII and C. 308 Rollenhagen 1611, emblem XI. Schoonhoven 1618, emblem LII. 309 Ripa 1644, p. 519. 310 Hoefnagel 1592, I.2. Paris, Fondation Custodia, inv. no. PL-1(3). 311 Hoefnagel 1592, I.2. Suetonius, Divus Augustus, 25.4; Erasmus (1500) 1536, II, 1, 1; Rollenhagen 1611, emblem XI. The motto is also used in literary works and fables with different combinations of animals. The motto derives from the Greek Speude bradeos. Segal in Amsterdam & ‘s-Hertogenbosch 1982, p. 72, no. 3 and Segal in Osaka, Tokyo & Sydney 1990, pp. 22, 68 n. 17.

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Fig. 2.27 Jacob Hoefnagel after Joris Hoefnagel, Festina lente from the Archetypa Studiaque, 1592, engraving, Fondation Custodia, Paris.

Being disposed towards earthly life, as opposed to representing heavenly life, is probably the most important significance for interpretations of snails when painted in flower still lifes. Earthbound snails and caterpillars are often depicted as antitheses to heavenly butterflies or dragonflies. Valerianus was of the opinion that human beings tend too much towards earthly things, and Van Mander also speaks of ‘Aerdtsche gesintheyt’ (‘Earthly disposition’).312 Many medieval exegetes offered in malo interpretations, usually positing opposing in bono interpretations as well. In Bartholomeus Anglicus and Berchorius snails are compared to human beings who are not easily moved to do good works, take joy in their lusts, and carry along an outer shell of excuses. Others condemned the snail as bad, comparable to the sinful human; Epictetus regarded it as stupid.313 Cats, based on Cantimpré, calls the snail ‘het vuyl, het leelick dingh’ (‘that foul, that ugly thing’), and adds a human being can drive away sin with the word of God just as a (naked) snail can be destroyed with salt.314 Sluggishness and laziness were the primary associations with snails, for example in a print of the vices by Pieter Brueghel I (1526-1569), Desidia.315 In the Hebrew Bible snails are considered unclean.316 312 313 314 315 316

Valerianus (1556) 1610, XXVIII, LIX; Van Mander 1604, Uytbeeldinge, p. 132v. Epictetus, Discourses, XVII.6 Cats 1627, Emblemata moralia, emblem XXIII. Lebeer in Brussels 1969, no. 19; the original drawing is in the Albertina in Vienna (inv. no. 7872). Leviticus 11:30.

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CHAPTER 3

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3

Artists’ Materials and Techniques

The Support

Between the sixteenth and the eighteenth centuries the ‘support’, the material on which flower pieces and other paintings in oils were painted, was usually made of copper, wood or (linen) canvas, and occasionally of some other material such as marble, leather, glass or vellum. The copper support was made from a copper panel a few millimetres thick to prevent it from becoming too bendy and it was normally kept to a rather small size to stop it growing overly weighty, although now and then larger formats can be found.1 The advantages of a copper support are that it offers a flat surface that can easily be polished smooth, and the plate is not, or only minimally, affected by changes in temperature or humidity. One disadvantage of painting on copper is that it is hard to repair physical damage, such as a dent, especially when attempting to leave the layers of paint intact. The adhesion of the paint to the metal surface is also more easily weakened by damage than paint on wood or canvas. Copper is fairly costly, too, another reason why these paintings were usually executed in a small format. The copper support was used most frequently in flower pieces of the first half of the seventeenth century. Sometimes we find that the back of the plate has been stamped with the coppersmith’s marks (name, monogram or initials), the mark of the city and now and then also a year. One of the most famous craftsmen in the early modern production of copper panels was Peeter Stas (ca. 15651616) of Antwerp.2 The oldest still lifes, just like other genres of paintings, were often painted on wooden panels, which could be of quite a large size. Wood can easily be made smooth by sanding, hence, like copper, it offers a surface that is superior to linen. The biggest disadvantage of a wood panel is that it can become warped due to changes in humidity and air temperature, something which can also cause damage to the layers of paint. This is less likely to happen to a hardwood such as mahogany or to thicker panels. Most panels were made of oak, but at times softer types of wood were used or whatever was locally available. Therefore, in Central Europe beech wood was sometimes used, and in Southern Europe chestnut. For wood panels, too, we sometimes see the craftsman’s marks on the reverse, and for panels from Antwerp the mark of the city.3 In the eighteenth century, Jan van Huysum (1682-1749) and his followers painted on mahogany panels, which are less sensitive to changes in humidity and temperature, but quite expensive. It was common for the reverse of wood panels to be bevelled all around, often in irregular widths, although sometimes, especially in the eighteenth century, panels were quite evenly and sharply bevelled. This thinner bevelling made the panels more fragile, more susceptible to woodworm, for example, and frequently the edges of such panels have been partially or wholly sawn off at a later date. The best panels show the wood in good condition, quite thick and without knots. Standard formats were often used: for example, in Antwerp in the first half of the seventeenth century this was typically around 65 x 48 cm. More and more, however, canvas took the place of other materials for the support, while panels came to be used strictly in small formats or for costly commissions. Large paintings, with dimensions greater than approximately 50 x 34 cm, are seen relatively infrequently in the first half of the seventeenth century, although in the later period there was a wider range of formats. Many flower pieces painted in the eighteenth century are in the format 80 x 60 cm. In most flower pieces the flowers are depicted standing predominantly in a vertically orientated position, but there are representations of flowers strewn on a ledge, or flowers in a basket, or even displayed loosely in a bowl, in which the horizontal lines made by the flowers dominate the overall arran1 2 3

For example, a series of flower pieces by Jan van Kessel I (1626-1679) dating from 1652 measuring approximately 77 x 60 cm; see Fig. 8.133. For Peeter Stas see Wadum 1998. About Antwerp panel marks see Van Damme 1990 and Wadum 1998a.

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gement. These horizontal representations were sometimes painted as pendants, paired with depictions of fruits instead of other flowers, and were popular around 1640 and in the eighteenth century. At the end of the seventeenth century, under the influence of French painting, artists began to deploy the horizontal formats increasingly for wall decorations, including those placed above doors (supraportes). In the course of the eighteenth century, oval flower pieces came to be painted, particularly in pairs.

The Ground

Typically, the support was covered with a layer of white gesso (generally a mixture of chalk, gypsum and glue) that was applied to make a smooth surface. This primer ensured the adhesion of the paint layers to the support. The gesso layer has to retain a certain suppleness which depends on the correct ratio of the ingredients mixed together and the right thickness of application. If the ground is too thick, large cracks or craquelure may appear in the painted layers when dried. Another problem is that the paint may be absorbed into the ground; to prevent that from happening an imprimatura is necessary.

Imprimatura

An imprimatura or primuersel, according to the terminology used by Carel van Mander in his Schilderboeck of 1604, is typically the first layer of paint.4 This is a more or less transparent layer of paint with a thin admixture of a yellow-brown or light-brown earth pigment, or sometimes grey or white, applied on top of the white ground in order to prevent the paint being absorbed into the ground; it also serves the purpose of creating (warmer) colour effects. In addition, this imprimatura layer can be used as the base colour, or as a vibrant background and base for depicting tin, silver and other metals, or certain kinds of fruit. Particularly in the second half of the seventeenth century a number of painters placed a special kind of imprimatura under specific flowers (or flower colours) referred to as the ‘rode bolus’, but is also known by a variety of other names too, including terra rosa, Antwerp red, Venice red, and red bole amongst others, which was applied as a thin ground in painting in order to give the colours layered on top a kind of glow. In the eighteenth century, the imprimatura is often of a lighter hue: an ochre-sand colour. In many paintings it is now in fact possible to see the imprimatura glowing through the paint in several areas where the upper layers of paint are thin and have become transparent over the course of time. In restoration, if the purpose of the imprimatura has not been understood and the restorer of the painting thinks that the background is thin, it is occasionally daubed off, which has a deadening effect.

Underpainting and Underdrawing

Prior to the actual painting it could well be that the artist made use of a preparatory underpainting or underdrawing. An underpainting is a complete sketch in light colours of oil paint referred to as ‘dead colours’. This layer, although invisible to the naked eye, can be made visible with the help of modern techniques such as X-ray technology. Such techniques have been greatly improved over the last decade and current research is continuing to pursue this path. Works in ‘dead colours’ are more or less similar to Rubens’s monochrome sketches, but rather than sketches these are unfinished paintings.5 Occasionally these turn up as items in old inventories of works belonging to painters, for example as found in the inventory of the still life painter Jacob Marrel (1613/14-1681).6 A number of painters applied a preparatory drawing or underdrawing to the ground making contour lines and perspective lines in black chalk; these lines are occasionally visible to the naked eye in odd places, for example in the works of Osias Beert I (ca. 1580-1623/24), Ambrosius Bosschaert I (1573-1621), and Balthasar van der Ast (1593/94-1657). For perspective lines a straightedge or ruler was used. Such linear underdrawing may consist of straight lines, for example for a horizontal plinth; diagonals, which at the same time designate the centre of the composition; or the lines of a grid, possibly following the grid of a study, as in several works by Jan van Huysum. Apparently, this technique was practiced less frequently after the middle of the eighteenth century, or in any case it is less possible to verify its use with the naked eye. Underdrawings can be made visible and photographed with the use of infrared reflectography. This technique has been employed for quite a while, although it has only occasionally been applied to early modern still lifes.7 Even underdrawings of still lifes that are quite visible to the 4 5 6 7

Van Mander 1604, p. 47v. Imprimatura may also be defined differently. About ‘dead colours’ in the oeuvre of Rubens see Van Hout 2005. Bredius 1915-22, I, pp. 113-114. The publications of Wallert in Amsterdam 1999; Dik & Wallert 1998; Dik 2006-07 and Albertson, Centeno & Eaker, forth-

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naked eye went unnoticed until I made a request to the director of the Gemäldegalerie, at the time located in West Berlin-Dahlem, for an infrared photograph of a little work by Balthasar van der Ast.8 Later my students and I applied this technique with success to a painting by Ambrosius Bosschaert I in the Mauritshuis in The Hague.9

Paint Layers

Oil paint consists of one or more finely ground pigments dissolved in a binder medium. The binder used normally was linseed oil, but especially in the eighteenth century this could also be a finer type of oil, such as walnut or poppy seed oil. However, it is highly probable that, particularly for flower pieces, use would have been made of alternative kinds of binders in order to attain a greater variety in transparency, luminosity and colour intensity in certain areas as desired. Egg tempera, resin and wax belong in this category of alternative binder, and at times watercolour was applied as the finishing touch. Tempera was sometimes applied to oil paintings starting in the beginning of the seventeenth century, which results in a somewhat dry finish. Resin and wax were applied in the second half of the seventeenth century. Watercolour techniques, or those resembling watercolour, were probably already being applied in the beginning of the seventeenth century. Paintings in which a different binder medium other than oil has been employed, such as resin or wax, suffer even more during incautious restoration because, for example, these binders dissolve in alcohol.10 Many painters made use of glaze: a little pigment dissolved in a large amount of oil paint, applied in multiple layers, and having a clear, transparent finish. Working with glaze demands time and patience because the glaze layer dries very slowly and must be dry before a new layer can be applied on top of it. Other painters applied paint rather more thickly in an impasto technique characterized by the thick application of paint so that it stands out from the canvas or other support, which can be seen especially well in a painting’s slightly raised highlights, especially in those areas representing reflected light. In most cases a finished painting was covered with a layer of varnish in order to protect the colours against airborne contaminants and other external influences such as smoke, and also in order to obtain greater lucidity. In the process of restoration, the layer of varnish is cleaned or removed and renewed if the varnish is yellowed or murky. This must be done very carefully so that the upper layers of paint – usually the finishing touches – are not affected. Some painters, particularly in the period around 1700 – for example Simon Verelst (1644-1721) – worked with coloured varnish, which dries more quickly than glaze. If during the cleaning of a painting the conservator fails to notice the varnish layer this can easily lead to the loss of layers of colour. As a result of the ageing process, and depending on the kind of damage that may have occurred (for example, the mishandling of the painting by a sharp object as opposed to the harmful effects from hanging above a radiator or heat vent) little cracks, called craquelure, may begin to appear in the layers of paint. It ought to be noted that this craquelure can be observed in different forms depending on whether it is in the ground, painted layers or varnish. When the damage has been mechanical, the craquelure often has a ring formation emanating out from a central point. If the ground is thick, which leads it to crack easily, the craquelure is sunken. Should a finely woven linen and glaze have been used, the craquelure is very fine, but if the layers of paint are thick (impasto), it is coarser, while for paintings from the last quarter of the eighteenth century it is frequently coarser because of the bitumen contained in the pigments. Differences between the ordinarily more finely woven canvas made in Holland and the much rougher canvas woven in a different manner and made in Italy and Spain must also be taken into account.

Pigments

In 1604 Carel van Mander underscored the notion that flowers form a challenge to painters because of their diversity of colour and nuance: ‘Flowers reveal the differences in paint’.11 In recent decades a great deal has been learned about pigments from technical research, nevertheless this knowledge is still fragmentary. There is, however, quite a bit of literature available on the 8 9 10 11

coming, being the exception to the rule. Segal in Amsterdam & Braunschweig 1983, pp. 53-54. Segal 2002. Other examples may be found in Murray & Groen 1994. Further research with the aid of infrared technology is desirable. We still know very little about the use of binder media, but occasionally something can be learned from the situation offered by a neglected or damaged painting. Van Mander 1604, p. 55v: ‘Bloemen wysen t’sorteren der verwen’, table under B with a reference to p. 45b.

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subject of the use of pigments in the different periods of painting. It is highly likely that the variation in the pigments used in flower pieces is greater than that used in most other paintings, though there has been little research carried out into the materials that artists employed in painting them. Certain materials that later became rare, such as smalt (blue) and orpiment (auripigment, a clear yellow), were sometimes still being used by still life painters well into the eighteenth century, and the expensive lapis lazuli (blue) until even later.12 Sometimes we know a little more about pigments used by specific painters. Osias Beert I seems to have mixed lead white with the somewhat unstable schietgeel (stil de grain yellow, or yellow lake pigment), which made the yellow more lasting, but also tended to make it a bit matte. On the other hand, in the works of Daniël Seghers (1590-1661) and his followers the yellow is slightly granular. The continual development of greens for leaves and stems is an interesting area for the study of techniques of mixing and layering, but it is too early to make a definitive statement on the subject. Mixing pigment was an art in itself: if the raw materials were pounded excessively fine or left too coarse this could lead to deviations in colour nuances. One example of this is lapis lazuli, which can become either rather grey or even overly dark. With sufficient training certain pigments can be readily recognized, particularly by the way in which they have faded under the influence of light, as well as by other characteristics such as how they have withstood the test of time and types of craquelure. So the blue pigments, often the abovementioned smalt, fade in a colour range from grey to brown, while lapis lazuli in too high concentrations can tend to blacken. In addition, differences may be distinguished between lemon coloured yellow and the golden-yellow shimmer of lead-tin yellow, or between the slightly matte schietgeel and the radiance of orpiment that tends slightly towards orange. A number of pigments are unstable and eventually change colour, become darker or lighter, run together or crumble. These changes may be the result of chemical influences, or the effects of light or dark surroundings, or of changes in temperature and humidity. There is actually little to be found on such changes in the handbooks on painting and restoration technique, which makes it a fruitful subject for further research. Besides observing the range of shades of colour, it is possible to differentiate intensity (which depends on the amount of pigment dissolved), the thickness of the paint layer, the value of the hue between light and dark, gradations and nuances in colour transitions, and the effect between warm and cool. A great deal of artistic virtuosity can be demonstrated in the application of subtle colour modulations and series of colours in space. It is in just such nuances that one recognizes the work of the greatest artists, including Jan Davidsz de Heem (1606-1684) and Jan van Huysum, and distinguishes them from their apprentices and followers. Such discernment also requires training for the modern investigator, preferably by conducting research on the original paintings. Good artists are capable of deploying different techniques simultaneously even within one and the same work of art in order to create depth or bring more or less emphasis to certain objects. In works by the greatest painters the transparency of the paint is optimal. This translucency depends on the use of thicker, more opaque paint, or, in ‘fine painting’, thinner paint, the glaze already mentioned. In fine painting – the highly detailed rendering of rich materials – the brushstrokes are smoothed away, a technique that was practised more in Holland than in Flanders. Fine painting offers a refined, glossy finished surface using a very fluid glaze-like paint; its transparency and radiance evoke the viewer’s wonder and admiration. Paint could be applied in thinner or in thicker (impasto) layers, and pigment could be diluted to the consistency of glaze or liquid. The painter had to work more quickly with a paint in which the pigment was more concentrated, and achieved other, different effects with glazing techniques. The smaller the amount of pigment that has been dissolved or is present in the emulsion, the more slowly the paint dries. Each layer must be dry before another can be added. In addition to these, there were also wet-on-wet techniques (alla prima), which can often be recognized in passages where the colour has run together in fine little swirls.

Preparation

Because paintings usually contain flowers from different seasons a flower piece could not be painted from an existing bouquet. In principle, there were three possibilities: painting directly from nature during the flowering periods in chronological sequence over a longish period of time; painting new combinations of the same flowers either at the same time or later; or using studies of both drawn and coloured flowers and composition sketches. Some scholars have suggested that painters of flower pieces copied 12

Smalt is a cheaper pigment made from finely ground cobalt glass (potassium cobalt silicate). Lapis lazuli finely ground with the mineral azurite yields an ultramarine colour that is more stable.

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drawings they found in herbals and florilegia.13 That is probably not the case because the herbals lack colour, or if they are hand-coloured these are frequently unreliable. The illustrations have often been done from dried plants and can lack accuracy. Painted flowers, however, have been very finely rendered, showing that they were painted with the necessary close attention to detail. Studies of flowers could be used repeatedly, including in reverse and, particularly in the case of Tulips, in different colour patterns. Sometimes a painter reproduced large portions of a composition exactly, but such duplication was actually carried out primarily in copies and versions done by followers. In the early period of still life painting it was usual for artists to borrow elements from other artists, something that quite probably took place on a large scale and not only among family members or by an artist’s apprentices. In Flanders works by artists such as Jan Brueghel I (1568-1625) and Daniël Seghers were imitated, while works were also created in the style of these artists. Subsequently the practice of repeating motifs took place in a more refined manner, with fewer or more variations as the case may be. As the art of painting flower pieces developed, such repetitions became increasingly rare or more limited to the kind of painting done during apprenticeship. Of course, deliberate imitations and forgeries occur in every age. Nevertheless, in the seventeenth century, plagiarism was something much less unacceptable than it is in our own time.

Coherence

As stated above, artists sometimes painted more than one copy of the same painting: replicas or versions with a few or many changes depending on the situation. Apprentices and journeymen worked alongside the master creating replicas or versions for the market. There were also forgeries (i.e. by other painters), whether or not provided with a false signature. Usually the fake signatures can be distinguished from the real ones by small differences in the name and the hand, as well as in the unified coherence of the script, which has usually been applied with a less flowing movement in forgeries. One special type of counterfeit is the pastiche in which parts of different compositions of the same artist, or sometimes of different artists, were brought together to create a unified whole. It must be said that direct imitations in themselves also constitute a learning process. In some rare instances the painter signed the work with his own name, but followed their name by painting the word ‘after’ together with the name of the original artist.14 Pendants – pairs of paintings with counterpoised motifs – were already being made in the early days of still life painting and their numbers increased with time. They were greatly in demand in the eighteenth century. Unfortunately, these companion pieces were often separated later. Old auction catalogues provide us with an indication of pendants once extant.15 The pairs of paintings might be made up of two flower pieces, or of one flower and one fruit piece, or of combinations of flowers and fruits. The coherence between the different flowers and the fruits is often keyed to the changing seasons. Series with more than two paintings were also painted, primarily in the eighteenth century, for example of the twelve months of the year. It should be noted that much later other painters added to these pairs of pendants, or conversely, somewhat similar works by different painters were done up in the same format and sold as pendants. Matching sized works by the same artist is insufficient grounds for seeing them as a unified pair. Artists often worked with standard formats, which has tempted some autioneers and art dealers to “marry” similar paintings by the same artist in order to hoodwink buyers into believing they are purchasing an original and more valuable pair, but such “marriages” are deceitful.

Dutch vs. Flemish Still Lifes

In general terms, we can detect a distinction between Dutch and Flemish still lifes. However, it must be well understood that several of the most important still life painters, who are usually regarded as hailing from Holland, originally came from the Southern Netherlands; also that, inasmuch as differentiation can be made, the underlying difference between the two geographically distinct regions grows from the foundation of Catholicism in the Southern Netherlands (referred to below as the South) and the more widespread Protestantism, particularly Calvinism, in the Northern Netherlands (referred to below as the North). 13 14 15

For example, Van Gelder 1936, p. 81 and Brenninkmeijer-de Rooij 1996, pp. 66-67. See, for example, the work of Jacob Marrel (1613/14-1681) after Jan Davidsz de Heem (1606-1684), Johannes de Bosch (17131785) after Jan van Huysum (1682-1749) (Fig. 9.41) or Jacob Buijs (1724-1801) after Jan van Huysum (Fig. 9.42). On pendants in Dutch painting see Moiso-Diekamp 1987.

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In the South larger format paintings on canvas were more common; these were rather atypical in the North where paintings were more frequently done on panel, usually oak, and in the eighteenth century also mahogany or copper. In conjunction with this variation in size we find differences in the diversity of flower species and varieties in still lifes, which on rare occasions in the South can reach well over one hundred different species in a single painting, while in the North small flower pieces can be found with just a few specimens or even with a single flower in a little vase, as rendered by Balthasar van der Ast (Fig. 7.3) and Dirck van Delen (1604/05-1671) (Fig. 7.20). In paintings from the South we see monumental tendencies more often – birds or mammals in action, and further supplementary work (e.g. insects, snails). Examples of such works include the market and pantry scenes painted by Frans Snyders (1579-1657) with their living dogs, cats, monkeys and parrots, accompanied by (human) figures in the background. In the North painters attempt to create a more atmospheric space, with less supplementary work. Moreover, in Dutch paintings certain elements of the supplementary additions were modified to create their own separate variation of still lifes, such as shell still lifes, bird still lifes, religious still lifes, or weapon still lifes. In the South various kinds of still lifes were created that are almost completely absent in the North, such as garlands, wreaths, vases draped with a flower chain, cartouche still lifes, pantries, and composite flower pieces with multiple vases or in combination with wreaths, although still lifes with both flowers and fruit occur both in the South and in the North. In Flemish flower pieces, we see less development in technique than in Dutch flower pieces, although colour composition in the South remained more variegated, while in the North there was more experimentation with tonality and harmonious colour arrangement. In the South, the brushstrokes are often slightly broader and coarser, in the North more refined and detailed such that it is sometimes scarcely possible to discern the brushstrokes. In Dutch flower pieces there is more interest in the angle of illumination, accompanied by highlights and shadows. Finally, there is some difference in the choice of particular flower species, such as a preference for the variegated Flemish Tulip in the South and for certain Rose species in the North.

The Representation of a Flower or Animal

To be sure, the goal of most artists was to render a flower or animal in a drawing or painting from its material appearance in life, or if this was not possible, to work from an example. Imitations might be carried out by the artist him or herself, or by an apprentice or follower, or by a forger. The image might also be altered, for example by mirroring, or giving the flower different proportions, changing the flower’s shape, or even modifying the colours or colour patterns, which might be done in order to create more harmony in the composition.

Alterations and Restorations

Sometimes the flower pieces we have today are only portions of larger compositions that have been cut, cropped or sawn off, something that was usually done with an eye to commercial gain. Such smaller pieces may have originated in a complex still life containing flowers and fruit, which, after alterations were made, could be sold as two simpler paintings; or they were taken from cartouches containing flowers, in which case the little posies of flowers were removed and provided with a newly painted little vase. Typically, such fragments are immediately recognizable, for example because there is a bit of Ivy remaining that had been used in the cartouche to link the little bunches of flowers together. These kinds of fragments can be found among the works of Nicolaes van Verendael (1640-1691) and Jan Philip van Thielen (1618-1667), as well as others. Colour changes and craquelure occur under the influence of light, temperature and humidity. Darkening, especially of earth colours, often takes place because of being stored for a long period in a dark place, for example in a safe or vault. In many cases little or no regeneration is possible, in other instances some recovery is feasible by carefully removing the painting’s layer of varnish and locating it for several months in a light place, but not in direct sunlight.16 Good restorers can work wonders but, in my experience, they are rare. On the other hand, a restorer can do much harm, for example by removing the layer of varnish too rigorously by which the top layers of paint or glaze can become overcleaned or ‘skinned’. Even a hole presents less serious damage.

16

This technique may be found in a restorer’s manuscript dating from the beginning of the nineteenth century, and was, at my request, tried out by Mr Hesterman, a restorer who kindly lent his assistance.

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Butterflies

The rendering of butterflies now and then reveals shortcomings that cannot simply be dismissed as the result of insufficient knowledge or deficient powers of observation on the part of the artist. In a number of paintings by Otto Marseus van Schrieck (ca. 1614-1678) and his followers, such as Elias van den Broeck (ca. 1652-1708), particularly in their forest floor pieces, noticeably vague butterflies have been painted, or all that we see remaining is a white background where the butterfly should be. As early as 1729 Jacob Campo Weyerman mentioned this phenomenon in relation to the works of Elias Van den Broeck, saying that Van den Broeck stuck real butterfly wings onto his canvases with the understanding that by doing so the correct colours would remain stable for quite a long time. This particular and somewhat idiosyncratic technique earned Van den Broeck Weyerman’s rebuke.17 The accuracy of the observation has been described by several scholars and also demonstrated by the research of Gregor Weber, who found the cells of scales from butterfly wings present in the vaguely painted butterflies.18 The wings were stuck onto a light ochre background, but their colours usually proved unstable in time; typically, new colours were applied by a later restorer, who unfortunately did not always possess the necessary skill. This method of using real butterflies was also practiced by Otto Marseus van Schrieck and his followers, and, according to Weber, even by Rachel Ruysch (1664-1750).19

Drawings

The word drawing is used for artists’ representations on paper, vellum or parchment that are not done in oils (many studies of flowers). The techniques and materials that were typically used are black or coloured chalk, silverpoint or pencil (for uncoloured drawings), and watercolours or body colour (for coloured drawings). Body colour (gouache) is watercolour thickened with a binder, usually gum arabic, and a chemically inactive white pigment such as lime. Body colour is opaquer compared to watercolour and has a greater capacity for reflecting light. Flower pieces were composed using all these techniques, but such materials were much more frequently used for drawing individual flowers and plants (and animals), often in a mixed media approach that combined watercolour and body colour (between which intermediary forms also exist), and regularly with a preparatory drawing in black chalk which is normally still partially visible. Uncoloured drawings of flower pieces in particular are, for the most part, preliminary studies, but they may also be studies by apprentices or followers. Finished flower pieces in watercolour also exist, for example from the hand of Jan van Huysum, but are fairly rare. The earliest flower pieces from the Netherlands, up to about 1600, were not executed in oil paint but in watercolour, such as those by Joris Hoefnagel (1542-1600) (Figs 5.14-17) and Jacques de Gheyn II (1565-1629) (Fig. 6.5).20

Research into Flower Pieces

An important part of the research into flower pieces (and still lifes in general) is acquiring the ability to differentiate one artist from another in every conceivable aspect. Falling under this rubric are: the development of the artist during his or her lifetime; changes to a painting’s colour caused by all kinds of influences such as temperature, humidity, light and darkness; any possible damage and restoration undergone by the paintings; and attention to copies and other forms of imitation. This kind of overview is not simple and requires training and time. It should not, therefore, cause any surprise to learn that a researcher or group of researchers occasionally, after a long period of time, reaches the conclusion that their original assessments need careful revision. Over the course of their investigations they may have come to understand better what they should be looking at, which criteria are fundamental, and how they should go about identifying the minutiae and interpret them. A clear example of this is the Rembrandt Research Project where skilled art historians, following several decades of research, realized that certain aspects of their research would have to be started all over again and previous conclusions reconsidered. This should not elicit any criticism; it is simply part of the ordinary course of research and something which can strike any scholar, creating the need to acknowledge former errors. 17

Weyerman 1729-69, III, p. 211: ‘[...] Hy was genootzaakt van Antwerpen te verlaaten [...] dewijl de in fluweelgebroekte Sinjoors [...] hem beschuldigden van de Vlindertjes geplakt en niet geschildert te hebben [...] dat de geplakte Vlindertjes schooner en natuurlijker zijn als geschilderden, dewijl zy niet alleenlijk hun gantsche tekening behouden, maar ook langer dan de geschilderden duurden [...]’. 18 Weber 1993, pp. 27-29. 19 Weber 1993, p. 28. 20 This can also be assumed for artists who are only known from the literature, such as Lodewijck Jansz den Bosch (active 1540-1568), who is mentioned by Carel van Mander. Van Mander 1604, p. 217r., see Chapters 5 and 6.

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For these reasons, it is advisable that specialized investigations be conducted in collaboration with colleagues.21 For a thorough investigation the original works must be seen; one cannot come to satisfactory conclusions using photographic material, especially if the photographs have been retouched in order to gain a favourable response for those promoting attribution to a specific artist.22 For solid research, documentation that gives the stated criteria as much attention as possible is of vital importance. Studies frequently focus on the differences in brushstroke application at different levels, in the overall image as well as in the details. In such instances, close-up photographs may provide important evidence.23 To illustrate what I mean by looking at details, I offer here, by way of example, a comparison of Roses, Tulips and Irises painted by different artists, taking note of their similarities and differences in handling the brushwork. What follows should, of course, be understood as a brief outline, since such research must also be carried out comparing works of the same artist painted over the course of his or her lifetime. The best artists display both variation and development. Roses (Figs 3.1-10) were chosen because they are the most common flower in the flower pieces of all periods, and the selection can easily be kept within the bounds of one particular group of Roses. The double and full forms of the species known as Gallica Roses, descendants of the single botanical French Rose (Rosa gallica), have been chosen, along with its hybrids – crossings both among various forms and with other related Rose species. The curved, convex petals of full Roses overlap each other, and it is a challenge to depict each of them individually as well as in relation to the other petals. For Tulips (Figs 3.11-20), on the other hand, it is difficult to choose types with similar patterns because there is such great diversity and range of colour, while many forms and colour patterns bear witness to changes in fashion. Moreover, in the aftermath of the Tulip Mania there was a temporary collapse in the appreciation of Tulips, which meant a decrease in their frequency in artists’ compositions, and thus the importance of exact representation. However, there is a superficial sameness in their overall shape and shiny texture. Irises (Figs 3.21-31) were chosen because they are relatively irregular in form. In addition, explicit differences between the taste of the artists studied have been an influence here. While one artist was driven to study Irises with scientific precision and to render them with exacting detail, another held to a general representation or even avoided Irises altogether. There are a great many differences among the species and hybrids of Irises, but the most typically occurring cultivar is the German Flag (Iris germanica), and there are some closely related species with hybrids. An attempt was made to contrast primarily these German Irises. In a similar way

Fig. 3.1 Jan Brueghel I, detail from Fig. 6.29, ca. 1612.

21

22 23

Fig. 3.2 Ambrosius Bosschaert I, detail from Fig. 6.14, ca. 1618.

Fig. 3.3 Roelandt Savery, Flowers in a niche (detail), dated 1621.

Unfortunately, in my experience this could seldom be realized with the right kind of co-operation, and collaboration has sometimes been refused or sabotaged – even by those employed as information providers in public institutions – or findings have been wrongly published by another as his or her own. One pitfall in scholarly research is when a researcher is too quick to accept a doubtful description, which can undermine the integrity of another project. Research using close-up photography has been conducted by Klaus Ertz, Claus Grimm, Fred G. Meijer and others. I have made use of several thousand slides that were kindly taken at my direction by professional photographers and accomplished amateurs, including also occasionally infrared shots. This collection containing in excess of 10,000 slides of still lifes has been donated to the RKD in The Hague. Unfortunately, not all of the older slides have been well preserved.

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Auriculas, Pinks, Poppy Anemones, and other species could be compared. Nearly all the species of these flowers in the paintings selected are native to Europe. It is not always easy to express in words the differences observed in technique, even when these are clearly visible to the expert eye, but it is useful for researchers to persevere in order to clarify in their own minds what they should be attempting to identify. I will refrain from supplying too much detail in order to give other viewers an opportunity to take a good look for themselves.

Roses

To clearly represent the overlapping petals of Roses artists made use of two techniques: painting tonal differences at the petal edge and outlining. In the works of many seventeenth-century painters we see relatively large flat areas of heightening, something that began in the work of Jan Brueghel I. The earliest painters of flower still lifes used rather few shades of the colour pink, but Brueghel started using dark pink outlining (Fig. 3.1). Frequently we see several sharp pointy edges of petals extending outward, and the Roses are slightly uneven, something that suits the irregular brushstroke technique used for certain flowers (Brueghel’s Irises, for example, display this tendency well). Ambrosius Bosschaert’s Roses are

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Fig. 3.5 Jan Davidsz de Heem, detail from Fig. 8.11, ca. 1660-65.

Fig. 3.6 Willem van Aelst, detail from Fig. 8.38, dated 1663.

Fig. 3.7 Simon Verelst, detail from Fig. 8.52, dated 1669. 98 |

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more regular, rounder, softer and without the clear use of outlining (Fig. 3.2). In Roelandt Savery’s (15761639) paintings we see, in a work completed in 1621, petals turned outwards with irregular edges, and the heightening is patchier (Fig. 3.3).24 This Rose is a good example of the influence Savery must have exerted on the then still young Balthasar van der Ast in Utrecht, as can be observed in a Rose of very similar shape that appears in an undated flower piece, presumably from the same period or a bit later.25 Daniël Seghers achieved greater depth in his individual Roses by using chiaroscuro, dark shadows, and tonal transitions between white and pink (Fig. 3.4), while in his earlier work he used more contrasting hues around large white areas. The number of transitional colours also increased over time in the work by Jan Davidsz de Heem, something that is reinforced by differences in colour intensity and depth. His flower shapes are rather more irregular, the inner and outer petals displaying significant differences in size (Fig. 3.5). Willem van Aelst (1627-1683) emphasized differences at the centre of the flower by creating even more marked variations in colour intensity (Fig. 3.6). In the work by Simon Verelst large portions of a flower with a round shape show the strong influence of lighting and the backs of the petals are darkened in shadow, but, on the whole, there is relatively little attention to the flower’s structure (Fig. 3.7). Instead he has bestowed a great deal of attention to the leaves of the Rose, rendering colour

Fig. 3.8 Rachel Ruysch, detail from Fig. 9.3, dated 1704.

24 Panel, 24 x 18.4 cm, London, Victoria and Albert Museum, inv. no. DYCE.4. 25 Flower piece with two shells, a lizard and Love-in-a-mist in the foreground, signed, panel, 43 x 33 cm, private collection (Gebr. Douwes Gallery, Amsterdam/London 1986). Amsterdam 1984, pp. 140-141, no. 12.

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Fig. 3.10 Gerard van Spaendonck, Flower still life with an alabaster vase (detail), dated 1783.

Fig. 3.9 Jan van Huysum, Flowers in a basket (detail), ca. 1734.

change caused by damage from snails, insects and a virus. Lighting is also a matter of some importance to Rachel Ruysch, but she has worked out the structure of the inner and outer petals very precisely (Fig. 3.8). Jan van Huysum’s Roses are very finely worked out, the petals having been painted with subtle edges that overlap, while a few petals extend away, and he applied grey shadows both to the outside of the petals and to the creases on the inside (Fig. 3.9).26 Gerard van Spaendonck (1746-1822) paid close attention to how Jan van Huysum went about this, but his tone is often somewhat lighter and softer than his predecessor’s, with less use of grey (Fig. 3.10).27

Tulips

In the works of the early Flemish still life painters, Jan Brueghel I in particular, we encounter the wide-cupped many-coloured Flemish Tulip (Fig. 3.11) which does not appear in paintings from Holland, although most of the Tulips painted in the earlier period have a slender pointed shape.28 Brueghel painted Tulips with colour transitions against a white or yellow ground, as well as Tulips with contrasting colour patterns in hues of red and purple. Jacques de Gheyn II shows us petals with a pronounced twist, something that intensifies the flame design in the colouring (Fig. 3.12).29 In the rendering of Ambrosius Bosschaert I the Tulips are shiny all around, and there are no changes of hue along the sides of the petals; their surface is smooth, sometimes with a little twist, adding a slight sense of movement (Fig. 3.13).30 In Balthasar van der Ast’s work there are some deviations in shape, and we see a strong tendency towards tonality (Fig. 3.14). Daniël Seghers uses strong shapes and colours (Fig. 3.15), but his predominant interest was in Roses. From this period on Tulips usually had elegantly pointed petals. Jan Davidsz de Heem worked with many subtle colour transitions, both in broad bands of colour striped along the sides, and in little flecks and stripes of colour here and there. The concave, inwardly folded petals have a somewhat crinkled texture, with lovely curves in soft tints and delicate light grey or white outlining. The flowers frequently have a fine zigzag edge. A remarkable harmony has been created in the colour patterns, too, which encompasses the divergent hues of the Tulips placed close by (Fig. 3.16). A complete deviation in terms of colour composition and colour relationship is the rendering of the Tulip with fanned out, convex petals in a forest floor piece by Otto Marseus van Schrieck (Fig. 3.17).31 Willem van Aelst 26 27 28 29 30 31

Panel, 24 x 16.5 cm, Rotterdam, Museum Boijmans Van Beuningen, inv. no. 2501. Segal in Delft & Houston 2006-07, pp. 228-229, no. F26. Canvas, 80.5 x 64 cm, Amsterdam, Rijksmuseum, inv. no. SK-A-5052. For an example of a painting by Jan Brueghel I with two Tulips with a slender pointed shape see Segal in Delft, Cambridge & Fort Worth 1988-89, pp. 233, no. 18 (panel, 44.6 x 31.7 cm, private collection). Copper, 58.5 x 43.5 cm, The Hague, Mauritshuis, inv. no. 1077, on loan from the Haags Historisch Museum, The Hague, inv. no. 34-1934. For another example see Segal in Osaka, Tokyo & Sydney 1990, pp. 186-187, no. 32 (copper, 39.5 x 28.8 cm, private collection). Copper, 27 x 18.5 cm, P. & N. de Boer Foundation, Amsterdam. Segal in Amsterdam & ‘s-Hertogenbosch 1982, p. 88, no. 33 and Paris 2014-15, pp. 38-39, no. 13. Canvas, 50.7 x 68.7 cm, Braunschweig, Herzog Anton Ulrich-Museum, inv. no. GG 431. Münster & Baden-Baden 1979-80, p. 102, no. 65; Seelig 2017, p. 64, Fig. 46.

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Fig. 3.11 Jan Brueghel I, detail from Fig. 6.29 , ca. 1612.

Fig. 3.12 Jacques de Gheyn II, Flowers in a glass vase in a niche (detail), dated 1612.

Fig. 3.13 Ambrosius Bosschaert I, Flowers in a glass (detail), dated 1610.

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painted Tulips in natural shapes, with rather few nuances and occasional white outlining (Fig. 3.18). The flowers frequently seem to be bursting open, giving them a strong sense of movement. Van Aelst was not a particularly proficient Tulip painter. The same also goes for Simon Verelst, whose Tulips are usually painted in a fairly simple manner (Fig. 3.19). Finally, it must be said that no one painted Tulips with such perfection and detail as Jan van Huysum. Using a thin brush with only a few hairs he painted the finest parallel structures in a Tulip petal with subtle transitions in colour, and edges that could be either sharp or finely ravelled (Fig. 3.20). His balance between light and shade is marvellous. From this period on the Tulips depicted were mostly cup or bowl-shaped flowers.

Fig. 3.14 Balthasar van der Ast, detail from Fig. 7.3.

Fig. 3.15 Daniël Seghers, detail from Fig. 7.47, ca. 1636.

Fig. 3.16 Jan Davidsz de Heem, detail from Fig. 8.11, ca. 1660-65. 102 |

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Fig. 3.17 Otto Marseus van Schrieck, Still life with a Tulip (detail), dated 1662.

Fig. 3.18 Willem van Aelst, detail from Fig. 8.36, dated 1651.

Fig. 3.19 Simon Verelst, detail from Fig. 8.54.

Fig. 3.20 Jan van Huysum, detail from Fig. 9.15, the pendant is dated 1730.

Irises

While the ultimate refinement in the painting of Roses and Tulips appears in the works of Jan van Huysum, in the case of Irises it is in earlier examples that a highpoint can be discerned, in the works of Jan Brueghel I. The complicated shapes of Irises seem to have posed a considerable challenge, something that did not appeal to all artists in the same degree. Brueghel painted thick dark blue lines, sometimes with a single hair, on top of a lighter blue background, however the lines are not sharp and evenly spaced close together, as in Van Huysum’s Tulips, rather they are frequently split, and more or less twisted, as if they had been painted with a nervous hand. Short little lines can be seen at the edges of the petals with white or blue outlining. The sturdy petals have been painted with wavy or crimped

Fig. 3.21 Jan Brueghel I, Flowers in an earthenware vase (detail), ca. 1605.

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Fig. 3.23 Jacques de Gheyn II, Flowers in a glass vase in a niche (detail), dated 1612.

Fig. 3.24 Balthasar van der Ast, German Iris with Marigold and shells, ca. 1630. 104 |

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Fig. 3.25 Daniël Seghers, detail from Fig. 7.46, dated 1635.

Fig. 3.26 Jan Davidsz de Heem, detail from Fig. 8.10, ca. 1655.

Fig. 3.27 Willem van Aelst, detail from Fig. 8.37, dated 1652.

Fig. 3.28 Simon Verelst, detail from Fig. 8.53, the pendant is dated 1672.

edges and a filigree or sponge-like texture, a technique intended to suggest their transparency. The yellow beard has been painted with many short, evenly spaced little stripes, very close together (Fig. 3.21).32 Also unmatched are Brueghel’s renderings of Susan’s Iris (Iris susiana). Roelandt Savery, who indeed liked a bit of haphazardness, has composed his Irises much more simply, with purple lines on top of white that descend into purple patches and edges that are a bit wavy or curled. The beard is downy (Fig. 3.22). Jacques de Gheyn’s Irises have a shiny texture, with thin stripes close together (Fig. 3.23).33 In Balthasar van der Ast’s Iris we see many areas of heightening with smooth transitions in shades of purple, making it almost velvety. The petals are wavy all over and have notched edges. The beard is composed of little stripes, some of them brushed out to the side (Fig. 3.24).34 We also see many areas of heightening in the works of Daniël Seghers, in the colouring of the somewhat flattened petals in the centre and along the edges (Fig. 3.25). Here, too, Seghers lets it be seen that he is a painter of Roses first. Jan Davidsz de Heem worked with deep colours and in certain places makes transitions to areas of flattened white heightening. His Irises have a relatively simple structure (Fig. 3.26). Willem van Aelst shows us blue and purple but with few transitional hues, and also rather little in the way of plant structure (Fig. 3.27). Simon Verelst worked with large areas of flattened heightening adding the colour primarily along the edges, placing darker coloured stripes over this at right angles to the edge, and purple glaze elsewhere, sometimes mixed with shadow grey. Because he made use of coloured

Fig. 3.29 Rachel Ruysch, Flowers in a glass vase (detail), dated 1700. 32 33 34

Fig. 3.30 Jan van Huysum, Flower piece in a niche with a bird’s nest (detail), dated 1734.

Fig. 3.31 Gerard van Spaendonck, detail from Fig. 9.48, dated 1785.

Panel, 50.3 x 40.6 cm, Vienna, Kunsthistorisches Museum, inv. no. GG 548. Copper, 58.5 x 43.5 cm, The Hague, Mauritshuis, inv. no. 1077, on loan from the Haags Historisch Museum, The Hague, inv. no. 34-1934. Copper, 11.5 x 18 cm, private collection. Segal 1996, pp. 20-22, Fig. 10.

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varnish, the original colours have not always been well preserved. The beard is made up out of little beads with tails. He could not have done it otherwise, considering the deep colours used in the painting ranging from blue to purple without tonal nuance, and odd touches of white on the outer side of the petals (Fig. 3.28). With Rachel Ruysch we again see lovely fluid transitions in shades of purple, without stripes, and the edges of the lower petals are smooth while the upper ones are curled. The Iris bud is very finely scrolled (Fig. 3.29).35 Jan van Huysum usually used English Irises (Iris latifolia) with many transitions between the colours and stripes radiating out along with finely detailed edges (Fig. 3.30).36 Irises actually do not appear very frequently in his works and are not worked up with the same attention to detail as most of his other flowers. Here, too, we see that Gerard van Spaendonck was one of his followers, but without the use of stripes. His Irises protrude out of the bouquet, thrusting more dominantly into the foreground (Fig. 3.31). Because in many respects Jan van Huysum achieved the highpoint of refinement in these paintings, two more examples showing details from his work are presented here, one with a Primula farinosa (‘farina’ meaning flour or powder), which looks as if it is covered in a layer of white powder (English Pale Auricula or Bird’s Eye Auricula) (Fig. 3.32), and one with a Chaffinch’s nest built out of twigs, grass and moss, with a few bits of feathers and a dead pillbug (Fig. 3.33).37 The stunning degree of detail observed makes it even possible to notice heterostyly: the difference in length of styles (pistils and stamens) within the flowers, which will even escape some botanists.38

Figs 3.32-33 Jan van Huysum, Auricula and Chaffinch nest, dated 1722.

Detail Fig. 4.1 35 Canvas, 79.5 x 60.2 cm, The Hague, Mauritshuis, inv. no. 151. 36 Panel, 81.3 x 61 cm, private collection. Segal in Delft & Houston 2006-07, pp. 246-250, no. F32. 37 Panel, 79.5 x 61 cm, Los Angeles, The J. Paul Getty Museum, inv. no. 82.PB.70. Segal in Delft & Houston 2006-07, pp. 174-178, no. F11. 38 The history of research into this phenomenon is being carried out by Professor Gilmartin in Norwich.

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4

The Development of Flower Pieces

Every composition that is visually well constructed has a poetic aspect, including still lifes. In some works of art this aspect is expressed textually, primarily in prints; some poets, too, knew how to describe images. In Chinese and Japanese art since the fourth century CE, paintings are frequently combined with poems or poems with images, or with a third art form: calligraphy. Indeed, combinations of all three art forms are not that uncommon. But in European painting and drawing we have to develop a feeling for a painting’s poetic effect, which may at the same time be an expression of a certain quality, as in the works of Johannes Vermeer, or Adriaen Coorte, Joris Hoefnagel or Dirck de Bray. Form, space, colour, light: these are the central aspects we need to consider when looking at a painting. These four elements, however, cannot be completely isolated from one another. Under the heading ‘form’ we have to consider not only the shapes of objects, plants and living creatures, but also their dimensions, distance, and placement in space relative to each other which unifies them. ‘Space’, in addition, is not only the space between the different forms, but also the spatial representation of the foreground and background, and the way the artist made use of perspective, which might be in any of a number of different ways. ‘Colour’, moreover, refers not only to the pigments individually, but also to colour values, how colours are distributed and arranged in relation to each other, and their relation to form and space. Finally, ‘light’ determines how form, space and colour appear to the eye, as well as their impact and radiance in light and shade. Taken altogether these elements determine the image and atmosphere of a painting. Flower pieces that were composed until around the middle of the nineteenth century are hardly ever simple representations of a material reality. The bouquets are really constructions of flowers that bloom at different times of the year. Over the course of time these come to look more natural as a result of increasing artistic skill that leads, on the one hand, to growing emphasis on details and refinement in painting methods, or, on the other, to an effective directness created by painters using a broad brush. Furthermore, there are external factors in the successive periods that need to be taken into account, such as the main currents in taste, fashion and tradition, which influenced the choice of flowers as well as vases. In addition, general trends in the world of art that can also be observed in other genres of painting are of considerable significance, such as the use of more subdued colours (i.e. monochrome tonality) in the second quarter of the seventeenth century; techniques of ‘fine painting’, where the brushstroke is nearly invisible; and rococo influences imported from France in the eighteenth century. Moreover, internal factors for each artist must be adduced, such as originality and on-going personal developments in skill, knowledge and awareness. Some artists execute their best works when they are young, others in the course of their careers, and yet others only late in life.

Style

The style of works of art are not only dependent on the objects chosen and their composition, but also to a great degree on brushstroke technique and the material expression that goes along with it. With some painters we see them turning, after a period of lucid expression and strong emphasis on details, to a broader technique with a looser brushstroke.1 This might quite simply be a question of personal development, in which less becomes the means of expressing an equivalent or greater whole, or a change in the mode of execution, or a decline in powers of sight due to aging, or some other impairment of body or mind. In addition, material expression is often a question of personal preference. There are painters who try to approach a natural type of material expression by rendering shapes precisely and applying colours that contrast one another to a high degree, resulting in a more ‘linear’ style of painting. Others prefer to work with alternative colour values, using a more ‘painterly’ technique, that evokes a different, more intimate and at times somewhat mysterious, kind of atmosphere. The majority of the painters of flower pieces tended to be texture-painters first, while for the painters of banquet still lifes tonality 1

Nicolaes van Verendael (1640-1691) for example.

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played a much bigger role, something that holds true even more so for the painters of vanitas still lifes. Nonetheless, a certain quality of tonality, which became important between 1620 and 1640, very soon came to be combined with an impressive air of translucency. When we try in the present to trace back the lines of development in the history of flower still lifes, it appears that a painter’s choice of an exquisitely detailed manner of painting, one that aspires to a deceptive kind of realism, or conversely a broad monumental painterly style, complicates these lines such that they at one moment seem to overlap and at another to take turns in alternating waves. Generally speaking, a steady line of increasing use of detail can be perceived in the seventeenth century – a current that leads to the style that is known as ‘fine painting’ in Dutch art, with such masters as Gerard Dou (1613-1675) and Frans van Mieris I (1635-1681). In flower still lifes we find a comparable sense of consummate perfection in the works of Jan Davidsz de Heem (1606-1684) and Abraham Mignon (1640-1679), a line that continues through Rachel Ruysch (1664-1750) to Jan van Huysum (1682-1749). Although simultaneously whilst De Heem was perfecting his style, Abraham van Beyeren (1620/21-1690) in the North and Joannes Fyt (1611-1661) in the South were creating flower pieces with a much freer use of the brush. In Flemish flower pieces from the end of the seventeenth and beginning of the eighteenth century, we can discern a tendency towards decorative techniques with a broad brushstroke, something that was in keeping with tastes in interior decoration at the time.

Material Expression

Material expression may be defined as skill in representing different materials and their textures, such as a surface’s roughness or smoothness. Initially material expression was somewhat primitive, and delicate differences in texture, light and shadow, or nuances of colour of a flower’s leaf were aspects that were largely left unperfected. In the early period, we also sometimes still see vases that are not in proportion to the flowers represented. The painting of flowers in watercolours, which demands a great degree of precision – whether these paintings were for a collector, for market purposes or for book illustration – contributed significantly to the development of observational skill. The degree to which details are rendered is a highly personal choice and minute detailing is a challenge to perfect. The degree of painstaking observation can be perceived in the representations of leaves of certain species: in their vein structure and edges, in differences between the upper and underside of a leaf, and in the light they appear in. We also see the attainment of perfection in material expression in the thin, delicate, translucent upper side of a Rose leaf, or in a grape or berry where we can see the seeds showing right through the fruit’s flesh. The rendering of details is highly dependent on brushstroke technique, as expressed, for example, in minutiae that suggest a deceptive verisimilitude or a trompe l’oeil effect, such as water drops or insects and their shadows poised on a leaf or flower, or the reflection of the window of the studio or the studio itself in a glass vase. In such cases, perfection is something that comes with the use of a refined brushstroke technique.

The Picture Plane

In the picture plane, we can differentiate the background, the foreground, and sometimes a clear middle ground. The ordering of these layers greatly influences the atmosphere of the painting. We can discover what that ordering was by studying the contours of the objects very closely. Frequently, much can be learned from the edges. Usually, a dark background was painted first and this can possibly be seen seeping through the colour of an object in places where the pigment is thin. If the background was painted at a later stage than the objects, then we sometimes see little spaces left open around the objects, or conversely, we see that the background colour has actually slipped over the objects. Often the composition has been built up from front to back, thus first the flowers and leaves which are in the light, then those that are in shadow, thereafter the container, and finally the background around the flowers and objects (which is sometimes lighter between the flowers, as in works by Jan Brueghel I (1568-1625)). Later on, the background is more closely involved with the overall composition of colours. From studies done in oils it appears that artists consciously sought a balance in the range of shades set against or sometimes over the background, as we see in works by Gerard van Spaendonck (1746-1822).2 A flower piece normally consists of flowers in a container, but it is also possible that the flowers are lying strewn on a table or some other kind of flat surface, or have been gathered together into a nosegay. 2

Although many such studies must have been made, only a few have survived. For Van Spaendonck see Segal in ‘s-Hertogenbosch 1980-81, p. 127.

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Many different forms of artistic expression are equally capable of achieving a beautiful aesthetic effect. Quite a number of techniques were in general use, but others were original and individual, although in the course of time they sometimes found imitators. One example of such a technique is the application of colour axes in lighter colours; another is the repetition of forms or colours; and a further instance involves using colours that are nearly the same in close proximity or in sequence with transitional tints. Jan Davidsz de Heem was a master in both the repetition of forms and colours, and in using similar colours in a series or sequence (Fig. 8.9).

Background

In the seventeenth century, the backgrounds of still lifes were usually neutral, in colours ranging from a plain, even dark grey through to nearly black, or they consisted of a grey stone niche, enclosed in the majority of cases. Later backgrounds became less uniform and livelier, with lighter patches where the imprimatura or base layer shows through. Around 1619, Ambrosius Bosschaert I (1573-1621) introduced open niches, usually with a landscape in the background (Fig. 6.16), and he sometimes also employed a landscape without a niche (Fig. 6.15). Engraved flower pieces had already, at an earlier stage, depicted backgrounds of this kind (Fig. 6.2). Bosschaert’s younger brother-in-law Balthasar van der Ast (1593/941657) painted flower pieces set in an interior (Fig. 7.5). The colours range across the picture plane from darker to lighter (in still lifes this is usually from left to right or lower right) under the influence of the painted lighting. In the works of Jan van Huysum, starting around 1720, the background becomes significantly lighter, and often consists of a garden landscape with trees in grey and green tints, sometimes accompanied by statuary and architectural features (Figs 9.13 and 9.15).3 On occasion a white background was used (which was often painted over later), as in a painting attributed to Andries Daniëls at the beginning of the seventeenth century; in a signed flower piece with insects by Clara Peeters (active 1607-1621); in little works with insects and flowers by Jan van Kessel I (1626-1679; Fig. 8.134); and in flower pieces painted on marble by Gerard and Cornelis (1756-1839) van Spaendonck and their followers starting at the end of the eighteenth century (Fig. 9.47).4

Foreground

In early flower pieces the foreground consists of a wood or stone table-top, with or without a plinth (table edge). Around the mid-seventeenth century, the grey stone table was replaced with a marble slab, often with a carved edge. In other instances, the bouquet has been placed on a pedestal. During the course of the eighteenth century, under the influence of French fashion, the clean and simple arrangement increasingly gives way to more elaborate structures: tables with more corners, curved lines, or a balustrade set in a garden landscape. Only very seldom do we see a planted garden bed occupying the foreground, as in the work of Johannes Bosschaert (ca. 1607-1628/29) and Jacob Gerritsz Cuyp (15941652; Fig. 7.19).5

Containers

In religious paintings and miniatures from the fifteenth and sixteenth centuries, containers for flowers are usually majolica vases, frequently albarellos (ointment jars), and in the strewn borders of miniatures we sometimes also see glass vases from the period. All the different containers used in later periods are more or less contemporary to the time of painting. The container is normally a vase, but might also be a jug or a glass, a basket or a tub. A vase might be made out of any of a number of materials and bear one of numerous shapes, either embellished or plain. We see baroque bronze and majolica vases less in flower pieces than early flower prints might lead us to expect. In flower pieces we often encounter an earthenware vase. Particularly in the earliest period the decorations might well be reliefs, in an almost baroque style and multi-coloured, with ornamental carved mascarons (often a lion’s head) or other mythological representation, and curved handles in the form of the female body, a snake or a dragon. In early flower pieces, in addition to earthenware, we do see a great deal of façon de Venise vases with knops and rosettes and decorated stoneware vases. Often Chinese porcelain Wan-li vases are on display. 3 4 5

Earlier Jan Weenix (1642-1719) had painted park landscapes in his hunting still lifes and southern Italianate landscapes in his vanitas still lifes. Garden landscapes in the background also appeared in the hunting still lifes of Melchior d’Hondecoeter (1636-1695). Van Huysum introduced lighter, almost pastel-like tints. Panel, 64 x 50 cm, 64 x 50 cm, Tajan, Paris, 20 December 2000, no. 1/q (attributed to Andries Daniëls and Frans Francken II); copper, 16,5 x 13.5 cm, Sotheby’s, London, 4 July 2018, no. 25 (Clara Peeters). Panel, 46 x 64 cm, Stockholm, Nationalmuseum Stockholm, inv. no. NM 6666; Athens 2002, p. 214, Fig. 1 under no. 67 (Johannes Bosschaert).

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The ornamentation on Chinese vases doesn’t necessarily have to be the representation of a pre-existing design, as it is quite likely to be a form of design created by the artist in order to reinforce a certain symbolic meaning. After the mid-seventeenth century, however, Chinese porcelain appears infrequently. Even more rare and specific to the earlier period (1600-1620) are flower pieces with a wide-mouthed drinking cup called a tazza (Fig. 6.28), a wooden tub (Fig. 6.26), and, particularly in the works of Osias Beert I (ca. 1580-1623/24), a vase made of the ornamental stone serpentine (Fig. 4.1).6 Later types of vases that are specific yet rare are decorated silver vases, found in the works of Willem van Aelst (1627-1683) and his followers (Fig. 8.38), and ivory vases in the works of Maria van Oosterwijck (1630-1693).7 At the end of the seventeenth century, stone and bronze vases decorated with reliefs come into vogue, and during the eighteenth century, terracotta vases with reliefs. Marble, alabaster and occasionally porphyry vases are typical of the end of the eighteenth century, and crystal vases of the first half of the nineteenth century. The sheen and reflecting surface of glass offer an especially fine opportunity for subtle material expression. Initially, the glasses used were glass beakers with simple decorations, usually ornamented with prunts and little rosettes, wound horizontal threads of glass, and sometimes also mascarons. Roemers (or Rummers), large tall drinking vessels, could also sometimes serve as a vase for flowers. Starting in the 1630s and particularly in Antwerp, flowers were placed in a pear-shaped vase on a round foot, as in works by Daniël Seghers (1590-1661) and his followers. Somewhat later in Holland we see simple glass jugs used primarily as vases.

The Bouquet

Particularly in larger paintings the bouquet appears initially to have been made up out of a number of layers. This layering is gradually replaced by a more conscious form of composition that considers shape and colour palette as a whole. Early on the design of a bouquet could often be unnatural, for example species are placed at the top that would have to have impossibly long stems in order to fit in the vase; or, especially in larger paintings, the bouquets are so full that the realism of the representation of the flower arrangement is hard to imagine existing in real life. In later periods, however, the flower arrangements become increasingly plausible. Initially the compositions are symmetrical, with a vertical middle axis and any objects depicted approximately equally divided between the right and left sides of the painting. The bouquet then usually takes the form of an oval. After the mid-seventeenth century the tendency towards asymmetry increases, with a diagonal axis line (normally ascending to the upper right), as deployed by Willem van Aelst and his followers.8 The central axis is then often accentuated by using a species with a long stalk, such as the Hollyhock. Or there are auxiliary axes that, along with the middle axis, intersect at a central point – usually a striking bloom in the lower portion of the bouquet, which much of the time coincides with the centre of the painting. This trend developed further in the eighteenth century, with the result that the bouquets no longer clearly reveal a single central axis or a single top flower or plant. Around the middle of the seventeenth century as the structural axes became less rigid and straight, compositions became more flexible and hence more natural, with visible curves and later also s-patterns. Jan Davidsz de Heem in particular began to make use of flower types that have naturally twisted stems, such as the Opium Poppy, climbers such as Great Morning Glory, and even bent stems and stalks. In the second half of the seventeenth century, this flexibility can result in an exaggerated impression. At the beginning of the eighteenth century, artists (mostly in Flanders) started painting vases draped in swags of flowers (Figs 9.152 and 9.155). In early flower pieces the flowers are laid out on a single plane, all of them opening out towards the viewer. This is something that restricts the feeling of depth: the flowers are rendered frontally and every 6 7 8

Segal in Amsterdam 2012, pp. 35-38, no. 2, with identifications; Antwerp 2015-16, pp. 146-147, no. 16a. The painting of a bouquet in a silver vase by Jan Davidsz de Heem (1606-1684) has been lost since World War II (panel, 64 x 44 cm, signed, formerly Dresden, Gemäldegalerie Alte Meister, inv. no. 1262). Bernhard et al. 1965, p. 97. An ivory vase appears in the painting of Maria van Oosterwijck in the Mauritshuis, The Hague (canvas, 62 x 47.5 cm, inv. no. 468). The notion that Joris Hoefnagel (1542-1600) had already painted asymmetrical bouquets is misguided and rests on the incorrect interpretation of a painting that has CAP. HOEFNAGEL inscribed on its frame, which appears in the representation of the gallery of Archduke Leopold Wilhelm of Austria painted by David Teniers II (1610-1690) in 1653 (canvas, 70 x 86 cm, Vienna, Kunsthistorisches Museum, inv. no. 9008, cf. Bergström 1956, pp. 35-36, Figs 32-33). It is actually a work by Captain Alexander Hoefnagel that is listed in the 1659 inventory of the Archduke. A watercolour with the signature Le Cape. Alex. Hoefnagl: F. 1650 is also known by this artist (460 x 355 mm, with incorrect attribution and date in Berlin 1973, no. C14); about Alexander Hoefnagel see Segal 1991. Vignau-Wilberg 2017, pp. 46-47. This reference fails to mention Segal 1991.

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Fig. 4.1 Osias Beert, Flowers in a serpentine vase, panel, 35 x 24.5 cm, private collection.

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bloom can be seen almost in its entirety. In addition, the flowers have been depicted at their peak of development; later overlapping arrangements have a significant effect on the sense of depth and colour composition. Early on we seldom see flowers at their budding stage, except for the occasional Rose or Pink, and sometimes a few holes in a single leaf, usually the leaf of a Rose at the bottom of the bouquet, reveal that it has been eaten away by insects (Fig. 3.2). After the mid-seventeenth century, abnormalities are consciously displayed, such as virus infected variegated leaves or pretty Rose leaves that have been infected by a virus, for example in the work of Simon Verelst (1644-1721) (Fig. 8.52). It is unusual, however, to see withered flowers or dried leaves before the nineteenth century. In early flower pieces the general proportions are frequently inaccurate, whereby now and then large flowers are rendered too small and small flowers too large in relation to the other flowers and objects in the painting. At a later stage, artists began making a note of the plant’s size in their preparatory studies. A number of such studies with notations stating the proper dimensions (as well as colours) have been preserved and must have ensured that the relative proportions were adjusted accordingly.9 Initially large and small flowers are interspersed in a bouquet, while open areas are filled in with little ‘fill flowers’, but later on there is more balance in the composition of shapes and sizes. The variation in shapes and colours as practised in the second quarter of the seventeenth century made way for greater simplicity and coherence, which was then followed, starting around 1640, by a period of harmoniously designed, moderately luxuriant bouquets. However, the simple flower piece continued to exist. The density of the bouquet, which is dependent on the distance between the individual flowers, the ‘fill flowers’ and the placement of leaves, declines in the course of time. Generally speaking, bouquets seem to become lighter and airier as they evolve with fewer flowers radiating out from the centre and, for this reason, they display a more limited sense of compactness.

Space

Space, which is partially responsible for the atmosphere of a painting, quite quickly received a positive function in the composition of a flower piece. The meaning attached to space modifies with the alteration of depth: a garden landscape in the background, for example, contributes a different spatial effect than a flat background or a niche. Initially, the container with the flowers and leaves filled a large portion of the total area. In subsequent periods the space on either side and particularly above the bouquet comes to play a greater role, giving rise to a certain atmosphere of intimacy, which can be intensified by placing the whole into a stone niche. The spatial effect can also be heightened by placing trees or a landscape in the background, or by adding more depth to the container or the bouquet itself. The space between the flowers is a further influence on the atmosphere of the painting. In the earlier period the flowers are painted closer together than in later periods, but at the same time they overlap each other in a more natural way. If the artist has worked from the background to the foreground then the spaces in between have to be filled in, and the way in which an artist does that is often quite individual and specific. It is, for example, one of the characteristics differentiating the work of Jan Brueghel I from the work of his followers. The method of working from the back to the front of the painting, whereby all the flowers stand out against what is usually a dark background, can have a somewhat hardening effect on the atmosphere.

Depth and Perspective

At first perspective was an underdeveloped aspect of the composition of flower pieces. Any existing vanishing lines converged approximately in the centre of the painting. In the course of time there is a more conscious use of perspective with a vanishing point appearing in or under the centre of the painting. In such cases it is self-evident that we are looking down at the lower flowers and up at the higher ones, whose rounded convex petals are seen as if from below. However, linear perspective did not have the determining effect that it had in landscape painting. In flower still lifes perspective is determined much more by depth created by light effects, and from the end of the seventeenth century the more open backgrounds fading out to the horizon contribute significantly. Works that served as overdoor or mantelpieces, particularly in the eighteenth century, were painted from a worm’s-eye view, taking into account distortions that can arise in objects when viewed from below. The earliest flower pieces display little depth in their compositions. Subsequently more depth was achieved by means of certain light and colour effects (nuances in tint, tone, translucency, light and dark, highlights, lowlights and shadows), overlaps of flowers or other elements of a painting, arrange9

For a list of studies with notations see the Segal Still Life Documentation in the RKD, The Hague.

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ment, background meaning, and the concept of depth of field discussed below. A development begins to manifest itself in the 1620s and continues thereafter in which the plinth edge in the foreground is not always closed off from view on the left and right anymore, but rather an oblique receding edge has been made visible along the side, and sometimes even on both sides, of the frame. This phenomenon was actually already in use in the graphic arts at an earlier stage, although it was deployed in a somewhat exaggerated way, such as in a series of six flower pieces by Johann Theodor de Bry (1561-1623) after Jacob Kempener (active 1586-1650) from the 1590s (Figs 10.24-29). As early as the works of Osias Beert I and Roelandt Savery (1576-1639) we encounter the artistic insight that depth of view could be intensified by depicting the objects or flowers in the centre of the painting with sharp edges and those at the sides with softer outlines. This may be referred to as depth of field, a technique that was also used by painters of tonal bouquets such as Anthony Claesz (1607-1649) and Hans Bollongier (ca. 1600-ca. 1673). New impulses were given to the depth of field by painters such as Rembrandt and the still life painter Willem Kalf (1619-1693), which may be especially observed in sumptuous still lifes; we see its application in flower pieces in the works of Rachel Ruysch. With the use of this technique shadowing considerably increases the sense of depth. The sense of depth is also increased by a colour effect that may be called colour perspective, in which lighter colours are applied in the foreground or in the centre and darker ones are placed in the background and at the outer edges. Jan Brueghel I applied this technique simply by leaving the background between the flowers of the bouquet half open, while Roelandt Savery placed the darker earth tints representing the darker areas of the flowers in the background. Greater depth can also be achieved if the objects in the painting are placed so that the eye is drawn to some underlying conceptual plan. The use of repoussoirs, objects that stand out against the background of the composition, often serve to guide the viewer’s eye. Frequently these are butterflies or other large insects, a lizard, shells, or a single or several individual blooms. Such repoussoirs were already being deployed at an early stage and their application became increasingly more refined with the development of a particular placement or pose, for example a lizard crawling along a plinth.

Colour Composition

Artists consciously pursued a technique of colour composition by placing related colours or colour values in close proximity to each other. In the tradition of Jan Davidsz de Heem, colour axes and the layering of colours came into use, whether these series were interrupted or continuous. In the long-term artists consciously chose to use either a more or less externally visible or translucent imprimatura in order to evoke a mood, to achieve certain tonal effects, and to express flexibility. Early flower pieces display a variegated use of colour and these colours are not always arranged according to a planned colour scheme. There are many colours, but relatively few intermediary tints, and adjacent colours reveal a high degree of contrast. This mode of colour composition remained in use in Flanders longer than in Holland where, from approximately 1620 on, an effort was made to achieve greater tonality: adjusting colours to the colour intensity of the other colours in the painting. Roelandt Savery takes the first hesitating steps in this direction, followed by Balthasar van der Ast, who carries it forward more boldly, and who in turn is followed by other artists including Hans Bollongier and Anthony Claesz. This approach fits in well with the more subdued application of colour in use by the painters of monochrome banquet still lifes. The inclination towards monochrome is also evidenced in the works of landscape painters, such as Jan van Goyen (1596-1656), and marine artists, such as Simon de Vlieger (1600/01-1653). With the arrival of tonality, however, we see that the overall number of tints and intermediary colour nuances increases significantly. In the second half of the seventeenth century, Jan Davidsz de Heem and his followers endeavoured to achieve greater harmony among colours, more harmonious patterning, and softer transitions between the flowers and in the colour sequencing. After this harmonious period, we see a number of artists, Elias van den Broeck (ca. 1652-1708) and Simon Verelst among them, using a palette dominated by pink and soft red tints as a kind of revival of tonality. In the eighteenth century, blue and related tints such as blue-green, purple and violet come to play a primary role. The changing range of colours reveals a shift from warmer to cooler tints, especially blues. Usually cooler colours are placed more in the background, according to the principles of colour perspective. By allowing more narrowly flower clusters to dominate, Willem van Aelst and his followers were able to create colour axes in their compositions that often align with the composition axes of the image. Jan van Huysum worked with axes of related colours, which emerge best when they are made up of lighter colours and are more refined when they range from a lighter to a cooler blue or purple. | 115

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At first the greenery of leaves played a subordinate role in flower pieces, but in the second half of the seventeenth century it was given a decorative function within the overall composition of both shape and colour. Large leaves with distinctive colouring, for example those of the Opium Poppy, or with variegated patterns, such as of those of the Milk Thistle, were expressly inserted into bouquets. In the eighteenth century, leaves were rendered with much more detail, with many tints and halftones. Here we can clearly observe differences in the leaf textures of various species – ranging from smooth and shiny to matte with a thin or thick coating of little hairs, from standing stiff to wavy and twisted – as well as differences between the upper- and underside of a leaf, and how it appears in light and shadow.

Light

The way in which light is incorporated into a painting depends to a great degree on the colour make up, colour intensity and colour translucency. Light effects may also influence modelling in space and even the composition itself: if colour and lighting create a ‘light axis’ (which normally coincides with the colour axis). In early flower pieces, the light is diffusely distributed, or at least concentrated only minimally, which has a somewhat flattening effect. In such even lighting all the flowers can be seen equally well. These paintings hence display little depth, also because there is at this point little use made of shadows or of darkening and shading of objects as they recede into the background. We do in fact see attempts at this, for example in the works of Osias Beert I.10 In later pieces the light has usually been concentrated at an optical centre of lightly coloured flowers (often Roses) in the bouquet that intensifies the sense of depth, strengthens the three-dimensional modelling in space, makes the image more lifelike and contributes to its overall unity. In the majority of instances the light shines through an imaginary studio window that is to be presumed as being on the left, or above to the left, of the flower arrangement, which results in shadows to the right of the flowers or objects, or areas of shadow on the right side of the background. Shadow effects – initially used in a more overall, non-specific way, or with shadows only appearing on the table surface as if cast by vases made of an opaque material – are gradually applied in a more refined and subtle way, with shadows occasionally being made by plants on an adjacent wall (Fig. 6.14), and later on from one flower onto another in the bouquet, or from a leaf or a petal onto some smaller surface area. Light and shadow therefore also play a role in the creation of an object’s reflections, including reflections on subjacent objects that may be lying in shadow. For example, in the case of light passing through the water in a glass vase, this applies to any object in shadow behind the object (e.g. vase) itself, as well as the shadow cast on a lit surface, usually a table-top. There are also differences in the course of time in the representation of light falling through a glass vase onto a table. In the second half of the seventeenth century oblique light effects come to be used which create a mysterious atmosphere (in forest floor pieces, usually set in an evening or night-time scene, this may be quite pronounced). In the works of Jan van Huysum we see brightness from a light source at the left shining right through the bouquet and between the flowers. After the mid-seventeenth century differences in the intensity of illumination sometimes leads to stronger contrasts between light and dark, and in the later period lighting has often been softened or reduced to a darkening of the background, as in the works of Rachel Ruysch (Fig. 9.2), something which contributes to the sense of depth. The application of highlights, representing the reflected light on objects, becomes both finer and more refined in the course of the seventeenth century, with more use of variations in shape, paint thickness, and hue. In addition to white and greyish white, a light cream colour also comes to be used, all these tones being mixed with another colour. We can discern a similar process for ‘lowlights’, where brownish earth tints and soft mixtures of colour (for example green-grey) come to be used in addition to grey pigments. More detailed reflections may be observed mainly on vases, particularly glass vases. They vary from less detailed reflections, or general reflections from more than one angle, right through to exquisitely refined reflections of a studio window (Fig. 8.9), on occasion with a majestic view of a sky full of clouds or the architectural features of a city. From the mid-seventeenth century on we sometimes even see a detailed reflection of the studio complete with artist and easel (Fig. 7.16); this development, too, originated with Jan Davidsz de Heem. Furthermore, in the course of time the number of ancillary reflections on a vase increases, as for example on the neck of the vase, on the surface of the water, or shining through the water at the back of the vase. Reflections are generally softer in the eighteenth century. 10

Segal in Amsterdam 2012, pp. 35-38, nos 2 and 3.

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The Flowers

With regard to the selection of flowers a clear development can be seen in the steady supply of new species, the cultivation of new varieties and other botanical variations (for example in colour or size), as well as hybrids that might have arisen spontaneously, but more than anything else selection was influenced by the tastes in fashion. By close examination of the flowers scholars can, therefore, ascertain which species were in demand and hence appeared frequently in a certain period and which others have disappeared from the stage. These are important criteria for dating undated flower pieces or other types of paintings with flowers. The range of flowers is more limited in the earlier flower pieces than in the subsequent periods: it consists of, for an important part, varieties of bulbs and rhizomes; in addition, we see that tuberous varieties, such as Cyclamens, and fragrant herbs, like Rosemary, have been selected with relative frequency. Many species that can be seen in the religious paintings of the preceding centuries reappear, especially little flowers such as the Liverwort and Sweet Violet. Species that occur in numerous representations include Snake’s Head Fritillary, Lily of the Valley, various Irises, Narcissuses and Crocuses, full Kingcup, striped Anemones, Apothecary’s Rose, Damask Rose, Sweet Briar, French Marigold, Pansy, Annulated Sowbread, Borage and Lavender Cotton. Jan Brueghel I, more than anyone else, attempted in the first decade of the seventeenth century to depict as many flowers as possible in a flower piece, in one case this ran up to one-hundred-and-thirty identifiable species (Fig. 6.26).11 In a flower wreath attributed to Daniël Seghers the number of species is above two hundred.12 This was, however, a short-lived trend and most artists tended to aim at a more limited and harmonious choice of flowers in their paintings, although usually including the traditional species such as Roses, Tulips and Irises. Changes in the range of flowers and leafy plants will be extensively treated in the next chapters dealing with the periods of flower pieces sequentially. It is noticeable with regard to Tulips, particularly in those paintings and drawings from the last quarter of the sixteenth century, that the early forms are still close to the botanical varieties: species Tulips that grow elsewhere in the wild. These were the progenitors of hybrids that could appear spontaneously not only in nature but also under cultivation, and also of hybrids of species that do not cross-pollinate in nature because they grow in different areas. Moreover, hybrids can cross again, something that makes determining the original line of descent more difficult for a botanist. Such hybrids are possible if the natural process of evolvement of the species is new in the evolution of the plants, as is the case for Tulips. The enormous variety in shapes and colour patterns was not due to the complex crossings alone, but viruses also contributed to this expansion. The result, however, of these two phenomena was the weakening of subsequent generations of Tulips, a circumstance that was already noted by Clusius in 1601.13 That a virus was the cause of changes in colour patterns was something that was only discovered in the nineteenth century. Tulips were extremely popular for quite some time. Specific rare forms of Tulips became increasingly expensive leading to the historic Tulip Mania, when more than ten-thousand guilders might be offered for a single Tulip bulb.14 Evolving tastes in fashion can easily be discerned in the shapes and colours of Tulips. In the eighteenth century, for example, the majority of Tulips depicted were large bowl-shaped blooms, often with many colours and short, broad petals. The changing fortunes of the Tulip were mirrored in art, where fruit pieces replaced those of flowers for a time. As with Tulips, a transition in the occurrence of particular varieties of flowers can also be observed in the case of Roses which is equally influenced by hybridization, particularly crossings of the French Rose (Rosa gallica). In this way, we see that the Apothecary’s Rose comes to be replaced, first, by the Batavian Rose, then in the second half of the seventeenth century by the Provins Rose, and in the eighteenth century primarily by the Cabbage Rose, while at the end of this century the Moss Rose enters the scene.15 The range of flowers changed at the end of the seventeenth century on account of the importation of new species, particularly from South Africa and America, such as the Garden Nasturtium (Tropaeolum majus). Sometimes species appear in paintings that remained unknown in botany, such as the ‘Brueghel Nasturtium’ (Tropaeolum brueghelianum), a relative of the Garden Nasturtium; or that only became 11 12 13 14 15

Vienna, Kunsthistorisches Museum, inv. no. 570; Ertz 1979, p. 581, no. 144. There are many copies of this painting as well as imitations. See Chapter 6. Daniël Seghers and Frans Francken II, canvas, 131 x 91 cm, Rafael Valls, London 2005. For the identification of the species, see the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. Segal 1993, p. 12. See Chapter 1. For the development of Roses and their cultivars see Segal in ‘s-Hertogenbosch 1980-81, pp. 90-96.

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known later, or hybrids that turned out to be unviable cultivars, such as the Yellow Cabbage Rose or ‘Van Huysum Rose’ (Rosa x huysumiana).16 In flower pieces the emphasis is continually on the flower in its mature state of development, but other stages of growth also emerged in the course of time, from the earliest bud to the loss of petals, or to the bearing of fruit. At first, therefore, painters represented primarily flowers at their peak of development, only sporadically with a few blooms in bud. Later more attention is given to the budding and other stages of blossoming and decay, foremost in the case of Roses, while in the works of Gerard van Spaendonck different stages are occasionally represented in a single painting. Fallen petals were already being painted in the early period, a practice that actually more or less fell into disuse later on. Deviations were popular at the beginning of the seventeenth century because they were seen as rare and an interesting augmentation to the ‘collection’ of flower shapes. For such reasons, we sometimes encounter white examples of flowers that are normally coloured, for example Roses or Primulas; or monstrosities, such as Roses or Ranunculus with abnormal growths (phyllody, i.e. proliferation where a stem has grown through a bloom and bears a bud or even another bloom). In the later periods painters become less interested in such deviations. The sprig or branch of a fruit plant was given a minor role by Jan Brueghel I in a few flower pieces, where it is seen lying on the table. The addition of fruit branches becomes a more pronounced form of supplement from the 1620s on. Jan Davidsz de Heem often inserted a branch of brambles or other fruit, seedpods, or ears of wheat into his bouquets. The bramble branch at the bottom of the bouquet found a great following, but even more popular with painters were the ears of wheat or sometimes other grains. At the end of the eighteenth century, Jan van Os (1744-1808) frequently included a pineapple in his bouquets. In the nineteenth century, wheat, rye and barley are replaced by oats. In the Low Countries, plants growing in the wild – such as the Violet, (Water) Forget-me-not and Columbine – usually appear in their cultivated varieties, including full and multi-coloured Columbines. The Snowball is a sterile cultivar of the Guelder Rose, which is a tree. Jan Davidsz de Heem and artists after him at times took up one or a few wild flowers in their painted bouquets, Lungwort (Fig. 8.34) or species of the Umbelliferae (Parsley) family, for example Cow Parsley (Fig. 8.11). Wild grasses and sedges were also sometimes put into bouquets, for example by Abraham Mignon.

Supplementary Work

As collector’s items and symbols of vanitas, shells were painted as embellishments from the earliest days of the genre (Fig. 6.15) and reached their creative apogee in the paintings of Balthasar van der Ast (Fig. 7.2 and 7.7), who also made shell still lifes. After about 1665 shells were but seldom painted. Butterflies were included in paintings throughout the seventeenth century. The most common species are Red Admiral, Painted Lady, Small Tortoiseshell, Whites and Blues, and also the Magpie Moth. Species that appear quite frequently in flower pieces in the first half of the seventeenth century are the Swallowtail and Garden Tiger Moth, while the Orange Tip, Emperor and Peacock Butterflies occur more frequently in pieces from the second half of the seventeenth century. Now and then paintings include the – at present extremely rare – Large Copper, which must have been more common at that time. The eighteenth century displays a relatively large diversity of species of butterflies. Caterpillars are in evidence throughout the entire seventeenth century. Whether they represent the identical species as the butterflies in the same painting depends not on the knowledge of the painter and his attempt at accuracy, but on sheer accident. The butterflies of Jan Davidsz de Heem are very true to nature, including in the positioning of their wings. The butterflies most frequently painted are all natives, but at times we also see exotic species from South America or Indonesia, for example in the works of Rachel Ruysch. Other insects that appear fairly frequently in the first half of the seventeenth century are dragonflies, grasshoppers, certain kinds of beetle – especially the Cockchafer, Carrion Beetles and Ladybirds – as well as the Greenbottle Fly. The most commonly occurring flies over a century and a half are the Housefly and the Bluebottle Fly. In the second quarter of the seventeenth century we see ants in particular crawling about on Roses, and in the eighteenth century they are rarely absent. Around the middle of the seventeenth century spiders were also painted, and now and then a Banded Brush Beetle. For these creatures, too, it holds that not only do we see them painted with greater verisimilitude in the course of time, but also that their static postures in early still lifes gives way to more natural, lifelike representations. 16

Segal in Delft & Houston 2006-07, p. 88.

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The lizard – usually a Sand Lizard – is by and large the vertebrate that appears most often in flower pieces until the early 1660s. Sometimes we also see a mouse or a frog, rarely a monkey, now and then a bird (usually a parrot). These animals rarely make an appearance in flower pieces after the mid-seventeenth century. In the eighteenth century, Jan van Huysum and his followers frequently painted a bird’s nest with eggs, sometimes including chicks, and Gerard van Spaendonck painted a number of finch species. Jan Davidsz de Heem began to include objects in his flower pieces, most of the time in keeping with the vanitas theme (Fig. 8.10). In the second half of the seventeenth century we often see the addition of a timepiece (Fig. 8.37). Jan van Huysum occasionally placed statues of mythological figures in a garden setting as background (Figs 9.13 and 9.15).

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Detail Fig. 5.7 120 |

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CHAPTER 5

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5

The Prehistory of the Flower Piece

While the prehistory of the pictorial representation of flowers is not as ancient as that of animals, which were already being drawn in cave paintings, it still goes back a long time. In ancient Egyptian wall paintings, we find depictions of the Papyrus plant and the Lotus. On the island of Thera in the ancient settlement of Akrotiri, Lilies in vases were painted already around 1600 BCE.1 From sources in classical literature, Pliny in particular, we learn that the ancient Greeks painted still lifes that must have been very faithful representations of nature.2 So, too, fragments of wall paintings and mosaics with flowers and plants also survive today from the cultures of the Etruscans, Hellenistic Greece and ancient Rome – for example, a fresco from Pompeii with flowers on a table-top now in the Museo Nazionale in Naples.3 Some ‘ancient’ works, however, were not necessarily created in Antiquity. One example of this kind of work is a mosaic with a basket of flowers in the Vatican Museums in Rome that is said to have come from a second century Roman villa, and is described and represented as such in archaeological and arthistorical publications.4 Although it is on record as the earliest flower piece in European culture, the style and the majority of the flowers indicate that it is an eighteenth-century forgery.5 When it comes to the depiction of flowers in Western art, the Early Middle Ages produced few works that are recognizable as faithful botanical representations or meaningful in an art historical sense. It is true that we know of manuscripts with primitive pictures of primarily medicinal plants, but these were seldom if ever taken directly from nature, instead they were copied from older manuscripts. With regard to the representation of nature, the bestiaries of the Middle Ages – allegorical moralizing books about real and imaginary animals – reveal much more original work in contradistinction to the quality of plant illustration. However, comparatively speaking, the situation in China, and later in Japan, was completely different: there landscape paintings are known from as early as the eighth century – representations in a courtly style, as well as exceptionally lovely drawings of flowers set in a landscape. Flowers first appear in European religious art in fourteenth-century Italy, where vases began to be used occasionally in wall paintings of the Annunciation, for example in works by Duccio (active 12781319), Simone Martini (ca. 1284-1344) and Lippo Memmi (ca. 1291-1356).6 In Italy Michelino Molinari da Besozzo (active 1388-1445) had painted flowers in decorated manuscript borders in the first quarter of the fifteenth century.7 The Low Countries followed with paintings in oils and manuscript paintings in egg tempera, the latter primarily in Books of Hours and other prayer books, where the flowers have been depicted in what are usually referred to as ‘strewn borders’: wide decorated margins around the text adorned with single blooms. In Flanders these illuminated manuscripts with flowers began to be crafted in the third quarter of the fifteenth century. 1 2 3 4 5 6

7

Potter 2013, p. 31. See, for example, the story of Pausias and Glycera. Gwynne-Jones 1954, p. 31, Pl. 6a. About a floral fresco at Knossos see Chapin 1997. 67 x 104 cm; for example, in Gwynne-Jones 1954, p. 26, Pl. 3a and Sterling 1959, Fig. 6, and recently in Vogel 2014, p. 10. Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 3, 11 n. 1. The work by Duccio (tempera on panel, 44.5 x 45.8 cm, formerly predella of an altarpiece from 1308-1311 in the Cathedral of Siena) showing a vase of Madonna Lilies is in the National Gallery, London, inv. no. NG1139. Here the Virgin Mary is depicted holding a book opened so that we can read the name of the Prophet Isaiah who predicted the coming of the Messiah. The work by Martini and his brother-in-law Lippo Memmi, showing a gilded vase of Madonna Lilies, is the middle panel of a triptych (tempera on a background of gold leaf on wood, 205 x 265 cm, also originally executed for the Cathedral of Siena, dated 1333, now in the Uffizi in Florence); it depicts the Archangel Gabriel with a laurel branch in his hand and a laurel wreath on his head (laurel was seen as a symbol of peace). The prayer book in the Pierpont Morgan Library in New York, MS 944, ca. 1420, contains twenty-two full-page miniatures with floral borders, usually quite stylized flowers all related to one single species. Recognizable are the pink flowers of the Pea around the miniatures of the Annunciation, Saint Katharine of Lisieux, and Luke the Evangelist; pods and white flowers of the Pea around the Entombment; Ground Ivy with the Ascent; Periwinkle around an image of God; Cornflowers with the miniature of the Resurrection; Columbine around a painting of Christ and the washing of the feet; Borage with the miniature of Apostle Paul and Larkspur around Apostle James Major.

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Illuminated Manuscripts

In the decorated borders of manuscript pages, we occasionally see a little vase of flowers, and sometimes it has even been placed in the main scene, such as in the prayer book of Mary of Burgundy. One image in this work presents the scene of a vision of the Adoration of the Virgin Mary with child set in a church interior, with the frame image showing Mary of Burgundy reading a Book of Hours in the foreground. On the right in the front two little Carnations lie strewn on the ledge of an open casement window next to a glass holding several tall Irises. Taken all together this one complex floral image symbolizes God, Christ, Mary and the Trinity.8 It is, therefore, primarily in the strewn borders of Books of Hours and other prayer books that we encounter plants or flowers, and most of the time these flowers are depicted along with butterflies or other insects, snails, and sometimes other animals too, particularly birds (which are impossibly small in proportion to the other creatures). A Book of Hours or horarium is a manuscript book intended to be used as a companion to prayer and organized according to the canonical horae (fixed times for prayer that follow the ecclesiastical offices of monastic rule), based on the Roman segmentation of the day into three-hour periods; often these books were prefaced by a calendarium that gives an overview of the months of the year, as well as by the seven penitential psalms. Manuscript books of this kind were usually commissioned by aristocratic patrons, princes and members of the higher nobility. The books may contain liturgical texts alone, but in the majority of cases the texts are surrounded by flowers in strewn borders or other painted stylized decorations. The number of plant species that we find with any regularity in these manuscripts is restricted to twenty or thirty, but in total a full eighty species can be differentiated in the representations given in these books, which, together with the species that appear in the works of Jan van Eyck, provide considerable insight into what painting of the fifteenth and early sixteenth centuries had to offer in terms of flowers. The larger part of this total number is made up of native species; a smaller part is made up of exotic flowers and those cultivated in monastic gardens.9 In the manuscript strewn borders, we sometimes see only a single species, often a Rose, Carnation or Pansy; when multiple species are depicted, they are not necessarily species that flower at the same time, which is also usually the case in later independent flower pieces. However, in the images placed alongside calendars in Books of Hours, the flowers are in fact often of the kind that bloom in those particular months of the year. The manuscript paintings of flowers, strawberries, redcurrants and sometimes other fruit, may have been painted after the artist’s own studies; or they may be reproductions of the artist’s own work; or taken from those of someone else; or from the images in early herbals. The flowers are depicted on a coloured background, sometimes containing gold leaf, lying as if they have been randomly strewn, a notion enhanced by the delicate shadows they have been given which intensify the trompe l’oeil effect. This can be seen in the image from the famous Breviarium Grimani now in the Biblioteca Marciana in Venice (Fig. 5.1).10 Here, the dragonfly is a Blue Hawker (Aeshna cyanea) which has been added to a border of blue and white Sweet Violets (Viola odorata), along with a little butterfly and a fly; a few of the Violets have been placed in a simple little green glass beaker. On another leaf we see several little glass and earthenware vases with flowers, one of them with the monogram IHS.11 A few more prayer books with little flower vases followed this one. A closer look at these delicate images reveals that sometimes a flowerpot, often a low squat cylindrical pot, contains only a single Carnation, and in some of these pots the Carnations are tied to stakes; now and then the pots are being carted in a wheel barrow (Fig. 5.3).12 In the strewn borders with flowers we encounter only a limited number of species whose garden varieties were cultivated in monastic gardens; those that return with any frequency are, in the first place, the Rose (frequently Sweet Briar, 8

9 10

11 12

Vienna, Österreichische Nationalbibliothek, MS Cod. 1857, fol. 14v. A facsimile edition has been issued by Harvey Miller Publishers in 1995 (Inglis 1995). The image discussed has been reproduced in many publications. Unterkircher attributed the miniature to the innovative scribe and illuminator Nicolas Spierinc (active 1455-1499). Unterkircher 1993, p. 25. Other scholars assigned it to the Master of Mary of Burgundy (active 1469-1483). Smeyers 1999, p. 395. For the symbolism of these species see Chapter 2. A number of species appearing in these Books of Hours are nearly completely absent from later flower still lifes. Venice, Biblioteca Nazionale Marciana, Codex Latina I, 99, fol. 781v., with a depiction of Saint Luke drawing the Virgin Mary. The main image is attributed to Alexander Bening (active 1440-1519), father of Simon Bening (ca. 1483-1561). The Breviarium also contains images depicting the area of Ghent and Bruges circa 1510-1520. It has very fine strewn borders on folios 529, 632, 1123 and 1388. For facsimile editions see De Vries & Morpurgo 1904-11 and, more recently, Mazzucchi 2009. Venice, Biblioteca Nazionale Marciana, Codex Latina I, 99, fol. 571, including Lily of the Valley, Carnation, Marigold, Rose, Madonna Lily and Columbine. For example, in the Rothschild Hours, fols 197v.-198r.

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Fig. 5.1 Saint Luke painting Mary, with a dragonfly from the Breviarium Grimani, body colour on vellum, 280 x 215 mm, Biblioteca Nazionale Marciana, Venice.

French Rose or Damask Rose), followed by the Carnation (always in the simplex cultivar), German Flag Iris, Madonna Lily, Lily of the Valley, Columbine, Peony, Daisy (sometimes full varieties), Calendula, Sweet Violet, (Tricolor) Pansy, Stock, Periwinkle, Borage, Rosemary, Strawberry (fruit and flower), Pea (flower and sometimes pod), Thistle, Cornflower and Corn Cockle (a relative of the Carnation which, just like the Cornflower, used to grow naturally among the stalks of grain but has become extremely rare), and sometimes Redcurrant. Smaller ‘fill flowers’ are predominantly Pimpernel, Forget-me-not and Speedwell; these species are not always clearly depicted and therefore may be considered more generally as ‘types’ of these species. It is likely that the strewn borders were mostly, if not always, the work of other hands – of anonymous artists for the most part – in contradistinction to the larger illustrations on each leaf of the book.13 A direct connection between the flowers in the border and the accompanying text and image cannot always be discerned. Here follows a list of flower paintings in manuscript prayer books with additional specific details: - The Book of Hours executed by the Master of Mary of Burgundy (active 1469-1483) of about 1477 in the Bodleian Library in Oxford, contains images of a ribbed glass vase with uncertain types of flowers; vases decorated in white and blue, including one with a peacock feather and another with the monogram IHS.14 Also in the same manuscript is a small glass vase with red, white and blue flowers of uncertain species; a high glass jug with a full Daisy, a few uncertain little flowers and a peacock feather; plus a vase decorated in white and blue, and a plate with the monogram IHS.15 13 14 15

A number of these manuscripts are available in facsimile editions. Detailed information about these and many other manuscripts are collected with images and identifications in the Segal Still Life Documentation in the RKD awaiting further research. Oxford, Bodleian Library, MS Douce 219-220, fol. 45v. Different facsimile editions are available for this Book of Hours previously known as the Hours of Engelbrecht van Nassau. Oxford, Bodleian Library, MS Douce 219-220, fol. 146r.

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- In the Book of Hours by the Master of the David Scenes (active 1490-1520), among the Mary prayers for the period of Advent, there is a small vase with a (Tricolor) Pansy, a Columbine and a Daisy, and the strewn border includes an eye-catching Carnation (simplex form) in the lower centre, a Snowdrop, Strawberry (fruit and flower), full Daisy and Sweet Violet, plus an imaginary butterfly and a tiny little beetle (Fig. 5.2).16 - The Hours of Cardinal Albrecht of Brandenburg, on the page containing the text ‘Et in die pentecostes’ (‘And on the day of the Pentecost’), has a shallow pink vase with one row of prunts holding a Rose, Lavender, Marigold and Stock, and another tall vase with many prunts containing Lavender and a Rose.17 - The Rothschild Hours has a leaf with a small, shallow round basket on a wheelbarrow pushed by a woman. The basket is filled with a Columbine, a Carnation, a Strawberry (flower and fruit), and a Pansy (Fig. 5.3).18 - The Spinola Hours, in the Getty Museum in Los Angeles, includes a wide-mouthed pot on a pedestal filled with (Tricolor) Pansies, which is supported by two decorative features in the form of angels. This decoration accompanies an image of Saint Jerome reading and is attributed to the workshop of the Master of the First Prayer Book of Maximilian (active ca. 1475-ca. 1515).19

Fig. 5.2 Vase with flowers from the Book of Hours by the Master of the David Scenes, body colour on vellum, Bodleian Library, Oxford.

16 17 18 19

Oxford, Bodleian Library, MS Douce 112, fol. 84r. For the Master of the David Scenes see As-Vijvers 2013. Private collection. Sotheby’s, London, 19 June 2001, no. 36. Private collection, fol. 198r. Christie’s, New York, 29 January 2014, no. 157. Two other vases bearing the monogram IHS and containing flowers are painted on fols 22v. and 230v. Los Angeles, The J. Paul Getty Museum, MS Ludwig IX 18, fol. 223v.

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- A manuscript illuminated in the workshop of Simon Bening (ca. 1483-1561) in Bruges circa 1515-1520, now in Museum Meermanno in The Hague, has a small squat cylindrical pot with delicate blue decorations bearing a Carnation plant and a Cabbage White Butterfly.20 - The same museum has a manuscript containing an image of a large earthenware pot with a raised edge standing on a saucer and holding red and white Carnations which has been placed alongside an image of Mary Magdalene displaying an apothecary’s jar with nothing but red Carnations.21 - A few Books of Hours with full-page images of plants by Jean Bourdichon (ca. 1457-1520/21) belong in a separate category, such as the Hours of the Master of Claude de France in the British Library in London, and a manuscript that was once in the possession of Queen Anne de Bretagne now in the Bibliothèque Nationale in Paris.22 While flowers continue to be represented in paintings up to our own time, due to the invention of printing the creation of these manuscript ‘strewn borders’ only lasted through the sixteenth century; this is, however, the very period in which the widespread artistic interest in flowers begins to flourish. There were different reasons for the new awareness, one being the rise of botanical and zoological knowledge that went further than the medicinal or utilitarian aspects of plant lore of the preceding period, which,

Fig. 5.3 Basket with flowers on a wheelbarrow from the Rothschild Hours, body colour on vellum, private collection. 20 The Hague, Museum Meermanno, MS 10 E 3, fol. 35r.; see Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 4-5, 71, no. 1. 21 The Hague, Museum Meermanno, MS 10 F 14, fol. 69v. In the lower border a little man is dragging a life-size stem with Pea flowers and pod. 22 London, British Library, MS add. 35214 and Paris, Bibliothèque Nationale, MS Lat. 9474. For the former see Brenninkmeijer-de Rooij 1996, p. 39, Fig. 37 which displays a Sweet Briar (with the wrong kind of leaves), a butterfly and a caterpillar (fol. 67r.). The borders of a manuscript in the Pierpont Morgan Library in New York contain plants and their Latin and French names (MS M 732). | 127

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in its turn, was the partial result of a new curiosity about life in all its forms, colours and functions. This new knowledge was blended with religious notions about the glory of Creation and symbolic interpretations of plants inherited from the Middle Ages, a combination that gave rise to completely new concepts. The introduction of such new ideas made a significant contribution both to the development of ornamental flower gardens and to the representation of flowers in art, which ultimately led to the genre of flower pieces and other kinds of flower still lifes. These new intellectual developments influenced the decorative arts, too, such as Flemish and French tapestries of the sixteenth century, where flowers and plants also appear not only in religious scenes, but in mythological and allegorical ones as well. Other media were also used for works in these new genres. Starting in the last decade of the sixteenth century, coloured drawings of flowers were made in watercolour and body colour, for the most part preceded by a study in chalk, silverpoint or other sketching technique, and sometimes in pen and ink.

Fig. 5.4 Jan and Hubert van Eyck, Ghent altarpiece (closed), panel, ca. 375 x ca. 260 cm, St. Bavo’s Cathedral, Ghent. 128 |

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As a result of this we can say that during the Northern Renaissance there was a general expansion of artistic expression in the direction of secular themes, which accompanied new practices regarding the decorative function of art in homes and interiors, although it is true that, particularly with regard to a number of themes in religious works, the roots of this development go back to the fifteenth century, something that emerges clearly in the works of Jan van Eyck.

The Ghent Altarpiece

The true beginning of flower painting in Western art can be found in the renowned Ghent altarpiece by the brothers Hubert (ca. 1366-1426) and Jan van Eyck (ca. 1390-1441) in St. Bavo’s Cathedral located in the heart of Ghent (Figs 5.4-8). This monumental polyptych (ca. 3.75 x ca. 5.20 m when open) was painted between the years 1426, when Hubert passed away, and 1432, when Jan finished the work.23 The two side panels can be opened and closed to reveal or conceal the middle panel. While it is impossible to treat the entire work extensively here, a brief outline may be given of what it is that makes this painting so special. In many respects this is a highly original piece of art, the earliest source in Western painting of a large number of genres and techniques: the earliest rendering of European landscape, cityscape, and realistic aristocratic or bourgeois interiors; the earliest rendering of trompe l’oeil statues in grisaille, human nudes (Adam and Eve), realistically painted musicians and singers (the angels), and portraits from which psychological characteristics can be read; it also the earliest rendering of still life.24 The panels must be counted among the oldest examples of painting in oils; moreover they have been executed with an artistic technique and skill that is unequalled and still fresh nearly six centuries later; the finest details of material expression and translucency are fabulously reproduced, while the use of colour is also remarkable. With the side panels closed, the principal hues of brown and grey contribute to a feeling of expectation; in the open position, with images of Revelation in a celestial setting, these are bright clear colours, except for the figures of Adam and Eve on the side panels who form a transition between the two worlds. The rendering of light is totally new. An important factual detail is that most of the panels are provided with Latin inscriptions. In the discussion that follows the emphasis will be placed on the representations of plants and flowers. The closed altarpiece displays twelve panels, including an Annunciation that depicts the Archangel Gabriel holding a Madonna Lily (Fig. 5.4). The open altarpiece has three wings containing twelve panels arranged in three levels (Fig. 5.5). The large middle panel displays the Adoration of the Lamb of God, and is the main panel that supplies the name the altarpiece is known by (Fig. 5.6). When standing open the upper register displays the following figures viewed from left to right: Adam, singing angels, Mary as Queen of Heaven, God the Father (placed in the centre and also representing Christ, in accordance with the gospel utterance, ‘I and my Father are one’ [John 10:30]), John the Evangelist, angels playing musical instruments, and Eve. In a corner above Adam is a little grisaille representation of Cain and Abel with their offerings, and above Eve Cain’s murder of Abel in the same grisaille technique. In her crown the Virgin Mary wears Madonna Lilies, Lily of the Valley, Red Roses and Columbine (Fig. 5.7). The accompanying text reads: HEC E[ST] SPECIOSIOR SOLE SUP[ER] O[MN]EM STELLARU[M] DISPOSICOEM LUCI C[OM]PA[RA]TA I[N]VE[N]IT[UR] P[RI]OR CA[N]DOR E[ST] ENI[M] LUCIS ET[ER]NE SPEC[U]L[U]M S[I]N[E] MAC[U]LA DEI [maiestatis] (‘She is more beautiful than the sun and placed above all the stars, for compared to the light, she is found to precede it, for she is the brightness of eternal light, the mirror of God’s majesty without stain’)25

23 It is unclear which portion of the work should be attributed to Hubert because he died so early, leaving Jan to complete the painting himself. 24 Such exclusivity applies to European painting only. In China, the art of painting was at least seven centuries ahead of Europe in the painting of landscapes, interiors, group portraits, genre pieces, portraits with a psychologically revealing facial expression, and animals; and four centuries ahead in the painting of plants and other themes from nature. 25 From the Apocryphal Wisdom of Solomon 7, 29 and 26.

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Fig. 5.5 Jan and Hubert van Eyck, Ghent altarpiece (open), panel, ca. 375 x ca. 520 cm, St. Bavo’s Cathedral, Ghent.

Fig. 5.6 Jan and Hubert van Eyck, The Adoration of the Lamb of God (main panel of the Ghent altarpiece), panel, 138.1 x 243.3 cm, St. Bavo’s Cathedral, Ghent. 130 |

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When opened the lower register of the altarpiece consists of five panels, with saints and prophets on both sides who seem to be approaching the large central panel on which we see a multitude worshipping the Lamb – a symbol of Christ according to the words of John the Baptist in the New Testament.26 This central panel, a representation of heavenly Paradise, contains more than sixty different kinds of trees, flowers and plants. The majority are herbs native to the Low Countries, with the addition of a few ornamental plants that were cultivated in cloister gardens in the period for the decoration of altars in churches, as well as healing plants that were also cultivated in monastic gardens. Finally, there are a number of trees and shrubs, several, such as the Lemon Tree, natives of Southern Europe that Jan van Eyck must have seen while travelling. A few other plants may be found on the other panels. In the renderings of Jan van Eyck most of the species are clearly identifiable, meaning that he must have studied them with close attention. This was a unique achievement because, except for the Madonna Lily which appears very early in Italian painting, only manuscript illustrations of plants were known up to that time, but, as mentioned before, these were not produced from real natural examples but rather were copied from older sources. Even more fascinating is that Van Eyck placed a number of plants in what is the natural location for that particular species, for example, he represents the Wallflower hanging from the cracks in rocks, and the Cuckoo Flower that thrives in wetlands close to the ‘Spring of Life’. The sheer number and diversity of plants assembled in a single work of art is also remarkable. It took more than 175 years before this was exceeded by Jan Brueghel I (1568-1625). I was fortunate enough to have had the opportunity of studying the flora in the Ghent altarpiece in great detail.27 The results have been summarized in a schematic diagram giving the locations of the individual plants in the centre panel (Fig. 5.6a), and in an overview of the individual species given in a table below with the following headings: the English name; the Latin scientific name; the month of flowering (1-12); the original region the plant was native to (‘native’ indicating Western Europe); utility and properties, where ‘M’ stands for medicinal, ‘O’ for ocular diseases, ‘P’ for the poisonous plants (used for driving out evil spirits), and ‘V’ for healing wounds (vulnera in Latin); furthermore, ‘A’ refers to aromatic plants and ‘G’ evergreen. The last column contains an indication of which part of the centre panel (Fig. 5.6) the species may be found, an ‘X’ indicating that it is also present in one or more other panels, a ‘Y’ that it appears in Mary’s crown.28 The reason that some species cannot be precisely differentiated (‘*’) is partially the result of fire damage that effected a portion of the centre panel, particularly the area under the trees, and partially because of restoration procedures. It is therefore sometimes hard to discern the identifying traits of species of the same genus. Many of these herbs reappear in religious paintings of the sixteenth and seventeenth centuries, and a number of them were used as ‘fill flowers’, mainly in early seventeenth-century flower pieces.29

26 John 1:29: ‘Behold the Lamb of God, which taketh away the sin of the world’. 27 I had the exceptional privilege in 1978 of being locked into the chapel of St. Bavo’s Cathedral in Ghent for a few days, where the altarpiece had been placed immediately after its completion in the fifteenth century; and subsequently, during a restoration of the painting, I was able to study the panels at close range in order to identify the plants. At a later date the altarpiece was placed behind glass. My findings were published in a Festschrift and true to the character of such miscellaneous volumes of writings this contained a somewhat panoramic medley of essays, resulting in my research being overlooked, so a brief summary of the flora of the altarpiece is given again here. These findings are also important because the painting is one of the earliest sources for the different kinds of botanical species that existed in nature at the time. Discussion of any relevant symbolism is taken up in the original article but omitted here; the article also points out several misinterpretations based on incorrect identifications made by other scholars, including Panofsky in 1953. For the original publication see Segal 1984a. Today, macrophotography images before, during and after the restoration project (2010-2020) of the Ghent altarpiece can be seen on the project’s website closertovaneyck.kikirpa.be (accessed 7 September 2019). 28 The original publication also provides further references about species that have been discussed in other publications and by what names. Segal 1984a, pp. 418-419. 29 cf.: confer, compare; coll.: collective name of related species; sect.: section, portion of a genus; italics: ornamental; Eur.: Europe; Med.: area around the Mediterranean Sea.

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Fig. 5.6a Scheme of the flowers in The Adoration of the Lamb of God (main panel of the Ghent altarpiece).

Lichens Crustacean lichen

Lecanora cf. subfusca native

MG X

Mosses Foliate mosses

Bryophyta native

M X

Ferns Bracken Polypody Maidenhair Spleenwort Heart’s Tongue Fern

Pteridium aquilinum native Polypodium vulgare native Asplenium trichomanes native Phyllitis scolopendrium native

P *C1 PG *C3 PG *C3 PVG C2

Herbs Rose Campion Liverwort Meadow Buttercup Lesser Celandine Columbine Coralline Peony Greater Celandine Wallflower Stock (2 colour types) Watercress Cuckoo Flower White Mustard Meadow Saxifrage Wild Strawberry Lady’s Mantle White Clover Red Clover Santfoil Small Mallow Sweet Violet Umbelliferous flowers Sweet Woodruff

Lychnis coronaria 7-8 SE Eur. Hepatica nobilis 3-4 Eur. Ranunculus acris 5-10 native Ranunculus ficaria 3-5 native Aquilegia vulgaris 5-7 native Paeonia mascula 5-6 S Eur. Chelidonium majus 5-10 native Erysimum cheiri 5-6 native Matthiola incana 4-9 SW Eur. Nasturtium officinale 5-9 native Cardamine pratensis 4-6 native Sinapis alba 5-7 Med. Saxifraga granulata 5-6 native Fragaria vesca 5-6 native Alchemilla vulgaris coll. 5-8 native Trifolium repens 5-10 native Trifolium pratense 6-10 native Onobrychis viciifolia 5-7 S, C, E Eur. Malva sylvestris 6-9 native Viola odorata 3-5 native Apoideae native Galium odoratum 5-6 native

OPA V M O V PA O OAG O M M O M OA M P P AV PV OA A PA

D2 CE ABC1234E BC3D1E EXY E AD1E X D1 ABC13 ABC4 D1 D1 ABC1234D1E C1 ABC1234E

* 3

C2 D2 ABCD1234D1E D2 ABC14E

*

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Primrose Lungwort White Dead-nettle Betony Mullein Great Plantain Ribwort Plantain Garden Valerian Common Teasel Daisy Marguerite Yarrow Tansy Dandelion Dandelion Dandelion Madonna Lily Lily of the Valley St Bruno’s Lily Sweet-scented Salomon’s Seal Spring Snowflake Daffodil Florentine Iris Wheat Grasses

Primula veris 4-6 native OPA Pulmonaria officinalis 3-5 native M Lamium album 4-10 native P Stachys officinalis 6-8 native PA Verbascum cf. thapsus 7-10 native OPV Plantago major 5-11 native OPV Plantago lanceolata 5-10 native OPV Valeriana phu 6-9 Spain OV Dipsacus fullonum 7-9 native O Bellis perennis 1-12 native M Leucanthemum vulgare 5-8 native M Achillea millefolium 6-10 native PV Tanacetum vulgare 7-10 native P Taraxacum nordstedtii 5 native O Taraxacum sect. Erythrosperma 5 native O Taraxacum sect. Taraxacum 5 native O Lilium candidum 6-7 Greece, SW Asia MA Convallaria majalis 5 native OA Paradisea liliastrum 6-9 Pyren., Alps M Polygonatum odoratum 5-6 native PA Leucojum vernum 3-4 native A Narcissus pseudonarcissus 3-5 native OV Iris florentina 5-6 Med. OA Triticum aestivum 6-7 cult. M Poaceae

E A * A * 1 D * BD1X ABC1 B BC13D2 X ABC134 D1 BC1D2 BC1D2 D1EX ABC1 C4 EXY ABC3D1EY D2 C12 C4 EX X X

Shrubs Redcurrant Blackberry French Rose Damask Rose Spanish Broom Boxwood Vine Pomegranate blossom Hyssop Lavender Dwarf Fan Palm div. shrubs

Ribes rubrum 4-5 native Rubus fruticosus coll. 6-7 native Rosa gallica 6-7 C, S Eur. Rosa damascena 6-7 Asia Minor Spartium junceum 5-9 Med. Buxus sempervirens 3-4 SW Eur. Vitis vinifera 6 S, SC Eur. Punica granatum 6-7 SW Asia Hyssopus officinalis 7-9 S, E Eur. Lavandula cf. angustifolia 7-8 Med. Chamaerops humilis W.Med. Spermatophyta

MG PVG X OAG F OA Y MAG X M X M X OPA FLX OPA D2 OA D2 MG MNX

Trees Fir Stone Pine Cypress Walnut Elm Fig Laurel Service Berry Almond Seville Orange Citron Pistachio Nut Manna Ash Olive Date Palm div. trees

Abies alba S, C Eur. Pinus pinea Med. Cypressus sempervirens Greece Juglans regia SE Eur. Ulmus campestris Europe Ficus carica Med. Laurus nobilis Med. Sorbus domestica Med. Prunus dulcis Asia, N. Afr. Citrus aurantium SE Asia Citrus medica S Eur. Pistacia terebinthus S Eur. Fraxinus ornus C, S Eur. Olea europaea Med. Phoenix dactylifera Med., Afr. Spermatophyta

PAG X OPAG KX OPAG JKX M K V JK MAG LX OA J OA J MAG JLX MAG K PG J P J PG J MG LX MG JMX

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Fig. 5.7 Jan and Hubert van Eyck, Mary as Queen of Heaven with Madonna Lilies, Lily of the Valley, Red Roses and Columbine (detail), panel, 168.9 x 75.1 cm, St. Bavo’s Cathedral, Ghent. 134 |

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Fig. 5.8 Jan and Hubert van Eyck, Madonna Lily, Florentine Iris, Sweet Woodruff, Columbine, Coralline Peony and other plants (detail of field E), St. Bavo’s Cathedral, Ghent. | 135

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Fig. 5.9 Workshop of Robert Campin, Annunciation (main panel of the Mérode altarpiece), panel, 64.1 x 63.2 cm, The Metropolitan Museum of Art (The Cloisters), New York. Fig. 5.9a Workshop of Robert Campin, Jug with Madonna Lily.

Flower Pieces in other Religious Paintings and Portraits

Probably around the same time Van Eyck was creating the Ghent altarpiece, Robert Campin (ca. 13781444) and his workshop painted two versions of the Annunciation set in an interior. One version of this famous work is in the Koninklijke Musea voor Schone Kunsten van België in Brussels, while the other forms the centre panel of the Mérode altarpiece in The Cloisters in New York (Figs 5.9 and 5.9a).30 The Annunciation in Brussels is the more plain portrayal of the subject, for it lacks several details such as the beam of light with the Christ Child holding a cross, which together with the recently extinguished candle represent the Holy Spirit. Also absent in the version in Brussels, for example, are the niche with a wash basin and towel representing cleansing and baptism. Of particular interest is the jug placed on a wooden table, which in the version now in the United States contains one Madonna Lily, whilst the second version in Brussels displays two Madonna Lilies.31

Fig. 5.10 Hugo van der Goes, Adoration (main panel of the Portinari altarpiece), 253 x 304 cm, Uffizi, Florence. Fig. 5.10a Hugo van der Goes, Albarello with flowers.

30

31

Panel, 61 x 63.7 cm, Brussels, Koninklijke Musea voor Schone Kunsten van België, inv. no. 3937; panel, 64.1 x 63.2 cm, New York, The Metropolitan Museum of Art (The Cloisters), inv. no. 56.70a-c. The extensive literature on the New York painting has for many years attributed it to the Master of Flémalle, who is now usually identified with Robert Campin. Châtelet 1996, pp. 291-294, no. 6; Thürlemann 2002, pp. 269-271, 305-305; Sander in Frankfurt & Berlin 2008-09, pp. 192-201, no. 4; and others. The Annunciation in New York has hitherto been seen as the original version. Stylistic and technical evidence suggests that the painting was executed in phases ca. 1427-1432.

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Another highpoint of early flower painting is the Portinari altarpiece by Hugo van der Goes (14401482) now in the Uffizi in Florence.32 The main panel shows the Adoration of the new-born Christ child by the shepherds (Fig. 5.10). It was commissioned by Tommaso Portinari, who was head of the branch of the Medici bank in Bruges and painted between ca. 1473 and 1478.33 In the foreground we see a sheaf of wheat lying on the ground, while nearby there is an albarello holding an Orange Daylily, two White Flags together with a German Iris, plus a glass with Columbine and Pinks, while blue and white Sweet Violets lie scattered on the ground (Fig. 5.10a). In a painting of the Virgin and Child attributed to Gerard David (ca. 1460-1523) as a late work, now in the Prado in Madrid, we see an earthenware jug holding a real bouquet consisting of Stock, German Flag and White Rose, the latter with trefoil leaves, while in the background our gaze is drawn towards a distant landscape (Fig. 5.11).34 This work can be considered a prelude of those printed and painted flower pieces Fig. 5.11 Attributed to Gerard David, Virgin with Child, panel, 45 x 34 cm, Museo Nacional del Prado, Madrid.

32 Panel, 253 x 586 cm, Florence, Uffizi, inv. no. 1890 n. 3192. 33 Dhanens 1998, p. 260. 34 Madrid, Museo Nacional del Prado, inv. no. Poo1537; Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 6-7, Fig. 2.

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with background landscapes, for example in a painting that Ambrosius Bosschaert I (1573-1621) executed in 1619 (Fig. 6.15). Maerten de Vos (1532-1603) painted a little flower piece in a family portrait in 1577 (Figs 1.9 and 1.9a).35 Another bouquet appears as a fine detail in a work by De Vos commissioned and executed around 1596 to 1597 depicting the Wedding at Cana, now in the Cathedral of Our Lady in Antwerp. Here we see flowers in a vase with decorations that include an Indian. Although the flowers have not been rendered in great detail, we can still distinctly recognize Tulips, Martagon Lilies, Snake’s Head Fritillary, a Poet’s Narcissus and a Peony (Fig. 5.12).36

Precursors of the Painted Flower Piece

From about the year 1600, the tradition of the Southern and Northern painted flower pieces developed. Up to this point there is no question of such a thing as an independent flower piece. The earliest flower pieces must be considered ‘precursors’ of the painted flower piece. The earliest example of a ‘precursor’ flower piece is a work by Hans Memling (ca. 1433-1494) from around the year 1490 or a bit earlier, now in the Museo Nacional Thyssen-Bornemisza in Madrid (Fig. 5.13).37 It is painted on the verso of a portrait of a man, half of a diptych, the other half of which probably portrayed his spouse. The flower piece would then have been seen when the diptych was closed. The image displays a majolica jug with flowers on a table decked with an Oriental rug. The vase is decorated with the initials yhs for Christ and contains Madonna Lily, German Flag, Columbine and Sweet Violet. One interesting detail is that a little damage can be seen on the foot of the vase. This may have been done in order to strengthen the realism of the painting, but it is also possibly an anticipation of the ideas that circulated in later flower pieces about the transitory nature of earthly material existence. Approximately two decades later, around 1510, we have a little flower painting Fig. 5.12 Maerten de Vos, Flowers in a vase (detail from the Wedding at Cana, panel, 268 x 235 cm), Cathedral of Our Lady, Antwerp.

Fig. 5.13 Hans Memling, Majolica jug with flowers, panel, 29.2 x 22.5 cm, Museo Nacional Thyssen-Bornemisza, Madrid. 35 Brussels, Koninklijke Musea voor Schone Kunsten van België, inv. no. 3689. 36 Antwerp, Cathedral of Our Lady, inv. no. 934. Alen 2015-16, p. 11, Fig. 3. 37 Madrid, Museo Nacional Thyssen-Bornemisza, inv. no. 284.b; De Vos 1994, pp. 262-263, no. 72. The same vase appears in a Virgin and Child by Memling in the Gemäldegalerie in Berlin (panel, 81 x 55 cm, inv. no. 529); De Vos 1994, pp. 217-219, no. 54. Similar rugs can be found in several other works by Memling.

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attributed to Jan Provoost (1462-1525) with Carnations in a small vase on the verso of a panel with the Madonna della fontana.38 In 1562 Ludger tom Ring II (1522-1584) painted two flower pieces (Figs 1.1 and 1.2). The pendants had possibly been cupboard doors or formed the back of a diptych.39 In 1565 Tom Ring painted an earthenware vase with flowers in a niche.40 Towards the end of the sixteenth century a variety of paintings were created that can be considered as immediate predecessors or even the beginnings of the tradition of Netherlandish flower pieces proper. Joris Hoefnagel (1542-1600) painted – mostly in watercolour on vellum – works that constitute a transition between the miniatures found in religious manuscripts and the flower pieces of the seventeenth century. In a small prayer book we find a flower piece painted by Hoefnagel in 1581 with a little vase holding French Rose, White Rose, Stock, a Lily, an Iris and Love-in-a-mist (Fig. 5.14).41 The decorations on the vase show the Resurrection of Christ with Roman soldiers standing around the tomb. The accompanying text reads ‘Captiva[m] duxit captivitate[m]’ (‘He has led captivity captive’). The text can be traced back to Psalm 68:18 which states: ‘Thou hast ascended on high, thou hast led captivity captive: thou hast received gifts for men [...]’; and also refers to Paul’s letter to the Ephesians 4:8: ‘When he [Christ] ascended up on high, he led captivity captive, and gave gifts unto men’. This means that God has released us from slavery, or (because human beings are bound to evil) from slavery as spiritual death: Christ has triumphed over evil and death. In Hoefnagel’s image, Evil is depicted on the left in the form of a chained devil, and Death on the right as a fettered skeleton. The snake with an apple reminds us of the story of the Garden of Eden in Genesis and the forbidden fruit of the ‘Tree of the Knowledge of Good and Evil’. The flowers depicted may be seen either as symbols of transience or of Christ. Love-in-a-mist (a species related to the Anemone that wilts quite quickly) has a radiating network of lacy bracts surrounding petal-like sepals somewhat reminiscent of Christ’s heavenly crown of light. The grasshopper is usually a symbol in malo of demonic destruction, on account of locust plagues that could rapidly destroy an entire harvest. Be that as it may the grasshopper also has a symbolic meaning in bono, since John the Baptist, the forerunner of Christ, lived on locust and honey in the wilderness, which, in an allegorical reading, means that he overpowered sin or that the locust served as spiritual sustenance enriched with the power of the knowledge of truth. Grasshoppers know evil from the inside and are hence able to deploy it in the struggle against the devil.42 This rather extended interpretation does not claim to be an outline of Hoefnagel’s own thought per se, but he was quite at home with Biblical texts as well as with the literature about symbols, which he used or adapted in much of his other work. Hoefnagel made four other little flower pieces in watercolour, two in 1589, and one each in 1592 and 1594. These works are somewhat stylized and decorative, for example, the vases represented lack a solid foot, which looks likely to support it. Yet here we encounter a number of the same characteristics found in the flower pieces painted a decade later. The first 1589 watercolour painting in the Zeeuws Museum in Middelburg shows a small round blue vase filled with Apothecary’s Rose, a white (possibly discoloured) Columbine, and a single Pink; around the vase are a pear, an enormous beetle (a Stag Beetle), three butterflies, a caterpillar, an Ichneumon Wasp, a Daddy-Long-Legs Spider, and a snail with its shell (Fig. 5.15).43 The Stag Beetle is copied from a study by Albrecht Dürer that dates from 1505.44 Two texts bear witness to Hoefnagel’s friendship with the humanist and merchant Johannes Radermacher.45 The second 1589 flower piece is dedicated to Elisabeth Vezelaer, Joris’s mother; an epigraph on a little shield reads: ‘Amoris Monumentu[m] Matri Chariss[imae] / Georgius Hoefnagelius D. Ao. 89’ (‘A monument of love to my dearest mother, George Hoefnagel in the year of our Lord 89’) 38 Panel, 27 x 18 cm, Piacenza, Galleria Alberoni, inv. no. 244. 39 Panel, 63.4 x 24.6 and 63.8 x 26.6 cm, Münster, LWL-Museum für Kunst und Kultur, on loan from the Westfälisches Kunstverein, inv. nos WKV 82 and 83; Segal 1996a, II, pp. 390-393, nos 76-77, 612-613, nos 141-142. 40 Panel, 36.8 x 21.1 cm, Münster, LWL-Museum für Kunst und Kultur, inv. no. LM 590; Segal 1996a, II, pp. 398-399, no. 80, pp. 617-618, no. 151. 41 Ghent, STAM, inv. no. 3546. The Prayer book of Laurens vanden Haute (alias Laurens Du Bois) contains six miniatures on vellum by Joris Hoefnagel, two of which signed with initials and one dated 1581. The miniature with the flower piece (fol. 24v.) is placed just before a text with the beginning of the Gospel of John; Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 5, 72, no. 2; Antwerp 2015-16, pp. 116-117, no. 1; Vignau-Wilberg 2017, pp. 63-65, no. A1. 42 For the symbolic meaning of the grasshopper see Chapter 2 and Fig. 2.22. 43 Middelburg, Zeeuws Museum, inv. no. M98-072-01; Antwerp 2015-16, pp. 118-119, no. 2; Vignau-Wilberg 2017, pp. 155-156, no. C5 (without identifications). 44 Los Angeles, The J. Paul Getty Museum, inv. no. 83.GC.214. 45 In 1589 Hoefnagel painted this flower piece as a painting-in-a-painting for Radermacher (Allegory of Friendship between Joris Hoefnagel and Johannes Radermacher, panel, 22.5 x 34.5 cm, Rotterdam, Museum Boijmans Van Beuningen, inv. no. 1308).

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Fig. 5.14 Joris Hoefnagel, Flowers in an ornamental vase (miniature from the Prayer book of Laurens vanden Haute), watercolour on vellum, 94 x 75 mm, STAM, Ghent.

Fig. 5.15 Joris Hoefnagel, Flowers in a blue vase, dated 1589, watercolour on vellum, 118 x 163 mm, Zeeuws Museum, Middelburg. 140 |

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Fig. 5.16 Joris Hoefnagel, Flowers for the artist’s mother, dated 1589, watercolour on vellum, 117 x 93 mm, The Metropolitan Museum of Art, New York.

(Fig. 5.16).46 Here, too, we also see a large butterfly (a Meadow Brown) decorating the vase. The little bouquet is dominated by an enormous Rose right in the centre. Butterflies, a caterpillar and a dragonfly again make an appearance. In 1592 Joris Hoefnagel painted a vase with three Tulips.47 In the lower left, a Rose in bud is displayed while in the lower right a frog has settled down. Three butterflies, a caterpillar, a damselfly, a fly and two other insects are sitting on or near the flowers. A small snail crawls over the holder of the small vase. In the 1594 flower piece (Fig. 5.17) we see a Tulip, Roses and Columbine, a caterpillar, butterflies and a dragonfly, and in the foreground an Anemone and a Cockchafer beetle.48 In this composition life, growth or development, transience and death, along with the hope of salvation and the life hereafter, are all brought together symbolically by means of living plants and organisms. Hence the caterpillar represents an earthbound creature that can undergo metamorphosis, become a butterfly, and so rise up into heaven; by the same metamorphosis the dragonfly first developed from the larva stage into its adult form. The Anemone is a symbol of transience, and the Cockchafer Beetle lying on its back symbolizes death. The Tulip stretches out towards the sky in exactly the same manner that Camerarius had suggested a short while before in an emblem (Fig. 2.19). Joris Hoefnagel created several series of representations of animals and plants, including four albums that were commissioned by Emperor Rudolf II, which today are part of the collection of the National Gallery of Art in Washington.49 The artist provided these images with accompanying texts 46 New York, The Metropolitan Museum of Art, inv. no. 2008-110; Vignau-Wilberg 2007 and Vignau-Wilberg 2017, pp. 153-154, no. C4. 47 Watercolour on vellum, 230 x 170 mm. In 1961 this work was in the possession of Galleria Lorenzelli in Bergamo. For an illustration see Bergström 1979, p. 556 under no. 3 and Vignau-Wilberg 2017, p. 173, no. C14. 48 Oxford, Ashmolean Museum of Art and Archaeology, inv. no. LO 137.1. Vignau-Wilberg 2017, pp. 178-179, no. C18. 49 Washington, National Gallery of Art, inv. no. 1987.20.5.8. Vignau-Wilberg 2017, pp. 98-130, no. A6.

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Fig. 5.17 Joris Hoefnagel, Flower piece with a Tulip, dated 1594, watercolour on vellum, 161 x 120 mm, Ashmolean Museum of Art and Archaeology, Oxford.

drawn from the Bible and Apocrypha, Erasmus’s Adagia and other Renaissance humanist sources. His son Jacob (1573-1632/33), while still quite young, made a series of 52 engravings selected from this body of work, accompanied by texts, that was published in 1592 under the title Archetypa Studiaque patris Georgii Hoefnagelii. It is likely that this work exerted a substantial influence on the artists of the seventeenth century.50 Around the same time Adriaen Collaert (ca. 1560-1618) published his Florilegium with the engraving of a flower piece (Fig. 6.1).51 In part, these early watercolours and engravings of flower pieces can be traced back to prints of ornaments, particularly configurations of flowers and fruit such as wreaths, garlands, festoons and cartouches dating from Cornelis Bos (ca. 1510-1556) and Jacob Floris de Vriendt (1524-1581) in the middle of the sixteenth century.52 Finally, it should be noted that in his Schilder-boeck of 1604, Carel van Mander mentions a certain Lodewijck Jansz den Bosch ‘who had a very fine skill in making fruit and flowers, which he sometimes 50

51 52

See Chapter 2. A facsimile with extensive commentary has been provided by Vignau-Wilberg in 1994. To a considerable extent this work is based on material from Clara Klein and Sam Segal with whom there was an agreement for a joint publication, but the author decided without further consultation to publish everything under her own name. In the facsimile the work of Klein and Segal is not cited. See Chapter 11; Segal in Amsterdam & ‘s-Hertogenbosch 1982, p. 73, no. 5. De Jong & de Groot 1988, pp. 22-30, 71-76, 109; Segal in Osaka, Tokyo & Sydney 1990, pp. 166-167, nos 18A and B (engravings by Herman Jansz Muller (ca. 1540-1617) after Jacob Floris de Vriendt I (1524-1581), from Veelderhande cierlijcke Compertementen, Antwerp 1564, with a flowerpot and decorated flower vases); cf. Joris Hoefnagel’s watercolours of 1581 (Fig. 5.14), 1589 (Figs 5.15 and 5.16) and 1594 (Fig. 5.17).

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made as if standing in a glass of water, and he dedicated a great deal of time, patience and refinement to this, so that everything would appear natural [...]’.53 In 1591 a work by this artist was seen by Jacques Razet in Middelburg. Today nothing by him is known. It is possible that such a work served as a model for Ambrosius Bosschaert I. Once again according to Van Mander, Pauwels Coecke van Aelst (ca. 1525-1569), the son of Pieter Coecke van Aelst’s I (1502-1550), was ‘very neat and refined in the making of little glasses with flowers’, but there are no works by him now known.54 Presumably these early flower pieces were executed in watercolour.

Early Flower Studies

Studies of individual flowers were being painted in China several centuries before they came to be painted in Europe. One Chinese example is a beautiful twelfth-century painting of a Cotton Rose (Hibiscus mutabilis) by an anonymous artist from the Southern Song Dynasty now in the National Palace Museum in Taipei.55 Three centuries later in Europe in 1419, Andrea Amadio made 449 drawings in gouache in a manuscript book by the doctor and pharmacist Benedetto Rinio entitled Liber de simplicibus, which includes a beautiful Corn Poppy, amongst the many other plant specimens in the herbal.56 Around 1440, Pisanello (ca. 1395-1455) made plant studies drawn in pen and ink and around 1450 Jacopo Bellini (ca. 1400-after 1465) painted an Iris in watercolour on vellum.57 The most well-known early studies of plants are by Leonardo da Vinci (1452-1519) and Albrecht Dürer (1471-1528), for example the study of a Madonna Lily by Da Vinci and one of a Columbine by Dürer.58 Likewise, very fine are the watercolours of plants placed alongside a text in the Ambraser Heldenbuch of about 1504-1517, now in the Österreichische Nationalbibliothek in Vienna, commissioned by Emperor Maximilian I and painted by several unknown masters possibly from Holland.59 In Germany, studies of plants for herbals came in the wake of Dürer, including those by Hans Weiditz (1495-ca. 1537), Albert Meyer, Heinrich Füllmaurer (ca. 1500-1647/48), as well as by Hans Hoffmann (ca. 1530-1591/92). Later plant drawings executed in a series were to follow in Italy, for example by Jacopo Ligozzi (1547-1626/27), and in the Low Countries, as can be seen in the Libri Picturati watercolours in the Biblioteka Jagiellońska in Kraków.60

The Earliest Painted Flower Pieces – A Comparative Analysis

Independent self-contained flower pieces by the Westphalian master Ludger tom Ring II, who was active in Münster and Antwerp, were first executed in 1562 (Figs 1.1 and 1.2) and 1565. The works of Tom Ring were subsequently followed by a number of watercolour flower pieces by Joris Hoefnagel, dating from 1581, 1589 and 1594 (Figs 5.14-17), and by Jacques de Gheyn II (1565-1629) in 1600 (Fig. 6.5). Next in sequence are the engravings by Adriaen Collaert (Fig. 6.1), dating from circa 1590, and somewhat later in 1599 engravings after works by Carel van Mander (1548-1606) (Fig. 2.6) and Elias Verhulst (ca. 1575-1601) (Figs 6.2 and 10.3), and still later those after works by Jacob Savery (ca. 1566-1603) (Figs 6.10 and 10.4).61 The earliest known and dated Netherlandish flower piece in oils is by Jacob’s younger brother Roelandt Savery (1576-1639) and dated 1603 (Fig. 6.11). Around that same time Jacques de Gheyn II painted a small flower piece whose date is disputed, but it was probably executed around 1604 (Fig. 6.6).62 Jan Brueghel I painted and dated a flower piece in 1605 (Fig. 6.23). In the same year Ambrosius Bosschaert I painted Flowers in a Wan-li vase with a Pyrenean Turk’s Cap Lily and a Tulip (Fig. 5.25). The question arises whether any earlier flower pieces possibly exist that are undated and perhaps even unsigned. 53 Van Mander 1604, p. 217r. See Chapter 6. 54 ‘[..] seer net en suyver makende glaeskens met bloemen’. Van Mander 1604, p. 218v. About Pauwels Coecke van Aelst see Duverger 1979. 55 Silk, 252 x 262 mm (largely round, but asymmetrical). 56 Venice, Biblioteca Nazionale Marciana, MS Latina VI, 59 (2548), fol. 363r.; Meyer 1999, p. 9; Blunt & Raphael 1980, pp. 72-75. 57 Montauban, Musée Ingres (Pisanello); Paris, Louvre, inv. no. RF 1524, fol. 56 (Bellini); for more on Bellini see Degenhart & Schmitt 1984, pp. 25, 70. 58 314 x 177 mm, Windsor, British Royal Collection, inv. no. RCIN 912418 (Da Vinci); 355 x 287 mm, Vienna, Albertina, inv. no. 3182 (Dürer). 59 Vienna, Österreichische Nationalbibliothek, MS Codex Vindobonensis 2663. The manuscript contains 120 folios, of which 50 with a plant that is native to the Low Countries, sometimes with a butterfly or another insect, occasionally with a hummingbird; Domanski 2014, with nine illustrations and identifications. 60 About the Libri Picturati watercolours see De Koning et al. 2008; for sixteenth-century drawings see Chapter 1. 61 We do not have any flower pieces in oils from the artists who executed the original works, nor designs such as drawings that could have served as models for the engravings, except for a single study (Fig. 10.5) that was used by the engraver Nicolaes de Bruyn (1571-1656) (Fig. 10.33). 62 Copper, 19.6 x 13.4 cm, private collection. Bergström 1973, p. 23, Pl. 7; Hopper Boom 1976; Van Regteren Altena 1983, II, p. 20, no. 31 and III, p. 13, Pl. 1; Christie’s, London, 8 December 2015, no. 14.

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In the analysis that follows eleven works will be compared with each other. Particular attention will be paid to the species that are rendered identically, and moreover usually in a similar or corresponding place in the composition. What is particularly striking in this kind of artistic repetition is that in a number of cases the flowers, but especially the butterflies, are given in reverse – something that has also been observed in signed works by Ambrosius Bosschaert I. In the first instance, this investigation will be grounded on findings which appeared in the catalogue of the Ludger tom Ring exhibition in the LWL-Museum für Kunst und Kultur in Münster.63 Secondly, the discussion here is based on an extensive unpublished report about a painting that turned up later (Fig. 5.24). In the report, I tried to demonstrate that the paintings in this little series shared connections – in composition, technique and in the selection of identical species to be represented – among themselves as well as with the earliest known dated works by Ambrosius Bosschaert I.64 I also tried to establish a chronological sequence for the works. The group of paintings under discussion consists of a study (S), attributed paintings (A), paintings with a monogram (B) and date (D) by Ambrosius Bosschaert I and a pastiche (E): S Study of a basket with flowers for a kitchen piece by Ludger tom Ring II (attributed) (Fig. 5.18) A1 Madonna Lily and other flowers in an earthenware jug (Fig. 5.19) A2 Flowers in a cylindrical glass by Ambrosius Bosschaert I (attributed) (Fig. 5.20) A3 Flowers in a Wan-li vase by Ambrosius Bosschaert I (attributed) (Fig. 5.21) B1 Flowers in a berkemeyer by Ambrosius Bosschaert I (Fig. 5.22) B2 Flowers in a berkemeyer with three Tulips by Ambrosius Bosschaert I (Fig. 5.23) B3 Flowers in a Wan-li vase with a Siberian Iris and two Tulips by Ambrosius Bosschaert I (Fig. 5.24) D1 Flowers in a Wan-li vase with a Pyrenean Turk’s Cap Lily and a Tulip by Ambrosius Bosschaert I, dated 1605 (Fig. 5.25) D2 Flowers in a berkemeyer with three Tulips and a Siberian Iris by Ambrosius Bosschaert I, dated 1606 (Fig. 5.26) D3 Flowers in a roemer by Ambrosius Bosschaert I, dated 160765 E Flowers in a basket (Fig. 5.27)

S (Fig. 5.18) Ludger tom Ring II (attributed), Study of a basket with flowers for a kitchen piece Oil on grey-brown prepared paper, 194 x 321 mm (cut) Österreichische Nationalbibliothek, Vienna, MS Cod. min. 42, fol. 167r.66 A large kitchen piece by Ludger tom Ring II of 1562 includes two little vases with flowers and a little basket of flowers.67 This study of the little basket made for the painting contains species that we can compare with those that appear in two flower pieces from the list (A2 and A3).68 Some flowers are in the basket and others are lying next to it. 1 2 3 4 5 6 7 8 9

Daisy Pot Marigold Carnation Apothecary’s Rose White Rose Stock foliage Rosemary foliage Rose Campion Rue foliage

Bellis perennis plena Calendula officinalis Dianthus caryophyllus Rosa gallica cv. Officinalis Rosa x alba plena Matthiola incana Rosmarinus officinalis Lychnis coronaria Ruta graveolens

63 Segal 1996a, I, pp. 127-132. 64 For the complete report see the Segal Still Life Documentation in the RKD, The Hague. 65 Copper, 38.5 x 26.5 cm, private collection. Provenance: sale Hôtel George V, Paris, 25 June 1996, no. 21; Noortman Gallery, Maastricht 1997. 66 Provenance: Emperor Rudolf II, album documented in the court library in 1783. Literature: Koreny in Vienna 1985, pp. 240-243, no. 88, Fig. 88.1 of the kitchen piece and Fig. 88.2 of the flower basket, with identifications by F. Ehrenorfer and M.A. Fischer, some of which deviate from my own; Bergström 1986-87, p. 73; Segal 1996a, I, p. 221, Fig. 18 and II, p. 638, no. 191; Luckhardt 2013, pp. 11, 14, Fig. 11. 67 The kitchen piece, previously in the Staatliche Museen (Kaiser-Friedrich-Museum) in Berlin, was lost during World War II, but photographs of it have been preserved; Koreny in Vienna 1985, p. 240, Fig. 88.1; Segal 1996a, I, p. 108, Fig. 1; pp. 110-117; II, pp. 611-612, no. 140; Luckhardt 2013. 68 The study is part of an album in the Österreichische Nationalbibliothek with 170 folios, including 16 leaves with animals, fruits and flowers; Koreny in Vienna 1985, pp. 240-247, nos 8-9; Segal 1996a, I, pp. 117-121, Figs 15-18; II, pp. 633-39, nos 178-193, particularly nos. 188-193. Whether these are studies of Tom Ring’s own works or studies done after his work is not completely clear.

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Around the basket are repeats of Daisy, White Rose, Rose Campion, Apothecary’s Rose, Stock and Fig. 5.18 (S) Ludger tom Ring II (attributed), Rosemary plus: 10 11 12 13 14

Grass Pink Sweet William Pansy Boxwood foliage Borage

Dianthus plumarius Dianthus barbatus Viola tricolor Buxus sempervirens Borago officinalis

Study of a basket with flowers for a kitchen piece.

All these species occur in early flower pieces and through the first quarter of the seventeenth century, only a few of them also occur later. In particular, we see Boxwood, Grass Pink, Rose Campion and Rue nearly exclusively in the paintings, drawings and engravings of flower pieces of the late sixteenth century and first decade of the seventeenth century. The flowers in the little basket in the kitchen piece are arranged differently than in the study, and of the flowers strewn around it we see only the White Rose again – but now on the right at the front instead of on the left. The flowers in the basket also appear in other flower pieces by Tom Ring, for example in the left in a painting with flowers in an earthenware jug.69 The study is a prototype for similar compositions that will be painted half a century later by Ambrosius Bosschaert I with the same type of crosswoven reeds.70

69

70

Vienna, Österreichische Nationalbibliothek, MS Cod. min. 42, fol. 169r. Segal 1996a, II, pp. 638-639, no. 193; a flower piece that was in the possession of a Berlin collector in 1928 displays passages that are identical to the painting with flowers in a jug (panel, ca. 34 x 23.2 cm, whereabouts unknown). Warner 1928 (Segal ed. 1975), p. 40, Pl. 15c and Koreny in Vienna 1985, pp. 242-243, Fig. 88.5. That the Romans had already executed a basket with flowers in a mosaic around the second century, as described by Koreny and others, is incorrect; the mosaic is an eighteenth-century forgery (see above). For an example, see the painting of Ambrosius Bosschaert I in the J. Paul Getty Museum, Los Angeles (Flowers in a basket, dated 1614, copper, 28.6 x 38.1 cm, inv. no. 83.PC.386).

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A1 (Fig. 5.19) Madonna Lily and other flowers in an earthenware jug Panel, 43.3 x 31 cm, unsigned. On the reverse in black: ‘Brughele / RD’ Private collection.71 In an earthenware jug on a stone ledge set against a solid dark background we see the following species: 1 Lily of the Valley 2 African Marigold 3 Woody Nightshade 4 Sorrel 5 Pansy 6 Herb Robert 7 Sorrel 8 Summer Snowflake 9 Sweet William 10 Madonna Lily 11 Columbine 12 Stock 13 Frankfurt Rose 14 Austrian Briar 15 French Rose 16 Columbine 17 Meadow Buttercup 18 Field Mouse-ear 19 Poet’s Narcissus 20 Maltese Cross 21 Forget-me-not 22 Lesser Bindweed 23 Hollow Root Fumitory 24 Dog Rose

Convallaria majalis Tagetes erecta Solanum dulcamara Rumex acetosa Viola odorata Geranium robertianum Rumex acetosa Leucojum aestivum Dianthus barbatus Lilium candidum Aquilegia vulgaris albescens Matthiola incana Rosa turbinata Rosa foetida Rosa gallica Aquilegia vulgaris multiplex Ranunculus acris Cerastium arvense Narcissus poeticus Lychnis chalcedonica Myosotis palustris Convolvulus arvensis Corydalis cava albiflora Rosa canina



Pieris brassicae Anthocharis cardamines Calliphora erythrocephala

A B c

Large White Butterfly Orange Tip Butterfly Blue Blow Fly

In the foreground we also see Pansy, fragments of Columbine, Hollow Root Fumitory, Dog Rose and:

25

Lungwort

Pulmonaria officinalis

d e

Lackey Caterpillar Brown Hawker Dragonfly

Malacosomia neustria Aeshna grandis

The vertical edge of the stone slab is darker than the lit surface at the front of the composition, but it is generally of a light colour. This is otherwise in the following paintings in this series and also in the signed flower pieces by Ambrosius Bosschaert I, where the visible ledge is dark in colour. Ludger tom Ring II did not paint a ledge. The reflected light on the jug is rendered in a few quick brushstrokes of white, just like a study of a flower piece with an earthenware vase in the album that includes the little basket with flowers of Tom Ring II (S).72 We do not encounter this type of reflection in the work of Ambrosius Bosschaert I, where, it should also be added, no smooth pottery is to be found either. The vase is too small to hold its contents, something that we also see in a number of early seventeenth-century flower pieces; this is the result of a composition made up of separate studies of flowers that do not all flower at the same time. The bouquet contains many native plants. A few species from works by Tom Ring II, such as Herb Robert and Lungwort are also present. The flowers in Madonna Lily and other flowers in an earthenware jug (A1) that are identical to two other paintings in this series attributed to Ambrosius Bosschaert I (A2 and A3) are Lily of the Valley, Summer 71

Provenance: Christie’s, London, 16 November 1971, no. 10, as Christoffel van den Berghe; Richard Green Gallery, London; collection of Mrs R. Peto, London; Gallery Feilchenfeldt, Zurich 1975-1981; sale Paris (before May 1985). Literature: Segal 1996a, I, p. 116, no. D and II, pp. 402-403, no. 82, as circle of Ludger tom Ring II; Kemperdick in Frankfurt & Basel 2008-09, pp. 84, 96-97, no. 22, as Dutch ca. 1600. 72 Vienna, Österreichische Nationalbibliothek, MS Cod. min. 42, fol. 169r. Segal 1996a, II, pp. 638-639, no. 193.

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Fig. 5.19 (A1) Madonna Lily and other flowers in an earthenware jug.

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Snowflake, Poet’s Narcissus and Maltese Cross. The most striking identical species is the Poet’s Narcissus, which appears in the same position in A2 and A3 (but without the Hoverfly). A few Poet’s Narcissuses also occupy the top of the bouquet in two other flower pieces by Tom Ring II.73 The Madonna Lily in the centre is also apparent in one of the two flower pieces that Tom Ring executed in 1562 (Fig. 1.1), but it is not identical. A painting of Jeremias van Winghe (1578-1645) in the Palais des Beaux-Arts in Lille clearly shows the influence of Ludger tom Ring II. It was painted around 1607 and is one of the earliest painted flower pieces where a Madonna Lily is positioned in a striking and central location.74 The Lille flower piece is not similar to Madonna Lily and other flowers in an earthenware jug (A1), but it does have a light-coloured ledge. Another painting that merits comparison to the Madonna Lily and other flowers in an earthenware jug (A1) depicts a bouquet containing exclusively native flowers in a Venetian jug with two handles.75 There is no similarity between the types of flowers in the painting with the Venetian jug and in A1, but there is a similarity simply in the presence of strewn flowers on a light (even lighter than A1) surface without an edge, and in the overall use of reflection. This painting has often been assumed to be the work of Ludger tom Ring II, although with some reservations. A similar kind of overall reflection can be seen in a bouquet on a sheet with studies and a painting similar to it, the whereabouts of which have been unknown since 1928.76 In its totality this painting appears to be a further development of the known flower pieces by Tom Ring II. A2 (Fig. 5.20) Ambrosius Bosschaert I (attributed), Flowers in a cylindrical vase Panel, 43.2 x 33 cm, unsigned. Private collection.77 In the following list of species, Flowers in a cylindrical vase (A2) is compared with Flowers in a Wan-li vase (A3). Identical species with a similar place in the composition of both paintings are indicated with ‘A3’ (in bold), same species with ‘A3’, the native varieties with an ‘n’, the cultivars derived from them with ‘nc’ and those cultivated species imported from Central and Southern Europe and Asia Minor with a ‘c’.78 1 Lily of the Valley 2 Carnation 3 Rape 4 Pot Marigold 5 Columbine 6 Red Campion 7 Sweet Rocket 8 Pansy 9 Grass Pink 10 Summer Snowflake 11 Cow Soapwort 73 74

75 76 77

78

Convallaria majalis n A3 Dianthus caryophyllus plenus rubrus c A3 Brassica napus n Calendula vulgaris c A3 Aquilegia vulgaris duplex (purpurescens) nc Silene dioica c Hesperis matronalis alba c A3 Viola tricolor nc A3 Dianthus plumarius c A3 Leucojum aestivum n A3 Vaccaria hispanica c

Panel, 38.2 x 28.3 cm, Münster, LWL-Museum für Kunst und Kultur, inv. no. 1069 LM. Segal 1996a, pp. 394-395 no. 78. Panel, 35 x 15.5 cm, private collection. Segal 1996a, II, pp. 396-397, no. 79. Canvas, 81 x 56 cm, Lille, Palais des Beaux-Arts, inv. no. 856. Bergström attributed it to Georg Flegel (1566-1638) and included it in the Flegel exhibition in Frankfurt in 1993 as a work by that artist. Prior to this it had been attributed to Jan Brueghel I (1568-1625) and Osias Beert I (ca. 1580-1623/24). My attribution of this painting to Van Winghe is extensively discussed in the catalogue of the Tom Ring exhibition in Münster. It was painted around 1607. Segal 1996a, II, pp. 406-407, no. 84. Frankfurt 1993-94, pp. 114-115, no. 30. Panel, 58.6 x 35.7 cm, private collection. Segal 1996a, II, p. 640, no. 195, with scheme and identifications. For the study see Koreny in Vienna 1985, pp. 246-247, no. 90 and Segal 1996a, II, p. 636, no. 188, with scheme and identifications. The species are identical to those included on a sheet with studies in the album from Vienna, which also includes the little basket (S). See note 69. Provenance: Klever collection, Leverkusen (Germany); Lempertz, Cologne, 10 December 1990, no. 25, as German, 16th century; Gallery Lingenauber, Düsseldorf and Paris 1990-1993, as attributed to Ludger tom Ring II; private collection, Italy 1995; Christie’s, New York, 4 October 2007, no. 106, as by Ambrosius Bosschaert I; Sotheby’s, London, 3 December 2014, no. 35. Literature: Wettengl in Frankfurt 1993-94, p. 11, as by Ludger tom Ring II; Bergström 1995, p. 79; Segal 1996a, I, pp. 128-129 and II, p. 641, no. 96, with scheme and identifications; Kemperdick in Frankfurt and Basel 2008-09, p. 98 under no. 23. In the 2004 report there is a description of the connections between A2 and the works listed as S, A1, A3, B1-3, D1-2, and E, plus a proposed chronology. Regarding the flowers, it is interesting to observe that the Elder Iris (Iris x sambucina) is not mentioned in the scientific literature before the nineteenth century, but it appears in seventeenth-century paintings, while Purple Gromwell (Lithospermum purpurocaeruleum) has only been scientifically reported since the end of the seventeenth century.

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Fig. 5.20 (A2) Ambrosius Bosschaert I (attributed), Flowers in a cylindrical glass.

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12 Lesser Spearwort 13 Asparagus foliage 14 Elder Iris 15 Jacob’s Ladder 16 Yellow Flag Iris 17 Columbine 18 Heath Bedstraw 19 Daisy 20 Bachelor’s Button 21 Meadow Saxifrage 22 Sorrel 23 Maltese Cross 24 Damask Rose 25 Borage 26 Fumitory 27 Wallflower 28 Purple Gromwell 29 Stock 30 Poet’s Narcissus

Ranunculus flammula n Asparagus officinalis n Iris x sambucina c Polemonium caeruleum c Iris pseudacorus n A3 Aquilegia vulgaris multiplex atrata nc A3 Galium saxatile n Bellis perennis plena rosea nc Ranunculus acris var. multiplex nc A3 Saxifraga granulata n A3 Rumex acetosa n Lychnis chalcedonica c Rosa x damascena c A3 Borago officinalis c Fumaria officinalis n Erysimum cheiri aurata n A3 Lithospermum purpurocaeruleum c Matthiola incana rubra c A3 Narcissus poeticus c A3



Aporia crataegi Aglais urticae Pieris rapae Ischnura elegans Bombus hortensis Pyrrhosoma nymphula Calliphora erythrocephala Aeshna grandis Scaeva pyrastri A3 Orthetrum cancellatum

A B C d e f g h i j

Black-veined White Butterfly Small Tortoiseshell Butterfly Small White Butterfly Blue-tailed Damselfly Garden Bumblebee Red Damselfly Blue Blow Fly Brown Hawker Dragonfly Half Moon-spot Hoverfly Black-tailed Skimmer

This painting is possibly the earliest known work of Ambrosius Bosschaert I, whose first known dated painting was executed in 1605 (Flowers in a Wan-li vase with a Pyrenean Turk’s Cap Lily and a Tulip (D1)), although by that time he had been a member of the painter’s guild in Middelburg for twelve years.79 Accepting this attribution entails assuming that Bosschaert was somehow familiar with the work of Ludger tom Ring II, something that is intimated by the identical Rose in the foreground of the aforementioned study (S).80 The panel of Flowers in a cylindrical vase has been subject to dendrochronological analysis, which revealed that the latest ring dates from 1543. One expects therefore that the wood could have been used as a support for a painting between approximately 1548 and 1564.81 X-ray analysis does not reveal the presence of any (earlier) painting underneath. This would put the date of the painting with flowers in a cylindrical vase somewhere between 1589 (or more probably 1593, the year that Bosschaert enrolled in the Guild of Saint Luke in Middelburg) and before 1605 (if we accept that the other works listed under A and B are of a later date but before 1605).82 A3 (Fig. 5.21) Ambrosius Bosschaert I (attributed), Flowers in a Wan-li vase Panel, 43.5 x 31.5 cm, unsigned. Private collection.83 79 80 81 82

See Chapter 6. Although in the study the Rose is white. The dendrochronological research was carried out by Professor Peter Klein in Hamburg. There is a version of this painting with four exotic shells in the Kunstmuseum – Öffentliche Kunstsammlung in Basel (panel, 53 x 39 cm). It is of a later date and not as finely executed, most likely the work of a follower who attempted to inject even more similarity to Bosschaert’s style by adding the shells. Segal 1996a, I, pp. 129-130, Fig. 26; Meijer in Christie’s, New York, 4 October 2007, p. 159 under no. 106; Kemperdick in Frankfurt & Basel 2008-09, pp. 98-99, no. 23. 83 Provenance: according to an old label on the reverse of the panel from a (Swiss?) sale: ‘Nr. 774, Stilleben auf Holz, Holländisch, Ende 17. Jahrh., FR 1275-’; Knoff Gallery, Zurich; private collection, Switzerland; Sotheby’s, London, 10 December 1986, no. 58, as by Ambrosius Bosschaert I; Nathan Gallery, Zurich; private collection; Sotheby’s, New York, 25 January 2001, no. 117, as attributed to Ambrosius Bosschaert I; with Noortman Gallery, Maastricht 2005 (with report by S. Segal); private collection, Amsterdam; Sotheby’s, London, 3 July 2013, no. 10. Literature: Segal 1996a, I, p. 130 and II, pp. 400-401, no. 81.

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A Wan-li vase with flowers is standing on a stone ledge. The vase is decorated with a peacock set amid stylized branches and leaves. The foot and lip of the vase have been decorated with gilt mounts bearing designs in relief – the lip possesses a festoon with fruit. In the following list of species, the native varieties are indicated with an ‘n’, the cultivars derived from them with ‘nc’ and those cultivated species imported from Central and Southern Europe and Asia Minor with a ‘c’. The insects and snails are native species. ‘B’ stands for species appearing in the signed work of Ambrosius Bosschaert I of the period; ‘R’ for species appearing in the work of Ludger tom Ring II. All other references are to the works in the present series listed under A, B, D and E and if in bold indicate nearly or completely identical renderings of flowers, sometimes in reverse: 1 Damask Rose 2 Columbine 3 Pansy 4 Lily of the Valley 5 Grass Pink 6 Rose Campion 7 Pot Marigold 8 White Rose 9 Stock 10 Summer Snowflake 11 Sweet Rocket 12 Blue Gromwell 13 Meadow Saxifrage 14 Yellow Flag Iris 15 German Flag Iris 16 Columbine 17 Peony 18 Cornflower

Rosa x damascena Aquilegia vulgaris violacea Viola tricolor Convallaria majalis Dianthus plumarius Lychnis coronaria Calendula officinalis Rosa x alba plena Matthiola incana malvacea Leucojum aestivum Hesperis matronalis alba Lithospermum purpurocaeruleum Saxifraga granulata Iris pseudacorus Iris germanica Aquilegia vulgaris plena Paeonia officinalis plena Centaurea cyanus

c A2 B1 B2 D3 n R A1 (A2) B1 B2 D1 E n A1 A2 B1 B2 B3 D1 D2 E n A1 A2 c R A2 B1 B2 c R A2 c R A2 c R A2 B1 B2 (D1 D2) D3 c R A1 B1 n A1 A2 c A1 B1 c B1 c A2 n R A2 c R nc B3 D2 D3 c B1 D3 n E

Fig. 5.21 (A3) Ambrosius Bosschaert I (attributed), Flowers in a Wan-li vase. | 151

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19 Bachelor’s Buttons 20 Forget-me-not 21 Wallflower 22 Carnation 23 Poet’s Narcissus 24 Sweet Briar

Ranunculus acris var. plena nc (A1) A2 (E) Myosotis scorpioides n A2 (B1) B2 B3 D1 D2 D3 Erysimum cheiri n A2 B1 B3 E Dianthus caryophyllus subplenus c R (A2) B1 (B3) (D2) Narcissus poeticus c R A1 A2 Rosa rubiginosa n A1 B1 D2 D3



Pieris brassicae A1A2 B1 B3 D3 Vanessa atalanta D3 Scaeva pyrastri A2 Cepaea hortensis B3 D1 D Helicidae

A Large White Butterfly B Red Admiral Butterfly c Moon-spot Hoverfly d Garden Snail e Snail

In the works under comparison here, identical flowers have frequently been rendered in a corresponding place in the composition. The correspondences between the different works has also been quantified, where a completely identical species in a corresponding place has been given a value of 4; if nearly identical, a value of 2; and if the same species but not in the same shape and form, a value of 1. The most important findings and scores regarding the degree of similarity between pairs of paintings in the first group are as follows: A1 with A2: moderately high (21) A1 with A3: moderate (14) A2 with A3: very high (>40) A2 and B4: moderately high (20) A3 with A4: very high (40) B1 with B3: moderate (18) B2 with D2: moderate (14)

Then there is the second group as follows: B3 with D: moderately high (29) B3 with D2: very high (36) D1 with D2: very high (31) E with A2: moderately high (24) E with D2: moderately high (26)

Yet there are more similarities between Flowers in a cylindrical vase (A2) and Flowers in a Wan-li vase (A3) than those of species and placement within the composition alone. In A2 we see a Red Rose on the left lying on the stone ledge, and in A3 a Red Carnation. In both paintings, we see two Irises at the top of the bouquet, including the identical Yellow Iris; in later paintings by Bosschaert other types of Iris are placed at the top of the bouquet. In A3 we see some overlapping among the flowers; the overlapping is much more pronounced in Flowers in a berkemeyer (B1), and nearly exactly the same around the White Rose in the middle. In both A3 and B4 a peculiar deformation has been introduced into the depictions of the Lily of the Valley: they both have four instead of six petals. B1 (Fig. 5.22) Ambrosius Bosschaert I, Flowers in a berkemeyer Panel, 38 x 27 cm, in lower right in grey a later or a ‘reinforced’ monogram: AB Anglesey Abbey, Cambridgeshire, inv. no. NT 515452.84 The ledge in Flowers in a berkemeyer displays some damage. The berkemeyer has a pearled foot and two rows of large prunts. Here a number of flowers are overlapped more than is usually the case in paintings by Bosschaert. Below again follows a list of the species that are similar to those present in both paintings Flowers in a Wan-li vase (A3) and Flowers in berkemeyer with three Tulips (B2) of the series:

84 Provenance: collection of Huttleston Broughton, 1st Lord Fairhaven, probably acquired after his father’s death in 1929, donated by his brother Henry Rogers Broughton, 2nd Lord Fairhaven, to the National Trust in 1966; as by Abraham Brueghel (1631-1697). Literature: Segal 1996a, I, p. 130, Fig. 28, as circle of Ambrosius Bosschaert I; Sotheby’s, London, 3 December 2014, pp. 117-118, no. F, Fig. 3 under no. 35.

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Fig. 5.22 (B1) Ambrosius Bosschaert I, Flowers in a berkemeyer.



1 Columbine 2 Pansy 3 French Rose 4 Sweet Rocket 5 Rape 6 Carnation 7 White Rose 8 Stock 9 Blue Gromwell 10 Sweet Briar 11 Elder Iris 12 Jasmine (?) 13 Columbine 14 Peony 15 Forget-me-not 16 Lily of the Valley 17 Wallflower

Aquilegia vulgaris A3 B2 Viola tricolor A3 B2 Rosa gallica semiplena Hesperis matronalis alba A3 Brassica napus Dianthus caryophyllus plenus A3 B2 Rosa x alba plena A3 B2 Matthiola incana A3 Lithospermum purpurocaeruleum A3 Rosa rubiginosa Iris x sambucina Jasminum officinale Aquilegia vulgaris virido-alba parviflora A3 Paeonia officinalis A3 Myosotis palustris A3 B2 Convallaria majalis A3 Erysimum cheiri A3 B2



A Large White Butterfly

Pieris brassicae A3 B2

Two Rose petals plus a single bloom of Gromwell and Carnation are lying on the stone ledge.

b Blue Blow Fly

Calliphora erythrocephala

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There is another painting that is similar but uses a few different flowers and the Carnation is on the left instead of the right in the foreground; it is either a variant or a pastiche of this composition. In addition, it contains the same cluster of Lily of the Valley and the same butterfly as in the paintings designated under A, along with other correspondences.85 B2 (Fig. 5.23) Ambrosius Bosschaert I, Flowers in berkemeyer with three Tulips Panel, 27.4 x 18.5 cm, signed lower left in grey with monogram: AB P. & N. de Boer Foundation, Amsterdam, inv. no. B9, on loan to the Noordbrabants Museum, ‘s-Hertogenbosch.86 The berkemeyer in this painting is identical to the one featured in Flowers in a berkemeyer (B1). Here follows a list of the species that are similar to those present in both paintings Flowers in a berkemeyer (B1) and Flowers in a Wan-li vase with a Siberian Iris and two Tulips (B3): 1 Forget-me-not 2 Columbine 3 Pansy 4 White Rose 5 Carnation 6 Persian Tulip 7 Carnation 8 Red Tulip 9 Wallflower 10 Damask Rose 11 Annulated Sowbread

Myosotis palustris B1 B3 Aquilegia vulgaris B1 Viola tricolor B1 B3 Rosa x alba plena B1 Dianthus caryophyllus plenus B1 Tulipa clusiana Dianthus caryophyllus albescens B3 Tulipa agenensis bicolor B3 Erysimum cheiri B1 Rosa x damascena B3 Cyclamen hederifolium



Pieris brassicae Shargacucullia verbasci

A b

Large White Butterfly Mullein Moth Caterpillar

A copy is known without a caterpillar in the foreground, but it has a beetle on the left and a fly sitting on the Tulip.87 B3 (Fig. 5.24) Ambrosius Bosschaert I, Flowers in a Wan-li vase with a Siberian Iris and two Tulips Copper, 20 x 14.7 cm, signed lower left in blackish-grey with monogram: AB Private collection.88 This round vase is decorated with a Pomegranate tree bearing fruit, growing among other plants. It has a gilt foot decorated with designs in ornamental relief. Just as in all the other paintings in this series, the top of the ledge is light coloured. In the following list, the species in this painting are compared with those in Flowers in a berkemeyer with three Tulips (B2) and Flowers in a Wan-li vase with a Pyrenean Turk’s Cap Lily and a Tulip (D1), the latter dated by Ambrosius Bosschaert in 1605. 1 Forget-me-not 2 Cloth of Gold Crocus 3 Carnation 4 Apothecary’s Rose 5 Columbine 6 African Marigold 7 Snake’s Head Fritillary

Myosotis palustris B2 D1 Crocus angustifolius D2 Dianthus caryophyllus B2 Rosa gallica cv. Officinalis D1 Aquilegia vulgaris multiplex bicolor B2 D1 Tagetes patula Fritillaria meleagris D1

85 Panel, 35 x 25 cm; Amsterdam 1934, p. 57, no. 255, as Ambrosius Bosschaert I. I have only seen a black-and-white image of this work (Amsterdam 1934, Pl. 34); either the photo or the painting is cropped and the painting appears to be soiled in places. It cannot be ruled out that this could be the original version. Another, somewhat simpler version (panel, 40.4 x 28.6 cm) is presumably a later imitation; Phillips, London, 9 December 1986, no. 10; Sotheby’s, London, 22 April 2004, no. 19, as circle of Ambrosius Bosschaert I. 86 Dordrecht 1955, p. 7, no. 19 (with wrong illustration); Philadelphia 1963, p. 108 (as on copper); Hairs 1965, p. 159; Amsterdam 1984, pp. 122-123, no. 3; Hairs 1985, I, p. 203; Sotheby’s, London, 3 December 2014, pp. 117-118, no. G, Fig. 4 under no. 35; Meijer in Paris 2014-15, pp. 36-37, no. 12. 87 Canvas, 27 x 19.5 cm; Tajan, Paris, 24 June 2002, no. 61, as ‘Dans le goût d’Ambrosius Bosschaert’. 88 Provenance: Christie’s, London, 11 December 2002, no. 55; Christie’s, Paris, 21 June 2012, no. 16; Koetser Gallery, Zurich 2013.

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Fig. 5.23 (B2) Ambrosius Bosschaert I, Flowers in a berkemeyer with three Tulips.

Fig. 5.24 (B3) Ambrosius Bosschaert I, Flowers in a Wan-li vase with a Siberian Iris and two Tulips.

8 Tapered Tulip 9 Siberian Iris 10 Red Tulip 11 Poppy Anemone 12 Pansy

Tulipa armena bicolor Iris sibirica Tulipa agenensis bicolor B2 D1 Anemone coronaria Viola tricolor B2 D1

a B c

Cepaea hortensis Abraxas grossulariata Lucilia caesar

Garden Snail Magpie Moth Greenbottle Fly

D1 D1

The gilt foot of the vase in this painting is identical to the one in Flowers in a Wan-li vase with a Pyrenean Turk’s Cap Lily and a Tulip (D1). This does not mean that it was painted in or before 1605. It might have been executed in 1606, seeing that it shows similarities with Flowers in a berkemeyer with three Tulips and a Siberian Iris (D2) which was dated in that year.

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D1 (Fig. 5.25) Ambrosius Bosschaert I, Flowers in a Wan-li vase with a Pyrenean Turk’s Cap Lily and a Tulip Copper, 18.4 x 13.6 cm, signed lower left in grey with monogram and date: AB . 1605 Private collection.89 The vase is the same as the one used in Flowers in a Wan-li vase with a Siberian Iris and two Tulips (B3), but turned a little to the left, making both the flower and fruit of the Pomegranate tree visible. The species in this painting are here compared with those of Flowers in a Wan-li vase with a Siberian Iris and two Tulips (B3) and Flowers in a berkemeyer with three Tulips and a Siberian Iris (D2). The Columbine in the foreground is discoloured, as in several of the previous flower pieces. 1 Forget-me-not 2 Apothecary’s Rose 3 Columbine 4 Pyrenean Turk’s Cap Lily 5 Red Tulip 6 Pansy 7 Snake’s Head Fritillary

Myosotis palustris Rosa gallica cv. Officinalis Aquilegia vulgaris multiplex bicolor Lilium pyrenaicum Tulipa agenensis bicolor Viola tricolor Fritillaria meleagris

B3 B3 B3 D2 B3 B3 B3



Abraxas grossulariata

B3

A

Magpie Moth

On the stone ledge 8 White Rose 9 Columbine b Greenbottle Fly

Rosa x alba Aquilegia vulgaris Lucilia caesar B3

Not only are there several flowers in the other flower pieces in the series that display similarities to the above-mentioned A-works and the earliest known dated work by Bosschaert of 1605, there is also a similarity in the use of the same or presumably a related organic pigment which is responsible for a colour shift from blue to purple – something which is easy to see in the Irises and Columbine.90 In later paintings by Bosschaert and other painters this colour has been replaced by more stable pigments. D2 (Fig. 5.26) Ambrosius Bosschaert I, Flowers in a berkemeyer with three Tulips and a Siberian Iris Copper, 35.5 x 29.3 cm, signed lower left in grey-black with monogram and date: AB . 1606 . Cleveland, The Cleveland Museum of Art, inv. no. 60.108.91 The berkemeyer in this painting is identical to the one in Flowers in a berkemeyer with three Tulips (B2); the Siberian Iris and some of the other flowers are identical to those in Flowers in a Wan-li vase with a Siberian Iris and two Tulips (B3); the Pyrenean Turk’s Cap Lily and some of the other flowers are identical to those in Flowers in a Wan-li vase with a Pyrenean Turk’s Cap Lily and a Tulip (D1) dated 1605. 1 Illyrian Sea Lily 2 Forget-me-not 3 Carnation 4 Cloth of Gold Crocus 5 Apothecary’s Rose 6 Red Tulip 7 Columbine 8 Pyrenean Turk’s Cap Lily 9 Tazetta Narcissus 10 Dog Rose

Pancratium illyricum Myosotis palustris B3 D1 Dianthus caryophyllus plenus B3 Crocus angustifolius B3 Rosa gallica cv. Officinalis B3 D1 Tulipa agenensis bicolor B3 Aquilegia vulgaris multiplex B3 D1 Lilium pyrenaicum D1 Narcissus tazetta Rosa canina

89 Provenance: Christie’s, London, 23 April 1982, no. 20; Christie’s, London, 3 December 1997, no. 12; Johnny Van Haeften Gallery, London 1999. Literature: Bergström 1982, pp. 175-176; Segal in Amsterdam 1984, pp. 120-121, no. 2; Meijer in The Hague 1992, p. 62 under no. 6. 90 For more on the use of blue in the work of Ludger tom Ring II see Wohl 1985. 91 Provenance: gift of Carrie Moss Halle in memory of Salmon Portland Halle in 1960. Literature: Stechow 1966, pp. 60-66, Fig. 5; Bergström 1982, p. 176, Fig. 2; Segal 1984, p. 32, Fig. 2; Meijer 1989, p. 60, Fig. 6.2; Brenninkmeijer-de Rooij 1992, p. 16, Fig. 2; Gemar-Koeltzsch 1995, II, p. 183, no. 51/1; Segal 1996a, I, p. 131; Amsterdam & Cleveland 1999-2000, pp. 117-119, no. 5; Kloek 1999, p. 46; Meijer in Christie’s, New York, 4 October 2007, p. 158 under no. 106; Runia & Segal 2007, p. 7; Meijer in Paris 2014-15, pp. 36-37 under no. 12.

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Fig. 5.25 (D1) Ambrosius Bosschaert I, Flowers in a Wan-li vase with a Pyrenean Turk’s Cap Lily and a Tulip, dated 1605.

Fig. 5.26 (D2) Ambrosius Bosschaert I, Flowers in a berkemeyer with three Tulips and a Siberian Iris, dated 1606.

11 12 13 14 15 16 17

Tapered Tulip (2x) Purple Tulip Siberian Iris Snake’s Head Fritillary Carnation Columbine Pansy

Tulipa armena bicolor Tulipa undulatifolia bicolor Iris sibirica Fritillaria meleagris Dianthus caryophyllus plenus bicolor Aquilegia vulgaris multiplex bicolor Viola tricolor

B3

A

Magpie Moth

Abraxas grossulariata

B3 D1

On the stone ledge 18 White Rose 19 Poppy Anemone

Rosa x alba Anemone coronaria

D1 B3

B c d E f g

Aglais urticae Shargacucullia verbasi Cepaea hortensis Cordulegaster boltonii Lucilia caesar Xesta citrina

Small Tortoiseshell Butterfly Mullein Moth Caterpillar Garden Snail Golden-ringed Dragonfly Greenbottle Fly Indonesian Treesnail

B3 B3 D1 B3 D1 B3 D1

B2 B3 B3 D1

The glass with its beaded foot is typical of the period around 1600. The shadowing has been restricted to occasional passages in the background. The large white flower at the bottom of the bouquet is an Illyrian Sea Lily, a Mediterranean species, and not a South American Spider Lily (Hymenocallis), as Bergström has suggested and others following him.92 The Small Tortoiseshell appears in a few of the other works in this series. 92

Bergström 1982, p. 176; Amsterdam & Cleveland 1999-2000, p. 117.

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E (Fig. 5.27) Pastiche after Ambrosius Bosschaert I, Flowers in a basket Panel, 26 x 36.5 cm, unsigned. Museum Boijmans Van Beuningen, Rotterdam, inv. no. 2417.93 A basket, which is placed on a wooden ledge without a visible edge, is viewed from above.

1 Forget-me-not 2 Pyrenean Turk’s Cap Lily 3 Pansy 4 Daisy 5 Daisy 6 Apothecary’s Rose 7 Poet’s Narcissus 8 Columbine 9 Carnation 10 White Rose 11 Paper Narcissus 12 French Rose 13 Peacock Anemone

Myosotis palustris Lilium pyrenaicum Viola tricolor Bellis perennis plena alba Bellis perennis plena rosea Rosa gallica cv. Officinalis Narcissus poeticus Aquilegia vulgaris multiplex Dianthus caryophyllus plenus bicolor Rosa x alba Narcissus papyraceus Rosa gallica semiplena Anemone pavonina

a B c D E

Calliphora erythrocephala Aglais urticae Bombus terrestri Pieris rapae Abraxas grossulariata



In the foreground 14 Siberian Iris 15 Stock 16 Yellow Tulip

Iris sibirica Matthiola incana atrata Tulipa chrysantha

f Brown Hawker Dragonfly g Greenbottle Fly h Snail i Garden Snail

Aeshna grandis Lucilia caesar Helicidae spec. Cepaea hortensis

Blue Blow Fly Small Tortoiseshell Butterfly Earth Bumblebee Small White Butterfly Magpie Moth

The species in Flowers in a basket (E) correspond most closely with those in Flowers in a cylindrical glass (A2), although they also correspond with the others of the A-series, particularly the three butterflies and the fly. However, the strongest similarities are between Flowers in a basket (E), Flowers in a Wan-li vase with a Pyrenean Turk’s Cap Lily and a Tulip (D1) and Flowers in a berkemeyer with three Tulips and a Siberian Iris (D2), which are dated to the years 1605 and 1606 respectively. It is likely that this is a pastiche where extracts were taken from an early flower piece as well as from the earliest dated works of Ambrosius Bosschaert I. The blue and purple Columbine also suggest that this is a somewhat later work. With regard to the corresponding Poet’s Narcissus in these paintings, in Flowers in a basket (E) there is a Bumblebee sitting on the flower, while in Flowers in a berkemeyer with three Tulips (B2) and Flowers in a Wan-li vase with a Siberian Iris and two Tulips (B3) it is a Half Moon-spot Hoverfly. An identical basket with flowers appears in a signed work by Ambrosius Bosschaert I of 1614, now in the Getty Museum in Los Angeles, and once again in a work, that is quite possibly earlier, now in the Kunsthistorisches Museum in Vienna.94 In the latter work we see the same Rose as in Flowers in a berkemeyer with three 93 Provenance: collection of the heirs of J.T. Berkemeier, Rotterdam, bequest to the museum in memory of the owner 1956. Literature: Amsterdam 1934, p. 66, no. 344, as ‘Flemish school, early 17th century’; Vienna 1935, p. 33, no. 177, as anonymous; Amsterdam 1935, p. 7, no. 23, as by Ambrosius Bosschaert I; Strasbourg 1949, no. 5, as by Ambrosius Bosschaert I; Dordrecht 1955, p. 7, no. 20, as attributed to Ambrosius Bosschaert I; Bol 1960, p. 89, no. 9, as by Johannes Bosschaert; mus. cat. Rotterdam 1962, pp. 29-30, no. 2417, as Johannes Bosschaert; Bol 1969, pp. 31-33, Fig. 28; Bergström 1977/79, p. 179; Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 39, 92, no. 42, as by Johannes Bosschaert; Meijer 1989, pp. 20, 60-61, no. 6, as early follower of Ambrosius Bosschaert I; Segal 1996a, I, p. 131, Fig. 29; Sotheby’s, London, 3 December 2014, p. 131, Fig. 129 under no. 35. 94 Copper, 28.6 x 38.1 cm, dated 1614, Los Angeles, The J. Paul Getty Museum, inv. no. 83.PC.386; panel, 23 x 30 cm, Vienna, Kunsthistorisches Museum, inv. no. 82. About the painting in Los Angeles see Bergström 1983a, p. 69, no. 3, Fig. 4; Grimm 1988, p. 113, Fig. 58 and Grohé 2004, p. 43, Fig. 109. For the Bosschaert in Vienna see Bol 1960, p. 59, no. 5, Pl. 16b; Meijer 1989, p. 60, Fig. 6.1, with a caterpillar in the right foreground as in D2.

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C H A P TE R 5 | T HE PREHISTORY OF T HE FLOWER PIEC E

Tulips and a Siberian Iris (D2), and the same Rose upside down as in the Basket with flowers (E). The basket also appears in several signed works by Johannes Bosschaert (ca. 1607-1628/29). Since his earliest known dated work is a study executed in 1623 it is nearly impossible that they were painted before 1620.95 Because of these similarities and differences, the work has variously been assigned to Ambrosius Bosschaert I, or attributed to him, or attributed to a follower, or to Johannes Bosschaert, or it was even labelled as anonymous.96 Incidentally, art historians do sometimes change their minds about previous attributions after meticulous consideration and especially in the light of new evidence. Flowers in a basket (E) can be classified as a follower of Ambrosius Bosschaert I. In addition, the artist who painted it must have seen very early (but probably not earlier than approximately 1610) works that have been attributed to Ambrosius Bosschaert I including work from 1606 and later. If this is a very early work by Johannes Bosschaert, from the period before his father’s death in 1621, or perhaps a bit later, we could assume that early work could have been kept in the family or remained accessible to him.97 The above comparative analysis reveals a great many similarities among the examples chosen for the series. I have also suggested, that some works should perhaps be attributed to Ludger tom Ring II and others to Ambrosius Bosschaert I without making a claim for complete certainty in all these attributions. A carefully considered choice was made here of works that raise questions deserving further investigation, or for which a definite solution is perhaps impossible. Such situations occur fairly often in art-historical research – more often than some art historians and art dealers are perhaps aware of, or prepared to divulge.

95 96 97

Fig. 5.27 (E) Pastiche after Ambrosius Bosschaert I, Flowers in a basket.

See Chapter 6. See note 93. This attribution was first put forward by Bol. Bol 1960, p. 89, no. 9.

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CHAPTER 6

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6

The Early Period (ca. 1600-1620)

In the contemporary literature about the earliest creators of flower pieces there is frequently reference to ‘painting’. This term is appropriate to the application of paint, watercolour or body colour, for example when Arnoldus Buchelius discusses Elias Verhulst (ca. 1575-1601) in his Res Pictoriae in 1598. Following his visit to Verhulst, Buchelius wrote: ‘uxor monstrabat omnium fere florum vivas ab eo depictas imagines’ (‘his wife would show him living flowers of nearly every kind, so he could paint pictures of them’).1 In 1604 Carel van Mander wrote about Lodewijck Jansz van Valckenborch (active 1540-1568), whom he calls Lodewijck Jansz den Bosch, in the following terms: There was also a certain Lodewijck Jansz van den Bosch, born in ‘s-Hertogenbosch, who was outstanding in making fruit and flowers, which he sometimes made as if standing in a glass of water, and he bestowed a great deal of time and patience on making these with great authenticity, so that everything appeared to be natural: also making the heavenly dew on the little flowers and herbs: and also below a few little creatures, butterflies, flies, and the like, as may be seen in various places by those who admire these things. He was also outstanding in creating images, as may be seen at art connoisseur Melchior Wyntgis’s in Middelburg, there is a very beautiful Jerome there from his hand; four great roundels, very lovely unparalleled fruit as well as flowerpots and other little pieces, executed with great skill and sincerity. Jaques Razet also has a glass with flowers by him, very finely painted: and because I don’t know much more to write about him, I place him here alongside his fellow countryman, or compatriot from his hometown of ‘s-Hertogenbosch, so that his name and fame will live in memory among painters.2 Also Jacques de Gheyn reports having seen a flower piece by Lodewijck Jansz den Bosch with Jacob Razet in Amsterdam in 1591.3 Before the painted flower piece emerged as a highly sought-after genre, it was preceded in the last quarter of the sixteenth century by drawings and prints of flower pieces produced in the Low Countries. Probably the oldest example of a print of a flower piece is the one Adriaen Collaert (ca. 1560-1618) included in his Florilegium about 1590 (Fig. 6.1).4 The earliest dated print, on the other hand, is one Hendrick Hondius I (1573-1650) made in 1599 after a painting by Elias Verhulst, for whom up to the present day no other work is known (Fig. 6.2).5 It is possible that this print was based on a flower piece by Verhulst (most likely a watercolour) that was also seen by Buchelius in 1598.6 The print version dis1 2

3

4 5 6

Hoogewerff & Van Regteren Altena 1923, p. 177 n. 1. Van Mander 1604, p. 217r.: ‘Daer is noch gheweest eenen Lodewijck Ians van den Bos, gheboren tot Shertoghen Bosch, die seer fraey was van Fruyten en ghebloemt, die hy t’somtyt maeckte als staende in een glas met water, en gebruycter grooten tijt, ghedult, en suyverheyt in, dat alles scheen natuerlijck te wesen: makende oock op de Bloemkens en Cruydekens den Hemelschen dauw: daer beneffens oock eenighe Beestgens, Vijfwouters, Vlieghkens, en dergheleijcke, gelijck met zijn dingen hier en daer by den liefhebbers mach sien. Hy was oock fraey van beelden als te sien is by Const liefdigen Melchior Wyntgis te Middelborgh, daer van zijner handt is eenen seer schoonen Ieronymus, vier groote ronden, soo branden, Fruyten, als Bloem-potten, en ander stucxkens, seer wel en suyver ghedaen. Oock is by Iaques Razet van hem een glas met bloemen, seer aerdich geschildert: en om dieswille ick niet veel anders van hem weet te schrijven, stel ick hem hier beneffen zijnen Landts man, oft gheboort-stadts genoot, op dat zijnen naem en lof onder den Schilders in gedacht blijve’. The collection of Wijntgis was sold to Archduke Albert. Van Regteren Altena 1983, I, pp. 3, 25. In 1662 a watercolour drawing by Den Bosch was mentioned in the catalogue of a sale held in The Hague, and a vase with flowers at a sale in Frankfurt in 1906. Obreen 1881-1882, V, p. 296, The Hague, 17 April 1662, from the collection of late Johan Christosomus de Backer, dean of the Roman Catholic Church at Eindhoven, no. 15 (‘a piece being a Roemer with flowers, painted in watercolour by Lodewyck Jansz. Van den Bosch’. Sale Bangel, 27 November 1906, unillustrated. We need more evidence to establish, whether or not these really were works by Den Bosch. Amsterdam, Rijksprentenkabinet, inv. no. RP-P-BI-5992. Segal in Amsterdam & ‘s-Hertogenbosch 1982, p. 73, no. 5; for Collaert’s prints see Segal in Osaka, Tokyo & Sydney 1990, pp. 167-169, no. 19. See also Fig. 10.15 including literature. Copenhagen, Statens Museum for Kunst, inv. no. KKSgb5447. Segal in Delft, Cambridge & Fort Worth 1988-89, p. 97, Fig. 6.1; Segal in Osaka, Tokyo & Sydney 1990, p. 49, Fig. 27. See also Fig. 10.3 including literature. Hoogewerff & Van Regteren Altena 1923, p. 177 n. 1.

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Fig. 6.1 Adriaen Collaert, Flowers in a decorated vase, with dropped petals, from the Florilegium, 178 x 129 mm, engraving, Rijksprentenkabinet, Amsterdam. Fig. 6.2 Hendrick Hondius I after Elias Verhulst, Flower piece with African Grey Parrot and Great Spotted Woodpecker, dated 1599, 615 x 406 mm, engraving, Statens Museum for Kunst, Copenhagen.

plays a bouquet with a great variety of flowers in a baroque vase flanked by a parrot, woodpecker and a tortoise. The bouquet has been placed in an open stone niche, although only the top corners of the arch are visible, while the background draws us into an Italianized fantasy landscape with a harbour on the left and mountains on the right.7 Twenty years later Ambrosius Bosschaert I (1573-1621) adopted the open niche with background fantasy landscape in a number of his compositions, filling out the niche to make a complete arch (Fig. 6.16). Some of these works show a bouquet made up strictly of Roses, or they contain a very high percentage of Roses (Fig. 6.14); there is also a work of 1619 with a bouquet placed before a landscape without an arch (Fig. 6.15).8 The birds on either side of the vase in Hondius’s print are typical of some of the early prints. Although this concept found few followers in painting, Roelandt Savery (1576-1639) applied it in a striking manner in a flower piece of 1624 (Fig. 6.13). In this particular painting, the two birds, a Cockatoo and a Kingfisher, seem to embody each other’s antithesis: the vita activa and the vita contemplativa respectively. Two birds also appear in a print made after a painting by Jacob Savery (ca. 1566-1603) which must have been created before Savery’s death in 1603 (Fig. 10.4); and also in a print by Nicolaes de Bruyn (1571-1656) that seems to have been inspired by Savery (Fig. 10.33).9 In the 1590s a series of six prints was published in Frankfurt with the title Polyptoton de Flore, executed by Johann Theodor de Bry (1561-1623) after Jacob Kempener (active 1586-1650). The series showcases bouquets in baroque vases with inscriptions that compare the transience of flowers with the transience of human life (Figs 10.24-29). The composition of these prints consistently exhibits all the elements that typify the earliest period of Dutch and Flemish flower pieces.

Characteristics of the Earliest Flower Pieces

In many respects, flower still lifes of the first two decades of the seventeenth century may be distinguished from later still lifes. The characteristics itemized below apply in the first place to the flower piece, but are also valid for other types of flower still lifes. These criteria should be understood as general guidelines. We also sometimes encounter these elements in later periods. For example, after the middle of the seventeenth century, Ambrosius Brueghel (1617-1675) often based his composition and selection of flowers on those of his predecessors, such as Jan Brueghel I (1568-1625) and Osias Beert I (ca. 1580-1623/24). 7 8 9

Based on this engraving it has been possible to attribute another composition to Elias Verhulst; see Chapter 10. Segal in Osaka, Tokyo & Sydney 1990, pp. 189-190, no. 34. Segal 1985-86, pp. 55-56, Fig. 1.

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- The paintings are usually painted on wood panel or copper, even the larger formats which later were usually painted on canvas.10 - Smaller formats – up to approximately 50 x 35 cm – are predominant. Formats larger than approximately 60 x 40 cm do not occur, apart from certain exceptional works. - The still life occupies a relatively large portion of the picture plane, on average eighty to ninety per cent. - The background is usually an even blackish grey, or has a grey niche made of natural stone, or on rare occasions – in the works of Ambrosius Bosschaert I – an open arched niche with a landscape in the background. - The foreground usually displays a table-top in a lighter tone, with or without a plain narrow plinth.11 - In some instances, the construction of the painting can be traced. Many details of an underdrawing in black chalk are visible under lightly coloured or overcleaned pigments in the works of Ambrosius Bosschaert I (and his apprentices), Osias Beert I and Andries Daniëls. The composition has generally been constructed starting in the front and working to the back: first the flowers and leaves in the centre, which receive the most lighting, then those that are more in shadow, then the container, next the foreground and finally the background. - In many cases the design and execution are somewhat unpolished. This applies to the material expression and the position of the vases, which sometimes look improbable. Glass usually lacks transparency. - Perspective is not clearly developed. Any perspective lines converge approximately in the middle of the painting. - Both the overall composition and the bouquet are symmetrical; there is a clear vertical central axis. - The flowers are more or less arranged in rows. - The flowers are shown predominantly on a single plane, as if opening out to the front. The flower bouquet thus displays relatively little depth, something that also arises due to the fact that little use is made of shadows and shading towards the background. - The individual flowers are completely visible and do not overlap much. - Frequently there are too many flowers for the container, which makes it difficult to achieve an effect of realism with regard to the bouquet, especially in larger flower pieces. - The proportion of the flowers relative to each other frequently does not coincide with their actual physical dimensions: often large flowers are represented too small and small ones too large, partially also because painters were aiming for a harmonious composition. It seems likely that physical dimensions were seldom recorded in preparatory studies. - Often the true length of a flower’s stem has not been taken into account, which means that we may view a flower with a short stem at the top of the bouquet. - Details in the stems and leaves are usually not worked out, leaving relatively little difference in the shades of colour. - The palette is colourful, but in general the colours have not been applied according to a clear plan or design. There are a great many different colours, but few transitional tones. Adjacent colours often contrast to a high degree. - The details are executed with relatively few tints and transitional tones. - The foliage usually plays a minor role in the colour composition. - Lighting is even and flat, more or less equally distributed over the entire picture plane. Little use has been made of light and shade effects. In the paintings of Osias Beert I, and even more in the works of Andries Daniëls, the highlights and shadows are very pronounced but have been distributed so evenly that the light becomes diffuse anyway. - The containers can be costly vases in Wan-li porcelain, or sometimes majolica, Venetian glass or glass à la façon de Venise, roemers manufactured in the Low Countries or Germany, or beakers with prunts, knops and rosettes.12 10

For example, the Flower piece with Cockatoo and Kingfisher by Roelandt Savery (panel, 130 x 80 cm) (Fig. 6.13) and the Flowers in a serpentine vase, a basket, an Eastern basket and a glass vase by Osias Beert (panel, 96 x 120 cm); Segal in Osaka, Tokyo & Sydney 1990, p. 182, no. 30. 11 Plinth refers to the edge of the table or ledge of the balustrade, elsewhere the term is used to mean the entire stone surface in the foreground. 12 Glass à la façon de Venise was produced from the late sixteenth century in the Low Countries, the Rhineland and in England. Prunts are flat and knops are thorn-like protrusions. Roemers, with their round bowl, and berkemeyers, with their conical bowls, always have stems with either prunts or knops. These glasses were manufactured in the Low Countries and

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- The assortment of flowers is more limited than in the following period and consists largely of varieties of bulbs and species with rhizomes. Quite often we also see tubers, such as Cyclamen, and fragrant herbs, such as Rosemary, are also frequently allotted a place. There is a relatively high frequency of the species that were used in religious painting in the previous centuries, particularly small blooms such as Liverwort (Hepatica nobilis) and Sweet Violet (Viola odorata). The following flower species are encountered with relatively greater frequency in these early works: Snake’s Head Fritillary (Fritillaria meleagris), Lily of the Valley (Convallaria majalis), full Kingcup (Caltha palustris plena), Anemones, Apothecary’s Rose (Rosa gallica cv. Officinalis), Damask Rose (Rosa x damascena), Sweet Briar (Rosa rubiginosa), French Marigold (Tagetes patula), Violet, Annulated Sowbread (Cyclamen hederifolium), Borage (Borago officinalis), Lavender Cotton (Santolina chamaecyparissus), along with various Irises, Narcissuses and Crocuses. In large bouquets, the number of species can reach over a hundred. A large flower piece by Jan Brueghel I, for example, has one-hundred-andthirty species and varieties of flowers and ten species of insects (Fig. 6.26). - Generally, the flowers and leaves are shown undamaged and depicted at their height of development, possibly with a number of buds at various stages, especially in the representations of Roses and Carnations. Occasionally a single leaf displays a few holes as if eaten away, usually a Rose leaf lower down in the bouquet. - More than in the later periods, at this time we see the same flower painted repeatedly in different paintings. This was not only done by the painter him or herself, but also by members of the artist’s family, apprentices, or even by colleagues. These multiple duplications might be accounted for, as they were probably based on studies or earlier painted works. It also happened that a specific flower was simultaneously painted in different works or in reverse. - Frequently we see a Carnation in the foreground lying beside the vase, sometimes accompanied by one or more other flowers. - Now and then shells are included in the supplementary work. - Butterflies, caterpillars, dragonflies and grasshoppers appear regularly, but the varieties of species are limited. The most commonly painted beetles are Ladybirds and Carrion Beetles. - Relatively frequently what we have before us are artist’s ‘replicas’ (literally repeats), or versions (closely related compositions), or studio work where a larger or smaller portion of the painting was carried out by one or more apprentices. This overview forms the basis of the comparative analysis of flower still lifes in the later periods as presented in the following chapters, which will be augmented with the specific details of individual artists. In general, it may be assumed that technical skill was constantly developing. From their lesser technical perfection, one might conclude that the earlier flower still lifes were inferior to the later ones. On the contrary, these early works are counted among the most highly valued flower pieces. Such valuation lies not with technical perfection or with a successful reproduction of nature. These paintings, rather, are the product of an artist’s abilities of mental concentration and skill in observation – the capacity to focus close attention on the subject and its minutiae – driven by the will to represent something that had never been represented in such a way before. It is as if the artists themselves looked with admiration and wonder at the profusion that had been brought forth by Creation, and the viewer, too, feels the overpowering force of such splendour. Every one of the earliest painters of flower pieces developed his or her own artistic approach – a style which also found a following in later periods. The flower piece was ‘discovered’ in this early period, enthusiastically embraced and exuberantly cultivated. In the following periods artists applied themselves to improving material expression, as well as to striving to express a certain atmosphere and expanding the different subgenres of flower still lifes, for example by combining them with other types of still lifes, such as fruit still lifes and vanitas still lifes. Alongside the true flower piece, the vertical flower wreath also developed, but probably not before 1610. The following sections, together with the next few chapters, focus on Dutch and Flemish artists of the flower piece.13

13

Germany. Bramble knops are made up of a number of little beads of glass in the shape of a bramble. Their production began several decades later. A rosette is made up of a number of small beads of glass around a larger one or one with a different colour. For more extensive biographical information see the databases RKDartists& (https://rkd.nl/nl/explore/artists), Cornelia of the University of Leuven (https://projectcornelia.be) and ECARTICO of the Amsterdam Centre for the Study of the Golden Age of the University of Amsterdam (http://www.vondel.humanities.uva.nl/ecartico). When a book has appeared in different editions – such as Bergström (Swedish edition 1947, English edition 1956) and Hairs (first edition 1956, latest edition 1985) – the one referred to here is the latest edition, which is usually a revised edition. This applies also to museum

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Artists of the Northern Netherlands Gillis van Coninxloo III

One of the earliest flower pieces extant is a work that can be attributed to Gillis van Coninxloo III (15811619/20) (Fig. 6.3). For a long time, it was not clear which artist could be identified with this Gillis van Coninxloo. After all, at least fifteen artists named Van Coninxloo (or Conincxloo, Koningsloo) were active in the sixteenth and seventeenth centuries, most of them members of the same family; at least three had the first name Gillis, which has led to some confusion.14 Gillis I was born in Brussels and died in Antwerp in 1544. In the same year that he died his wife bore him a son Gillis II.15 Gillis II is best known under the name of Gillis van Coninxloo and known primarily for landscapes, although he also painted a couple of flower pieces. Gillis II died in December 1606. In the inventory of his estate drawn up in January 1607 ‘eenige stucxgens met bloemen’ (‘some works with flowers’) are listed. In the auction of his chattels in March 1607 at least two flower pieces were sold.16 Gillis II and his wife Maria Robroeck had a son, Gillis III, who was born in Antwerp in 1581 and died in 1619 or 1620; he was one of his father’s apprentices. Gillis III may actually be the artist of the Flower piece with a Madonna Lily with the monogram: EV . CL OO x. (Fig. 6.3). A similar signature can be found on a pair of flower pieces that were auctioned in 1996.17 None of these works are dated.

14

15 16 17

catalogues. I refer to Van der Willigen and Meijer 2003 primarily if there are clear differences between their opinions and my own experiences and interpretations, because my research has, to a large extent, been repeated. Frequently I have had access to more information than is preserved in the RKD. In addition, much use has been made here of the biographical information in Bredius, Obreen, Rombouts and Van Lerius, and the published sources by Denucé and Duverger; the most well-known biographies and lexicons of every period; and many (but not all) early sale catalogues, as well as sale catalogues from the most important auction houses, who have kindly been sending them to me for more than four decades, and for which I would like to express my sincere gratitude. See note 18. Gillis III is considered to be the actual painter of the still life, which means my attribution in 1990 to Gillis van Coninxloo the Younger (1581-1619/20) (Segal in Osaka, Tokyo & Sydney 1990, pp. 174-176, no. 25) has been adopted (Taylor 2000, pp. 135-136 and Van der Willigen & Meijer 2003, p. 65). A pair of flower pieces were sold at Christie’s in London on 5 July 1996, no. 328 (panel, 32.6 x 25.2 cm), as attributed to Nicolaes Gillis (1592/93-in or after 1632), according to my own evaluation. The discovery that these two paintings were works of Gillis van Coninxloo III was described by Taylor after the signature had been made visible during a restoration. Taylor 2000, pp. 131-138. In literature this Gillis is referred to as Gillis III because of confusion regarding a historical document left by the wife of Gillis I at her death in 1562. In this document, she reported that she had a ten-month-old son at the time of her husband’s death. However, this is not a second son, but a reference to the same son. De Roever 1885, p. 42. Montias Database, inv. nos 733-0180 and 733-0393. Panel, 32.6 x 25.2 cm, Christie’s, London, 5 July 1996, no. 328; see Taylor 2000.

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Fig. 6.3 Gillis van Coninxloo III, Flower piece with a Madonna Lily, panel, 62.5 x 42.7 cm, Cultural Heritage Agency of the Netherlands on loan to the Noordbrabants Museum, ‘s-Hertogenbosch.

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Gillis van Coninxloo III, Flower piece with a Madonna Lily (Fig. 6.3) Panel, 62.5 x 42.7 cm, signed lower left in grey: EV . CL OO x (‘EV’ and ‘CL’ in monogram) Cultural Heritage Agency of the Netherlands, inv. no. NK 1801, on loan to the Noordbrabants Museum, ‘s-Hertogenbosch, inv. no. B 12.055 RBK.18 1 Pot Marigold 2 White Rose 3 Carnation 4 French Marigold 5 Garden Daisy 6 Great Periwinkle 7 Kingcup 8 Snake’s Head Frilillary 9 French Marigold 10 Spanish Iris 11 Tapered Tulip 12 Madonna Lily 13 German Flag Iris 14 Tapered Tulip hybrid 15 Kurdistan Tulip hybrid 16 Daffodil 17 Alpine Squill 18 Snake’s Head Fritillary 19 Columbine 20 Batavian Rose

Calendula officinalis Rosa x alba Dianthus caryophyllus plenus bicolor Tagetes patula Bellis perennis var. hortensis Vinca maior Caltha palustris plena Fritillaria meleagris Tagetes patula plena Iris xiphium mulicolor Tulipa armena Lilium candidum Iris germanica Tulipa armena x T. mucronata Tulipa stapfii x T. armena Narcissus pseudonarcissus Scilla bifolia Fritillaria meleagris alba Aquilegia vulgaris Rosa gallica cv. Batava



Lasius flavus Coccinella septempunctata Lestes sponsa Bombus terrestris Abraxas grossulariata

a b c d e

Yellow Meadow Ant 7-spot Ladybird Emerald Damselfly Earth Bumblebee Magpie Moth Caterpillar

This flower piece has been painted in what we might call a slightly unrefined manner, with flowers that are stiff or static even when drooping. This work should be seen as either a forerunner of works by Jacques de Gheyn II (1565-1629) or, conversely, inspired by that artist’s flower pieces: both Van Coninxloo III and De Gheyn make use of a noticeably high vanishing point. The full Garden Daisy is a species familiar from religious paintings of the fifteenth and sixteenth centuries, which, however, only seldom occurs in early seventeenthcentury paintings. A Ming vase in Chinese porcelain with a foot is otherwise unknown.19 Fig. 6.3a Sketch of the species in Fig. 6.3.

18

19

Provenance: collection A. Loudon, Wassenaar; collection R. Smit, Utrecht; Hans Rudolph Gallery, Berlin 1942; confiscated by the Nazis 1943; ceded to the Staatliche Kunsthalle in Karlsruhe; returned to the Dutch government 1945; on loan to the Gemeentemuseum Arnhem 1952-1982; on loan to the Noordbrabants Museum in ’s-Hertogenbosch. Literature: Van Gelder 1936, p. 160, Pl. XXXVII, as Gillis van Coninxloo I; Hairs 1955, pp. 12, 211, as Gillis van Coninxloo II; Bergström 1956, pp. 52-53, Fig. 42, 300 n. 30, as Gillis van Coninxloo I; Ghent 1960, p. 116, no. 50, as Van Coninxloo II and dated 16(00); Laren 1963, p. 17, no. 65, as Gillis van Coninxloo II and dated 16(00); Dordrecht 1962, p. 23, no. 39, Fig. 20; mus. cat. Arnhem 1965, p. 35, Fig. 39; Hairs 1965, pp. 21, 371, Fig. 3, as Gillis van Coninxloo II; Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 28, 81, no. 21, as Gillis van Coninxloo the Younger (1581-1619/20); Hairs 1985, I, pp. 18-19, II, p. 19; Briels 1987, pp. 238-240, Fig. 304; Segal in Osaka, Tokyo & Sydney 1990, pp. 15, 52, 78, 174-176, no. 25, with identifications; Decoteau 1992, pp. 87-88, Fig. 81, 197; Van der Sloot 1994, p. 36; Taylor 1995, pp. 172, 175, 187, 278-280 n. 9, Fig. 77; Briels 1997, p. 248, Fig. 393, pp. 315-317; Taylor 2000, pp. 134-138, Fig. 4; De Voldère 2001, p. 192, 311; ’s-Hertogenbosch, Enschede & Leeuwarden 2004-05, p. 44. The combination of a Ming bowl with a foot that looks like an upside-down saucer appears in a laid table by Osias Beert (Segal in Amsterdam 2012, p. 39, no. 4).

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Jacques de Gheyn II

Jacques de Gheyn II’s parents were natives of the city of Utrecht, descendants of a ‘noble and honourable lineage’.20 His father, Jacques de Gheyn I (1537-1581), was a painter of stained glass. The family lived for a time in Antwerp, where Jacques II was born in 1565. Afterwards they returned to the Northern Netherlands, taking up residence in the city of Haarlem, where the younger Jacques became an apprentice of the renowned engraver Hendrick Goltzius (1558-1617) in 1585. In 1591 De Gheyn moved to Amsterdam, and in 1595 he married Eva Stalpaert van der Wiele, member of an aristocratic Catholic family originally from Mechelen in the Southern Netherlands. They lived together in Leiden in 1596 and 1597, where the artist was brought into contact with Carolus Clusius and the Hortus Botanicus. De Gheyn’s engraved portrait of Clusius adorns the frontispiece of the renowned botanist’s magnum opus, the Rariorum plantarum historia of 1601 (Fig. 6.4).21 In this engraving we see in the upper left a pot of Tulips with an Orchid (a Lady’s Slipper), and in the upper right a pot holding Turk’s Cap Lily and Snake’s Head Fritillary (all species that were included in De Gheyn’s album now in the Fondation Custodia in Paris, discussed below). In 1601 or 1602 De Gheyn registered in the guild in The Hague, where he resided until his death in 1629. While living in The Hague, De Gheyn received commissions from the Stadhouder Maurits, Prince of OrangeNassau, through the agency of his secretary Constantijn Huygens.22 His apprentices were, amongst others, Zacharias Dolendo (1561-before 1604) and Cornelis Jacobsz Drebbel (1572-1633).23 The greater part of Jacques de Gheyn II’s oeuvre consists of prints on a large range of subjects. In the later 1590s he must have painted at least one flower piece in watercolour.24 A small flower piece dated 1600 with three Tulips and a Snake’s Head Fritillary in a little terracotta vase, plus a Cabbage White Butterfly, a snail, a fly, a Weevil and a caterpillar (Fig. 6.5), is to be found in an album with flower Fig. 6.4 Jacques de Gheyn II, frontispiece of the Rariorum plantarum historia with portrait of Carolus Clusius, 215 x 180 mm, Rijksprentenkabinet, Amsterdam.

20 21 22 23 24

Van Mander 1604, p. 294r. Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1898-A-20584. Literature includes: Segal 1985, pp. 27-30, Fig. 14; Segal in Dresden 2004, pp. 141-142, no. 34; Swan 2005, pp. 62-65 and Alen 2015-16, p. 33. For De Gheyn and his work see Van Regteren Altena 1983 and also Bergström 1956, pp. 44-52; Bergström 1970a; Hairs 1985, I, pp. 197-200, II, pp. 24-25; Segal 1985; Taylor 1995, pp. 128-132; the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. Drebbel invented the first working submarine, amongst other things. A flower piece of 1598 is listed in the sale of the collection of W. Young Ottley in London on 8 June 1814, no. 600; Van Regteren Altena 1983, II, pp. 20, 143, no. 932.

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drawings (some dated up to 1604). We see several flowers from the album repeated in his paintings, as Bergström was the first to observe.25 The album came into the possession of Emperor Rudolf II in Prague and can be found in the Fondation Custodia in Paris today.26 According to Van Mander, Jacques De Gheyn had experimented with the different colours of oil pigments by painting a grid of squares, in order to study the effects of colours on each other.27 After this series of experiments, Van Mander reports that De Gheyn painted: Fig. 6.5 Jacques de Gheyn II, Vase with three Tulips and a Snake’s Head Fritillary, dated 1600, watercolour, 228 x 176 mm, Fondation Custodia, Paris.

25 26 27

Bergström 1956, pp. 50-51, Fig. 41; Van Regteren Altena 1983, II, p. 142, no. 910; Runia & Segal 2007, p. 13. Paris, Fondation Custodia, inv. no. 5655, fol. 2. Van Mander 1604, p. 294v.

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an utterly true to life little flowerpot, which is also now with Heer Heyndrick van Os of Amsterdam, this is very faithfully done, quite amazing for a first beginning. And although his greatest desire is [to paint] figures, in another experiment he took in hand a larger flowerpot, intending to improve on what did not please him in the first one, and painted a large glass with a bunch of flowers upright in it, which he brought to life with great patience and authenticity.28 The small flower piece mentioned by Van Mander (‘een cleen Bloempotken nae t’leven’) is probably a work in oils that has been variously dated to 1601 or 1604: Jacques de Gheyn II, Flower piece with a Garden Tiger Moth (Fig. 6.6) Copper, 19.6 x 13.4 cm, signed and dated lower centre in brown: IDGheyn fecit 160(4?) (‘IDG’ ligated, the last number illegible) Private collection.29 A round brown pot on a narrow foot is standing on a table with a shell lying close by on one side and a caterpillar creeping along on the other. A Garden Tiger Moth is perched dominantly on the front of the pot, its wings outspread, while a Black-veined White Butterfly is just about to alight on the upper left bloom. In the bouquet, we can identify the following flowers: 1 Pansy 2 Love-in-a-mist 3 Lily of the Valley 4 Snake’s Head Fritillary 5 Sweet Briar 6 Tapered Tulip 7 Summer Snowflake 8 Columbine 9 Apothecary’s Rose

Viola tricolor Nigella damascena semiplena Convallaria majalis Fritillaria meleagris Rosa rubiginosa Tulipa armena Leucojum aestivum Aquilegia vulgaris plena bicolor Rosa gallica cv. Officinalis



Arctia caja Aporia crataegi Inachis io Turricula javana

A B c D

Garden Tiger Moth Black-veined White Butterfly Peacock Turrid Caterpillar Java Turrid Shell

In this painting, we find several species recurring from the images in the abovementioned Custodia album.30 The painting seems slightly crude in its strict symmetry, with two layers of flowers and one bloom at the top, and is somewhat stiff compared to De Gheyn’s later works. What is striking is the moth perched on the vase with its unfolded wings, exactly as can be seen in watercolours by Hoefnagel of 1589 (Figs 5.15 and 5.16) and 1594 (Fig. 5.17), as well as in a flower piece by Roelandt Savery of 1603, which also contains a Garden Tiger Moth on a vase and six of the same kinds of flowers, not to mention a White Butterfly and a similar shell (Fig. 6.11). The form and pattern of the composition had therefore been set by Hoefnagel; whether thereafter the idea was first taken up by De Gheyn or Savery will remain unclear so long as the works cannot be securely dated, but perhaps technical research will soon be able to offer some service in this regard.31 De Gheyn produced another early flower piece, a small round work on copper with a diameter of 17.8 cm. In this painting we see a bulbous glass vase with a narrow neck and curled rim, showing on the 28 Van Mander 1604, p. 294v: ‘een cleen Bloempotken nae t’leven, t’welck noch tegenwoordigh is tot d’Heer Heyndrick van Os t’Amsterdam: dit is heel suyver ghehandelt, en nae een eerste begin verwonderlijck. En hoewel zijnen hooghsten lust was tot Figueren, nam hy tot een ander proef onder handen, noch eenen grooteren Bloempot, met meeninghe te verbeteren t’gene hem in den eersten mishaeghde, en maeckte een groot glas, daer in staende eenen tuyl van bloemen, waer in hy groot gedult en suyverheyt te weghe bracht’. 29 Provenance: Koetser Gallery, London 1971; Alfred Brod Gallery, London 1977, as by Balthasar van der Ast; Christie’s, London, 8 December 2015, no. 14, with incomplete bibliography. Literature: Bergström 1973, p. 23, Pl. 7, as by an unknown artist ca. 1600; Hopper Boom 1975-76, pp. 195-198, Fig. 1; Spicer 1979, p. 251, as by Roelandt Savery; Bol 1981f, p. 212; Bol 1982, p. 86; Van Regteren Altena 1983, II, p. 20, no. 31, III, Pl. 1; Segal 1985, p. 25; Segal 1985-86, p. 57, Fig. 3; Hopper 1988, p. 124; Segal 1994, p. 89, Fig. 22, 90; Meijer in Buijsen 1998, pp. 134-135, Fig. 2. Although the work was only known to me from photographic images, I was the first to observe in 1985 that it is signed. 30 Paris, Fondation Custodia, inv. no. 5655. From fol. 1: Garden Tiger Moth; from fol. 2: Snake’s Head Fritillary, Tulip, caterpillar; and from fol. 8: Columbine, Love-in-a-mist. 31 It had not been observed that the work was dated before I described it as such in 1985.

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left the reflection of the studio window and on the right the dispersed light as it penetrates the receptacle. The vase is holding an Apothecary’s Rose, Pansies, full Carnations, and Martagon Lily. The dating of this one too is unclear and contested; the year has been read as 1609 or 1614, and a somewhat later date than the previous flower piece is probable since, while it is true that there are three of the same species as in the Custodia album, these are not completely identical. The vase with its reflections also indicates a later time of execution.32 Fig. 6.6 Jacques de Gheyn II, Flower piece with a Garden Tiger Moth, dated 160(4?), copper, 19.6 x 13.4 cm, private collection.

32 Provenance: private collection, Germany; Eugene Slatter Gallery, London 1958; Captain Edward George Spencer Churchill, Northwick Park, Blockley 1961-1965; Christie’s, London, 28 May 1965, no. 65; Agnew & Sons Fine Art Dealers, London 1966; private collection, United Kingdom 1991; Heinz Family Collection 1999. Literature: Washington 1999, pp. 24, Fig. 26, 83, no. 14, as 1602-1604.

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In 1606 the States General commissioned De Gheyn to execute a flower piece that was intended as a gift for the French Queen Maria de’ Medici.33 Unfortunately, the whereabouts of this work are unknown today. According to Arnoldus Buchelius, Jacques de Gheyn III, refused to sell a large painting by his father for one thousand guilders, a considerable sum of money.34 It is possible that the Vase of flowers with a curtain executed in 1615 and described below (Fig. 6.7), could be the painting that De Gheyn III ended up bequeathing to his nephew Johan Wttenboogaert. In his flower pieces and other still lifes, De Gheyn consistently employed a perspective with a high vanishing point, just as we see in the flower piece by Gillis Van Coninxloo III and in laid table still lifes by his contemporaries such as Osias Beert I, Floris van Dijck (ca. 1575-1651) and Nicolaes Gillis (1592/931632). De Gheyn was a zealous painter of Tulips. One thing that draws our attention in his works is the almost exaggerated drooping state of the flowers – particularly the Tulips – even though the stems of the bouquet actually make a rather static impression. The representation of turbulent water in his vases also comes across as somewhat artificial. De Gheyn’s composition betrays certain influences of the time he spent in Haarlem – influence of both the mannerism of his master Goltzius as well as the style of the painter Carel van Mander (1548-1606). In De Gheyn’s bouquets the flowers are placed quite distant from each other. Much of the time they are outlined with precision following an underdrawing, sometimes according to a slight repositioning in order to achieve more harmony in the composition. There is a greater degree of contrast – both between the flowers and against the dark background – than in the works of his contemporaries, and the grey shading between the petals reveal relatively few transitional tones. The foliage usually plays a minor role in these works, and the leaves are often curled with relatively few colour nuances – dark green with flat greyish white highlights. De Gheyn, as the most essentially representative flower painter from Holland, can be differentiated from Flemish painters and those who settled in the North from the South, who generally display more suppleness of expression. As early as 1617, in a letter to Sir Dudley Carleton, Charles I’s ambassador in The Hague, Georg Gage, the English envoy on the Continent, compared De Gheyn’s style with that of Jan Brueghel I and revealed his preference for Brueghel’s morbidezza – suppleness and softness – as opposed to De Gheyn’s use of contrast and the harshness of his angular style: And howsoever yow esteeme there your Jaques de Ghein, yet we preferre by much Brugel, because his thinges have neatnesse and force, and a morbidezza, which the other hath not, but is cutting and sharpe (to use painters phrases) and his things are to much ordered.35 It must be noted, however, that De Gheyn was certainly an original artist, something that is noticeable not only in his drawings and engravings, but also in his paintings, such as a vanitas still life of 1603 that includes a Tulip and a niche, above which we read the carved inscription Humana Vana, plus a vanitas still life with books and plaster busts of 1621; both of these are forerunners of the vanitas paintings of later artists.36 The influence of De Gheyn’s style can to a certain extent be found in the works of Jacob Vosmaer (ca. 1584-1641). Of De Gheyn’s works, six painted flower pieces are now extant, in addition to a number of drawings of, or with, flowers, plus the famous album in Paris.37 Among these items are, in addition to the abovementioned earliest works of 1600 and 160(4?), a painting of 1612 now in the Mauritshuis in The Hague (on loan from the Haags Historisch Museum, The Hague); two works of 1613 and 1614, now in private collections; and a painting of 1615 in the Kimbell Art Museum in Fort Worth.38 33 Resolution of the States General of 30 November 1606: ‘Geadviseert wesende op ’t copen vanden blompot, om door de here van Buzanval te doen presenteren aen de Coninginne van Vrankryk, ende geresolveert, dat men den schilder, die den bloempot geschildert heeft, inde vergaderinge sal ontbieden ende daervoor presenteren 1000 gl., sonder meer’ (‘Being advised in the purchase of the flowerpot, to be presented by the Lord of Buzanval to the Queen of France, and resolved that the painter who has painted the flowerpot shall be offered and presented therefor in the session 1,000 guilders, no less’); cited in Hairs 1985, I, p. 442 n. 666, with sources. 34 Van Regteren Altena 1935, p. 102. 35 Rooses & Ruelens 1887-1909, II, pp. 119-120. 36 Panel, 82.5 x 54 cm, New York, The Metropolitan Museum of Art, inv. no. 1974.1 (see Segal 1994, pp. 15, 17, Fig. 10); panel, 117.5 x 165.4 cm, New Haven, Connecticut, Yale University Art Museum, inv. no. 1957.36. 37 Van Regteren Altena 1983, II, pp. 20-43, nos 29-43, who here summarizes 15 works based on various sources, but of these several may be references to the same work. Brenninkmeijer-de Rooij 1996, (pp. 41, Fig. 41, 43) erroneously attributes a watercolour with six flowers on parchment to Jacques de Gheyn. This work is in another album that belonged to Emperor Rudolf II and is now in the collection of the Österreichische Nationalbibliothek in Vienna (Cod. min. 42 fol. 132). The flowers do not display the slightest similarity to the flowers in the Custodia album nor to any other flower piece by De Gheyn. 38 Information regarding all dated works and all signed flower still lifes by Jacques De Gheyn II, plus all known flower

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Jacques de Gheyn II, Vase of flowers with a curtain (Fig. 6.7) Panel, 109.8 x 74.5 cm, signed and dated: JDGheyn Fe. 1615 (‘JDG’ ligated) Kimbell Art Museum, Fort Worth, Texas, inv. no. AP 2008.01.39 Presumably this painting was given as gift by the artist to his son, Jacques de Gheyn III, in 1629, who, according to Arnoldus Buchelius, later refused an offer of one thousand guilders for the work. In his will of 1641, Jacques III bequeathed it to his nephew Johan Wttenboogaert: ‘den grooten blompot daer een tros leliën boven utcomt geschildert van des comparants vader zaliger, soe die staet in sijn ebben lijst besloten in een houten casse’ (‘the large flowerpot with a bunch of lilies coming out at the top, from the person appearing’s blessed father, in an ebony frame enclosed in a wooden case’).40 The history of the painting’s later ownership is unclear. It is certain, however, that it was in the possession of the Lady of Sinte Annaland (a municipality in Zeeland), who put it up for auction in The Hague in 1725, where it is listed as ‘A Flower-piece, by Jacobus de Gheyn, height 3 foot 6 thumbs, width 2 foot and a half thumb’.41 As measured in Rhineland’s feet and thumbs, these are the dimensions of the 1615 painting; it is also unlikely that a second work in such a large format created by De Gheyn would have remained unknown all these years. This leads one to suspect that at some time the painting was in the possession of Constantijn Huygens, who is known to have had great admiration for De Gheyn. In that case, it could have been inherited by his daughter Suzanna Huygens, who married Philips Doublet, who was Lord of Sinte Annaland from 1650. To my knowledge there is no other flower piece with so many Tulips – twenty in this one painting. A few works by Jacob Marrel (1613/14-1681) and Hans Bollongier (ca. 1600-ca. 1673) from the period of the Tulip Mania around 1640 have up to eleven Tulips (Fig. 7.28), and a work by Jan Philip van Thielen (1618-1667) has eighteen (Fig. 8.124). The identifications of the Tulips are rough estimations based on their external features and by comparison with known botanical Tulips. The number of diagnostic characteristics of the species, such as the inner side of the petals, the stamens and the leaves, are for the most part not within view. Around 1630 and thereafter Tulips received hundreds of names based on their cultivators, giving rise to much overlap between the varieties, which means there is no point in referring to these early cultivars by such names. Most of De Gheyn’s Tulips are closely related and may be grouped under the Tapered Tulip (Tulipa armena) and hybrids of it. This is a species with a great deal of variety, existing in many different colours from white and yellow to red and purple, and also in bi-colour forms. It is therefore not surprising that this ‘species’ is described under different names (such as Tulipa suaveolens and T. schrenkii, and also T. gesnerana, which includes a number of hybrids). Various kinds of Tulips and other flowers can be identified in the early work of Jacques de Gheyn II, and also in the abovementioned album now in the Fondation Custodia in Paris.42

drawings including the Custodia album, are deposited in the Segal Still Life Documentation in the RKD in The Hague, accompanied by extensive descriptions and provided with photographic images and identifications. 39 Provenance: (presumed) Jacques de Gheyn III; bequest to his nephew Johan Wttenboogaert 1641; (reputed) collection of Constantijn Huygens, The Hague; his daughter Suzanna Huygens, who married Philips Doublet, Lord of Sinte Anneland from 1650; (certain) collection of the Lady of Sinte Anneland, sale The Hague, 6 November 1725, no. 55 (Hoet 1752, I, p. 312); (probable, according to Van Regteren Altena 1983) sale H. de Winter & J. Yver, Amsterdam, 27 April 1774, no. 70; collection of J.F. Wolschot; sale Antwerp, 1 September 1817, no. 174 (as canvas on panel); (certain) collection White, London 1915; sale Brussels, 10 November 1923, no. 3; J. Goudstikker Gallery, Amsterdam; Leggatt Gallery, London 1929; private collection, London 1935; Charles Beddington Gallery, London 2007, sold to the Kimbell Art Museum in 2008. Literature: Bredius 1915a, p. 127; Hoogewerff & Van Regteren Altena 1928, p. 92; Van Regteren Altena 1935, pp. 23, 102; Van Gelder 1937, p. 84; Bergström 1947, pp. 53-55, Fig. 40; Bergström 1956, pp. 47, 49, Fig. 40; Bernt 1948 (1962), IV, no. 100; Bergström 1970, p. (6), Fig. 1; Bol 1981f, p. 212; Bol 1982, pp. 85-86; Van Regteren Altena 1983, I, pp. 112-113, 128-129, II, p. 21, no. P41, III, Pl.10; Hairs 1985, I, pp. 198, 442 n. 668, II, p. 24 (twice, as 1613 or 1614); Segal 1985, p. 28; Segal in Osaka, Tokyo & Sydney 1990, p. 187 under no. 32; Blankert 1991, p. 110 n. 1 under no. 78; Gemar-Koeltzsch 1995, II, p. 377, no. 135/3; Blokhuis in Melbourne & Canberra 1997-98, p. 92 under no. 3, pp. 110-111 under no. 8 and Fig. 8e, p. 216; Meijer in Buijsen 1998, pp. 137-138; Ertz in Vienna & Essen 2002, p. 38 under no. 3, and p. 296 n. 11 under no. 100. 40 Bredius 1915a, p. 127; Hoogewerff & Van Regteren Altena 1928, p. 92 and Van Regteren Altena 1935, p. 102. 41 ‘Een Bloem-stuk, van Jacobus de Gheyn, h. 3 v 6 d. br. 2v. en een half d’. A Rhineland’s foot was 31.39 cm and was subdivided into 12 thumbs. Sale The Hague, 6 November 1725, no. 55, sold for ƒ 28-10 (Hoet 1752, I, p. 312). 42 Correspondences – identical or similar (in parentheses) – with items in the Custodia album dated 1600-1603: no. 3 with Custodia fol. 2 (from 1600); no. 4 with fols 13 and 14; no. 21 with fol. 5; no. 23 with fol. 3; no. 26 with fol. 7; no. 35 with fol. 2; (no. 28 with fols 9 and 18; no. 30 with fol. 17); correspondences with the flower piece of 1612: various Roses, various Tulips, Snake’s Head Fritillary, German Iris and Lily of the Valley; correspondences with the flower piece of 1613: various Tulips, various Roses, Pansies and Lily of the Valley.

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Fig 6.7 Jacques de Gheyn II, Vase of flowers with a curtain, dated 1615, panel, 109.8 x 74.5 cm, Kimbell Art Museum, Fort Worth, Texas.

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1 Provins Rose 2 Batavian Rose 3 Snake’s Head Fritillary 4 Pansy 5 Lily of the Valley 6 Red Tulip 7 English Iris 8 Poppy Anemone 9 Tapered Tulip 10 English Iris 11 Purple Tulip 12 Golden Narcissus 13 Purple Tulip hybrid 14 Tapered Tulip 15 Tapered Tulip hybrid 16 Tapered Tulip hybrid 17 Red Tulip hybrid 18 Red Tulip hybrid (2x) 19 Red Tulip 20 Fire Tulip 21 Tapered Tulip 22 Columbine 23 Columbine 24 Danube Tulip hybrid 25 Purple Tulip 26 Purple Tulip 27 German Flag Iris 28 Martagon Lily 29 Small Iris 30 Madonna Lily 31 Dog Rose 32 Blunt Tulip hybrid 33 Tapered Tulip 34 Tapered Tulip 35 Red Tulip hybrid 36 Carnation 37 Purple Tulip hybrid 38 Red Tulip hybrid 39 Spanish Iris 40 Damask Rose 41 White Rose 42 Forget-me-not 43 Lily of the Valley 44 Periwinkle 45 Austrian Briar 46 Sweet Briar 47 Carnation 48 Carnation

Rosa x provincialis albescens Rosa gallica cv. Batava Fritillaria meleagris Viola tricolor Convallaria majalis Tulipa agenensis albescens Iris latifolia purpurescens Anemone coronaria pseudoplena Tulipa armena luteo-rubra Iris latifolia indigofera Tulipa undulatifolia marginata Narcissus tazetta subsp. aurea Tulipa undulatifolia x T. armena Tulipa armena bicolor Tulipa armena x T. agenensis bicolor Tulipa armena x T. agenensis marginata Tulipa agenensis x T. hungarica Tulipa agenensis x T. armena albo-rubra Tulipa agenensis Tulipa praecox Tulipa armena bicolor grandiflora Aquilegia vulgaris plena alba Aquilegia vulgaris subplena Tulipa hungarica x T. agenensis Tulipa undulatifolia bicolor Tulipa undulatifolia Iris germanica Lilium martagon Iris lutescens Lilium candidum Rosa canina Tulipa mucronata x T. armena bicolor grandiflora Tulipa armena striata Tulipa armena alba Tulipa agenensis x T. armena lutea Dianthus caryophyllus bicolor Tulipa undulatifolia x T. armena Tulipa agenensis x T. armena Iris xiphium Rosa x damascena duplex Rosa x alba plena Myosotis palustris Convallaria majalis rosea Vinca minor Rosa foetida Rosa rubiginosa Dianthus caryophyllus cinnabarinus subplenus Dianthus caryophyllus albus

A B c D

Cynthia cardui Euthrix potatoria Hyles gallii Lacerta agilis erythronotus

Painted Lady Butterfly Drinker Moth Bedstraw Hawk Moth Caterpillar Sand Lizard

Fig. 6.7a Sketch of the species in Fig. 6.7.

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Jacob Vosmaer

Jacob Vosmaer, the son of Wouter Vosmaer, was born in Delft about 1584. As a young man he travelled to Italy, but after a journey of six or seven years was back in his native city before 1608. In 1613, he became a member of the guild of painters and in 1633 one of its deans. He died in Delft in the year 1641. At the time of his second marriage in 1629 a son is recorded, the 19-year-old Jan Vosmaer (ca. 1610-before 1641), who was also a painter but did not survive his father. In addition to this son Jan, Jacob’s nephews Daniël (1622-after 1666) and Abraham Arentz Vosmaer (1618-after 1660), and Jakob Mogensen Ulfeldt (ca. 1600ca. 1670) served as his apprentices. Jacob Vosmaer was a highly valued citizen of Delft; he was a major in the local militia and participated in a military campaign in Brabant.43 Jacob’s style of painting is reminiscent of the style of Jacques de Gheyn II, with large, somewhat top heavy, bent and drooping flowers. His compositions, however, display a greater degree of modelling in space, more effective lighting with large, fluid highlights, and more skillful and marked scrolling of petals. His leaves and stems show more arching or crimping along the edges which tends to give a slightly forced impression. Characteristic of his work are the somewhat withered petals dropped from the bouquet that we see lying in the foreground, their stamens in disarray – this is a naturalistic detail seldom encountered in just this way in the works of other artists. It is especially noticeable in a flower piece of 1618, in which the curl pattern of these spent blooms is repeated in the tail of a little mouse on the other side of the vase and in the tousled, almost waving upper petals of the Crown Imperial (Fig. 6.8).44 A fruit piece, landscapes and a marine painting are recorded in seventeenth-century inventories as well as by Dirck van Bleyswijck in his 1667 Beschryvinge der stadt Delft.45 However today the only works known by Vosmaer are flower pieces, one being a combination fruit and flower piece. Of his flower pieces, there are several versions of a painting of flowers in an earthenware vase placed in a niche with a Crown Imperial towering at the top of the bouquet; these works are dated 1613, 1616 and 1618.46 A smaller flower piece dated 1618 is now in the Reiss-Engelhorn-Museen in Mannheim.47 Another work dated 1619 is in Museum Prinsenhof in Delft (Fig. 6.9). There are also several undated works and copies extant. The inventory of Jacob Vosmaer’s estate lists 104 paintings, of which nine are attributed to him, while thirteen other flower pieces are possibly also partially from his hand.48 Bredius found twelve different flower pieces by Jacob Vosmaer in Delft inventories between 1644 and 1794.49 The suggestion made by Brenninkmeijer-De Rooij and adopted by Liedtke that Vosmaer used Dodonaeus’s herbal as a source lacks plausibility.50 According to documents in the municipal archives of Delft, Vosmaer produced two albums of watercolour paintings of flowers. One of these is most likely the Tulip book in the Museum Prinsenhof in Delft that was recently discovered to be one of his works.51 A little work that was previously attributed to Jacob Vosmaer – signed and dated J.W.V. 1639 – recently turned out to be a work from a much later hand.52 The work of Johannes Baers (active 1624-1641) bears strong similarities to the work of Vosmaer.53

43 Bredius 1915-22, VII, pp. 268-273; Bol 1982, pp. 89-90. 44 Zurich 1956, no. 270; Eindhoven 1957, n.p., no. 72; Luxembourg & Liège 1957, no. 64, Fig. 6; Bernt 1948 (1962), IV, no. 298; Philadelphia 1963, p. 112; Bol 1969, p. 43, 44, Fig. 36; Bol 1982a, p. 262, Fig. 7; Delft 1981, I, p. 179 and II, no. 198; Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 32, 87, no. 31; Van der Ploeg in The Hague 1992, pp. 104-105, no. 27; Rüger 2001, pp. 26, Fig. 19, 28; Liedtke in New York & London 2001, pp. 425-428, no. 88. 45 Montias 1982, p. 148. Bredius 1915-22, IV, pp. 1439-1445; Van Bleyswijck 1667, p. 848. 46 Panel, 85.1 x 62.5 cm, dated 1613, New York, The Metropolitan Museum of Art, inv. no. 71.5; panel, 79 x 61 cm, dated 1616, private collection (Auckland 1982, p. 153, Fig. 27a); panel, 109 x 78 cm, dated 1618, private collection. The work of 1613, has been previously read as 1615 (Liedtke 2007, II, pp. 227-230). 47 Panel, 45.5 x 33.2 cm, Mannheim, Reiss-Engelhorn-Museen, inv. no. 1975/13, on loan from the state Baden-Württemberg. Segal in Amsterdam & ‘s-Hertogenbosch 1982, no. 32. 48 Montias 1982, p. 195. 49 Bredius 1915-22, IV, pp. 1439-1445. 50 Liedtke 2007, II, pp. 928, 930 n. 2 and n. 3. 51 Segal in Delft & Houston 2006-07, pp. 109-111. 52 Bol 1969, pp. 43, 46, Fig. 38. 53 See Chapter 7.

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Fig. 6.8 Jacob Vosmaer, Flowers in a jug with Crown Imperial, dated 1618, panel, 110 x 79 cm, private collection.

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Jacob Vosmaer, Flowers in a glass vase with a Daylily in the foreground (Fig. 6.9) Panel, 76.5 x 61.3 cm, signed and dated lower left in dark brown: Jacob. Vosmaer 1619. Museum Prinsenhof, Delft, inv. no. PDS 235.54 1 Batavian Rose 2 White Rose 3 Austrian Briar 4 Tapered Tulip 5 German Flag Iris 6 Illyrian Gladiolus 7 English Iris 8 Opium Poppy 9 Pyrenean Turk’s Cap Lily 10 Blunt Tulip 11 Tuscan Rose 12 Forget-me-not 13 Brown Daylily

Rosa gallica cv. Batava Rosa x alba Rosa foetida Tulipa armena bicolor Iris germanica Gladiolus illyricus Iris latifolia Papaver somniferum pseudoplenum rubrum Lilium pyrenaicum Tulipa mucronata bicolor Rosa gallica cv. Tuscany Myosotis palustris Hemerocallis fulva aurantiaca

A nearly identical version – but with a snail on the edge of the plinth – is currently in a private collection.55

Jacob Savery

Jacob Savery was born about 1566 in Kortrijk. In 1580, he and his parents moved to Bruges. According to Van Mander he was an apprentice of Hans Bol (1534-1593) in Antwerp.56 Around 1584 he moved to Haarlem in the Northern Netherlands, where he married Tryntje Kobels in 1587. In 1591 he was registered as a citizen of Amsterdam, where he died in 1603 during an epidemic of the plague.57 It is there, too, that he must have painted vases with flowers. An Amsterdam auction of 1612 lists a flowerpot for 17 guilders, and the inventory of Jean Arentz Naarden in 1637 a large flowerpot estimated at 300 guilders – a large sum of money at the time.58 These works are unknown today. There are, however, two very rare prints after one of his painted flower pieces: one of them, of which only a single example is extant, was executed by Jacques Honervogt (active 1608-1634) in Cologne or Paris (Fig. 6.10).59 The other one – the reverse in relation to Honervogt’s rendering – is an expanded version showing a parrot on one side of the vase and a peacock on the other side (Fig. 10.4).60 These additions are possibly inventions of the engraver himself according to the fashion at that particular time. The second print was published by Pieter van der Keere (1571-1646) in Amsterdam. In addition, there is an equally rare print with flowers in a dolphin-vase by Nicolaes de Bruyn of a flower piece that is most likely based on the work of Jacob Savery (Fig. 10.33).61 Jacob Savery is also known to have decorated a pillar in the Great Church in Haarlem in 1585 with a cartouche with quotations from the Bible surrounded by putti, garlands and three vases of flowers.62 Further, we know of a few landscape paintings, some with animals, and a single religious work.63 His apprentices were Joos Goeimare (1573-1611), for whom a kitchen piece is known, his younger brother Roelandt (1576-1639), and Guilliam van Nieulandt II (1584-1635).

54 Provenance: probably in the collection of Bisschop, Rotterdam 1752; Berry-Hill Gallery, New York 1976; Christie’s, New York, 12 January 1978, no. 126; A. van der Meer Gallery, Amsterdam; private collection, France; Christie’s, Monaco, 19 June 1988, no. 12; P. de Boer Gallery, Amsterdam; collection of Dr. Heinrich Jellisen; Sotheby’s, London, 6 December 1995, no. 59. Literature: Warner 1928, pp. 226-227, no. 108 and Segal ed. 1975, p. 249; Bol 1982a, pp. 262-263, Fig. 8; Bol 1982, p. 90, Fig. 8; Lokin in Osaka 2000, pp. 92-95; Van der Veen 2002, pp. 50-51, 53, Fig. 38; Segal in Delft & Houston 2006-07, pp. 109-111, no. P1, Fig. 8. 55 Segal in Delft & Houston 2006-07, pp. 109, 352 n. 8. 56 Van Mander 1604, p. 260v. 57 De Vries 1886, pp. 74-75. 58 Bredius 1915-22, III, p. 1072, no. 120 (‘1 bloempot van Jaques Savery’), and IV, p. 1231, no. 18 (‘Een groote blompot van Jacques Savery’). 59 Provenance: Antiquarian Simon Emmering, Amsterdam ca. 1985; private collection, Amsterdam; Hill-Stone Gallery, New York 2010. Literature: Segal 1985-86, pp. 55-56, Fig. 2; Segal 1994, pp. 91-92, Fig. 26. 60 New York, The Metropolitan Museum of Art, inv. no. 49.95.2318. 61 Amsterdam, Rijksprentenkabinet, inv. no. RP-P-2004-553. 62 Mochizuki 2004. 63 Descriptions and photographic images of Jacob Savery’s works have been deposited in the Segal Still Life Documentation in the RKD, The Hague; see also Chapter 10.

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Fig. 6.9 Jacob Vosmaer, Flowers in a glass vase with a Daylily in the foreground, dated 1619, panel, 76.5 x 61.3 cm, Museum Prinsenhof, Delft.

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Fig. 6.10 Jacques Honervogt after Jacob Savery, Flowers in a frog-vase, engraving, 494 x 347 mm, private collection.

Roelandt Savery

Roelandt Savery, the younger brother and apprentice of Jacob Savery, was probably born in 1576 in Kortijk. He moved with his family to Bruges and then to Holland. In 1604 he entered the service of Emperor Rudolf II in Prague. Between 1606 and 1608 he travelled through the Tyrolean Alps and made many drawings of landscapes, which included animals from Rudolf’s famous zoological garden, frequently placing these in Biblical or mythological compositions. After Rudolf’s death in 1612 he remained in the service of the Emperor’s brother and successor Matthias, and was a member of his court at Vienna from 1614 through to 1616. In this period Roelandt Savery made many visits to his family in Holland. In 1618 he was back in Amsterdam and Haarlem, and in 1619 he was admitted to the Guild of Saint Luke in Utrecht, where he remained until his death. In 1621, he bought Het Keijserswapen, a large house in the Boterstraat in Utrecht, and lived there with his sister Maria and his nephews, sons of his brother Jacob, who had died in 1603. Adjacent to their house was a large garden where flowers were cultivated. These must have been extraordinary species at the time because when the house was sold in 1638 the plants and flowers were sold for four hundred guilders, a considerable amount of money in those days.64 In Utrecht he became friends with the family Bosschaert and Van der Ast, and they too possibly profited from his flower garden in composing their own flower pieces. Roelandt Savery died in 1639, a poor man, unmarried, and non compos mentis, the process of mental deterioration becoming more and more apparent in his work particularly from 1627 on.65 His apprentices were Gillis Claesz d’Hondecoeter (1575-1638), Hans Savery II (1589-1654), Allaert Pietersz van Everdingen (1621-1675) and Roelant Roghman (1627-1691).66 In 1603, Roelandt Savery painted a small but striking flower piece that is currently in the Centraal Museum in Utrecht (Fig. 6.11). An auction of 1872 lists a flower piece of 1600 by Roelandt Savery, but this dating is uncertain, and it is likely to be the 1609 work that will be discussed below (Fig. 6.12). The ma64 65 66

Bok in Amsterdam 1993-94, pp. 315-316; San Francisco, Baltimore & London 1997-98, pp. 389-390. Segal 1985-86, pp. 60-61, Fig. 4. Hans Savery II was Roelandt’s nephew, the son of his brother, Jacob Savery. Hans II accompanied Roelandt on his journeys abroad and worked in his uncle’s studio in Haarlem from 1629 until 1639. Roelant Roghman was Roelandt’s great-nephew. For a recent critical biography of Savery, see De Potter & De Jaegere 2010.

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jority of his flower pieces are small works painted on wood or copper panel. Savery also executed several large paintings, for example a work of 1624 now in the same Centraal Museum in Utrecht (Fig. 6.13), and another in a private collection in Germany (87 x 59 cm). A number of his larger works have a rather narrow width and partially for this reason the flowers in these larger flower pieces loom unduely high above their little vases, therefore they lack logical proportions on account of the towering stems and bouquets that are excessively abundant. Savery’s works display an artistic and progressive pattern, with an individual atmosphere in his own personal style. His later works are distinguished by a certain degree of tonality, even before Balthasar van der Ast (1593/94-1657), who developed this aspect further, became active. Roelandt Savery created a feeling of depth by a selective use of lighting, the inclusion of soft shadows, and increasing the darker shading of the flowers at the edges. In comparison with his contemporaries, such as Jan Brueghel I, his use of contrast is much sharper. His use of colour, on the other hand, lacks the clarity of Ambrosius Bosschaert I. Every type of flower is easily identifiable. In the later works his brushwork is looser and differentiations are less highly refined. Most of his bouquets have been placed in a glass, usually with knops and a beaded foot, although a few are in a stoneware vase. Many of the bouquets have also been placed in a niche, with supplementary work (creatures, shells) on the ledge or around the edges of the niche. Often we see a lizard or grasshopper at the foot of the vase, and sometimes a frog. Individual broad Rose petals lie scattered beneath the vase, and small clusters of drooping flowers can also often be seen, for example in a little work of 1615 that includes a White Daffodill (Narcissus pseudonarcissus var. albus), Summer Snowflake (Leucojum aestivum) and an exotic Yellowgreen Fritillary (Fritillaria crassifolia) in the upper left.67 An exceptional work is the 1624 painting already mentioned (Fig. 6.13), not only on account of its large format, but also because of the substantial number of flowers – sixty-four species – and more particularly the extensive array of creatures – forty-five species in total – including a Cockatoo and a Kingfisher, who seem to represent the active and contemplative life respectively, and frogs. In a number of Savery’s works we see a pronounced artistic expression that combines an arched niche above with flowers echoing that shape that droop or hang their heads below, for instance in the work of 1603 (Fig. 6.11), or in the case of the Crown Imperial under the arched niche in the work of 1624 (Fig. 6.13). In a later period, Jan Davidsz de Heem (1606-1684) came to excel in such artistic refinement in the methodical harmonization of both composition and colour. It should also be remarked that both these works of 1603 and 1624 display a Rose with three buds at the top of the bouquet. Quite a number of the flowers in flower pieces by Roelandt Savery bear strong similarities to those rendered in watercolours by Joris Hoefnagel (1542-1600), and also to those prints made by Jacob Hoefnagel (1573-1632/33) from his father’s works for the 1592 Archetypa.68 Although we find fewer similarities in the depictions of, for example, the grasshoppers, the idea of including such insects in a flower piece may well have been borrowed from Hoefnagel; in Savery’s works they have often been rendered on quite a large scale. It is possible that Savery saw Hoefnagel’s work when he was at the court of Emperor Rudolf II in Prague. It is also quite probable that Savery adopted and used the ideas about the glory of God’s Creation and the transience of life communicated by the texts in these albums. What is more there are yet further indications of Hoefnagel’s influence, such as the frogs and a large moth perched on a vase, motifs Hoefnagel employed in his watercolour flower pieces of 1589 (Figs 5.15 and 5.16) and 1594 (Fig. 5.17), which Savery again very likely adopted in his flower pieces of 1603. In his turn, Savery transmitted these motifs to Balthasar van der Ast and the sons of Ambrosius Bosschaert I.69 The following is a list of flower pieces by Roelandt Savery itemized by year, which are available for viewing in public collections: 1603, Centraal Museum, Utrecht; 1612, Liechtenstein, The Princely Collections, Vienna; 1615, Mauritshuis, The Hague and Vancouver Art Gallery, Vancouver; 1620, Statens Museum for Kunst, Copenhagen; 1621, Victoria and Albert Museum, London; 1624, Centraal Museum, Utrecht; 1627, Staatliches Museum, Schwerin; 1630, Grand Curtius, Liège; and the undated work in the Palais des Beaux-Arts, Lille. In addition, works with the following dates are currently held in private collections: 1609, 1611, 1612, 1613, 1615, 1617, 1623 and 1637.70 67 Copper, 23 x 18.2 cm, Vancouver, Vancouver Art Gallery, inv. no. VAG 83.75. 68 Spicer illustrates a selection of the album with the Four Elements from the section IGNIS – ANIMALIA ET INSECTA, now in the National Gallery in Washington, among others, plates XXIV and XXIX with Roses, plate LXIII with a Columbine, and plate LXXXX with a Pansy. Spicer 1979, pp. 252-261, 380-385. For this album see further the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. 69 For Roelandt Savery’s oeuvre see Erasmus 1908, Müllenmeister 1988, Müllenmeister 1991 and Bergström 1956, pp. 89-95; for his flower pieces see Hairs 1985, I, pp. 213-220, II, p. 41, and Segal 1985-86. 70 For all the works in public collections and most of the signed works in private collections there are extensive descriptions with images and identifications in the Segal Project and the Segal Still Life Documentation in the RKD, The Hague.

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Fig. 6.11 Roelandt Savery, Flower piece wih a Spotted Reed Orchid in a niche, dated 1603, panel, 29 x 19 cm, Centraal Museum, Utrecht.

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Roelandt Savery, Flower piece with a Spotted Reed Orchid in a niche (Fig. 6.11) Copper, 29 x 19 cm, signed and dated lower right in grey: . ROELANDT . SAVERY . 1603 Centraal Museum, Utrecht, inv. no. 6316.71 1 Columbine 2 Forget-me-not 3 Pansy 4 Carnation 5 White Rose 6 Lesser Celandine 7 Elder Iris 8 Summer Snowflake 9 Snake’s Head Fritillary 10 Sweet Briar 11 Red Tulip hybrid 12 Spotted Reed Orchid 13 Dark Columbine 14 French Rose 15 Stock 16 Damask Rose

Aquilegia vulgaris Myosotis palustris Viola tricolor Dianthus caryophyllus plenus Rosa x alba Ranunculus ficaria plena Iris x sambucina Leucojum aestivum Fritillaria meleagris Rosa rubiginosa Tulipa agenensis x T. armena Dactylorhiza praetermissa var. junialis Aquilegia atrata plena Rosa gallica plena Matthiola incana alba Rosa x damascena

A Garden Tiger Moth B The Herald Moth c Sexton Beetle d Housefly E Large White Butterfly f Sand Lizard (♀ and ♂) g Rhinoceros Beetle H Lipped Periwinkle Shell I Knobbed Tower Shell

Arctia caja Scoliopteryx libatrix Necrophorus vespillo Musca domestica Pieris brassicae Lacerta agilis Oryctes nasicornis Monodonta labio Pachymelania aurita

Aside from the flower pieces by the Westphalian Ludger tom Ring II (1522-1584) dated between 1562 and 1565, this painting is the earliest dated flower piece extant in the Dutch-Flemish tradition of flower still lifes, and it was quickly followed by the works of other artists of the Northern and Southern Low Countries: Jacques de Gheyn in 1604 (Fig. 6.6), and Jan Brueghel I (Fig. 6.23) and Ambrosius Bosschaert I (Fig. 5.25) in 1605. In older literature, this flower piece was dated 1601 or 1604. I discovered the correct date – 1603 – in 1982 when the painting was taken out of the frame for further research.72 A replica (or possibly a copy), somewhat larger, and signed and dated in the same manner is currently in a private collection in the United States.73 71

Provenance: probably collection of Count F. Wrschowetz, Prague, sale of his collection, Prague, 1723, no. 7; Van Diemen & Co, Amsterdam 1929; collection of J.J.M. Chabot, Brussels; Centraal Museum, Utrecht, on loan 1929-1942, purchased from the heirs of the estate in 1943, with support of the Vereniging Rembrandt. Exhibitions & literature: Amsterdam 1934, p. 64, no. 324; Van Gelder 1936, p. 54, Pl. XXXIX; Haarlem 1935, no. 105; Richardson 1940, p. 54, Fig. 5; Utrecht 1941, p. 42, no. 161; Van Luttervelt 1947, p. 95, Fig. 48; Manchester 1949, no. 31, as dated 1631; Strasbourg 1949, no. 38; De Jonge 1952, pp. 107-108, no. 247; Zurich 1953, no. 140; Rome & Milan 1954, no. 145; Ghent 1954, no. 5; Hairs 1955, pp. 92, 94-96, 232, Pl. IV; Bergström 1956, pp. 90-91, Fig. 78; Utrecht 1958 (without catalogue); Ghent 1960, p. 131, no. 119, Fig. 47; Dordrecht 1962, p. 33, no. 79, Fig. 21; Laren 1963, p. 28, no. 135, Fig. 9; Brussels 1965, no. 246; Hairs 1965, pp. 168, 170, 402, Pl. III; Houtzager et al. 1967, pp. 200, Fig. 59, 260-261; Bol 1969, pp. 25, 36, 38, Fig. 32, 125; Segal in Amsterdam 1970, p. [8]; Segal 1971, p. 25b; Foucart in Lille, Arras & Dunkerque 1972-73, p. 90; Mitchell 1973, p. 229; Haarlem 1974, p. 16, no. 50; Fischer 1975, p. 51, 103 n. 49; Gibson 1976, p. [7], Fig. 5; Kortrijk 1976, no. 2; Briels 1978, pp. 50, 52-53; Spicer 1979, pp. 257, 385; Pieper 1979, p. 324, no. 171, 326; Wright 1980, p. 406; Bol 1981d, pp. 753-755; Segal 1982b, pp. 311-314, 321-326; Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 82-83, no. 22; Antwerp 1982, no. 22; Bol 1982, pp. 69-70, Fig. 1; Hijmersma 1983, p. 140; Van Regteren Altena 1983, I, p. 112 (p. 179 n. 7 discusses a work erroneously attributed to Savery); Bazin 1984, pp. 76, 78; Haak 1984, p. 119, Fig. 220; DaCosta Kaufmann 1985, pp. 268-269, no. 19-2; Hairs 1985, I, pp. 58, 212, Fig. 70, 213, 219, 444 n. 731, II, p. 41; Utrecht 1985, p. 13, Fig. 11; Segal in Cologne & Utrecht 1985-86, pp. 59, 66, 78-79, no. 2; Briels 1987, pp. 242, Fig. 307, 244; De Meyere in Cologne & Utrecht 1987, p. 42, Fig. 9; DaCosta Kaufmann 1988, p. 229, no. 19-20; Berlin 1989, p. 349; Müllenmeister 1988, pp. 22-23, 167, 169, Fig. 53, 178-179, 327, no. 269, 361, 396; Hairs in Greindl et al. 1989, p. 54, Pl. 24; Segal in Osaka, Tokyo & Sydney 1990, pp. 172-173, no. 24; Madrid, Bilbao & Barcelona 1992-93, no. 52; DaCosta Kaufmann 1993, p. 17, Fig. 6; Kloek 1993, p. 93, Fig. 160; De Maere & Wabbes 1994, I, p. 1037; Segal in Amsterdam 1994, pp. 90, Fig. 23, 92; De Meyere in Nagasaki 1994-95, p. 42, Fig. 37; Gemar-Koeltzsch 1995, I, p. 190, Pl. 82, III, p. 890, no. 351/1; Utrecht 1994, p. 125, Fig. 61; DaCosta Kaufmann 1995, pp. 198, 199; Taylor 1995, pp. 142, 144, Fig. 86; Santiago 1997, no. 27; Prague & Braunschweig 1997, no. 18; Spicer in San Francisco, Baltimore & London 1997-98, p. 46, Fig. 25; Helmus 1999, I, pp. 123-125, no. 574, II, pp. 1333-1335; De Meyere 2006, no. 83; Kotková in Prague & Kortrijk 2010-11, pp. 90-91, no. 1; Alen 2015-16, p. 22, Fig. 8; Van Hout in Antwerp 2015-16, pp. 140-141, no. 13. 72 Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 82-83, no. 22. 73 Copper, 32 x 23 cm, private collection. Bergström 1956, pp. 90-91, Fig. 28; Hairs 1965, p. 169; Bol 1969, p. 39; Bol 1981d, p. 754; Bol 1982, pp. 70-71, Fig. 4; Müllenmeister 1988, p. 327, no. 283, 270, Fig. 59; Gemar-Koeltzsch 1995, III, p. 892, no. 351/7; Briels

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In this flower piece of 1603 Savery painted native and exotic species of flowers, as well as native living creatures, although the shells are exotic and, it must be noted, of the type that we scarcely ever see in other later paintings. This holds also for a few of the flowers, such as the full variety of Lesser Celandine (Ranunculus ficaria plena) and Spotted Reed Orchid (Dactylorhiza praetermissa var. junialis). The full variety of the Lesser Celandine belongs among the botanical mutations that were just starting to gain importance at that time. The Spotted Reed Orchid was a species that was generally found in marshes, however as an endemic species, which means that it only grows naturally within a very small geographical range, thus it was rare, thriving only in a restricted area between Northern France and Western Germany. It is conceivable that the painting still conceals a cryptic religious meaning, possibly concerning the choice between good and evil. Indications of this allegorical tradition can be found in the three-lobed leaf of the Columbine below, and the three buds of the Rose above, both right in the centre of the painting, as well as the Sexton Beetle and the Rhinoceros Beetle versus the butterflies, and the two lizards.74 Roelandt Savery, Flowers in a glass vase with butterflies and a grasshopper (Fig. 6.12) Panel, 34.7 x 23.8 cm, signed and dated lower left in dark-brown: · R · SAVERY FE – 1609 Private collection.75 1 Pansy 2 Male Fern 3 Columbine 4 Dog’s Tooth Violet 5 Great Periwinkle foliage 6 White Rose 7 Greater Celandine foliage 8 Field Pansy 9 Borage 10 Snake’s Head Fritillary 11 Damask Rose 12 Creeping Buttercup 13 Sweet William 14 Golden Narcissus hybrid 15 Poet’s Narcissus 16 Pale Iris 17 False Larkspur 18 Tapered Tulip 19 Turk’s Cap Lily 20 Umbelliferae flower 21 German Flag Iris hybrid 22 Large Thyme 23 Jacob’s Ladder 24 Carnation 25 Maltese Cross 26 Poppy Anemone 27 Harebell 28 Apothecary’s Rose

Viola tricolor Dryopteris filix-mas Aquilegia vulgaris duplex Erythronium dens-canis Vinca major Rosa x alba semiplena Chelidonium majus Myosotis arvensis Borago officinalis Fritillaria meleagris Rosa x damascena Ranunculus repens Dianthus barbatus Narcissus tazetta subsp. aureus x N. jonquilla Narcissus poeticus Iris pallida Consolida ajacis Tulipa armena albescens Lilium chalcedonicum Apiaceae spec. Iris x lurida Thymus pulegioides Polemonium caeruleum Dianthus caryophyllus plenus ruber Lychnis chalcedonica Anemone coronaria Campanula rotundifolia Rosa gallica cv. Officinalis

1997, pp. 377, 394, 396; Helmus 1999, II, p. 1335; Wheelock in Washington 1999, pp. 36-38, Fig. 27, 84, no. 24 (with incorrect dimensions). 74 On symbolism see Chapter 2. An extensive treatment of the symbolism is given by Segal in Osaka, Tokyo & Sydney 1990, pp. 173-174. 75 Provenance: probably collection F.J. Gsell, Vienna via sale of his collection at Georg Plach, Vienna, 14 March 1872, no. 22, as 35 x 25 cm, dated 1600; probably also sale Gsell, Vienna, 14 August 1873, no. 221; sale Groot Bentveld, Haarlem, 26 April 1892, no. 37; sale P.T. van Wyngaert, Amsterdam, 7 November 1893, no. 98; collection Esquire Victor de Stuers (1843-1916), The Hague, later Vorden (former director of the Rijksmuseum in Amsterdam); inherited by his daughter, Ms Gatacre-de Stuers, Vorden; theft by German militaries during World War II; sale Bolland & Marotz, Bremen, 19 June 1993, no. 540 (with an extensive description by Segal), sold, after negotiations with the widower of the owner. Exhibitions & literature: Waagen 1866-67, I, p. 319; Erasmus 1908, pp. 49 n. 3, 50, 52, 89-90, no. 65, 204 n. 1; Von Wurzbach 1906-11, II, p. 561; Vorenkamp 1933, p. 117; Bergström 1947, pp. 96-97; Hairs 1955, pp. 81 n. 460, 94, 231, 232-234; Bergström 1956, pp. 87, 302-303 n. 97; Hairs 1965, pp. 326 n. 500, 401, 402; Spicer 1979, pp. 247, 352, 356; Bol 1981d, pp. 753, 756, 759 n. 4; Bol 1982, p. 71; Hairs 1985, I, p. 555 n. 730, II, p. 41; DaCosta Kaufmann 1985, p. 279, no. 19-39; Segal in Cologne & Utrecht 1985-86, p. 64 n. 15; DaCosta Kaufmann 1988, p. 240, no. 19-39; Müllenmeister 1988, p. 341, no. 290; Robels in Cologne, Antwerp & Vienna 1992-93, p. 213 n. 20; Segal 1996, pp. 17, 19, Fig. 6; Helmus 1999, I, p. 125 n. 4, incorrectly dated 1600. In 1993, the case involving the attack on De Stuers’ country estate at Vorden by German militaries, the theft of the painting, and subsequent failure to have it repatriated, received a great deal of attention in the Dutch and German press.

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A B C d e f g

Painted Lady Butterfly Common Blue Butterfly Scarce Swallowtail Butterfly Running Spider Lesser Housefly Red Damselfly Great Green Bush Cricket

Vanessa cardui Polyommatus icarus Iphiclides podalarius Philodromus cespitum Fannia canicularis Pyrrhosoma nymphula Tettigonia viridissima

Fig. 6.12 Roelandt Savery, Flowers in a glass vase with butterflies and a grasshopper, dated 1609, panel, 34.7 x 23.8 cm, private collection.

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Fig. 6.13 Roelandt Savery, Flower piece with Cockatoo and Kingfisher, dated 1624, panel, 130 x 80 cm, Centraal Museum, Utrecht.

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Roelandt Savery, Flower piece with Cockatoo and Kingfisher (Fig. 6.13) Panel, 130 x 80 cm, signed and dated lower centre in black: . ROELANT . SAVERY . FE . 1624 Centraal Museum, Utrecht, inv. no. 2310.76 A very large bouquet is standing in a brown stone niche. The light source on the left casts shadows on the right wall of the niche. This painting contains an astonishing sixty-four species and varieties of flowers, with forty-five species of insects and other creatures that can mostly be clearly differentiated. The vast array of members of the animal kingdom is especially remarkable: to my knowledge, the inclusion of such a number of creatures was never exceeded in a flower piece or any other kind of still life painting. In the seventeenth century, flowers were usually depicted in full bloom, and occasionally with buds, especially in the case of Roses. Savery, on the other hand, adds to this journey through the stages of the life of a flower by also showing us the early stages of decay. Fig. 6.13a Sketch of the species in Fig. 6.13.

76 Provenance: from the beginning of the eighteenth century it functioned as an overmantel painting in the commercial premises of the Notary’s house Achter St. Pieter F 363 in Utrecht (demolished in 1885); donated in 1885 by the notaries to the Museum Kunstliefde in Utrecht; in 1918, it was moved to the Centraal Museum Utrecht. Exhibitions & literature: Riegel 1882, p. 409; De Vries & Bredius 1885, no. 74; Woltmann & Woermann 1888, p. 403; Erasmus 1908, pp. 51, 119; Von Wurzbach 1906-11, II, p. 563; Blok 1917, p. 156; The Hague 1926, no. 14; De Jonge 1928, no. 666; Warner 1928 (Segal ed. 1975), no. 179; Amsterdam 1933, no. 275; Vorenkamp 1933, p. 117; Knuttel 1938, p. 188; Bergström 1947, pp. 98, 100, 102; Haarlem 1947, p. 27, no. 29; Van Luttervelt 1947, p. 95; Van Guldener 1949, p. 13; De Jonge 1952, p. 108, no. 248, Fig. 45; Paris 1952, no. 22; Bol 1955, p. 105; Hairs 1955, pp. 95, 232; Bergström 1956, pp. 90, 93; Bazin 1960, p. 90; Wilenski 1960, I, p. 646; Hairs 1965, pp. 169, 402; Bott 1966, pp. 92-93, Fig. 10; Bol 1969, p. 39; Segal in Amsterdam 1970, n.p. (introduction), Fig. 3; Segal 1971; Mitchell 1973, p. 230; Spicer 1979, pp. 39, 248, 385; Bol 1981d, p. 755; Bergamo 1982, p. 166; Hairs 1985, pp. 215, 219, 490; Segal in Cologne & Utrecht 1985-86, pp. 60-63, 125, 131-134, no. 44; Müllenmeister 1988, pp. 59, 168, 175, 334, no. 283; Segal in Osaka, Tokyo & Sydney 1990, pp. 172-174 under no. 24; Segal 1996, p. 32, Fig. 20; Helmus 1999, II, pp. 1336-1338, no. 575; De Meyere 2006, p. 14.

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1 Forget-me-not 2 Apothecary’s Rose 3 Celery 4 Sea Holly 5 Snake’s Head Fritillary 6 Damask Rose hybrid 7 Cloth of Gold Crocus 8 Poppy Anemone 9 Love-in-a-mist 10 Garden Chervil 11 Dwarf Nasturtium 12 False Larkspur 13 White Rose 14 Dove’s-foot Cranesbill 15 Blue Grape Hyacinth 16 Carnation 17 Fire Pheasant’s Eye 18 Kurdistan Tulip hybrid 19 Dog Rose 20 Maltese Cross 21 Fennel 22 Pot Marigold 23 Summer Snowflake 24 Nonesuch Daffodil 25 Variegated Iris 26 May Tulip 27 Round-leaved Saxifrage 28 Sweet Briar 29 Poet’s Narcissus 30 Columbine 31 Elder Iris 32 Yellow Flag Iris 33 Tapered Tulip 34 Tapered Tulip 35 Tapered Tulip 36 Variegated Iris 37 Red Tulip 38 Hairy Bitter Cress 39 Dwarf Iris 40 French Rose 41 Elder Iris 42 Orange Lily 43 Cinnamon Rose 44 Crown Imperial 45 German Flag Iris hybrid 46 Yellow Flag Iris hybrid 47 Florentine Iris 48 Stock 49 English Iris 50 German Flag Iris 51 Red Tulip 52 Fire Tulip 53 Turk’s Cap Lily 54 White Daffodil 55 Lavender Cotton 56 Columbine 57 Beardless Flag Iris 2a French Rose 58 White Rose 59 Knotted Hedge Parsley 60 False Larkspur 61 Sweet Violet 62 Slender Hare 63 White Willow

Myosotis palustris Rosa gallica var. Officinalis Apium graveolens Eryngium maritimum Fritillaria meleagris Rosa x damascena x R. gallica Crocus angustifolius Anemone coronaria rosea Nigella damascena Anthriscus cerefolium Tropaeolum minus Consolida ajacis lilacea Rosa x alba Geranium columbinum Muscari botryoides Dianthus coronarius bicolor Adonis flammea Tulipa stapfii x T. armena Rosa canina Lychnis chalcedonica Foeniculum vulgare Calendula officinalis Leucojum vernum Narcissus x incomparabilis Iris variegata Tulipa australis Saxifraga rotundifolia Rosa rubiginosa Narcissus poeticus Aquilegia vulgaris Iris x sambucina Iris pseudacorus Tulipa armena Tulipa armena bicolor Tulipa armena tricolor Iris variegata Tulipa agenensis Cardamine hirsuta Iris pumila Rosa gallica Iris sambucina Lilium bulbiferum Rosa majalis Fritillaria imperialis Iris germanica x I. pumila Iris pseudacorus x I. foetidissima Iris florentina Matthiola incana Iris latifolia Iris germanica Tulipa agenensis Tulipa praecox Lilium chalcedonicum Narcissus pseudonarcissus var. albus Santolina chamaecyparissus Aquilegia vulgaris purpurea Iris spuria Rosa gallica semiplena Rosa x alba Torilis nodosa Consolida ajacis Viola odorata Bupleurum tenuissimum Salix alba

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A Salmon-crested Cockatoo B Edible Frog (3x) C House Mouse D Sand Lizard E Kingfisher F Large White Butterfly G Garden Tiger Moth H Magpie Moth I Wood Tiger Moth J Large Copper Butterfly K Orange Tip Butterfly L Silver-studded Blue Butterfly M Small Tortoiseshell Butterfly N Peacock Butterfly O White Satin Butterfly a Honeybee b Beautiful Demoiselle c Garden Bumblebee d Earth Bumblebee e Sexton Beetle f Emerald Damselfly g Black-tailed Skimmer Dragonfly h Mosquito i Yellow Meadow Ant j Black Fly k Short-winged Cone-head Grasshopper l Housefly m 7-spot Ladybird n Fen Hawker Dragonfly o Banded Mosquito p Azure Damselfly q Blue Hawker Dragonfly r Field Locust s Splendid Demoiselle t Ectemnius Digger Wasp u Dor Beetle v Half Moon-spot Hoverfly w Rhinoceros Beetle x Broad-bodied Chaser Dragonfly y Wart-biter Cricket z Four-spotted Chaser Dragonfly

Cacatua moluccensis (or C. alba) Rana esculenta Mus musculus Lacerta agilis Alcedo atthis Pieris brassicae Arctia caja Abraxas grossulariata Parasemia plantaginis Lycaena dispar batava Anthocharis cardamines Plebejus argus Aglais urticae Inachis io Leucoma salicis Apis mellifera Calopteryx virgo Bombus hortorum Bombus terrestris Necrophorus vespillo Lestes sponsa Orthetrum cancellatum Culex pipiens Lasius flavus Simulium reptans Conocephalus dorsalis Musca domestica Coccinella septempunctata Aeshna juncea Culiseta annulata Coenagrion puella Aeshna cyanea Chortippus biguttulus Calopteryx splendens Ectemnius dives Geotrupes stercoraria Scaeva pyrastri Oryctes nasicornis Libellula depressa Decticus verrucivorus Libellula quadrimaculata

a’ b’ c’ d’

Hippodamia tredecimpunctata Gryllotalpa gryllotalpa Acrocinus longimanus Scathophaga stercoraria

13-spot Ladybird Mole Cricket Harlequin Beetle Yellow Dungfly

In addition to the astonishing total number of species of flowers and even more amazing mass of living creatures, there is a remarkable variety present within several particular genus, including: eleven species of Iris, fifteen species of butterfly, plus nine species of dragonfly and damselfly. Savery must have been acquainted with contemporary botanist cultivators or garden enthusiasts, as well as collectors of butterflies and other insects. It is notable, too, that even amongst the native species of flowers and insects there are some which were never depicted in other flower pieces. Moreover, the Large Copper Butterfly (Lycaena dispar batava) is not only an extremely rare species today, but the variety batava is only known to thrive in Holland. Except for the lovely Harlequin Beetle (Acrocinus longimanus), which is native in an area from Central America through Brazil, all the other creatures are native to the Low Countries.77 In terms of the deeper allegorical or symbolic meanings Savery might have wished to communicate through the work, the two most apparent are an expression of the beautiful multiplicity of Creation and the antithesis between the vita activa and the vita contemplativa as represented by the Cockatoo 77 The order of the flowers has been altered somewhat in comparison with the order in my earlier publications, and several identifications have also been changed. The identifications of the insects – inasmuch as they are identifiable – are in part provisional. | 191

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Figs 6.13b-c Details of the Cockatoo and Kingfisher.

flapping its wings with prey (a frog) before him (Fig. 6.13b) versus the Kingfisher (Fig. 6.13c), a symbol of peace. Additional symbolism may be found in the trinitarian motif of the three rosebuds rising above the Crown Imperial, symbolizing Savery’s former patron the Habsburg Emperor, while the lizard gazing on-high may also play a role in this regard.78 That Savery called his place of residence Het Keijserswapen (‘The Emperor’s Arms’) long after he had left Prague perhaps says something about an abiding bond he felt with Rudolf II, as well as about the meaning of the Crown Imperial in this painting. This is an extremely important painting in the development of the Flemish-Dutch flower piece, although it was not always so highly valued as it is today: in 1882 Riegel thought it was ‘bunt und dilettantisch’.79

Ambrosius Bosschaert I

Ambrosius Bosschaert I stood at the head of a whole dynasty of still life painters consisting of his three sons, Johannes (ca. 1607-1628/29), Ambrosius II (1609-1645) and Abraham (1612/13-1643); his brothersin-law Balthasar and Johannes van der Ast (before 1593-after 1618); and Jeronimus Sweerts (1603-1636), the husband of his daughter Maria. He instructed all of these artists. Ambrosius Bosschaert I was born in 1573 in Antwerp and moved with his parents to Middelburg about 1589, where in 1593 he registered in the painters’ guild, holding the office of dean of the guild several times between 1597 and 1613. He lived on the Noortstraat across from the city hall. Around 1604 he married Maria van der Ast, whose two younger brothers Balthasar and Johannes also became still life painters. The family lived for a short time in Amsterdam and in 1615 moved to Bergen op Zoom, but shortly afterwards in that same year moved to Utrecht where they lived until 1619, when Ambrosius moved to Breda. In a lawsuit of 1620 he claimed 200 guilders for a painting with a basket of flowers and 240 guilders for the painting of a large vase of flowers.80 He died in 1621 in The Hague, where he was staying with Frederik van Schurman, the father of Anna Maria van Schurman (1607-1678), to deliver a flower piece to the steward of Maurits, Prince of Orange-Nassau, for which he had asked 1,000 guilders. Information about Bosschaert’s life survives largely thanks to a short family history written by his daughter Maria.81 Bosschaert’s earliest known work is the drawing dated 1602 of a nude boy wearing no more than a cape riding a dromedary, which appears in a friendship album.82 The subject of this pen and brown ink drawing is a rarity, however, in the oeuvre of the artist, as the majority of his works are flower pieces, or once in a while fruit pieces. In addition to being a painter, Ambrosius was also an art dealer.83 Bosschaert’s style can be distinguished from that of his contemporaries by its tremendous translucency and fine satin finish – sometimes a bit metallic – achieved by applying layers of coloured glaze, 78 79 80 81 82

Segal in Cologne & Utrecht 1985-86, p. 131. Riegel 1882, p. 409. Bol 1960, p. 29. Bredius 1913. According to Bol 1960, p. 33, this is the painting currently in the collection of the Mauritshuis in The Hague. Universiteitsbibliotheek Leiden, BPL 2185, Album amicorum of the merchant Samuel Radermacher (1581-after 1627). Van Suchtelen in Amsterdam 1993-94, pp. 630-631, no. 302. 83 De Clippel & Van der Linden 2015, pp. 84-85.

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using the technique of the fine painters to smooth away all traces of the brush, thus making the brushstrokes nearly invisible. His contemporaries Jan Brueghel I and Jacques de Gheyn II worked more with opaque body colour, while Roelandt Savery worked occasionally with glaze, particularly in the shadows. In Bosschaert’s work, the colours of a Tulip have sometimes been applied in thin lines of equal thickness, while in Brueghel’s work the paint will have been applied more freely, in curved lines or little patches of colour. Bosschaert’s technique contributed to the harmonious atmosphere of his paintings, which exude a more tranquil feeling than those of his contemporaries: the peacefulness of the flowers makes them even more stately. The strict symmetry also contributes to that effect, as does the supplementary work with a single blossom, a shell or an insect positioned on the ledge. A relatively large flower is always placed at the top of the bouquet, frequently a Tulip. Moreover, the flowers are consistently executed with a high degree of visible colour nuance, and they are delineated with a sharp, thin outline in white or in the colour of the flower itself. The smaller flowers, usually less perfected, connect the disparate elements of the bouquet and by doing so bring a remarkable unity to the composition as a whole. These works always remain paintings with a certain kind of lightness. The shadows seem to have little or no relation to the flowers. The foliage – never the focus of attention – has been rendered in dark colours and less detail. In the majority of cases, the bouquets have been placed in a roemer, a glass beaker with rosettes, or in a vase made of Chinese porcelain with gilt mounts around the neck and a gilt foot, and occasionally in a basket. Below the vase, or other container, we often see a Carnation and a few exotic shells; and just as often the leaves of the Rose lower down in the bouquet show signs of having been eaten away. From 1619 Bosschaert frequently placed his bouquets under an arched niche open at the back to reveal a hazy prospect of a mountainous river landscape (Fig. 6.16) or sometimes only a blue sky with fluffy white clouds (Fig. 6.14). Such scenic backgrounds provide a connection to nature and a conceptual link to the ultimate origin of the flowers on display. These backgrounds may not, perhaps, have been such a completely original element as some scholars suppose, because we also see open background landscapes in prints of flower pieces starting from the year 1599 (Fig. 10.3).84 Sometimes Bosschaert painted a bouquet in a flower piece made up almost strictly of diverse Tulips or Roses (Fig. 6.14). The paintings by Bosschaert have always been done on copper plate or panel and accompanied by the monogram AB (the ‘B’ within the upper part of the flattened ‘A’, as in the monogram of Albrecht Dürer).85 The flower pieces are dated starting from 1605, and when looked at in sequence reveal a remarkable course of development. Initially they are painted on an even grey-black background, although later this area is painted around the flower arrangement, which contributes to a translucency of colour and in general. Bosschaert also makes use of colour perspective in his later works by placing lighter and warmer colours in the front and middle of the bouquet, and cooler blues at the outer edges. Furthermore, a development can also be discerned regarding what is included in the overall design of the picture. For example, from 1617 on water drops start to appear in his works. In comparison with his contemporaries, Bosschaert painted many more species of butterflies. There are a few larger panels among his later pieces, for example a 1620 painting that measures 129 x 85 cm, possibly the work that was originally intended for delivery to the court in The Hague in 1621.86 Many repeats of the same flowers or insects may be discerned in Bosschaert’s works, sometimes in reverse.87 To illustrate this point, for example, it is possible to identify a Pyrenean Turk’s Cap Lily (Lilium pyrenaicum) in the same position in paintings dated 1605, 1606, and a work in Madrid, as well as the following species of flowers: an Apothecary’s Rose (Rosa gallica cv. Officinalis), a Pansy (Viola tricolor), a Snake’s Head Fritillary (Fritillaria meleagris), a Greenbottle Fly (Lucilia caesar). In addition a Tapered Tulip hybrid (Tulipa armena), a Forget-me-not (Myosotis palustris) and a Magpie Moth (Abraxas grossulariata) are included in reverse. A double Columbine (Aquilegia vulgaris semiplena) appears in both blue and in white in the work of 1605, and in the same position only in blue in the painting of 1606. Another example of a single flower rendered in two colours occurs in the 1606 work, but they have been given different placements in the composition. Sometimes Bosschaert varied the same type of Tulip by applying different colour patterns, although usually the Tulips in every bouquet are different. And thus, in this way, in addition to replication, an artist could freely create many different variations on a theme. 84 See Chapter 10. 85 Often on the reverse of the copper plate we can see the mark of the coppersmith KW, who remains unknown; this mark appears on works dated between 1590 and 1642, including on those of Ambrosius Bosschaert I and on works of Frans Francken II (1581-1642) (Wadum 1998b, pp. 103, 107-108, Fig. 5.6). 86 Stockholm, Nationalmuseum, inv. no. NM 373. Bol 1960, p. 68, no. 48, Pl. 32. 87 See also the scheme in Bergström 1956, p. 69, Fig. 53.

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So, for example, when making a flower piece in 1606, Bosschaert replaced the stem and leaves that had been used at the top of the bouquet in the 1605 painting, with a sprig of Rosemary plus a Tulip leaf in the same position.88 These kinds of repetitions with variations, it should be noted, also occur in the works of his sons, who may well have made use of his studies, although these have not survived. The paintings of Ambrosius Bosschaert I exerted an enormous influence on many other artists in the second quarter of the seventeenth century.89 The following list is of works together with their known dates, which are in public collections: 1606, The Cleveland Museum of Art, Cleveland; 1609, Kunsthistorisches Museum, Vienna; 1614, Getty Museum, Los Angeles; 1617, Hallwylska Museum in Stockholm; 1618, Statens Museum for Kunst, Copenhagen; 1619, Rijksmuseum, Amsterdam; and 1620, National Museum, Stockholm. Another work of 1610 is presently in the P. & N. de Boer Foundation in Amsterdam. Signed works may be found in the Rijksmuseum Twenthe, Enschede; Historisches Museum, Frankfurt am Main (two paintings); Mauritshuis and Museum Bredius, The Hague; Museo Nacional Thyssen-Bornemisza, Madrid; Ashmolean Museum, Oxford; and Musée du Louvre, Paris. Dated works currently held in private collections are known for 1605, 1606, 1607 (four paintings), 1608, 1609, 1614, 1619 (two paintings), 1620 and 1621. There are at least 40 monogrammed works in private collections, plus another in the P. & N. de Boer Foundation in Amsterdam. A few fruit pieces by the artist are also extant.90 Ambrosius Bosschaert I, Flower piece with Roses in a niche (Fig. 6.14) Copper, 28 x 22.9 cm, signed with a monogram lower right in dark grey: . AB . (the dots are tiny stars) Promised gift of Rose-Marie and Eijk van Otterloo to the Museum of Fine Arts, Boston in support of the Center for Netherlandish Art.91 A berkemeyer with a smooth foot filled only with Roses has been placed in an open niche with cracks at the edges; in the background behind it is a view of a clear sky with a few wispy clouds. 1 2 3 4

Provins Rose White Rose Apothecary’s Rose Sweet Briar

Rosa x provincialis Rosa x alba semiplena Rosa gallica cv. Officinalis Rosa rubiginosa

a b C d

Emerald Damselfly Tumbling Flower Beetle Wall Butterfly Greenbottle Fly

Lestes sponsa Mordella fasciata Lasiommata megera Lucilia caesar

Species on the ledge of the niche 5 Cloth of Gold Crocus e Large White Caterpillar

Crocus angustifolius Pieris brassicae

Infrared photographs have been taken of Flower piece with Roses in a niche in order to make the underdrawing more visible (Figs 6.14a-d).92 The interest here is in the perspective lines, which were made with a ruler: the straight horizontal and vertical lines of the niche, the diagonal lines and the curved lines of the arch of the niche on the right. The curved lines of the glass were also underdrawn. This type of underdrawing with perspective lines is also visible in other paintings by Ambrosius Bosschaert I. It is 88 Segal 1984, pp. 31, 33, Figs 1 and 2, and other examples on pp. 31-32; for more technical characteristics, including on Bosschaert’s development and the kinds of species he painted see pp. 33-37. The 1605 painting referred to is currently in a private collection (Fig. 5.25), while the 1606 painting is in The Cleveland Museum of Art (Fig. 5.26); see Chapter 5. The Madrid painting referred to is on copper, 68 x 50 cm, Madrid, Museo Nacional Thyssen-Bornemisza, inv. no. 1958.4. 89 For the work of Ambrosius Bosschaert I see Bergström 1956, pp. 54-69; Bol 1960 (including discussion of his sons and brotherin-law Balthasar van der Ast (1593/94-1657)); Hairs 1985, I, pp. 200-211, II, pp. 7-8; and Segal 1984 (also on his sons and brotherin-law Balthasar van der Ast). 90 All the dated works mentioned and a large number of the works in private collections have been extensively described, with identifications and images, in the Segal Project and in the Segal Still Life Documentation in the RKD in The Hague. 91 Provenance: collection in Lothringen since the 19th century; Ader & Tajan, 14 December 1992, no. 24; Johnny Van Haeften Gallery, London 1993-94; private collection, Boston. Exhibitions & literature: Kloek 1993, pp. 92-93; Meijer in Amsterdam 1993-94, pp. 272, 607, no. 279; Gemar-Koeltzsch 1995, I, p. 124, Pl. 16, and II, p. 168, no. 51/13; Briels 1997, pp. 251, Fig. 397, 253; Washington 1999, pp. 41, Fig. 31, 83, no. 10; Boston 2002, p. 84; Segal 2002, pp. 63-65, Figs 5 and 6, with infrared details; Salem, San Francisco & Houston 2011-12, pp. 92-95, no. 11. 92 The images were made by René Gerritsen in Amsterdam.

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Fig. 6.14 Ambrosius Bosschaert I, Flower piece with Roses in a niche, copper, 28 x 22.9 cm, Museum of Fine Arts, Boston. | 195

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Figs 6.14a-d Infrared photographs from the lower right (a), right (b), centre (c) and upper right (d).

interesting to note that in works by Balthasar van der Ast the contour lines of the flowers have also often been underdrawn. Four other works are known by Bosschaert showing a bouquet in an open niche, of which two are related compositions with the same Roses in a berkemeyer but with a mountainous landscape in the background. A fifth similar work is a painting of a bouquet set before an open landscape but without the niche. Here follow comparative descriptions of these five paintings: 1) Flower piece with Roses in a niche, copper, 27.5 x 23 cm, private collection. The bouquet is almost identical but with an Austrian Briar Rose in the middle, a Garden Tiger Moth in the same position, and on the ledge of the niche an Indonesian Treesnail and an Orange Tip Butterfly, without further insects.93 2) Flower piece with Roses in a niche, copper, 31 x 23 cm, private collection. The bouquet and butterfly as in the preceding work, but on the ledge of the niche a half full Sulphur Rose and a bloom of Annulated Sowbread.94 3) Flower piece in a niche, copper, 23.5 x 17.5 cm, Musée du Louvre, Paris, inv. no. RF 1984-150. The work has an identical Crocus, Provins Rose and Emerald Damselfly.95 4) Large bouquet with a Variegated Iris at the top in a niche in front of a landscape (Fig. 6.16). 5) Flower piece before an open landscape (Fig. 6.15). The glass is identical in all these works except in Large bouquet with a Variegated Iris at the top in a niche in front of a landscape. All the Roses appear in 2, 4 and 5 and several also appear in other works by Bosschaert. The Crocus can be seen in a work of 1617, and in other examples too. Similarly, the butterfly is present in a number of works executed from 1606 on, as is the little beetle from 1609 onwards, the Emerald Damselfly as in 3, and the Greenbottle Fly. Typical of the late works from 1619 through to 1621 are the Rose leaves that have bite holes and water drops, as are the shadows and the distressed outer frame of the niche. Ambrosius Bosschaert I, Flower piece before an open landscape (Fig. 6.15) Copper, 28 x 23 cm, signed with monogram and dated lower right: AB 1619 Los Angeles County Museum of Art, Los Angeles, inv. no. M.2003.108.7.96 In the background, we can see a somewhat faint undulating countryside with a city and a town in the distance under a blue sky with fluffy white clouds. Balthasar van der Ast adopted the overall concept of this bouquet for a painting of 1624, which also has a Variegated Iris at the top.97 1 2 3 93 94 95 96

97

White Rose Lavender Cotton foliage Yellow Fritillary

Rosa x alba Santolina chamaecyparissus Fritillaria latifolia

Bol 1960, p. 67, no. 44, Pl. 31; Segal 1984, pp. 132-133, no. 8. Sotheby’s, London, 10 July 2002, no. 15. Bol 1960, p. 67, no. 45; Segal in Osaka, Tokyo & Sydney 1990, pp. 189-190, no. 34. Christie’s, London, 9 December 1994, no. 5. Bol 1960, p. 66, no. 38, Pl. 25; Segal 1996, pp. 17-18, Fig. 8. Provenance: collection Ulrik Palm, Stockholm until 1933; Gösta Stenman Gallery, Stockholm & Helsinki; collection Einar Perman (1893-1976), Stockholm, at least from 1936-1960; collection Jean Golet and spouse, Amblainville (Oise) 1963; Newhouse Galleries, New York 1976; collection of Edward William and Hannah Carter, Los Angeles 1961-2003; donated to the Los Angeles County Museum in 2003. Exhibitions & literature: Bergström 1956, pp. 62, 65-67, 69, 70, 76; Bol 1960, p. 67, no. 46, Pl. 30; Philadelphia 1963, n.p.; Van Thiel in San Francisco, Toledo & Boston 1966-67, p. 145, no. 98; Los Angeles, Boston & New York 1981-82, pp. 15-19, no. 4; Los Angeles 1992-93, pp. 15-19, no. 4; Kloek 1993, p. 93, Fig. 162; Segal 2002, p. 58, Fig. 60; sale catalogue of the Weldon Collection, Sotheby’s, New York, 22 April 2015, pp. 322-325 under no. 65. Copper, 13.3 x 10.2 cm, Sotheby’s, New York, 22 April 2015, no. 65.

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4 Blue Grape Hyacinth 5 Autumn Pheasant’s Eye 6 Tapered Tulip hybrid 7 Tuberose Cranesbill 8 Variegated Iris 9 Bluebell 10 Tapered Tulip hybrid 11 Star Anemone 12 Damask Rose 13 Lily of the Valley 14 Pansy 15 Liverwort 16 Apothecary’s Rose 17 Daffodil

Muscari botryoides Adonis annua Tulipa x mucronata tricolor Geranium tuberosum Iris variegata Hyacinthoides non-scripta Tulipa x mucronata bicolor Anemone hortensis striata Rosa x damascena Convallaria majalis Viola tricolor Hepatica nobilis plena Rosa gallica cv. Officinalis Narcissus pseudonarcissus

Fig. 6.15 Ambrosius Bosschaert I, Flower piece before an open landscape, dated 1619, copper, 28 x 23 cm, Los Angeles County Museum of Art, Los Angeles. | 197

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a Tumbling Flower Beetle (?) B Speckled Wood Butterfly c Emerald Damselfly

Mordella fasciata Pararge aegeria Lestes sponsa

On the balustrade 18 Carnation

Dianthus caryophyllus bicolor

d Jumping Spider E Marble Cone Shell F Indonesian Treesnail

Salticus angulatus Conus marmoreus Xestria citrina

Ambrosius Bosschaert has really achieved something extraordinary here within the small format he allowed himself. Several species depicted in this work return in the large painting in the Mauritshuis (Fig. 6.16), but they are not completely identical: a Carnation and bud in the same position, a Variegated Iris at the top of the bouquet, a White Rose and two Autumn Pheasant’s Eyes, Blue Grape Hyacinth, Yellow Fritillary, and the underside of a Damask Rose. However, in the lower right in the foreground are two different kinds of shells. Ambrosius Bosschaert I, Large bouquet with a Variegated Iris at the top in a niche in front of a landscape (Fig. 6.16) Panel, 64 x 46 cm, signed lower left in brown with monogram: AB Mauritshuis, The Hague, inv. no. 679.98 1 Batavian Rose 2 French Marigold 3 Lady Tulip hybrid 4 Pansy 5 White Rose 6 Lily of the Valley 7 Poppy Anemone 8 Brimeura 9 Tapered Tulip 10 Rosemary foliage 11 Columbine 12 Snake’s Head Fritillary 13 Siberian Iris 14 Persian Tulip hybrid 15 Summer Pheasant’s Eye 16 French Marigold 17 Variegated Iris 18 African Marigold

Rosa gallica cv. Batava Tagetes patula Tulipa stellata x T. clusiana Viola tricolor Rosa x alba semiplena Convallaria majalis Anemone coronaria striata Brimeura amethystina Tulipa armena luteo-rubra Rosmarinus officinalis Aquilegia vulgaris striato-alba Fritillaria meleagris Iris sibirica Tulipa clusiana x T. stellata Adonis aestivalis Tagetes patula marginata Iris variegata Tagetes erecta

98 Provenance: collection of De Witte van Citters, Middelburg; bequest of Arnoldus Andries des Tombes, The Hague 1903. Exhibitions & literature: Brussels 1882, no. 27, as by Abraham Brueghel; Utrecht 1894, p. 8, no. 19; Bremmer 1916, pp. 122-124, no. 82; Warner 1928 (Segal ed. 1975), no. 11d; Bergström 1947, pp. 70, Fig. 50; Haarlem 1947, p. 18, no. 5; Bernt 1948, I, no. 117; Utrecht 1948, p. 40, no. 31; Paris 1952, no. 19, Pl. XIII; Van Guldener 1949, pp. 12-13, Pl. 10 and cover; Van Gelder 1950, p. 54 under no. 15; Gerson 1950, p. 52, Fig. 139; Bengtsson & Omberg 1951, p. 53; Berrall 1953, p. 32, Fig. 33; Haarlem 1953, p. 6, no. 9; Hairs 1955, p. 90, Pl. III; Bergström 1956, pp. 62, 64, Fig. 50, 67, 69; Guldener 1957, n.p., no. 27; Bazin 1960, pp. 86-89; Bol 1960, p. 65, no. 37, Pl. 24; Pavière 1962-64, I, p. 16, Pl. 14; Slive 1962, p. 480, Fig. 484; Laren 1963, p. 10, no. 20, Fig. 3; Rosenberg, Slive & Ter Kuile 1966, p. 196; Cogniat 1968, p. 33; Theuerkauff-Liederwald 1968-69, pp. 151-152, Fig. 58; Bol 1969, p. 25; Segal in Amsterdam 1970, p. 9, Fig. 7; Mitchell 1973, pp. 58, 65, Fig. 85; Haarlem 1974, p. 14, no. 45; Brown 1977, p. 33; Hoetink 1977, p. 179; Ulrich 1979, p. 17; Langemeyer in Münster & Baden-Baden 1979-80, pp. 20-21, no. 1, 194, 308, 328, 543; Friedrichs 1980, p. 397; Mainstone & Mainstone 1981, p. 41; Piper 1981, p. 232; Van Leeuwen 1982, p. 45, Fig. VIII; Walsh & Schneider in Los Angeles, Boston & New York 1981-82, p. 18, Fig. 3; Haak 1984, p. 205, Fig. 423; Ter Kuile 1985, Fig. 19; Hairs 1985, I, pp. 200, 207-210, 208, Fig. 68, II, p. 7; Uhlich 1986, pp. 9-10, 12, Fig. 9; Brenninkmeijer-de Rooij 1987, p. 98, Fig. 35; Foucart & Laclotte 1987, pp. 70-71; Dumas 1988, p. 66 n. 65; Grimm 1988, pp. 78-79, Fig. XVII; Schneider 1989, pp. 136, 138-139; Wijnands in Theunissen, Abelmann & Meulenkamp 1989, p. 206 n. 55; Bryson 1990, p. 133, Fig. 49; Segal in Osaka, Tokyo & Sydney 1990, pp. 52, 189-190 under no. 34; Veca 1990, pp. 30-31; Casale 1991, p. 109; The Hague 1992, no. 5; Decoteau 1992, pp. 83-84, Fig. 97, 198; Schwartz 1992; Wettengl in Frankfurt 1993-94, p. 260 under no. 142; Van Eck 1993, p. 17, Fig. 8; Gemar-Koeltzsch 1995, I, p. 123, Pl. 15, II, p. 168, no. 51/11; Hoekstra 1994, pp. 54-55; Mallory 1995, p. 56, Fig. 36; Taylor 1995, pp. 16, 46, Fig. 38, 138; Bergamo & Düsseldorf 1995, pp. 100-101; Eeckhout 1996, p. 271; Schneider 1996, pp. 17-18, Fig. 3; Westermann 1996, pp. 71 (detail), 90-92, Fig. 66; Van der Blom et al. 1997, pp. 55-56; Stoichita 1997, pp. 26-27, Fig. 12; Ebert-Schifferer 1998, pp. 94-95, Fig. 65, 97; Molenaar 1998, p. 46; Battistini et al. 1999, p. 52; Kloek 1999, pp. 44, 46, 48, Fig. 15; Pavord 1999, pp. 147-148; Berardi 2000, p. 5, Fig 3; Segal 2002, pp. 58, 63; Buvelot & Vermeeren 2004, pp. 76, no. 679, 77; Giltaij & de Leeuw 2004, pp. 254, 260; Grohé 2004, pp. 22-23; Van der Ploeg & Buvelot 2005, pp. 116-119; Goldgar 2007, Pl. 6; Runia & Segal 2007, pp. 18-19, 21, 27, 40-43, 68.

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Fig. 6.16 Ambrosius Bosschaert I, Large bouquet with a Variegated Iris at the top in a niche in front of a landscape, panel, 64 x 46 cm, Mauritshuis, The Hague. | 199

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19 Tazetta Narcissus 20 Tapered Tulip 21 Columbine 22 Poppy Anemone 23 Tuscan Rose 24 Blue Grape Hyacinth 25 Yellow Fritillary 26 Lavender Cotton 27 Annulated Sowbread 28 Musk Daffodil 29 Forget-me-not 30 Carnation

Narcissus tazetta Tulipa armena bicolor Aquilegia vulgaris Anemone coronaria pseudoplena Rosa x damascena cv. Tuscany Muscari botryoides Fritillaria latifolia Santolina chamaecyparissus Cyclamen hederifolium Narcissus moschatus Myosotis palustris Dianthus caryophyllus plenus bicolor

A B c d e f

Nerita textilis Hexaplex cichoreus Panagaeus cruxmajor Abraxas grossulariata Coenagrion puella Lucilia caesar

Textile Nerite Shell Endive Murex Shell Crucifix Ground Beetle Magpie Moth Caterpillar (2x) Azure Damselfly Greenbottle Fly

Fig. 6.16a Sketch of the species in Fig. 6.16.

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Fig. 6.16b Detail from Fig. 6.16.

The bouquet has been placed in a Venetian glass vase decorated with mascarons and rosettes which have a blue pearl in the centre. The white Musk Daffodil is identical to one in the Flowers in an earthenware vase painted by Jan Brueghel I around 1605.99 The foliage in the background is rendered in much more detail than in Bosschaert’s early paintings. Something else that contributes to the striking overall effect of this work is that the sky in the background has been painted around the large flowers. Because I noticed underdrawing was visible to the naked eye in several places, for instance around the Marigold in the lower left, as well as around the Roses and Tulips, I made an attempt with two of my students to examine the painting using infrared reflectography in 1994. This research showed that the underdrawing is not only visible in the contours of the flowers, but also in the lines of the ledge, the arch of the niche and the relief carving on the side walls of the niche. Adjustments have been made to these preparatory lines in the final state of the work. It is clear that the niche was originally planned to be slightly smaller and was enlarged, particularly at the bottom, which may be seen quite easily at the corners.100 The great number of references and reproductions one can find in the literature is an index of how tremendously popular this magnificent painting has been and still is.101 There are a great number of unsigned paintings that have been erroneously attributed to Ambrosius Bosschaert I. In part, these are paintings that should actually be attributed to his son, Ambrosius II. Some others are paintings in the style of Jan Brueghel I. A few of the remaining works in this category raise the question of whether we are not rather dealing with flower pieces painted before 1605, which leads one to suspect that they were done under the influence of Ludger tom Ring II (e.g. Figs 5.20 and 5.21).102 99 100 101 102

Panel, 50.3 x 40.6 cm, Vienna, Kunsthistorisches Museum, inv. no. GG 548. Segal 2002. My research assistants were Yvonne Molenaar and Mary de Bruyn. An early copy of the work, on panel, 62 x 42 cm, is or was in a private collection in Belgium. See Chapter 5.

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Adriaen van Nieulandt

Adriaen van Nieulandt was born in 1587 in Antwerp. He moved with his parents to Amsterdam in 1589, where a certain Adriaen van Nieulandt, probably his father, was registered in 1594 as a citizen and pedlar.103 Adriaen served an apprenticeship under Pieter Isaacsz (1568-1625) and Frans Badens (1571-1618) and once completed he travelled to Italy. In 1609, he married Catelynken Raes Thomasdr, who bore him eleven children between 1611 and 1630. They lived in the Pijlsteeg in Amsterdam until in 1614, when he bought a house on the Breestraat, and then in 1619 a considerable piece of land on the Herengracht between the Leliegracht and the Hartenstraat. Here he had a house built which he called De Hollandse Leeuw (‘The Dutch Lion’), and subsequently sold it on (a case of real estate speculation). He was also an art dealer. Diligence combined with good fortune characterize the course of his career and in 1619 he was appointed painter in the service of Castle Frederiksborg in Copenhagen, a residence of the Danish royal family. From 1631 onwards he became an estate agent and speculated in the housing market. In 1638 he lived on the Singel, an exclusive address in seventeenth-century Amsterdam. Deeds and legal documents with his signature have survived up to the year 1653.104 He died in 1658. His brothers Guilliam and Jacob were artists and painters too. In addition to a few flower pieces, Adriaen van Nieulandt also painted Italianate landscapes; history pieces with secular, religious and mythological scenes; genre paintings; portraits; and a kitchen piece. Diverse influences of predecessors and contemporaries can be discovered in his works, such as the inspiration of Pieter Aertsen (1508-1575), Paul Bril (1553/54-1626), Cornelis Cornelisz van Haarlem (1562-1638), Jacques de Gheyn II (1565-1629), Pieter van Rijck (1567/68-after 1635) and Frans Snyders (1579-1657). Dated work is extant from 1614 to 1657. He is known to have painted a flower piece in 1614 (Fig. 6.17) and a vanitas still life with a little vase of flowers in 1636, the latter currently in the Frans Hals Museum in Haarlem.105 Meijer has attributed another flower piece to Adriaen van Nieulandt.106 It is a painting with extensive supplementary work, all of it linked to the various meanings of the vanitas theme – transience, vanity and vacuousness – including the meanings of the texts and titles of books in the painting.107 I am only acquainted with this work from reproductions.108 There is, however, another nearly identical flower piece, which I had a chance to study in 1979 in a private collection.109 According to Meijer, this is the same work severely cropped.110 Finally, the inventory of his daughters’ estate drawn up in 1673 also lists a flower piece.111 Adriaen van Nieulandt, Flowers in a bronze vase and in a square glass flask on a wooden table (Fig. 6.17) Panel, 70.5 x 57.8 cm (probably cut), signed and dated lower left in brown calligraphy: Adriaen van Nieulant Fecit. 1614. Private collection.112 1 Batavian Rose 2 Columbine 3 Annulated Sowbread 4 Rape 5 White Rose 6 Kurdistan Tulip 7 Crown Anemone 8 Mertensia 9 Tapered Tulip

Rosa gallica cv. Batava Aquilegia vulgaris Cyclamen hederaceum Brassica napus Rosa x alba Tulipa stapfii bicolor Anemone x fulgens Mertensia virginica Tulipa armena bicolor

103 Van der Willigen and Meijer give the date of birth as 1586/87, all other literature 1587; for the move to the North they give ca. 1588, other literature 1607, the year that Adriaen registered as an apprentice. Van der Willigen & Meijer 2003, p. 150. His younger brother Jacob was born in 1592/93 in Amsterdam. 104 For references to archival documents about Van Nieulandt see Dozy 1884-87, pp. 48-49. 105 Panel, 40 x 37.2 cm, Haarlem, Frans Hals Museum, inv. no. 1109. 106 Panel, 124 x 77 cm. Meijer 1995. 107 And, therefore, not just the notion of transience alone, which Meijer points out. Meijer 1995, pp. 159-161. 108 Sotheby’s, London, 10 July 1974, no. 124, as by Ambrosius Brueghel, signed with monogram ‘AB’ and on one of the books with ‘BR[V]GHEL’. 109 Panel, 96 x 77 cm. I have been unable to ascertain whether this is the same work or, perhaps more likely, a copy of not very high quality. 110 Meijer 1995, p. 158. 111 For the inventory of Abigaël van Nieulandt, widow of Salomon Koninck, 20 February 1673, see Bredius 1915-22, I, p. 170. 112 Provenance: collection of Louis Robbe, Kortrijk, 19th century; sale P. Renaud, Palais d’Orsay, Paris, 21 November 1978, no. 61; Sotheby’s, Monaco, 17 June 1988, no. 864; Michel Ségoura Gallery, Paris 1988; Christie’s, London, 7 December 2011, no. 114. Literature: De Maere & Wabbes 1994, I, pp. 300-301, III, p. 897; Meijer 1995, p. 162, Fig. 4.

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Fig. 6.17 Adriaen van Nieulandt, Flowers in a bronze vase and in a square glass flask on a wooden table, dated 1614, panel, 70.5 x 57.8 cm, private collection. | 203

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10 Carnation 11 Sweet Briar 12 White Bachelor’s Buttons 13 Blunt Tulip hybrid 14 Siberian Iris 15 Angel’s Tears 16 Stock 17 English Iris 18 Peacock Anemone 19 Tapered Tulip 20 English Iris 21 Golden Narcissus 22 Tapered Tulip 23 Maltese Cross 24 Tapered Tulip 25 Turk’s Cap Lily 26 Tapered Tulip 27 Columbine 28 Purple Tulip hybrid 29 Damask Rose 30 Rosemary 31 Dutch Yellow Crocus 32 Apothecary’s Rose 33 Pansy 34 Sweet Violet 35 Peacock Anemone 36 Tulip ‘Duc van Tol’ 37 Tapered Tulip 38 Purple Tulip (virus infected) 39 Tapered Tulip 40 Tulip ‘Branson’ 41 Damask Rose 42 Apothecary’s Rose 43 Tulip ‘Lack’ 44 French Rose

Dianthus caryophyllus duplex Rosa rubiginosa Ranunculus aconitifolius var. pleniflorus Tulipa mucronata x T. undulatifolia Iris sibirica Narcissus triandrus Matthiola incana Iris latifolia albo-violacea Anemone pavonina rubra Tulipa armena luteo-rubra Iris latifolia albo-purpurea Narcissus tazetta subsp. aureus Tulipa armena bicolor Lychnis chalcedonica Tulipa armena albo-rubra parviflora Lilium chalcedonicum Tulipa armena albo-rubra Aquilegia vulgaris bicolor plena Tulipa undulatifolia x T mucronata Rosa x damascena Rosmarinus officinalis Crocus flavus var. luteus Rosa gallica cv. Officinalis ad Batava Viola tricolor Viola odorata Anemone pavonina rubra parviflora Tulipa clusiana marginata Tulipa armena bicolor Tulipa undulatifolia bicolor Tulipa armena bicolor Tulipa purpurea luteo-striata Rosa damascena cv. Versicolor Rosa gallica cv. Officinalis Tulipa mucronata albo-striata Rosa gallica albescens

A B c d

Brassica rapae Inachis io Tettigonia viridissima Lacerta agilis

Small White Butterfly Peacock Butterfly Great Green Bush Cricket Sand Lizard

A bronze vase and a square glass flask, both with flowers, are standing on a wooden table with somewhat exaggerated painted woodgrain. The underdrawing is visible in several places with adjustments in the use of colour – for example for the large Rose on the left and some of the Tulips. On the table-top we see shadows cast towards the left background, the shadow cast by the dark flask also revealing the refracted light penetrating the bottle. Most of the flowers are sharply outlined. The idea of a composition with more than one container was borrowed from Osias Beert I. Remarkable features are the single Roses, one upside down, and the separate Tulip. It is possible that the bouquet was composed alla prima. All these flowers bloom around June. Unfortunately, this work has not survived in its original condition. There are saw marks around the edges, and the painting was possibly originally in a horizontal format since the woodgrain runs crosswise.

Christoffel van den Berghe

Christoffel van den Berghe was probably born around 1590 in Sint-Maartensdijk. He married Susanneken Sadelare of Middelburg in 1611. It is very likely that he was apprenticed to Ambrosius Bosschaert I. In 1619 Christoffel became one of the governors of the Guild of Saint Luke in Middelburg, and in 1621 dean. In this year, he also bought a house on the Corte Breestraat near the Beguinage (the home of a semimonastic community of women) and lived there until January 1628. In 1626 he became engaged to Mayken Jans van Griffen, whom he promised to marry in May 1627. However, he never kept this promise and in May 1628 denied the engagement, despite letters from her saying that she had accepted him as a husband. How his life unfolded from this date until his death remains obscure.

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Christoffel van den Berghe’s known or documented dated works originate from the period 1617 to 1624.113 He usually signed his work with the monogram: CVB. A fully signed flower piece dated 1617 is currently in the Philadelphia Museum of Art. It shows a quite compact, strongly vertical bouquet set within a niche, with four butterflies and other insects, three exotic shells and two little porcelain Wanli bowls.114 This work was most likely his earliest flower piece since the others are more harmoniously composed with more space between the flowers. The composition of this earliest work seems to have been inspired by Roelandt Savery: a slender bouquet in a glass placed in a natural stone niche. Another flower piece with Roses and Tulips is currently in a private collection (Fig. 6.18). In addition, we know of three other monogrammed flower pieces in private collections, two of them an oval work.115 Three of these five flower pieces are very similar in terms of composition: the bouquets are highly symmetrical with a Tulip, or Tulip and Rose, counterpoised on either side, that is to the left and to the right. In all the paintings Jasmine and a Forget-me-not have been placed in the lower portion of the bouquet. Other species, if perhaps not identical among these five works, show strong similarities in terms of placement, such as the Kingcup and the Liverwort. The tapered, elongated Tulips are consistently of the same variety. The dimensions of the flowers relative to one another are not true to life, in fact, more often than not, the Tulips are far too large compared to the Roses. In every instance, a glass vase is seen standing on a stone ledge which displays distressed and damaged edges. Just like Roelandt Savery, Christoffel van den Berghe has achieved some depth by darkening the flowers in the bouquet as they recede towards the rear of the painting, and by the skilled use of shadows and shading. His flower pieces also betray the influence of Ambrosius Bosschaert I in some respects. Among his other works is a still life with dead birds and a Rose of 1624, now in the Getty Museum in Los Angeles, for which a preparatory study of the Rose dated 1618 can be found in the Rijksprentenkabinet in Amsterdam.116 Besides flower pieces, Van den Berghe painted a vanitas still life with a glass vase holding Roses and Jasmine; a tobacco still life; several large-scale still lifes with dead birds; and a number of small landscapes with figures.117

113 A still life with dead birds described as signed and dated 1642 was sold in Middelburg in 1779. Most likely the date has been misread, because the description, size, support and signature match with a painting of Van den Berghe dated 1624 now in Los Angeles (canvas, 72.4 x 100.3 cm, Los Angeles, The J. Paul Getty Museum, inv. no. 71.PA.34). Van der Willigen & Meijer 2003, p. 36. 114 Copper, 37.6 x 29.5 cm, Philadelphia Museum of Art, Philadelphia, inv. no. 648. Bol 1969, pp. 51-55, Fig. 43; Amsterdam & Cleveland 1999-2000, pp. 124-125, no. 7. 115 All on copper; oval, 7.9 x 5.9 cm; oval, 25 x 19 cm, sold in Berlin 1912, as by J. Brueghel; 20.4 x 18 cm, in 1981 at Hoogsteder & Hoogsteder Gallery, The Hague. Bol 1969, p. 53, Fig. 45. 116 Canvas, 72.4 x 100.3 cm, Los Angeles, The J. Paul Getty Museum, inv. no. 71.PA.34; 130 x 166 mm, Amsterdam, Rijksprentenkabinet, inv. no. RP-T-1918-116. 117 With the exception of the work sold in Berlin in 1912 (see note 115), extensive descriptions of all these works, accompanied by identifications and photographic images, are to be found in the Segal Project and the Segal Still Life Documentation in the RKD, The Hague; see also Bol 1956a; Bol 1969, pp. 51-56 and Segal in Amsterdam 1984, pp. 76-78.

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Christo�fel van den Berghe, Flower piece with Roses and Tulips (Fig. 6.18) Copper, 29.5 x 22.4 cm, signed with monogram lower right: CVB. Private collection.118 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Jasmine Lavender Cotton Liverwort Kingcup Tapered Tulip Batavian Rose Rosemary Hare Bell Red Tulip hybrid Pansy White Rose Summer Pheasant’s Eye Pot Marigold Forget-me-not Annulated Sowbread

Jasminum officinale Santolina chamaecyparissus Hepatica nobilis plena Caltha palustris plena Tulipa armena bicolor Rosa gallica cv. Batava Rosmarinus officinalis Campanula rotundifolia Tulipa agenensis x T. hungarica Viola tricolor Rosa x alba Adonis aestivalis Calendula officinalis Myosotis palustris Cyclamen hederifolium

Fig. 6.18 Christoffel van den Berghe, Flower piece with Roses and Tulips, copper, 29.5 x 22.4 cm, private collection. 118 Provenance: Eugene Slatter Gallery, London; private collection, Switzerland; Sotheby’s, London, 24 June 1970, no. 41; Hallsborough Gallery, London; J.O. Leegenhoek Gallery, Paris 1971; private collection, New York; Noortman Master Paintings, Maastricht, and Haboldt & Co., Paris ca. 2005. Exhibitions & literature: Bol 1969, pp. 54-55, Fig. 45a; New York 1975, n.p., no. 4; Segal in Amsterdam 1984, pp. 76-77, Fig. 26; Hellerstedt in Pittsburgh 1986, pp. 74-75, no. 30; Haverkamp Begemann in New York 1988, pp. 19, 35, no. 3.

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A B c d e f g

Red Admiral Meadow Brown Butterfly Chrysotoxum Hoverfly Red Damselfly Gold Wasp Greenbottle Fly Caterpillar

Vanessa atalanta Maniola jurtina Chrysotoxum bicinctum Pyrrhosoma nymphula Chrysis ignita Lucilia caesar Lepidoptera spec.

Nicolaes Gillis

Nicolaes Gillis was born in 1592 or 1593 in Antwerp. He must have left his native city at quite a young age and moved with his parents to Haarlem, although we have documentary evidence of this only from the year 1612. In Haarlem he married Tanneken Abels from Bruges in 1615. He died in Haarlem in 1632.119 Together with Floris van Dijck, Gillis is the founder of the ‘laid tables’: that is meal still lifes with scattered objects and foodstuffs which overlap each other only marginally or not at all and are seen from above. Four such laid tables, a fruit piece and a flower-and-fruit piece remain in existence and date from between 1601 and 1628.120 In 1962 a flower piece signed N Gillis was auctioned by Bukowski in Stockholm (Fig. 6.19).121 Another work that is clearly early was put up for auction in 1984, but was attributed to a follower of Daniël Seghers (1590-1661). During restoration, however, the signature of Nicolaes Gillis reappeared (Fig. 6.20).

Fig. 6.19 Nicolaes Gillis, Flowers in an earthenware vase, panel, 61 x 45 cm, private collection. 119 Thieme & Becker 1907-50, XIV, p. 43; Vorenkamp 1933, p. 38. This Nicolaes Gillis is probably the same person mentioned by Bredius as the painter of flowers and still lifes named Claes Jelisz or Jilles, who flourished in Haarlem around 1622. 120 The date of the 1601 painting has also been read as 1611. 121 Panel, 61 x 45 cm, Bukowski, Stockholm, 7 November 1962, no. 169. Gallery Curt Benedict, Paris 1948; Gemar-Koeltzsch 1995, II, p. 388.

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Nicolaes Gillis, Flowers in a Chinese vase (Fig. 6.20) Copper, 28 x 21.7 cm, signed lower left next to the mouse in dark brown: N. Gillis Private collection.122 1 Wood Anemone 2 Annulated Sowbread 3 Liverwort 4 Kingcup 5 Tapered Tulip 6 Lady Tulip hybrid 7 Tazetta Narcissus 8 Columbine 9 Rue foliage 10 Turkestan Tulip hybrid 11 Siberian Squill 12 Tapered Tulip hybrid 13 Primrose Peerless 14 Rosemary foliage 15 Red Tulip 16 Pyrenean Iris 17 Tapered Tulip hybrid 18 Bluebell 19 Snowdrop 20 Pot Marigold 21 Peacock Anemone 22 Poppy Anemone 23 Poppy Anemone

Anemone nemorosa plena alba Cyclamen hederifolium Hepatica nobili plena Caltha palustris plena Tulipa armena x T. agenensis Tulipa stellata x T. clusiana Narcissus tazetta Aquilegia vulgaris Ruta graveolens Tulipa stapfii x T. armena Scilla sibirica Tulipa armena x T. stapfii Narcissus x medioluteus Rosmarinus officinalis Tulipa agenensis bicolor Iris pyrenaicum Tulipa armena x T. agenensis Hyacinthoides non-scripta Galanthus nivalis Calendula officinalis Anemone pavonina Anemone coronaria pseudoplena Anemone coronaria albo-rubra

Fruit and plant species on the table 24 Cherry 25 Redcurrant 26 Carnation

Prunus cerasus Ribes rubrum Dianthus caryophyllus plenus bicolor

a House Mouse b Blue Butterfly c Bluebottle Fly

Mus musculus Lycaenidae spec. Calliphora vomitora

The vase is decorated with an owl perched on a branch and a falcon among floral elements. Left in the foreground are a mouse and some fruit. There is a painting in the Grand Curtius in Liège that bears strong similarities and is either another version of the same painting or a later imitation. The work in Liège shows a roemer with by and large identical flowers, plus three exotic shells in the foreground; it too is painted on copper and has similar dimensions.123

122 Christie’s, London, 13 April 1984, no. 3; Galerie d’Art Sepia, Paris 1994; Segal in Christie’s, London, 16 December 1998, no. 32. Unfortunately, the image, made before cleaning, is of inferior quality. 123 Copper, 27 x 21 cm, Liège, Grand Curtius, inv. no. Mx 2539, as attributed to Abraham Mignon.

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Fig. 6.20a Sketch of the species in Fig. 6.20.

Jan Serange

Fig. 6.20 Nicolaes Gillis, Flowers in a Chinese vase, copper, 28 x 21.7 cm, private collection.

Jan Serange was probably born around 1566 in Cologne. He is recorded in Delft in 1613 with the illuminators, booksellers and art dealers.124 He died in Delft in 1624. At the time of his death he called himself a painter. The inventory of his estate lists, in addition to small marine panels with ships, ‘een geschildert blompotgen’ (‘a little painted flowerpot’) and ‘een bouck daerinne geschildert staen seecker tulpaen’ (‘a book in which are painted certain Tulips’). He was well known for being an early Tulip enthusiast. He owned ‘tulpaenschilderyen’ (‘Tulip paintings’) and Tulips in his garden, including the famous cultivar Vise roy.125 No works by Jan Serange are known of today.

Pieter van der Voort

Pieter van der Voort (1599-1624), the son and apprentice of Cornelis van der Voort (1576-1624), was born in Amsterdam. The inventory of his estate lists not less than five flower pieces.126 The same inventory also lists other still lifes, in addition to portraits and historical works. Only a laid table is currently known.127

F. (?) van Remunde

F. (?) van Remunde is mentioned by Carel van Mander as being the painter of a vase of flowers in the collection of Melchior Wyntgis in Middelburg in 1618.128 He is possibly identical with Everard van Remunde (Ro(u)rmunde), who in 1616 received the commission to paint portraits of the Archduke Albrecht and his wife Isabella.129 No works by this artist are known of today. 124 125 126 127

Montias 1982, p. 79. Bredius 1915-22, III, pp. 948 and VI, pp. 2232-2237. Bredius 1915-22, IV, pp. 1177-1179; De Roever 1885b, pp. 204-207. Canvas, 55 x 48 cm, whereabouts unknown. Galerie Fischer, Lucerne, 21 October 1947, no. 3066; Galerie Fischer, Lucerne, 13/17 June 1950, no. 2506; Galerie Fischer, Lucerne, 24/28 November 1953, no. 2286. 128 Van Mander 1604, p. 217r. 129 Pinchart 1860-63, II, pp. 175-176.

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Artists of the Southern Netherlands Jan Brueghel I

Jan Brueghel I was born in 1568 in Brussels. He was the second son of the famous painter Pieter Brueghel I (1526-1569), who died one year later. After the death of his mother Mayken Coecke in 1578, the upbringing of Jan and his older brother Pieter II (1564-1638) was assumed by his maternal grandmother, Mayken Verhulst (1518-1599). She took the boys to Antwerp and, since she was a painter herself, taught them to work with body colour. Jan became a pupil of Peter Goetkint I (ca. 1540-1583) and learned to paint in oils. In 1589 Jan Brueghel I travelled via Cologne to Italy, where he stayed until 1596. In Milan he became acquainted with Cardinal Federico Borromeo and his agent Ercole Bianchi, who later gave him important commissions and with whom he remained in contact until his death. Their extensive correspondence – 64 letters dated between 1596 and 1624 – has survived and may be found in the Pinacoteca Ambrosiana in Milan, along with the paintings purchased by the Cardinal; a transcription of the letters was published by Crivelli in 1868 and revised by Bedoni in 1983.130 In 1597 Jan Brueghel I was admitted to the Guild of Saint Luke in Antwerp, where he served as dean in 1601 and 1602. In 1606 he became the court painter of Archduke Albrecht and his wife Isabella in Brussels, from whom he received commissions for paintings until the end of his life. The first commission for Archduke Albrecht stipulated that the painter provide ten paintings within six months to be delivered to Holland. In a letter of 1611 to Bianchi he wrote: ‘The first [flower piece] I painted was for the Cardinal, the second for Isabella in Brussels. They have been very highly valued and I think that you will also admire them’.131 As tokens of the Cardinal’s high esteem, Jan received chains, medallions and a gold ornament in the form of a chapel. In 1599 Jan Brueghel I married Isabella de Jode in Antwerp, who bore him a son in 1601, Jan II, and a daughter Paschasia, in 1603, but Isabella died shortly thereafter. In 1605 Jan remarried, this time Catharina van Mariënburg, with whom he had eight children, although some of these died in infancy. He acquired a great deal of wealth and was able to purchase six houses between 1604 and 1609. He also made a number of journeys, including a trip to Prague in 1604 and one to Nuremberg in 1613; he also travelled to Haarlem in the company of Peter Paul Rubens (1577-1640) and Hendrick van Balen (15731632) where he met Hendrick Goltzius. Jan Brueghel I was a friend of Rubens and collaborated with him, as he did with other painters including Frans Snyders, Hendrick van Balen, Pieter van Avont, and the landscape painter Joos de Momper II (1564-1635). He died in Antwerp in 1625 during a cholera epidemic. In his own day, he was held as the most important painter in the Southern Netherlands after Rubens. He was able to demand considerable sums for his work and left a substantial fortune upon his death. In 1631, his son Jan Brueghel II wrote that the Duke of Buckingham had once paid his father 3,000 guilders for a flower wreath. Many are those who have expressed their wonder and admiration for his works in writing from the beginning of the seventeenth century right through to our own time, including Carel van Mander (1604), Cornelis de Bie (1661), André Félibien (1668), Arnold Houbraken (1718-21), Frans Jozef Peter van den Branden (1883) and many, many later authors. Jan painted predominantly landscapes with figures and animals, but also religious and mythological subjects, and although the number of flower still lifes he produced is small in relation to these other subjects, they are of immense importance for the history of this genre. As a yardstick against which to judge, his contribution to the tradition can be considered unique, but his direct influence was limited to Flemish still life painters. Yet it must be noted as an aside, that the importance of one of his apprentices, the flower painter Daniël Seghers (1590-1661), for the development of still life painting in Flanders was even greater in the later period. Jan Brueghel’s other apprentices include, in addition to his son Jan II, Abraham Govaerts (1589-1626) and Jacques Foucquier (1590-1655). A full thirty flower pieces and approximately ten other flower still lifes are known with certainty to be works of Jan Brueghel I, to which can be added several still lifes combined with rich objects of display. His flower pieces exhibit a great deal of variety, with flowers set in different types of containers: 130 Crivelli 1868 and Bedoni 1983, pp. 103-146 (correspondence with statement and summary). 131 Crivelli 1868, p. 168, Brueghel to Bianchi, 22 April 1611: ‘Il prima che io fece e quella del sig. Cardinal: il secondo ho fatto per le ser.mo Enfante in Brussello. Detta e tenuto in grand.mo estima, come io me a’segura che vs non fara mancho’.

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decorated and undecorated European earthenware vases, bowls and different types of Chinese Wan-li porcelain, façon de Venise glass vases, baskets, wooden tubs, and tazzas ornamented with silver work. In addition, he painted flower wreaths, garlands and swags, also sometimes with fruit, or a flower image with figures placed in the centre, as well as combinations of these.132 Moreover, he also painted flowers in allegorical compositions and depicted flower pieces in representations of picture galleries. The exact number of works from his hand remains uncertain due to conflicting opinions of art experts regarding correct attribution. Only a few works are signed, and Jan Brueghel I seldom dated his paintings. This is further complicated because there are copies and versions of his works remaining, which were executed by his son, Jan II, and other followers – both contemporaries and later artists – of whom we should name Jan Snellinck I (1548-1638), Jan Baptist Nollekens (1665-after 1720), and Joseph Bredael (1688-1739).133 The following extracts from the correspondence of Jan Brueghel I with Cardinal Borromeo and Ercole Bianchi allow us to make a number of remarkable and unexpected conclusions about his working methods and his thoughts on the subject of painting flower pieces. Brueghel writes to Borromeo in 1606: [...] without any commission I have begun on a bouquet with various kinds of flowers destined for Your Excellency, which has turned out very beautifully because of the naturalness and the beauty and rareness of the various flowers, some of which are unknown in these parts and have never been seen, which is why I went to Brussels: in order to find several flowers that cannot be found in Antwerp so I can portray them from nature.134 Various important points can be concluded from this citation. Brueghel was working on a specific flower piece without having first secured a commission. Furthermore, beauty was a significant consideration for him and he strove for a representation that was as natural as possible. Also it was vital to him that rare species be represented, so he expressly travelled from Antwerp to Brussels in order to paint these, because it was also crucial for him to depict such flowers directly from nature. It is worth pointing out, however, that in this particular context, the notion of rarity never applied to species from the wild because the number of such species he included in his works is very limited. This must, therefore, refer to cultivated exotics, which he possibly was able to locate via cultivators or in the gardens of the nobility, and perhaps also in the garden of the Archduke. He also expressed his sentiments about beauty, rarity and naturalness in other letters, for example in a letter to Borromeo in 1606: I do not believe that so many rare and diverse flowers have been painted, or so diligently represented; it will make a beautiful show in the Winter. Some of the colours come very close to nature.135 He repeatedly mentions that in a painting a viewer may behold the beauty of the flowers outside the natural flowering period, in the Winter for example, and that he has done his best to copy the natural colours as faithfully as possible. In 1611 Jan Brueghel wrote to Bianchi the following about two paintings, one for the Cardinal the other for Isabella in Brussels: Not in this work, nor in the other do I accept any help. The flowers have to be painted at one sitting, without drawings or sketches. All the flowers bloom within four months and have to be put together without embellishment and with great discretion.136 132 Cartouches with figures were first produced by Daniël Seghers (1590-1661), not by Jan Brueghel I, as is sometimes reported in the literature. 133 There are considerable numbers of books and other publications on the work of Jan Brueghel I. The most extensive overview of his flower still lifes may be found in Hairs 1985, I, pp. 33-115, II, pp. 11-15, including many sources, as well as in Ertz 1979, although a number of attributions in the latter publication are debatable. 134 Crivelli 1868, p. 63, Brueghel to Borromeo, 14 April 1606: ‘[...] senza ordine ho principiata et destinato a vs Ill.mo una Massa de vario fiori gli quaili reucerani molto bello: tanta per la naturalleza come anco delle bellezza et rarita de vario fiori in questa parto alcuni inconita et non peiu uisto: per quella io son stata a Brussella per ritrare alcuni fiori del natural, che non si trove in Anversa’. 135 Crivelli 1868, pp. 74-75, Brueghel to Borromeo, 25 August 1606: ‘Credo che non sia mai fatto tanti raro et vario fiori, finita co simla diligensa: d’inverna farra un bel vedere: alcuni colori arriveno apressa poca il natural’. 136 Crivelli 1868, p. 168, Brueghel to Bianchi, 22 April 1611: ‘Gli fiori besoigni fare alle prima, sensa desseigni o boitssaturo: tutti fiori vengeno in quatra mesi, et sense invencioni besoigni giungere in seime con gran discretcion’.

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From this quotation we learn, that Brueghel did not make use of any assistance from apprentices or others, but did everything himself. This was not the obvious method of proceeding, since at the time there was much collaboration between painters, for example because one was more specialized in figures or landscapes, and the other in animals, although for flower pieces collaboration was usually excluded.137 Brueghel wrote that working alla prima could only be conducted for four months, from April through to July. In actual fact some species bloom from February or March through to September meaning, therefore, he was embellishing somewhat. In another letter, he does, however, comment, that he can work on flower paintings from mid-February to mid-August. Remarks from one of the quotations above also raise significant questions as to whether he really did work without drawings or sketches. This, in conjunction with the earlier citation from the 1606 letter to Borromeo, leads one to puzzle over what occupied Brueghel on his trip to Brussels, if not making drawings and sketches? It is extremely unlikely that he took unfinished paintings with him in order to paint the flowers in the open air. In fact, that would be impossible because then he would have had to work very quickly and directly, and know immediately where in the provisional composition he would place the different flowers in order to achieve the most harmonious effect. So he must have worked partially from studies – whether in oils, watercolour, chalk or another medium – with notations about colours, despite the fact that no such studies have survived. It is also conceivable that he made sketches as preparatory studies for paintings, but we only have rare examples, for instance, one of a tazza with flowers in the British Museum in London, although to err on the side of caution, it is not at all clear whether this is a sketch by Brueghel himself, or by someone else after a painting by Jan Brueghel I (Fig. 6.21).138 That he did in fact copy flowers from his own works is evident from his correspondence with Cardinal Borromeo, when he writes that for his Madonna in a wreath of flowers (now in the Louvre) he copied birds and flowers from other paintings in the collection of Albrecht and Isabella in Brussels.139

Fig. 6.21 (After) Jan Brueghel I, Tazza with flowers, drawing, 279 x 374 mm, The British Museum, London. 137 But not always: for example, somewhat later Jan Davidsz de Heem (1606-1684) often collaborated with other painters, including his assistant Abraham Mignon (1640-1679). 138 London, The British Museum, inv. no. 1895,0915.1012. Hairs 1985, I, pp. 39-40, Fig. 4, 427 n. 198; Ertz 1979, pp. 149-151, 288289, Fig. 358. For a painting with a similar tazza: panel, octogonal, 52.2 x 43.8 cm, Sotheby’s, New York, 26 January 2006, no. 7. In the drawing the species can scarcely be differentiated from each other and the little cluster of flowers at the foot of the tazza is lacking. 139 Ertz 1979, p. 527 n. 329. Panel, 83.5 x 65 cm, Paris, Louvre, inv. no. 1764.

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It has been demonstrated by x-ray analysis that, for the painting in Cambridge, Brueghel worked with a rough sketch as underpainting.140 That he may have painted from prints of flowers is unlikely.141 It is probable that Brueghel worked on different paintings at the same time, possibly on different versions of a single composition. Outside of the flowering season he had time to work on other subjects and, following this line of thought, it is interesting to read his comments in a letter to Bianchi in August 1608: Despite how much Your Highness desires a composition of flowers, believe me, it is an enormous undertaking: it is not easy to do everything from nature, and that is why I would rather paint two landscapes. This year’s flowers have withered, I must begin the desired painting in the Spring and work through from mid-February to the mid-August, just to let you know.142 From this last extract, and in the light of those mentioned earlier, it can be inferred that Brueghel was extremely aware of the differences between the many species and varieties of flowers and other plants and consciously sought out the most harmonious composition in relation to forms, shapes and colours, as he thought possible. With regard to the costliness of the flowers, which was closely linked to their rarity Brueghel wrote that certain cultivated species were too expensive to keep in the house.143 This should remind us that Brueghel asked Borromeo for extremely high amounts of money for his paintings.144 The great expense is also expressed in the vases and tazzas, and in the supplementary work such as jewels and other precious objects. On this subject, he wrote to Borromeo in 1606: Below the flowers I have painted a jewel and some medallions, plus rarities of the sea [exotic shells]. To Your Highness is the honour of judging whether the flowers surpass the gold and the jewels.145 These words refer to a large painting in the Pinacoteca Ambrosiana.146 Besides suggesting that the supplementary work contributes to the value and the visual variety in the painting, there may also be an underlying hint about the high prices the Cardinal was forced to pay for these works of art in comparison with the purchase of other precious objects. It is also interesting to find out how Borromeo himself regarded these flower pieces. In 1625 he noted: But I never burdened myself with those kinds of symbols and mysteries when I commissioned this subject to be painted.147 Perhaps we might expect that a Cardinal would in fact want to see symbolic meanings suggested by a flower painting. Every viewer has the right to a personal interpretation, and perhaps he sought an alternative to symbolism, as a form of respite from the heavy use of symbol, metaphor, and allegory so befitting and typical of his profession. Borromeo was more interested in the ornamental beauty of the flowers, something he could also enjoy outside of the growing season with a flower painting. To deduce 140 Murray & Groen 1994, pp. 6, 9-20, Figs 3-17, details p. 12 with partially incorrect and incomplete identifications. Panel, 60.3 x 42.2 cm, Cambridge, Fitzwilliam Museum, inv. no. PD 20-1975. 141 As suggested by Brenninkmeijer-de Rooij 1996, pp. 66-67, 70, 76. According to this author, the Susan’s Iris in a painting in the Kunsthistorisches Museum, Vienna, depicting a bouquet in a Chinese vase decorated with a deer, was taken from Vallet’s Florilegium of 1608. Also unlikely is her comment that the Madonna Lily was painted after a woodcut in Dodonaeus. The assertions that the Madonna Lilies in a painted wreath now in the Louvre are Day Lilies and that Spurge can be seen at the top of a painting now in Stockholm are botanically incorrect. Furthermore, there is no evidence that Brueghel painted artificial flowers made of cotton. 142 Crivelli 1868, p. 107, Brueghel to Bianchi, 1 August 1608: ‘Quanto il desiderio de vs compartemento de fiore, vs me crede quel è de grandisma opera: fastidioso a faire tutto del natural, che piu volonteiro farei doi altri quadretti de paiesi: gli fiori de questo ane son passato, detto quadretto besoigneria cominciare il prima vera a venir al meza de febraro fin al mesa d agusto: per aviso’. 143 Crivelli 1868, p. 110, Brueghel to Bianchi, 26 September 1608: ‘[...] un quadret de fiori, qualo io retrove con discomede alli giardini: simili fiori son trop in e’stimi per aver in casa’. 144 Freedberg 1981, pp. 126, 144 n. 89. 145 Crivelli 1868, p. 75, Brueghel to Borromeo, 25 August 1606: ‘Sotti i fiori ha fatta una Gioia con manefatura de medaiglie, con rarita del maro. Metta poi vs Ill.mo per judicare, se le fiori non passeno ori et gioii’. 146 Copper, 65 x 45 cm, dated 1606, Milan, Pinacoteca Ambrosiana, inv. no. 66. 147 Borromeo in his 1625 Musaeum, ed. 1997, p. 41: ‘Sed nihil ego symbola, mysteriaque ista respiciens, rem sic depingi ipsam iussi’.

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from this quotation, however, that most people at that time did not immediately search for symbolism in these works would be presumptuous, for this remains open to debate in the absence of conclusive evidence. Jan Brueghel I distinguishes himself from his contemporaries in many ways. There is the enormous diversity of his compositions that range from small, simple flower pieces with only a few flowers (such as the little flower piece now in the Rijksmuseum in Amsterdam), to outstanding works containing up to one-hundred-and-thirty species and varieties of flowers and ten species of animals (such as the flowers in a wooden tub now in the Kunsthistorisches Museum in Vienna (Fig. 6.26)).148 According to Brenninkmeijer-de Rooij, the latter must be the work about which Brueghel wrote in a letter of 1611: ‘I’ve just begun [a painting] 7 feet high and 4 feet across with a thousand flowers’.149 However, these dimensions are much larger than any flower piece by Brueghel now known. Brueghel can also be distinguished by the many different kinds of containers he used, many of them original, and by his own special kind of supplementary work, including jewels. In his flower pieces Jan Brueghel painted many different kinds of Tulips, frequently placing several at the top of a bouquet, often accompanied by Irises. In addition, he frequently painted plant species that were also rendered by other artists but statistically less often, such as the Lilac, Philadelphus, Berberis (more than Jan II), Primula, Winter Aconite, various Narcissus, and Orange blossom (also much seen in the works of Daniël Seghers). The same notion also applies to specific dragonflies and butterflies, particularly Blues, Hoverflies (Half-Moon-spot Hoverfly), and beetles (Ladybirds). He also painted certain species that rarely appear in other artists’ paintings, such as the lovely native Wild Balsam. Some species have been positioned in a particular place where you would not expect to see them, such as the full Peony above right in a bouquet. We also notice examples of certain species returning time and again in a diverse but, for all that, quite a similar manner, such as the pseudofull form of the Poppy Anemone.150 It is striking that flowers can be rendered in different ways even in the same work of art. An example of this occurrence can be found in the painting Flowers in a khendi, now in the Mauritshuis in The Hague (Fig. 6.29).151 In this work four of the Tulips are examples of ‘Flemish Tulips’, freakishly formed complex hybrids with four or five colours and transitional colours, in this case white, yellow, pink and red, in somewhat whimsical lines, stripes, flecks and flames. Brueghel’s technique is to use rather rough brushstrokes that extend to the edge of the petals, or to outline the edges in white or yellow with the tip of the brush. Two hybrids of the Tapered Tulip exhibit pink lines on a white ground that are much more smoothed away. In all these cases the brushstrokes are quite visible, disclosing a technique clearly contrary to the way Ambrosius Bosschaert I, for example, rendered flowers with brushstrokes that are entirely smoothed away by means of a shiny and partially transparent pigmented glaze. In some of Brueghel’s other flowers we see curved lines that have been painted with a much finer or even a single-haired brush, and whose edges seem brittle having been painted with thinner paint, for example his German Irises. On the other hand, he also sometimes applies his paint thickly and with solid outlines. The contours of the flowers are sometimes rendered with high definition, and at other times are almost transparently delicate with fragile edges, as is often the case with his Roses. So in his work there is a great deal of variation between the forceful and subtle application of paint. This kind of variation can frequently be seen in the works of the greatest artists. These artists have the ability to use contrasting techniques for particular kinds of details, which actually increases the natural harmony of the whole by means of difference and diversity, while lesser artists often lack such suppleness and flexibility. In Brueghel’s works each flower is built up out of slightly faint lines within an area of light colour; sometimes the lines are of equal width and at other times more fanned out, and never applied in an uninspired manner, with a structure and veining that strikes the viewer as natural. In his later work, more attention has been given to the details, especially in the smaller flower pieces. His loose brushstroke, combined with precision in observation and execution, have ensured that he has been, and still is, valued for his artistic genius. Jan Brueghel I composed his flower pieces from the back to the front. Following any preparatory painting (we are still uncertain whether he did this often or in every case), he painted an even greyblack background around the bouquet; then filled in the area for the bouquet with thinned paint fol148 Copper, 24.5 x 19 cm, Amsterdam, Rijksmuseum, inv. no. SK-A-2102. 149 Crivelli 1868, p. 167, 25 March 1611: ‘Per hora ho principiato un de 7 peidi de l altessa et 4 in largure con milli fiori’. Brenninkmeijer-de Rooij 1996, p. 82. 150 Pseudo means petaloid with stamens that have mutated into narrow petals in the corolla. 151 A khendi is a Chinese vase from the Wan-li period (before 1600) having the shape of a wide-bellied bottle and usually decorated in blue and white.

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lowed by the painting of the flowers; and finally, he filled the remaining interstitial space, that is to say the small remaining spaces, with the background colour, but this time he did not apply it evenly. He would also leave space between the larger flowers which he later filled with smaller flowers. Often the dimensions of the flowers relative to each other are inaccurate; hence, for example, Bachelor’s Buttons (full Buttercups) are sometimes overly large and white Trompet Narcissus too small in relation to the other kinds of flowers in the bouquet. This is not necessarily only the consequence of painting a work of art in stages, but can also have been done consciously in order to create a harmonious composition. The dominant colours are hues of red, plus white and yellow, and especially towards the outer edges, blues. He applied subtle intermediary tones when painting multi-coloured flowers, for example, between the white and blue of his Irises, which guarantees a certain kind of softness. He did not hesitate to make even the minutest of alterations, and sometimes even his pentimenti, that is the traces of an earlier design which has been painted over, can be discerned. For example, an Iris in a flower piece in the Fitzwilliam Museum in Cambridge has been moved 3/4 cm from the left to the middle in order to achieve a greater harmony.152 The colour contrasts in his works are supple but not yet tending towards the tonality of Roelandt Savery or that seen in the works of later painters, such as Balthasar van der Ast. Brueghel attained the feeling of depth through light and dark effects, particularly by making the flowers darker at the edges and by providing his vases with a shadow on the right, suggesting that the light source is at the left or upper left, a technique that is also evident in the still lifes of later painters. The alternation between light and dark ensures both a sense of depth and the three-dimensional roundness of the vase. The oeuvre of Jan Brueghel I features different versions of certain specific works. One example of such a work is the abovementioned Flower piece in a khendi with a grasshopper on the bowl of the vase and a bird on the neck (Fig. 6.29). We know of no khendis with such decorations today, and we might ask ourselves if they ever existed or whether they are simply from the artist’s imagination. If that were the case, then we would be justified in seeing a symbolic meaning in these choices of design, specifically referencing that theme which we encountered earlier: the opposition between the earthly and the celestial. The porcelain or earthenware clay, a product of the earth, and the rounded bowl of the vase represent the earthly aspects. The grasshopper (or locust) depicted on it symbolizes earthly plagues. The erect neck of the bottle, the highest portion, on the other hand, is decorated with a bird that, just like a butterfly, symbolizes the soul freed from the body and its capacity to rise up to heaven. Another example of two versions of the same painting show a flower piece in a Chinese Wan-li vase depicting a deer, one version of which is in the Kunsthistorisches Museum in Vienna (Fig. 6.25) and the second in a private collection.153 This animal image of the deer also recurs on similar vases in two paintings from the series of the Senses in the Prado in Madrid, Sight and Smell.154 Likewise, a vase with a coloured representation of bacchants in relief, in a flower piece painted about 1620 and currently in the Nationalmuseum in Stockholm, also raises the question of whether the decoration on the vase ever actually existed.155 There are different versions extant of the painting with a tazza, including a work in a private collection that is dated 1612 (Fig. 6.28). The same holds for a series of flower pieces in an undecorated earthenware pot, the earliest of which is in a private collection and dated 1605, making it the earliest flower piece by Jan Brueghel I that we know (Fig. 6.23). The flower piece of 1605, which will be presented below, shows a bouquet with fifty-eight botanical species in seventy-two colour varieties placed in an earthenware vase. Two unsigned versions of this flower piece are also known and contain even more species of flowers.156 There are replicas of many flowers in these works. In the three versions of this painting we see in the left foreground a cut tuber with Cyclamen and in the right foreground three sapphires and five cut diamonds; however, the supplementary work is further distinguished in a number of details. In the unsigned versions we also see coins (dated 1599), a gold ring with a diamond, and an exotic shell as well. A year later, in 1606, another un152 Panel, 60.3 x 42.2 cm, Cambridge, Fitzwilliam Museum, inv. no. PD.20-1975. Taylor 1995, p. 92. 153 Panel, 70.5 x 48 cm, private collection; on both see Hairs 1985, I, pp. 76-77, Figs 18-19. 154 Panel, 64.7 x 109.5 cm, Madrid, Museo Nacional del Prado, inv. no. P001394; panel, 65 x 111 cm, Madrid, Museo Nacional del Prado, inv. no. P001396. 155 Panel, 73.6 x 59.9 cm, Stockholm, Nationalmuseum, inv. no. NM 1099. Attributed to Jan Brueghel II by Ertz 1984, p. 435, 437, no. 273 and by Van der Willigen & Meijer 2003, p. 55, and a few others, but dendrochronological research dates the panel to ca. 1616, making it undoubtedly the work of Jan Brueghel I and a variant of a painting in the Koninklijk Museum voor Schone Kunsten in Antwerp (panel, 101 x 76 cm, Antwerp, Koninklijk Museum voor Schone Kunsten, inv. no. 643) produced in Jan Brueghel I’s studio. 156 Panel, 50.3 x 40.6 cm, Vienna, Kunsthistorisches Museum, inv. no. GG 548; panel, 63 x 45 cm, Florence, Villa Poggio Imperiale, inv. no. 165.

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signed painting with a flower piece set in an identical earthenware vase was sent to Cardinal Borromeo (Fig. 6.24).157 The following dated flower still lifes by Jan Brueghel I are still in existence and are listed here by their dates: 1605, Flowers in an earthenware vase in a private collection (Fig. 6.23); 1608, Flowers in a glass in the Pinacoteca Ambrosiana, Milan (Fig. 6.27); 1612, Flowers in a tazza in a private collection (Fig. 6.28); 1614, Flowers in a tazza with Ming porcelain bowls in a private collection; 1615, Flowers in a basket and a glass, in the National Gallery of Art, Washington; 1617, Flowers in a basket and a glass in a private collection; and 1618, A flower wreath on a tazza with a chest of jewels in the Koninklijke Musea voor Schone Kunsten van België, Brussels. Just a small number of undated signed works are known: two Flowers in an earthenware vase in private collections; Flowers in an earthenware vase in the Fitzwilliam Museum, Cambridge; and Flowers in a khendi in a private collection.158 The following unsigned works are available for viewing in public collections: Flowers in a glass in the Mauritshuis, The Hague; Museo Nacional del Prado, Madrid; Ashmolean Museum, Oxford; and the Kunsthistorisches Museum, Vienna; Flowers in an earthenware vase in the Villa del Poggio Imperiale, Florence; Kunsthistoriches Museum, Vienna; Pinacoteca Ambrosiana, Milan; Národní Galerie, Prague (plus copies or imitations attributed to Jan Brueghel II in Cambridge and Chicago); Flowers in a khendi in the Mauritshuis, The Hague (Fig. 6.29) and two versions in the Museo Nacional del Prado, Madrid (plus an imitation dated 1612 in the Accademia Carrara, Bergamo); Flowers in a vase with a deer in the Kunsthistorisches Museum, Vienna (Fig. 6.25) (plus copies or imitations some attributed to Jan Brueghel II, in Antwerp, Detroit and Bucharest); Flowers in a vase decorated with bacchants in the Nationalmuseum, Stockholm; Flowers in a white faience bowl in the Museo Nacional del Prado, Madrid; Flowers in a wooden tub in the Kunsthistorisches Museum, Vienna (Fig. 6.26) (plus copies, some attributed to Jan Brueghel II, in Amsterdam, Bucharest, Brussels, Munich and Rotterdam); copies or imitations of Flowers in a tazza, some attributed to Jan Brueghel II, in Bergen (Norway), Budapest, Cambridge, Pasadena and Tourcoing, one a signed work by Jan Pieter Brueghel (1628-in or after 1664); Flowers in a basket in the Metropolitan Museum, New York (and a work attributed to Jan Brueghel II in the same museum, with imitations in Bonn and Saint-Omer).159 In the Galleria Borghese in Rome is an early, small and slightly archaic work showing flowers in a round glass vase (Fig. 6.22). It has been hung in a hallway, and it is easy to just walk past it, but when I first saw it I stood looking at it for several hours in order to be able to describe it accurately. I could find no clear links with other known early artists, but thought it might be an early work by Jan Brueghel I.160 The possible influence of Caravaggio (1571-1610) could not be excluded, seeing that similar round glass vases appear in his canvases, such as the Boy bitten by a Lizard in the National Gallery in London.161 Jan Brueghel I (attributed), Flower piece in a round glass vase (Fig. 6.22) Copper, 28 x 21 cm. Galleria Borghese, Rome, inv. no. 362.162 1 Forget-me-not 2 White Rose 3 Maltese Cross 4 French Marigold 5 Poet’s Narcissus

Myosotis palustris Rosa x alba duplex Lychnis chalcedonica Tagetes patula Narcissus poeticus

157 An extensive comparison of these four paintings, with identifications of all the species of flowers and insects, has been published in Segal 1982a. Several copies of the painting have been attributed to Jan Brueghel II. 158 Segal in Osaka, Tokyo & Sydney 1990, pp. 178-179, no. 27. Descriptions and photographic images of Jan Brueghel I’s works have been deposited in the Segal Still Life Documentation of the RKD in The Hague. 159 For an extensive biography of Jan Brueghel I and an overview of his oeuvre see Hairs 1985, I, pp. 33-115, II, pp. 11-15; as well as Ertz 1979, pp. 205-302, 326, nos 164-169, 178-186, 207-210 (and for his other flower still lifes nos 187-189, 211-215). See also Segal in Osaka, Tokyo & Sydney 1990, nos 26-29. Brenninkmeijer-de Rooij 1996, pp. 79-83, gives an incomplete list of the works in a chronological order that she has determined for them; however, this ordering is disputable, for example, a work of 1605 has been placed after works of 1606 and 1607. 160 The work had, however, been described by Della Pergola as a work inspired by Caravaggio in the 1959 catalogue of paintings in the Galleria Borghese. In 1976 Zeri suggested the anonymous Master of Hartford as the artist, but the recommendation of Jan Brueghel I has received wide support starting with Bedoni in 1983. Della Pergola 1955-59, II, p. 155; Zeri 1976, p. 95-96; Bedoni 1983, p. 53. For a recent survey of the literature see Menoni in Rome 2017, pp. 231-232, no. 15. 161 Canvas, 66 x 49.5 cm, London, The National Gallery, inv. no. NG6504. 162 Possibly for taxation purposes transferred in 1607 at the behest of Cardinal Scipione to the collection of his nephew Camillo Borghese from the collection of Cavalier d’Arpino.

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Fig. 6.22 Jan Brueghel I (attributed), Flower piece in a round glass vase, 28 x 21 cm, Galleria Borghese, Rome.

6 White Rose 7 Peach-leaved Bell-flower 8 Stock 9 Marvel Bronze 10 Valerian 11 Creeping Speedwell 12 Carnation 13 Lavender 14 Opium Poppy 15 Sternbergia 16 Pansy 17 Austrian Briar 18 Annulated Sowbread

Rosa alba simplex Campanula persicifolia Matthiola incana Amaranthus paniculatus Valeriana officinalis Veronica teucrium Dianthus caryophyllus Lavandula latifolia Papaver somniferum Sternbergia lutea Viola tricolor Rosa foetida Cyclamen hederifolium

a Azure Damselfly B Orange Tip Butterfly

Coenagrion elegans Anthocharis cardamines

The attribution to Jan Brueghel I, however, has to deal with a few problems. The round glass vase is characteristic of the period when Caravaggio’s chiaroscuro style exerted a strong influence on Netherlandish artists, but it is not found in still lifes in the period before or after, including the works of Jan Brueghel I.163 It should also be noted that the composition of the bouquet with its centred, broad and compact grouping of species is rarely seen in other flower pieces. Around 1600 we mostly see bouquets in which the flowers have been arranged stiffly and separately from one another. Moreover, the bouquet contains a few species that are never seen in other flower pieces, particularly those blooms that are shown here 163 Other types of vases also regularly appear in the period when the influence of Caravaggio was at its height, which is roughly from about 1580 to 1595, in particular large oval or pear-shaped glass vases on a little foot.

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extending or trailing on long stems. The umbel of the Valerian can be discerned in a few other bouquets of the early period, but is almost completely absent thereafter. Nevertheless, it is worth pointing out that most of the flowers are common in early painted bouquets from the Netherlands. In the early period of the flower piece these are often the typical Mediterranean species, such as Gladiola, Day Lilies, and various Tulips.164 Characteristic of Jan Brueghel I are the Forget-me-nots, the Annulated Sowbread and the strewn flower petals on the ledge. If this were indeed a painting by Jan Brueghel I, then it would be his earliest known work – a work painted under the influence of, or in collaboration with, Caravaggio about 1595. The famous fruit piece by Caravaggio in the Pinacoteca Ambrosiana has been painted in a more naturalistic style and is of a later date, probably around 1600 or a little before.165 It is, however, difficult to connect this work with Jan Brueghel I’s known works completed in 1605 and thereafter.

Fig. 6.23a Sketch of the species in Fig. 6.23.

Jan Brueghel I, Flowers in an earthenware vase (Fig. 6.23) Panel, 50 x 39.5 cm, signed lower left in brown: BRVEGHEL.1605 Private collection, the Netherlands.166 1 Rosemary 2 Annulated Sowbread 3 Liverwort 4 Forget-me-not 5 Liverwort 6 Winter Aconite 7 Liverwort 8 Pansy 9 Liverwort 10 Carnation 11 Dog’s Tooth Violet 12 Alpine Squill 13 Snowdrop 14 Laurel 15 Centaury 16 Annulated Sowbread 17 White Grape Hyacinth 18 Summer Pheasant’s Eye 19 Blue Grape Hyacinth 20 White Rose 21 Grape Hyacinth 22 Love-in-a-mist 23 Stock 24 Pot Marigold 25 Poppy Anemone 26 Campernelle Narcissus 27 Flemish Tulip ‘Marquetrine’ 28 Yellow Onion 29 Borage 30 Apothecary’s Rose 31 Umbelled Candytuft 32 False Larkspur 33 Turk’s Cap Lily 34 Paperwhite Narcissus 35 Primrose Peerless 36 False Larkspur 37 Red Catchfly

Rosmarinus officinalis Cyclamen hederifolium Hepatica nobilis plena Myosotis palustris Hepatica nobilis alba Eranthis hyemalis Hepatica nobilis rosea Viola tricolor hortensis Hepatica nobilis simplex Dianthus caryophyllus subplenus Erythronium dens-canis Scilla bifolia Galanthus nivalis Laurus nobilis Centaurium erythraea Cyclamen hederifolium grandiflorum Muscari botryoides album Adonis aestivalis Muscari botryoides Rosa x alba Muscari botryoides carneum Nigella damascena subplena Matthiola incana Calendula officinalis Anemone coronaria pseudoplena Narcissus x odorus cv. Rugulosus-plenus Tulipa armena x T. mucronata variegata Allium moly Borago officinalis Rosa gallica cv. Officinalis Iberis umbellata Consolida ajacis Lilium chalcedonicum Narcissus papyraceus Narcissus x medioluteus Consolida ajacis lilacina Lychnis viscaria

164 In this period, we also commonly see the small Garden Nasturtium, which I referred to previously as the Brueghel Nasturtium (Tropaeolum brueghelianum). This species also appears regularly in Dutch paintings of the first half of the seventeenth-century. In the literature on Caravaggio’s influence this flower is usually understood to be the ordinary Garden Nasturtium (Tropaeolum majus) which, however, was only to be imported into Europe a century later. For identifications as Tropaeolum majus see Rome 2017, pp. 274, 277. 165 Canvas, 47 x 62 cm, Milan, Pinacoteca Ambrosiana, inv. no. 151. There is no consensus on the date, usually between 1595 and 1603. 166 Provenance: collection of Mr and Mrs Leigh B. Block, England; Nathan Fine Art, Zurich until ca. 1958; private collection, Chicago; Sotheby’s, New York, 20 May 1981, no. 314, as dated 1608; Noortman & Brod Ltd., London and New York. Exhibitions & literature: Ertz 1979, pp. 280, 585, no. 165, Fig. 350, as dated 1603; Segal 1982a; Van der Ploeg in The Hague 1992, pp. 70-71, no. 10. 218 |

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Fig. 6.23 Jan Brueghel I, Flowers in an earthenware vase, dated 1605, panel, 50 x 39.5 cm, private collection. | 219

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38 Poppy Anemone 39 Tapered Tulip 40 Maltese Cross 41 German Flag Iris 42 Texas Star Jonquil 43 Snowball 44 Red Tulip hybrid 45 Flemish Tulip ‘Marquetrine’ 46 Spreading Bell-flower 47 Tapered Tulip 48 Pale Iris 49 Sweet Iris 50 Red Tulip hybrid 51 Primrose Peerlesss 52 Tapered Tulip 53 Fire Lily 54 Stock 55 Hyacinth 56 Jonquil hybrid 57 Musk Narcissus 58 Snake’s Head Fritillary 59 Golden Crocus 60 Spring Snowflake 61 Daffodil 62 False Larkspur 63 Dotless Sowbread 64 Alpine Clematis 65 Star of Bethlehem 66 Jasmine

Anemone coronaria Tulipa armena albo-lutescens Lychnis chalcedonica Iris germanica Narcissus x intermedius Viburnum opulus cv. Roseum Tulipa agenensis x T. praecox Tulipa armena x T. mucronata variegata Campanula patula Tulipa armena pallida Iris pallida Rosa rubiginosa Tulipa agenensis x T. clusiana Narcissus x medioluteus plenus Tulipa armena alba Lilium bulbiferum Matthiola incana lilacina Hyacinthus orientalis Narcissus jonquilla x N. juncifolius Narcissus moschatus Fritillaria meleagris Crocus aureum Leucojum vernum Narcissus pseudonarcissus Delphinium ajacis albo-coerulea Cyclamen repandum Clematis alpina Ornithogalum umbellatum Jasminum officinale

a Orange Tip Butterfly b Painted Lady c Red Admiral

Anthocharis cardamines Cynthia cardui Vanessa atalanta

In the composition of this painting, the flowers in the bouquet radiate out from the central area of the vase as well as being arranged in several horizontal layers, larger flowers alternating with smaller ones. The palette is a colourful mixture of different hues, with numerous shades of white, yellow and blue.167 One particular characteristic of Jan Brueghel I’s flower pieces is a stem of flowers (with or without fruit) placed in the left foreground, for example Orange blossom or rosebuds, plus strawberries or hazelnuts. In this case it is a small bunch of Cyclamen (Annulated Sowbread), which he replicates nearly identically in three other paintings.168 Furthermore, there is a complete painting in the Pinacoteca Ambrosiana that derives from this painting (Fig. 6.24). It is a very rich flower piece in an earthenware vase in which we can recognize a number of the same species as those used in the 1605 work.169 The Ambrosiana painting must have been painted about 1606. One of the most famous flower pieces by Brueghel, showing flowers in a Chinese vase decorated with a deer, is now in the Kunsthistorisches Museum in Vienna (Fig. 6.25).170 In this painting a large Susan’s Iris (Iris susiana) draws our gaze to the centre, while four other types of Iris grace the top of the bouquet; among the many smaller flowers the tiny nodding heads of a Summer Snowflake (Leucojum aestivum) improbably adorn the upper right. This is a slightly later work, possibly executed around 1607. As already discussed, the decoration of the deer on the vase may be of Chinese origin (now unknown) or the artist’s own idea.

167 In the later paintings of other artists, it is more common for pinks and reds to dominate. 168 Of the three paintings, two are in the Kunsthistorisches Museum in Vienna, inv. nos GG 548 (Fig. 3.21 (detail)) and 570 (Fig. 6.26), and one was included at a sale at Sotheby’s, New York, 24 January 2008, no. 27. 169 Milan, Pinacoteca Ambrosiana, inv. no. 66. Literature includes Ertz 1979, pp. 252-256, 327, 581, no. 143; Segal 1982a. 170 Vienna, Kunsthistorisches Museum, inv. no. 558. Literature includes Ertz 1979, pp. 250 (detail), 264-265, Fig. 331, 587-588, no. 179; Uchtmann & Haag 2011, pp. 20-21. A number of species return in a flower piece in an earthenware vase now in the Národní Galerie in Prague (panel, 67 x 51.5 cm, Prague, Národní Galerie, inv. no. O-1607). Literature includes Ertz 1979, pp. 263-264, with Figs 330 and 330a, 585, no. 166.

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Fig. 6.24 Jan Brueghel I, Large flower piece in an earthenware vase, copper, 65 x 45 cm, Pinacoteca Ambrosiana, Milan. | 221

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Fig. 6.25 Jan Brueghel I, Flowers in a vase with a deer, panel, 66 x 50.5 cm, Kunsthistorisches Museum, Vienna.

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Jan Brueghel I, Flowers in a wooden tub (Fig. 6.26) Panel, 98 x 73 cm. Kunsthistorisches Museum, Vienna, inv. no. 570.171 In a wooden tub we see a particularly impressive flower piece with one-hundred-and-thirty species and varieties of flowers. This is by far the largest number of flowers that I have ever come across in a flower piece, only exceeded by a cartouche with flowers painted by Daniël Seghers approximately thirty years later.172 In this work many smaller flowers have been placed in the lower portion of the bouquet, while the three largest are at the top. Ten species of butterflies and other insects enliven the painting. 1 Forget-me-not 2 Liverwort 3 Primrose 4 Stock 5 Common Violet 6 Pansy 7 Common Violet 8 Alpine Sowbread 9 Auricula 10 Periwinkle 11 Annulated Sowbread 12 Daisy 13 Great Periwinkle 14 Dotless Sowbread 15 Wood Anemone 16 Summer Peasant’s Eye 17 Striped Canary Grass 18 Dutch Yellow Crocus 19 Carnation 20 Carnation 21 Liverwort 22 Pansy 23 Zinc Violet 24 Spring Snowflake 25 Umbelled Candytuft 26 White Grape Hyacinth 27 Winter Aconite 28 Snowdrop 29 Auricula 30 Yellow Adonis 31 Hyacinth 32 Meadow Buttercup 33 Borage 34 Star Anemone 35 Peacock Anemone 36 False Larkspur 37 Dandelion

Myosotis palustris Hepatica nobilis (coerulea) Primula vulgaris semiplena Matthiola incana alba Viola riviniana Viola tricolor Viola riviniana alba Cyclamen purpurascens Primula x pubescens alba Vinca minor Cyclamen hederifolium Bellis perennis var. ligulosa Vinca major Cyclamen repandum Anemone nemorosa monstr. bracteata Adonis flammea Phalaris arundinacea f. picta Crocus flavus var. luteus Dianthus caryophyllus plenus albus Dianthus caryophyllus semiplenus Hepatica nobilis rosea Viola tricolor Viola lutea subsp. calaminaria Leucojum vernum Iberis umbellata Muscari botryoides var. album Eranthis hyemalis Galanthus nivalis Primula x pubescens lilacina Adonis vernalis Hyacinthus orientalis Ranunculus acris Borago officinalis Anemone hortensis Anemone pavonina (rubra) Consolida ajacis Taraxacum officinale coll.

171 Provenance: possibly painted on commission for Archduke Albrecht and Isabella and hung in their palace in Brussels until 1659. According to an inventory of 1659, it was then part of the collection of Archduke Leopold Wilhelm in Vienna. Exhibitions & literature: Van den Branden 1883, p. 456; Vaes 1926, p. 181 n. 1; Lhotsky 1941-45, I, p. 349; Amsterdam 1947, no. 889 (not in catalogue); Hairs 1955, pp. 22, Fig. 4, 36-37, 207; Wilenski 1960, I, p. 515, II, Fig. 521; Klauner & Heinz 1963, p. 25, no. 74, Fig. 75; Eemans 1964, p. 66, Fig. 35; Hairs 1965, pp. 20, Fig. 4, 58-60, 362, 386 n. 144-145; Winkelmann-Rhein 1968, p. 85; Cologne 1968, n.p. under no. F4; Mitchell 1973, pp. 69, 77; Rachiteanu 1976, p. XI; Ertz 1979, pp. 15, 38, 254, Fig. 328, 256, 259, Fig. 328a, 260, 263, 267, 268, 271, 581, no. 144; Segal 1979; Bedoni 1983, p. 112; Ertz 1984, pp. 428 under no. 266, 430 under no. 267; Hairs 1985, I, pp. 58, 61, Fig. 13, 67, 70, 72, 470, II, p. 15; Devisscher in Balis et al. 1987, pp. 126-127, Fig. 52, 223; Brussels 1989, pp. 12-13, Fig. 9; 42 under no. 2; Brenninkmeijer-de Rooij 1990, p. 247 (dated as 1611), Fig. 30; Segal in Osaka, Tokyo & Sydney 1990, pp. 52, Fig. 28, 71 n. 100; Mitchell 1992, pp. 15-18; Mühlbacher-Parzer 1992, p. 16 n. 8; Robels 1992, pp. 205, Fig. 3, 206; Mallory 1995, pp. 48-49, Fig. 29, 51; Segal 1995, p. 27, Fig. 1; Eeckhout 1996, pp. 273-274, Fig. 234; Essen, Vienna & Antwerp 1997-98, p. 27; Wied in Essen, Vienna & Antwerp 1997-98, pp. 513-516, no. 196; Munich 1997, pp. 70-72, Fig. 1; Battistini et al. 1999, p. 9; Ertz in Vienna & Essen 2002, p. 38 under no. 3, 281, 302 under no. 103, 350 under no. 124; Wied in Vienna & Essen 2002, pp. 286-287, no. 95, 288 under no. 96; Gritsay in Vienna & Essen 2002, p. 330 n. 5 under no. 114; Vlieghe et al. 2004, p. 186; Segal in Delft & Houston 2006-07, p. 28, Fig. 3.1; Wied in Tokyo etc. 2008-09, p. 118 under no. 35; Uchtmann & Haag 2011, pp. 16-19; Van Mulders 2015-16, pp. 37, 48 n. 2. 172 Daniël Seghers and Frans Francken II, canvas, 131 x 91 cm, Rafael Valls, London 2005. For the identification of the species, see the Segal Project and the Segal Still Life Documentation in the RKD, The Hague.

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Fig. 6.26 Jan Brueghel I, Flowers in a wooden tub, panel, 98 x 73 cm, Kunsthistorisches Museum, Vienna. 224 |

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38 Star of Bethlehem 39 Hoop Petticoat Narcissus 40 Carnation 41 White Rose 42 Stock 43 Apothecary’s Rose 44 Love-in-a-mist 45 Nonesuch Daffodil 46 Snapdragon 47 Texas Star Jonquil 48 Poet’s Narcissus 49 Snowball 50 Portuguese Iris 51 French Marigold 52 Tazetta Narcissus 53 Blunt Tulip hybrid

Ornithogalum umbellatum Narcissus bulbocodium Dianthus caryophyllus Rosa x alba Matthiola incana indigofera Rosa gallica cv. Officinalis Nigella damascena semiplena Narcissus x incomparabilis Antirrhinum majus Narcissus x intermedius Narcissus poeticus Viburnum opulus cv. Roseum Iris lusitanica Tagetes patula Narcissus tazetta Tulipa mucronata x agenensis

Fig. 6.26a Sketch of the species in Fig. 6.26. | 225

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Fig. 6.26b Detail from Fig. 6.26.

54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120

Chimney Bell-flower Turk’s Cap Lily Summer Snowflake Red Tulip hybrid Chicory Madonna Lily Tapered Tulip hybrid Lady Tulip hybrid Elder Iris Saffron Lily Lilac Columbine Maltese Cross Orange Lily Byzantine Gladiolus Peach-leaved Bell-flower Dog Rose Crown Imperial Columbine Peony English Iris German Flag Iris Sweet William Jonquil Cornflower Tapered Tulip Few-flowered Lily Lady Tulip hybrid Stock Wallflower Poppy Anemone Siberian Iris Snake’s Head Iris Poet’s Narcissus Snapdragon Globe Flower Stock Feverfew Pyrenean Turk’s Cap Lily Tazetta Narcissus Snake’s Head Fritillary Persian Tulip Peacock Anemone Yellow Tulip Peacock Anemone Peacock Anemone French Marigold Stock Iberian Fritillary French Rose Campernelle Narcissus Star Anemone Alpine Squill White Mulberry Love-in-a-mist African Marigold French Marigold Blue Grape Hyacinth Cardinal Flower (?) Woody Nightshade Pansy Field Larkspur Strawberry Orange blossom Bird’s Eye Primrose Carnation Alpine Sowbread

Campanula pyramidalis Lilium chalcedonicum Leucojum aestivum Tulipa agenensis x T. praecox Cichorium intybus Lilium candidum Tulipa armena x T. agenensis Tulipa stellata x T. clusiana Iris x sambucina Lilium bulbiferum aurantiacum Syringa vulgaris Aquilega vulgaris plena pallida Lychnis chalcedonica Lilium bulbiferum Gladiolus byzantinus Campanula persicifolia Rosa canina Fritillaria imperialis Aquilegia vulgaris Paeonia officinalis plena Iris latifolia Iris germanica Dianthus barbatus Narcissus jonquilla Centaurea cyanus Tulipa armena alba Lilium bulbiferum var. croceum Tulipa stellata x T. chrysantha Matthiola incana alba Erysimum cheiri Anemone coronaria pseudoplena Iris sibirica Hermodacylus tuberosus Narcissus poeticus semiplenus Antirrhinum majus album Trollius europaeus Matthiola incana rosea Tanacetum parthenium Lilium pyrenaicum Narcissus tazetta Fritillaria meleagris Tulipa clusiana Anemone pavonina plena Tulipa chrysantha Anemone pavonina Anemone pavonina rubra Tagetes patula lutea Matthiola incana lilacina Fritillaria lusitanica Rosa cf. gallica subplena Narcissus x odora Anemone hortensis Scilla bifolia Morus alba Nigella damascena plena Tagetes erecta plena lutea Tagetes erecta Muscari botryoides Lobelia cardinalis Solanum dulcamara Viola tricolor var. hortensis Consolida regalis alba Fragaria vesca Citrus aurantium Primula farinosa Dianthus caryophyllus plenus Cyclamen purpurascens

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121 Love-in-a-mist 122 Wood Anemone 123 Solitary Clematis 124 Dutch Yellow Crocus 125 Annulated Sowbread 126 Sweet-William Catchfly 127 Rosemary 128 Bachelor’s Buttons 129 Annulated Sowbread 130 Borage

Nigella damascena (simplex) Anemone nemorosa Clematis integrifolia Crocus flavus var. luteus Cyclamen persicum Silene armeria Rosmarinus officinalis Ranunculus acris plena Cyclamen hederifolium album Borago officinalis

A B C D E F G H I J

Vanessa cardui Anthocharis cardamines Lycaenidae spec. Vanessa atalanta Aeshna grandis Pieris brassicae Melolontha melolontha Fannia canicularis Acrididae spec. Gastropoda spec.

Painted Lady Butterfly Orange Tip Butterfly Blue Butterfly Red Admiral Butterfly Brown Hawker Dragonfly Great White Caterpillar Cockchafer Beetle Lesser Housefly Field Locust brown Snail

The scope of this picture, executed in around 1607-1608, is both sensational and ambitious, for it really looks as though Jan Brueghel tried to flaunt his talents by locating and painting as many different species of flowers as he possibly could. Be that as it may what really makes this an expression of supreme artistry is that even with all that floral abundance there is still a high degree of differentiation in the use of colour, with delicate transitions achieved by the application of fine lines and stipples of paint. It is typical of this early period that the majority of the flowers are completely visible with a minimum of overlapping, even when we look at the mixed assortment of small flowers at the bottom of the bouquet. The flowers were probably at least in part obtained from the cultivated garden of Albrecht and Isabella in Brussels, but others could have been obtained right from nature or perhaps they were grown in another local garden. Nearly every species displayed here can be found again in other works of Brueghel and his contemporaries. However, other artists painted the Pale Heath Violet (Viola lutea), a species that is native to the area between southern England and the Balkans; Brueghel, on the other hand, painted a related flower, the Zinc Violet (no. 23 above, subsp. calaminaria), an endemic subspecies that likes zinc retentive soil, exclusively known to grow in an area of former zinc mines that runs from the Geul river in north-eastern Belgium through to the river Meuse, north of the city of Maastricht. Flowers in a wooden tub was included in the inventory of the estate of the Archduke Leopold Wilhelm in Vienna upon his decease, where it is described as ‘Original von jungen Breugel’.173 The ‘young Brueghel’ could mean both the son of Pieter Brueghel I, meaning Jan Brueghel I, as well as the son of Jan Brueghel I, meaning Jan Brueghel II. The general consensus regarding attribution at present is that it is a work by Jan Brueghel I. As already mentioned, there are many imitations of this painting, almost all of them, however, of a larger size. One of the loveliest is in the Alte Pinakothek in Munich.174 These imitations vary from nearly identical copies through to versions with some alterations, omissions or additions of species, to relatively vaguer imitations in later periods. In older scholarly literature these paintings can be variously attributed to Jan Brueghel I, or Jan Brueghel II, as well as to the workshop of Jan I or Jan II, and sometimes as the ‘school’ of Jan Brueghel.175

173 Berger 1883, p. CLVII, no. 870. 174 Panel, 126.6 x 96.2 cm, Munich, Alte Pinakothek, inv. no. 824 (workshop of Jan Brueghel I). 175 For example: panel, 113.7 x 86.4 cm, Amsterdam, Rijksmuseum, inv. no. SK-A-3290 (workshop of Jan Brueghel I); canvas, 125 x 95.2 cm, Rotterdam, Museum Boijmans Van Beuningen, inv. no. 3489 (Jan Brueghel I); panel, 104.5 x 76 cm, Bucharest, the National Museum of Art of Romania (workshop of Jan Brueghel I); panel, 64 x 48 cm, Brussels, Koninklijke Musea voor Schone Kunsten van België, inv. no. 1017 (after Jan Brueghel I). An extensive survey may be found in the Segal Still Life Documentation at the RKD in The Hague. On the painting in Rotterdam see Segal 1979.

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Jan Brueghel I, Flowers in a glass (Fig. 6.27) Copper, 43 x 30 cm, signed and dated lower right in brown: BRVEGHEL 1608 Pinacoteca Ambrosiana, Milan, inv. no. 58.176 A glass vase with rosettes has been filled with a bouquet bearing seven Tulips and placed on a table-top; strewn alongside are a stem of Roses in bud and Rosemary. 1 Annulated Sowbread 2 Liverwort 3 Pansy 4 London Pride 5 White Rose 6 Golden Crocus 7 Orange blossom 8 Tufted Forget-me-not 9 Pot Marigold 10 Autumn Pheasant’s Eye 11 Jasmine 12 Tapered Tulip 13 Tapered Tulip 14 Poppy Anemone 15 Cornflower 16 Harebell 17 False Larkspur 18 White Iris hybrid 19 Red Tulip hybrid 20 Tapered Tulip hybrid 21 Tapered Tulip 22 Tapered Tulip 23 Fire Tulip hybrid 24 Campernelle Narcissus 25 Peacock Anemone 26 Hyacinth 27 Apothecary’s Rose 28 Kingcup 29 Rosemary 30 Forget-me-not A a b c d e f g h i

Cyclamen hederifolium Hepatica nobilis Viola tricolor Saxifraga umbrosa Rosa x alba plena Crocus flavus Citrus aurantium Myosotis cespitosa Calendula officinalis Adonis annua Jasminum officinale Tulipa armena albo-rubra -flava-maculata Tulipa armena albo-rubra-flava-striata Anemone coronaria pseudoplena Centaurea cyanus Campanula rotundifolia Consolida ajacis Iris albicans x I. pallida Tulipa agenensis x T. praecox Tulipa armena x T. agenensis Tulipa armena bicolor Tulipa armena albescens Tulipa praecox x T. agenensis Narcissus x odorus plenus Anemone pavonina Hyacinthus orientalis bicolor Rosa gallica cv. Officinalis Caltha palustris plena Rosmarinus officinalis Myosotis palustris

Brown Argus Aricia agrestis Wasp Hoverfly Syrphus ribesii Land Bug Hemiptera spec. Field Locust Chorthippus biguttulus Emerald Damselfly Lestes sponsa Lackey Caterpillar Malacosoma neustria Half-Moon-Spot Hoverfly Scaeva pyrastri small red Beetle Coleoptera spec. Speckled Longhorn Beetle Rutpela maculata Bee-eating Beetle Trichodes apiarius

Several of the species in other paintings by Jan Brueghel I are identical to those found in this work; compare, for example the Poppy Anemone with the same flower in Flowers in a wooden tub (Fig. 6.26). The Rosemary and the Bee-eating Beetle on the table-top crop up again in a signed flower piece with the same glass vase now in a private collection in Switzerland.177 176 Provenance: bought directly from the artist by Cardinal Borromeo in Milan in 1608 and donated to the Bibliotheca Ambrosiana in 1618. There is an extensive correspondence between Brueghel, Borromeo and Bianchi about this painting. Exhibitions & literature: Crivelli 1868, pp. 109, 111-112, 114, 116-118; Hairs 1955, pp. 29, 31, Fig. 13 (as inv. no. 39), 201; Hairs 1965, pp. 57, 30, Fig. 6 (idem), 360; Falchetti 1969, pp. 118-119; Mitchell 1973, p. 70; Ertz 1979, pp. 254, 268, 269, Fig. 333, 276, 587, no. 118; Hairs 1985, pp. 37-39, Fig. 12, 42, 74, 75, 427 n. 195, 463; Bergström in Washington & Boston 1989, p. 100, Fig. 1 under no. 8; Rosaria Nappi in Brussels & Rome 1995, pp. 122-123, no. 45; Brenninkmeijer-de Rooij 1996, pp. 58, Fig. 58, 80; Jones 1997, pp. 240-241, no. 33; Rossi & Rovetta 1997, p. 135; Ertz in Essen, Vienna & Antwerp 1997, p. 284, Fig. 1 under no. 84; Wieseman in Amsterdam & Cleveland 1999-2000, p. 113 n. 10 under no. 3; Meijer 2001-02, p. 91, no. 83; Meijer 2003, pp. 186-187 n. 4, Fig. 21.2 under no. 21. 177 Copper, 35 x 25.3 cm. Sotheby’s, New York, 12 January 1979, no. 70; Koetser Gallery, Zurich 1979. Ertz 1979, pp. 276, 277, Fig. 340, 588, no. 182.

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Fig. 6.27 Jan Brueghel I, Flowers in a glass, dated 1608, copper, 43 x 30 cm, Pinacoteca Ambrosiana, Milan. | 229

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Jan Brueghel I, Flowers in a tazza (Fig. 6.28) Panel, 47 x 35.5 cm, signed and dated lower right in red brown: BRVEGHEL · 1612 Private collection, Austria.178 Jan Brueghel I was not an artist who had to treat every detail with the utmost precision. Most of the flowers are readily identifiable in this work, but the smaller ‘fill flowers’ have been rendered more freely. The identifications of the latter are, therefore, somewhat provisional, as are the identifications of the insects. Most of the plant species in this painting are imports from the area around the Mediterranean Sea and Asia Minor, but the insects are native.

Fig. 6.28 Jan Brueghel I, Flowers in a tazza, dated 1612, panel, 47 x 34.9 cm, private collection.

178 Provenance: J. Herbrand Gallery, Paris 1927 (The Burlington Magazine for Connoisseurs 50 (May 1927), p. XV); Noortman Master Paintings, Maastricht & London; Koetser Gallery, Zurich. Exhibitions & literature: Warner 1928 (Segal ed. 1975), pp. 44-45, no. 17c; sale Böhler, Munich, 28 October 1937 under no. 21; Hairs 1955, p. 26; Hairs 1965, pp. 40, 360; Eemans 1964, p. 66; Hairs 1967, p. [4] n. 6; Hairs 1968, p. [5]; Ertz 1979, pp. 289, 602, no. 268; Hairs 1985, I, pp. 39, 40-41, 90, 101, 432 n. 358, II, p. 12; Ertz in Essen, Vienna & Antwerp 1997-98, pp. 290-292, no. 87; De Voldère 2001, pp. 186, 309, as located in Prague, Národní Galerie; catalogue Rafael Valls Gallery, London 2002 under no.7; Ertz & Nitze-Ertz 2008-10, III, pp. 956-958, no. 451.

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1 Tunic Saxifrage 2 Rosemary 3 Borage 4 Peacock Anemone 5 Sweet William 6 Sweet William 7 Pot Marigold 8 Stock 9 White Rose 10 Grass Pink 11 Forget-me-not 12 Stock 13 Love-in-a-mist 14 Pansy 15 Treacle Mustard 16 Wart Cress 17 Umbelliferae flower 18 Grass Pink 19 Bitter Candytuft 20 Carnation 21 Carnation 22 French Marigold 23 French Rose 24 Garden Cress 25 Jasmine 26 Periwinkle 27 Star Anemone 28 Strawberry 29 Cinnamon Rose

Petrorhagia saxifraga Rosmarinus officinalis Borago officinalis Anemone pavonina Dianthus barbatus roseus Dianthus barbatus albus Calendula officinalis Matthiola incana purpureo-alba Rosa x alba plena Dianthus plumarius plenus albescens Myosotis palustris Matthiola incana alba parviflora Nigella damascena Viola tricolor Erysimum cheiranthoides Coronopus squamatus Apiaceae spec. Dianthus plumarius albescens Iberis amara Dianthus caryophyllus albescens Dianthus caryophyllus plenus Tagetes patula Rosa gallica Lepidium sativum Jasminum officinale Vinca minor Anemone hortensis Fragaria vesca Rosa majalis

a b c d e

Maniola jurtina Lycaenidae spec. Fannia canicularis Ischnura elegans Coccinella septempunctata

Meadow Brown Butterfly Blue Butterfly Lesser Housefly Blue-tailed Damselfly (2x) 7-spot Ladybird

In his 1979 catalogue of Jan Brueghel I’s oeuvre, Ertz doubted the authenticity of this work based on the examination of a photographic image.179 Since that time the painting has been cleaned and examined by a number of specialists, and as a result there is now no longer any doubt about the attribution.180 Peter Klein concluded that the tree from which the panel has been cut came from the area of the Baltic, with growth rings dating from between 1362 and 1585, which means that the tree must have been sawn into planks about 1600. Nicholas Eastaugh located the signature and date BRVEGHEL · 1612, and proved through paint analysis that a later date of production is impossible. Both the signature and the date are the same as those on other works generally accepted as being by Jan Brueghel I, and a stylistic analysis indicates that no anachronistic elements are present. In line with the practice at the time, the artist prepared the support with a light coloured ground of white gesso and covered it with an imprimatura layer of sandy-brown coloured glaze with only a small amount of pigment in the oil, as is clearly visible not only between the brushstrokes in the background and foreground, but also in the interstices, that is the small spaces between the flowers. The purpose of the imprimatura is to prevent the paint being absorbed into the gesso layer, which would cause it to lose both colour intensity and translucency. In addition, this partially visible imprimatura gives a warmth, freshness and vibrancy to the image, as well as, in this case, providing the base colour for the tazza. The background and foreground were done after the tazza and most important flowers had been painted, which may be seen in the small, colour-free areas along the edges of the tazza, the dark grey background overlapping other parts of the tazza, and the areas between the flowers which have been filled with a greenish tint. The largest flowers were then painted after the completion of the background. This technique is considerably different from that of Ambrosius Bosschaert I, who frequently made a preparatory sketch in black chalk which is still visible. Other differences in Jan Brueghel I’s work are in the painting

Fig. 6.28a Sketch of the species in Fig. 6.28.

179 Ertz 1979, p. 602, no. 268. 180 Ertz, too, at a later point in time examined the original painting and agreed with the attribution to Jan Brueghel I. Ertz & Nitze-Ertz 2008-10, III, pp. 956-958, no. 451.

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of small details and a lighter use of glaze, as well as in the somewhat wavy brushstrokes – for example, in the flowers of the Borage and Pot Marigold, and in the foliage of the Jasmine. The composition is symmetrical in both form and colour. The white Stock blossoms hanging over the edge of the tazza on the left are counterpoised by the white Carnation and Jasmine on the right, while the stem of strawberries on the table to the left in the foreground is balanced by the pink Roses on the right. The light is softly concentrated at the centre-left, the result of a light source emanating from somewhere in front of the left foreground: a new and original element in a work from the year 1612. The tazza with flowers is also an original idea. Moreover, this painting deviates from other works of the time by its noticeable lack of expensive flowers, such as Tulips, Irises and Peonies. Such simplicity certainly has its own charm. Jan Brueghel I, Flowers in a khendi (Fig. 6.29) Panel, 42 x 34.5 cm. Mauritshuis, The Hague, inv. no. 1072.181 1 Jasmine 2 Lavender Cotton 3 White Rose 4 Forget-me-not 5 Apothecary’s Rose 6 Flemish Tulip 7 Tazetta Narcissus 8 Tapered Tulip hybrid 9 Striped Canary Grass 10 Tapered Tulip hybrid 11 Orange blossom

Jasminum officinale Santolina chamaecyparissus Rosa x alba plena Myosotis palustris Rosa gallica cv. Officinalis Tulipa armena x T. mucronata variegata Narcissus tazetta Tulipa armena x T. agenensis Phalaris arundinacea f. picta Tulipa armena x T. mucronata bicolor Citrus aurantiaca

A Large Blue b Downy Emerald Dragonfly c 7-spot Ladybird

Maculinea arion Cordulea aenea Coccinella septempunctata

As already mentioned, there are more versions from the artist’s own hand of a flower piece in a khendi; of these, one of them has been signed and another is in the Prado in Madrid.182 There are also copies produced by his followers, including Jan Brueghel II, and others.183

181 Provenance: Galerie Internationale, The Hague 1930; P. de Boer Gallery, Amsterdam 1934; private collection C.T.F. Thurkow, The Hague; bequest of L. Thurkow-Van Huffel 1987. Exhibitions & literature: Vienna 1930, p. 5; Amsterdam 1934, p. 60, no. 274, Fig. 39; Stheemann 1934, p. 104; Amsterdam 1935, p. 9, no. 39; Strasbourg 1949, no. 9; Haarlem 1953, p. 6, no. 12; Dordrecht 1954, n.p., no. 29; Zurich 1956; Ghent 1960, p. 111, no. 32; Ertz 1979, pp. 276, 286, Fig. 356, 592, no. 208; London 1979, p. 19, no. 23; Ertz 1984, pp. 438-439, no. 275; Hoogesteger in Utrecht 1988, p. 14; Hairs 1985, I, pp. 67, 84, Fig. 23; Segal in Osaka, Tokyo & Sydney 1990, pp. 178-179, under 27; Broos in The Hague 1992, pp. 72 under no. 11; Brenninkmeijer-de Rooij 1996, pp. 64-65, Fig. 65, 81; Buvelot & Vermeeren 2004, pp. 80-82, no. 1072; Runia & Segal 2007, pp. 36-37; Ertz & Nitze-Ertz 2008-10, III, p. 935, no. 442. 182 Copper, 44.6 x 31.7 cm, private collection; panel, 47 x 35 cm, Madrid, Museo Nacional del Prado, inv. no. P001424; Segal in Osaka, Tokyo & Sydney 1990, pp. 178-179, under 27, Fig. 27a. 183 Copper, 48 x 35 cm, Madrid, Museo Nacional del Prado, inv. no. P001421; Segal in Osaka, Tokyo & Sydney 1990, pp. 178-179, n. 5 under 27, as possibly by Ambrosius Brueghel.

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Fig. 6.29 Jan Brueghel I, Flowers in a khendi, panel, 42 x 34.5 cm, Mauritshuis, The Hague.

Pieter Brueghel II

Pieter Brueghel II was born in 1564 in Brussels; together with his younger brother Jan Brueghel I he studied drawing with his grandmother, Mayken Verhulst, and painting with Gillis van Coninxloo II. He was registered as a master painter in the Guild of Saint Luke in Antwerp in 1585 and remained in Antwerp until his death in 1638. He had nine apprentices, among them Frans Snyders and Andries Daniëls. Pieter Brueghel II is primarily known for his genre pieces, in which he often imitated his father, Pieter Brueghel I. Pieter Brueghel II painted flowers in several of his paintings of Spring showing the landscaping of a garden.184 We do not know of any flower pieces by Pieter II, however archival evidence support his activity as a painter of flower pieces. An inventory compiled in Antwerp in 1652 bears the following reference: ‘eenen blompot van Peeter Breugel’ (‘a flowerpot by Peeter Breugel’).185 Furthermore, an account 184 These representations are versions after the work of his father Pieter I, as is confirmed by a famous engraving for which a study has been preserved in the Ambrosiana in Milan. 185 Denucé 1932, p. 134, 26 & 27 October 1652, estate of Jan van Meurs.

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book belonging to the Antwerp art firm Forchondt mentions a flower piece by Pieter Brueghel sold to Baron Alewijn in 1671.186 There is a signed flower wreath in the Prado in Madrid, although its authenticity has been subject to doubt.187

Andries Daniëls

Andries Daniëls was probably born around 1580. In 1599 he registered in the Antwerp Guild of Saint Luke as an apprentice of Pieter Brueghel II and in 1602 he was admitted as a master painter. No further information about his life is available. Only one signed work by him is known today, a flower wreath around the Holy Family in the style of Jan Brueghel I.188 In addition, however, a similar flower wreath may also be seen within a 1618-1619 work by Frans Francken II, a cabinet painting that depicts a collection of paintings and rarities (Fig. 1.3).189 In this painting a flower arrangement in a vase is on display with the other objects, which in the literature is commonly held to be the work of Francken himself or Jan Brueghel I (Fig. 6.30). However, the flower arrangement holds a number of flowers that are identical to those in the representation of the flower wreath and may thus evidently be attributed to the same master Andries Daniëls. Furthermore, the vase holding the flower arrangement in the cabinet painting depicts the same representation of Deianira and the centaur Nessus plus several identical flowers as a flower piece signed with the monogram AD; it is dated 1610 and I formerly attributed it to Andries

Fig. 6.30 Andries Daniëls, Flowers in a vase, detail from Fig. 1.3.

186 Denucé 1931, p. 154, ‘1 Blompot van Peeter Brenghel (sic), vercocht aen den baron Alewijn 4-20’. About Pieter Brueghel II see Hairs 1985, I, p. 256, II, p. 18. 187 Copper, 35 x 29 cm, Madrid, Museo Nacional del Prado, inv. no. P001415. Hairs 1985 does not refer to this work. Díaz Padrón 1995, p. 340; Van der Willigen & Meijer 2003, p. 56. 188 Panel, 105 x 75 cm, formerly Galleria Lorenzelli, Bergamo; Hairs 1985, I, p. 254, Fig. 79. 189 The work is dated and signed 1619 (and on a document in the painting 1618), Antwerp, Koninklijk Museum voor Schone Kunsten, inv. no. 816; Härting 1983, no. A 360; see also Chapter 1.

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Daniëls.190 This painting is part of a large group of flower pieces that have been ascribed to him, including many versions of sets of paintings depicting the same vase, where a number of identical flowers are repeated in a matching position.191 Many of these anonymous ‘mass produced’ works, were possibly workshop pieces and deserve further investigation.

Juliaen Teniers I

Juliaen Teniers I was born in Antwerp in 1572. He was the brother of David Teniers I (1582-1649) and an uncle of the better-known painter David Teniers II (1610-1690). Juliaen was registered as a master painter in the Antwerp Guild of Saint Luke in 1595 and remained a member until his death in 1615. In 1595 he married Susanna Coignet, sister of the painter Gillis Coignet II (1586-after 1642). Between 1599 and 1608 his apprentices were Jacob Christiaensens I, Gaspar van den Hoecke I (ca. 1575-1641), his brother David Teniers I and Herman de Neyt (1588-1642). Juliaen Teniers I is primarily known as a historical painter, and he often provided figures for landscapes painted by Joos de Momper II. An inventory of 1623 lists ‘Vyff lange smalle bloempotten van Juliaen Tenier’ (‘Five high, narrow flowerpots by Juliaen Tenier’).192 Currently no flower pieces by him are known to exist.

Gaspar van den Hoecke I

The exact year of Gaspar van den Hoecke’s birth is unknown but would have been sometime between 1575 and 1580. In 1595 he was accepted as an apprentice of Juliaen Teniers I in Antwerp and in 1603 was admitted as master painter to the Guild of Saint Luke. He married Margriet van Leemputte, who died in childbirth in 1621. In 1626 he remarried with Margriet Musson, who bore him seven sons, including Jan van den Hoecke. The last documentary evidence relating to Gaspar Van den Hoecke’s activity dates from 1641. He is primarily known for his religious paintings. Among his apprentices were Justus van Egmont (1602-1674) and his sons Jan (1611-1651) and Robert (1622-1668) van den Hoecke. There is currently only one signed flower piece extant by Van den Hoecke, showing flowers in a wooden tub and dated 1614 (Fig. 6.31). Although this work was certainly inspired by a similar work by Jan Brueghel I, it nonetheless bears witness to Van den Hoecke’s own personal style. The bouquet piled up high in its vase has a definite feeling of animation, as if the flowers are swaying in different directions. The two Tulips in the centre convey a feeling of vigour with their striking vertical shapes. There are a few other flower pieces that have been attributed to Van den Hoecke.193 Gaspar van den Hoecke I, Flowers in a wooden tub (Fig. 6.31) Panel, 91.3 x 53.2 cm, signed and dated lower right in beige grey: 1614 Gaspar Vanden Hoecke. I. F[...] (underneath the frame) The Fitzwilliam Museum, Cambridge, inv. no. PD 28-1966.194 The bouquet holds upwards of seventy-two species of flowers (several difficult to identify), while in the foreground Black and Redcurrants lie strewn next to the vase. The most striking flowers are the Crown Imperial at the top of the bouquet, the Tulips in the centre and around the periphery, many kinds of Roses at the lower right, various Irises, diverse Narcissuses, several Turk’s Cap Lilies, different types of Anemones, a full Kingcup and a few Crocusses. In addition, there are three species of butterfly, two of caterpillar, two kinds of flies and a beetle. An underdrawing is visible to the naked eye in a number of places showing a grid pattern with contour lines for the flowers. The contours themselves are somewhat faintly curled in places, for example those of the Narcissuses, and sometimes with outlined edges in impasto, on occasion with clean lines, as for the Tulips. Just as in the work of Jan Brueghel I, the background has been filled in after the flowers 190 Panel, 64 x 41 cm, private collection, Germany; Kelch in Berlin 1984, pp. 28-29, no. 11; Hairs 1985, I, p. 255, Fig. 80. It looks quite similar to Albrecht Dürer’s monogram and the AB monogram of Ambrosius Bosschaert. 191 Philips de Marlier (ca. 1600-1668) also painted a vase with such a scene in the later period. For Andries Daniëls see Hairs 1951a; Hairs 1985, I, pp. 253-262, and II, pp. 21-21, with various attributions. 192 Denucé 1932, p. 36, 21 January 1623, estate of Jacques Snel. 193 For example: panel, 52.4 x 43.3 cm, private collection. Leeuwarden 1998-99, n.p., no. 5. For Gaspar van den Hoecke I see Hairs 1985, I, pp. 219-222, Fig. 74, II, p. 31 and Segal 1989. 194 Provenance: Kazan museum, Russia, with pendant; Eugene Slatter Gallery, London 1937; Koetser Gallery, New York 1941; Major Henry Rogers Broughton, 2nd Lord Fairhaven, donated to the museum in 1966, on loan from 1960. Exhibitions & literature: Grant 1952, p. 63, no. 44, Pl. 25 as Jan van den Hoecke; Hairs 1955, pp. 181-182; Pavière 1962-64, I, p. 35, Pl. 37; Hairs 1965, pp. 97-98; Mitchell 1973, pp. 139-140, Fig. 191; Woudhuysen 1982, p. 73, no. 72; Hairs 1985, I, pp. 219-222, Fig. 74, 252, II, p. 31; Grimm 1988, pp. 41-42, Fig. 9; Lowenthal in London 1990, pp. 23-24, Fig. 17.

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Fig. 6.31 Gaspar van den Hoecke I, Flowers in a wooden tub, dated 1614, panel, 91.3 x 53.2 cm, The Fitzwilliam Museum, Cambridge. 236 |

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were painted. The shadow of the tub has been shaded with lines. The Tulip at the very centre has been coloured with grey stripes. The bouquet was constructed in layers. Also notable are the large number of rather pointed petals, for example of the Narcissuses and Hyacinths. Foliage has been kept to a minimum.

Abraham Govaerts

Abraham Govaerts was born in 1589 in Antwerp, where he remained until his early death in 1626. In 1607 he was registered as a master painter in the Guild of Saint Luke. In 1623, he became dean of the Guild. Dated works exist from the years 1612 through to 1626. Govaerts was particularly known as a landscape painter, but also produced series of the Elements and of the Senses with flowers in the style of Jan Brueghel I. Govaerts’s apprentices were Alexander Keirincx (1600-1652), Hans Groenrys, Andries van den Bogaerde, Nicolaes Aertsens, Gysbrecht van den Bergh and Frans Snyders II. In 1961 a flower piece signed A. Govaerts and dated 162(3?) was sold in Torquay (Devonshire, England).195

Andries Snellinck

Andries Snellinck was born in 1587 in Antwerp and was the son of Jan Snellinck I, with whom he also served an apprenticeship. In 1608 Andries entered the Antwerp Guild of Saint Luke as a master painter. In 1609 he married Maria Claessens. From 1620 he joined in a partnership with Michiel van Elsland for dealing in art. He died in 1653. Andries Snellinck’s apprentice was Jan van Gelder (1621-1685). Snellinck’s oeuvre consists predominantly of genre pieces, landscapes and mythological scenes, and only a very few are fully signed. Various contemporary sources list several small studies of flowers, flower and fruit cartouches, as well as flower pieces.196 It is uncertain whether these references are the same artist as the one referred to as ‘Snellincks’, who is mentioned in Haarlem inventories as a painter of fruit still lifes, and who was a member of the guild in 1634 and in 1636 withdrew and left Haarlem.197 The Cultural Heritage Agency of the Netherlands owns a signed painting A. SNELx and dated 1616 that has not been mentioned in the literature: Andries Snellinck, Flowers in a basket, fruit on a tazza and a parrot (Fig. 6.32) Panel (with the mark of Lambert Steens),198 32.5 x 60 cm, signed and dated lower left in beige: A. SNELx F A° 1616 Cultural Heritage Agency of the Netherlands, inv. no NK 2896.199 Fruit species on the tazza 1 White Grape 2 Black Grape 3 Apple 4 Peach

Vitis vinifera Vitis vinifera Malus sylvestris Prunus persica

Flower species in the basket 5 Sweet Briar 6 Kingcup 7 Liverwort 8 Rosemary 9 Primrose 10 Provins Rose 11 White Rose 12 Turban Buttercup 13 Stock 14 Wood Anemone 15 Pansy 16 Love-in-a-mist 17 Lily of the Valley

Rosa rubiginosa Caltha palustris plena Hepatica nobilis plena Rosmarinus officinalis Primula vulgaris Rosa x provincialis Rosa x alba Ranunculus asiaticus plenus Matthiola incana grandiflora rosea Anemone nemorosa Viola tricolor Nigella damascena Convallaria majalis

195 Panel, 42 x 20 cm (possibly cut?), sale Baerne Gallery, Torquay, 26 July 1961, no. 751. 196 Hairs 1985, I, pp. 251-253, II, p. 47; Van der Stighelen 1989, pp. 309, 313-314, 317, 324, 326, 327, 331, 335, 336. Works by Andries Snellinck were also included in the inventory of decease of the Antwerp painter Victor Wolfvoet II (1612-1652) in 1652. Duverger 1984-2002, VI, p. 346: ‘Drye cleyn stucxkens van Snellinck op plaetkens met ebbenhoute lystkens: d’een van Sydewormen, het tweede van Bloemkes ende ‘t derde van Eyndekens ende Beestkens’. 197 Ampzing 1628, pp. 371-372; Miedema 1980, II, pp. 420, 423; Goosens 2001, pp. 30. Examples of his work are listed in various inventories in Haarlem from 1645 to 1653 (Goosens 2001, pp. 34, 48, 179, 303 n. 1, 432). 198 Wadum 1998a, p. 184. 199 Provenance: sale Frederik Muller, Amsterdam, 20 May 1919, no. 181 (as by A. Snel and 1619); collection of F.W.H. Hollstein, Amsterdam; collection of Dr. Goepel.

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18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

Pot Marigold Borage Tapered Tulip hybrid Peacock Anemone Annulated Sowbread Flemish Tulip ‘Marquetrine’ Mezereon Snake’s Head Fritillary Hyacinth Poppy Anemone Snakeweed German Flag Iris Carnation London Pride Mock Orange Tapered Tulip hybrid Tapered Tulip

Calendula officinalis Borago officinalis Tulipa armena x T. stapfii Anemone pavonina Cyclamen hederifolium Tulipa armena x mucronata variegata Daphne mezereum Fritillaria meleagris alba Hyacinthus orientalis roseus Anemone coronaria pseudoplena Polygonum bistorta Iris germanica Dianthus caryophyllus plenus Saxifraga umbrosa Philadelphus coronarius Tulipa armena x T. undulata Tulipa armena bicolor

Plant and animal species on the table 35 Plum Prunus domestica 36 Redcurrants Ribes rubrum 37 Wood Forget-me-not Myosotis sylvatica

Fig. 6.32 Andries Snellinck, Flowers in a basket, fruit on a tazza and a parrot, panel, 32.5 x 60 cm, Cultural Heritage Agency of the Netherlands.

a Hispaniola Amazone Parrot (?) Amazona ventealis b Emerald Damselfly Lestes sponsa

The execution is a bit rough, with both impasto and more fluid paint. It seems a slightly unpolished work, possibly caused by its condition and a botched restoration. The painting betrays the influence of Jan Brueghel I.200

200 The painting invites further research in its relation to several other works, including the following: a flower piece in the Moravská Galerie in Brno (copper, 66.4 x 92.6 cm, inv. no. Z 1548, as workshop of Jan Brueghel II); a flower piece, Sotheby’s, Parke Bernet, New York, 18 October 1989, no. 81 (panel, 25 x 35 cm, as ‘manner of Jan Brueghel the Elder’); and a flower wreath encircling a Madonna with Child, Sotheby’s, Amsterdam, 14 May 2002, no. 36 (copper, 56 x 49 cm, signed with the monogram AS).

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A ‘blommande’ or flower basket is listed in the estate of Andries’s widow, Maria Claessens of 1656.201 This document also lists paintings of parrots and other birds.202 A flower wreath around a horizontal oval medallion depicting the adoration of the shepherds can probably be attributed to Andries Snellinck.203 This must be a later painting, but the flowers are quite similar to those in the Flowers in a basket, fruit on a tazza and a parrot.204

Andries van Baesrode I

Andries van Baesrode I was probably born in 1574 in Mechelen where the name Van Baesrode was quite common. In 1588 he became an apprentice of Raphael Coxcie (1540-1616) in Antwerp, and in 1595 he joined the Guild of Saint Luke as master painter. His own apprentices were Osias Beert I, Geert Bithaen, Hans Ryckaert, Lucas Smidts and Jheronimus de Ridder. In 1614 he married Anne Coevoets; together they had fifteen children, six of whom survived, including a son, Andries van Baesrode II (1617-after 1657), who painted a flower wreath according to the records relating to the estate of Suzanna Willemssen from 1657.205 Andries van Baesrode I died in Antwerp in 1641.206 Today five flower pieces attributed to Andries van Baesrode I exhibit some similarities to the work of his apprentice Osias Beert I, but are a bit stiffer. Not a single work can be assigned to him with certainty.207

Osias Beert I

Osias Beert I was probably born about 1580 in Kortrijk.208 In 1596, the year he became apprenticed to Andries van Baesrode, Beert and his family lived in Antwerp. Osias Beert joined the Antwerp Guild of Saint Luke as a master painter in 1602. He married Margaretha Ykens in 1606. Six of his apprentices have been documented: Hans Ykens in 1605, Frans van der Borcht in 1610, Pieter Doens in 1611, Frans Ykens (1601-ca. 1692) in 1615, Paulus Pontius (1603-1658) in 1616 and Jan Willemsen in 1618. Osias Beert primarily painted laid tables and sumptuous still lifes, but also executed several flower pieces. In addition to being a painter, Beert was also registered as a cork merchant. Between 1606 and 1623 Osias Beert and Margaretha Ykens had twelve children.209 Their son Osias Beert II (1622-1678), also painted, but only one laid table with oysters is known by him through a description in an auction catalogue.210 Many works that formerly were attributed to Osias Beert I have been put erroneously on the market as works by his son, Osias II. In his flower pieces, Beert characteristically painted the flowers in a wide and tightly woven Eastern basket with gold lacquer decorations around the edges, some of them containing only a few different species of Roses (Fig. 6.33).211 He also painted flowers arranged in serpentine or glass vases (Fig. 6.34), again some of them filled only with Roses, or almost only with Tulips. Beert sometimes also rendered two, three or four flower arrangements in different containers in a single painting.212 He also included flower vases in complex laid table, fruit and sumptuous still lifes. In addition, there is a painting produced jointly by Beert and the workshop of Rubens around 1615-1620 depicting Pausias and Glycera, where Beert was responsible for the flowers in the foreground, in addition to those in the basket and in the glass vase on the table near Glycera.213 The work of Osias Beert can be quite accurately distinguished from that of his contemporaries by a somewhat flat use of colour. This is particularly noticeable in his use of yellow, which has usually survived quite well in contradistinction to the unstable yellows of many seventeenth-century (and later) 201 Duverger 1984-2002, VII, p. 299: ‘Een Blommande met swerte lyst van Andries Snellinck’. 202 Duverger 1984-2002, VII, p. 297: ‘Twee schilderykens synde twee papegaeykens […]’; ‘een schilderye wesende […] met Vogelen’ and other references. 203 Panel, 45.4 x 55.2 cm, Lopez de Aragon Gallery, Madrid 2007, attribution to Snellinck by Segal and others, including Sotheby’s, London, 8 December 2011, no. 200. 204 The combination of a flower basket and a bird are known in later Dutch paintings by Jeronimus Sweerts and Jan Baptist van Fornenburgh (ca. 1590-1648/49). 205 Duverger 1984-2002, VII, p. 434: ‘Item […] betaelt aen Andries Baesteroy voor eenen Blommencrans voir desen sterffhuyse geschildert te hebbende comt Fl 5.00 […]’. 206 For Van Baesrode see Maufort 1996 and Alen 2012, pp. 9-10, Figs 1 & 2. 207 For the attribution of the flower pieces to Van Baesrode, see the Segal Still Life Documentation in the RKD, The Hague, refer especially to a report of a pair of flower paintings (anonymous, ca. 1600). 208 Alen 2012, pp. 7-8. 209 Alen 2012, p. 11. 210 Alen 2012, p. 16. Osias II was married to Anna de Lannoy. 211 According to Christiaan Jörg the baskets are possibly of Japanese, Javanese or Thai origin. 212 Examples by Segal in Osaka, Tokyo & Sydney 1990, pp. 83, Fig. 30, 182-183, no. 30. 213 Canvas, 203.2 x 194.3 cm, Sarasota, John and Mable Ringling Museum of Art, inv. no. SN 219; see Bergström 1957, pp. 120-124, Figs 19, 22, 23, as Rubens and Osias Beert I; Brilliant 2011, pp. 73-85, 123-124, as Rubens and Osias Beert I; and Büttner 2018, I, pp. 430-435, no. 58, II, Fig. 287, as workshop of Rubens and Osias Beert I, 1615-1620.

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Fig. 6.33 Osias Beert I, Roses in an Eastern basket, panel, 42.5 x 57 cm, private collection.

flower pieces. He probably mixed yellow pigments with white lead, a toxic substance that might have been the cause of his early death. Typical of his work are the areas of white highlights – on the pink Roses too – and grey shadows. Another characteristic is the somewhat crinkly impasto outlining of flowers in white or a light colour. Butterflies are often painted somewhat simplistically rounded, and dragonflies in a slightly plump s-form. In comparison to Jan Brueghel I his work comes across as somewhat archaic; but, in other respects, it is quite novel, for example, he creates a feeling of depth in his later flower pieces by shading the bouquet at the outer edges. What typifies many of his works is the underdrawing, or fragments thereof, in black chalk that can be seen quite easily with the naked eye. Beert’s panels are also often recognizable due to his idiosyncratic covering of both the back and front of the support with a white gesso, whose purpose is to keep the panel flat even in unfavourable climate conditions, on top of which a layer of thin light-brown paint has been applied. Only very few works by Beert have been signed and not a single one has been dated. However, several paintings on copper show the coppersmith’s mark of Peeter Stas (ca. 1565-after 1616) with a date of 1607, 1608 or 1609. A few other signed flower pieces are in private collections. Unsigned flower pieces can be found in the Snijders&Rockoxhuis in Antwerp, the Staatsgalerie Neuburg, the Dallas Museum of Art, the Hamburger Kunsthalle, the Pinacoteca Ambrosiana in Milan, and the Musée du Louvre in Paris. A still life containing both fruit and a flower arrangement may be seen in the Musée de Grenoble.214

214 For further details on the life and work of Osias Beert I see Greindl 1983, pp. 22-36; Hairs 1985, I, pp. 335-346, II, pp. 4-5; Alen 2012; the Segal Project and the Segal Still Life Documentation in the RKD, The Hague.

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Osias Beert I, Roses in an Eastern basket (Fig. 6.33) Panel, 42.5 x 57 cm (cut on the right and a new piece attached and painted), signed in monogram lower right: OB. Private collection, Spain.215 1 2 3 4 5 6 7 8

White Rose Austrian Briar Sweet Briar Damask Rose Apothecary’s Roses Cinnamon Rose Dog Rose French Rose

a Four-spotted Chaser Dragonfly B Large White Butterfly

Rosa x alba simplex, duplex, semiplena et subplena Rosa foetida simpex et duplex Rosa rubiginosa Rosa x damascena Rosa gallica cv. Officinalis Rosa majalis Rosa canina Rosa gallica semiplena Libellula quadrimaculata Pieris brassicae

Osias Beert I, Flowers in a glass vase in a niche (Fig. 6.34) Panel, 73.7 x 51.5 cm. Snijders&Rockoxhuis, Antwerp, inv. no. 77.176.216 1 Love-in-a-mist 2 Pansy 3 Annulated Sowbread 4 Love-in-a-mist 5 Apothecary’s Rose 6 Kingcup 7 Star Anemone 8 Sweet Briar 9 White Rose 10 White Narcissus 11 Star Anemone 12 Purple Tulip hybrid 13 Star Anemone 14 Poppy Anemone 15 Peacock Anemone 16 Kingcup 17 Snapdragon 18 Blunt Tulip hybrid 19 Red Tulip 20 Blunt Tulip hybrid 21 Yellow Tulip hybrid 22 Fire Lily 23 Persian Tulip ‘Lack’ 24 Tapered Tulip 25 False Larkspur 26 Danube Tulip hybrid 27 Columbine 28 Carnation 29 Autumn Crocus 30 Red Tulip 31 Meadow Saffron 32 Star Anemone 33 Provins Rose 34 Rosemary

Nigella damascena pallida semiplena Viola tricolor Cyclamen hederifolium Nigella damascena duplex Rosa gallica cv. Officinalis Caltha palustris Anemone hortensis duplex purpurea Rosa rubiginosa Rosa x alba plena Narcissus poeticus duplex Rosa hortensis rosea Tulipa undulatifolia x T. armena Rosa hortensis pallida Anemone coronaria Anemone pavonina alba Caltha palustris plena Antirrhinum majus Tulipa mucronata x T. undulatifolia grandiflora Tulipa agenensis Tulipa mucronata x T. undulatifolia Tulipa chlorantha x T. clusiana Lilium bulbiferum pallidum Tulipa clusiana marginata Tulipa mucronata bicolor Consolida ajacis Tulipa hungarica x T. undulatifolia Aquilegia vulgaris Dianthus caryophyllus albescens Crocus serotinus Tulipa agenensis Colchicum autumnale plenum album Anemone hortensis rubra Rosa x provincialis ad R. gallica cv. Officinalis Rosmarinus officinalis

215 Provenance: private collection, England; Dennis van der Kar Gallery, London; Koetser Gallery, Geneva; Christie’s, New York, 13 March 1980, no. 104; Sotheby’s, London, 8 July 1981, no. 60. Exhibitions & literature: Amsterdam 1934, p. 56, no. 240, as on canvas; Segal in Amsterdam & ’s-Hertogenbosch 1982, pp. 31, 86, no. 28; Greindl 1983, p. 28; Hairs 1985, I, p. 341, II, p. 5 (no mention of signature); Segal 1991a, pp. XIV-XV, Fig. 1; Meijer in San Diego 2016, p. 10, Fig. 4. 216 Provenance: sale Bukowski, Stockholm, after 1920; private collection, Sweden; Christie’s, London, 12 December 1975, no. 71, as by Ambrosius Bosschaert I; Richard Green Gallery, London 1976. Exhibitions & literature: Amsterdam 1934, p. 57, no. 247, Pl. 33, as by Abraham Brueghel; Benedict 1938, p. 314; Van Gelder 1950, p. 38 under no. 7; Hairs 1951, p. 249; Greindl 1983, p. 336, no. 20; Hairs 1985, I, pp. 339-340, Fig. 112; Antwerp & Brussels 2001, pp. 39-40, 66-67; Antwerp 2002, pp. 78-82; Van Cauteren 2006, p. 21; Watteeuw 2015, pp. 96, 101; Van Hout in Antwerp 2015-16, pp. 148-149, no. 17.

Fig. 6.34a Sketch of the species in Fig. 6.34.

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A Bath White Butterfly B Garden Tiger Moth C Small Tortoiseshell Butterfly

Pontia daplidice Arctia caja Aglais urticae

The number of unsigned works attributed to Beert is fairly large, and a great many of them are doubtful.217 Two large flower pieces showing bouquets in baroque vases were attributed to the workshop of Osias Beert by Hairs in 1953.218 One of these is signed and dated: A. Brueghel F. 1663.219 A question remains as to whether these are not actually works by Ambrosius Brueghel (1617-1675), about whose work little is known, and who possibly imitated Beert’s (and others’) style.

Fig. 6.34 Osias Beert I, Flowers in a glass vase in a niche, panel, 73.7 x 61.5 cm, Snijders&Rockoxhuis, Antwerp. 217 See the lists of works in Hairs 1985, II, pp. 4-5, Greindl 1983, pp. 335-337 and Alen 2012. 218 Hairs 1953, as by workshop of Osias Beert; Hairs 1985, I, pp. 344-347, Fig. 116, as by Osias Beert and workshop. Panel, 182 x 140 cm, dated 1663, Brussels, Koninklijke Musea voor Schone Kunsten van België, inv. no. 6588; panel, 179 x 140 cm, Brussels, Koninklijke Musea voor Schone Kunsten van België, inv. no. 15. A similar composition is in a private collection in Spain (canvas, 127 x 98 cm). 219 Panel, 182 x 140 cm, dated 1663, Brussels, Koninklijke Musea voor Schone Kunsten van België, inv. no. 6588. See Chapter 8.

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Clara Peeters

Biographical documentation about the life of Clara Peeters is lacking. For a long time the artist was associated with specific details deduced about a Clara Peeters born in 1594 who resided in Amsterdam and The Hague, but as a matter of fact these documentary fragments of information refer to others with the same name. Recently, Clara Peeters was identified as Clara Lamberts, born into the third generation of a painter family in Mechelen around 1587.220 However, all these data are purely hypothetical and need to be looked at carefully. Certain stylistic characteristics and the use of oak and copper panels with the marks of Antwerp craftsmen suggest that Clara Peeters was active in Antwerp. She was not a member of the Antwerp Guild of Saint Luke, even though women were admitted. The earliest known signed work by Clara Peeters was painted in 1607. Although she was influenced by such painters as Hiëronymus Francken II (1578-1623) and Osias Beert I, she quickly developed her own style, which is similar in some respects to the style of the later laid table still life painters Pieter Claesz (1597-1661) and Willem Heda (1594-1680). Her last known dated work is the 1621 Madonna encircled by a small flower wreath, and it is somewhat simple compared to her earlier work. In early paintings by Peeters we see striking highlights and a range of depth effects in the surface texture of material objects, especially in precious metal work and earthenware, making use of a method alternating light and shade in little lines of differing thickness, which in turn make the works strongly expressive. The precision of bent lines in the representation of various materials also contributes to this, as well as more subtle indications of dents and other types of small defects. The underdrawings of her paintings reveal evidence of perspective lines as aids to the overall composition. Clara Peeters’ most beautiful works were painted in the period 1611-1612. Signed flower pieces only exist today in private collections, except for the Flowers in a glass vase between a Rose and a Carnation in the National Museum of Women in the Arts in Washington (Fig. 6.36). Peeters also made little flower pieces as components of larger paintings which have been signed, such as a still life with a bouquet of 1609 now in a private collection; a sumptuous still life of 1611 in the Prado in Madrid; a work with goblets of 1612 in the Staatliche Kunsthalle in Karlsruhe; a fish still life in the Rijksmuseum in Amsterdam; and a still life with fruit in the Ashmolean Museum in Oxford. Unsigned flower pieces of Clara Peeters may be found today in Museum Mayer van den Bergh in Antwerp, and in the Kröller-Müller Museum in Otterlo.221 Clara Peeters, Flowers in an ornamented stoneware pot and Carnations in a terracotta pot (Fig. 6.35) Panel, 65.7 x 50.2 cm, signed and dated lower left in dark brown: . CLARA . P . A° . 1612 Private collection.222 In the stoneware pot 1 White Rose 2 Apothecary’s Rose 3 Borage 4 Pot Marigold 5 Stock 6 Star Tulip hybrid 7 Sweet Briar 8 False Larkspur 9 Yellow Tulip 10 Madonna Lily 11 Spanish Iris 12 German Flag Iris 13 Fire Lily 14 Persian Tulip

Rosa x alba plena Rosa gallica cv. Officinalis Borago officinalis Calendula officinalis Matthiola incana alba Tulipa stellata x T. clusiana Rosa rubiginosa Consolida ajacis Tulipa chrysantha Lilium candidum Iris xiphium Iris germanica Lilium bulbiferum Tulipa clusiana

220 Bastiaensen 2016 [2018]. 221 For the oeuvre of Clara Peeters see Greindl 1983, pp. 45-49; Hairs 1985, I, pp. 349-53, II, pp. 38-39; Decoteau 1992 and Antwerp & Madrid 2016-17. Information regarding all works by Clara Peeters are in the Segal Project and the Segal Still Life Documentation at the RKD in The Hague, accompanied by extensive descriptions and provided with photographic images and identifications. 222 Provenance: collection of Emil Glückstadt, Copenhagen; his sale at Winkel & Magnussen, Copenhagen, 5 June 1924, no. 23, sold to V. Hansen, who bequeathed it to Agnethe Jacobsen, Copenhagen (1960); the person who obtained it from her donated it to the Christian Help Foundation; Sotheby’s, London, 6 July 1994, no. 9; Sotheby’s, London, 6 December 1995, no. 60. Exhibitions & literature: Gammelbo 1960, pp. 30-31, no. 28; Copenhagen 1965, no. 67; Los Angeles, Austin, Pittsburgh & New York 1976-77, p. 132; Vroom 1980-99, I, p. 88, II, p. 100, no. 502; Hairs 1985, I, p. 352; Decoteau 1992, pp. 22, Fig. 8, 23-28, 30, 34, 51, 53, 55-56, 70, 73-74, 79, no. 8, 84-85, 87-88, 105, 159, 164, 167, 179, 193; Hochstrasser 1996, p. 524 n. 78.

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15 Love-in-a-mist 16 Turk’s Cap Lily 17 Austrian Briar

Nigella damascena semiplena Lilium chalcedonicum Rosa foetida

In the terracotta pot 18 Carnation 19 Carnation

Dianthus caryophyllus plenus bicolor Dianthus caryophyllus plenus ruber

A Black-veined White Butterfly B Small Tortoiseshell Butterfly c Azure Damselfly

Aporia crataegi Aglais urticae Coenagrion puella

Fig. 6.35 Clara Peeters, Flowers in an ornamented stoneware pot and Carnations in a terracotta pot, dated 1612, panel, 65.7 x 50.2 cm, private collection. 244 |

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The sand-coloured white clay stoneware bottle from the Rhine in Germany is decorated in relief with four round medallions showing the goddess Flora. Around the same time Clara Peeters painted flowers in a similar stoneware pot, decorated with medallions showing a group of women. The bouquet is somewhat simpler and has a cleaner line.223 In 1611 she painted a small flower bouquet in a stoneware vase in a sumptuous still life, a work now in the Prado in Madrid.224 In a sumptuous still life of 1612 we see flowers in a glass vase with a reflection of the artist herself.225 Clara Peeters, Flowers in a glass vase between a Rose and a Carnation (Fig. 6.36) Panel, 50.2 x 34 cm, remains of a signature lower left: CLARA P National Museum of Women in the Arts, Washington, inv. no. 2016.30.226 1 White Rose 2 Love-in-a-mist 3 Sweet Briar 4 False Larkspur 5 Forget-me-not 6 French Rose 7 Yellow Turk’s Cap Lily 8 False Larkspur 9 Pot Marigold 10 Stock 11 Damask Rose 12 Madonna Lily 13 Columbine 14 German Flag Iris 15 Few-flowered Lily 16 Siberian Iris 17 Rose Campion 18 Pansy 19 Rose Campion 20 Turk’s Cap Lily 21 Wallflower 22 Love-in-a-mist 23 Peony 24 Wild Strawberry 25 Carnation

Rosa x alba plena Nigella damascena Rosa rubiginosa Consolida ambigua Myosotis palustris Rosa gallica semiplena Lilium pyrenaicum Consolida ambigua violacea Calendula officinalis Matthiola incana alba Rosa x damascena Lilium candidum Aquilegia vulgaris Iris germanica Lilium bulbiferum subsp. croceum Iris sibirica Lychnis coronaria alba Viola tricolor Lychnis coronaria Lilium chalcedonicum Erysimum cheiri Nigella damascena semiplena Paeonia officinalis plena Fragaria vesca Dianthus caryophyllus plenus albo-purpureus

In this work, nearly half the species of the 1612 painting (Fig. 6.35) are repeated, and some of the most striking flowers are in approximately the same position, including the Madonna Lily, the German Iris and the Turk’s Cap Lily, although the flowers are never identical. There is more depth in this image, also on account of greater use of shading, but predominantly because of more overlapping (note the way the stem of the Madonna Lily passes in front of a bloom of Pot Marigold) and the positioning of flowers turned to show their undersides, such as the Peony. Moreover, the bouquet here has greater fullness. This work was probably painted later, possibly between 1613 and 1615.227

223 224 225 226

Panel, 42.2 x 29.8 cm, Christie’s, London, 9 July 2003, no. 60. Panel, 52 x 73 cm, Madrid, Museo Nacional del Prado, inv. no. P1620. Panel, 59.2 x 49 cm, Karlsruhe, Staatliche Kunsthalle, inv. no. 2222. Provenance: Bonhams, London, 10 July 2002, no. 389; Richard Green Gallery, London 2002-2006; Sotheby’s, London, 5 June 2008, no. 52; bequest of Wallace and Wilhelmina Holladay. 227 According to the sale catalogues, Meijer actually assigned an even earlier date, about 1610.

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Fig. 6.36 Clara Peeters, Flowers in a glass vase between a Rose and a Carnation, panel, 50.2 x 34 cm, National Museum of Women in the Arts, Washington. 246 |

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Jacob van Hulsdonck

Jacob van Hulsdonck was born in 1582 in Antwerp. At an early age, he moved with his parents to Middelburg, where, some of the sources say, he was possibly an apprentice of Ambrosius Bosschaert I. Afterwards he returned to Antwerp and was admitted to the Guild of Saint Luke as a master painter in 1608, remaining in his native city until his death in 1647. In 1609 he married Maria la Hoes who bore him seven children, of whom Gillis van Hulsdonck (1625-after 1669) later became a still life painter too. In 1629 Maria la Hoes died and in 1632 Jacob van Hulsdonck remarried the widow Josine Peters, who also gave him a child. Five apprentices are registered under his name: his son Gillis, Jacob de Moor, Hans van Pelt, Thomas Vermeulen and Gilliam van Schoodt – except for Gillis no works are known for them. Jacob van Hulsdonck’s work – at least as far as flower pieces are concerned – was possibly influenced by Osias Beert I, and also by Jan Brueghel I. However, he mostly painted fruit pieces as well as several laid tables. Van Hulsdonck also painted combinations of fruit and flowers like some members of the Bosschaert family, in particular that family’s in-law Balthasar van der Ast. Occasionally he painted only Tulips, Carnations or Roses in a glass, and some of his fruit still lifes have only citrus fruits. Especially fine is a glass of Carnations, where the Carnations are too large in relation to the glass (Fig. 6.37). The flowers are often sharply defined and the foliage is often outlined quite thickly in grey. Usually Jacob van Hulsdonck signed his work with his full name, but also with IVH ligated, that is combined into one, at the beginning, and sometimes only with these three letters as a monogram. He did not date his work. A signed flower piece exclusively with Roses is in the Mauritshuis in The Hague.228 In public collections there are only two further unsigned works known, Tulips in an earthenware vase in Museum Bredius in The Hague and Still life with fruit in a basket and flowers in a berkemeyer in the collection of the Fine Arts Museums of San Francisco.229 When considering attribution, it is necessary to compare such works with those of Isaak Soreau (1604-after 1645).230

228 Copper, 35 x 28.4, The Hague, Mauritshuis, inv. no. 1214. 229 Panel, 55 x 41, The Hague, Museum Bredius, inv. no. 166-1946; panel, 48.3 x 63.5 cm, San Francisco, Fine Arts Museums of San Francisco, inv. no. 54.23. For the oeuvre of Jacob van Hulsdonck see Greindl 1983, pp. 36-43; Hairs 1985, I, p. 348, II, pp. 32-33 and the Segal Still Life Documentation in the RKD, The Hague. 230 See Chapter 7.

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Fig. 6.37 Jacob van Hulsdonck, Carnations in a roemer, panel, 33.7 x 24.5 cm, private collection. 248 |

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Jacob van Hulsdonck, Carnations in a roemer (Fig. 6.37) Panel, 33.7 x 24.5 cm, signed lower left in beige: . IVHVLSDONCK . FE . (‘IVH’ ligated) Private collection.231 The painting displays a roemer with bramble knops holding a small bouquet of red and red-and-white Carnations (Dianthus caryophyllus plenus), with buds at different stages of development and below two sprigs of Rosemary (Rosmarinus officinalis). There are little water droplets on the table-top and plinth, which bring a freshness to the image. In the lower right, a Bluebottle Fly (Calliphora vomitoria) has alighted on a Carnation bud lying below the bouquet. A slightly smaller signed work by Van Hulsdonck showing only Carnations in a round glass vase was put up for auction in Paris in 1953.232 Whilst in 1971, at an auction in London, an indistinctly signed ‘Hulsdonck’ of questionable attribution dated 1639, described at the time as Carnations in a slender glass vase on a ledge, remained unsold (Fig. 7.49). No doubt this is a painting by Philips de Marlier (ca. 1600-1668) which displays many similarities to the work of Van Hulsdonck. De Marlier also painted a glass holding only Roses and Tulips.233

Michiel Simons I

According to the account books of the Guild of Saint Luke in Antwerp, Michiel Simons I was an apprentice of Lambrecht de Vries in 1602. In 1609 and 1612 he had Bartholomeus Bercx and Hans Michielsen as apprentices. He died in 1632. A painting of a basket with flowers (‘een mande met blommen’) is assigned to him in the Antwerp inventory of Sara Schut in 1644.234 However, it is possible that this is an early work by Michiel Simons II.

Jeremias van Winghe

Jeremias van Winghe was born in 1578 in Brussels. He initially received training from his father, Joos van Winghe (1544-1603), a painter of portraits and history scenes, but after the death of his father, Jeremias was apprenticed for short time to Frans Badens in Amsterdam. Afterwards he travelled to Rome before setting up permanently in Frankfurt am Main in 1605. There, in 1616, he married the wealthy Anna Maria Mertens. Following his marriage, Jeremias gave up painting for a long time, but resurrected his artistic endeavours around 1640, after falling on hard times. He died in 1645. Before his marriage he painted copies of his father’s compositions and made a few still lifes and kitchen pieces; one of the latter is fully signed and dated 1613 and another 1615, and one of the still lifes is signed with the initials IVW. Two unsigned flower pieces, that had for a long time been assigned to Georg Flegel (1566-1638), turned out to have significant differences from other known works by him following my extensive comparative analysis of these works with six flower pieces undisputedly by Flegel in 1984.235 At a later date I was able to attribute these two works to Jeremias van Winghe.236

231 Provenance: private collection, France; Heinz Family Collection. Exhibitions & literature: Bergström in Washington & Boston 1989, pp. 67, Fig. 20, 111, no. 20; Segal in Osaka, Tokyo & Sydney 1990, p. 185, Fig. 31a, n. 4 under no. 31; Wieseman in Boston & Toledo 1993-94, pp. 504-506, no. 97; Molenaar 1998, p. 105, Fig. 108; Ertz in Vienna & Essen 2002, p. 304, Fig. 104a, n. 2 under no. 104. 232 Panel, 29 x 23 cm, Charpentier, Paris, 12 June 1953, no. 59. 233 Panel, 45.1 x 36.2 cm, private collection. Pavière 1962-64, I, p. 36, Pl. 39; Koetser Gallery, London, catalogue Fall 1964, no. 25. 234 Duverger 1984-2002, V, 26 July 1644, p. 166. See also under Michiel Simons II in Chapter 8. 235 Segal 1984b. The method of analysis not only involved comparison of all the identified species, but also included an objective statistical analysis in which the number of species that occur together, or conversely are lacking, was computed for all eight paintings. 236 Segal in Delft, Cambridge & Fort Worth 1988-89, pp. 57, 60-61, Fig. 4.2, 211 n. 12 and 13.

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Fig. 6.38 Jeremias van Winghe, Flowers in a baroque vase with fruit and a wine glass, canvas, 85 x 61 cm, private collection. 250 |

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Jeremias van Winghe, Flowers in a baroque vase with fruit and a wine glass (Fig. 6.38) Canvas, 85 x 61 cm. Private collection.237 1 Cinnamon Rose hybrid 2 Summer Snowflake 3 Pansy 4 Wallflower 5 Forget-me-not 6 Scarlet Pimpernel 7 Poet’s Narcissus 8 Danube Tulip hybrid 9 Rosemary 10 Gladdon 11 Star of Bethlehem 12 Carnation 13 Carnation 14 Lavender Cotton 15 Tapered Tulip hybrid 16 Columbine 17 Tapered Tulip hybrid 18 Boxwood 19 Narcissus ‘Capax plenus’ 20 Snapdragon 21 Lavender 22 Madonna Lily 23 Purple Tulip 24 Crown Imperial 25 Salomon’s Seal 26 Red Tulip hybrid 27 Turk’s Cap Lily 28 Fire Tulip hybrid 29 Tapered Tulip hybrid 30 Poet’s Narcissus 31 Poppy Anemone 32 Yellow Flag Iris 33 Blunt Tulip hybrid 34 Daffodil 35 Tapered Tulip 36 Poppy Anemone 37 False Larkspur 38 Jonquil 39 French Marigold 40 Lily of the Valley 41 Purple Tulip hybrid 42 Dutch Yellow Crocus 43 Snake’s Head Fritillary 44 Yellow Turk’s Cap Lily 45 Geans (cherries) 46 Filbert (cultivated hazelnut) 47 Pear 48 Apricot 49 Plum 50 Walnut 51 Strawberry 52 Grape 53 Seville Orange

Rosa majalis x R. gallica plena Leucojum aestivum grandiflorum Viola tricolor var. hortensis Erysimum cheiri Myosotis palustris Anagallis arvensis subsp. arvensis Narcissus poeticus Tulipa hungarica x T. agenensis Rosmarinus officinalis Iris foetidissima Ornithogalum umbellatum Dianthus caryophyllus semiplenus miniatus Dianthus caryophyllus semiplenus bicolor Santolina chamaecyparissus Tulipa armena x T. hungarica Aquilegia vulgaris purpurea Tulipa armena x T. undulatifolia Buxus sempervirens Narcissus x odorus cv. Capax plenus Antirrhinum majus Lavandula angustifolia Lilium candidum Tulipa undulatifolia bicolor Fritillaria imperialis Polygonatum odoratum Tulipa agenensis x T. armena Lilium martagon Tulipa praecox x T. agenensis Tulipa armena x T. agenensis Narcissus poeticus plenus Anemone coronaria purpurea Iris pseudacorus Tulipa mucronata x T. undulatifolia Narcissus pseudonarcissus Tulipa armena bicolor Anemone coronaria miniata Consolida ajacis Narcissus jonquilla Tagetes patula Convallaria majalis Tulipa undulatifolia x T. mucronata Crocus flavus var. luteus Fritillaria meleagris Fritillaria pyrenaica Prunus avium Corylus maxima Pyrus communis Prunus armeniaca Prunus domestica Juglans regia Fragaria vesca Vitis vinifera Citrus aurantium

Fig. 6.38a Sketch of the species in Fig. 6.38.

237 Provenance: collection of R.P., Paris 1951-1972; sale Paris, 23 November 1971, no. 24, as by Pieter Binoit; collection of Anne Wertheimer, Paris, as by Georg Flegel; private collection, Basel; Waterman Gallery; collection of Mrs H. John Heinz III, Washington. Exhibitions & literature: Bergström 1977a, p. 145; Segal 1984b, pp. 78-83, with identifications; Bergström in Washington & Boston 1989, pp. 61, Fig. 15, 106, no. 15; Wheelock in Washington & Boston 1989, p. 14, Fig. 4 – in all cases as by Georg Flegel; Segal in Delft, Cambridge & Fort Worth 1988-89, pp. 57, 60-61, Fig. 4.2, 211 n. 12 and 13, as by Jeremias van Winghe; Wijnands in Theunissen, Abelmann & Meulenkamp 1989, p. 203 n. 10; Seifertová 1991, pp. 61, Fig. 14, 64, 68, 95 n. 2, as by Georg Flegel; Frankfurt 1993-94, pp. 58, 61 under no. 9, 114-115, no. 30, 191 under no. 79, 204 under no. 97, 218 under no. 124, 272 under no. 150, as by Georg Flegel.

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a Cinnabar Moth b Meadow Brown Butterfly d Silver-studded Blue d Comma Butterfly e Small Heath Butterfly f Swallowtail Butterfly g Gatekeeper Butterfly h Garden Tiger Moth i Garden Chafer Beetle j 7-spot Ladybird k Cinnabar Caterpillar l Blue-tailed Damselfly m Bombardier Beetle n Cobweb Spider o Hoverfly p Emerald Damselfly q Northern Cattle Grub r Bluebottle Fly s Cockchafer Beetle

Tyria jacobaeae Maniola jurtina Plebejus argus Polygonia c-album Coenonympha pamphilus Papilio machaon Pyronia tithonus Arctia caja Phyllopertha horticola Coccinella septempunctata Zygaena filipendulae Ischnura elegans Brachinus crepitans Theridion melanurum Syrphidae Lestes sponsa Hypoderma bovis Calliphora erythrocephala Melolontha melolontha

On a table-top is an enamelled baroque vase with gold-coloured decorations and a centre medallion with a skull and ears of corn lying on two cross-bones including the accompanying text: [MEMENT]O MORI (‘remember your death’). The stem of the vase is made up of two delicately intertwined dolphins. Fruit lies piled on the table, with a Chinese dish containing strawberries and a silver spoon on the right, and a half-full façon de Venise wine glass on the left. This is an exceptional work in a number of ways. It is part of what can be understood as a separate tradition of flower pieces that began shortly after 1560 with Ludger tom Ring II in Westphalia, a region in close proximity to the Low Countries. After a hiatus of nearly half a century, this distinct practice of flower painting was revived and fostered in Frankfurt by Peter Binoit (ca. 1590-1632), Georg Flegel, and in publications of florilegia. Tom Ring had probably gained inspiration in the Low Countries. Many species appear in his works that later almost exclusively re-appear in the works of the Frankfurt painters, such as Lavender, Anagallis, Box, and Yellow Iris, in addition to species that we have also encountered in early flower pieces painted in the Low Countries, such as Lavender Cotton and Dutch Yellow Crocus. A big circulation of ideas between Van Winghe and the still life artists in Frankfurt existed. There is a strong similarity between the work presented here and the paintings of Peter Binoit, particularly the latter’s flower pieces from 1620 on – and not only similarities in species, but also in total numbers: upwards of one-hundred flower species, five butterflies and fifteen other insects. These works by Binoit are later than Van Winghe’s, making it look as if he wanted to surpass him. Binoit’s earlier paintings are much simpler.238 Clearly these two artists influenced each other. Such reciprocal influences also apply to Flegel: in one of his paintings we see a vase decorated in the same way with a medallion, a skull, and the text MEMENTO MORI.239 This work too is most likely a later production than the one by Van Winghe. A still life with flowers and fruit, with the bouquet in a similar kind of vase and a silver spoon in a dish of strawberries, now in the Kunsthistorisches Museum in Vienna, can with some certainty be attributed to Jeremias Van Winghe.240 The florilegia printed in and around Frankfurt, particularly the ones published by Johann Theodor de Bry in 1611 and 1612, display many species that were probably used as models for the painting in Vienna; moreover, the book entitled Hortus Eystettensis published by Basilius Besler (1561-1629) in 1613 contains nearly all the species found in this painting, although they are not perhaps identical.241 It must be noted, too, that the idea of a flower piece with fruit was at this time an entirely new idea. This combination has been extremely finely rendered in an interior with a man, a woman and a flower arrangement that bears strong similarities to the one presented here, in an identical vase, with lots of fruit in baskets.242 238 See, for example, Bott 2001, pp. 50, Fig. 43, 51, Fig. 45, 200-201, nos WV.B14-18 for later flower pieces and 51, Fig. 44, 196-199, nos WV.B.1-13 for earlier flower still lifes by Peter Binoit. 239 Panel, 22.5 x 15 cm, Cambridge, The Fitzwilliam Museum, inv. no. PD 12-1996. Segal 1984b, p. 78, Fig. 10. Flegel painted a similar flower vase but without the medallion as early as 1595 in a work produced collaboratively with Lucas van Valckenborch (ca. 1535-1597) as part of an allegorical representation of Spring. Canvas, 119 x 194 cm, Bratislava, Slovenská národná galéria, inv. no. 5458. 240 Canvas, 41.5 x 49.2 cm, Vienna, Kunsthistorisches Museum, inv. no. 9081; Wied in Tokyo etc. 2008-09, pp. 112-113, no. 33. 241 See Chapter 11. 242 Canvas, 114.5 x 173 cm. The interior has been known since 1993 as a work of Georg Flegel (for the flowers and fruit) and Maerten van Valckenborch, according to the attribution by Bergström in 1990 and others, including at a recent sale at

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Jan van Balen

A work in a private collection in Sweden bears strong similarities to the previous work by Van Winghe (Fig. 6.39).243 It is a still life showing cherries and cherrystones, a Wan-li dish with strawberries in which a gilt silver spoon is resting, a façon de Venise glass with white wine, and a berkemeyer holding a bouquet consisting of Love-in-a-mist (Nigella damascena plena), Batavian Rose (Rosa gallica cv. Batava), Marguerite (Leucanthemum vulgare), False Larkspur (Consolida ajacis violacea), Tapered Tulip (Tulipa armena duplex), Stock (Matthiola incana rubra) and a sprig of Rosemary (Rosmarinus officinalis). It is signed in the lower left in black on the brown plinth: J. Van Balen fecit (J, V and B in curly lettering). Jan van Balen was born in 1611 in Antwerp. He was the son and apprentice of Hendrick van Balen, who, in addition to mythological, allegorical and religious subjects, frequently painted the staffage, that is the subordinate accessories such as figures in landscape paintings, which he was commissioned to carry out, in works of his contemporaries, amongst others Jan Brueghel I. After a trip abroad, Jan van Balen was back in Antwerp in 1635, and then in Rome. In 1642 he married the wealthy Johanna van Weerden. Johanna passed away soon after the birth of their son Peter in 1643. Jan van Balen died in 1654. Jan painted the same subjects as his father, and he also collaborated with contemporaries, such as Jan Brueghel II and Jan Philip van Thielen; for example, in 1650 he painted a medallion depicting the Virgin and Child with angels in a cartouche with flowers by Van Thielen.244 Very few signed works are known by Jan van Balen but a considerable amount of work has been attributed to him.

Fig. 6.39 Jan van Balen, Complex still life with flowers in a berkemeyer, canvas, 47 x 36.6 cm, private collection.

Koller in Zurich (31 March 2017, no. 3056). However, since 1989 I have attributed it to Van Winghe based on his signed works, as did Grimm in 2007. 243 With thanks to Prisca Valkeneers. 244 Canvas, 86.3 x 63.3 cm, signed lower left: J.P. van Thielen An° 1649, and lower right: J.[V.?] Balen F 165(0); private collection, United States, previously sale Chavette, Paris, 2 December 1996, no. 26.

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Peter Binoit

Peter Binoit was born about 1590 in Cologne and from 1610 is documented as active in Frankfurt am Main. In 1627 he married a niece of Joris Hoefnagel. He died in Hanau in Germany in 1632. His style is reminiscent of the early Flemish flower pieces and prints: symmetrical compositions with the flowers separated or occasionally slightly overlapping. The paintings have usually been initialled with the mark PB and are sometimes fully signed. In a number of his works he incorporated a large Stag Beetle. Dated flower pieces are documented for the years 1611 to 1627 and may be currently found in museums in Budapest, Darmstadt (1611 and 1620), Gotha and Prague (1613), and others. Peter Binoit, Flowers in an earthenware vase (Fig. 6.40) Copper, 39 x 29.3 cm, signed with monogram lower right: PB Private collection.245 1 Pansy 2 Peacock Anemone 3 Honesty 4 Rosemary foliage 5 Germander Speedwell 6 Star Anemone 7 Brueghel Nasturtium 8 Lily of the Valley 9 Crown Anemone 10 Hyacinth 11 Hedge Mustard 12 Love-in-a-mist 13 Tapered Tulip 14 White Flag Iris hybrid 15 Martagon Lily 16 Dwarf Iris 17 Snake’s Head Fritillary 18 Tapered Tulip ‘Marquetrine’ 19 Jonquil 20 Liverwort 21 Star Anemone 22 Liverwort

Viola tricolor Anemone pavonina Lunaria annua Rosmarinus officinalis Veronica chamaedrys Anemone hortensis lilacina Tropaeolum brueghelianum Convallaria majalis Anemone x fulgens Hyacinthus orientalis laxus Sisymbrium officinale Nigella damascena semiplena Tulipa armena bicolor Iris albicans x I. florentina Lilium martagon Iris pumila Fritillaria meleagris Tulipa armena variegata Narcissus jonquilla alba Hepatica nobilis Anemone hortensis Hepatica nobilis alba

a Stag Beetle b Black Ant

Lucanus cervus Lasius niger

C Gobelin Turbo Snail D Phasianella E Columbian Amphissa

Turbo petholatus Phasianella solida Amphissa columbiana

A somewhat expanded version, dated 1613, is now in the National Museum of Budapest.246

245 Provenance: collection of W. Reineke, Amersfoort; P. de Boer Gallery, Amsterdam; private collection, Germany, on loan to the Historisches Museum in Frankfurt am Main 1993-2007; Koller, Zurich, 21 September 2007, no. 3036. Exhibitions & literature: Hairs 1955, p. 252; Dordrecht 1962, p. 18, no. 22, Fig. 32; Bott 1961-62, p. 77, no. 4 (with incorrect dimensions); Laren 1963, p. 9, no. 14, Fig. 7; Hairs 1985, I, p. 458; Ember in Wausau etc. 1989-90, p. 123 under no. B4; Wettengl in Frankfurt 1993-94, pp. 270, 272 under no. 148, 272, no. 149; Seifertová in Prague 1994, p. 127, no. 63; Segal in Amsterdam 1994, pp. 65, Fig. 29 (in reverse), 92, 117, no. S5; Bott 2001, p. 197, no. WV.B.4. 246 Copper, 38 x 29 cm, Budapest, National Museum of Fine Arts, inv. no. 4059 (646d). Bott 2001, p. 196, no. WV.B.3.

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Fig. 6.40 Peter Binoit, Flowers in an earthenware vase, copper, 39 x 29.3 cm, private collection. | 255

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Fig. 6.41 Hendrick van der Borcht I, Flower piece with a Crown Imperial in a decorated vase, panel, 51.3 x 35.5 cm, private collection. 256 |

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Hendrick van der Borcht I

Hendrick van der Borcht was born in 1583 in Brussels. His parents left the city in 1585 for religious reasons and moved with their son to Frankfurt am Main. While there he became acquainted with the paintings of Gillis van Valckenborch I (1570-1622), a member of a family of painters who were also refugees from Flanders. In 1604 Hendrick went to Italy where he collected ancient Roman antiquities. Sometime later he sold a large part of his collection to Thomas Howard (1585-1646), Earl of Arundel and subsequently it ended up in the Ashmolean Museum in Oxford. In 1610 Hendrick returned to Germany and lived in Frankenthal, but moved in 1627 to Frankfurt am Main, where he died in 1651. He painted still lifes with antiquities and allegorical representations, as well as working as an engraver. Only two flower pieces are known from his hand. Hendrick van der Borcht I, Flower piece with a Crown Imperial in a decorated vase (Fig. 6.41) Panel, 51.3 x 35.5 cm, signed lower right in brown: HVBorcht (‘HVB’ ligated) Private collection, Germany.247 The vase, which extends slightly over the edge of the narrow balustrade, is decorated with images of a priestess seated in front of a flaming sacrificial cauldron, which in turn is decorated with a mask; a mascaron has also been placed behind her. The elongated, vertically symmetrical bouquet is made up of the flowers in the following list: 1 Liverwort 2 Snake’s Head Fritillary 3 Crown Anemone 4 Christmas Rose 5 Kingcup 6 Star Tulip hybrid 7 Yellow Tulip 8 Crown Imperial 9 Poppy Anemone 10 Persian Tulip ‘Lack’ 11 Jonquil 12 Columbine

Hepatica nobilis plena alba Fritillaria meleagris Anemone x fulgens Helleborus niger Caltha palustris plena Tulipa stellata x T. clusiana Tulipa chrysantha Fritillaria imperialis Anemone coronaria violacea Tulipa clusiana marginata Narcissus jonquilla Aquilegia vulgaris pallida

This work, probably painted about 1615, fits in well with the production in and around Frankfurt am Main by refugees from Flanders. Another flower piece, signed HVB and unclearly dated, with three Tulips at the top and a centrally placed Anemone in a vase similar to the one in the Flower piece with a Crown Imperial in a decorated vase, was recently auctioned in Zurich.248 Another composition bearing many similarities may be seen in a painting attributed to Andries Daniëls or alternatively to a follower of Andrea Belvedere (ca. 1652-1732).249

247 Provenance: Galerie Lingenauber, Dusseldorf 1995; Daphne Alazraki Fine Art, New York 1995. Exhibitions: Wettengl in Bergamo & Düsseldorf 1995, pp. 62-70, no. IV. 248 Panel, 35 x 26 cm, Koller, Zurich, 31 March 2017, no. 3032. 249 Canvas, 51 x 47.5 cm, Christie’s, Amsterdam, 7 May 1992, no. 131, as follower of Andrea Belvedere.

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Detail Fig. 7.6 258 |

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CHAPTER 7

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7

The Second Quarter of the Seventeenth Century (ca. 1620-1650)

The interest in flower prints declined after 1620, with the presses of Europe publishing only a few re-issues of engraved flower pieces and florilegia, along with the most important sources explaining the symbolism of flowers and plants. Be that as it may in painting the range of flowers reproduced expanded enormously in this period – not so much in terms of new species, as in the preceding decades, but in terms of botanical varieties, hybrids and mutations. Nowhere is this new diversity in shapes and colour patterns so evident as in the case of Tulips. This is the period in which the cultivation of new kinds of Tulips became a real rage leading to all the excesses of Tulip Mania.

Tulip Mania

It was Clusius (1526-1609) who in large measure was responsible for popularizing Tulips at the end of the sixteenth century. He brought back Tulips from Vienna for the new botanical garden at Leiden as well as for his own personal use. A number of these bulbs were stolen, and it is probably these specimens that were the prime cause of the booming trade in Tulips that followed. Clusius also greatly expanded awareness about Tulips by sending bulbs to his friends in both the Northern and Southern Netherlands, and by extensively describing their varieties in his magnum opus, the Rariorum plantarum historia, published by Plantijn in Antwerp in 1601.1 Even though he was not the first – before him Karel Rym (ca. 1533-1584), a native of Ghent and an ambassador of the Habsburgs in Constantinople, had brought back Tulips for botanical gardens as well as his own garden in the Netherlands – Clusius’s impact should not be underestimated.2 The two most important factors leading to the multiplicity of cultivars were hybridization (cross-fertilization) and viral disease; these are also both phenomena that weaken the plant, for instance by causing moderate to total sterility, or by causing irregularity and unpredictability in those characteristics that were in fact highly valued, such as certain colour patterns. The reduction in fertility could manifest itself in one of three ways: by underdevelopment of the ovary and the stamens; by a mutation of the stamens into the petals or deformed petals, which is the process that results in double and filled varieties of flowers; and by mutations in the shape, which results in Parrot Tulips with their irregular twisted petals. A plant’s underdeveloped sexual organs are seldom on view in a flower piece because Tulips were not usually painted fully open. It should also be noted that the hybridization of closely related species need not impact on the new flower, and could even intensify its positive characteristics, for example by giving rise to hardier plants. Most of the Tulips that grow in the wild are relatively small, weak and have a short flowering time. Today differentiating individuals that are contaminated by a virus from hybrids is a question of observing mutations in the stable colouring of those particular solid coloured Tulips. Growers are experienced in this now and immediately remove any sick Tulips. In painted flower pieces it is harder to observe viral mutations. One basic rule, however, is that in those flowers affected by the virus the contrasting colours bleed together, while in hybrids the colours are offset to a higher degree. The virus is carried by aphids. That the disease was caused by a virus was, of course, not known in the seventeenth century; only after Louis Pasteur (1822-1895) discovered the basics of bacteriology in the nineteenth century did it quickly become apparent that this was the problem plaguing cultivated Tulips. Such viruses are more frequent among cultivars than in naturally occurring botanical species, partially because they are already weakened hybrids. The other reason is that cultivars are monocultures of a single species or a single cultivar with a high concentration of individuals in one place; the disease then spreads quickly in the same way measles spreads through a classroom. Botanists are not helped in this regard by cultivating Tulips from seed. It takes several years before flowers are produced and the anticipated results can often be disappointing. Therefore, bulbs are cultivated by cutting into them at the base, which causes side shoots to form. Reduced fertility might also actually be an advantage for a grower because competitors will also find it less easy to propagate plants. 1 2

See Chapter 1. Van Gelder 2011, p. 92.

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Fig. 7.1 Jan Brueghel II, Satire on the Tulip Mania, panel, 31 x 49 cm, Frans Hals Museum, Haarlem.

In terms of evolution, Tulips are a young species. It is now assumed that they originated in an area south of the Caucasus. Thereafter new types arose in an expanded range stretching from Central Asia through China to the East, and from Iran through Asia Minor to the West, with offshoots as far as south-eastern Europe. When closely related species grow in close proximity then all kinds of hybrids can occur quite naturally. With the concentration of types whose native growth areas do not overlap – a situation that is frequently the case in Europe with imported species – hybridization can also happen spontaneously simply because Tulips as a species are not yet completely stable in their ‘species forming’. By and large, botanical species are predominantly solid coloured – white, yellow, orange, vermilion, red or pink – and among the coloured types white individuals may also occur, referred to as albinos. Species may be more or less closely related, and the most distantly related can seldom or never be crossed. Approximately fifteen species form the basis of all seventeenth- and eighteenth-century Tulips. The parent species of the earliest hybrids in the second half of the sixteenth century can for the most part be identified, something which is impossible for later forms because the primal biological form is then only vaguely identifiable and can be differentiated with great difficulty based on faintly discernible traits and characteristics. This is complicated by the fact that cultivators all liked to choose their own names for their flowers, so that today we have more than a thousand different names for the Tulips of the seventeenth and eighteenth centuries. In practice, however, this nomenclature is inexact because, on the one hand, species with relatively limited visual correspondences received the same name (since those forms were viewed as rare and expensive), and on the other hand, forms with different names were often very close or practically identical in form and colour pattern; and these practices applied most of all to Tulips from the same grower. Seventeenth-century buyers of Tulips were looking for beautiful and rare forms to purchase for display. Tulips were sold as bulbs, and this meant that in order to promote their wares cultivators had to commission artists to represent their Tulips in bloom in watercolour drawings, which were then compiled and issued as Tulip books. Of these books, today about thirty-five virtually complete Dutch examples are extant, along with a number of German and French ones. An unknown number of such books have unfortunately been taken apart and plundered by art dealers for their individual drawings, as these could fetch more money when sold individually on the market than the album as a whole, with the result that hundreds of these lovely individual sheets have been put into circulation (Fig. 7.8). The most important Tulips were copied many times over well into the eighteenth century. Since bulbs were sold in the Winter, the purchaser had to have faith that the genuine article had been delivered as promised. The trade in bulbs became subject to speculation, just as with stocks and shares, and ‘bills of exchange’ (accompanied by guarantees of authenticity) were passed from hand to hand by people who still had to await the outcome: something that was only going to flower for a few weeks. As the market heated up, people took out loans in order to be able to participate in this roaring 262 |

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trade. At the height of the craze the price of a single bulb could reach several thousands of guilders for certain rare varieties – in one case more than 30,000 guilders were offered for three bulbs of the Semper Augustus, a few individual bulbs of which were in the sole possession of a single owner. At the time, a magnificent townhouse on one of Amsterdam’s exclusive canals could be purchased for 10,000 guilders. In 1637 the bubble burst, causing the same kind of repercussions as when the stock market enters a recession in our own times. After the collapse of the market, satirical texts and prints began to appear pillorying the entire course of events, and satirical paintings appeared too, such as a work attributed to Jan Brueghel II (1601-1678) that uses monkeys to represent the whole range of ridiculous human actions that accompanied this fanatical craze (Fig. 7.1).3 On account of the speculation and collapse of the market in Tulips, many people were reduced to utter poverty at a stroke. The entire process has been extensively treated in both scholarly and modern fictional works.4 While the catastrophic crash of the Tulip trade did lead to a decreased valuation of Tulips, this was only of a temporary nature. Certain specific kinds of Tulips remained expensive, albeit not at such extremely high prices as had previously been the case. A pronounced impact of the Tulip Mania can also be discerned in the kinds of still lifes produced in the years following, where flower pieces lost their ascendant position in favour of fruit pieces and sumptuous still lifes. Nor was the speculation in flower bulbs over for good at this point. Almost a century later, in 1734, there was a second bubble, this time in the prices for double and full varieties of Hyacinths, which rose to several thousands of guilders, and again the market became the target of satire as pamphlets poured from the press, usually by anonymous authors, as, for example, Flora’s Bloem-Warande in Holland.5

Important Innovators of the Flower Piece

Balthasar van Ast (1593/94-1657) did a great deal to reinvigorate flower still life painting in Holland in this period. Around the year 1620 he introduced not only improved techniques, but also contributed new artistic elements by making the image livelier and more dynamic, enhancing the atmosphere of the surrounding space, and discovering new colour harmonies. Furthermore, he is of pivotal importance as the intermediary linking the early flower painters – Ambrosius Bosschaert I (1573-1621) in particular – to the new style introduced about the middle of the seventeenth century by Jan Davidsz de Heem (1606-1684), who had probably been apprenticed to Van der Ast. This second period in the history of the flower piece is the phase in which the many different sub-genres of flower still lifes are expanded and developed further, especially in Antwerp. Flower wreaths and garlands had already been painted around religious subjects by Jan Brueghel I (1568-1625) and a few of his followers. Now Daniël Seghers (1590-1661) initiated an enduring tradition of painted stone cartouches with flowers, as well as representations of garlands without any central subject. Seghers was the artist responsible for rejuvenating flower painting in the Southern Netherlands. Two other important artists in Flanders were Frans Snyders (1579-1657) and Joannes Fyt (1611-1661), each one of whom developed his own personal style. Both these painters had followers but only in the short term; it must also be said that flower still lifes were not the most important aspect of their respective oeuvres. We can easily understand that the artists had a desire to show off their improved skills and technique, and many developed a virtuosity in material expression by replacing the use of glaze with greater precision in the application of a more impasto brushstroke. Generally speaking, there remained a difference between the art of the North and that of the South, although there were certainly reciprocal influences. Still lifes in Holland tended to be tempered, in particular in relation to the use of a restrained colour palette, whilst those produced in Flanders were by comparison both more colourful and exuberant, frequently larger, and also included a greater number of objects.

Characteristics of the Flower Piece in the Second Period (ca. 1620-1650)

Chapter 6 discusses the characteristics of flower pieces produced in the first two decades of the seventeenth century. Many of these characteristics also apply to the second period, or are altered only marginally. - Often the support is an oak panel, less often copper, which was used primarily for smaller formats, although linen canvas begins to replace these supports. 3 4 5

Haarlem, Frans Hals Museum, inv. no. OS 75-699. Including Krelage 1942 and Pavord 1999; see also Lisse 1992; Segal 1993 and Amsterdam 1994, which also describe the variety of Tulips. Musis Aeternitas 1734-36.

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- Little changes with regard to the dimensions. Smaller formats are predominant. - There is scant difference with regard to how paintings are executed, but the use of imprimatura showing through the background increases (however, this is primarily an issue for other types of still lifes and not for flower still lifes). - The attention to detail stays the same. - The background remains in most cases an even blackish grey. - A grey niche made of natural stone acts less frequently as background. - A table-top of a lighter tone is not often in the foreground. More often it involves a straight, grey stone table-top with a sturdy, straight plinth. - Flowers and foliage are usually still displayed at the height of their development, but buds begin to play a larger role and leaves continue to exhibit a limited number of holes as if having been eaten away. These observable changes result in the creation of a more natural and less static image, plus an added emphasis on overall harmony and atmosphere. Such developments are predominantly observed in the Northern Netherlands. Some of these refinements apply not only to flower pieces, but also to other types of still lifes. - There is a new, more atmospheric depiction of the surrounding space, particularly around the bouquet, which no longer fills the entire space. - The bouquets remain symmetrical, but are more loosely arranged. - The flowers are less clearly organized in rows, or not at all. The horizon has been lowered, usually now placed approximately at one-third or one-half of the height of the bouquet. - The contrast between light and dark (chiaroscuro) is increased, resulting in an enhanced sense of depth. - A stronger use of light effects is observable. The source of light is less flat and even. But the lighting effects have not always been consistently applied in the areas of highlight and chiaroscuro, or in intensity, particularly by the followers and imitators of the dominant artists. - The flower arrangement is more natural with more overlap among the individual blooms. - The bouquets are now rarely too full in relation to the vase or container holding them. - The proportions between the flowers and the container are more naturalistic. - The stems are increasingly given a more believable, realistic length. - There is more variation in the representation of the foliage, but usually it has not been executed in great detail and does not yet show significant differences between the top and underside of the leaf, or differences between sections of the leaf according to the effects of light or shade. - There is a new use of tonality: the coordination of colour intensity within the boundaries of certain specific colour values; the bouquets become less colourful. - In addition, more tints and transitional hues are used. - Material expression is improved, with greater transparency and shine, but at this point we still do not see any detailed representations in the reflections on the vases. - The containers are more often simple glass, still with prunts and knops but not with rosettes, or they are earthenware, or sometimes bronze. - The assortment of flowers is increasingly diverse, specifically in regard to a greater number of varieties of individual species, most noteably with Tulips, although there are also more kinds of Narcissuses, Hyacinths and Irises. The Provins Rose comes to be replaced by the Batavian Rose, plus some others, such as the Frankfurt Rose (Rosa turbinata). The species most frequently seen are Maltese Cross (Lychnis chalcedonica), London Pride (Saxifraga umbrosa), Cornflag (Gladiolus italicus), Marvel of Peru (Mirabilis jalapa), Dark Columbine (Aquilegia atrata) and Hawthorn (Crataegus monogyna), and species that were also painted later, such as Rose of Sharon (Hibiscus syriacus) and Cornelian Cherry (Cornus mas). - Tulips were painted more frequently by artists from the Northern Netherlands. - Flowers in the foreground are less frequently limited to Carnations and Roses. - Portions of the composition are repeated less frequently. - Some artists do repeat the same flower or shell, particularly the sons of Ambrosius Bosschaert I, while Balthasar van der Ast used his own studies. - Foliage begins to play a larger role in the overall work. - Supplementary work is expanded, particularly new kinds of shells, butterflies and other kinds of insects and small animals, sometimes even birds in imitation of Roelandt Savery (1576-1639), as in the work of Jacob Marrel (1613/14-1681).

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Artists of the Northern Netherlands

The Painters of the Bosschaert Dynasty Balthasar van der Ast

Balthasar van der Ast was born in 1593 or 1594 in Middelburg. His father Hans van der Ast was a merchant in woollen clothing. After the death of his parents in 1609, Balthasar and his brother Johannes (before 1593-after 1618) were put in the care of their sister Maria and her husband, the painter Ambrosius Bosschaert I; the couple had been married for five years at this point. Ambrosius was twenty years older than Balthasar and became the teacher of both his brothers-in-law. It is likely that Balthasar moved with the Bosschaert family to Bergen op Zoom in 1615, and then to Utrecht in 1616. In Utrecht Balthasar was immediately enrolled in the Guild of Saint Luke as a master painter. In 1632 he moved to Delft where he was registered in the guild in that same year. He married Grietje (Margrieta) Jans van Bueren in 1633 and she bore him two daughters. They lived on the east side of the street Oude Delft near the Old Church, where Balthasar was buried following his death in 1657. Balthasar van der Ast taught Anthony Claesz (1607-1649) and probably Johannes (ca. 1607-1628/29) and Abraham (1609-1645) Bosschaert – the sons of Ambrosius Bosschaert I – and possibly also Jan Davidsz de Heem, whose early works of the 1620s exhibit certain similarities.6 Currently more than 200 works by Balthasar van der Ast are known: flower pieces, fruit pieces, shell pieces – and all possible combinations – in dimensions from near miniature to large format works. We also have studies for his paintings and at least 484 drawings of flowers and shells that he numbered himself and for the most part monogrammed (Fig. 7.8). A number of the flower and shell studies can be identified in his paintings. Other repetitions are also discernible in his work, including duplications of vases and insects. After his death Balthasar van der Ast was forgotten, or at least much less valued as an artist. In 1816 Van Eijnden and Van der Willigen wrote that ‘he supplemented these same [works] with insects, shells, water droplets and such embellishments, such that each one taken separately was very fine, but his flowers are stiff and sharp in their outlines, the colours are hard, and there is no harmony in the colours and in the arrangement of objects’.7 This contains an initial observation about the supplementary work that concurs well with the very high regard it is held in today, but otherwise as a statement of taste it runs contrary to current opinion. It is conceivable that these authors were evaluating ‘harshness’ based on badly restored paintings, which are currently also known to exist. Yet in 1842 Immerzeel deemed Van der Ast to possess merely mediocre artistic skill.8 Clearly, the young Van der Ast was greatly influenced by the work of his master Ambrosius Bosschaert I. Nonetheless he was also quite capable of developing his own style, and he expanded his master’s repertoire with new subjects and more variation in wonderfully refined compositions. Through his own efforts he grew to become a central figure for the succeeding generation of painters who continued working in the manner he had developed. Just as Bosschaert may be regarded as serving as the artistic channel or means between the early Flemish and the early Dutch painters (the latter, as we have seen, largely refugees from Flanders who had moved to the North), so Van der Ast may be regarded as the intermediary between the bold, colourful palette of Bosschaert and the tonality (tending nearly to monochrome), the atmosphere and the simplicity of the second quarter of the seventeenth century. These three characteristics – tonality, atmosphere and simplicity – are usually explained as an extension of the emphasis on sobriety within the Calvinism of the Dutch Republic, and taken together are phenomena that can also be found among contemporary painters of landscapes and seascapes, such as Jan van Goyen (1596-1656) and Simon de Vlieger (1600/01-1653), and painters of church interiors, such as Pieter Saenredam (1597-1665). However, Balthasar van der Ast’s innovation was actually the ability to 6 7 8

It seems less likely, however, that he also taught Johannes Baers (active 1624-1641). Saur 1992, pp. 478-479. Van Eijnden & van der Willigen 1816, I, p. 35: ‘Hij stoffeerde dezelfde met insekten, schulpen, waterdropjes en soortgelijke bijwerken, die elk, afzonderlijk beschouwd, zeer fraai zijn, dan zijne bloemen zijn stijf en scherp van omtrek, hard van kleur, en zonder harmonij in kleuren of schikking der voorwerpen’. Immerzeel 1842, I, p. 16.

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combine the simple and the complex. For example, the simplicity of depicting a small vase holding only Carnations or just a single Tulip (Fig. 7.3), but also the complexity of paintings straddling genres, which might incorporate flowers, fruit, shells, insects and other small creatures, at rest, in motion or in flight, and according to our present understanding, in a completely harmonious and utterly artistic manner. Moreover, his influence lived on, transmitted by Jan Davidsz de Heem, who was likely to have been his apprentice and who from about 1640 on was to become the most important representative of the next generation of Dutch still life painters. The introduction of tonality is an innovation that characterizes the second quarter of the seventeenth century. What this means is that hues with a corresponding tonal value were painted without significant differences between hard and soft colours, but with transitions between different colour intensities. The flowers might also be painted with a mother-of-pearl finish. Such tonality could already be discerned to a certain degree in the works of Roelandt Savery, a fellow resident of Utrecht, who had a definite influence on Balthasar’s early work from 1620 on.9 A tendency to monochrome tonality is noticeable in the works of such artists as Abraham van Beyeren (1620/21-1690), Elias van den Broeck (ca. 1652-1708), and Simon Verelst (1644-1721).10 Added to this tonality is a greater feeling of depth created by lighting effects which place the brighter light on the flowers in the centre while darkening the flowers as they recede into the rear of the painting, sometimes also adding a shadow on the wall of a niche. This sense of depth is further enhanced by having a few flowers untidily protruding from the bouquet. It is possible that the influence of Roelandt Savery’s work is also behind Van der Ast’s range of butterflies and other insects, and small creatures (such as lizards). However, they are not represented statically, as in Bosschaert’s paintings, but with a great degree of movement. In these paintings, the lizards can be observed crawling along with their squiggly tails (which can, in fact, be a bit too baroque). Van der Ast’s creatures are busily in motion: snails and caterpillars are creeping along; butterflies, bumblebees, dragonflies, and the odd wasp, hum in flight; close examination rewards the viewer with carefully painted details like an ant dragging a dead fly, a spider hanging by a gossamer thread, or a dead wasp lying on its back; here a frog taking a leap, and there a hermit crab crawling out of its shell. Occasionally larger animals are depicted in his paintings, such as parrots – for example, in one instance a Cockatoo plucking a cherry – or even a grinning monkey. Moreover, he often included shells in his supplementary work, sometimes in large numbers, and he was the first the make shell pieces a sub-genre, that is paintings almost exclusively of shells.11 Balthasar van der Ast combined the radiant transparency that gives Ambrosius Bosschaert’s paintings their glow with the consummate artistry of Roelandt Savery. Just like Ambrosius Bosschaert, Balthasar van der Ast used underdrawing for the contours of flowers in many of his paintings, and he also worked with guide lines, horizontal lines drawn with a ruler (for example, for a plinth), and diagonals. Fragments of the underdrawings are often visible to the naked eye because Van der Ast frequently worked with thin, translucent pigment; for the foliage in the background he used thicker paint.12 When executing the finer details of his flowers, Van der Ast crafted the jagged edges of petals, for example of Carnations, as the finishing touch. Foliage is still largely painted without detail, often in a muted brown. The artist’s rapid development is remarkable: from more to less symmetrical representations, and from predominantly vertical to horizontal compositions; there is also a pronounced move towards progressively natural arrangements, from compact bouquets to increasingly sinuous, suppler ones, with a Tulip or an Iris at the top. In his later work, from 1636 on, the positioning of the flowers in the bouquet becomes considerably looser and his backgrounds acquire a lighter tone (Fig. 7.6). He also used glaze less and less, choosing instead to work in a freer, more fluid brushstroke. There is a difference, too, between the earlier signatures, initially simply B.V.A., and the later signatures. Now and then we see repetitions of certain species but arranged and positioned with greater variety than in Bosschaert’s paintings, and also deploying more species than his renowned brother-in-law used in his works.13 9 10 11 12 13

Half-tones are very unstable and this partially explains the challenge of restoring these paintings, something that is even more problematic with the works of Savery than those of Van der Ast. These works require the concentration and skill of highly perceptive conservators. See Chapter 8. Including panel, 29 x 37.5 cm, Dresden, Gemäldegalerie Alte Meister, inv. no. 1257; panel, 30 x 47 cm, Rotterdam, Museum Boijmans Van Beuningen, inv. no. 2173; as well as works in the Mauritshuis in The Hague, The Wadsworth Atheneum in Hartford and the Centraal Museum in Utrecht. This method was first described by Segal in Amsterdam & Braunschweig 1983, which includes an image of an infrared photograph. Segal in Amsterdam & Braunschweig 1983, pp. 53-54, Figs 19a and b. Van der Ast’s artistic development is treated more extensively in Segal 1984, pp. 45-62, including examples of flower species and shells for specific periods of his career.

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Balthasar van der Ast’s earliest works, executed between 1617 and 1620, were simple fruit pieces. Van der Ast is thought to have painted his first flower piece in 1619, but this work was lost during World War II.14 In 1620 he painted one of his largest flower pieces – a challenging experiment with a monkey – plus a very successful fruit piece, now in the Mauritshuis in The Hague.15 In that same year he also painted a combination of flower and fruit piece with shells now in the Rijksmuseum in Amsterdam; his first really successful effort in this subgenre.16 From this moment on he developed a whole new personal style, including new conceptual approaches, for example small works with strewn flowers on a ledge – a concept that was quickly picked up by others, including Jacob Marrel and later Willem van Aelst (16271683). At the same time, he kept working on different types of combinations, for instance creating new works by integrating individual compositions arranged on different levels with an architectural background, as in a large work currently in the Musée de la Chartreuse in Douai (Fig. 7.2), which brings together a basket of flowers, a round vase of flowers, fruit and shells set against a backdrop with classically inspired buildings, and which was formerly attributed to Bartholomeus van Bassen (ca. 1590-1652).17 Balthasar painted flowers in glass beakers and roemers, in porcelain Wan-li vases, and occasionally in an earthenware vase or a basket, or very lyrically in a shell (Fig. 7.7). While Bosschaert’s vases generally have floral decorations, Van der Ast’s are decorated with birds (as in Jan Brueghel’s works), and sometimes also with a grasshopper. He also sometimes painted pendants, for example the Basket of fruits and the Basket of flowers, now in the National Gallery of Art in Washington.18 Balthasar van der Ast’s works are represented in many museums throughout the world. The following alphabetical list by city gives an indication of how extensive this global representation is: SuermondtLudwig-Museum, Aachen; Art Gallery of South Australia, Adelaide; Museum Flehite, Amersfoort (on loan from the Cultural Heritage Agency of the Netherlands); Rijksmuseum, Amsterdam (dated 1620 and 1621); Musée des Beaux-Arts, Arras; Gemäldegalerie, Berlin (dated 1623); Museum of Fine Arts, Boston; Koninklijke Musea voor Schone Kunsten van België, Brussels; Musée des Beaux-Arts, Calais; Fitzwilliam Museum, Cambridge; Taft Museum of Art, Cincinnati; Statens Museum for Kunst, Copenhagen (dated 1623); Museum Prinsenhof, Delft (on loan from the Cultural Heritage Agency of the Netherlands); Anhaltische Gemäldegalerie, Schloss Georgium, Dessau; Dordrechts Museum, Dordrecht; Musée de la Chartreuse, Douai; Gemäldegalerie Alte Meister, Dresden; Rijksmuseum Twenthe, Enschede; Schlossmuseum, Gotha (dated 1623); Groninger Museum, Groningen (on loan from the Cultural Heritage Agency of the Netherlands); Mauritshuis, The Hague (dated 1620 and 1624); The Wadsworth Atheneum Museum of Art, Hartford; Palais des Beaux-Arts in Lille; Museo Civico di Belle Arte in Lugano; Museo Nacional Thyssen-Bornemisza, Madrid (dated 1628); Serpukhov History and Art Museum, Moscow region; Alte Pinakothek, Munich; Nasjonalgalleriet, Oslo; Ashmolean Museum, Oxford (dated 1623); Musée du Louvre, Paris; Norton Simon Museum, Pasadena; Graf von Schönborn Collection, Pommersfelden; North Carolina Museum of Art, Raleigh (dated 1622); Museum Boijmans Van Beuningen, Rotterdam; Saint Louis Art Museum, Saint Louis (dated 1622); State Hermitage Museum, Saint Petersburg (dated 1630); Nationalmuseum, Stockholm; Toledo Museum of Art, Toledo; Centraal Museum, Utrecht (dated 1623); National Gallery of Art, Washington; Martin von Wagner Museum, Würzburg; and Kunsthaus, Zurich. In addition to the dated works already listed, those in private collections are known for the following years, including 1635, 1636, 1637 and 1647(?). Further, a preliminary drawing of 1628 is currently in the British Museum in London, and seventy-four watercolours of Tulips and shells can be found in the Fondation Custodia in Paris.19

14 15 16 17 18 19

Panel, 87 x 35 cm, former in Emden, Ostfriesische Landesmuseum. Panel, 117.4 x 81 cm, private collection; panel, 45 x 64.5 cm, The Hague, Mauritshuis, inv. no. 1066. Panel, 39.2 x 69.8 cm, dated 1620 and 1621, Amsterdam, Rijksmuseum, inv. no. SK-A-2152. Panel, 134 x 140 cm, Douai, Musée de la Chartreuse, inv. no. 2802. A complete description with identifications in the RKD’s Segal Project. Lokin in Aachen & Gotha 2016, pp. 149-151, no. 19, with provenance and literature. Panel, 18.1 x 22.8 cm and 18.4 x 24.4 cm, Washington, National Gallery of Art, inv. nos 1992.51.1 and 1992.51.2. For Balthasar van der Ast see Bergström 1956, pp. 68-74; Bol 1960, pp. 36-40 and 69-87 with an overview of his oeuvre (126 pieces), after Bol 1955a, with an expanded survey of his life and an overview of the documentation; Segal 1984, pp. 45-62, 138-157, nos 11-20; Segal in Osaka, Tokyo & Sydney 1990, pp. 54-55, 87-88, Figs 35-37, 190-193, nos 35-37; Taylor 1995, pp. 206-210; Aachen & Gotha 2016 and the Segal Project. Descriptions and photographic images of Balthasar Van der Ast’s works have been deposited in the Segal Still Life Documentation in the RKD, The Hague.

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Fig. 7.2 Balthasar van der Ast, A basket and vase with flowers, in front of an architectural backdrop, panel, 134 x 140 cm, Musée de la Chartreuse, Douai.

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Balthasar van der Ast, A Tulip in a glass (Fig. 7.3) Panel, 26.5 x 20 cm, signed lower right in pinkish brown with cream white: . B. vander. Ast . (the points like small eyes) Private collection, Germany.20 This Blunt Tulip (Tulipa mucronata x T. armena) was previously identified as the seventeenth-century Tulip Somerschoon, but actually exhibits more similarities to the cultivar Marcus Aurelius Augustus, a Tulip that appears in a Tulip book by the Delft painter Jacob Vosmaer (ca. 1584-1641) probably from a later date. Remarkably, this Blunt Tulip is displayed in eight other paintings by Balthasar van der Ast, in different placements and positions, including a work dated 1624; moreover, the same flower can also be seen in a 1616 work by Johannes Bosschaert.21 A somewhat different Tulip but with the opened petals more extended is depicted in a painting of 1625 by Johannes Bosschaert (Fig. 7.11). The butterfly is most likely a Gentian Blue (Maculina alcon), which lays its eggs on plant foliage. The emerging caterpillar lives in and off the ovary of the Marsh Gentian (Gentiana pneumonanthe), a species that likes

Fig. 7.3 Balthasar van der Ast, A Tulip in a glass, panel, 26.5 x 20 cm, private collection. 20 Provenance: possibly sale Rotterdam, 18 July 1674: ‘Een tulpa’; possibly sale Rotterdam, 18 September 1802: ‘Een Vles waarin een Tulp’; collection of Viscount Allendale; Christie’s, London, 28 March 1947, no. 125; Eugene Slatter Gallery, London; collection of Constantin, Yorkshire; Christie’s, London, 14 May 1971, no. 118; Galerie Müllenmeister, Solingen; private collection, Germany; Christie’s, London, 8 December 2016, no. 13. Exhibitions & literature: Middlesbrough 1949; Bol 1960, p. 72, no. 18, Fig. 37a; Scarborough 1960, n.p., no. 11; Bol 1969, pp. 30-31, 56, Fig. 25; Bergström 1977/79, p. 174; Münster & Baden-Baden 1979-1980, p. 305, Fig. 159; Bol 1981b, p. 580, Fig. 7; Bol 1982, p. 55-56; Fig. 7; Segal in Amsterdam & ’s-Hertogenbosch 1982, pp. 38-39, 91, no. 39; Veca in Bergamo 1982, pp. 181-182, Fig. 209; Segal in Amsterdam 1984, pp. 50-51, 146-147, no. 15; Meijer 1989, p. 72 n. 1 under no. 12; Wijnands in Theunissen, Abelmann & Meulenkamp 1989, p. 205 n. 26; Broos in The Hague & San Francisco 1990-91, p. 455, Fig. 3; Osaka, Tokyo & Sydney 1990, p. 54, Fig. 29; Segal 1994, p. 97, Fig. 35; Taylor 1995, pp. 118-119, Fig. 70; Middendorf 1996, p. 335, Fig. 1; Segal 2001a, p. 50, Fig. 23; Ayooghi in Aachen & Gotha 2016, pp. 170-172, no. 26. 21 Including but not limited to the following, in Bol’s (1960) numbering: 11 (in reverse), 20, 26, 38, 46, 63, 68 (the 1624 work), and 116. For the Johannes Bosschaert (panel, 37 x 58 cm, private collection) see Segal 1984, pp. 160-161, no. 22. The Tulip book may be found in the collection of the Museum Prinsenhof in Delft, inv. no. PDT 178.

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damp heath and is rapidly becoming increasingly rare. In the Autumn the caterpillars burrow into the ground, where they are found by ants, which take them in their jaws to their nest. There the caterpillars live off of the ants’ larvae until they become adults in the Spring, although the ants benefit from this strange relationship, because the caterpillars secrete a glandular fluid that ants like. The caterpillars make themselves into pupa in the ants’ nest and also emerge from there as butterflies, but must immediately leave as the ants go on the attack.22 This is an interesting example of a natural symbiotic relationship, one involving co-existence and mutual benefit. Returning to the painting, the fly depicted is an ordinary Housefly (Muscus domesticus). Balthasar van der Ast also painted a small vase holding only Carnations.23 Balthasar van der Ast, Flowers in a roemer, fruit in a basket with a Ming plate and shells (Fig. 7.4) Panel, 24.4 x 32.7 cm, signed and dated lower centre in brown with grey: . Balthasar . vandeR . Ast . fe . 1623 . Private collection.24

Fig. 7.4a Sketch of the species in Fig. 7.4.

1 Annulated Sowbread (leaf) 2 Batavian Rose 3 Liverwort 4 Snake’s Head Fritillary 5 White Rose 6 Persian Tulip hybrid 7 Dwarf Iris 8 Peacock Anemone 9 Persian Tulip hybrid 10 Yellow Tulip hybrid 11 Lavender Cotton 12 Carnation 13 Sulphur Rose 14 Frankfurt Rose 15 Forget-me-not 16 Quince 17 Apples 18 Black Grapes 19 White Grapes 20 Peaches 21 Black Grapes 22 Quince 23 Plums 24 Cucumber 25 Melon 26 Seville Orange

Cyclamen hederifolium Rosa gallica cv. Batava Hepatica nobilis plena Fritillaria meleagris Rosa x alba plena Tulipa clusiana x T. stellata Iris pumila Anemone pavonina Tulipa clusiana x T. chrysantha Tulipa chrysantha x T. clusiana Santolina chamaecyparissus Dianthus caryophyllus plenus Rosa hemisphaerica Rosa gallica L. cv. Francofurtana Myosotis palustris Cydonia oblonga var. piriformis Malus domestica Vitis vinifera Vitis vinifera Prunus persica Vitis vinifera Cydonia oblonga var. pomiformis Prunus domestica Cucumis sativus Cucumis melo Citrus aurantium

a Okinawan Turban (polished) b Giant Helmet c Poisonous Cone d Brown Pacific Turban e Distaff Spindle f Woodlark Tree Snail g Magpie Shell h Hermit Crab i Large Blue Butterfly j Painted Lady Butterfly k Dungfly l Blue-tailed Damselfly m Caterpillar n Lesser Housefly

Turbo marmoratus Cassis cornuta Conus omaria Turbo bruneus Fusinus colus Papuina boyeri Cittarium pica Pagurus bernhardus Maculinea arion Vanessa cardui Scatophaga stercoraria Ischnura elegans Lepidoptera Fannia canicularis

22 Moucha 1973, pp. 17-18. 23 Panel, 28.5 x 20 cm, P. & N. de Boer Foundation, Amsterdam, inv. no. B6. 24 Provenance: collection of Liphart Ratshoof; sale A. Mak, Amsterdam, 11 October 1921, no. 14; sale De la Faille, Amsterdam, 21 March 1933, no. 189; collection of Arkady von Kaufmann, Saint Petersburg; Sotheby’s, London, 11 March 1964, no. 97; Nicolas Aquavella Gallery, New York; collection of John T. Derrance Jr, Philadelphia; Sotheby’s, New York, 11 January 1990, no. 13; Richard Green Gallery, London 1990; Johnny Van Haeften Gallery, London 1992. Exhibitions & literature: Bol 1955a, p. 141, Fig. 2; Bol 1960, p. 87, no. 126 (109A); Stockholm 1970, pp. 18-19; Gemar-Koeltzsch 1995, I, p. 112, Pl. 4, II, p. 50, no. 8/10; Honig 1998, p. 182, Fig. 16. It is uncertain whether the work auctioned in 1921 and 1933 is the same painting; little differences that can be discerned in the photographic images might be the result of restorations.

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There is a nearly identical version of this painting, approximately the same size, signed and dated 1623; the discrepancies between them lie in the decorations on the Chinese plate, the inclusion of a different shell, and the dissimilarity or complete absence of certain insects.25 A painting of 1622 reveals a similar composition but with the same objects in reverse.26 A less complex work with fruit and shells, dated 1623, is now in the Palais des Beaux-Arts in Lille.27 These same shells appear in other works by the painter as well, including in his shell pieces.

Fig. 7.4 Balthasar van der Ast, Flowers in a roemer, fruit in a basket with a Ming plate and shells, dated 1623, panel, 24.4 x 32.7 cm, private collection.

25 Panel, 24.5 x 32.5 cm, Heinz Family Collection. Washington & Boston 1989, pp. 47, Fig. 1, 94, no. 1. Provenance: Eugene Slatter Gallery, London 1958; P. de Boer Gallery, Amsterdam 1986, exhibited at the Antiekbeurs Nieuwe Kerk, Amsterdam 1986 and Peter Tillou, Litchfield, Mass. Literature: Bol 1960, p. 84, no. 109; Mitchell in London 1993, p. 10 n. 2 under no. 2. 26 Panel, 21.7 x 30.5 cm, private collection. Bol 1960, p. 84, no. 107. There is confusion about both or all three versions in the literature and sale catalogues, and it is quite possible that a few facts regarding provenance have also been mixed up. 27 Panel, 37 x 65 cm, Lille, Palais des Beaux-Arts, inv. no. P 1937. | 271

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Balthasar van der Ast, A Chinese vase with flowers, fruit and shells in an interior (Fig. 7.5) Panel, 67.5 x 97.5 cm, signed lower right in brown: . B. vander. Ast . fe . Anhaltische Gemäldegalerie, Schloss Georgium, Dessau, inv. no. 63.28 1 White Rose 2 Batavian Rose 3 Frankfurt Rose 4 Columbine 5 Carnation 6 Pot Marigold 7 Hyacinth 8 Wallflower 9 Madonna Lily 10 Maltese Cross 11 Jacob’s Ladder 12 Monk’s Hood 13 Persian Tulip hybrid 14 Persian Tulip hybrid 15 African Marigold 16 Carnation 17 Plums 18 Apricots

Fig. 7.5a Sketch of the species in Fig. 7.5.

Rosa x alba subplena Rosa gallica cv. Batava Rosa x francofurtana Aquilegia vulgaris duplex bicolor Dianthus caryophyllus plenus bicolor Calendula officinalis Hyacinthus orientalis Erysimum cheiri semiplenum Lilium candidum Lychnis chalcedonica plena Polemonium caeruleum Aconitum napellus Tulipa clusiana x T. chrysantha Tulipa clusiana x T. stellata Tagetes erecta Dianthus caryophyllus plenus albescens Prunus domestica Prunus armeniaca

Shells on the windowsill ( from front to back) A Marbled Cone Conus marmoreus B Snipe’s Bill Murex Haustellum haustellum C Jaxshell Amphidromus cv. inversus D Florida Cone Conus floridanus

Fig. 7.5 Balthasar van der Ast, A Chinese vase with flowers, fruit and shells in an interior, panel, 67.5 x 97.5 cm, Anhaltische Gemäldegalerie, Schloss Georgium, Dessau. 28 Provenance: sale Nothnagel, Frankfurt am Main, 2 August 1784, no. 365; collection of Henriette Amalia, Princess of Anhalt-Dessau; Amalienstiftung, Dessau 1877, no. 322, in the museum since 1927. Exhibitions & literature: Parthey 1863-64, I, p. 45; Müller 1879, p. 344; Gerson 1950, pp. 52-53, Fig. 140; Bol 1960, pp. 38-39, 86, no. 120, Pl. 47a; Lunsingh Scheurleer 1980, pp. 30-31; Haak 1984, p. 205, Fig. 424; Segal 1984, pp. 54, 61 n. 22; Berlin 1985, p. 247 under no. 259; Segal in Delft, Cambridge & Fort Worth 1988-89, pp. 106, 108, 234, no. 21; Gemar-Koeltzsch 1995, II, p. 58, no. 8/31 (with wrong location); Taylor 1995, pp. 148, 208, Fig. 97; Middendorf in Bergamo & Düsseldorf 1995, pp. 74-75, Pl. 1; Eeckhout 1996, p. 273; Hochstrasser 1996, pp. 474, 476, 899, Fig. 659 detail; Plomp 1996, pp. 31-32, Fig. 22; Herzog et al. 1996, p. 31; Le Foll 1997, pp. 46, 51, Fig. 24; Heilmeyer 2000, pp. 51, 91; Liedtke in New York & London 2001, pp. 220-221, no. 5; Rüger 2001, pp. 27-28; Großkinsky & Rechlenis in Frankfurt & Dessau 2002-03, pp. 156 under no. 9, 272; Meijer 2003, p. 159 under no. 7.

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Shells on the table ( from left to right) E Brown Pacific Turban F Crown Cone G Magpie Shell H Poisonous Cone I Bonnet J Cloth-of-Gold Cone K Apple Murex

Turbo cv. bruneus Conus regius Cittarium pica Conus omaria Phalium spec. Conus textile Phyllonotus pomum

Animals L Sand Lizard M Painted Lady Butterfly n Orange-cheeked Bluebottle Fly (?) o Splendid Demoiselle p Magpie Moth Caterpillar q Search Beetle (?) r Saddle Bush Cricket

Lacerta agilis Vanessa cardui Calliphora vicina Calopteryx splendens Abraxas grossulariata Necrophorus vestigator Ephippigera ephipiggera

Two lizards crawl along the far side of the window frame. The Ming vase has a gilt ornamented base. This is probably a work of about 1635 and from the artist’s early period in Delft.29 Through the window to the left we can see a house that is still standing on the Oude Delft.30 Balthasar van der Ast, Flowers in a Chinese vase, with shells (Fig. 7.6) Panel, 53.5 x 42.7 cm, signed lower right in brown: . B . vander . Ast . Mauritshuis, The Hague, inv. no. 1108.31 1 Primrose 2 Forget-me-not 3 Lily of the Valley 4 Thrift 5 Poet’s Narcissus 6 Sainfoin 7 Hyacinth 8 Persian Tulip hybrid 9 Wallflower 10 German Flag Iris 11 Bluebell 12 Forget-me-not 13 Lady’s Tulip hybrid 14 Columbine 15 Tapered Tulip hybrid

Primula vulgaris alba Myosotis palustris Convallaria majalis Armeria maritima Narcissus poeticus semiplenus Onobrychis viciifolia Hyacinthus orientalis Tulipa clusiana x T. stellata Erysimum cheiri plenum Iris germanica Hyacinthoides non-scripta Myosotis palustris alba Tulipa stellata x T. clusiana Aquilegia vulgaris Tulipa armena x T. agenensis

A Painted Lady Butterfly B Cloth-of-Gold Cone C Poisonous Cone D Rockshell E Bishop Cone F Mitre Shell G Imperial Harp H Sand Lizard i Spotted-wing Fly j Bumble Hoverfly k Magpie Moth Caterpillar

Vanessa cardui Conus textile Conus omaria Murex moticilla Conus episcopus Mitra mitra Harpa costata Lacerta agilis Helina lucorum Volucella pellucens Abraxas grossulariata

Fig. 7.6a Sketch of the species in Fig. 7.6. 29 Not after 1640 as I proposed earlier in Delft, Cambridge & Fort Worth 1988-89, p. 108. 30 Segal in Delft, Cambridge & Fort Worth 1988-89, p. 108. 31 Provenance: Murk Hotzes Ringnalda (1785-1831), Harlingen; by inheritance to his daughter, Lolkjen Reuneker-Ringnalda (1818-1899), Harlingen; by inheritance to Murco Nicolaas Ringnalda, Leeuwarden; by inheritance to M.N. Roegholt, Baarn 1952; on loan to the Mauritshuis 1966-1967; J.H. Loudon, The Hague 1967; bequest of J.H. Loudon to the Friends of the Mauritshuis Foundation 1996; on long-term loan from the Friends of the Mauritshuis Foundation since 1996. Exhibitions & literature: Dordrecht 1962, p. 16, no. 12, Fig. 27; Laren 1963, p. 8, no. 5, Fig. 2; Meijer in The Hague 1992, pp. 58-59, no. 4; Jonker 1996; Foucart 2001, p. 16; Buvelot & Vermeeren 2004, pp. 54-55, no. 1108; Runia & Segal 2007, pp. 44-45; Alen 2015-16, pp. 28, 32 n. 16; Dlugaiczyk in Aachen & Gotha 2016, pp. 194-196, no. 34.

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Fig. 7.6 Balthasar van der Ast, Flowers in a Chinese vase, with shells, panel, 53.5 x 42.7 cm, Mauritshuis, The Hague. 274 |

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This is a relatively late work of the artist’s Delft period, probably painted between 1635 and 1640. The arrangement is considerably freer and looser than in his earlier works. Two exceptional flower pieces display flowers arranged in a shell (Fig. 7.7).32 Fig. 7.7 Balthasar van der Ast, Flowers in a shell, insects and shells on a stone ledge, panel, 23.8 x 34.5 cm, private collection.

Balthasar van der Ast, The Tulip ‘Schoon Solffer geel ghevlamt’ with a Diadem Spider (Fig. 7.8) Watercolour and body colour over black chalk sketch lines on paper, 312 x 200 mm, lower right monogrammed in pen and ink: . BVA . , and lower left a number: 29 Amsterdam Museum, Amsterdam, inv. no. TA 18013.33 This drawing of a Tapered Tulip (Tulipa armena luteo-rubra) comes from a currently dismantled album with numbered leaves. One example from this album bears the number 484, the highest discovered to date. Currently around one-hundred sheets are known in various collections, of which seventy-four illustrating Tulips and shells are in the Fondation Custodia in Paris. These are mostly watercolours of flowers, and some of them (including those of shells) served as studies for paintings; as such, these constitute rare examples of plant and shell studies intended for that purpose. The artist presumably began with Tulips, since many of these illustrations have been assigned lower numbers. For quite some time these watercolours were attributed to Bartholomeus Assteyn (1607-1667/77), but I was able to identify them as the work of Balthasar van der Ast.34 32 Christie’s, London, 3 July 2012, no. 17; the other painting: panel, 24 x 36 cm, private collection, England; on both see Van den Brink in Aachen & Gotha 2016, pp. 197-200, nos 35 and 36, illustrated with provenance and literature, as pendants; identifications in the Segal Project of the RKD. 33 Provenance: collection of W. Cohen, Bonn; gift of P. de Boer, Amsterdam 1937. Exhibitions & literature: Broos & Schapelhouman 1993, pp. 12-13, under Assteyn; Segal 1994, p. 96; Pavord 1999, p. 154, as Bartholomeus Assteyn; Segal in Amsterdam 2012, pp. 47-48, no. 7. 34 Segal 1994, pp. 96 and 118, nos T19-23. I am grateful to Peter van den Brink, who dedicated the catalogue of the 2016 Van der Ast exhibitions in Aachen and Gotha to me. He assisted me in my work for some time and appreciated my discovery of the attributions of Van der Ast’s drawings and the first discovery based on the infrared studies done in Berlin, which were not mentioned in the catalogue, even though one of the authors had obtained a full set of photocopies of my descriptions from my complete Van der Ast documentation.

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Fig. 7.8 Balthasar van der Ast, The Tulip ‘Schoon Solffer geel ghevlamt’ with a Diadem Spider, paper, 312 x 200 mm, Amsterdam Museum, Amsterdam.

Johannes van der Ast

Johannes (Hans) van der Ast was Balthasar’s older brother. He was born in Middelburg before 1593 and it was there that he learned painting from his brother-in-law Ambrosius Bosschaert I. The last surviving documentation relating to him is dated 1618. Only a single simple flower piece can with certainty be attributed to Johannes van der Ast today, although Bol ascribes a few other works to him. His attributions rest on the horizontally wavy Tulip leaves with typical spots of light. In a 1615 document Ambrosius Bosschaert I swore a statement that he had sold a ‘blompot’ that was actually made by Johannes van der Ast, his brother-in-law, but that he himself, the depositor, had retouched the aforementioned flowerpot.35 Thus we know Bosschaert retouched or altered Van der Ast’s work. The work Johannes produced seems not to be of the same quality as that of his brother Balthasar.36 35 36

Bol 1982, p. 51: ‘wel is gemaeckt by Hans [Johannes] van der Ast, syn zwager, maer dat hy, deponent selve de voorsch[reven] blompot heeft geretocqueert’. See also Segal 1984, pp. 42-44.

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Johannes van der Ast, Flowers in a Chinese vase (Fig. 7.9) Panel, 24.5 x 16.5 cm, monogrammed lower left in greyish black: . I . V. A . (with a Gothic ‘A’) Private collection.37 1 2 3 4 5 6 7

Annulated Sowbread White Rose Carnation Spreading Bell-flower Tapered Tulip hybrid Columbine Fire Tulip hybrid

Cyclamen hederaceum Rosa x alba plena Dianthus caryophyllus plenus bicolor Campanula patula Tulipa armena x T. agenensis Aquilegia vulgaris duplex Tulipa praecox x T. mucronata

a

Housefly

Musca domestica

The wide pear-shaped vase is decorated with lotus-like leaves and an imaginary insect. This painting should be dated about 1620.38 Johannes van der Ast copied flowers from Ambrosius Bosschaert I into his work, such as the Columbine here that we can trace back to a flower piece by Bosschaert now in the Ashmolean Museum in Oxford.39

Fig. 7.9 Johannes van der Ast, Flowers in a Chinese vase, panel, 24.5 x 16.5 cm, private collection. 37

38 39

Provenance: collection H.R. Perry; Christie’s, New York, 27 November 1959, no. 82, as Balthasar van der Ast, sold to Jordan; Sotheby’s, London, 24 June 1964, no. 28; H. Terry-Engell Gallery, London; collection of Jan Laverge, Richmond; Christie’s, London, 25 January 2012, no. 10. Exhibitions & literature: Bol 1969, pp. 25, Fig. 22; Bergström 1977/1979, p. 175; Bol 1981a, pp. 524, 526, Fig. 8; Bol 1982, pp. 49, Fig. 8, 51; Segal in Amsterdam 1984, pp. 42, 134-135, no. 9; Grimm 1988, pp. 101-102, Fig. 47; Grimm 1992, pp. 101-102, Pl. 31; Gemar-Koeltzsch 1995, II, p. 61, no. 9/1. The presence of water drops reinforces the likelihood that the work was not painted before 1617 because Ambrosius Bosschaert I only began painting water drops in his later flower pieces. Copper, 37 x 27 cm, Oxford, Ashmolean Museum of Art and Archaeology, inv. no. A 539; Bol 1960, p. 61, no. 14, Pl. 9; Meijer 2003, pp. 104, Fig. 57, 178-179, no. 17.

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Johannes Bosschaert

Johannes Bosschaert was the oldest of the three sons of Ambrosius Bosschaert I who became painters, all of whom were professionally trained by their father. Johannes was probably born around 1607 in Arnemuiden or Middelburg, although some older sources provide an earlier date. It is possible that he was also apprenticed to Balthasar van der Ast for a while following the death of his father in 1621. Sometimes he copied flowers from his father’s works into his own paintings and in one of his flower pieces we recognize a Tulip from Van der Ast.40 In 1623 Johannes registered in the Guild of Saint Luke in Haarlem, where he was still living in 1625. The latest document known that mentions his name is an account from a panel maker in Haarlem to whom he owed twenty-five guilders, dated July 1628.41 At that time, he was living in Dordrecht, where he was admitted to the guild in November 1626.42 Dated work for Johannes Bosschaert is known for the years between 1623 and 1628. Bol and other scholars have assumed that he must have died quickly thereafter, not having lived much beyond the age of twenty. His work is of a relatively high quality considering his young age. I identified a painting in oils on paper of plums, signed I.B. and dated 1623, as being his earliest known work (Fig. 7.10).43 The plums in this study reappear in an undated painting of a flower piece in a niche.44 Johannes Bosschaert painted flower arrangements placed in roemers, glass vases or baskets, as well as a number of fruit pieces and combinations of flowers and fruit. Today a total of twenty-five signed works attributed to him are extant, half of which are flower pieces. He frequently abbreviated his first name with the letter I, which formerly was taken to stand for ‘Isaac’. He either initialled his work I.B., or wrote his name in full using the first name Joan or Jean. A stronger influence of his father may be detected in his Fig. 7.10 Johannes Bosschaert, Plums, dated 1623, paper, 164 x 217 mm, Herzog Anton Ulrich-Museum, Braunschweig.

40 Bol 1960, p. 41. Compare a small Daffodil in a work by Bosschaert I of 1619 (Bol 1960, Pl. 30) and Angel’s Tears in another work of 1619 (Bol 1960, Pl. 14) with a work by his son Johannes of 1626 (Bol 1960, Pl. 48). For the Tulip see Segal 1984, pp. 160-161, no. 22 and, for example, Balthasar van der Ast, Marcus Curtius / Aurelius, 313 x 202 mm, Paris, Fondation Custodia, inv. no. 6534-61. 41 Van der Willigen 1870, p. 87; notes by Bredius, see Archief Abraham Bredius, RKD, The Hague, no. 0380. 42 Obreen 1877-90, I, p. 105. 43 I found this study in an album of drawings in the Herzog Anton Ulrich-Museum in Braunschweig (inv. no. H27-60, fol. 32), not surprisingly without any attribution. Segal 1984, p. 63. A publication used my photograph without permission and failed to acknowledge my discovery, publications and documentation, namely that by Meijer in Aachen & Gotha 2016, p. 71, Fig. 5, and in the photocredits it claims the image is from his private archive (p. 232). Moreover, shortly after publication, I discovered that the photo was no longer featured in the Segal Still Life Documentation at the RKD in The Hague. 44 Panel, 82 x 63 cm, private collection; Segal 1984, pp. 158-159, no. 21.

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works than in those of his younger brothers, who were inspired to a greater extent by Balthasar van der Ast and Roelandt Savery in Utrecht. The influence of Johannes Bosschaert’s father is evident in his palette, which, however, does not yet display any tendency towards tonality, in contrast to his younger brothers’ use of colour. Flowers and fruit are noticeably and sharply outlined. The material expression is usually somewhat less refined than that of his father, and in his combinations of flowers and fruit – sometimes with exotic shells – there is generally less unity than in similar compositions by Van der Ast, although he was unmistakably influenced by the last mentioned in his compositions, particularly in combining flowers and fruit. The frequently vertical bouquets are reminiscent of Savery, while other characteristics – such as a lizard or the placing of a flower arrangement in a niche – also reveal the latter’s influence. Dated works in public collections are as follows: 1623, a drawing with plums in an album in the Herzog Anton Ulrich-Museum in Braunschweig; 1625, a flower piece now lost, before World War II in the Galerie Alte Meister in Dresden; and 1626, a flower piece in the Centraal Museum in Utrecht. An undated flower piece is currently in the Musée du Louvre in Paris and a painting depicting a patch of flowering Tulips in a garden plot is in the Nationalmuseum in Stockholm. The Dordrecht painter Jacob Gerritsz Cuyp (1594-1652) executed a composition similar to the latter work (Fig. 7.19). The majority of Johannes Bosschaert’s works are currently held in private collections.45 Johannes Bosschaert, Flowers in a glass with prunts (Fig. 7.11) Panel, 39.5 x 28.7 cm, signed and dated lower left in grey-black:· I · BoSschaert 1625 . Private collection.46 1 Lily of the Valley 2 Annulated Sowbread leaf 3 Sweet Briar 4 Tapered Tulip 5 Hedge Parsley 6 Columbine 7 Tapered Tulip 8 Variegated Iris 9 Summer Pheasant’s Eye 10 Stock 11 Angel’s Tears 12 Tuberose Cranesbill 13 Wallflower 14 Dog’s Tooth Violet 15 Provins Rose

Convallaria majalis Cyclamen hederaceum Rosa rubiginosa Tulipa armena rubro-lutea Torilis arvensis Aquilegia vulgaris bicolor Tulipa armena luteo-rubra Iris variegata Adonis aestivalis Matthiola incana Narcissus triandrus var. albus Geranium tuberosum Erysimum cheiri Erythronium dens-canis Rosa x provincialis

a Sand Lizard b Greenbottle Fly

Lacerta agilis Lucilia caesar

Tuberose Cranesbill and Hedge Parsley are species that we encounter solely in paintings by the Bosschaert family. Nowadays these are rare native species that only grow in Zeeland, where the family was living in the seventeenth century. The Greenbottle Fly occurs quite frequently in their works also, but not exclusively.

45 For a now incomplete overview of his oeuvre see Bol 1960, pp. 87-90, Pls 48-51a. For Bosschaert and his oeuvre see also the Segal Still Life Documentation donated to the RKD in The Hague. 46 Provenance: Hôtel Drouot, Paris, 14 June 1984, no. 50; Richard Green Gallery, London; Peter Tillou Fine Arts, London. Literature: Gemar-Koeltzsch 1995, II, p. 180, no. 53/2.

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Fig. 7.11 Johannes Bosschaert, Flowers in a glass with prunts, dated 1625, panel, 39.5 x 28.7 cm, private collection.

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Ambrosius Bosschaert II

Ambrosius Bosschaert II was born in 1609 in Arnemuiden, a town close to Middelburg. He too received his professional training from his father Ambrosius Bosschaert I, and by 1628 he was practising in Utrecht, where he was most likely further instructed by his uncle, Balthasar van der Ast. In 1634 Ambrosius II was married to Maria Struys in the presence not only of his aunt, Maria Bosschaert, and his younger brother Abraham, but also of Roelandt Savery. He died in 1645 having only reached the age of thirty-six. The younger Ambrosius Bosschaert painted flower pieces, fruit pieces, combinations of flowers and fruit, and a few vanitas still lifes, of which one exceptional work depicts a dead frog and a several blowflies.47 Most of his works are rather small in size, but there are also several with larger dimensions, the largest measuring 145 x 105 cm. Initially he signed his paintings with the monogram AB he shared with his father and younger brother Abraham (1612/13-1643). Between 1631 and 1634, he started to sign with his full name in cursive as ABosschaert, a signature sometimes confused with that of Abraham Bosschaert; after 1634 he always signs with his full name. Three major periods may be differentiated in the oeuvre of Ambrosius II. His earliest work is fairly stiff, with symmetrical, compact and vertical bouquets, always arranged in a round or pear-shaped glass vase, which is sometimes standing in a niche. This first period, starting in 1626, reveals the dominant influence of his father Ambrosius I. There are three works by Ambrosius Bosschaert II that are nearly identical versions of a painting by his father, executed in 1621, the year of his father’s death. One of the versions is dated 1627 and it displays the most striking species in reverse; the second is signed only with the monogram AB; and the third is unsigned.48 The vanishing point is fairly high in his earliest works. In the second period, from 1632 on, the dynamism and naturalism has increased, and the paintings Ambrosius Bosschaert II executed in 1634 and 1635 when he was at his peak are true gems (Fig. 7.12). At the top of the bouquet we usually see Tulips or Irises, and in the supplementary work one, or occasionally two, flies. In the third period, after 1635, most of the works are larger, the bouquets are still compact but have been placed in a different type of vase, and in the foreground is a stone slab of which the side edge is visible within the composition. In such works the compact bouquet is oval, and the supplementary work in the foreground over-abundant. His brushstroke is rather pronounced, with strong colours and heavy contours. This late work thus shows some similarity to the work of his younger brother Abraham, and it is possible that the two collaborated at that time.49 A number of his works are sketched onto the surface before painting, but because he worked with thicker paint than his father and Balthasar van der Ast, the underdrawing is rarely visible to the naked eye. Dated flower pieces are located in the following public collections: 1627, in the Detroit Institute of Arts; 1631, in the Kunsthalle Bremen; 1633 and 1634, in the Fitzwilliam Museum, Cambridge; and 1635, in the Centraal Museum, Utrecht. Unfortunately a flower piece dated 1632, previously in the Gemeentemuseum in The Hague, was sold in 1967. Many works dated between 1628 and 1635 are now in private collections. It should be noted that of the flower pieces in the Fitzwilliam Museum one is signed and the other is unsigned; other signed works may be found in private collections.50

47 Copper, 11.5 x 16.5 cm, Paris, Fondation Custodia, inv. no. 260783. Prior to this he had already included a frog as supplementary work in a few flower pieces starting from the year 1627. 48 Segal 1984, pp. 65-67. 49 An out-of-date and incomplete survey of his works may be found in Bol 1960, pp. 91-97, with a few erroneous attributions, including one work now in the Kunsthalle Hamburg (panel, 24 x 34 cm), and a number of incorrect identifications of flowers and animals. For an expanded overview of the characteristics and development of the work of Ambrosius Bosschaert II see Segal 1984, pp. 65-72. 50 For the oeuvre of Ambrosius Bosschaert II see the Segal Project and the Segal Still Life Documentation in the RKD, The Hague.

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Fig. 7.12 Ambrosius Bosschaert II, Tulips, Irises and other flowers in a glass vase, dated 1635, panel, 38 x 28.5 cm, Centraal Museum, Utrecht.

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Ambrosius Bosschaert II, Tulips, Irises and other flowers in a glass vase (Fig. 7.12) Panel, 38 x 28.5 cm, signed and dated lower right in dark greenish brown: A . BoSschaert . 1635 . Centraal Museum, Utrecht, inv. no. 6179.51 1 Forget-me-not 2 Lily of the Valley 3 Peacock Anemone 4 French Marigold 5 Blunt Tulip hybrid 6 Hedge Parsley 7 Pleated Iris 8 Purple Tulip hybrid 9 English Iris 10 Summer Pheasant’s Eye 11 Poppy Anemone

Myosotis palustris Convallaria majalis Anemone pavonina Tagetes patula Tulipa mucronata x T. armena Torilis arvensis Iris x plicata Tulipa undulatifola x T. mucronata Iris latifolia Adonis aestivalis Anemone coronaria bicolor

a Figure of Eight Caterpillar b Greenbottle Fly

Diloba caeruleocephala Lucilia caesar

The bouquet is open and loosely arranged. The most striking tints and colour combinations are red, white, red and white, blue and white, and blue. Here too we see the Hedge Parsley native to Zeeland.

Abraham Bosschaert

Abraham was the youngest of the three Bosschaert sons who became painters. He was born in Middelburg in 1612 or 1613. He was too young to be instructed by his father, who died in 1621. In the 1620s he moved with his mother to Utrecht, where he most probably received lessons from his uncle Balthasar van der Ast and his brother Ambrosius II, who helped him with his work. In 1635 he became betrothed to Margareta Verhorst. In 1637 he moved to Amsterdam, but later returned to Utrecht where he died in 1643. It is clear that Abraham was the least accomplished of the three brothers, as in comparison his flower paintings lack the same level of finesse. His use of colour has an exaggerated brightness and the material expression of his compositions is quite harsh, partially on account of the sharp outlining of flowers and leaves and his treatment of shadows. The foliage is often lightened in an astonishing way, especially the edges of the Tulip leaves, and his water drops are elongated. Supplementary work tends to be limited, with fruit occasionally appearing in the foreground. He painted both flower and fruit pieces. His signature differs from that of Ambrosius II in that the ‘A’ and ‘B’ are ligated. Nonetheless, his work has occasionally been attributed to Ambrosius II. Plant species that he painted relatively frequently are Cornflag (Gladiolus italicus) and Small Daffodil (Narcissus minor). No dated works are known for Abraham Bosschaert and there are no works now in public collections. Bol counted seven works in 1960, all flower pieces, but in the interim several new attributions have been added, including a few fruit pieces.52

51

Provenance: collection M.F.B. 1928; sale Fiévez, Brussels, 14 May 1928, Pl. XII, as Abraham Bosschaert; C.J. Reyerse Gallery, The Hague 1929; sold to the museum in 1929. Exhibitions & literature: Amsterdam 1934, pp. 20, 58, no. 257, as Ambrosius Bosschaert II; Utrecht 1941, p. 12, no. 30, Fig. 23; Bergström 1947, pp. 84, 86, Fig. 70; Haarlem 1947, p. 18, no. 4, as Abraham Bosschaert; Bernt 1948, I, no. 116; Utrecht 1948, p. 40, no. 30, as Abraham Bosschaert; Manchester 1949, p. 11, no. 5; Strasbourg 1949, p. 13, no. 7; Dordrecht 1954, n.p., no. 25; Bergström 1956, pp. 76, 78, 83, 86, Fig. 70; Bol 1956, p. 144, no. 8; Van Braam 1958, pp. 58, no. 645, 544; Bol 1960, pp. 44, 93, no. 7, Pl. 54a; Wilenski 1960, I, p. 504; Houtzager et al. 1964, pp. 160-161, Fig. 39 and X-ray photograph; Bott 1966, pp. 90, 91 n. 22, 92, Fig. 9; Bol 1969, p. 35; Haarlem 1974, p. 16, no. 51; Bergström 1977/79, p. 179; Wright 1980, p. 53; Bol 1981c, p. 642, Fig. 4; Bol 1982, pp. 61, 63, Fig. 4; Segal in Amsterdam 1984, pp. 68, 72, Fig. 22, 168-169, no. 26; Huys Janssen 1990, pp. 79, Fig. 66, 80; Amsterdam 1994, pp. 97, 117, no. S13; Gemar-Koeltzsch 1995, II, p. 175, no. 52/8; Utrecht 1995 (without catalogue); Helmus 1999, I, pp. 252-254, no. 103, II, pp. 725-726; in older catalogues as Abraham Bosschaert; Bott 2001, p. 141, Fig. 125. 52 Bol 1960, p. 91. For the work of Abraham Bosschaert see the Segal Project and the Segal Still Life Documentation at the RKD, The Hague.

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Fig. 7.13 Abraham Bosschaert, Flowers in a glass vase with two shells, panel, 56.3 x 45.1 cm, private collection.

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Abraham Bosschaert, Flowers in a glass vase with two shells (Fig. 7.13) Panel, 56.3 x 45.1 cm, signed lower left in brownish greygreen: ABoSchaert . (‘AB’ ligated) Private collection, Germany.53 1 Provins Rose 2 Love-in-a-mist 3 Pot Marigold 4 French Marigold 5 German Flag Iris 6 Persian Tulip hybrid 7 Sweet Briar 8 Lady Tulip hybrid 9 Columbine 10 Yellow Tulip hybrid 11 Poppy Anemone 12 Snake’s Head Fritillary 13 Hyacinth 14 Lily of the Valley 15 Columbine 16 Sweet Violet 17 Peacock Anemone

Rosa x provincialis Nigella damascena Calendula officinalis Tagetes patula Iris germanica Tulipa clusiana x T. stellata Rosa rubiginosa Tulipa stellata x T. clusiana Aquilegia vulgaris Tulipa chrysantha x T. clusiana Anemone coronaria albo-purpurea striata Fritillaria meleagris Hyacinthus orientalis laxus Convallaria majalis Aquilegia vulgaris bicolor Viola odorata brunnescens Anemone pavonina striata

a Housefly B Poisonous Cone C Indonesian Treesnail

Musca domestica Conus omaria Xestria citrina

The reflection of the studio window in the glass vase has been rendered in an unusual manner: the white has been scratched away around the clear centre. The artist appears to have been unfamiliar with regard to the relative scale of the objects depicted. The Sweet Briar and the Columbine at the top are too small in relation to the rest, while the Tulip on the left has turned out somewhat larger than it should. The Indonesian Treesnail, a species native to the islands of Celebes and New Guinea, is a typical Bosschaert shell. The Poisonous Cone is native to Indonesia too.

Jeronimus Sweerts

Jeronimus Sweerts was born in Amsterdam in 1603 and married Maria Bosschaert, one of Ambrosius I’s daughters, in 1627. He probably learned to draw from his father Emanuel Sweert (1552-ca. 1612), who had a collection of exotic birds and other rarities. Father Sweert was also a commercial horticulturalist with a keen interest in flowers, and in 1612 he put together a florilegium showing the flowers of the plants he was offering for sale at the annual fair in Frankfurt. We know that Jeronimus had been in contact with Jacob Marrel in Frankfurt before the latter took up residence in Utrecht. Jeronimus later worked in Amsterdam and died there in 1636. Only a single painting can be attributed with certainty to him, a painting of flowers in a basket with a parrot and a few pieces of fruit dated 1626. Old inventories, however, do list other flower and bird pieces by him.54 Sweerts had a son Hieronymus (1629-1696), who was an art dealer and publisher of prints.

53 Provenance: Galerie Matthiesen, Berlin 1928; P. de Boer Gallery, Amsterdam; Eugene Slatter Gallery, London; Alfred Brod Gallery, London 1959; collection of Walter Dunkels, Walhurst Manor, Sussex, England; collection of Ella Statham; Sotheby’s, London, 24 March 1971, no. 18; Alfred Brod Gallery, London; collection of Lillemor Herweg, Recklinghausen; Sotheby’s, London, 8 December 2005, no. 119; Galleria Luigi Caretto, Turin 2006. Exhibitions & literature: Amsterdam 1934, p. 58, no. 259, as Ambrosius Bosschaert II; Amsterdam 1935, p. 7, no. 19; Vienna 1935, p. 17, no. 17; Segal in Amsterdam 1984, pp. 73, 176-177, no. 30; Bol 1960, p. 91, no. 6, Fig. 51b; Pavière 1962-64, I, p. 16, Pl. 13b; Gemar-Koeltzsch 1995, II, p. 158, no. 50/5. 54 See, for example, the flower piece in the inventory of Maria Romborgh, widow of the merchant Jean Faulconier in Amsterdam, 13 and 14 July 1662, no. 21. Montias Database, inv. no. lot 243.0021.

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Jeronimus Sweerts, Flowers in a basket with a parrot, fruit and shells (Fig. 7.14) Panel, 39 x 50.2 cm, signed and dated lower right in brown: J Sweerts ·1626 · Kunsthalle Bremen, Bremen, inv. no. 1635-2017/28.55 1 Annulated Sowbread 2 Provins Rose 3 White Rose 4 Austrian Briar 5 Yellow Fritillary 6 Sea Rocket 7 unidentified [white and blue] 8 Blunt Tulip 9 Carnation 10 Autumn Pheasant’s Eye 11 Full Campernelle Narcissus 12 Umbelliferous flower 13 Poppy Anemone 13 Stock 14 French Rose 15 English Iris 16 Hyacinth 17 Blue Mountain Anemone 18 French Marigold 19 Kingcup 20 Apricot 21 Plum 22 Peach

Cyclamen hederaceum Rosa x provincialis Rosa x alba subplena Rosa foetida Fritillaria latifolia Cakile maritima

A b c D E F G

Vanessa cardui Abraxas grossulariata Coenagrion puella Inachis io Conus episcopus Xestria citrina Ara macao

Painted Lady Butterfly (?) Magpie Moth Caterpillar Azure Damselfly Peacock Butterfly Bishop Cone Indonesian Treesnail Scarlet Macaw

Tulipa mucronata luteo-rubra Aquilegia vulgaris Adonis annua Narcissus x odorus Apiaceae spec. Anemone coronaria plena Matthiola incana rubescens Rosa gallica Iris latifolia Hyacinthus orientalis Anemone apennina plena Tagetes patula Caltha palustris plena Prunus armeniaca Prunus domestica Prunus persica

The motif of the Plum in this painting by Sweerts is based on the Plum in the lower right corner of the study sheet of Johannes Bosschaert from 1623 (Fig. 7.10).56 In the painting, leaves were added to the fruit. Jan Baptist van Fornenburgh (ca. 1590-1648/49) painted a nearly identical parrot in a flower piece of 1629 (Fig. 7.29). At one time the parrot had been painted over, but it was later restored.

55 Provenance: Christie’s, London, 20 November 1931, no. 126; John Mitchell Gallery, London 1946; collection of J.G. Kennedy, Rotherfield, Sussex; collection of Daisy A. McMaster, England; Sotheby’s, London, 11 July 1973, no. 14; collection of Carl Schünemann, Bremen; donated to the Kunsthalle Bremen in 2017. Exhibitions & literature: Bol 1956, p. 150, Fig. 13; Bol 1960, pp. 48, 98, Fig. 58c (without the parrot); Pavière 1962-64, I, p. 58, Pl. 65b; Bol 1969, p. 40; Mitchell 1973, p. 246, Fig. 355 (without the parrot); Bernt 1948 (1979-80), III, p. 28, Fig. 1230; Bol 1981e, p. 89, Fig. 10; Bol 1982, p. 81, Fig. 10; Segal in Amsterdam 1984, pp. 74, 180-181, no. 32; Briels 1987, pp. 248-249, Fig. 314; Segal in Delft, Cambridge & Fort Worth 1988-89, p. 215 n. 23; Gemar-Koeltzsch 1995, III, p. 983, no. 384/1 (without the parrot); Bremen 2018, pp. 90-93. 56 Bremen 2018, pp. 92-93. For the attribution to Johannes Bosschaert see Segal 1984, p. 63.

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Fig. 7.14 Jeronimus Sweerts, Flowers in a basket with a parrot, fruit and shells, dated 1626, panel, 39 x 50.2 cm, Kunsthalle Bremen, Bremen.

Anna Splinters

A flower piece signed and dated Splinter 1647 was offered on the market in 1998 as attributed to ‘Anna Splinter’ (Fig. 7.15). Initially it was assumed that this was a work by Robert Jansz Splinter (1594-1655), who had been a pupil of Abraham Bloemaert (1566-1651); no paintings are now known for this artist. Our documentation regarding Anna Splinters begins with her marriage to the painter Pieter Quast (1605/6-1647) in Sloten in 1632. Two years later Anna and Pieter were living in The Hague, where Quast was registered in the Guild of Saint Luke. Then in 1643 she moved to Amsterdam. After the death of Pieter Quast in 1647, she moved to The Hague and remarried in 1650, this time to the painter Jacob van Spreeuwen. She died in 1659. Work by Anna Splinters is recorded in several seventeenth-century inventories from The Hague and Amsterdam. There are also still lifes recorded under the name Anna Quast, her first husband’s surname.57 57

Panel, 72 x 56.5 cm, signed lower left and dated Anna Quast / 1640, Sotheby’s, New York, 11 December 2003, no. 161. According to Meijer this should rather be assigned to Jan Mortel ca. 1675; see also Gemar-Koeltzsch 1995, III, pp. 808-809, no. 324/1. I have not seen this work; canvas, 61.6 x 66.4 cm, signed and dated Anna Q 1651, Sotheby’s, New York, 27 January 1999, no. 30. For the life of Anna Splinters see Huiskamp 2014a.

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Fig. 7.15 Anna Splinters, Flowers in a glass, dated 1647, panel, 48.9 x 37.4 cm, private collection.

Anna Splinters, Flowers in a glass (Fig. 7.15) Panel, 48.9 x 37.4 cm, signed and dated lower centre in dark brown: Splinter / 1647 Private collection.58 1 Lily of the Valley 2 Winter Aconite 3 Love-in-a-mist 4 Blunt Tulip hybrid 5 Tapered Tulip 6 Purple Tulip 7 False Larkspur 8 Poppy Anemone (?) 9 Provins Rose 10 Full Campernelle Narcissus

Convallaria majalis Eranthis hyemalis Nigella damascena Tulipa mucronata x T. undulatifolia Tulipa armena x T. agenensis Tulipa undulatifolia bicolor Consolida ajacis Anemone coronaria atrata Rosa x provincialis Narcissus x odorus plenus

a Fly Diptera spec. b White-marked Spider Beetle (?) Ptinus fur ♀ C Small White Butterfly Pieris rapae

Possibly the work here is the same ‘bloempotje van Splinter met coleurde lijst’ (‘little flowerpot by Splinter with coloured frame’) that is listed in a 1649 inventory from Amsterdam.59 58 Provenance: possibly the Amsterdam inventory of 1649; collection of Paul von Swabach, Vienna; Newhouse Gallery, New York, sold in 1968; Ernestine Avery and R. Stanton Avery, sold by the R. Stanton Avery Foundation; Christie’s, New York, 22 May 1998, no. 166. Literature: Bredius 1902, p. 81; Meijer in Buijsen 1998, p. 348; Huiskamp 2014a. I have not seen the original painting. Some of the species may have been altered by restoration (e.g. 8) or were made-up by the artist (a). 59 Bredius 1915-22, I, p. 251, inventory of Leonart van Beyeren, 10 October 1649 under no. 5; Van der Willigen & Meijer 2003, p. 188, erroneously as in 1648.

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Other Artists in the Tradition of Bosschaert and Savery Jacob Marrel

Jacob Marrel was born in 1613 or 1614 in Frankenthal, but although he was born in Germany he lived a great deal of his life in Utrecht. In 1624 he moved with his parents to Frankfurt am Main, and starting in 1627 he received instruction from Georg Flegel (1566-1638). From about 1630 to 1649 he resided mostly in Utrecht, in 1636 as apprentice and then journeyman of Jan Davidsz de Heem. In 1641 he married Catharina Elliot. After the death of his wife in 1649, he returned to Frankfurt in 1650. He was remarried there to Johanna Sibylla Heimius, widow of the engraver and publisher Matthäus Merian I (15931650) and mother of Maria Sibylla Merian (1647-1717), the renowned naturalist and scientific illustrator. Marrel’s place of residence was frequently Frankfurt until 1659, when he returned and settled again in Utrecht with shorter sojourns in Frankfurt. In addition to his step-daugthter Maria Sibylla Merian, his apprentices in Frankfurt were Johann Andreas Graff (1637-1701), Johann Rudolf Werdmüller (1639-1668), and Abraham Mignon (1640-1679), who later became a devoted follower of Jan Davidsz de Heem. In 1665 Marrel witnessed the marriage of Maria Sibylla Merian to his apprentice Johann Andreas Graff, and somewhat later he brought Merian to the Netherlands. Jacob Marrel died in 1681 in Frankfurt. In Amsterdam Marrel received lodging for a while from Jeronimus Sweerts, who had connections in commercial trade and publishing in Frankfurt. In his earliest works, and sometimes in later ones, Marrel painted the Stag Beetle (Lucanus cervus), an unusual and striking species of insect.60 His earliest flower pieces, painted in the period from 1630 well into the 1640s, reveal some degree of influence of the Utrecht artist Roelandt Savery, particularly in his supplementary work – including a Kingfisher, lively lizards, and a frog – and in a pronounced use of chiaroscuro. Furthermore, the influence of Ambrosius Bosschaert II may be discerned in Marrel’s work, for example in urn-shaped ornamented vases and the appearance of a dead frog. However, in reality, it is specifically in the supplementary work that Marrel often displays a large measure of his own inventiveness, as in a work of 1637 showing attributes of the Five Senses, with reference to both transience and the Tulip Mania (Fig. 7.16). He was involved with the art and Tulip trade during the period of Tulip Mania, producing watercolours for a number of Tulip books.61 As already discussed, after 1637 the speculation that had initially paid off handsomely, seriously nosedived, and Marrel too got his fingers burnt. In addition to Tulips, Anemones also frequently play an important role in Marrel’s flower pieces, and sometimes they are even given pride of place in the bouquet. Later in life Marrel became a faithful follower of Jan Davidsz de Heem, whose work he sometimes imitated, and then truthfully signed J. Marellus fecit ab Heem. It should be noted that Marrel often signed with a monogram in which all the letters are joined, as I was the first to discover and communicated to an auction house at the time.62 Marrel painted many flower pieces, including works with individual flowers strewn on a table-top, sumptuous still lifes, bird still lifes, vanitas still lifes and also a single forest floor piece. Dated work is known from 1634 through to 1681. His best flower pieces were made between 1635 and 1645. Flower pieces with specific dates are located in the following museums: 1634, in the Rijksmuseum in Amsterdam (marked Vtreck for Utrecht), the Ashmolean Museum in Oxford, and the Muzeum Narodowe in Warsaw; 1637, in the Staatliche Kunsthalle in Karlsruhe; 1640, in the Fitzwilliam Museum in Cambridge; 1645 in the Národní Galerie in Prague; 1668 in the collection of Uppsala University; and 1680 in the Bowes Museum in Barnard Castle. In private collections there are works dated 1634, 1635, 1637, 1639, 1640, 1647, 1652, 1654, 1670, 1678 and 1681. Other flower still lifes (cartouches) are known for 1651 and 1655. Undated flower pieces are currently in the collections of the Historisches Museum in Frankfurt; the Frans Hals Museum in Haarlem; the Kunsthalle in Hamburg; the Kronborg Castle in Copenhagen

60 We have seen this beetle already in the work of Georg Flegel (1566-1638) and Joris Hoefnagel (1542-1600), and much earlier in a 1505 work by Albrecht Dürer (1471-1528), and even before that in a work by Stefan Lochner (ca. 1400-1451); cf. Bol 1981c and Bol 1982, pp. 65-66, Figs 10-11. 61 Including those now in the collection of the Rijksprentenkabinet in Amsterdam and in the Oak Spring Garden Foundation in Upperville, Virginia. Loose sheets attributed to him come from several Tulip books that have been taken apart by dealers. The Tulip trade began much earlier in Frankfurt, which may be inferred from the florilegia that were published in and around Frankfurt starting in 1611. 62 This signature had been variously interpreted in museum catalogues until that time, occasionally as Hans Bollongier (ca. 1600-ca. 1673) or Ambrosius Bosschaert II, as I formerly indicated. Not long after my discovery someone else claimed to have found this out, and contacted the museums knowing, but not saying, that he was not the first or the only one to have seen this, and later offering the excuse that the discovery was made independently and hence justified in pre-empting me.

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(2x); the Palais des Beaux-Arts in Lille; and the Museum Boijmans Van Beuningen in Rotterdam.63 In 1661 Marrel published a little instruction book consisting of twenty-seven pages of engraved sketches largely of the human form for apprentices to copy: Artliches und Kunstreichs Reißbüchlein für die ankommende Jugendt Zu lehren Insonnderheit für Mahler, Goldschmidt und Bilthauern.64 Jacob Marrel, Flower piece with objects as vanitas motifs (Fig. 7.16) Canvas, 92 x 80 cm, signed and dated on the document lower right in dark brown: Jacob . Marrell . / . fecit . Anno . / . 1.6.37 / In / Francofurth. Staatliche Kunsthalle, Karlsruhe, inv. no. 2586.65 1 Provins Rose 2 Corn Marigold 3 Poppy Anemone 4 Turk’s Cap Lily 5 Blunt Tulip 6 Variegated Iris 7 Madonna Lily 8 Pansy 9 Forget-me-not 10 Austrian Briar

Rosa x provincialis Glebionis segetum Anemone coronaria alba Lilium chalcedonicum Tulipa mucronata luteo-rubra Iris variegata Lilium candidum Viola tricolor Myosotis palustris Rosa foetida

A Blunt Tulip towers noticeably above the rest of the bouquet. On the table we see a lemon, a mouse and a lizard. In the upper right, deep in shadow, a Peacock Butterfly hovers, its wings spread in flight. On the left of the painting some of the Rose’s leaves have been eaten away and water drops are seen dripping from a spent bloom; a Damselfly has alighted on one of the petals of this flower as above a dragonfly zooms in. The bouquet casts shadows on the hollow of the niche to the right. This painting is more than a flower piece, it also presents vanitas themes, particularly transience, where each of the Senses has been given its own particular form of expression. Moreover, it also links the traditional vanitas themes to the Tulip Mania, which had reached its height in 1637, the year in which the painting was executed, and as already mentioned, this artist was himself closely involved with the Tulip Mania both as a trader and as a producer of several Tulip books. Smell is represented by the pipe, the paper with tobacco, and the smouldering match; Taste by the lemon and the mouse; Sight by the flowers and the lizard, plus other things; Touch by the coins and the signet ring; and Hearing by the violin and the open book of music. All the objects call to mind how brief the enjoyment of pleasure is. The glass vase reflects not only the workshop window and some of the still life objects, but also the artist himself at his easel, who is just as subject to the passing of time as the beautiful woman he is painting. Female beauty is also the subject of the lyric in the open songbook, which translates as ‘How lovely blooms the May, pretty girl’. The skull and books would seem to indicate that the wisdom contained in books will also be worthless in the grave. The carved putto in the upper left is accompanied by a skull and an hour-glass, while the one in the upper right seems to be blowing soap bubbles – the homo bulla theme (‘man is but a bubble’) symbolizing the fleeting nature of life.

63 The works of Jacob Marrel are documented in Bott 1966 and Bott 2001, pp. 127-149, 223-243. See also the Segal Project and the Segal Still Life Documentation donated to the RKD, The Hague. 64 Bott 2001, p. 145, Fig. 129; one example can be found in the Universitäts-und Landesbibliothek in Darmstadt. 65 Provenance: collection of Count Otto Thott, Gavnø Castle, Denmark, reported 1785; Baron Holger Reedtz-Thott, died 1797; Baron Kjeld Thor Tage Otto Reedzt-Thott, died 1923, catalogue K. Madsen 1914, inv. no. 104; Baron Axel Gustav Tage Reedzt-Thott, all Gavnø Castle; Sotheby’s, London, 10 July 1968, no. 79; P. de Boer Gallery, Amsterdam, sold to the museum in 1969. Exhibitions & literature: Madsen 1914, p. 29, no. 104; Von Boér 1964, no. 103; Gammelbo 1960, pp. 130-131, no. 192; Copenhagen 1965, p. 39, no. 61; Bott 1966, p. 108, no. 23, as dated 1671; Bol 1969, p. 320, as dated 1671; Lauts 1969, pp. 7076, Figs 53-57; Bergström 1970b, p. 16, Fig. 4; Leiden 1970, pp. 15-16, no. 17; Voskuil-Popper 1976, p. 73 n. 19, Fig. 11; Segal in Amsterdam & ’s-Hertogenbosch 1982, pp. 19-22, Fig. 5; Georgel & Lecoq 1987, pp. 198-199, Fig. 307; Segal in Osaka, Tokyo & Sydney 1990, p. 33, Fig. 19; Segal in Utrecht & Braunschweig 1991, pp. 20, 51 n. 14 and 17; Seifertová in Frankfurt 1993-94, p. 15, Fig. 14; Seifertová in Prague 1994, p. 134, Fig. 70a; Segal in Amsterdam 1994, pp. 14-17, Fig. 9; Gemar-Koeltzsch 1995, I, p. 169, Pl. 61, III, p. 631, no. 225/4; Segal 1996, pp. 28-29, Fig. 19; Vroom 1980-99, III, pp. 94, Fig. 70, 102; Bott 2001, p. 239, no. M50; Segal 2001a, pp. 54-55, Fig. 40; Segal 2004, pp. 72-74, Fig. 46.

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Fig. 7.16 Jacob Marrel, Flower piece with objects as vanitas motifs, dated 1637, canvas, 92 x 80 cm, Staatliche Kunsthalle, Karlsruhe. | 291

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Fig. 7.17 Jacob Marrel, Tulips and other flowers in a baroque vase, dated 1640, panel, 69.5 x 52.5 cm, private collection.

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Jacob Marrel, Tulips and other flowers in a baroque vase (Fig. 7.17) Panel, 69.5 x 52.5 cm, signed and dated lower left in brown with grey: . Jacobus . MaRRellus . f. / .1.6.4.0. Private collection.66 1 Lavender Cotton 2 Persian Tulip hybrid (see 18) 3 Auricula 4 Provins Rose 5 Lily of the Valley 6 Maltese Cross 7 Auricula 8 Love-in-a-mist 9 Peacock Anemone 10 Auricula 11 Pot Marigold 12 Tulip ‘Viceroy’ 13 Sweet Briar 14 Caraway 15 Siberian Iris 16 Rosemary foliage 17 Iberian Iris 18 Persian Tulip hybrid 19 London Pride 20 Tulip ‘Geel en Root van Leyden’ 21 German Flag Iris 22 Red Tulip ‘Semper Augustus’ 23 Blunt Tulip 24 Hyacinth 25 Borage 26 Pot Marigold 27 Tulip ‘Brandenburger’ 28 Carnation 29 Columbine 30 Columbine 31 Ivy foliage 32 Cherries ‘Morel’

Santolina chamaecyparyssus Tulipa clusiana x T. stellata Primula x pubescens parva coerulea Rosa x provincialis Convallaria majalis Lychnis chalcedonica Primula x pubescens lutescens Nigella damascena semiplena Anemone pavonina violaceo-alba Primula x pubescens lavandulo-spadicea striata Calendula officinalis duplex umbrina Tulipa armena x T. undulatifolia Rosa rubiginosa Carum carvi Iris sibirica Rosmarinus officinalis Iris x iberica Tulipa clusiana x T. stellata Saxifraga umbrosa Tulipa armena x T. mucronata Iris germanica coeruleo-violescens Tulipa agenensis bicolor Tulipa mucronata bicolor Hyacinthus orientalis pauciflorus Borago officinalis Calendula officinalis aurantiaca Tulipa mucronata bicolor Dianthus caryophyllus plenus violaceo-alba Aquilegia vulgaris duplex bicolor Aquilegia vulgaris alba cinnabarina striata Hedera helix Prunus cerasus cv. Austera

a Painted Lady Butterfly b Stag Beetle c Wart-biter d Great Capricorn Beetle

Cynthia cardui Lucanus cervus Decticus verrucivorus Cerambyx cerdo

Fig. 7.17a Sketch of the flowers in Fig. 7.17.

Seven Tulips of various sizes, shapes and colour patterns form the most important component of this composition. Marrel preferred to paint the most exclusive and expensive species, which he was familiar with from his involvement in trade and his painting of watercolour Tulip books. Occasionally he painted a flower piece that displays only Tulips.67 In a number of works Marrel painted sour cherries, ‘Morels’, possibly as a kind of second signature. From 1634 on he painted stoneware baroque vases in a variety of shapes. The vase in this work is decorated with garlands of fruit, putti, and bacchants, one of whom is sitting on a wine barrel. The base of the vase is decorated with dolphins.

66 Provenance: private collection, France; Johnny Van Haeften Gallery, London 1999; private collection, Boston; Johnny Van Haeften Gallery, London 2010; Koller, Zurich, 17 September 2010, no. 3040. Literature: Segal in catalogue London 19992000, no. 11. 67 Panel (oval), 47.5 x 36 cm, Christie’s, London, 11 December 2002, no. 53.

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Bartholomeus Assteyn

Bartholomeus Assteyn was born in Dordrecht in 1607, the son of Abraham Assteyn (1584-1633/45) of Ghent, from whom he probably learned to paint. In 1631 he married Janneken Pieters Lacrois and they went on to have eight children, the youngest recorded being born in 1646. He was admitted to the Guild of Saint Luke in Dordrecht in 1631. Assteyn is last mentioned in the guild records of 1667. It is unknown when he died; Janneken Pieters Lacrois died in 1677, by that time, Bartholomeus Assteyn had already died. Assteyn’s work seems to have been influenced primarily by Johannes Bosschaert, who lived for a time in Dordrecht and whose motifs he literally adopted, such as the frog, shells and butterfly in a flower piece of 1631 (Fig. 7.18), copied by Assteyn from a 1626 fruit piece by Johannes Bosschaert.68 He was also influenced by Balthasar van der Ast, for example in combining flower and fruit pieces, as well as by Roelandt Savery, while his later paintings more often exhibit characteristics of Jan Davidsz de Heem. Assteyn’s works consist of flower pieces, fruit pieces and combinations of the two. Dated paintings are known for the years from 1628 through to 1667. Arnold Houbraken had little regard for this artist’s works in 1719.69 The quality of his paintings is in fact somewhat uneven. The flowers are often a little distorted and the lighting a bit harsh. An extensive series of watercolours of flowers and shells has been erroneously attributed to Assteyn which in actual fact is the work of Balthasar van der Ast (Fig. 7.8). The following are dated flower pieces together with their locations: 1631, Dordrechts Museum, on loan from the Cultural Heritage Agency of the Netherlands; 1639, Landesmuseum, Mainz. Further diverse works are in private collections and are dated between 1630 and 1655, and there are also some further paintings which combine flowers and fruit dated between 1660 and 1667. Bartholomeus Assteyn, Flowers in a glass vase, with shells and a frog (Fig. 7.18) Panel, 46.3 x 34 cm, signed and dated lower left in black B. AsStijn. 163i Cultural Heritage Agency of the Netherlands, inv. no. NK 2068; on loan to the Dordrechts Museum, Dordrecht, inv. no. 953/79.70 1 Forget-me-not 2 Provins Rose 3 Pansy 4 Hedge Mustard 5 Peacock Anemone 6 Lavender Cotton 7 French Rose 8 Summer Pheasant’s Eye 9 Blunt Tulip 10 Dwarf Iris 11 Columbine 12 Crown Imperial 13 Sweet Briar 14 French Marigold 15 Blunt Tulip 16 Snake’s Head Fritillary 17 Rosemary twig 18 Tapered Tulip hybrid 19 Lily of the Valley

Myosotis palustris Rosa x provincialis Viola tricolor Sisymbrium officinale Anemone pavonina bicolor Santolina chamaecyparissus Rosa x gallica subplena alba Adonis aestivalis plena Tulipa mucronata bicolor Iris pumila Aquilegia vulgaris plena tricolor Fritillaria imperialis Rosa rubiginosa Tagetes patula Tulipa mucronata bicolor pallida Fritillaria meleagris Rosmarinus officinalis Tulipa armena x T. undulatifolia Convallaria majalis

A Red Admiral Butterfly b Caterpillar c Common Frog

Vanessa atalanta Lepidoptera spec. Rana temporaria

68 Panel, 37.3 x 62.7 cm, dated 1626, Otterlo, Kröller-Müller Museum, inv. no. 37-17; Bol 1960, no. 12, Pl. 49b; cf. Bol 1982, p. 56, Figs 10 and 13. 69 Houbraken 1718-21 (ed. 1753), II, p. 300. 70 Provenance: collection of Nico van Bohemen, The Hague ca. 1940; recuperated after World War II at the Central Collecting Point, Munich 1947, no. 687; Cultural Heritage Agency of the Netherlands, on loan to the Dordrechts Museum since 1953. Exhibitions & literature: Bol 1953, pp. 140, 144, Fig. 3; Dordrecht 1955, p. 5, no. 4; Bergström 1956, p. 302 n. 74; Bol 1960, pp. 54, 98, Pl. 16; Ghent 1960, p. 106, no. 6; Recklinghausen & Oberhausen 1969-70, n.p., no. 2, Fig. 2; Haarlem 1974, p. 17, no. 52; Venlo 1977, p. 9, no. 18; Dordrecht 1980, p. 23, no. 16; Bol 1981b, p. 578, Fig. 13; Bol 1982, pp. 56, 59, Fig. 13; Segal in Amsterdam 1984, pp. 70, 72 n. 22; Ter Kuile 1985, pp. 64-65, no. VI-1; Brenninkmeijer-de Rooij 1992, p. 18, Fig. 4; de Heer et al. 1992, p. 28; Loughman in Dordrecht 1992-93, pp. 75-77, no. 1; Gemar-Koeltzsch 1995, II, p. 40, no. 7/2; Taylor 1995, pp. 151-152, Fig. 92; Schoon in Athens 2002, pp. 210-211, no. 65.

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D Mitre Shell E Indonesian Treesnail F Crown Cone

Mitra mitra Xesta citrina Conus regius

The Provins Rose was repeated in a flower and fruit still life of 1632.71 A butterfly in the lower left of the painting has been painted over, probably by the artist himself.

Fig. 7.18 Bartholomeus Assteyn, Flowers in a glass vase, with shells and a frog, dated 1631, panel, 46.3 x 34 cm, Dordrechts Museum, Dordrecht.

71

Panel, 76.5 x 64.8 cm, dated 1632, Christie’s, New York, 15 April 2008, no. 333.

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Fig. 7.19 Jacob Gerritsz Cuyp, Flowerbed with Tulips, dated 1638, panel, 37.5 x 76.7 cm, Dordrechts Museum, Dordrecht.

Jacob Gerritsz Cuyp

Jacob Gerritsz Cuyp was a painter from Dordrecht. He was born in 1594 and most probably learned to paint from Abraham Bloemaert in Utrecht. From 1617 to 1652 he was registered in the Guild of Saint Luke in Dordrecht. In 1618 he married Aertken Cornelisdr van Cooten and, after her death, he married Bellijntje Tiekmans Pleunisdr van Bracht in 1636. Cuyp died in his native city in 1652. His apprentices were Paulus Lesire (1611-after 1654), Bastiaan Govertsz van der Leeuw (1624-1680), and Adriaen Huibertsz Verveer (ca. 1626-1680). Jacob was the father of the landscape painter Aelbert Cuyp (16201691), who arguably went on to become a more famous artist. Jacob Gerritsz Cuyp was primarily a painter of portraits, pastoral scenes, genre pieces and landscapes with animals. An unusual work of 1638 is a flowerbed with Tulips, a butterfly and a beetle, in imitation of Johannes Bosschaert, who had painted such a work earlier.72 Cuyp’s composition is further enlivened with two frogs. Jacob Gerritsz Cuyp, Flowerbed with Tulips (Fig. 7.19) Panel, 37.5 x 76.7 cm, signed and dated lower right in black: JG. cuyp. Fecit / Ao. 1638 (JG in monogram) Dordrechts Museum, Dordrecht, inv. no. 977/523.73 Seventeen red-and-white Tulips, diverse types at different stages of flowering and in various positions, have been placed next to each other in the brown earth. The predominant cultivars here are hybrids of the Tapered Tulip (Tulipa armena), Sharp Tulip (Tulipa mucronata) and Red Tulip (Tulipa agenensis).

Dirck van Delen

Another artist who appears to have only painted one solitary flower piece is Dirck van Delen, a painter of castles and interiors, including those of churches. He was born in 1604 or 1605 in Heusden. Shortly after his birth his parents moved to Breda. In 1625 he was in Zeeland, first in Middelburg and about 1626 in 72 Panel, 46 x 64 cm, Stockholm, Nationalmuseum Stockholm, inv. no. NM 6666; Athens 2002, p. 214, Fig. 1 under no. 67. 73 Provenance: Abbey of Tongerlo; Premonstratensian Convent St. Catharinadal, Oosterhout; collection of A. Staring, Vorden, on loan to the Dordrechts Museum 1926-28; gifted to the museum in 1977. Exhibitions & literature: The Hague 1926, no. 21; mus. cat. Dordrecht 1928, no. 55; Arnhem 1952, no. 17; Dordrecht 1954, n.p., no. 21; Bol 1960, pp. 55, 99, Pl. 62b; Bol 1969, p. 46, Fig. 38; Dordrecht 1977-78, pp. 34-35, no. 6; Münster & Baden-Baden 1979-80, pp. 310-312, no. 162; Bol 1981b, pp. 585-586, Fig. 16; Bol 1982, pp. 59-60, Fig. 16 (cf. Fig. 15 by Johannes Bosschaert in Stockholm); Kuretsky 1987, pp. 84, 86; Schneider 1989, pp. 140-141; Taylor 1991, p. 24; De Paus et al. 1992, pp. 78-79; Loughman in Dordrecht 1992-93, pp. 152-153, no. 29; Segal 1994, p. 99, Fig. 39; Taylor 1995, pp. 14-15, Fig. 9; Kuitert 1996, p. 107; Bott 2001, pp. 128-129, Fig. 110; Van Oosterhout in Athens 2002, pp. 214-215, no. 67; Dordrecht 2002, p. 175, no. 45, with oeuvre catalogue.

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Arnemuiden, a city where the Bosschaerts had formerly lived, and where he remained, even becoming mayor of the town. He died there in 1671. Van Delen was a member of the Guild in nearby Middelburg from 1639 to 1665, and a member of the chamber of rhetoric in Antwerp with the name Olijftak (‘Olive Branch’) from 1666 to 1668. He is referred to by Arnold Houbraken as a pupil of Frans Hals (ca. 15821666), but this is probably incorrect. His apprentices were Hans Jurriaensz van Baden (1604-1677) and Daniël de Blieck (ca. 1610-1673). His only known flower piece, dated 1637, depicts a single Tulip in a small Chinese vase with a few exotic shells set in an architectural niche. It should be recalled that Balthasar van der Ast also painted a little flower piece with a single Tulip (Fig. 7.3). Dirck van Delen, A Tulip in a khendi, with shells (Fig. 7.20) Panel, 38.3 x 29.9 cm, signed and dated lower right in darkbrown: DVDELEN / 1637. (‘DVD’ in monogram) Private collection.74 The architectural background is imaginary, as it is in his other architectural paintings. The Tulip is an example of ‘Generael der Generaels van Gouda’ (Purple Tulip, Tulipa undulatifolia x T. armena). It is uncertain, however, whether Van Delen also painted the Tulip and the shells. The year 1637 was the most wretched year in the Tulip trade, the year in which Jacob Marrel painted his vision of this phenomenon (Fig. 7.16).

Fig. 7.20 Dirck van Delen, A Tulip in a khendi, with shells, dated 1637, panel, 38.3 x 29.9 cm, private collection. 74

Provenance: probably sale collection of J.B. van de Branden, Brussels, 13 April 1801, no. 117; collection of the Marquis du Blaisel, Paris; his sale Christie’s, London, 17 May 1872, no. 117; collection of Humphrey Ward, London; collection of Adolphe Schloss, Laguenne (France); confiscated by the Nazis during World War II; Galerie Vitale Bloch, The Hague and Paris 1976, bequested at the Museum Boijmans Van Beuningen in Rotterdam; restitution to the heirs of Schloss in 1999; Tajan, Paris, 20 December 2000, no. 25. Exhibitions & literature: Jantzen 1910, p. 68; Vorenkamp 1933, pp. 119-120; Bol 1960, pp. 55-56, 99, Pl. 62a; Pavière 1962-64, I, p. 24, Pl. 29a; Bloch 1966, p. 24, Fig. 17; Bol 1969, p. 56, Fig. 47; Lewis 1973, p. 26; Bergström 1977/79, p. 185; Hoetink 1978, pp. 104-110, Fig. 5; Rotterdam 1978, pp. 46-47, no. 14; Paris 1979, pp. 48-49, no. 14; Wright 1980, p. 96; Bol 1981b, p. 584; Bergamo 1982, pp. 182-184, Fig. 210; Bol 1982, pp. 55-56, Fig. 8; Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 39, 91, no. 40; Kobe 1982, p. 79, no. 243; Blade 1983, pp. 109-111, no. 57, Fig. 54; Copenhagen 1983-84, p. 15, no. 3; Amsterdam 1984, pp. 74, 184-185, no. 34 (not exhibited); Haak 1984, p. 218, Fig. 217; Segal 1987, p. 92, Fig. 32; Delft, Cambridge & Fort Worth 1988-89, pp. 109-110, 235, no. 23; Meijer 1989, pp. 27, 72-73, no. 12; Marijnissen 1992, pp. 69, Fig. 3, 72; Segal 1994, pp. 98-99; Gemar-Koeltszch 1995, I, p. 140, Pl. 32, II, p. 276, no. 88/1; Hamon-Jugnet 1998, p. 46; Scholten 1998, p. 2; Pavord 1999, pp. 36-37.

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Fig. 7.21 Johannes Matham, Sprigs of blossoms, panel, 16.5 x 21 cm, collection Freiherr von Fürstenberg, on loan to the LWL-Museum für Kunst und Kultur, Münster.

Johannes Matham

Johannes or Jan Matham was the eldest son of the better-known Jacob Matham (1571-1631) of Haarlem, an engraver, from whom he is likely to have received his first instruction.75 Born in 1600, Jan was recorded in the Guild of Saint Luke in Haarlem in the years 1628 and 1637. He died in 1648. Matham was involved in decorating several houses for affluent burghers in Haarlem, and we find information about his works in Haarlem inventories of the seventeenth and eighteenth centuries. Two of his apprentices, Willem Dirckxen and Dirk Wulp, were enrolled in the guild in 1637-1638, but about them we know practically nothing. Jan had a weak constitution and lived with his parents for many years. In 1641 he made his final will and testament. At that time he was living in Warmond north of Leiden, lodging with a relative of Wilhelmina van Bronckhorst’s husband, Bernard van den Bongerd. Wilhelmina was a patron who had bought eleven fruit and flower pieces from Johannes Matham, which we find recorded in the inventory of her second husband, Baron Willem Vincent van Wyttenhorst. Three fruit pieces and a little flower painting with blossoms later entered the collection of Freiherr von Fürstenburg in Herdringen, now on permanent loan to the LWL-Museum für Kunst und Kultur in Münster (Fig. 7.21); a vanitas still life is also known today. In 1641 Matham’s right hand was paralysed and afterwards, according to the sources, he was no longer capable of drawing or painting. However, there is a flower piece dated 1646 on the reverse (Fig. 7.22), although it exhibits a number of weaknesses that we do not see in his simple undated flower and fruit pieces painted earlier, even though these were undistinguished works. From documentation it appears that another painting, now unknown depicting a ‘schone blompot’ (‘pretty flowerpot’), was sold by the artist in 1644, as was a fruit piece in 1645 to the same buyer.76 Although it may be possible that these works were painted earlier, it is not likely. There is, of course, the possibility, that Jan had learned to use his left hand. Until his death Matham depended on the financial support of his mother, Maria van Poelenburg, who had been named the sole heir of the estate by his father Jacob.

75 76

Jacob Matham engraved a 1599 flower piece by Carel van Mander (1548-1606) (Figs 2.6 and 10.23). Amsterdam, Rijksprentenkabinet, inv. no. RP-P-OB-6580. See Chapters 2 and 10. Boers-Goosens 2004, p. 222.

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Johannes Matham, Sprigs of blossoms (Fig. 7.21) Panel, 16.5 x 21 cm, signed lower right: JM (ligated). Lower right the numbers 66 and 238 (crossed out) Collection Freiherr von Fürstenberg, Herdringen, on loan to the LWL-Museum für Kunst und Kultur, Münster.77 The species in this painting can most likely be identified as Apple blossom (Malus sylvestris), Quince blossom (Cydonia oblonga) and Forget-me-not (Myosotis palustris). Johannes Matham, Flowers in an earthenware pot (Fig. 7.22) Panel, 69 x 53.5 cm, signed upper right in grey: JMatham. ^16.. (‘JM’ ligated, date small and overcleaned); on the reverse in black: 1646 Private collection.78 Of the forty-two different species of flowers in the painting, ten cannot be identified and five further ones without certainty; four of the insects are also difficult to identify. What particularly draws our attention in this scene is the Blunt Tulip (Tulipa mucronata f. obtusa), extending high above the rest of the compact spherical bouquet which, just like the table edge receding into the background on the left, leads one to suppose the influence of fellow Haarlem resident Hans Bollongier (ca. 1600-ca. 1673). The scale of the different species is not true to nature, for example, a Martagon Lily in the upper left is implausibly small and the nearby Snow Drops in the centre are unrealistically large. The rotund Maltese Cross in the lower right is rather astonishingly rendered.79

Fig. 7.22 Johannes Matham, Flowers in an earthenware pot, dated 1646 (?), panel, 69 x 53.5 cm, private collection. 77 78 79

Provenance: collection of Wilhelmina van den Bongerd-van Bronckhorst; her second husband Willem Vincent van Wyttenhorst. Literature: Boers-Goosens 2004, pp. 189, Fig. 5, 192, 200, 213 n. 115, 239, Fig. 14; Haarlem & Dulwich 2008, p. 124, Fig. 47b. Provenance unknown. Literature: Boers-Goosens 2004, p. 233, Fig. 16. It is possible that restorations have caused significant details to become obscure.

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Dirck van Poelenburg

Dirck van Poelenburg was a Catholic citizen of Haarlem. He entered the Guild of Saint Luke in that city in 1610, married in 1614, and died in 1645 or 1646. Bredius called him a flower painter.80 Dirck van Poelenburg was the brother-in-law of Jacob Matham, who was married to Maria van Poelenburg.81 Possibly Dirck van Poelenburg and Dirck Willems by whom three flower pieces are recorded in the 1668 inventory of the deceased artist Jan Miense Molenaer (1609/10-1668) were one and the same person. It is also possible that Willem Dirckxen, who is recorded as apprenticed to Johannes Matham in 1637-1638, was a son of Dirck Willems. No works by Dirck van Poelenburg or Dirck Willems are known of today.

Gillis de Bergh

Of the works of Gillis de Bergh only one flower piece is known to exist. However, he executed other kinds of still lifes, as well as portraits and genre scenes of ‘merry companies’. His parents came from Ghent and married in 1589 in Delft. Gillis was born there around 1600 and died in 1669. He was married to Maria Moreau. He entered the Delft guild in 1624. Dated works of Gillis de Bergh are known from 1625 through to 1668. His single known flower piece, dated 1642, displays flowers in an openwork basket with shells (Fig. 7.23). There is a pendant showing the same openwork basket with grapes and quinces.82 Both works, which have the same provenance, are currently in the collection of the Bowes Museum in Barnard Castle. These paintings reveal the influence of Balthasar van der Ast, who also lived and worked in Delft in this period. In some of his other still lifes Gillis de Bergh seems to have been influenced by fellow Delft native Cornelis Jacobsz Delff (ca. 1570-1643). Gillis’s paintings are mentioned at least thirty-seven times in Delft inventories between 1630 and 1679.83 Recently a number of unsigned still lifes with fruit have been attributed to Gillis, but further critical investigation is needed. He signed G. de Bergh, G. de Berghe, G. de Berge, as well as with the monogram GDB (in 1625), and furthermore it should be pointed out, that in the pendants he spelled his name G. De Berg, without the final ‘h’ or ‘e’. Gillis de Bergh, Flowers in a basket, with shells (Fig. 7.23) Panel, 47.7 x 68.3 cm, signed and dated lower right in dark grey: G. De Berg / 1642 The Bowes Museum, Barnard Castle, County Durham, inv. no. 619.84 1 2 3 4 5 6 7

80 81 82 83 84

Tapered Tulip hybrid Germander Speedwell Provins Rose White Rose Dark Columbine Blunt Tulip Columbine

Tulipa armena bicolor Veronica chamaedrys Rosa x provincialis Rosa x alba plena Aquilegia atrata Tulipa mucronata luteo-rubra Aquilegia vulgaris pallida

a Emerald Damselfly

Lestes sponsa

On the stone ledge 8 Carolina Phlox 4 White Rose

Phlox carolina Rosa x alba plena

B C D E

Cypraea pantherina Conus generalis Turbo marmoratus Cittarium pica

Panther Cowry General Cone Okinawan Turban Magpie Shell

Thieme & Becker 1907-50, XXVII, p. 179. Bredius 1915-22, I, p. 4. Van Thiel-Stroman in Biesboer & Köhler 2006, p. 235. Panel, 47.9 x 63.7 cm, The Bowes Museum, Barnard Castle, County Durham, inv. no. 626. Montias 1982, p. 257. Provenance: Hôtel Drouot, Paris, 1866, bought by Lamer with pendant; obtained by John and Joséphine Bowes in 1866, with pendant; bequeathed to the museum in 1885.

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Evert van Aelst

Evert van Aelst was the uncle of the well known still life painter Willem van Aelst, who had been one of his apprentices. Evert was born in Delft in 1602 and died in 1657. He was a tenant of the painter Guilliaem Palamedes, about whom very little is known. In 1632 Evert was registered in the Guild of Saint Luke. He was a popular painter during his own lifetime who sold many paintings for relatively low prices, usually between seven and twenty guilders, as evidenced by several Delft inventories.85 Bredius reports that relevant flower pieces are mentioned six times in Delft inventories between the years 1646 and 1658.86 Only a handful of these works have survived or are known, most of them in smaller formats. Of great significance is, that the term stilleven (still life) was, as far as we know from surviving documentation, first used in connection with Evert van Aelst, namely in an inventory of 1650 which refers to ‘een stilleven van Evert van Aelst’ (‘a still life by Evert van Aelst’).87 Despite this inadvertent posthumous claim to fame Evert van Aelst died in poverty, and judging by the property left at his death, it is probable he led an extravagant lifestyle. His apprentices, in addition to his nephew, were Jan Denysz and Adam Pick (1621/22-1659/66) – no works are known for either of them – and in all likelihood also the painter of interiors, Emanuel de Witte (1617-1692). There are a number of bouquets with an economical display of flowers, sometimes enhanced with a couple of pieces of fruit, a flower festoon, fruit pieces, meal still lifes, and according to the inventories, vanitas still lifes and weaponry still lifes. Dated flower pieces are known for Evert van Aelst for the years 1639 (with fruit), 1642, 1643, 1645 and 1653, all in private collections. The flower festoon is dated 1630.88 85 86 87 88

Fig. 7.23 Gillis de Bergh, Flowers in a basket, with shells, dated 1642, panel, 47.7 x 63.8 cm, The Bowes Museum, Barnard Castle, County Durham.

Montias 1989, p. 78; Montias 1993, pp. 122-123. Bredius 1915-22, IV, pp. 1439-1445. Floerke 1905, p. 20. For the work of Evert van Aelst see the Segal Project and the Segal Still Life Documentation in the RKD, The Hague.

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Evert van Aelst, Flowers in a glass vase, with shells (Fig. 7.24) Panel, 70 x 53 cm, signed and dated lower centre in brown: E.V. aelst f 164[5] (the ‘5’ is somewhat unclear) Private collection.89 1 2 3 4 5 6 7

Provins Rose Madonna Lily Nonesuch Daffodil Blunt Tulip hybrid Purple Tulip Danube Tulip hybrid German Flag Iris hybrid

A Panther Cowry B Crown Cone c Garden Snail

Rosa x provincialis Lilium candidum Narcissus x incomparabilis Tulipa mucronata x T. agenensis Tulipa undulatifolia bicolor Tulipa hungarica x T. agenensis Iris germanica x I. albicans Cypraea pantherina Conus regius Cepaea hortensis

The flowers have been arranged in a pear-shaped vase set on a low wooden cupboard or table. This symmetrical bouquet may look quite simple, but the curled petals of the six Tulips would seem to indicate otherwise.

Fig. 7.24 Evert van Aelst, Flowers in a glass vase, with shells, dated 1645, panel, 70 x 53 cm, private collection. 89

Provenance: Sotheby’s, London, 8 December 1993, no. 41; Sotheby’s, Amsterdam, 10 May 1994, no. 45. Literature: Paul 2008, pp. 48, 314, Fig. 2.

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Anthony Claesz

Anthony Claesz’s identity was formerly a puzzle. Bergström (as early as 1947) and Bol thought that there were two separate artists working in distinguishable styles under the same name, whom they called Claesz I and II.90 In actual fact these are works by the same person.91 Claesz was born in Amsterdam in 1607. In 1632 he made a trip to England and in the Autumn of 1635 was back in Amsterdam, where that same year he married Jannetie Mayers. He may have died in 1649, his widow and six children surviving him; although this reference possibly concerns a different man with the same name, in which case our painter died in 1662.92 Initially Anthony Claesz painted flower pieces in the more colourful style of Ambrosius Bosschaert and the early work of Balthasar van der Ast. Between 1626 and 1632 he signed his work with the monogram AC in the style of Bosschaert’s AB monogram. Prior to this he had signed his works with his full name, as in CLAES. IVNBOL. 1622, where with the name ‘Junbol’, he was possibly hinting at his love of bulbs by alluding to uienbol, the Dutch word for onion bulb. He later developed a freer, more fluid tonal style that tends towards monochrome and uses less glaze (a method also deployed by Hans Bollongier), but with many related transitional tones between yellow and orange and between pink and red, as well as with more compact bouquets. It is possible that he had served an apprenticeship with Van der Ast in Utrecht; and they were certainly in communication with each other.93 Gillis Peeters was apprenticed to him. Dated work is known from 1622 through to 1649, the majority of these are flower pieces, but there are also several flower cartouches (1627) and a few fruit pieces, most of them in private collections. A work dated 1639 is currently in the Landesmuseum in Mainz, and at least fifteen other works are dated between 1622 and 1649.94 Undated works include one currently held by the Fitzwilliam Museum in Cambridge.95 We see many flowers replicated in different works. He also drew Tulips for Tulip books, one example of which is dated 1641.96

07_025 Clae

Anthony Claesz, A glass vase with flowers and fruit in front (Fig. 7.25) Panel, 104.5 x 77.5 cm, signed and dated lower centre: AC . fe 1628 (‘AC’ in monogram) Private collection.97 1 White Rose 2 Batavian Rose 3 Golden Fritillary 4 Columbine 5 Cloth of Gold Crocus 6 Peacock Anemone 7 Tapered Tulip 8 Persian Tulip 9 Tazetta Narcissus 10 Iberian Iris 11 Small Iris hybrid 12 Lady Tulip hybrid 13 Lavender Cotton 14 Columbine 15 Persian Tulip hybrid 16 African Marigold 17 Gladdon 18 Cornflag 19 Hollyhock 20 Maltese Cross 21 English Iris 22 Madonna Lily

Rosa x alba plena Rosa gallica cv. Batava Fritillaria aurea Aquilegia vulgaris albo-coerulea duplex Crocus angustifolius Anemone pavonina Tulipa armena albescens Tulipa clusiana albescens Narcissus tazetta Iris x iberica Iris cf. lutescens x I. aphylla Tulipa stellata x T. clusiana Santolina chamaecyparissus Aquilegia vulgaris albo-purpurea Tulipa clusiana x T. stellata Tagetes erecta Iris foetidissima Gladiolus italicus Alcea rosea rubra plena Lychnis chalcedonica Iris latifolia Lilium candidum

90 Bergström 1956, pp. 95-97; Bol 1982, pp. 78-82. 91 Segal 1987b. Van der Willigen & Meijer 2003, pp. 61-62, distinguish Anthony Claesz I (unrelated and not a painter) from Anthony Claesz II (the painter dealt with here) and Anthony Claesz III (documented until 1662), and possibly a later artist based on a large fruit piece with vegetables, the date possibly erroneously read as 1695 instead of 1645. 92 Bredius 1915-22, V, p. 1782. 93 In a 1627 painting he imitated part of a work Van der Ast painted in 1622. 94 Panel, 49.5 x 38 cm, dated 1639, Mainz, Landesmuseum, inv. no. 171. 95 Panel, 28.5 x 22.8 cm, Cambridge, The Fitzwilliam Museum, inv. no. PD 63-1973. 96 London, RHS Lindley Collections, inv. no. 118; see also Segal 1987b. 97 Provenance: Phillips, London, 14 December 1999, no. 66; Galerie d’Art Saint Honoré, Paris 2004-2005.

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Fig. 7.25a Sketch of the species in Fig. 7.25.

23 French Rose 24 Columbine 25 Fire Lily 26 Persian Tulip hybrid 27 German Flag Iris hybrid 28 False Larkspur 29 Variegated Iris 30 Yellow Tulip hybrid 31 Snake’s Head Fritillary 32 Love-in-a-mist 33 Cornflower 34 Turk’s Cap Lily 35 Small Musk Daffodil 36 Columbine 37 Sweet Briar 38 French Marigold 39 Persian Tulip 40 Pears 41 Cornelian Cherries 42 Plums 43 Grapes 44 Melon

Rosa gallica plena Aquilegia vulgaris plena Lilium bulbiferum Tulipa clusiana x T. chrysantha Iris x lurida Consolida ajacis purpurea Iris variegata Tulipa chrysantha x T. clusiana Fritillaria meleagris Nigella damascena Centaurea cyanus Lilium chalcedonicum Narcissus minor pseudonarcissus subsp. moschatus Aquilegia vulgaris parviflora Rosa foetida Tagetes patula Tulipa clusiana Pyrus communis Cornus mas Prunus domestica Vitis vinifera Cucumis melo

a b c d e

Lacerta agilis Anthocharis cardamines Vanessa atalanta Aeshna juncea Decticus verrucivorus

Sand Lizard Orange Tip Butterfly Red Admiral Butterfly Fen Hawker Dragonfly Wart-biter Cricket

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Fig. 7.25 Anthony Claesz, A glass vase with flowers and fruit in front, dated 1628, panel, 104.5 x 77.5 cm, private collection. | 305

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Fig. 7.26 Anthony Claesz, Flowers in a glass vase, with shells, dated 1642, panel, 47 x 34.3 cm, private collection. 306 |

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Anthony Claesz, Flowers in a glass vase, with shells (Fig. 7.26) Panel, 47 x 34.3 cm, signed and dated lower left in brown grey: . Anth Claess : Fe. 1642 Private collection.98 1 African Marigold 2 Martagon Lily 3 Kingcup 4 Autumn Pheasant’s Eye 5 Poppy Anemone 6 Columbine 7 Sweet Briar 8 Tapered Tulip 9 False Larkspur 10 Danube Tulip hybrid 11 Wallflower 12 Carnation 13 Pansy 14 Lavender Cotton 15 Snake’s Head Fritillary 16 Cornflower 17 Provins Rose

Tagetes erecta Lilium martagon Caltha palustris plena Adonis annua Anemone coronaria violacea plena Aquilegia vulgaris albo-coerulea plena Rosa rubiginosa Tulipa armena bicolor Consolida ajacis Tulipa hungarica x T. agenensis Erysimum cheiri Dianthus caryophyllus albo-cinnamomeus plenus Viola tricolor Santolina chamaecyparissus Fritillaria meleagris Centaurea cyanus Rosa x provincialis

On the table: Provins Rose, Lavender Cotton and Pansy A Ivory Cone B Regal Mitre c Housefly d Poplar Leaf Beetle e Double-banded Hoverfly

Conus eburneus Vexillum regina Musca domestica Chrysomela populi Episyrphus balteatus

This is a tonal composition with many intermediary hues between white, vermilion and pink. In the background, foliage in shadow surrounds the bouquet. The Roses and Columbine return in three other paintings by the artist.99 Anthony Claesz’s paintings are more compact than those of Hans Bollongier. In the works of both artists the table edge is often visible on the left.

Hans Bollongier

Hans Bollongier was the son of Gillis Bollongier, a native of Roeselare in Flanders, who married in 1597 in Haarlem. Hans was probably born there about 1600. He registered in the Haarlem Guild of Saint Luke as a master painter in 1623. Flower pieces – always on panel and usually dated – are known from 1626 through to 1672. He probably died shortly afterwards. In addition to flower pieces, he painted several fruit pieces, as well as vanitas and sumptuous still lifes. According to Ampzing in 1628, Bollongier was a celebrated painter in Haarlem.100 A younger brother named Horatius (ca. 1601-1681) applied himself to painting other subjects, genre scenes in particular. Anemones, Stock and Carnations, are, in addition to Tulips, the plant species that we encounter most frequently in Bollongier’s work, while in the use of these species we also see a good deal of variation in arrangment. Sometimes Carnations dominate the bouquet, and at other times Tulips (Fig. 7.28).101

98 Provenance: probably collection of Dr A. Linnartz and sale A. Coster, Brussels, 4 April 1907, no. 67 (the description strongly resembles this work: ‘Sur une table de pierre étoffée de fleurs, de coquillages et d’insectes, un bol de cristal supporte un bouquet de roses, d’œillets, d’ancolies et des tulipes’, lower left: Ant. Claes fe, 36 x 33½ cm; ‘36’ here is possibly a typographical error for ‘46’, since a nearly square format seems unlikely); Galerie A. Malmedé, Cologne, as 1637; Sotheby’s, London, 5 July 1967, no. 42; collection of W.M.J. Russell, Amsterdam. Exhibitions & literature: Bredius 1915-22, V, p. 1779; Colchester 1967, n.p., no. 5; Bol 1969, p. 39, Fig. 33; Amsterdam 1970, n.p., no. 14; Mitchell 1973, p. 88, Fig. 107; Segal 1987b, pp. [12], [15], Fig. 2; Bol 1981e, p. 86, Fig. 7; Bol 1982, pp. 79-80, Fig. 7; Segal in Osaka, Tokyo & Sydney 1990, pp. 54, 55, 91, Fig. 41, 197-198, no. 41; Brenninkmeijerde Rooij 1992, p. 23, Fig. 8; Taylor 1995, pp. 154-155, Fig. 95; Taylor in Dulwich 1996, pp. 56-57, no. 14. 99 Segal in Osaka, Tokyo & Sydney 1990, p. 198 n. 2. 100 Ampzing 1628, p. 372. 101 Panel, 44 x 31.5 cm, dated 1640, private collection (Carnations); panel, 68 x 54.5 cm, dated 1639, Amsterdam, Rijksmuseum, inv. no. SK-A 799 (Tulips).

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A Tulip at the top of the bouquet may be exceptionally large in relation to the other Tulips, as in a painting of 1644 now in the Frans Hals Museum in Haarlem.102 Quite often an Anemone has been placed in a central position in his compositions. Bollongier’s work has a character all of its own. In his earliest work, the oldest known flower piece dating from 1627, the palette is quite colourful and the shapes of the flowers sharply outlined. He changes his style rather quickly afterwards, however, where the tone of his painted flower pieces become not that different in conception from the ‘monochrome banquets’ painted by Pieter Claesz (1597-1661) and Willem Heda (1594-1680), fellow citizens of Haarlem. The colours of the flowers range along a spectrum from white and pink to reddish-pink and purplish-violet, with a high degree of similarity in tonal value, something that also harmonizes with the grey and brown tints in the foreground and background, as well as with the colouring of the vase. Bollongier’s sand-coloured imprimatura has a pinkish cast, which helps to increase the tonal unity. The flowers are covered by a kind of greyish mist giving them a satiny finish. Brownish tones add softness to the foliage. The colours range from muted hues to halftones, which then melt into the shadows. The subdued colour composition is accompanied by restraint in the supplementary work, which is usually limited to a single snail, grasshopper or lizard, or if more, then small in size and sparingly distributed over the work. Most of the time the bouquets have been placed in glass vases that are too small in relation to the flowers. Short-stemmed flowers are arranged lower down in the bouquet, a few of which hang over the edge of the vase. His bouquets have a fan-shape construction, and in the smaller bouquets a centrally placed flower might also indicate a horizontal axis. The stems are slightly bent and the leaves are slightly wavy. The greatest sense of movement is in the flowers themselves, where the petals are often curled or crimped. The softer shapes of the composition are highly in tune with the tonality. The flowers hardly overlap at all, something that might be deemed old-fashioned at this point. Frequently the foliage in the background is very dark. The vase is placed on a stone table-top of which the side edges are often visible. Certain flowers are commonly more accented than others, but little attention has been given to the foliage. The most interesting flower pieces Bollongier painted about 1640, for example the work dominated by Tulips in a generous and abundant floral arrangement currently in the Rijksmuseum discussed below (Fig. 7.28); here we recognize a number of examples that were among the most expensive during the time of the Tulip Mania. Generally speaking, Bollongier’s later work is more colourful, probably in imitation of Jan Davidsz de Heem’s more harmonious style of colour composition.103 The somewhat thick, looser brushstroke does not, however, always contribute to refinement and intimacy. Dated flower pieces in public collections are as follows: 1629, in the Nationalmuseum in Stockholm (with fruit); 1636, in the Ashmolean Museum in Oxford; 1639, in the Rijksmuseum in Amsterdam; 1640, in Musée Denon in Chalon-sur-Saône; 1643, in the Museum Wasserburg Anholt in Isselburg-Anholt; 1644, in the Frans Hals Museum in Haarlem; and 1645, in the Kröller-Müller Museum in Otterlo. In private collections works can be found dated 1627, 1631, 1633, 1635, 1638, 1638 and 1641, and 1672 (2x). Hans Bollongier, Tulips and Anemones in a glass vase (Fig. 7.27) Panel, 34.6 x 26.2 cm, signed and dated lower right in brown: HB . An° 1638. (‘HB’ ligated) Private collection.104 1 Annulated Sowbread 2 Stock 3 Peacock Anemone 4 Batavian Rose 5 Poppy Anemone 6 Star Anemone 7 Star Anemone

Cyclamen hederifolium Matthiola incana alba Anemone pavonina alba Rosa gallica cv. Batava Anemone coronaria glauco-rubra Anemone hortensis rhodescens Anemone hortensis magenta

102 Panel, 27 x 22 cm, dated 1644, Haarlem, Frans Hals Museum, inv. no. OS 1-23. The Tulip is not the outrageously expensive red-and-white Semper Augustus, as supposed by Giltaij 2013, pp. 94-95, Fig. 11 and Köhler in Biesboer & Köhler 2006, pp. 399-400, no. 41, but only the extremely expensive purple-and-white Viceroy. 103 Anemones and Stock maintain an important place in his paintings up to and including a work of 1672 (panel, 41 x 31.7 cm, dated 1672, private collection). 104 Provenance: P. de Boer Gallery, Amsterdam 1934; P. de Boer Gallery, Amsterdam 1981; private collection, the Netherlands; Christie’s, Amsterdam, 25 November 2014, no. 113; Sotheby’s, New York, 8 June 2017, no. 55. Exhibitions & literature: Amsterdam 1934, p. 56, no. 244; Haarlem 1974, p. 16, no. 49; Bol 1982a, pp. 263-264, Fig. 12; Segal in Amsterdam & ‘s Hertogenbosch 1982, pp. 40-41, 93, no. 45; Segal in Osaka, Tokyo & Sydney 1990, pp. 90, Fig. 40, 196-197, no. 40.

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8 Sharp Tulip hybrid 9 Sweet Briar 10 Stock 11 Hyacinth

Tulipa mucronata x T. armena Rosa rubiginosa Matthiola incana violacea Hyacinthus orientalis violaceus

Left on the table-top is a sprig of Stock, the only supplementary work in the painting. A related painting showing flowers in the same vase, a Tulip at the top, and including Carnations and an Anemone in the centre, was also painted in 1638.105

Fig. 7.27 Hans Bollongier, Tulips and Anemones in a glass vase, dated 1638, panel, 34.6 x 26.2 cm, private collection. 105 Panel, 39 x 28.5 cm, dated 1638, private collection. Amsterdam 1960, no. 4, as 1635.

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Fig. 7.28 Hans Bollongier, Tulips and other flowers in a glass vase, dated 1639, panel, 68 x 54.5 cm, Rijksmuseum, Amsterdam. 310 |

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Hans Bollongier, Tulips and other flowers in a glass vase (Fig. 7.28) Panel, 68 x 54.5 cm, signed and dated lower right in beige: HBoulenger. / 1639 (‘HB’ ligated) Rijksmuseum, Amsterdam, inv. no. SK-A 799.106 This painting represents the highpoint of Hans Bollongier’s oeuvre. We see a veritable fountain of Tulips (seventeen in total) in a spray above a compact cluster of twenty other species – Roses, Anemones, Garden Auricula and more. The Tulips are recognizable in large part as products of Haarlem growers as they have been represented in Tulip books: in the centre of the painting the notorious variety Semper Augustus and related ‘Pinks’, and to the left the Viceroy and several related ‘Violets’.107 These are mostly cultivars or hybrids of the Red Tulip (Tulipa agenensis), the Tapered Tulip (T. armena), the Sharp Tulip (T. mucronata), with the addition of a single Persian Tulip (T. clusiana). The caterpillar, snail and lizard on the table-top are eye-catching supplements. That this rendering is emphatically meant as a humdinger appears from the fact that the vase is dwarfed by the exuberant overflowing bouquet, which in its composition displays great unity of form and colour.

Artists following in the Footsteps of Jacques de Gheyn The first artist who must be mentioned in connection with Jacques De Gheyn II (1565-1628), and who also influenced others to follow his example, is Jacob Vosmaer, who, along with De Gheyn, was discussed in the previous chapter. Additional artists are examined below.

Jan Baptist van Fornenburgh

Jan Baptist van Fornenburgh was born in Antwerp circa 1590. In 1621 he is referred to as a painter and art expert in Amsterdam.108 In 1624 he was in Vianen, and from 1625 on he was working in The Hague.109 He died there in 1648 or 1649. Van Fornenburgh painted flower pieces in oil on panel as well as in watercolour on vellum, with bouquets of flowers in a vase or loosely strewn on a table-top; he also painted several fruit pieces. His work displays a considerable range when it comes to style. His earlier work reveals the influence of fellow resident of The Hague, Jacques de Gheyn II, something that emerges from his somewhat twisted and hanging flowers, plus his luxuriant Roses. The mouse is reminiscent of De Gheyn and Jacob Vosmaer, from whom he also borrowed certain elements directly. Van Fornenburgh also replicated elements of his own work, especially flowers. Later he seems to have been influenced by Balthasar van der Ast and the Bosschaerts, which is revealed by use of clear colours, round shapes, sharp outlines, and the appearance of the glass roemer as a container. Van der Ast, who was active in Delft, and Van Fornenburgh close-by in The Hague knew each other and had mutual acquaintances, among them the innkeeper and art dealer Reynier Jansz Vos (1591-1652), the father of Johannes Vermeer (1632-1675). In 1640 Van der Ast signed and witnessed a testimony of Reynier Jansz Vos for Van Fornenburgh’s son Barent, who was a soldier.110 In the supplementary work some influence of Roelandt Savery is also visible, such as the inclusion of a Kingfisher. Van Fornenburgh’s works vary considerably in quality when we evaluate them based on light and shade, contrast, and a tendency towards tonality. Jan Baptist van Fornenburgh sometimes signed his name in full, while at other times he used a shortened form of his first name, for example YAN BATa, or a monogram IB F.

106 Provenance: collection of Baron F.M. Hodgson; his widow P.C. Baroness Nahuys; her sale, Amsterdam, 14 November 1883, not in catalogue, bought by the museum. Exhibitions & literature: Bremmer 1916a, pp. 124-125, no. 83; The Hague 1926, p. 22; Warner 1928 (Segal ed. 1975), no. 9c; Vorenkamp 1933, pp. 120, 133; Martin 1935-36, I, p. 290; Bergström 1947, p. 104, Fig. 88; Bergström 1956, p. 97, Fig. 88; Bernt 1948, I, no. 103; Mitchell 1973, p. 28, Fig. 27; Van Thiel 1976, pp. 196-197, Fig. 40a; Lodewijk 1978, illustrated frontispiece; Bol 1982, p. 91; Van Leeuwen 1982, p. 154, Fig. 27b; Haak 1984, p. 249, Fig. 525; Segal in Osaka, Tokyo & Sydney 1990, pp. 196-197 under no. 40, Fig. 40a; Brenninkmeijer-de Rooij 1992, pp. 20-22, Fig. 7; Segal 1994, pp. 93, 101, Fig. 41; Gemar-Koeltzsch 1995, II, pp. 140-141, no. 42/8; Taylor 1995, p. 213, Fig. 100; Dudok van Heel 1998, p. 50; Kloek in Amsterdam & Cleveland 1999-2000, pp. 158-160, no. 24; Chong 1999-2000, pp. 19, 30; Amsterdam 2000, pp. 72-73, no. 24; Meijer 2000, p. 227; Goosens 2001, p. 114 n. 19; Segal 2001a, p. 54, Figs 39 and 39a; Pavord 2010, p. 96. 107 See Chapter 12 for these types of Tulips. 108 Bredius 1915-22, VI, p. 2174. 109 Bergström and others erroneously report that Van Fornenburgh was active from 1608 on due to the misreading of a date. Bergström 1956, p. 84. 110 Montias 1989, p. 70.

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Dated flower pieces are as follows: 1625, previously in the Gemeentemuseum in The Hague, later sold; 1626, 1628, 1629 and 1635 in private collections. Unsigned flower pieces are held by the Städtisches Kramer-Museum in Kempen, the Christiansborg Palace in Copenhagen, and by a number of private collectors. Many works are listed in old inventories. Good quality flower pieces on vellum can be found in the LWL-Museum für Kunst und Kultur in Münster.111 Jan Baptist van Fornenburgh, Flower piece with a mouse and a parrot (Fig. 7.29) Panel, 24.5 x 31.4 cm, signed and dated below right of centre in dark grey: IB . F. 1629. (‘IB’ ligated) Private collection.112 1 Peacock Anemone 2 Pansy 3 Lily of the Valley 4 Provins Rose 5 Dark Columbine 6 Snake’s Head Fritillary 7 Blunt Tulip hybrid 8 Dog’s Tooth Violet 9 Pot Marigold 10 Pot Marigold 11 Stock 12 Dotless Sowbread 13 Rye seeds

Anemone pavonina Viola tricolor Convallaria majalis Rosa x provincialis Aquilegia atrata Fritillaria meleagris Tulipa mucronata x agenensis Erythronium dens-canis Calendula officinalis aurantiaca Calendula officinalis lutea Matthiola incana Cyclamen repandum Secale cereale

Fig. 7.29 Jan Baptist van Fornenburgh, Flower piece with a mouse and a parrot, dated 1629, panel, 24.5 x 31.4 cm, private collection. 111 For further details on the life and work of Jan Baptist Van Fornenburgh see Van Gelder 1926-31; Gammelbo 1965; Bergström 1983 and the Segal Still Life Documentation in the RKD, The Hague. 112 Provenance: P. de Boer Gallery, Amsterdam; collection of W. Reineke, Amersfoort 1962; P. de Boer Gallery, Amsterdam; private collection, Germany 1988; Charles Roelofsz Gallery, Amsterdam 1992-1993; Sotheby’s, London, 4 July 2019, no. 155. Exhibitions & literature: Van Gelder 1926-31, p. 242; Dordrecht 1962, p. 26, no. 51, Fig. 5; Bergström 1963, pp. 448, 450, Fig. 2; Laren 1963, p. 18, no. 70, Fig. 11; Gammelbo 1965, p. 9, no. XIII; Segal in Amsterdam & ’s Hertogenbosch 1982, pp. 41, 94, no. 47; Bol 1982a, p. 260, Fig. 3; Bol 1982, pp. 87-88, Fig. 3; Segal in Delft, Cambridge & Fort Worth 1988-89, pp. 107-109, Fig. 6.6, 234, no. 22; Bernier 1989, pp. 100-101; Montias 1989, p. 70, Fig. 6; Meijer 1991, p. 92; Segal 1994, pp. 97-98, Fig. 37; Vic-sur-Seille 2005, pp. 18-19, no. 14.

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A Great White Butterfly B Four-footed Footman Butterfly c Mosquito d 7-spot Ladybird e Scarce Dagger (?) Caterpillar f House Mouse g Scarlet Macaw

Pieris brassicae Lithosia quadra Culex pipiens Coccinella septempunctata Acronicta auricoma Mus musculus Ara macao

We have been given a good view of both the right and left side of the stone block in the foreground, with its dents and cracks, visually echoed by the stone wall in the background. The chinoiserie vase has been decorated with botanical motifs and two birds, a bird of paradise and a goose. The bouquet is quite colourful, with clear hues in crisp contrast. The outlining is thick in places, executed in short little curved lines. The minimal foliage present has not been worked out in much detail. The parrot’s feathers have been rendered in the same reds, yellows and greens as the flowers in the bouquet. This parrot is nearly identical to one in a 1626 painting by Jeronimus Sweerts (Fig. 7.14); the Tulip is identical to one in a flower piece on vellum: Jan Baptist van Fornenburgh, Flowers in a baroque chinoiserie vase (Fig. 7.30) Watercolour on vellum, 357 x 242 mm, signed lower right in dark brown: . IB.F. (‘IB’ ligated, with a dot above the enlarged I) LWL-Museum für Kunst und Kultur, Münster, inv. no. KdZ 914.113 Van Fornenburgh’s baroque vases were probably devised by his own imagination. In this painting the chinoiserie vase is decorated with birds, its handle delicately looped, while it has also been fitted with ornate gilt mountings displaying four mascarons and a festoon of fruit. 1 Pansy 2 Batavian Rose 3 Austrian Briar 4 Summer Pheasant’s Eye 5 Lungwort 6 Turk’s Cap Lily 7 Blunt Tulip hybrid 8 Purple Tulip hybrid 9 Carnation 10 Pansy

Viola tricolor Rosa gallica cv. Batava Rosa foetida Adonis aestivalis Pulmonaria officinalis Lilium chalcedonicum Tulipa mucronata x T. agenensis Tulipa undulatifolia bicolor Dianthus caryophyllus duplex Viola tricolor

a Sand Lizard Plus four insects on the wing

Lacerta agilis

The pendant to this work likewise displays two Tulips at the top encircled by insects in flight. Both these watercolour drawings are probably from the same period as the previous work, about 1629.114

113 Provenance: unknown. Exhibitions & literature: Bergström 1979-80, pp. 560-561, no. 184; Lammers in Münster & BadenBaden 1979, pp. 334, 341, Fig. 184; Bol 1982a, p. 261; Bol 1982, p. 88; Segal 1994, pp. 97-98, 100, Fig. 38, 118, no. T38. The pendant of Fig. 7.30, also in the LWL-Museum für Kunst und Kultur, Münster: Bergström 1979-80, pp. 560-561, no. 183. 114 See note 113.

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Fig. 7.30 Jan Baptist van Fornenburgh, Flowers in a baroque chinoiserie vase, watercolour on vellum, 357 x 242 mm, LWL-Museum für Kunst und Kultur, Münster.

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Dirck van der Mast

Dirck van der Mast was born in Delft around 1600, son of the portrait painter Herman van der Mast (ca. 1550-1610). Dirck Van der Mast was a member of the Delft Guild of Saint Luke from 1627 until his death in 1662. He married in 1629 and remarried in 1654. Van der Mast was a merchant as well as a painter of fruit pieces, three of which are listed in a Delft inventory of 1660.115 Currently only one work is known with certainty to be his, a painting dated 1656 now in a private collection (Fig. 7.31).116 The centrepiece of this work is a chinoiserie vase with flowers; to the left of it is a large Chinese bowl with different kinds of grapes and to the right a basket with various kinds of fruit, plus yet more fruit piled on the table. A timepiece on a red ribbon rests at the table’s edge. This bouquet exhibits similarities to the work of Jacob Vosmaer (cf. Fig. 6.9), while the composition suggests the influence of Balthasar van der Ast – both residents of Delft – although no timepiece can be found in the works of these two artists. The bouquet contains a White Rose, Provins Rose, three different kinds of Tulips, African Marigold, Turk’s Cap Lily, Columbine, German Iris, Larkspur and Lily of the Valley. Bol suggested that, with a change of signature, the work of Van der Mast could be taken for the work of Balthasar van der Ast, but there is too great a difference in their styles for this to actually hold true.117

Fig. 7.31 Dirck van der Mast, Flowers in a chinoiserie vase and fruit in a bowl and in a basket, dated 1656, panel, 68 x 92.5 cm, private collection.

115 Archief Abraham Bredius, RKD, The Hague, no. 0380. 116 Signed and dated: DV Mast 1656. Provenance: Slavin Collection, Paris; S. Nystad Gallery, The Hague. Literature: Faré 1962, I, pp. 49, 115 as ‘Du Mast’; Bol 1969, pp. 46-47, Fig. 39; Mitchell 1973, p. 167, Fig. 232; Bol 1982a, pp. 262-265, Fig. 9; Bol 1982, p. 90, Fig. 9; Haak 1984, p. 324, Fig. 691; Gemar-Koeltzsch 1995, III, p. 638, no. 227/1. I have not seen the original painting. 117 Bol 1982, p. 90.

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Joris Gerritsz van der Lier

Joris Gerritsz van der Lier was also a citizen of Delft. He was born about 1589, learned to draw from Carel van Mander II (ca. 1579-1623) in Delft, and travelled to Paris and Rome in 1611. He registered in the Delft Guild of Saint Luke in 1623. Adriaen Cornelisz Linschoten (ca. 1590-1677) was his apprentice. Around 1640 he became a tax official. Joris Van der Lier died in 1656. According to Montias, Van Lier specialized in flower pieces but had little success. It is said that Jacob Vosmaer used to make finishing touches to his flower pieces.118 Only a few of his works are listed in Delft inventories.119 A document dated 1637 mentions the sale and transport of a flower piece by Van der Lier. A Paris sale in 1817 refers to ‘deux tableaux de fruits’ by ‘J. Lier’.120 Not a single work by him is known today.

Johannes Baers

The painter Johannes (or Jan) Baers remains somewhat obscure. He lived and worked in Utrecht, and there is documentation for him from the year 1624 until his death in 1641.121 A few flower and fruit pieces by him are known today. A kitchen piece and a genre piece are mentioned in a 1638 inventory. Seven signed works are known by Johannes Baers, three of which are dated between 1625 and 1633. From these it is evident that he borrowed ideas from various other artists. His fruit pieces are indebted to both Ambrosius Bosschaert II and Balthasar van der Ast, the latter especially for his bumblebees in flight and other insects; other details are reminiscent of Roelandt Savery. These three painters were also active in Utrecht. Various other paintings are strongly derivative of the work of the Delft painter Jacob Vosmaer. There are many specific borrowings from Vosmaer, but the colour pattern has always been altered. In general, his bouquets are more loosely arranged and there is more supplementary work than in Vosmaer’s. Johannes Baers, A bouquet and insects on the wing in a niche (Fig. 7.32) Panel, 59.5 x 47 cm, signed lower left in dark brown: J. Baers f. Private collection.122 Four Tulips dominate this bouquet. At the top is a Leafless Iris (Iris aphylla) and in the lower right a Batavian Rose; the larger flowers are accompanied by Carnations, Hyacinths, and a Star Anemone. Our attention is drawn to the many insects in this work – some have alighted on the walls of the niche, others are in flight: a Painted Lady Butterfly on the left and a Cabbage White on the right; a Dragonfly in the upper left and a Greenbottle Fly in the lower left; a Honeybee rests on a Tulip to the left, while an Earth Bumblebee has alighted on the right side of the Tulip and another of the same species is in flight in the upper right; in the upper left we also see a Scorpion Fly (Panorpa spec.) in flight. Certain details reveal that the painter did not work directly from nature. A blossom of Stock in the centre left has five instead of four petals; the Hyacinth in the lower right has, just like the Rose, thorns along its stem and stalks; the butterflies look like they have been taken from an engraving. The Tulip on the right is the same as a Tulip in a 1613 work by Jacob Vosmaer;123 the open Tulip in the lower left and the Anemone are the same as those in a painting by Vosmaer of 1616;124 and the Rose is a replication of yet another of Vosmaer’s works.125 Furthermore, a large portion of this bouquet can be found repeated in another work by Baers, a fruit and flower composition à la Van der Ast in the same glass vase, while yet another section of the bouquet can be found replicated in a different composition of the artist, this time placed in a porcelain vase with the Tulip on the right lying on the table-top.126 This repetition of motifs in Baers’ oeuvre is not unheard of in the works of other artists including, for example, those of Jacob Vosmaer and Jan Baptist van Fornenburgh. 118 119 120 121 122 123 124 125 126

Obreen 1877-90, V, p. 59; Montias 1982, pp. 46, 164. Montias 1982, pp. 164, 339. Cornelis Hofstede de Groot fiches, RKD, The Hague, no. 0351, card no. 1280195. According to Van der Willigen & Meijer 2003, p. 30, Johannes Baers is possibly identical to a ‘liefhebber’ (‘art lover’) named Hans Baers, who was registered in the Antwerp Guild of Saint Luke in 1618. Provenance: collection of Prof. Dr. J.C. Hänsel, Germany; collection of W.M.J. Russell, Amsterdam. Exhibitions & literature: Bol 1969, p. 43, Fig. 37, as Jacob Vosmaer; Amsterdam 1970a, pp. 6-7, no. 3; Bergström 1972, p. 36, Fig. 5; Van Leeuwen 1982, pp. 152-155, no. 27; Bol 1982, p. 78, Fig. 2; Segal in Osaka, Tokyo & Sydney 1990, pp. 89, 193-195, no. 38. Panel, 85.1 x 62.5 cm, New York, The Metropolitan Museum of Art, inv. no. 71.5. Liedtke 2007, I, p. XI and II, pp. 927-930, no. 213, Fig. 213. Panel, 79 x 61 cm, dated 1616, private collection. Auckland 1982, p. 153, Fig. 27a. Panel, 44 x 32 cm. Amsterdam 1935, p. 11, no. 53, as Jacob de Gheyn. Panel, 64.5 x 89.5 cm, private collection (repetition of a diagonal swath containing the Tulip centre left, the Tulip centre right, the Anemone and the Rose in the lower right); canvas, ca. 120 x 160 cm, private collection (this work contains replications of most of the flowers seen here).

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Fig. 7.32 Johannes Baers, A bouquet and insects on the wing in a niche, panel, 59.5 x 47 cm, private collection.

Other Painters of the Northern Netherlands Cornelis de Beer

Cornelis de Beer was probably born in Utrecht around 1585. He was an apprentice there under Abraham Bloemaert and possibly also Joachim Wtewael (1566-1638), and became a master painter in 1616-1617. While still quite young he moved to Madrid, where in 1618 he became apprenticed to Francisco de Balera, a relationship that lasted three years. He died in Madrid in 1651. De Beer painted portraits, religious subjects, and flower still lifes. A number of engravings of his works are known, including a flower piece (Fig. 10.31).127 Cornelis de Beer was father of the engraver Maria Eugenia de Beer (active 1640-1652), who made portrait prints of the Spanish nobility, in addition to a series of illustrations of birds collected together in a book dedicated to the prince Baltasar Carlos.128

Harmen van Bolgersteyn

Harmen van Bolgersteyn was probably born in Delft around 1584. He was active as a painter and tapestry designer. He entered the Delft Guild of Saint Luke in 1613 and in 1640 stepped down as dean. He was a contemporary of Jacob Vosmaer. The Frisian Aernout Gewalt (1609-after 1637) was apprenticed to him in the years 1627-1628. According to Montias, Harmen van Bolgersteyn primarily painted flowers, but also fruit pieces and portraits.129 No flower pieces are known today.

127 For further information regarding his life and an overview of his oeuvre see Carrete Parrondo et al. 1987, p. 321; London 1995, pp. 80, 149 and Cherry 1999, pp. 160, 301-303, Fig. 234. For the engravings see Chapter 10. 128 Carrete Parrondo 1982. 129 Montias 1982, pp. 141, 194, 203, 334; Bredius 1915-22, VI, pp. 2157-2158.

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Boys

The 1641 Leiden inventory of Claes Adriaensz van der Maes lists ‘een blompot door Boys’ (‘a flowerpot by Boys’).130 Nothing more is known about this artist.

Camphuysen

A 1634 Rotterdam inventory mentions a polished ebony flowerpot by Camphuysen.131 In 1774 a flower piece on panel by Camphuysen was sold at an Amsterdam auction.132 No flower pieces are known today. The work mentioned in the Rotterdam document could have been executed by Dirck Govertsz Camphuysen (1574-1646). Old inventories list kitchen, laid table, fruit and game still lifes for this Dirck Govertsz or a family member of the same name who has remained unknown and was active around 1640. Of all the painters in this period with the name ‘Camphuysen’, he is the only one who was referred to as a painter of still lifes, although his pupil Dirck Rafaelsz Camphuysen (1586-1627) could also be a possibility. As for the painting auctioned in 1774, it could have been executed by one of these artists, or perhaps by Govert Dircksz Camphuysen (ca. 1623-1672).133 He is known for his stable pieces and a few kitchen pieces, but also painted animals, landscapes and portraits.134

Johannes Flups

In 1647 The Hague Guild of Saint Luke auctioned three flower pieces by Johannes Flups: twice a ‘blompotje’ (‘small flowerpot’) and one ‘blommandeken’ (‘basket with flowers’).135 Nothing more is known about this artist. If ‘Flups’ is perhaps a corrupted form of ‘Fillipsz’, then it may be pertinent that the death of the widow of a Hans Fillipsz is recorded in Amsterdam in 1684.136

Frans van Dalen

Frans van Dalen, probably identical with François van Daellen (active 1636-1651), was registered in the Guild of painters in The Hague in 1636 as an apprentice of the portrait painter Joachim Houckgeest (ca. 1585-before 1644). Van Dalen is further documented in 1651, when in order to cancel an outstanding debt owing to him he received several paintings from Abraham van Beyeren.137 His known work consists of an interior piece, three vanitas still lifes, and two flower pieces. He signed with the monogram FVD, or with Fv DALE (‘Fv’ ligated), or with F V Daellen. Frans van Dalen, Flowers in a glass vase (Fig. 7.33) Canvas, 56.5 x 45 cm, signed in monogram lower left: FVD Private collection.138 Provins Rose Austrian Briar Pear blossom Iberian Iris Foxtail Turban Buttercup

Rosa x provincialis Rosa foetida Pyrus communis Iris x iberica Digitalis purpurea alba Ranunculus asiaticus albus

There is a very high degree of contrast in this painting between the light-coloured flowers and the dark background. Van Dalen’s vanitas still lifes are composed with the same simplicity as this flower piece.139

130 131 132 133 134 135 136 137 138 139

Bredius 1915-22, II, p. 565. Alting Mees 1913, p. 247: inventory of Cornelis van Nerven: ‘Een ebbengepolijst bloempot van Camphuysen ƒ 12.-’. Amsterdam, 27 April 1774, no. 371. Van der Willigen & Meijer 2003, p. 60, consider Rafael I or Joachim Camphuysen a possibility for the 1774 work. For painters with the name Camphuysen see Bredius & Moes 1903; Thieme & Becker 1907-50, V, pp. 465-466; XIV, pp. 452453; XIX, p. 509. Bredius 1915-22, II, p. 461. Van der Willigen & Meijer 2003, p. 84. Bredius 1915-22, IV, p. 1168. Provenance: Kohn, Paris, 10 December 1996, no. 15, and 16 December 1997, no. 110. I have not seen the original. The other flower piece (canvas, 33 x 31 cm) was in a sale at Christie’s in London on 15 March 1974, no. 75.

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Fig. 7.33 Frans van Dalen, Flowers in a glass vase, canvas, 56.5 x 45 cm, private collection.

Maria de Grebber

Maria de Grebber was born about 1602 in Haarlem. She learned to paint from her father, the history and portrait painter Frans Pietersz de Grebber (ca. 1573-1649) and her brothers Pieter and Albert. In 1629 she married Wouter de Wolff from Utrecht. They moved to Enkhuizen where Maria de Grebber died in 1680. Only two portraits by her hand are known today.140 According to Immerzeel, De Grebber also painted historical scenes, flowers and fruit.141

Margareta de Heer

Margareta de Heer was born in Leeuwarden, in the province of Friesland, around 1600 and trained with her father, the glass painter Arjen Willems. In 1628 she married the painter Andries Pietersz Nijhoff, by whom no works are known today. She remained in Leeuwarden until 1636, and from that time until 1646 she was alternately there or in Groningen, but from 1646 on permanently back in Leeuwarden, where she died before 1665. Margareta was probably apprenticed to Lambert Jacobsz (1595-1636).142 Dated work is known from between the years 1644 and 1659. Margareta de Heer painted several small still lifes in oils, including a shell piece, an insect piece, a kitchen piece, and also seascapes, as well as other genres. Her little flower pieces are very simple representations of separate flowers or studies on a single sheet, with butterflies and insects, done in body colour or watercolour on parchment or paper. A sheet dated 1651 with Roses is in the collection of the Amsterdam Museum.143 140 About Maria de Grebber see Van Thiel-Stroman in Haarlem & Worcester 1993, pp. 228-229; Kloek, Peters Sengers & Tobé 1998, p. 142 and Van Thiel-Stroman in Antwerp & Arnhem 1999-2000, pp. 152-153. 141 Immerzeel 1842-43, I, p. 292. 142 Bakker 2008b, p. 48. 143 For more about her work see Karstkarel 1978 and Leeuwarden 2002.

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Margareta de Heer, Roses with butterflies and other insects (Fig. 7.34) Pen and brown ink, watercolour and body colour on vellum, 179 x 268 mm, signed and dated lower right in brown ink: Margareta de Heer / Fecit 1651 Amsterdam Museum, Amsterdam, inv. no. TA 18188.144

Fig. 7.34 Margareta de Heer, Roses with butterflies and other insects, dated 1651, pen and brown ink, watercolour and body colour on vellum, 179 x 268 mm, Amsterdam Museum, Amsterdam.

1

Provins Rose

Rosa x provincialis

A B C D E F G H i j k l

Angel Shades Moth Painted Lady Butterfly Peacock Butterfly Buff Ermine Moth Orange Tip Butterfly Hornet Moth Queen of Spain Fritillary Butterfly Lunar Hornet Moth Biting Midge Black Ground Beetle Walker Beetle Wood Carabid Beetle

Phlogophora meticulosa Vanessa cardui Inachis io Spilarctia lutea Anthocharis cardamines Sesia apiformis Issoria lathonia Sesia bembeciformis Ceratopogonidae Pterostichus melanarius Polyphylla fullo Carabus nemoralis

144 Provenance: collection of C. Kramm (CK stamped on verso), Utrecht; sale T. Bom, Amsterdam, 30 November 1937, bought by Museum Fodor, Amsterdam. Exhibitions & literature: Kramm 1857-64, III, p. 658; Amsterdam 1938-39, no. 50; Haarlem 1953, p. 12, no. 69; Washington etc. 1958-59, no. 56; Dordrecht & Amsterdam 1959-60; Bol 1963, p. 21, no. 22; Bol 1981d, pp. 758-759, Fig. 15; Bol 1982, p. 75, Fig. 14; Broos & Schapelhouman 1993, no. 70, Fig. 22, as Bartholomeus Assteyn; Gemar-Koeltzsch 1995, II, p. 478, no. 165/2; Frankfurt & Haarlem 1997-98, p. 163, no. 105; Leeuwarden 2002, pp. 38, 122, no. 8.

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Lettré

The 1653 inventory of Jan Cartwright of Vianen lists three paintings – a ‘tulpa’ (‘Tulip’), a ‘fruytage’ (‘fruit piece’) and a ‘tulpa met een vogeltien’ (‘Tulip with a bird’) – by a certain Lettré.145 It is unclear, who precisely Lettré actually is. No works by this artist are known today.

Judith Leyster

Judith Leyster was born in 1609 in Haarlem. Leyster is one of the few seventeenth-century women to be admitted as a member of a Haarlem Guild of Saint Luke in 1633. In 1636 she married the genre painter Jan Miense Molenaer. From 1637 to 1648 she lived in Amsterdam, from 1648 to 1645 in Heemstede (near Haarlem), followed by a short period in Amsterdam again, before returning to Heemstede. The couple had five children together. Judith Leyster died in 1660. In 1635 her apprentices were David de Bary and Willem Wouters, both little-known artists. Judith Leyster painted genre pieces and portraits in particular, but a single flower piece and a sumptuous still life by her are also known.146 Furthermore, she painted a Tulip in watercolour dated 1643 currently held by the Frans Hals Museum in Haarlem.147 Her style is relatively broad and makes use of opaque pigment, which leads one to infer the influence of Frans Hals, fellow resident of Haarlem. She signed J. Ley* (with a star for the final syllable of her name –ster, the Dutch word for star). Her one flower piece of 1654 – much later than her genre paintings which date from before her marriage – is signed with her married name. Judith Leyster, Flowers in a porcelain vase, with some fruit (Fig. 7.35) Panel, 69.7 x 50.4 cm, signed and dated lower centre in black brown: Judith . molenaers 1654. Private collection.148 1 French Rose 2 Small Daffodil 3 Frankfurt Rose 4 Rose of Sharon 5 Pot Marigold 6 Carnation 7 White Rose 8 Oxlip 9 African Marigold 10 Marvel of Peru 11 Honesty 12 Blunt Tulip hybrid 13 Candytuft (?) 14 Snapdragon 15 Needle Tulip 16 Madonna Lily 17 Columbine 18 Tapered Tulip 19 Martagon Lily 20 Forget-me-not 21 Turk’s Cap Lily 22 Meadow Buttercup 23 Bindweed 24 Maltese Cross 25 Carnation 26 Carnation 27 Pansy 28 Carnation 29 Narcissus ‘Van Sion’ 30 Iberian Iris 31 Columbine 32 Greengage Plums 33 Peach

Rosa gallica subplena Narcissus minor Rosa turbinata Hibiscus syriacus Calendula officinalis Dianthus caryophyllus plenus Rosa x alba plena Primula elatior Tagetes erecta Mirabilis jalapa Lunaria annua Tulipa mucronata x T. undulatifolia Iberis sempervirens Antirrhinum majus Tulipa acuminata Lilium candidum Aquilegia vulgaria alba Tulipa armena alba Lilium martagon Myosotis palustris Lilium chalcedonicum Ranunculus acris Calystegia sepium Lychnis chalcedonica plena Dianthus caryophyllus albus Dianthus caryophyllus bicolor Viola tricolor Dianthus caryophyllus albo-violaceus Narcissus pseudonarcissus cv. Capax Plenus Iris x iberica Aquilegia vulgaris Prunus domestica cv. Italica Prunus persica

145 Van Meurs 1908, p. 239. 146 For further details on the life and oeuvre of Judith Leyster see Hofrichter 1989; Haarlem & Worcester 1993 and Van Thiel-Stroman in Biesboer & Köhler 2006, pp. 223-226. 147 Tulip book, 382 x 272 mm, Haarlem, Frans Hals Museum, inv. no. 21497, fol. 29. 148 Provenance: probably Jan Miense Molenaer, Haarlem 1668. Exhibitions & literature: Haarlem & Worcester 2002 (not in catalogue); Haarlem 2009-10, pp. 26-28, Figs 24-25. I discovered the painting in 1995 and provided it with a full report.

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Fig. 7.35 Judith Leyster, Flowers in a porcelain vase, with some fruit, dated 1654, panel, 69.7 x 50.4 cm, private collection.

A B C D

Red Admiral Butterfly Magpie Moth Great White Butterfly Japanese Wonder Shell

Vanessa atalanta Abraxas grossulariata Pieris brassicae Thatcheria mirabilis

The painting is probably the ‘blompotje van Juffr. Molenaer’ (‘flowerpot by Mistress Molenaer’) listed in the 1668 inventory of Judith’s husband Jan Miense Molenaer.149 Unfortunately the condition of the painting is not at its best, which leads to some uncertain identifications. Her other works place Judith Leyster well within the second quarter of the seventeenth century, but based on this one flower piece she could also be situated later, among the artists who applied paint with a looser brushstroke, such as Abraham van Beyeren. However, her style and the composition with what is probably a Chinese vase set her apart from those painters. An unsigned smaller flower piece that was auctioned in 1999 in London as ‘circle of Jacob Woutersz Vosmaer’ may also have been painted by Judith Leyster. That work displays thirteen species of flowers under an arched niche, five of which also appear in the painting under discussion here; furthermore, the bouquet is in a similar white and blue porcelain vase – although in the smaller work it has a slender Chinese form – and on the floor of the niche a Brown Frog and the same Japanese Wonder Shell, which I have never seen in any other painting.150

149 Bredius 1915-22, I, p. 5 under no. 81. 150 Panel, 45.5 x 29.8 cm, Phillips, London, 14 December 1999, no. 44, as circle of Jacob Woutersz Vosmaer.

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Cornelis Stooter

Cornelis Stooter was born in Leiden, where he was married in 1623. From 1644 on he was dean of the newly established Guild of Saint Luke there. Stooter died in 1655. He painted marine pieces, landscapes, portraits and genre pieces. According to a 1637 contract, Cornelis Stooter sold Jacob Desprez a ‘seeckere schilderye, wesende een blompot’ (‘certain painting, a flowerpot’).151 No flower pieces by this artist are known today.

Monogrammist JF

A number of flower pieces are monogrammed JF (ligated), including two in the Anhaltische Gemäldegalerie Dessau, Schloss Georgium. Who this JF was remains a riddle. The paintings have been variously attributed to Jakob Flegel (active 1600-1623), Jan Baptist van Fornenburgh, and Jeremias Falck (ca. 1610-1677), who was born in Danzig and is known as an engraver of portraits. But the works in question differ from those of these three artists.152 Monogrammist JF, Flower piece with Tulips, Roses and Crocuses (Fig. 7.36) Panel, 46 x 38 cm, monogrammed lower left in brown: JF (ligated) Private collection.153 In a triangular vase the following species may be identified, some with less certainty than others: 1 2 3 4 5 6 7 8 9

Lily of the Valley Small Morning Glory Provins Rose Sweet Briar (?) Golden Crocus (?) Great Spearwort Blunt Tulip Tazetta Narcissus Golden Narcissus

Convallaria majalis Convolvulus tricolor Rosa x provincialis Rosa rubiginosa Crocus cf. flava Ranunculus lingua Tulipa mucronata f. obtusa bicolor Narcissus tazetta Narcissus tazetta subsp. aureus

Fig. 7.36 Monogrammist JF, Flower piece with Tulips, Roses and Crocuses, panel, 46 x 38 cm, private collection. 151 Bredius 1937, p. 253. 152 A vanitas painting (panel, 46 x 38 cm, Indianapolis, Indianapolis Museum of Art, inv. no. 59.27) signed by J. Falck and dated 1629 has also been attributed to this Jeremias Falck, but is quite different in style from the latter’s known work. Amsterdam 1933, no. 92. 153 Provenance: Koller, Zurich, 20 September 1996, no. 50, as by Jeremias Falck; Dorotheum, Vienna, 12 March 1998, no. 214, as by J. Falck; Sotheby’s, London, 26 April 2001, no. 88, as by Jeremias Falck; Dorotheum, Vienna, 3 October 2001, no. 389, as by J. Falck, and 31 March 2002, no. 268, as by J. Falck. Literature: Van der Willigen & Meijer 2003, p. 226 as monogrammist JF and related to Hans Bollongier, Jacob Marrel and the Bosschaert group.

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Simon Peter Tilman

Simon Peter Tilman was born in Lemgo, Germany in 1601. He learned to paint from his father, Johann Tilemann (1563-1617), who had settled in Bremen in 1614 and was active as painter in the service of the Count of Lippe. In 1625 Simon travelled to Holland and then back to Germany and on to Bohemia, Hungary and Italy. In 1633 he was again in Utrecht, where he remained until 1646 when he returned to Bremen. He died in 1668. Tilman painted portraits and genre pieces predominantly, but also fruit pieces which exhibit the influence of Marrel and other artists in Utrecht. In 2007 a flower piece with fruit by Simon Peter Tilman was discovered. Simon Peter Tilman, Flowers in a stoneware vase and fruit (Fig. 7.37) Canvas, 61.3 x 51 cm, signed and dated lower right in brown: SPTilman. f.1637. (‘SPT’ ligated) Private collection.154 In a smoothly glazed earthenware vase we see a Batavian Rose (Rosa gallica cv. Batava), a white and pink Chinese Rose (Hibiscus rosa-chinensis), and Turk’s Cap Lily (Lilium chalcedonicum), and on the stone table-top plums, peaches, apples, gherkins and a gourd.

Fig. 7.37 Simon Peter Tilman, Flowers in a stoneware vase and fruit, dated 1637, canvas, 61.3 x 51 cm, private collection.

154 Provenance: Bonhams, London, 5 December 2007, no. 38.

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Artists of the Southern Netherlands

Artists in the Tradition of Jan Brueghel I Jan Brueghel II

Jan Brueghel I was succeeded by his oldest son and apprentice, Jan II. The younger Jan was born in 1601 in Antwerp; his mother was Isabella de Jode, who died in 1603. From 1622 to 1624 he travelled through Italy. In the year 1625 he was confronted with the sudden death of his father and three sisters during an epidemic of the plague. In that same year he entered the Antwerp Guild of Saint Luke as a master painter. From this time he changed his name from ‘Brueghel’ to ‘Breughel’.155 He took over his father’s studio, completed a number of paintings his father had left unfinished, and copied others. In 1626 he married Anna Maria Janssens (ca. 1605-1668), a woman artist and daughter of the painter Abraham Janssens (1567-1632). They had eleven children together, of whom the sons Jan Pieter, Henri Ferdinand, Abraham, and Jan Baptist also painted flowers, while his son Philip painted other kinds of still lifes.156 In the early years the painting as a business did not go well for Jan II, who was also active as an art dealer. In 1651 he made several business trips to Paris where there was a demand for work by the Brueghels and where a couple of his sons eventually established themselves. His workshop produced many flower pieces as well as other kinds of flower still lifes, plus mythological and allegorical paintings, in collaboration with other artists. Jan Brueghel’s apprentices included his wife, Anna Maria Janssens, and all of the abovementioned children, as well as his nephew Jan van Kessel I (1626-1679), Peeter Gysels (1621-1690), and quite likely his younger half-brother Ambrosius Brueghel (1617-1675), too. Jan Brueghel II died in Antwerp in 1678. There are no dated flower pieces currently known by this artist, although dated cartouches with flowers from 1636 and 1653 are extant, a subgenre executed in imitation of Daniël Seghers. Very few works are signed. Because he completed and copied works of his father, and because we often have multiple versions of paintings, it is not always easy to assign attribution with certainty, especially when you take into consideration that Jan II’s works were copied in turn or imitated by others. However, in much of his work a personal style is evident, sometimes rather exact and detailed, but later also increasingly loose.157 Flower pieces held in public collections, some of them copies of Jan Brueghel I and all of them unsigned, may be found in (but are not restricted to) the following museums: the Rijksmuseum in Amsterdam; the Koninklijk Museum voor Schone Kunsten in Antwerp; the Szépmüveszéti Múzeum in Budapest; the Detroit Institute of Arts; the Alte Pinakothek in Munich; the Metropolitan Museum in New York; the National Gallery of Canada in Ottawa; the Ashmolean Museum in Oxford; the Norton Simon Museum in Pasadena; the Museum Boijmans Van Beuningen in Rotterdam; and the Nationalmuseum in Stockholm.158 Jan Brueghel II, Flowers in a metal vase (Fig. 7.38) Panel, 48.5 x 36 cm. Private collection.159 The bouquet of Flowers in a metal vase is based on the works of Jan Brueghel I and in it we can find a number of flowers from that artist’s paintings. For example, seven flowers are identical to those in a flower piece by Jan Brueghel I of 1605 discussed above (Fig. 6.23), including the Tulip in the upper right, which we also encounter in Jan Brueghel I’s Flowers in a wooden tub (Fig. 6.26) and other works by both Jan Brueghel I and Jan Brueghel II. Flowers in a metal vase seems to be a more fully executed version of

155 156 157 158

Essen, Vienna & Antwerp 1997-98, pp. 10, 15. See Chapter 8. For an analysis differentiating him from his father see the discussion of Jan Brueghel I in Chapter 6. A catalogue raisonné was compiled by Ertz in 1984, although it requires further critical research, as do a number of attributions to Jan Brueghel II made by Hairs 1985, I, pp. 223-235, II, pp. 15-17; Brenninkmeijer-de Rooij 1996, pp. 79-83 and others. 159 Provenance: collection of Käthe Ostner, Germany; Sotheby’s, London, 6 December 1989, no. 83; Galerie De Jonckheere, Paris. Exhibitions: Segal in Osaka, Tokyo & Sydney 1990, pp. 95, 204-205, no. 45.

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a simpler work by Jan Brueghel II now in the Ashmolean Museum in Oxford (Fig. 7.39).160 Therefore in the species list, the ‘^’ indicates which species are identical and occur in a corresponding position in the bouquet, and those that show only great similarity with a ‘+’ sign.

Fig. 7.38a Sketch of the species in Fig. 7.38.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37

Liverwort ^ Annulated Sowbread (leaf) ^ Forget-me-not ^ White Rose ^ Winter Aconite ^ Blue Mountain Anemone ^ Bluebell Golden Crocus ^ Stock Poppy Anemone ^ Bird’s Eye Primrose Borage ^ Tapered Tulip Full Campernelle Narcissus ^ Pot Marigold False Larkspur Primrose Peerless Autumn Pheasant’s Eye Red Tulip hybrid Spreading Bell-flower Turk’s Cap Lily ^ Two-styled Hawthorn White Flag Iris hybrid Summer Snowflake Carrot blossom Maltese Cross Blunt Tulip hybrid Sweet Briar + Star Anemone Poppy Anemone + Hyacinth Batavian Rose Star Anemone Pansy Mock Orange Kingcup ^ Wild Strawberry

Hepatica nobilis plena Cyclamen hederifolium Myosotis scorpioides Rosa x alba plena Eranthis hyemalis Anemone apennina lilacina Hyacinthoides non-scripta alba Crocus flavus Matthiola incana alba Anemone coronaria plena Primula farinosa Borago officinalis Tulipa armena rubro-lutea Narcissus x odorus cv. Rugulosus-plenus Calendula officinalis Consolida ajacis Narcissus x medioluteus Adonis annua Tulipa agenensis x T. mucronata Campanula patula L. Lilium chalcedonicum Crataegus laevigata Iris albicans x I. pallida Leucojum aestivum Daucus carota Lychnis chalcedonica Tulipa mucronata x T. agenensis Rosa rubiginosa Anemone hortensis rubra Anemone coronaria grandiflora plena Hyacinthus orientalis laxiflorus Rosa gallica cv. Batava Anemone hortensis lilacina Viola tricolor Philadelphus coronarius Caltha palustris plena Fragaria vesca

a b c d e f g h i j k

Orange Tip Butterfly ^ Common Blue Butterfly + Blue-tailed Damselfly Dung Fly (?) Mother Care Spider + Oak Bush Cricket (?) Speckled Longhorn Beetle Sabe Wasp + 7-spot Ladybird Cardinal Beetle Half Moon-spot Hoverfly ^

Anthocharis cardamines Polyommatus icarus Ischnura elegans Scatophaga stercoraria Phylloneta sisyphia Meconoma thalassinum Rutpela maculata Rhyssa persuasoria Coccinella septempunctata Pyrochroa coccinea Scaeva pyrastri

160 Oxford, Ashmolean Museum of Art and Archaeology, inv. no. A541. Van Gelder 1950, pp. 58-59, no. 17, as Jan Brueghel I; Ertz 1984, pp. 441-442, no. 277, as Jan Brueghel II; Meijer 2003, pp. 186-188, no. 21, as attributed to Jan Brueghel II or studio of Jan Brueghel I.

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Fig. 7.38 Jan Brueghel II, Flowers in a metal vase, panel, 48.5 x 36 cm, private collection.

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Fig. 7.39 Jan Brueghel II, Flowers in a glass vase, panel, 47 x 35 cm, Ashmolean Museum of Art and Archaeology, Oxford.

This vase of flowers has much in common with the bouquets of Jan Brueghel I and yet it displays its own character. The projection of the individual flowers into the surrounding space is forceful and energetic and may be considered one of the primary examples of its type. Such bouquets are usually placed at the beginning of Jan Brueghel II’s career, and in the case of much of the studio work this may in fact be correct. However, the piece here must have been executed at a later date, probably in the 1640s. An independent personal style has been stamped on the work, which may be seen in the following traits. The bouquet is less clearly built up out of layers as in the work of Jan Brueghel I, and the colour arrangement is also different. The vertical central axis made up of white flowers is surrounded by large red and pink blooms, while in between little blue and white blossoms radiate out; superimposed on this whole are yellow flowers that form a triangle around the White Rose in the lower centre. A number of characteristics from Jan II’s early period are also absent, such as the imaginary ‘fill flowers’, which again indicates that this is probably a later work. Everything in the painting has been worked out with the highest degree of precision. The metal vase with its ornamented foot, the reflection of the studio window, and the inclusion in the bouquet of such flowers as the frilly Carrot blossom of the Umbelliferae family, as well as insects and the little spider, point to the influence of painters such as Jan Davidsz de Heem and Jacob Marrel. A nearly identical vase may be seen again in a painting by Abraham Mignon.161 161 Canvas, 90 x 72.5 cm, The Hague, Mauritshuis, inv. no. 111. Hoetink 1977, p. 157; Kraemer-Noble 1973, p. 23, no. A 34, Pl. 10.

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Anna Maria Janssens

Anna Maria Janssens, born about 1605 in Antwerp, was the daughter of Abraham Janssens, a painter of portraits and historical scenes who worked with Jan Brueghel II. She married Jan Brueghel II in 1626, who probably also taught her to paint. Only a single work of hers is now known: a large format flower piece currently held in a private collection. In a pear-shaped glass is a bouquet remarkable for the many different varieties of Iris it contains, their thin narrow leaves arching up above the Roses and other smaller flowers (Fig. 7.40).162

Fig. 7.40 Anna Maria Janssens, Flowers in a glass vase, panel, 104.4 x 67.6 cm, private collection.

162 Panel, 104.4 x 67.6 cm, signed lower right ANNA.IANSSENS. I have not seen the original work. Provenance: J.H.J. Mellaart Gallery, London 1921; Van Diemen Gallery, Amsterdam & Berlin 1928; P. de Boer Gallery, Amsterdam 1938; Lempertz, Cologne, 8 November 1961, no. 78; P. de Boer Gallery, Amsterdam; Filippo Franco Gallery, Brussels 1985. Literature: Warner 1928 (Segal ed. 1975), p. 116, no. 53a; Mitchell 1973, p. 150, Fig. 205; Hairs 1985, I, pp. 236-237, Fig. 63. Hairs states erroneously Anna Maria Janssens became a master of the Antwerp Guild of Saint Luke in 1640. Hairs 1985, I, p. 237.

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Samuel van den Hecken

Samuel van den Hecken was probably born about 1595 in Antwerp, where he was admitted to the Guild of Saint Luke in 1617. In 1617-1618 he travelled to Holland and Frankfurt, and later he moved via Middelburg to the Northern Netherlands. He is documented as being in Leiden in 1629 and in Amsterdam from 1635 to 1637, where his son Abraham (ca. 1615-1655/69) and daughter Magdalena (ca. 1615-after 1635) were working as painters. The date of his death is unknown. Of his works only one flower piece and a landscape with allegories of the Four Elements are known today.163 The flower piece, showing many flowers in a wooden tub, was unmistakeably inspired by a work by Jan Brueghel I of which at least fifteen copies or imitations are known (Fig. 6.26). Samuel van den Hecken, Flowers in a wooden tub (Fig. 7.41) Panel, 106.5 x 74.5 cm, signed on the wooden tub to the right of lower centre in grey: S. VD HECKEN FEC (‘VD’ and ‘HE’ ligated) Private collection.164 1 Opium Poppy 2 Peony 3 White Rose 4 Pansy 5 Peacock Anemone 6 Rock Aster 7 Kingcup 8 Liverwort 9 Sweet Briar 10 Peacock Anemone 11 Spring Snowflake 12 Brueghel Nasturtium 13 Love-in-a-mist 14 Apothecary’s Rose 15 Rape 16 Blue Grape Hyacinth 17 Pot Marigold 18 Annulated Sowbread 19 Carnation 20 Stock 21 Columbine 22 Pot Marigold 23 Tapered Tulip hybrid 24 Wallflower 25 German Flag Iris hybrid 26 White Bachelor’s Buttons 27 Yellow Tulip hybrid 28 Fire Lily 29 Poppy Anemone 30 Tapered Tulip 31 German Flag Iris 32 Madonna Lily 33 Stock 34 Crown Imperial 35 Dog Rose 36 Madder (?) 37 Rosemary 38 English Iris 39 Periwinkle 40 Imbricate Gladiolus 41 Rampion 42 False Larkspur 43 Stock 44 Canterbury Bell

Papaver somniferum albo-rubrum fimbriatum Paeonia officinalis plena Rosa x alba plena Viola tricolor Anemone pavonina lilacina Aster alpinus Caltha palustris plena Hepatica nobilis Rosa rubiginosa Anemone pavonina albo striata Leucojum vernum Tropaeolum brueghelianum Nigella damascena Rosa gallica cv. Officinalis Brassica napus Muscari botryoides Calendula officinalis plena Cyclamen hederifolium Dianthus caryophyllus bicolor plenus Matthiola incana Aquilegia vulgaris bicolor duplex Calendula officinalis Tulipa armena x T. agenensis Erysimum cheiri Iris germanica x I. albicans Ranunculus aconitifolius var. pleniflorus Tulipa chlorantha x T. clusiana Lilium bulbiferum Anemone coronaria Tulipa armena bicolor Iris germanica Lilium candidum Matthiola incana Fritillaria imperialis Rosa canina Rubia tinctoria Rosmarinus officinalis Iris latifolia Vinca minor Gladiolus imbricatus Campanula rapunculus Consolida ajacis pallida Matthiola incana violacea Campanula medium

163 Bredius 1915-22, VII, p. 100. 164 Provenance: Ader & Tajan, Paris, 28 June 1994, no. 23, as attributed to Andries Daniëls; Dorotheum, Vienna, 20 March 1995, no. 75; private collection, Germany; Koller, Zurich, 24 September 2003, no. 3011, and 26 March 2004, no. 3025; Gebr. Douwes Gallery, Amsterdam 2005. Literature: De Maere & Wabbes 1994, I, pp. 198-199.

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Fig. 7.41 Samuel van den Hecken, Flowers in a wooden tub, panel, 106.5 x 74.5 cm, private collection. | 331

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45 Blunt Tulip 46 Pot Marigold 47 Daffodil 48 Tapered Tulip (2x) 49 Hyacinth 50 Winter Aconite 51 Maiden Pink 52 Snowdrop 53 Snake’s Head Fritillary 54 Turk’s Cap Lily 55 Monk’s Hood 56 Carnation 57 Borage 58 Peacock Anemone 59 Batavian Rose 60 Christmas Rose

Tulipa mucronata Calendula officinalis aurantiaca plena Narcissus pseudonarcissus Tulipa armena Hyacinthus orientalis Eranthis hyemalis Dianthus deltoides Galanthus nivalis Fritillaria meleagris Lilium chalcedonicum Aconitum napellus Dianthus caryophyllus plenus albescens Borago officinalis Anemone pavonina lutescens Rosa gallica cv. Batava Helleborus niger

a Copse Snail b Reddish-brown Squirrel

Arianta arbustorum Sciurus vulgaris

This flower piece could be the key for determining the attribution of several unsigned works, for example a large work in the Musée des Beaux-Arts in Strasbourg.165

Abraham van den Hecken

Abraham van den Hecken was born in Antwerp about 1615. His father was the painter Samuel van den Hecken, who brought him to live in Holland while still a baby and probably taught him to paint. In 1635 Abraham married in Amsterdam, where he is documented until 1645. In 1647 he was living in The Hague, from 1649 to 1651 again in Amsterdam, then in 1652 he travelled to London as a wine merchant, but from 1653 until 1655 he is again documented in The Hague. Abraham van den Hecken died between 1655 and 1669, possibly in Amsterdam. He painted religious subjects and genre pieces. A fruit piece of 1653 and a painting of meat, referred to as a slaughter piece, also exist. Additionally a small flower piece is recorded under his name in the 1639 inventory of the Amsterdam jeweller Aert Conincx.166

Magdalena van den Hecken

Magdalena van den Hecken was Samuel van den Hecken’s daughter, referred to by the diminutive Madaleentge. She moved with her father from Antwerp to Amsterdam, where she is documented in 1635.167 Magdalena van den Hecken painted a number of small flower pieces and insect pieces in series, possibly for a cabinet of curiosities. She sometimes signed these in full with her first name ‘Madalena’, or else with her monogram, and sometimes with a spidery signature, which is suggestive of the wriggling legs of insects and contributes to the appeal of these small works. These are primitive but charming paintings in the style of her father and Jan Brueghel. The Fitzwilliam Museum in Cambridge holds four of these small flower pieces in its collection, of which one is signed in full: MADALENA.VD.HECKEN.FES (‘V’ and ‘D’ ligated).168 Four small insect pieces, all signed, are currently in a private collection in Switzerland.169 Magdalena van den Hecken, Flowers in a glass, a pair (Figs 7.42 and 7.43) Panel, 20.8 x 16 cm. Private collection.170 The bouquets have been arranged in the same glass vase with a stem; in one flower piece the side-edge of the stone slab is visible on the right and in the other on the left, outlined in grey. 165 Panel, 110 x 82 cm, Strasbourg, Musée des Beaux-Arts, inv. no. 1970, as after Jan Brueghel I. 166 Bredius 1915-22, I, p. 151, 13-17 April 1639: ‘twee stuckgens noch cleer, d’een met coppen met bloemen van A.B. V.D. Hecken, ‘t ander een lantschapgen’. 167 Bredius 1915-22, VII, pp. 100-101. 168 Panel, 26.5 x 15.2 cm, inv. no. PD.638-1973 (signed); panel, 22 x 12.5 cm, inv. no. PD.639-1973; panel, 31.1 x 18.3 cm, inv. no. PD640A-1973; panel, 30.6 x 18 cm, inv. no. PD.640B-1973. 169 For further details on the life and oeuvre of Magdalena van den Hecken see the Segal Still Life Documentation in the RKD, The Hague. 170 Provenance: Koller, Zurich, 3 November 1995, no. 3008, a pair.

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Plant and animal species in Fig. 7.42 1 Pansy 2 Snowdrop 3 Jasmine 4 Red Columbine 5 Cloth of Gold Crocus 6 Yew branch 7 Love-in-a-mist 8 Rosa Mundi 9 Blunt Tulip 10 Snake’s Head Fritillary 11 Blue Grape Hyacinth

Viola tricolor Galanthus nivalis Jasminum officinale Aquilegia canadensis Crocus angustifolius Taxus baccata Nigella damascena semiplena albescens Rosa gallica cv. Versicolor Tulipa mucronata bicolor Fritillaria meleagris Muscari botryoides

a Housefly b 5-spot Ladybird

Musca domestica Coccinella quinquepunctata

Plant and animal species in Fig. 7.43 1 Provins Rose 2 Snowdrop 3 Yew branch 4 Summer Pheasant’s Eye 5 Pansy 6 Love-in-a-mist 7 French Marigold 8 Lily of the Valley 9 Hyacinth

Rosa x provincialis Galanthus nivalis Taxus baccata Adonis aestivalis Viola tricolor Nigella damascena semiplena albescens Tagetes patula Convallaria majalis Hyacinthus orientalis albus

a Housefly b 7-spot Ladybird

Musca domestica Coccinella septempunctata

Figs 7.42 and 7.43 Magdalena van den Hecken, Flowers in a glass, a pair, panel, 20.8 x 16 cm, private collection.

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Alexander Adriaenssen

Alexander Adriaenssen was born in Antwerp in 1587. In 1597 he became apprenticed to Arthur van Laeck (active 1586-1616), and in 1610 he was admitted to the Antwerp Guild of Saint Luke as a master painter. In 1611 he married Maria Zeeldrayers; they had six children together. In 1632 his apprentice was Philippe Milcx. At that time, he was also a member of the chamber of rhetoric De Violieren and remained with them until 1633 or 1634. In 1635 he contributed to the decorations for Ferdinand of Austria’s royal entry into Antwerp. Alexander Adriaenssen died in 1661. Dated work by his hand is known from the years 1623 through to 1661. Initially he worked in watercolour. He probably first painted laid table still lifes in oils before he began to paint flower pieces and cartouches with flowers. He also executed game and fish still lifes and combinations, for example a scene with a meal, game and flowers, plus heraldic shields. Most of the time he signed in full Alex. Adriaenssen. The flower pieces are painted in the style of the Brueghels and Daniël Seghers, but are less refined. The flowers look more separated from each other on their lightly bent stems. The leaves are somewhat curved and outlined in a light colour of pigment. Usually quite a few fallen petals are strewn in the foreground, and sometimes also a stem of flowers or Rose leaves. In the earlier work of the 1630s the flowers have been placed in a glass vase, primarily or exclusively Tulips or Roses. In later years the flowers are arranged in an opaque ceramic vase decorated in the glaze with mythological figures, such as can also be seen in the works of Jan Brueghel II and other contemporaries. Adriaenssen’s Roses are depicted in different stages of development, just as in the works of Daniël Seghers. Dated flower pieces, all held in private collections, are known for the following years: 1635 or 1636, 1640, 1646 (?), and 1647. In several years, for example 1635, 1646 and 1647, he also painted a vase of flowers as part of a complex still life; and in 1647, in collaboration with Simon de Vos (1603-1676), he painted a cartouche with flowers. The dates on his works are often difficult to decipher, and there are also several undated works.171

Fig. 7.44 Alexander Adriaenssen, Tulips in a glass vase, dated 163[6], panel, 45 x 33 cm, private collection. 171 For a survey of his work see Spiessens 1990; Hairs 1985, I, pp. 361-366, II, p. 3 and the Segal Still Life Documentation in the RKD, The Hague. For his biography see Van Lerius 1880-81, pp. 12-23.

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Alexander Adriaenssen, Tulips in a glass vase (Fig. 7.44) Panel, 45 x 33 cm, signed and dated lower right in grey: Alex Adriaenssen 163[6] Private collection.172 Nine Tulips of five different varieties are seen standing in a Brueghelian cylindrical glass vase with prickly knops, all of them Tapered Tulip (Tulipa armena) or crosses with Red Tulip (Tulipa agenensis). A Blue-tailed Damselfly (Ischnura elegans) has alighted on a bud on the left of the bouquet, and a Peppered Moth (Biston betularia) with wings unfolded is perched on a leaf on the right. A Common Garden Snail (Cornu aspersum) and a Cockchafer Beetle (Melolontha melolontha) are crawling along the wooden ledge, which also has a sprinkling of water drops. The final numbers of the date have been somewhat overcleaned and ‘reinforced’. The year has been variously read as 1616, 1635, 1636 (the most likely date), and 1646. Adriaenssen also painted a bouquet with different types of Roses in a pear-shaped glass, the same kind of container that we frequently encounter in the works of Daniël Seghers.173 What should be particularly remarked upon here are the transparent edges of the Rose petals, painted in a pinky-lilac or lilac-purple hue, similar to the muted colour of one of the Tulips. Alexander Adriaenssen, Flowers in a decorated earthenware vase (Fig. 7.45) Panel, 73 x 48.5 cm, signed and dated lower right in grey black: Alex. Adriaenssen fecit [164]6 Private collection.174 1 Provins Rose 2 White Rose 3 Austrian Briar 4 Tufted Forget-me-not 5 London Pride 6 Siberian Iris 7 Sweet Briar 8 German Flag Iris hybrid 9 Tapered Tulip hybrid 10 Hawthorn 11 Columbine 12 Star Columbine 13 Damask Rose 14 Pansy 15 Rosemary

Rosa x provincialis Rosa x alba plena Rosa foetida Myosotis cespitosa Saxifraga umbrosa Iris sibirica Rosa rubiginosa duplex Iris germanica x I. pallida Tulipa armena x T. agenesis Crataegus monogyna Aquilegia vulgaris Aquilegia vulgaris cv. Stellata Rosa x damascena Viola tricolor Rosmarinus officinalis

A Small Tortoiseshell Butterfly B Peacock Butterfly C Small White Butterfly d Caterpillar e Dragonfly f Cockchafer Beetle

Aglais urticae Inachis io Pieris rapae Lepidoptera spec. Odonata spec. Melolontha melolontha

What is particularly interesting here is that the Provins Roses and Damask Roses have been painted at different stages of development, from bud to full bloom, and even in its wilted state. The vase is decorated in colour with a reclining bacchante. This type of vase was also painted by Jan Brueghel II.

172 Provenance: D. Komter Gallery, Amsterdam/Laren 1925; collection Hendricus Petrus Bremmer, The Hague; Hans M. Cramer Gallery, The Hague 1969; Leonard Koetser Gallery, London. Exhibitions & literature: Bremmer 1925, pp. 47-48, no. 47; The Hague 1925, no. 1; The Hague 1930, no. 1; The Hague 1950, no. 1; Dordrecht 1955, p. 5, no. 1, as dated 1616; Hairs 1965, pp. 248, 345; Mitchell 1973, p. 33; Hairs 1985, I, pp. 361, 364, II, p. 3; Spiessens 1990, pp. 109-110, no. 14, Fig. 9. 173 Canvas, 66 x 49.4 cm, signed with an uncertain date, private collection. Spiessens 1990, pp. 170-171, no. 128, Fig. 78. 174 Provenance: A.F. Mondschein & Co., New York 1944; Victor D. Spark, New York 1950; P. de Boer Gallery, Amsterdam; Charpentier, Paris, 23 May 1951, no. 17; Bruno Meissner, Zurich-Zollikon; Reinier & Elisabeth Schöpke, Frauenfeld 1961; M. Oosterbeek, Frauenfeld 1978-86; Galerie Fischer, Lucerne, 17 June 1977, no. 279; Galerie Fischer, Lucerne, 8 June 1978, no. 327; Galerie Fischer, Lucerne, 17 June 1987, no. 387; Sotheby’s, London, 9 April 1986, no. 54; Sotheby’s, London, 8 April 1987, no. 42; Sotheby’s, London, 5 July 1989, no. 87; Courtalain, Orangerie, according to advertisement in Gazette Drouot, 6 November 1993, p. 263; Piasa, Paris, 17 December 2008, no. 46; Dorotheum, Vienna, 13 October 2010, no. 405; Dorotheum, Vienna, 11 June 2012, no. 231; Dorotheum, Vienna, 11 June 2013, no. 35. Exhibitions & literature: Rotterdam 1951, no. 3; Hairs 1955, p. 193, Fig. 159; Hairs 1965, p. 248, Fig. 55; Hairs 1985, I, p. 364, II, p. 3; Spiessens 1990, pp. 129-130, no. 48, Fig. 32.

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Fig. 7.45 Alexander Adriaenssen, Flowers in a decorated earthenware vase, dated [164]6, panel, 73 x 48.5 cm, private collection.

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Daniël Seghers and his Followers Daniël Seghers

Daniël Seghers was born in Antwerp in 1590. After his father’s death when he was just eleven, he and his mother moved to Holland for religious reasons, probably to Utrecht, where Daniël received a Protestant education and began lessons in painting. He returned to Antwerp in 1609 and became apprenticed to Jan Brueghel I, who converted him to Roman Catholicism. In 1611 he entered the Antwerp Guild of Saint Luke as a master painter and three years later he became a novice in the Society of Jesus and went to study with the Jesuits in Mechelen. He returned to Antwerp in 1618 and after three years he was sent to Brussels. In 1625 he swore the oath of lay-brother, and afterwards he left for Rome, where he worked with the painters Nicolas Poussin (1594-1665) and Domenico Zampieri (1581-1641) and remained until 1627. Thereafter he returned to Antwerp, where he resided until his death in 1661. Daniël Seghers was the initiator of the cartouche still life: a painted stone cartouche adorned with groups of flowers. This idea was imitated by many artists, especially in Flanders, and even by the most important still life painters such as Jan Davidsz de Heem.175 The influence Daniël Seghers exerted on the artistic expression of Flemish flower painters was far greater, and of much longer duration, than that of his former master Jan Brueghel I. Seghers’s documented apprentices were Jan Philip van Thielen (16181667), Ottomar Elliger I (1633-1679), and Ignace Raeth (ca. 1626-1666). Seghers painted flower pieces, wreaths, garlands and cartouches with flowers in the service of the Jesuits. For the central subjects of such works he collaborated with such artists as Peter Paul Rubens, Cornelis Schut, Erasmus Quellinus II, Simon de Vos, Abraham van Diepenbeeck, Thomas Willeboirts Bosschaert and Jan Cossiers. A list that Seghers kept himself of 239 works he painted during his lifetime has been preserved.176 His paintings were not intended to be sold, but rather used to decorate churches, or as goodwill gifts on behalf of the Jesuit Order to aristocratic and royal rulers, as well as top diplomats. One painting, for example, was presented in 1631 to Maria de’ Medici in Paris, whilst another travelled as far as China in this way.177 These works of art were not just destined for recipients who were Roman Catholic, some of them were presented to members of the Dutch House of Orange, for example in 1645 the Stadhouder of the United Provinces, Frederik Hendrik accepted such a gift, while later his widow Amalia van Solms and their son Willem II received at least seven cartouche flower pieces.178 As an indication of his gratitude, Willem sent Seghers a gilt palette and five gold brushes. Amalia too honoured him with a present of a solid gold crucifix, as well as a golden maulstick, that is a rod used by artists as a rest for the hand while working, in this instance bearing a carved skull finial crowned with a laurel wreath and engraved with a quote from Constantijn Huygens, secretary to Prince Frederik Hendrik. In a letter Seghers remarks that this is a ‘teeken dat de konst oock naer de doot leeft ende bloeyt’ (‘sign that art lives and flourishes even after death’).179 Huygens in turn received from Seghers two paintings: a cartouche with a bust of Willem III, and another with a bust of Huygens himself, both currently in the collection of the Mauritshuis in The Hague.180 Seghers’s work was highly sought after and ended up in a fair number of royal collections. A few of the most distinguished princes of Europe even visited his atelier, such as King Charles I of England in 1646, and later the Habsburg Archduke Leopold Wilhelm in 1648 or 1649. When they commissioned a work from Seghers, they paid the Society of Jesus in some form other than money. Seghers’s works were acquired by great collectors of the period, such as King Louis XIV of France (now in the Musée du Louvre, Paris); King Philip IV of Spain; King Charles I of England; Frederick William Elector of Brandenburg (now in the Gemäldegalerie, Berlin); Queen Christina of Sweden; as well as other European princes.

175 Garlands had been used earlier as decorative elements in prints. Later in painting there were garlands of ‘intertwined’ fruit, or both flowers and fruit. 176 Couvreur 1967; the actual recorded total comes to 235 since a few paintings have been listed twice. The list is probably incomplete. 177 Couvreur 1967, p. 103, nos 82 and 84. 178 See, for example, the Garland of flowers surrounding a sculpture of the Virgin Mary by Daniël Seghers and Thomas Willeboirts Bosschaert (canvas, 151 x 122.7 cm, dated 1645, The Hague, Mauritshuis, inv. no. 256). 179 Delen 1943, p. 94. An eighteenth-century copy of the painter’s stick, palette and brushes is currently in the Rubenshuis in Antwerp (inv. nos RHA A74, A74.1 and A74.2 1-5). 180 Bust of Willem III surrounded by a garland of flowers, canvas, 122.5 x 107 cm, The Hague, Mauritshuis, inv. no. 257; Bust of Constantijn Huygens surrounded by a garland of flowers, copper, 86 x 63 cm, dated 1644, The Hague, Mauritshuis, inv. no. 1216 (Daniël Seghers and Jan Cossiers).

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Poets sang the praises of Daniël Seghers, and writers spread his fame. Joost van den Vondel wrote a verse epigraph about Seghers, ‘Phoenix of the Flower Painters’, which was used in a portrait of Seghers painted by Jan Lievens (1607-1674) in 1662: De geest van Zegers is een by, Waer op de Nederlanders roemen. Zy zuight haer honighleckerny En geur uit allerhande bloemen. Een By quam op zyn schildery En geur en kleuren aangevlogen, En riep: Natuur, vergeef het my: Dat bloempenseel heeft my bedrogen.181 (‘The soul of Seghers is a bee, And Dutchmen sing her praises. She sucks her drops of honey sweet, And breathes where blooms’ display is. On his work alights a Bee, Enticed by hue and fragrance she Calls out, ‘Pardon, Nature, please, His flowerbrush deceived me.’) Other authors of tributes include Jan Albert Ban in 1643, Jacques Cater in 1651, Jan Six van Chandelier and Florent de Rieu in 1657, Simon Ingen in 1658, Cornelis de Bie in 1662, and Jan Vos in 1726.182 Daniël Seghers’s works are characterized by the use of clear, strong colours combined with great subtlety in related tones, and further softened by many shades of grey in the finely rendered shading. There is a high degree of contrast, but with sufficient space between the flowers, and the compositions exhibit a harmonious unity with a subtle distribution of hues. The bent flowers in these pieces are placed in different positions.183 Roses appear in nearly all his flower pieces and other types of flower still lifes and cartouches, which sometimes include many diverse kinds of Roses at various stages of development. There are also other plants with prickles and thorns when the central subject is a representation of the suffering of Christ or a saint. Among these thorny plants we find botanical species that are seldom or never encountered in the works of other artists, such as the Common and Small Teasel (Dipsacus fullonum and Dipsacus pilosus), Spiny Bear’s Breech (Acanthus spinosus), Thorn-apple (Datura stramonium), and Sea Holly (Eryngium maritimum). Other characteristic species in his paintings are Hellebore, Orange blossom (Citrus aurantium), Common and Spanish Jasmine (Jasminum officinale and Jasminum grandiflorum), and Summer Snowflake (Leucojum aestivum), as well as Nicotiana or Tobacco flowers and, just as in the works of Jan Brueghel, the Brueghel Nasturtium (Tropaeolum brueghelianum). In addition, Seghers painted all kinds of Irises. A definite development may be discerned in his style. Initially, particularly in the early flower garlands, his pigments are opaque, but applied in a great many tones. Later more glaze has been applied and the flowers have been given somewhat translucent edges. In the earlier flower pieces, two or sometimes three layers may be differentiated in the bouquets. Often a stalk and a springy Rose leaf are sticking out below to the left or the right. The foliage is usually viewed from both above and below, with pronounced differences in colour between the two. A butterfly can often be seen resting on a flower or leaf. The bouquets in his later works, from 1640 on, have been constructed more loosely. The pear-shaped glass vases display very fine material expression but without the application of reflections (as in the work of Jan Davidsz de Heem). Seghers signed his work in full with Daniel or D. Soctis JESV, or, particulaly in the smaller size flower pieces, with D.S. of D.Z. plus the addition Soctis JESV. Dated work is known for the years 1635 to 1660, but Seghers was certainly painting flower wreaths and garlands or festoons with angels around a central 181 Van den Vondel, Werken, V, p. 497. The theme of the deceptive naturalism of the art of painting, inherited from Classical Antiquity, had become a popular theme in Vondel’s time. 182 Many poetic tributes to Seghers are cited in Kieckens 1886; Delen 1943; New York 1979-80, pp. 82-83 and Hairs 1985, I, pp. 122-123, 435-436 ns 465-479. 183 The harmonious unity is also visible in his cartouches with flowers, where groups of flowers have been inserted into, or hang from, the edges of the carved stone.

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subject from 1620 on. There is already a reference to him as pictor in a document of 1617.184 An image of Saint Ignatius of Loyola between two garlands, currently in the Vatican Museum, is documented to the period 1627-1631.185 Signed and dated flower pieces are as follows: 1635, in the Toledo Museum of Art, and in a private collection; 1640, in a private collection; 1643, previously two works in the Galerie Alte Meister, Dresden, but one was sold in 1924 and the other was lost during World War II; 1660, in the Escorial, Spain, two large works with flowers in a niche. Undated flower pieces may be found in Museum Mayer van den Bergh, Antwerp; the Staatsgalerie, Bamberg; the Barber Institute of Fine Arts, Birmingham; the Fitzwilliam Museum, Cambridge (two); the Quadreria Arcivescovile, Milan; the Národní Galerie, Prague; the Kunsthaus, Zurich; and in many private collections, including a work previously in the Staatsgalerie im Neuen Schloss in Schleißheim, Germany, later sold, and now in the Oak Spring Garden Foundation in Upperville, Virginia. Many cartouches and garlands are currently in museum collections, dated works being known for 1638, 1644 (three), 1645 (two), 1646, 1647 (two), 1650, 1651, 1652, 1659 and 1661. As is often the case with great artists, the number of works erroneously attributed to Daniël Seghers is considerable.186 Daniël Seghers, Irises and other flowers in a glass vase (Fig. 7.46) Panel, 81.2 x 51.7 cm, signed and dated lower right in grey black: · D · Segers · Soctis Jesu A° 1635· Toledo Museum of Art, Toledo, inv. no. 1953.85.187 1 2 3 4 5 6 7

Provins Rose White Rose Tapered Tulip Variegated Iris White Flag Iris English Iris Orange blossom

Rosa x provincialis Rosa x alba plena Tulipa armena bicolor Iris variegata Iris albicans Iris latifolia Citrus aurantium

A b c d

Red Admiral Butterfly Vanessa atalanta Caterpillar (2x) Lepidoptera spec. Yellow Meadow Ant (2x) Lasius flavus an insect [beige with white spots]

An early copy without the insects was in the hands of various art dealers between 1950 and 1989.188

184 Couvreur 1967, p. 33, nos 2 and 3. 185 Hairs 1985, I, p. 127, Fig. 31. 186 For a biography of Daniël Seghers and an overview of his work see Hairs 1985, I, pp. 116-195, II, pp. 41-46, although with several doubtful attributions, for example a work by Hieronymus Galle (1625-in or after 1679) with a false signature of Seghers painted on (p. 31, Fig. 11B), and the two flower pieces in the Abbey of Tongerlo (pp. 172, Fig. 53 and 179, Fig. 48) are works by Jan Philip van Thielen (1618-1667). A number of works by Seghers have also been discovered since that publication appeared. For Seghers see also the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. 187 Provenance: collection Leo Spik, Berlin, or his sale 1953; Slatter Gallery, London 1953; purchased with funds from the Libbey Endowment, gift of Edward Drummond Libbey. Exhibitions & literature: Hairs 1955, pp. 60-61, 72, 75, 77, 238 n. 638, Pl. 21; Martin 1957, p. 319; Bazin 1960, pp. 98-101; Fernandez 1960, p. 74; Burke-Gaffney 1961, p. 15; Hairs 1965, p. 449, Fig. 16; Wittmann 1967, p. 468, Fig. 5; Hubala 1970, p. 176, Fig. 134; Mitchell 1973, p. 234; mus. cat. Toledo 1976, pp. 150, no. 104, 250; Koch 1979, pp. 14, 133; Hairs 1985, I, p. 131, Fig. 34, 134, II, p. 43 (with erroneous dimensions); Baiman, Liedtke & Vlieghe 1992, p. 367, no. 447; Mitchell in London 1993, p. 18 under no. 6; Nichols in Boston & Toledo 1993-94, pp. 507-509, no. 98; Mallory 1995, p. 296, Fig. 271; Vlieghe 1998, p. 210; Turin 2000a, under D. Seghers; Ertz in Vienna & Essen 2002, p. 232, Fig. 4, 235 n. 12; Slavíček in Vienna & Essen 2002, p. 306 under no. 105, n. 3; Merriam 2012, p. 109, Pl. XXV. 188 Panel, 74.5 x 49.7 cm. Alfred Brod Gallery, London 1963, as Daniël Seghers; P. de Boer Gallery, Amsterdam 1986, as Hieronymus Galle; Christie’s, London, 21 April 1989, no. 55, as Daniël Seghers.

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Fig. 7.46 Daniël Seghers, Irises and other flowers in a glass vase, dated 1635, panel, 81.2 x 51.7 cm, Toledo Museum of Art, Toledo.

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Daniël Seghers, Flowers in a glass vase (Fig. 7.47) Copper, 37 x 27 cm, signed lower right in blackish brown: D. Seghers. Socte. JESV Bayerische Staatsgemäldesammlungen, Staatsgalerie in der Neuen Residenz, Bamberg, inv. no. 5929.189 1 White Rose 2 Cornflower 3 Tapered Tulip hybrid 4 Tricolor Pansy 5 French Marigold 6 Poet’s Narcissus 7 Virginian Spiderwort 8 Blunt Tulip 9 Orange blossom 10 Provins Rose

Rosa x alba plena Centaurea cyanus Tulipa armena x T. agenensis Viola tricolor Tagetes patula Narcissus poeticus duplex Tradescantia virginiana Tulipa mucronata f. obtusa bicolor Citrus aurantium Rosa x provincialis

A Wall Butterfly

Lasiommata megera

Fig. 7.47 Daniël Seghers, Flowers in a glass vase, copper, 37 x 27 cm, Staatsgalerie in der Neuen Residenz, Bamberg. 189 Provenance: collection of Cornelis van der Geest, Antwerp 1638; collection of Karl August von der Pflalz-Zweibrücken, inventory 1795; transferred in 1821 from Zweibrücken to Bamberg. Exhibitions & literature: Hairs 1955, pp. 194, Fig. 22, 134, 404; Couvreur 1967, pp. 107, no. 104, 137; Hairs 1985, I, p. 134; Grimm 1988, p. 42, Figs 10-11; Amsterdam 1999, pp. 160-163, no. 25.

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This painting has been represented in a painting by Willem van Haecht (1593-1637), which depicts an art room with Apelles painting Campaspe. The art room is filled with Flemish, German and Italian works of art. The painting by Daniël Seghers can be found resting on the floor in the bottom right of the composition. Willem van Haecht died in Antwerp in 1637, and the flower piece was probably painted not long before that time.190 A copy of the Flowers in a glass vase by Seghers that was probably painted in the seventeenth century is currently in the collection of the Národní Galerie in Prague.191 It is signed M. van Osterwyck. / fecit. Owing to the signature, the work is attributed to Maria van Oosterwijck (1630-1693), but it could well be that her name was a later addition. A lovely related painting is currently in the Museum Mayer van den Bergh in Antwerp.192 Daniël Seghers, Flower piece with a Madonna Lily and Thistles in a niche (Fig. 7.48) Canvas, 121 x 64 cm, signed and dated lower left in brown: Daniel Seghers. Soctis .JESV .æt. 70 A° Escorial, San Lorenzo de El Escorial, inv. no. 414.193 1 Provins Rose 2 Austrian Briar 3 White Rose 4 Small Morning Glory 5 Orange blossom 6 Scottish Thistle 7 Spanish Golden Thistle 8 Madonna Lily 9 Milk Thistle 10 Pomegranate blossom 11 Austrian Copper (Briar) 12 Borage 13 Damask Rose

Rosa x provincialis Rosa foetida Rosa x alba semiplena Convolvulus tricolor Citrus aurantium Onopordum acanthium Scolymus hispanicus Lilium candidum Silybum marianum Punica granatum plenum Rosa foetida cv. Bicolor Borago officinalis Rosa x damascena

The flowers have been placed in a pear-shaped glass with knops. The Rose leaves in the lower right have been eaten away by insects. The Madonna Lily between the two Thistles, as well as the row of Roses containing Orange blossom, all point to an unmistakeable symbolic meaning: the Lily between the thorns, the Roses of brotherly love and the Orange blossom of constancy.194 Unfortunately, the work has been quite poorly restored and painted over, probably in the nineteenth century, and as is the case with its ‘pendant’, the painted frames they have been given are out of keeping. The unsigned ‘pendant’ is, incidentally, of quite a different nature, with a much fuller and more colourful bouquet in a roemer on a wooden ledge.195

190 Hairs 1956, p. 104. The work by Van Haecht (panel, 104.9 x 148.7 cm) is currently in the collection of the Mauritshuis in The Hague, inv. no. 266. 191 Copper, 37 x 26.7 cm, Prague, Národní Galerie, inv. no. O 245. 192 Copper, 41.6 x 28.5 cm, Antwerp, Museum Mayer van den Bergh, inv. no. MMB.0078. Antwerp 2015-16, pp. 158-159, no. 22. 193 Provenance: in the Escorial in or before 1667. Exhibitions & literature: Santos 1681, fol. 77, Discorso XII; Ponz 1772-94, II, p. 142; Poleró 1857, no. 414; Sánchez Cantón 1923-41, II, p. 302; Valdivieso 1974, p. 35; Madrid 1977-78, p. 139, no. 128; Hairs 1985, I, pp. 136, 141, Fig. 39, II, p. 43 (the ‘pendant’ I, p. 140, Fig. 38); Ertz & Nitze-Ertz 2012, p. 99, Fig. 97. 194 See Chapter 2. 195 Canvas, 121 x 64 cm, San Lorenzo de El Escorial, Escorial, inv. no. 408.

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Fig. 7.48 Daniël Seghers, Flower piece with a Madonna Lily and Thistles in a niche, canvas, 121 x 64 cm, Escorial, San Lorenzo de El Escorial.

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Fig. 7.49 Philips de Marlier, Carnations in a glass vase, dated 1639, panel, 45.5 x 34 cm, private collection. 344 |

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Philips de Marlier

Philips de Marlier was born about 1600 in Antwerp and is first documented in 1617-1618 as apprenticed to Carel van Ferrara (active 1599-1668). In 1621 De Marlier was entered in the Antwerp Guild of Saint Luke as a master painter. Afterwards he worked in Portugal, where he stabbed a Franciscan friar and subsequently had to flee back to the Netherlands. By 1634 he was back in Antwerp. He painted flower still lifes, especially cartouches and wreaths, some thirty-five of which the art firm Forchondt exported to Austria and Portugal, including several flower pieces of uneven quality plus laid table still lifes, and, according to archival sources, also allegories and landscapes. Seven dated works are known from De Marlier’s hand from between 1634 and 1647. Quite a lot of work has been attributed to him, much of it doubtful. His apprentices were Carstian Luyckx (1623-after 1657), Gabriël van Baesrode (1620-ca. 1680), and Frans van Oorschot (active 1641-1651). Philips de Marlier died in Antwerp in 1668. There is a glass vase with Carnations painted by Philips De Marlier in an archaic meal still life, currently in the Park Abbey in Heverlee. A painting of Saint Dorothea with a winged cherub in a garland of flowers and fruit, currently in the Koninklijk Museum voor Schone Kunsten in Antwerp, bears the year 1640. In private collections there are the following dated flower pieces: 1637, with a baroque vase that is separately signed by Frans Francken II (1581-1642); 1638, with flowers in a basket and in a garland; and finally, 1639, an exceptionally fine vase with Carnations:196 Philips de Marlier, Carnations in a glass vase (Fig. 7.49) Panel, 45.5 x 34 cm, remains of a signature lower right in brown: PH... M...L 1639 (‘PH’ ligated) Private collection.197 White, red and various two-toned Carnations in clear colours have been loosely grouped in a pear-shaped glass vase, several also lying strewn on the wooden table-top. The flowers in shadow have been decked with a light grey glaze. The vase is the same type as those seen in the works of Daniël Seghers. Paintings with Carnations (or Roses) alone are not encountered very often in the seventeenth century. Jacob van Hulsdonck is one of the few who painted flower pieces showing only Carnations (Fig. 6.37). The painting by De Marlier would seem to be strongly influenced by Van Hulsdonck.

Frans Ykens

Frans Ykens was born in Antwerp in 1601. In 1615 he began his training with his uncle Osias Beert I (ca. 1580-1623/24). About 1629 he was living in the Provence, where he had possibly been detained during an intended trip to Italy. He was admitted to the Antwerp Guild of Saint Luke in 1631 and married Catharina Floquet in 1635. About 1665 he moved to Brussels, where he died around 1692 having reached a ripe old age, according to the last will and testament of his widow. He quite possibly gave his wife Catharina and his niece Catharina instruction in painting. Recorded as his apprentices are Gilliam Dandoy (active 1640-1652) in 1640, and Hendrik de Cleyn in 1646. The flower still lifes of Frans Ykens exhibit the influence of the Brueghels and Daniël Seghers, rather than that of Osias Beert, although the flowers have been painted with less detail and with an opaque pigment that is not as translucent as that in Seghers’s works. Reflections have usually been kept soft and hazy. The dominant influence of Seghers can especially be seen in the adoption of still lifes with flowers and cartouches, where the flowers have been presented in compact clusters and the stone cartouches frequently augmented with female figures or putti. In these cartouche paintings Frans Ykens collaborated with Simon de Vos (1603-1676), Jan van den Hoecke (1611-1651), Thomas Willeboirts Bosschaert (1613/14-1654) and others. The flowers are sometimes done in a slightly heavy-handed way, but those in his earlier flower pieces can occasionally be quite subtle. At times his glass vases can appear awkward, although he also painted flowers arranged in earthenware vessels or in baskets. Rubens owned six flower still lifes by Frans Ykens.

196 For the oeuvre of De Marlier see Hairs 1985, I, pp. 356-361, II, pp. 37-38 and the Segal Still Life Documentation in the RKD, The Hague, and for archival sources also Greindl 1983, pp. 54-55. 197 Provenance: Christie’s, London, 26 March 1971, no. 142, as ‘Hulsdonck’ with an indistinct signature and dated 1639 (unsold); Galerie Sanct Lucas, Vienna; Christie’s, New York, 12 January 1996, no. 75; Jack Kilgore & Co Gallery, New York; Christie’s, New York, 26 January 2001, no. 54; Hall & Knight Gallery, New York 2002-2003; Noortman Gallery, Maastricht 2003. Exhibitions & literature: Greindl 1983, p. 350, no. 5; Ertz in catalogue Galerie St. Honoré, Paris 1985, no. 25, Fig. 2; Hairs 1985, I, pp. 357, 359-360, Fig. 121, II, p. 37; Wieseman in Boston & Toledo 1993-94, p. 504, Fig. 1; De Maere & Wabbes 1994, I, pp. 270-271, III, p. 794; Hairs 1998, p. 221, Fig. 155; Ertz in Vienna & Essen 2002, pp. 282, 304-305, no. 104, 359.

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Frans Ykens painted several flower pieces and a much larger number of cartouches with flowers and fruit, as well as fruit pieces, laid tables, game still lifes, plus various combinations, for example, game with flowers and fruit; he also painted a fish market. Ykens usually signed in cursive as franchois or franchoys ÿkens fecit, or with the Spanish form of his first name, francisco ÿkens fecit, and sometimes on a little trompe l’oeil piece of paper that looks as though it has been stuck to the ledge.198 Dated work is known from 1635 to 1665, his Antwerp period. Flower pieces executed in 1644 and 1646 are currently in private collections, while an undated flower piece is in the Kunsthistorisches Museum in Vienna.199 Frans Ykens, Flowers in a glass vase, with a Peony and shells in the foreground (Fig. 7.50) Panel, 54.6 x 45.1 cm, signed to the right of lower centre in brown: [franchois] ÿkens [fecit] (indistinct) Private collection.200 A small pear-shaped glass vase has been set on a wooden table, the left side edge of which is visible; the vase contains the following flowers: 1 2 3 4 5

Snowball Columbine Bird’s Eye Primrose Rose sprig Coralline Peony

Viburnum opulus cv. Roseum Aquilegia vulgaris pallida et duplex Primula farinosa Rosa spec. Paeonia mascula alba

A B C D

Crenulate Auger Tulip Snail Tonyshell Panther Cowry

Oxymeris crenulata Fasciolaria tulipa Vexillium filiareginae Cypraea pantherina

Fig. 7.50 Frans Ykens, Flowers in a glass vase, with a Peony and shells in the foreground, panel, 54.6 x 45.1 cm, private collection. 198 For example, the flower piece in the possession of art dealer Dennis Vanderkar in London in 1971 (canvas, 46 x 39 cm). 199 For more on Frans Ykens’s life and flower still lifes see Hairs 1985, I, pp. 277-286, II, pp. 59-60 and the Segal Still Life Documentation in the RKD, The Hague. 200 Provenance: collection of Lord Tollemache, Ham House, Richmond, London; P. de Boer Gallery, Amsterdam; Durlacher Brothers Gallery, London & New York; John C. Havemeyer Gallery, New York; Sotheby’s, New York, 6 October 1995, no. 23; Galeria Lampronti, Rome; Speelman Gallery, London; P. de Boer Gallery, Amsterdam 2003. Literature: Hairs 1985, I, pp. 283-284, Fig. 84, II, p. 59.

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Although the composition is attractive, the picture probably is a fragment of a larger painting, which may originally have had vegetables or fruit to the right of this arrangement. According to the 1995 sale catalogue, in 1956 a piece of an artichoke was painted out, without anyone ever offering the suggestion that this might be a fragment. That it has been cut is evident, however, also from the fact that the panel consists of three short vertical boards. It is uncertain whether the signature is original, but that this is a work of Frans Ykens seems quite sound. It appears here as just one example from the great number of instances where flower pieces remain only as fragments of larger paintings, cut down because flower pieces on their own sell better than flower pieces in combinations with other things. In many cases it turns out to be a fragment of a cartouche, where evidence of the stone has been painted out and a little vase has possibly been painted in as a container for a cluster of flowers. Frans Ykens, Flowers in a decorated stoneware vase (Fig. 7.51) Panel, 83.4 x 60 cm, signed lower left in grey: francisco ÿkens fecit Private collection.201 1 2 3 4

Provins Rose Opium Poppy Austrian Briar White Rose

Rosa x provincialis Papaver somniferum rubrum plenum Rosa foetida Rosa x alba plena

Fig. 7.51 Frans Ykens, Flowers in a decorated stoneware vase, panel, 83.4 x 60 cm, private collection. 201 Provenance: private collection, Spain, from the 1930s; Sotheby’s, London, 11 December 1996, no. 60; Daphne Alazraki Gallery, New York 2006; Sotheby’s, London, 6 December 2017, no. 42.

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5 Love-in-a-mist 6 White Rose 7 Madonna Lily 8 Tazetta Narcissus 9 Crown Anemone 10 Iberian Iris 11 Stock 12 English Iris 13 Few-flowered Lily 14 False Larkspur 15 Persian Tulip 16 False Larkspur 17 False Larkspur 18 Turk’s Cap Lily 19 Opium Poppy 20 Yellow Crocus 21 Sweet Briar 22 Poppy Anemone 23 Orange blossom

Nigella damascena Rosa alba Lilium candidum Narcissus tazetta Anemone x fulgens Iris x iberica Matthiola incana plena violaceo-albescens Iris latifolia Lilium bulbiferum var. croceum Consolida ajacis atrata Tulipa clusiana Consolida ajacis rosea Consolida ajacis subplena albescens Lilium chalcedonicum Papaver somniferum cinnabarinum plenum Crocus x stellaris Rosa rubiginosa Anemone coronaria violacea Citrus aurantiaca

A Red Admiral Butterfly b Azure Damselfly

Vanessa atalanta Coenagrion puella

The dark blue, broad-based earthenware vase is decorated with small oval medallions each repeating a design of a vase with simplified flowers. This is most likely a late work, executed by the artist after 1660.

Catharina Ykens I

Catharina Ykens I was born in Antwerp about 1615. She was the daughter of the artist Lucas Floquet (15781635), an exponent of history painting. Catharina married Frans Ykens in 1635, who possibly also gave her instruction in painting. Together they had two sons, Frans and Simon. In 1665 the family Ykens moved to Brussels. Catharina is mentioned as a widow in 1693, so she was presumably still alive at that time. Approximately twenty works by her are known or listed in old inventories, including flower pieces, flower wreaths, and flower and fruit cartouches around a central image – a portrait, Virgin and Child, or landscape; other subjects are also recorded. Her work bears similarity in style to that of her husband Frans. Until recently these works were attributed to a younger niece and painter with the same name, Catharina Ykens II (ca. 1659-after 1726), but dated works and archival sources have now helped assign these to Frans’s wife, Catharina Floquet. The 1661 inventory of Abraham van Lamoen lists ‘eenen blommencrans van de vrouw van Ykens’ (‘A flower wreath by the wife of Ykens’).202 Catharina Ykens I, Flowers in a glass vase (Fig. 7.52) Panel, 32.5 x 22.5 cm, signed to the right of centre below in white: CATHARINA ŸKENS FECT Private collection.203 1 Poppy Anemone 2 Hyacinth 3 Tazetta Narcissus 4 Spanish Jasmine 5 Rose foliage and bud 6 Poppy Anemone

Anemone coronaria pseudoplena lilacina Hyacinthus orientalis pauciflorus Narcissus tazetta Jasminum grandiflorum Rosa spec. Anemone coronaria pseudoplena rubra

a Housefly

Musca domestica

A pear-shaped glass vase has been placed at the left end of a table. Another painting with flowers in a glass vase signed by Catharina Ykens I was auctioned in 2011 and may well have been a pendant.204 202 For a critical biography based on archival research and an overview of her work see the report by Klara Alen accompanying a painting showing a copper-coloured vase and a basket with flowers (canvas, 113 x 143 cm, signed in full in capital letters on a pillar, sold at Bernaerts, Antwerp, 5 December 2011, no. 510) in the Segal Still Life Documentation in the RKD, The Hague. 203 Provenance: Koetser Gallery, Zurich 1978-79; private collection, Germany; Lempertz, Cologne, 15 November 2014, no. 1089, as Catharina Ykens II; Koetser Gallery, Zurich 2015. Literature: Bernt 1948 (1979-80), no. 1539. 204 Panel, 33 x 22.9 cm. Christie’s, New York, 26 January 2011, no. 134.

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Fig. 7.52 Catharina Ykens I, Flowers in a glass vase, panel, 32.5 x 22.5 cm, private collection.

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Fig. 7.53 Jacob Foppens van Es, Roses and other flowers in a glass vase, with peaches, panel, 42.5 x 31 cm, private collection.

Jacob Foppens van Es

Jacob Foppens van Es was probably born about 1596. He registered with the Antwerp Guild of Saint Luke in 1617 and married Joanna Claessens that same year. The couple had seven children together. His father’s name was Foppe, hence the name Jacob Foppens van Es.205 As far as is known, he lived in Antwerp until his death in 1666. His apprentices were Jacob Gillis in 1621 and Jan van Thienen in 1623.206 He painted flower pieces, cartouches with flowers and fruit, fruit pieces (many with flowers), but he especially painted laid table still lifes, sometimes with flowers, poultry or fish, and also a few fish still lifes. 205 Foppe is a well-known Frisian name. 206 Rombouts & Van Lerius 1864-76, I, pp. 575, 597.

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Only two dated laid tables are known, from 1631 and 1640. Jacob van Es exhibits an attractive simplicity and restraint in his art. Frequently he composed his arrangements such that only a single species of flower is extending out above a bunch of Roses placed in a small vase, accompanied by some fruit. The colours are cool and clear, with relatively little differentiation and detail, yet the whole displays a fine sense of unity. Flower pieces may currently be found in the Niedersächsisches Landesmuseum in Hannover, the Fondation Custodia in Paris, the Musée des Beaux-Arts in Strasbourg, and in several private collections.207 A flower piece in the Pinacoteca Albertina in Turin has been attributed to Jacob Foppens van Es.208 Jacob Foppens van Es, Roses and other flowers in a glass vase, with peaches (Fig. 7.53) Panel, 42.5 x 31 cm, signed lower right in dark grey: IACO.VAN.ES. Private collection.209 In a pear-shaped glass vase, similar to those found in paintings by Daniël Seghers, a single sprig of Hawthorn (Crataegus monogyna) extends above a bouquet of Provins Roses (Rosa x provincialis) and White Roses (Rosa x alba plena), some still in bud. Three peaches have been placed in the foreground.

Frans Snyders and his Followers Frans Snyders

Frans Snyders was born in 1579 in Antwerp. His masters were Pieter Brueghel II (1564-1638) and Hendrick van Balen (1573-1632). In 1602 he was registered in the Antwerp Guild of Saint Luke as a master painter, and in 1608-1609 he travelled to Italy, where he stayed in Rome and Milan. In 1611 he married Margaretha de Vos, sister of the painters Cornelis (1584-1651) and Paul de Vos (1595-1678), with whom he occasionally collaborated. Paul de Vos and Joannes Fyt were his most important apprentices. In addition, Jan Roos (ca. 1591-1638), Nicasius Bernaerts (1620-1678), Peter van Boucle (active 1623-1673), and Juriaen Jacobsz (1624ca. 1685) are also recorded as his apprentices and it is noteworthy, that they too painted still lifes. Frans Snyders became friends with Rubens, with whom he often collaborated, and also with Jan Brueghel I. He died in 1657. Frans Snyders signed relatively few works and dated his works seldom, and then only from 1603 until 1630. He was highly respected and many of his paintings were issued as prints. Currently a single stand-alone flower piece, that is to say a painting by Frans Snyders where the flowers form the main focus, is unknown today. Be that as it may ‘vn pot des fleurs’ by Snyders is recorded in 1640 in the Specification des peintures trouvees a la maison mortuaire du feu messire Pierre Paul Rubens, Chevalier, &c. which is a sales list of Rubens’s collection.210 Vases and festoons with flowers can be seen as part of various still lifes by Snyders (Fig. 7.54) and as part of other works, often collaborations between Snyders and other Antwerp artists, including Rubens. Snyders merits inclusion here because he was one of the most important still life painters of his time and had a great influence on the work of his contemporaries. His style was unique: a combination of colourful vitality and a forceful, free brushstroke often with erratic lines and very little detailing.211

207 For his flower still lifes see Hairs 1985, I, pp. 353-356, II, p. 21 and the Segal Still Life Documentation in the RKD, The Hague. 208 Panel, 54 x 52 cm, Turin, Pinacoteca Albertina, inv. no. 291. Hairs 1985, II, p. 21. 209 Provenance: Leonard Koetser Gallery, London; Gebr. Douwes Gallery, Amsterdam 1964; P. de Boer Gallery, Amsterdam 1970. Exhibitions & literature: Mitchell 1973, pp. 109-110, Fig. 143; Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 56, 105, no. 64; Hairs 1985, I, p. 354, Fig. 110. 210 The Specification was published by Jan van Meurs in 1640. The only extant copy is in the Bibliothèque nationale, Paris, Département des Manuscrits, Fonds Français 18967, fols 200-205; published in Antwerp 2004, Appendix, pp. 328-333; for the reference to the flower piece by Snyders see Antwerp 2004, Appendix, p. 332, no. 261. 211 On Snyders’s work see Robels 1969, Robels 1989; Koslow 1995 and the Segal Still Life Documentation in the RKD, The Hague.

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Fig. 7.54 Frans Snyders, A table with sumptuous objects, a basket of fruit and a glass vase of flowers, panel, 78.8 x 116.2 cm, Cummer Museum of Art and Gardens, Jacksonville.

Frans Snyders, A table with sumptuous objects, a basket of fruit and a glass vase of flowers (Fig. 7.54) Panel, 78.8 x 116.2 cm, signed lower right in dark grey: F. Snyders. fecit Cummer Museum of Art and Gardens, Jacksonville, inv. no. AP.1984.1.1.212 This is probably a relatively late work, executed after 1630, with a pear-shaped vase, the same that Daniël Seghers often depicted in his compositions. The horizontal bouquet with its abundance of foliage consists of Provins Roses (Rosa x provincialis) and White Rose (Rosa x alba), while extending high above them is a sprig of Sweet Briar (Rosa rubiginosa), and in the lower right a Marguerite (Leucanthemum vulgare). The composition of this painting is highly original. The quick brushstrokes make it likely that this is indeed Snyders’s own work.213

Adriaen van Utrecht

Adriaen van Utrecht was born in 1599 in Antwerp. In 1614 he was apprenticed to Herman de Rijt. After travelling to France, Italy and Germany, he entered the Guild of Saint Luke in Antwerp as a master painter in 1625. His apprentices were Davidt van Ham, Jan Baptist de la Failie, Marcus de la Poort, Philip Gyselaer, Cornelis van Engelen, Peter van Lanckvelt and one further unnamed individual.214 From 1646 to 1648 he was assisting Thomas Willeboirts Bosschaert in The Hague by working on a commission 212 Provenance: collection Greville Douglas Esq.; Lady Margaret Douglas; Sotheby’s, London, 3 July 1940, no. 14; J. Singer, London 1941; Christie’s, London, 23 April 1982, no. 70; Cummer Museum of Art and Gardens, Jacksonville, purchased with funds from the Morton R. Hirschberg Bequest. Literature: Greindl 1956, p. 181; Hairs 1965, pp. 253, 412; Greindl 1983, p. 374, no. 50; Hairs 1985, I, p. 371; Robels 1989, pp. 267, no. 138, Pl. IV; Healy in Antwerp 2004, pp. 179, 181, Fig. 33a. 213 The sale catalogue suggests that the flower arrangement might be the work of a different hand, possibly Joannes Fyt (16111661). Christie’s, London, 23 April 1982, no. 70. 214 The name of the apprentice in 1627 is not mentioned in the Liggeren or the accounts of the Antwerp Guild of Saint Luke. Rombouts & Van Lerius 1864-76, I, pp. 648, 657.

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for the Stadhouder of the Netherlands, namely for the Oranjezaal of the Huis ten Bosch. Adriaen van Utrecht died in 1652. He is particularly known for his sumptuous still lifes, but also for fruit pieces, including garlands and festoons, game still lifes and other forms of the genre, sometimes including a vase of flowers. He collaborated with such artists as Jacob Jordaens, Erasmus Quellinus II and Thomas Willeboirts Bosschaert. Dated works are known from 1629 to 1652, including a garland with fruit of 1638 and a flower piece of 1642 that turned up at a sale in 1993, the only signed flower piece now known, although flower arrangements have sometimes been given a prominent place in his complex still lifes.215 Adriaen van Utrecht’s work was influenced by Frans Snyders, but is less colourful and finer in the application of lines.216 Adriaen van Utrecht, Flowers in a glass vase, with Maize (Fig. 7.55) Panel, 99.4 x 68.9 cm, signed and dated to the left of centre below in beige: Adriaen van Vtrecht . fe an° 1642 Private collection.217 1 Apothecary’s Rose 2 Snake’s Head Fritillary 3 Crown Anemone 4 Wood Anemone 5 Snake’s Head Fritillary 6 French Rose 7 White Rose 8 Lesser Celandine 9 Poppy Anemone 10 Poet’s Narcissus 11 Poet’s Narcissus 12 Cornflower 13 Poppy Anemone 14 Full Campernelle Narcissus 15 White Ornithogalum 16 Hyacinth 17 Blunt Tulip 18 Tapered Tulip 19 Madonna Lily 20 Columbine 21 German Flag Iris hybrid 22 Hawthorn 23 Fire Lily 24 Persian Tulip hybrid 25 Martagon Lily 26 Damask Rose 27 Sharp Tulip 28 Austrian Briar 29 Peony 30 Dark Columbine 31 Lilac 32 Snowball 33 Maize

Rosa gallica cv. Officinalis Fritillaria meleagris alba Anemone x fulgens Anemone nemorosa plena violescens Fritillaria meleagris Rosa gallica semiplena Rosa x alba subplena Ranunculus ficaria Anemone coronaria pseudoplena albescens Narcissus poeticus Narcissus poeticus semiplenus Centaurea cyanus Anemone coronaria pseudoplena Narcissus x odorus plenus Ornithogalum arabicum Hyacinthus orientalis laxus Tulipa mucronata albo-purpurea Tulipa armena bicolor Lilium candidum Aquilegia vulgaris albo-purpurescens Iris germanica x I. pallida Crataegus monogyna Lilium bulbiferum Tulipa clusiana x T. stellata Lilium martagon Rosa x damascena Tulipa mucronata albo-rubra Rosa foetida Paeonia officinalis plena Aquilegia atrata semiplena Syringa vulgaris Viburnum opulus cv. Roseum Zea mays

a b c d e f g h

Calliphora vomitoria Coenagrion puella Aeshna juncea Vespula vulgaris Malacosoma neustria Melolontha melolontha Cetonia aurata Chrysolina fastuosa

Bluebottle Fly Azure Damselfly Fen Hawker Dragonfly Common Wasp Lackey Caterpillar Cockchafer Beetle (2x) Rose Chafer Beetle Dead-Nettle Leaf Beetle (2x)

215 For example, a vanitas still life with sumptuous elements and a flower piece of 1643 (canvas, 67.3 x 86.4 cm, Sotheby’s, New York, 5 June 2002, no. 64, with a number of identical species to those in Fig. 7.55). 216 For his work see Greindl 1983, pp. 90-93, 384-386 and the Segal Still Life Documentation in the RKD, The Hague. 217 Provenance: Christie’s, New York, 19 May 1993, no. 26; P. de Boer Gallery, Amsterdam; Johnny Van Haeften Gallery, London. Literature: Bergström in sale catalogue Van Haeften 1994, no. 24; Meijer 1995a, pp. 165-166, Fig. 1.

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Fig. 7.55 Adriaen van Utrecht, Flowers in a glass vase, with Maize, dated 1642, panel, 99.4 x 68.9 cm, private collection.

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Joannes Fyt

Joannes Fyt was born in 1611 in Antwerp, the son of a successful merchant. He served apprenticeships initially with Jan van den Bergh (1587/88-after 1650) and later with Frans Snyders. In 1630 he entered the Antwerp Guild of Saint Luke as a master painter. In 1633 he travelled to Paris, and then to Rome via Venice, Florence and Naples. Whilst in Rome, he became a member of the Dutch and Flemish artists’ club the Bentvueghels with the nickname Goudvink (‘Goldfinch’). In 1641 Joannes Fyt was back in Antwerp, and in 1642 he made a trip to Holland. In 1654 he married Joanna Francisca van den Zande, with whom he had four children. Fyt collaborated with other artists, including Jan Brueghel II. Peeter Boel (1622-1674) was an apprentice who came to him from Frans Snyders, and another apprentice was Jacques van de Kerckhove (1636/37-1712), who later painted still lifes. Joannes Fyt died in 1661. He painted many animal pieces and game pieces, as well as cartouches with flowers and flower pieces, plus combinations of these subgenres, such as game, flowers and fish under a festoon of flowers. He signed nearly all his works with Joannes FYT and dated much of it. Dated work is known for the years 1638 to 1661. Joannes Fyt executed flower pieces in the later part of his life, from 1643 on. In these we see large flowers with drooping blooms, such as Peonies, Tulips, Opium Poppy or Snowball, with other flowers extending high above them, the whole as if carelessly arranged in a vase which has sometimes fallen over. Fyt’s brushstroke is rather broad and fluid, in places more impasto, while the colour composition has been subtly thought through. His use of colour is more tonal than Snyders’s, with transitions in passages of, for example, red through pink to white or orange in the petals, set against dark bluish-green curling leaves. There is also more chiaroscuro effect and more atmosphere in the surrounding space than in Snyders’s works. Highlights on the foliage consist of thin impasto cream-coloured lines, or greyish-beige outlining of the vein structure of the leaves. Sometimes the vase has been placed on an architectural fragment. These paintings have been executed with a high degree of artistry. Dated flower pieces in public collections are as follows: 1643, in the Philadelphia Museum of Art; 1655, in the Museo Nacional Thyssen-Bornemisza in Madrid; 1660, in the Schloss Mosigkau (on loan from the Kulturstiftung Dessau-Wörlitz), and in the Národní Galerie in Prague (with asparagus). There are also three works in private collections dated 1652 (two) and 1660. Undated flower pieces may currently be found in the Snijders&Rockoxhuis in Antwerp; the Koninklijke Musea voor Schone Kunsten van België in Brussels; a combination still life of flowers and a partridge in the Fitzwilliam Museum in Cambridge; and in various private collections. Three cartouches with flowers are known dated to the year 1643.218 Joannes Fyt, Flowers in a bronze vase (Fig. 7.56) Canvas, 114.5 x 68 cm, signed and dated above the plinth to the left in dark brown: Joannes · FYT / 1660 Private collection.219 1 Snowball 2 Provins Rose 3 Carnation 4 Austrian Briar 5 Lords and Ladies 6 Liquorice 7 Columbine 8 German Flag Iris 9 Salomon’s Seal

Viburnum opulus cv. Roseum Rosa x provincialis Dianthus caryophyllus plenus Rosa foetida cv. Bicolor Arum maculatum Glycyrrhiza glabra Aquilegia vulgaris Iris germanica Polygonatum multiflorum

218 For the oeuvre of Joannes Fyt see Greindl 1983, pp. 95-107, 348-354, with more than three hundred works, including many unsigned paintings and attributions; also Hairs 1985, I, pp. 372-376, II, pp. 22-23 and the Segal Still Life Documentation at the RKD, The Hague. 219 Provenance: probably the collection of P.E. Weil, Paris; collection of Edmond Huybrechts, Antwerp, and his widow; collection of Adolphe Schloss, Paris; Charpentier, Paris, 5 December 1951, no. 23; D.A. Hoogendijk Gallery, Amsterdam; collection of B.E. Ruys, Rotterdam; Vendu Notarishuis, Rotterdam, 15 February 1990, no. 28; Johnny Van Haeften Gallery, London; Galerie Lingenauber, Dusseldorf; Salomon Lilian Gallery, Amsterdam. Exhibitions & literature: Brussels 1910, no. 192; Greindl 1949, p. 163; Hairs 1955, pp. 134, 212, Fig. 72; Rotterdam 1955, no. 153, Fig. 159; Hairs 1965, pp. 255, 374, Fig. 58; Hairs 1985, I, p. 373, II, p. 22; Segal in Osaka, Tokyo & Sydney 1990, p. 157 under no. 49, 213 and n. 1; Segal in Lisse 1992, pp. 53-56, with detail; Mitchell in London 1993, p. 26 under no. 10, Fig. 4; Segal in Bergamo & Düsseldorf 1995, pp. 110-115, no. XV, illustrated with identifications.

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Some of these species are ones that we encounter rarely or never in flower pieces. Liquorice has been cultivated since Antiquity for medicinal use of the root and rhizome; and while liquorice sticks are still available for the traditional purpose of chewing, the plant is currently in widespread general use as an ingredient in soft drinks, sweets, throat lozenges, and alcoholic beverages. Lords and Ladies is a native spring plant. Fig. 7.56 Joannes Fyt, Flowers in a bronze vase, dated 1660, canvas, 114.5 x 68 cm, private collection.

Jan Roos

Jan Roos was born around 1591 in Antwerp, where in 1605 he became apprenticed to Hans de Wael (1558-1638), and in 1610 was working in the studio of Frans Snyders. About 1614 he went to Rome and later to Genoa, where he remained under the name Giovanni Rosa until his death in 1638. He painted religious and mythological pieces, but several large flower pieces are also documented.220 In Italy he had Giacomo Legi (ca. 1600-1640/45) as his apprentice. 220 Hairs 1965, p. 400; Zeri 1989, I, pp. 128-129.

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Other Painters of the Southern Netherlands Bulgert

The 1642 probate inventory of the Antwerp painter and art dealer Herman de Neyt (1588-1642) mentions a ‘mandeken met blommen’ (‘small basket with flowers’) by Bulgert.221 Nothing is known about this artist.

Leo van Heil

The 1642 probate inventory of the Antwerp painter and art dealer Herman de Neyt mentions, amongst other items, a ‘blompot, verlichterye’ (‘flowerpot, illuminated’) by Leo van Heil.222 Leo van Heil was born in Brussels in 1605. He was listed as a master painter in the Brussels guild of painters, goldbeaters and stained-glass makers in 1627 and a dean in 1643. Van Heil was appointed as court architect for Archduke Leopold Wilhelm. He painted studies of plants and animals, at least some of them on parchment. A drawing dated 1650 with two caterpillars and a chrysalis on a Vine was sold in 2009.223 A small work by Van Heil depicting a Stag Beetle and a Rose is listed in the 1659 inventory of Archduke Leopold Wilhelm.224 He died in Brussels in 1685.

Balthasar Huys

According to an inventory from The Hague of 1763, Balthasar Huys painted a couple of flower still lifes, and a London auction of 1781 also lists a flower piece.225 Balthasar Huys is first documented in Mechelen in 1608 as an apprentice of Jan Baptist Saive I (ca. 1540-1624), a painter of market and kitchen pieces. Balthasar married Anna Hemelryck in 1612. During 1619 he was admitted to the Mechelen artists’ guild as a master painter. The couple moved to Rotterdam, where a son was born to them in 1628. In 1640 Balthasar Huys became a widower and remarried Elisabeth de Bois of Noordwijk. Balthasar Huys died in Rotterdam in 1652. He painted kitchen pieces and kitchen still lifes, sometimes with flowers and live chickens, and a fruit piece with game is also recorded. Dated work is known from 1643 through to 1650, but none of it is currently held in any public collection.

Jacob van Ostayen

Jacob van Ostayen was first and foremost an embroidery worker and not a still life painter. He became apprenticed to to Jacques van Sevenhoven in 1617, and he was himself registered as a master embroidery worker in the Antwerp Guild of Saint Luke in 1623. During 1639 he was appointed ‘silk stitcher’ to the Court in Vienna. He died in Vienna in 1666. There is a single painting dated 1641 by Jacob van Ostayen with flowers and fruit known of today (Fig. 7.57), for which there may also be a pendant. His work is somewhat stiff and painted with a kind of flatness; clearly, he had only received limited training in painting in oils. Jacob van Ostayen, Flowers and fruit with birds (Fig. 7.57) Copper, 42.3 x 57.2 cm, signed and dated on the table at the lower right in black: Jacob Van Ostayen delineavit et fecit 1641 Private collection.226 On a wooden table, of which both side edges are visible, strongly standing out against the dark background, we see the following plants and animals from left to right:

221 222 223 224

Denucé 1932, p. 99; Hairs 1985, II, p. 18, as Bulgeert. Denucé 1932, p. 106. Hairs 1985, II, p. 31. Watercolour, 337 x 245 mm, Sotheby’s, London, 6 July 2009, no. 50. Berger 1883, p. CXXXV, no. 392: ‘Ein kleines Stückhel von Öhlfarb auf Pergament, darauff ein grosser Schrödter mit zwey Hörnern, eins grosser alsz das andere, darbey ein rothe Rosen. In einer eben Ramen, mitt Schildtkrothen gezierth hoch 7 finger vndt 1 Span braith. Von von Heilen Original’. 225 Van der Willigen & Meijer 2003, p. 115; Christie’s, London, 17 March 1781, no. 30. 226 Provenance: Museum Peleş, Sinaia, Romania; Paris 1898; Koetser Gallery, Zurich 1980. Exhibitions: Basel 1987, p. 190, no. 69.

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a 1

Kingfisher Strawberries

Alcedo atthis Fragaria vesca

In the Venetian glass 2 Lily of the Valley 3 Bachelor’s Buttons (stylized) 4 Forget-me-not 5 White Rose b Azure Damselfly 6 Poppy Anemone 7 Tapered Tulip 8 Hyacinth 9 Purple Tulip 10 Cowslip

Convallaria majalis Ranunculus acris var. multiplex Myosotis palustris Rosa x alba plena Coenagrion puella Anemone coronaria pseudoplena violacea Tulipa armena bicolor Hyacinthus orientalis Tulipa undulatifolia Primula veris albescens

On the table 11 Austrian Briar bud 12 Carnation c 7-spot Ladybird D Painted Lady Butterfly

Rosa foetida Dianthus caryophyllus bicolor plenus Coccinella septempunctata Vanessa cardui

In the chinoiserie bowl into which an implement with a serrated handle has been inserted 13 Bullaces Prunus domestica subsp. instititia 14 Cherries Prunus cerasus e Nightingale Luscinia megarhynchos Between the signature and date f Half Moon-spot Hoverfly

Scaeva pyrastri

Above G Small Tortoiseshell Butterfly h Diadem Spider

Aglais urticae Araneus diadematus

Fig. 7.57 Jacob van Ostayen, Flowers and fruit with birds, dated 1641, copper, 42.3 x 57.2 cm, private collection. 358 |

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Van Ostayen seems to have been influenced by various artists: the birds are borrowed from Roelandt Savery; the implement from Frans Snyders; and the extremely large Tulip extending out of the top of the bouquet may have been drawn from any one of several contemporaries. Nonetheless, the artist’s own particular style is evident in the decorative details; the glass and bowl are unknown to me from other paintings.

Isaak Soreau

Isaak Soreau was born in 1604 in Hanau, the son of the painter Daniël Soreau (ca. 1565-1619), who had moved his family from Tournai to Germany, and to whom today no paintings can be attributed with certainty. Very little is known about Isaak’s life. He is documented until 1645. His twin brother Peter Soreau lived until 1672, and there are laid table still lifes and a single painting of a flower wreath known from his hand. Of Isaak’s work, we know of only one signed fruit piece, which is dated 1638. Many fruit pieces and complex fruit and flower pieces have been attributed to him. These works reveal the strong influence of Jacob van Hulsdonck, which suggests that Isaak spent some time in Antwerp. Furthermore, a number of flower pieces have recently been attributed to Isaak Soreau, however it is unclear whether some of these are not rather the work of Jacob van Hulsdonck, or another contemporary, or possibly a brother named Jan Soreau.227 Isaak Soreau (attributed), Tulips and Roses in a glass beaker (Fig. 7.58) Panel, 53.5 x 40.5 cm. Private collection.228 Fig. 7.58 Isaak Soreau (attributed), Tulips and Roses in a glass beaker, panel, 53.5 x 40.5 cm, private collection.

227 For Daniël, Isaak and Peter Soreau see Bott 2001. 228 Provenance: Sotheby’s, Monaco, 2 December 1988, no. 645, as Jacob van Hulsdonck; Sotheby’s, New York, 10 January 1991, no. 93, as idem; Sotheby’s, London, 16 December 1999, no. 28, as Isaak Soreau; Sotheby’s Amsterdam, 4 May 2002, no. 28, as idem. | 359

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In this work, initially attributed to Jacob van Hulsdonck and later to Isaak Soreau, we see fifteen Tulips fanning out above two White Roses arranged in a Venetian glass beaker. Most of these are Persian Tulips (Tulipa clusiana), or hybrids thereof with the closely related Yellow Tulip (Tulipa chrysantha) or the white Lady Tulip (Tulipa stellata), plus a few hybrids of the Tapered Tulip (Tulipa armena). A Carrion Beetle (Necrophorus vespilloides) crawls along a Tulip leaf while a Banded Brush Beetle (Trichius fasciatus) creeps along the table-top. The water drops in this painting are reminiscent of Van Hulsdonck, and the work is also suggestive of a flower piece with many Tulips which has been attributed to Van Hulsdonck.229 The panel of Tulips and Roses in a glass beaker has been stamped with the mark of Antwerp.

Jacques van Uden

Jacques van Uden was born in Antwerp in 1605 and learned to paint from his father, Artus van Uden. He painted landscapes, flower and fruit pieces for export to Spain.230 He is last mentioned in a document dated 1662, his daughter’s last will where she bequeathes him hundred guilders and several precious objects.231

Thomas Willeboirts Bosschaert

Thomas Willeboirts Bosschaert was born in 1613 or 1614 in Bergen op Zoom. During 1628 he began an apprenticeship with Gerard Seghers (1591-1651) and in 1637 he became a citizen of Antwerp and master painter in the Guild of Saint Luke. He travelled through Germany, Italy and Spain. Willeboirts died in Antwerp in 1654. Willeboirts is mostly known for his representations of mythological and religious scenes, but he also painted portraits. In addition, he painted figures in the works of Joannes Fyt, Daniël Seghers, Frans Snyders, Frans Ykens, Jan Davidsz de Heem, and others. According to sales catalogues, he painted still lifes too, for example ‘a glass’ auctioned in London in 1689, ‘een fraai geschildert bloemstuk’ (‘a finely painted flower piece’) listed in a sale of 1747 in The Hague, and a ‘Stilleben mit Blumen und Schmetterlingen’ (‘Still life with flowers and butterflies’) sold in Berlin in 1917.232 No flower pieces by this artist are known today.

Detail Fig. 8.9

229 Panel, 55 x 41 cm, The Hague, Museum Bredius, inv. no. 166-1946. 230 See, for example, his letter to the art dealer Van Immerseel in 1629. Denucé 1934, pp. 66-67. For more on the Antwerp export market of paintings to Spain see De Marchi & Van Miegroet 1999. 231 Duverger 1984-2002, VIII, p. 243. 232 Tom’s Coffee-House, London, 14 June 1689, no. 36; Terwesten 1770, p. 49, sale of Theodorus van Pee, The Hague, 23 May 1747, no. 52; sale of Freiherr von Minnigerode-Altenburg collection, Lepke, Berlin, 16 October 1917, no. 12 (panel, 23 x 29 cm, signed).

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CHAPTER 8

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8

The Second Half of the Seventeenth Century (ca. 1650-1700)

There were certainly no sharp divisions between the periods of development of the flower piece. The inventiveness and ingenuity of one generation of painters could quite easily continue to flourish in the practices of those who succeeded them for many years to come. Among the waves of influences from near and far which swept over Dutch and Flemish artists in the second half of the seventeenth century there is a noticeably stronger current from outside the Low Countries, in addition to reciprocal influences flowing back abroad. When reinvigoration and innovation take place in this period, they have not necessarily been single-handedly prompted by one creative genius, but may rather be a result of the Zeitgeist, which in turn arises out of social developments and evolving attitudes towards human life itself. In the second half of the seventeenth century there is much more diversity and difference in the execution of paintings, something that is not the case in the eighteenth or even the first half of the nineteenth century. There is more variety in technique, as well as in composition, style of representation, spatial effect, lighting, colour, and in the material expression of objects, which, in the case of flower pieces, includes differences in the species of flowers and plants selected to be depicted. Yet despite this high degree of diversity, it is possible to trace out several key trajectories of change. Moreover, besides those who clearly followed the great pioneering artists of the past, we can discern a large number of painters who worked independently of prevailing standards or established traditions. Generally speaking, the best artists in this age possessed superior skills in technique, design, composition, spatial representation, lighting effects and harmonious colour application. After 1650 it was Jan Davidsz de Heem (1606-1684) who exerted the greatest influence on still life painting both in the Northern and in the Southern Netherlands, pushing the genre in new directions. In the Northern Netherlands, Willem van Aelst (1627-1683) was also an important innovator who created his own following. There were other artists too who diversified the genre by deploying a freer brushstroke, such as Abraham van Beyeren (1620/21-1690). It is not always easy to classify all these artists within a single tradition. Artists in the Southern Netherlands continued to be dominated by the influence of Daniël Seghers (1590-1661), as well as responding to the lasting influence of the Brueghels, and later, as in the works of Gaspar Peeter Verbruggen II (1664-1730), to the influence of the Italians, who worked in a much less detailed style. However, all these influences are much more clearly discernible in other types of still lifes rather than flower pieces: for example, in the other variations of flower still lifes executed in the South, such as cartouches, garlands, festoons and swags; in trompe l’oeil still lifes and bird still lifes in the North; and in sumptuous still lifes and hunting still lifes in both North and South. It should be noted that still lifes such as pantry interiors, kitchen pieces and market pieces had, by this time, more or less ceased to be produced. For the Dutch Republic, the second half of the seventeenth century was a period of great prosperity. Power had been transferred from the monarchy, aristocracy and church to urban centres that were teeming with citizens and merchants who had considerable fortunes at their disposal. In contrast, in the Southern Netherlands, the power and influence of formerly wealthy cities, such as Ghent and Bruges, had steeply declined due to the Eighty Years’ War (1568-1648). Antwerp remained an important centre, but it could no longer compete with the North. Spanish rule had driven away many of the richest non-Catholic inhabitants. Many artists, too, left to live abroad, some moving, as we have already seen, to the Republic, others to Paris and Italy, and later also to England. Frequently these itinerants were decorative painters who were engaged to provide adornment to palaces and country estates. In this period the number of artists painting flower pieces in Flanders was significantly smaller than in the United Provinces, something that was actually already the case in the second quarter of the seventeenth century and would remain so throughout the eighteenth century.

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Characteristics of the Flower Piece in the Second Half of the Seventeenth Century

– Canvas becomes much more common as the support of choice, while there is much less use of copper. Oak panel continues to be in demand. – Although there is little new concerning the sources of pigment, there are differences in the way in which it is prepared: there are more mixtures, whether impasto or of a thin consistency, hence more nuances of colour, and among the most important innovators these differences are visible in a single painting, as in the works of Jan Davidsz de Heem. – Imprimatura is more or less the same as in the previous period, with the addition of diluted earth tones, but there is a greater variety, sometimes layered on a predominantly white background, as in the works of Jan van Kessel I (1626-1679), and sometimes over a red bole (‘rode bolus’) underlayer in order to obtain a warmer tone. – The background is very seldom a niche but more often a wall with various kinds of corners or pillars, with a view beyond, or with curtains. More of the solid coloured backgrounds are livelier because of variations in the thickness of the paint applied and because of lighting effects. Particularly in sumptuous still lifes we often see a nail hung in the wall casting a shadow. – The foreground, in many cases, is a stone slab and plinth, usually made of marble, with a characteristic plinth topped by a straight, narrow ledge. – Bouquets are no longer strictly symmetrical, but rather there is a certain tendency towards asymmetry, particularly in the works of Willem van Aelst and his followers. Most of the time we can then identify a diagonal main axis, usually oriented towards the upper right of the painting, determined by a botanical species with clusters of blooms, such as Hollyhocks, or by a species in a lighter colour than those around it. – There is little if any instance of layering, and frequently multiple axes can be differentiated in the arrangement and the related intensity of the colours. – The flowers are no longer statically arranged, but are much freer and oriented in different directions, some protruding, extending or drooping. The arrangement is more naturalistic, looser, with logical overcutting. – A distinct unity may be observed linking the container and the bouquet. – In general, the relative dimensions of the flowers are accurate, which results in an overall impression of realism. – The bouquets have a greater sense of depth, which has been accomplished by means of a freer arrangement of the stems, flowers and leaves in combination with lighting effects. – Light is usually concentrated on the central flowers, and to a lesser extent the scene can be illuminated on the left side of the painting from an imaginary unseen workshop window outside the frame, which would hypothetically be positioned on the left and slightly higher than the bouquet. – The division between light and dark is further enhanced by differences between the centre and sides of the bouquet and in the shadows falling to the right, but is also visible in differences in the shadows cast by the flowers themselves. – Relatively large differences may be observed in the details of the various flowers and the foliage, with improved material expression and variation in texture and lighting. – The mutations found in certain species are included more often, such as variegated leaves, colour patterns caused by viruses, leaf galls with depth effects, and foliage that is curled or rolled up. – Tonality has much of the time been replaced with colour harmony, where use has been made of related adjacent colours, occasionally by means of lines. – Colour harmony has also been achieved by repeating or aligning colour combinations within the composition: for example, those of multi-coloured flowers or of flowers and butterflies. – Repetition of shapes is a conscious artistic choice, for example echoing the curve of a shell in another object like a vase or a skull. – Material expression has been improved in many areas. This may readily be seen in the play of light, especially the way a glass vase might catch the light of a workshop window – both in the mirroring of the reflected light and the refracted light passing through the glass and water. – Insects are frequently represented in natural positions and sometimes half hidden, for example between the flower petals. – Water drops are a common feature of flower pieces in this period and are painted more realistically than previously, particularly when it comes to lighting effects. – Copies and pastiches are still being made after the works of important artists, as well as studies,

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– –

– –

but the churning out of work by followers decreases. It seems also that fewer exact replications by artists themselves of clusters or details from their own work are created. In the Southern Netherlands the collaboration among the artists who paint the flowers and fruit in cartouche still lifes and those who paint the central image continues as before. In general, there are few new species of flowers added to those of the previous period. There is, however, a greater occurrence of the following: the Hollyhock (Alcea rosea); Opium Poppy (Papaver somniferum), often as the top flower turned to face the back of the painting; Small Morning Glory (Convolvulus tricolor); Great Morning Glory (Ipomoea purpurea); Snowball (Viburnum opulus cv. Roseum); Seville Orange blossom (Citrus auratium); Apple blossom (Malus sylvestris); Scarlet Runner Bean (Phaseolus coccineus); Sunflower (Helianthus annuus); Provins Rose (Rosa x provincialis); Foxtail (Amaranthus caudatus); Chinese Lantern (Physalis alkekengi); Honeysuckle (Lonicera); Ornamental Kale (Brassica oleracea var. acephala f. plumacea); Dill (Anethum graveolens) and other umbelliferous flowers. Furthermore, there is frequent use of plant species – including native species – which were hitherto only rarely depicted. New additions include ears of Wheat (sometimes with a broken stalk), Pea pods, and twigs of fruit-bearing plants in bouquets, particularly Redcurrants and Blackberries. At the end of the seventeenth century, species from America and South Africa begin to appear, such as Garden Nasturtium (Tropaeolum majus) and Amaryllis (Amaryllis bella-donna). A number of these species remained popular through the eighteenth century. The variety of insect species in a single work can often be quite large. Particularly in the last decade of the seventeenth century we see a surge of baroque classicism, partially through the influence of Italian art, and it is more strongly evident in Flanders than in Holland. However, this influence was imported to the North by Flemish decorative painters who established themselves there and is perhaps evident in instances where classicism came to be mixed with Arcadian pastoral representations. Mythological scenes show nymphs or putti playing or dancing, or a young woman who is reminiscent of the goddess Flora. In flower pieces we see this influence in the ornamentation of trompe l’oeil reliefs on baroque pottery or bronze vases, and usually in the decorative works made by painters for use, for example, as mantelpieces and overdoor paintings.

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Artists of the Northern Netherlands

The Declining Influence of the Bosschaerts Johannes Goedaert

Johannes Goedaert was born in Middelburg in 1617 and remained there until his death in 1668. He married Clara de Bock around 1643 and they had three children. Goedaert painted landscapes, but three flower pieces are also known from his hand. Further, we know that he made watercolour drawings of flowers, insects and birds, but only a limited number of these have been preserved. He devoted his life to the study of butterflies and other insects, something he began in 1635. This research was original and scientific: he allowed captured insects to breed and then precisely described the different stages of development, just as the renowned botanical illustrator Maria Sibylla Merian (1647-1717) was to do later. Goedaert compiled his findings in a work published in three octavo volumes in 1662, 1667 and posthumously in 1669, entitled Metamorphosis Naturalis, which appeared in Dutch, Latin, French and English editions and included well over 150 engravings after his drawings, which were sometimes coloured in by hand.1 It would thus be possible to see him in the first place as an entomologist. In his books, he draws on many texts from the Bible, classical literature, along with herbals and insect books of the sixteenth century and later ones from his own era. He repeatedly expresses his wonder for God’s Creation which exhibits its perfection in the smallest creatures. Goedaert was a pious man. In his writings, he emphatically stresses that he has observed everything himself. None of his paintings are dated. His works display certain influences of the Middelburg painters of the first quarter of the seventeenth century – Ambrosius Bosschaert I (1573-1621) and primarily Christoffel van den Berghe (ca. 1590-after 1628), who was possibly his master – which continued to be felt by artists decades later, but always inflected in their own particular way. This evident sense of continuity through the work of Goedaert is the reason why this chapter begins with this artist. The 1637 work of Dirck van Delen (1604/05-1671) (Fig. 7.20) can here be understood as transitional in relation to these last-mentioned artists and Goedaert. It is assumed that Goedaert’s flower pieces belong to his later works because they show species that were popular in that period, such as the Small Morning Glory, Great Morning Glory, Hollyhock, and other full or double varieties. Insects depicted in his books have been replicated in his paintings. His composition is conventional: static, showing a symmetrical bouquet in a relatively small Chinese vase with little overlap among the flowers, making each one clearly visible in all its details. Colour composition is variegated but muted, probably on account of a technique involving gum arabic in which the gum is bound using egg white; when the pigment has been dissolved into this medium the colour becomes somewhat absorbed into the background.2 The result is a slightly matte silvery hue, augmented by light grey tones and outlining. This technique, together with his exacting supplementary work, which might include a bird, shell, remarkable snail, or grasshopper with imposing wings, demonstrates evidence of the artist’s singular dedication, intense concentration, and refinement. One of the three extant flower still lifes is currently in the collection of the Zeeuws Museum in Middelburg.3 Johannes Goedaert, Flower piece with a grasshopper and a snail (Fig. 8.1) Panel, 28 x 22 cm, signed lower right in grey: Joh: Goedaert. Private collection.4 1 2 3

4

A somewhat condensed reprint of the Latin edition appeared in 1685. The 1682 English edition was published in York. Verbal communication by conservator-restorer Marcel de Man. Oval panel, 34.4 x 25.5 cm, signed with a monogram showing a J through a G set between three dots, Middelburg, Zeeuws Museum, inv. no. M96-031. Meijer 2016-17, p. 45, Fig. 17. For more on his flower pieces see Bol 1980, pp. 368-370; Bol 1982, pp. 30-32 and Segal in Amsterdam 1984, pp. 79-80, 186-191, nos 35-37. For a survey of his oeuvre, which includes a discussion of Goedaert’s landscapes, see Bol 1984-85. About Goedaert see also Middelburg 2016-17 and Zierikzee 2018-19, pp. 66-68. Provenance: collection of J.T. Berkemeier, Rotterdam 1935; collection of T. Hoog, Aerdenhout; private collection, Germany; Charles Roelofsz Gallery, Amsterdam 1996. Exhibitions & literature: Amsterdam 1935, p. 11, no. 55; Dordrecht 1955, p. 12, no. 50; Bol 1959, pp. 13-14, Fig. 7; Bol 1969, pp. 57-60, Fig. 40; Bergström 1977/79, p. 191; Bol 1980, p. 369, Fig. 4; Bol 1982, p. 32, Fig. 4; Segal in Amsterdam 1984, pp. 77, Fig. 27c, 79-80, 186-187, no. 35; Bol 1984-85, p. 53, Fig. 24; Grimm 1988, pp. 101, 103, Fig. 48; Segal in Delft, Cambridge & Fort Worth 1988-89, pp. 109, Fig. 6.7, 111-113, Fig. 24, 235, no. 24; Bernier 1989, pp. 99-100;

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1 2 3 4 5 6 7 8 9 10 11

York and Lancaster Rose Austrian Briar Poppy Anemone Pot Marigold Summer Pheasant’s Eye Gladdon Tapered Tulip hybrid Columbine Carnation Liverwort Stock

Rosa x damascena cv. Versicolor Rosa foetida Anemone coronaria Calendula officinalis Adonis aestivalis Iris foetidissima Tulipa armena x T. undulatifolia Aquilegia vulgaris Dianthus caryophyllus plenus bicolor Hepatica nobilis plena Matthiola incana plena

A B c d e f g

Magpie Moth Red Admiral Butterfly Earth Bumblebee Black Ant Greenbottle Fly Blue-winged Grasshopper Garden Snail

Abraxas grossulariata Vanessa atalanta Bombus terrrestris Lasius niger Lucilia caesar Oedipoda coerulescens Cepaea hortensis

Three of these insects are depicted, in reverse, in the Metamorphosis Naturalis.5

Fig. 8.1 Johannes Goedaert, Flower piece with a grasshopper and a snail, panel, 28 x 22 cm, private collection.

5

Segal in Osaka, Tokyo and Sydney 1990, pp. 92, Fig. 42, 199-200, no. 42; Segal 1994, p. 69, Fig. 49; Gemar-Koeltzsch 1995, II, pp. 292-293, no. 142/3; Meijer 2016-2017, pp. 48-50, Fig. 21, without references. Magpie Moth in vol. I, Pl. XXXI, Red Admiral Butterfly in vol. II, Pl. 39, and Earth Bumblebee in vol. II, Pl. 46. | 367

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Helena Roovers

Tulips and other flowers in a roemer (Fig. 8.2) is dated 1663, signed Helena Roovers, and to date remains the only known painting by this female artist. The name Roovers can be traced back to both the Northern and Southern Netherlands.6 In 1658, a certain Elisabeth Roovers of Breda and her sister Maria received two paintings as a gift from Marie van Praet of Antwerp.7 This archival reference may be linked to the family of the artist Helena Roovers. In its composition the flower piece by Helena Roovers resembles that of artists who were active in Utrecht, Jacob Marrel (1613/14-1681) in particular. Both Marrel and Ambrosius Bosschaert II (1609-1645) were already painting similar kinds of flower pieces, sometimes arranged in roemers, shortly after 1630. Marrel was also doing that after 1660, although his other types of still lifes had for years been permeated by the influence of Jan Davidsz de Heem. The painting by Helena Roovers betrays certain aspects of time-honoured modes of representation in flower pieces, which can also be observed in Marrel’s works of the same period. At the same time, other features indicate that this painting could never have been painted before 1660: the Tulip with broad short leaves had just come into fashion in the early 1660s. We also see this species in Marrel’s paintings of the period. What is striking in Roovers’s work is the great variety in size and colour pattern among the seven Tulips depicted. A Curl Crocus is lying on the table-top, a cultivar which had probably first been grown in Holland around 1570, and remained a specialty of Dutch bulb growers for at least a century. Other more or less specific flowers are the Turk’s Cap Lily, the full forms of the Kingcup, and the Full Campernelle Narcissus, a yellow Narcissus.

Fig. 8.2 Helena Roovers, Tulips and other flowers in a roemer, dated 1663, canvas, 55.5 x 46 cm, Statens Museum for Kunst, Copenhagen. 6 7

According to Van der Willigen & Meijer, Helena Roovers may have been the daughter of Philips Corstiaensz Roover, who entered the guild at The Hague in 1630 as an apprentice. Van der Willigen & Meijer 2003, p. 171. Duverger 1984-2002, VIII, pp. 23-24, no. 2249.

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Helena Roovers, Tulips and other flowers in a roemer (Fig. 8.2) Canvas, 55.5 x 46 cm, signed and dated lower right: Helena . Roouers fe / A° 1663 Statens Museum for Kunst, Copenhagen, inv. no. KMS ST 16.8 Tulip (7x) Kingcup Borage Hyacinth Full Campernelle Narcissus Sweet Briar Poet’s Narcissus Forget-me-not Pot Marigold Meadow Cranesbill Rose Campion Columbine Liverwort Turk’s Cap Lily Lily of the Valley Autumn Pheasant’s Eye

Tulipa mucronata div. T. armena Caltha palustris plena Borago officinalis Hyacinthus orientalis Narcissus x odorus plenus Rosa rubiginosa Narcissus poeticus Myosotis palustris Calendula officinalis Geranium pratense Lychnis coronaria Aquilegium vulgare Hepatica nobilis Lilium chalcedonicum Convallaria majalis Adonis annua

In the foreground Carnation Curl Crocus Forget-me-not

Dianthus caryophyllus bicolor Crocus flavus x C. angustifolius Myosotis palustris

Insects appearing in the painting include, to the left, a Dragonfly and a Damselfly (Odonata spec.); in the upper left a Meadow Brown Butterfly (Maniola jurtina); and on the table-top a Great Green Bush Cricket (Tettigonia viridissima).

Pieter van de Venne

Pieter van de Venne was born in Middelburg in 1624, the son and later apprentice of the painter Adriaen van de Venne (ca. 1588-1662), who was known for his portraits, allegorical paintings, and also for his emblem designs for Jacob Cats.9 In 1625 the family moved to The Hague, where Pieter became active as a bookseller. In 1639-1640 he was admitted to the guild. In 1655 he married Clara Gool, and in 1656 he was one of the founders of the Confrerie Pictura. Pieter van de Venne died in 1657 in The Hague. Pieter van de Venne painted predominantly flower pieces; in addition, a vanitas still life and a shell still life are known to be extant, while a still life with turnips is known from an inventory of 1681.10 Dated flower pieces are known from 1645 to 1656. Pieter van de Venne places all his bouquets in a round glass vase, often relatively small in relation to the flowers, and sets it on a table that is partially covered with a cloth. Usually one or more Tulips project out of the top of the cluster and also fan out at the sides. In his simpler works, we commonly see fallen flower petals lying on the table and in his larger works vanitas attributes, such as a timepiece or a chest of jewels. Occasionally the St James’ Church in The Hague can be recognized in a reflection on a vase. The influence of Balthasar van der Ast (1593/94-1657) and his circle is apparent, particularly in Van de Venne’s representations of strewn flowers on a ledge and in his shell piece, but his execution is less refined. These works also suggest the influence of Jacob Vosmaer (ca. 1584-1641), and the somewhat broad brushstroke is similar to that of Jacques de Claeuw (1623-after 1694). A 1655 flower piece is currently in the collection of the Guildhall Art Gallery in London.11

8

9 10 11

Unfortunately, time did not permit a more thorough examination. Provenance: presented to the King of Denmark by the widow Mrs Sievers in 1770. Exhibitions & literature: mus. cat. Copenhagen 1951, p. 263, no. 596; Gammelbo 1960, pp. 120-121, no. 173; Copenhagen 1969, no. 42; Mitchell 1973, p. 220, Fig. 312; Greer 1979, pp. 240-241; Copenhagen 1990, p. 130, no. 6; GemarKoeltzsch 1995, III, pp. 835-836, no. 335/1; Kloek, Peters Sengers & Tobé 1998, p. 161; Segal in Antwerp & Arnhem 1999-2000, p. 184, no. 58. A number of biographies give an earlier birthdate based on his role as an apprentice of Evert van der Maes (ca. 15771646/47) in The Hague in 1618, but most likely this refers to a different painter with the same name. Bredius 1915-22, II, p. 391, inventory of Daniel Florianus, Amsterdam: ‘een stuck van rapen van van de Venne’. London, Guildhall Art Gallery, inv. no. 347. For other flower pieces by Van de Venne see Segal in Amsterdam 1984, pp. 8081, 192-193, no. 38 and the Segal Still Life Documentation in the RKD, The Hague.

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Pieter van de Venne, Flowers in a round glass vase (Fig. 8.3) Panel, 54.5 x 41.8 cm, signed and dated lower right with the top of the brush: P. v. Venne / 1649 Private collection.12 1 Forget-me-not 2 Austrian Copper (Briar) 3 White Rose 4 Austrian Briar 5 Stock 6 Dusky Cranesbill 7 Red Tulip 8 Red Tulip hybrid 9 Pot Marigold 10 Red Tulip 11 Meadow Cranesbill 12 Pansy 13 Stock 14 Provins Rose

Myosotis palustris Rosa foetida cv. Bicolor Rosa x alba semiplena Rosa foetida Matthiola incana lilacina Geranium phaeum Tulipa agenensis rubro-albescens Tulipa agenensis x T. hungarica Calendula officinalis Tulipa agenensis rubro-albescens Geranium pratense album Viola tricolor Matthiola incana violacea Rosa x provincialis

Pieter van de Venne replicated several flowers from this bouquet exactly in other flower pieces, giving them a similar place in the composition, for example the Dusky Cranesbill, the Red Tulip, the Meadow Cranesbill and the Provins Rose above also appear in a work of 1645.13 In other works we see flowers repeated, but which have been somewhat altered.

Fig. 8.3 Pieter van de Venne, Flowers in a round glass vase, dated 1649, panel, 54.5 x 41.8 cm, private collection. 12 13

Provenance: Christie’s, Amsterdam, 11 May 1984, no. 161, with identifications by Segal; Johnny Van Haeften Gallery, London 1994. Panel, 59.3 x 39.2 cm, Douwes Gallery, Amsterdam 1990.

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Jan Olis

Jan Olis was born about 1610 in Gorinchem. His earliest dated work, a genre piece, is dated 1629, and in a mythological painting dated 1631 the artist added Roma to the signature and date. From 1631 through to 1641 Jan Olis was a member of the Dordrecht Guild of Saint Luke, and was wed in that city in 1637 to Catharina van der Beeck, the widow of a wine merchant, a profession that he was also practising himself. In 1643, he registered in The Hague guild as ‘Jan Olofson’.14 In 1647, the guild auctioned five of his works and five copies of his works.15 Olis acted as a witness in Rotterdam in 1652. From 1656 until his death in 1676 he lived in Heusden in Flanders, where he filled different official posts, including becoming burgomaster, that is the chief magistrate or mayor of a town in some European countries, in 1657. He also continued to work as a painter, as is evident from a flower piece dated 1662 in the Noordbrabants Museum in ‘s-Hertogenbosch.16 Jan Olis executed genre paintings; group portraits; kitchen pieces; meal, tobacco and fruit still lifes; and several flower pieces. These flower pieces, combined with fruit, exhibit characteristics of earlier periods of development, particularly techniques adopted from the Bosschaert dynasty, as seen for example in the symmetrical and layered structure of his bouquets. Olis was quite possibly familiar with the work of Bartholomeus Assteyn (1607-1667/77), another citizen of Dordrecht, and maybe also with that of Jacob Marrel. In his flower pieces a striking detail is the placement of a flower extending high above the top of the bouquet. The larger flowers have been more carefully rendered than the smaller ‘fill flowers’ in the lower centre of his bouquets; the vases have been placed on a stone table-top whose rounded edge is visible at the left of the image. Jan Olis, Madonna Lily, Tulips and other flowers in a glass vase (Fig. 8.4) Panel, 84 x 67.5 cm, signed lower right in brown: . Jo . fe . (‘Jo’ in monogram) Private collection.17

14 15 16 17

1 Love-in-a-mist 2 Provins Rose 3 Summer Snowflake 4 Wallflower 5 Lily of the Valley 6 Jacob’s Ladder 7 Pot Marigold 8 Austrian Briar 9 White Bachelor’s Buttons 10 Purple Tulip hybrid 11 Poet’s Narcissus 12 Daffodil 13 Carnation 14 Columbine 15 Madonna Lily 16 Persian Tulip 17 Siberian Iris 18 Snake’s Head Fritillary 19 Yellow Tulip hybrid 20 White Rose 21 Sweet Briar 22 St Bruno’s Lily 23 Poppy Anemone 24 Peony

Nigella damascena Rosa x provincialis Leucojum aestivum Erysimum cheiri Convallaria majalis Polemonium caeruleum Calendula officinalis aurantiaca Rosa foetida Ranunculus aconitifolius var. pleniflorus Tulipa undulatifolia x T. agenensis Narcissus poeticus Narcissus pseudonarcissus plenus Dianthus caryophyllus plenus bicolor Aquilegia vulgaris alba Lilium candidum Tulipa clusiana Iris sibirica Fritillaria meleagris Tulipa chrysantha x T. clusiana Rosa x alba subplena Rosa rubiginosa Paradisea liliastrum Anemone coronaria pallida Paeonia officinalis plena

On the table 8 Austrian Briar 25 Peaches

Rosa foetida Prunus persica

Obreen 1877-90, V, p. 102. Bredius, 1915-22, II, pp. 473, 482, 486, 492, 500, 502-504. Canvas, 120 x 96 cm, ‘s-Hertogenbosch, Noordbrabants Museum, inv. no. 11287. Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 98-99, no. 53, with identifications. Provenance: Galerie Pardo, Paris 1953; collection of Coutant d’Olive, France; Ader, Picard & Tajan, Paris, 27 June 1989, no. 19. Literature: Connaissance des arts, June 1989, pp. 116-117; Meijer 2005, p. 92, Fig. 12, with erroneous dimensions.

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This is definitely an earlier work than the above-mentioned flower piece of 1662, in which the characteristics of flower painting from the second half of the seventeenth century are more clearly displayed, such as the red cloth on the table, the curtain and the Sunflower extending at the top. In the 1662 piece we also see a number of the species from this earlier work, such as the Madonna Lily, the Roses, Tulips and the Peony, but these are not identical. Fig. 8.4 Jan Olis, Madonna Lily, Tulips and other flowers in a glass vase, panel, 84 x 67.5 cm, private collection.

J. van Slechtenhorst

About J. van Slechtenhorst very little is known.18 The name ‘Slechtenhorst’ was already mentioned in a Rotterdam inventory of 1679 in association with landscapes. In addition to landscapes, Van Slechtenhorst painted flower pieces, little panels varying in size between 22.5 x 18.5 and 48 x 36 cm, of which a number are known bearing dates between 1662 and 1670.19 These are rather simple little flower pieces that fit in best with the Bosschaert school on account of their symmetrical structuring, the use of a Tulip or Iris as the top flower (as, for example, in the works of Hans Bollongier (ca. 1600-ca. 1673)), and the presence of a lizard in several flower pieces (as, for example, in the works of Roelandt Savery (1576-1639), Balthasar van der Ast and Jacob Marrel). The visible table edge to the left in several of these paintings and the tablecloth in the 1670 work are later developments. It is quite understandable that a number of minor masters or amateurs would be influenced by well-established and known painting traditions, rather than attempting to follow the latest and arguably unfamiliar developments, and Van Slechtenhorst is one such example. 18 19

The discovery of a fully signed flower painting by J. van Slechtenhorst, has provided a solution to the mystery behind the identification of Flechtenhorst, S. Horst and S.L. Horst as one and the same person. Meijer 2003, pp. 274-275. A complete description of the smallest flower piece compiled in 1991 may be found in the Segal Still Life Documentation in the RKD, The Hague. Meijer 2003, p. 275, Fig. 68.1.

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J. van Slechtenhorst, Flowers in a glass vase on a table with an embroidered cloth (Fig. 8.5) Panel, 48 x 36 cm, signed and dated lower left in brown: SLHorst. / 1670. (‘S’, ‘L’ and ‘H’ ligated) Ashmolean Museum of Art and Archaeology, Oxford, inv. no. WA1940.2.37.20 1 2 3 4 5 6 7 8 8 9 10 11 12

Cabbage Rose Angel’s Tears French Marigold Pot Marigold Sweet Briar German Flag Iris Tapered Tulip Hyacinth Umbelliferous flower Tapered Tulip Blunt Tulip Snake’s Head Fritillary Bell flower

A Red Admiral Butterfly b Caterpillar c Sand Lizard

Rosa x centifolia Narcissus triandrus Tagetes patula Calendula officinalis Rosa rubiginosa Iris germanica Tulipa armena bicolor Hyacinthus orientalis Apiaceae spec. Tulipa armena bicolor Tulipa mucronata luteo-rubra Fritillaria meleagris Campanula spec. Vanessa atalanta Lepidoptera spec. Lacerta agilis

The spherical glass vase with a gold band around its middle also appears in another signed work.21

Fig. 8.5 J. van Slechtenhorst, Flowers in a glass vase on a table with an embroidered cloth, dated 1670, panel, 48 x 36 cm, Ashmolean Museum of Art and Archaeology, Oxford. 20

21

Provenance: Christie’s, London, 20 May 1927, no. 104; collection of Theodore W.H. Ward and Lady Daisy Linda Ward-Travers, London; donated to the museum with the collection in 1939. Literature: Van Gelder 1950, pp. 98-99, no. 37, as S. Horst; mus. cat. Oxford 1961, p. 72, no. W37, as S. Horst; mus. cat. Oxford 1980, p. 46, as attributed to S. Horst; Wright in Birmingham 1989-90, p. 208, as S. Horst; Gemar-Koeltzsch 1995, II, p. 517, no. 181/1, as S. Horst; Meijer 2003, p. 274-275, no. 68, without provenance. Panel, 40 x 29 cm. Gemar-Koeltzsch 1995, II, p. 517, no. 181/2, as S. Horst.

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Pieter Jansen

At the end of the nineteenth century Cornelis Hofstede de Groot observed a flower piece signed Piter Jansen f. in the private collection of Jacob Fischer in Mainz. According to Hofstede de Groot, it was executed ‘in the spirit of the early half-Flemish and half-Dutch flower painters of whom both the Bosschaerts and Balthasar van der Ast are the most famous’.22 About this Pi(e)ter Jansen nothing is known. He can be considered possibly as synonymous with the Amsterdam painter Pieter Jansz, whose inventory drawn up in 1656 listed a few landscapes and ‘een blompot’ (‘a flowerpot’).23

Johannes Moninckx II

Johannes Moninckx II was a painter of flower still lifes in oils and watercolours, as well as a significant botanical artist. He was born in Utrecht in 1672 or 1673.24 Johannes is documented in Amsterdam from 1670 until his death in 1708. In 1697 he married Petronella Ruysch (1670-1708), daughter of the famous anatomist Frederik Ruysch (1638-1731). Moninckx was, therefore, the brother-in-law of Ruysch’s likewise famous daughter, the flower painter Rachel Ruysch (1664-1750). Three paintings in oils are currently known in relation to Johannes Moninckx II, one of which is dated 1688 and strongly reminiscent of a late work by Jacob Marrel. Moninckx’s most important creations are numerous watercolours of flowers and plants, plus watercolours of flower pieces which, in terms of quality, are far superior to his works in oil paint. Eight large folio albums (ca. 53 x 36 cm), now in the collection of the University of Amsterdam, are particularly renowned. The Afteekeningen van verscheyden vreemde gewassen in de Medicyn-Hoff der Stadt Amsterdam contains 409 watercolour illustrations depicting 470 exotic plants. These albums were at one time in the possession of Amsterdam’s Hortus Botanicus, which was formerly called the Medicyn-Hoff and in the seventeenth century formed part of the University of Amsterdam, where Frederik Ruysch was appointed as professor. The eight albums, plus a ninth compiled by later artists, were transferred to the University of Amsterdam Library in 1861.25 The original watercolour drawings, known as the Moninckx Atlas, were for the most part executed by Johannes Moninckx for the chief gardener Johannes Commelin (1629-1692), but a number of others were painted by Maria Moninckx (1676-1757), a relative of Johannes. Additional contributors were Alida Withoos (ca. 1659-1730) and Johanna Helena Herolt-Graff (1668-after 1723), the daughter of Maria Sibylla Merian. 270 of the plants can be found as prints in the plant books of Johannes and his cousin Caspar Commelin (1668-1731), who published a second volume in 1701.26 Johannes Moninckx II, Flowers in a black chinoiserie vase on a pedestal (Fig. 8.6) Watercolour on vellum, egg glaze in areas, 425 x 323 mm, signed lower right in black chalk: J. Monickx. F. Private collection.27 The vase in the image has been decorated in gold: three figures are seated at a round table drinking tea, in the upper left a parrot is perched on a suspended ring, and to the right there is a palm tree with flowering plants at its base. The vase is standing on a stone slab mounted on a fluted column. A couple of butterflies, a pair of moths, and several other insects (a beetle, a bumblebee, a fly and a caterpillar) enliven the image. It is remarkable that a large number of the flowers in this bouquet are species that do not otherwise appear in the flower paintings or watercolours of the seventeenth century. These are exotic species that were presumably being grown in Amsterdam’s Hortus Botanicus or alternately at the Vijverhof, the country estate of Agnes Block in Nieuwersluis, southeast of Amsterdam. Block, who lived from 1629 to 1704, was an aristocratic lady, art collector and horticulturalist from Amsterdam. She had a garden where she grew hundreds of exotic flowers and also commissioned a number of artists to make watercolours of these flowers.28 Regarding several of the species depicted here, we know that they had only first 22 Hofstede de Groot 1891, p. 272: ‘een bloemstuk in de manier dier vroege half-vlaamsche, half-hollandsche schilders, waarvan de beide Bosschaerts en Balth. v. d. Ast de meest bekenden zijn’. 23 Bredius 1915-22, II, p. 579, 15 September 1656. For other painters with the same name see Hofstede de Groot 1981, p. 272. 24 Stadsarchief Amsterdam, DTB 527, fol. 249. 25 Allard Pierson, Universiteit van Amsterdam, hs. VI G1-G9. 26 On these albums see Wijnands 1983. An extended survey of the flower pieces, together with a discussion of the historical sources, has been included in a report containing sources, images, descriptions and identifications that now forms part of the Segal Still Life Documentation donated to the RKD in The Hague. 27 Provenance: collection of Van Heerdt tot Eversberg, Aerdenhout (near Haarlem), received as part of a bequest, sold after 1984. 28 See Segal in Frankfurt & Haarlem 1997-98, pp. 79-81, including literature.

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been imported into Europe shortly before the watercolours were made. The information about ornamental plants for gardens available is of little help in identifying the names of these species; this avenue of investigation would also be very time consuming and therefore I have been prohibited from carrying it out. Some of the species may be traceable through the albums in the collection of the University of Amsterdam, or in any case we have ascertained that one plant here is identical to that in a watercolour in one of the albums. Most of the plants shown in the image are of tropical origin from the southern hemisphere. The butterflies and other insects are native to the Low Countries. – The large white flower in the centre is a full form of the Metel, a kind of Datura (Datura metel Cornucopiae), from tropical Africa and Asia, which had already been imported into Europe at the end of the sixteenth century from Indonesia and now grows wild in tropical areas all over the globe. There is a watercolour of this specific species in one of the Moninckx albums (Fig. 8.7).29 The full form was already noted in 1688 in Amsterdam’s Hortus Botanicus and described by Jacob Breyne a year later.30 – The half open white flower with the red edge in the lower left is a Rose of Sharon (Hibiscus syriacus rubro-marginatus), a species originally native to China that had been imported into England at the end of the sixteenth century and became a popular plant in the Low Countries in the seventeenth century, judging from its appearance in paintings and drawings. This species is currently still cultivated in parks and gardens. – The large yellow flower is probably St John’s Wort (Hypericum canariense) from the Canary Islands, which was being grown in Europe at the end of seventeenth century from seed that had been imported.31

29 30 31

Fig. 8.6 Johannes Moninckx II, Flowers in a black chinoiserie vase on a pedestal, watercolour on vellum, 425 x 323 mm, private collection. Fig. 8.7 Johannes Moninckx II, Datura, watercolour on vellum, 565 x 395 mm, Allard Pierson, Universiteit van Amsterdam, Amsterdam.

Allard Pierson, Universiteit van Amsterdam, hs. VI G1, fol. 11. Wijnands 1983, pp. 192-193. Breyne 1689, p. 100. Wijnands 1983, pp. 109-110; cf. the Moninckx album, hs. VI G4, fol. 16.

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– The red flower in the upper left is a Cardinal Flower (Lobelia cardinalis), knowledge of which was first published in England in 1629. This species is originally native to the eastern area of North America. – The white cluster of flowers in the middle at the top is Star of Bethlehem (Ornithogalum pyramidale) from south-eastern Europe and Asia Minor, which was known in Western Europe from 1572. – The large white flower in the upper right is Annual Lavatera (Lavatera cf. trimestris), a relative of the Hollyhock. Lavatera varieties are most common around the Mediterranean. – Somewhat hidden right of centre above the Metel is a Pot Marigold (Calendula officinalis), which was already cultivated as a medicinal plant by the Romans and whose original growing area is unknown. This species was mentioned by Albertus Magnus in 1280. The Pot Marigold was traditionally an important symbolic species in painting. – Next to the Pot Marigold is a white flower seen from behind with many blue staminodia (infertile stamens) and an ovary with three long styles. This is a Passion Flower (Passiflora coerulea), a species whose original habitat stretched from Brazil to Central America, and which had been known for some time in Europe. At the end of the seventeenth century a diversity of Passion Flowers were imported and grown in European botanical gardens; several other varieties appear in two other watercolours by Johannes Moninckx. The Passion Flower also has a long tradition as a flower symbol. – The green cut stalk placed in front of the Calendula is probably related to the annual Spanish Pepper, which had been cultivated by Native Americans for centuries and had been imported into Europe as an ornamental fruit plant since the beginning of the sixteenth century. – The butterfly balancing on the plinth to the left is a Red Admiral (Vanessa atalanta), and in the middle to the left perched on a lilac-coloured flower is a Painted Lady Butterfly (Cynthia cardui). Johannes Moninckx II was probably a relative of the Moninckx family of artists from The Hague whose other members included Pieter (ca. 1606-ca. 1686), who painted still lifes; Maria, who painted flowers; and Johannes I, who made genre pieces and landscape drawings. Maria Moninckx also worked as an artist in Amsterdam.

Maria Moninckx

Maria Moninckx was born in 1676 in The Hague, where she was baptized as the daughter of Johannes Moninckx and Ariaentje Pieters. She married Martinus de la Ruel in Amsterdam in 1723 and died in 1757. She produced more than 101 botanical drawings for the albums currently held at the University of Amsterdam.32 Further works of hers are known from at least fifteen sale catalogues starting from the year 1781: watercolours on parchment of single flowers, as well as posies tied together, flower pieces, and floral wreaths, listed as the works of M. Moninckx or Juffrouw Moninckx, which are probably the work of Maria. But her first name ‘Maria’ is not always mentioned which, since Bredius’ article in 1889, has given rise to quite a bit of confusion in the literature.33 A number of different bouquets in a Chinese vase were auctioned in The Hague in 1781 and 1784. Other vases with flowers are listed in a Delft sale of 1785; two in an Amsterdam sale of 1792; six in an Amsterdam sale of 1799. On 11 April 1810 a tied bouquet with various flowers and insects was auctioned in Amsterdam.34 In the Rijksprentenkabinet in Amsterdam is a floral wreath by Maria Moninckx surrounding the alliance arms uniting Cornelis Calkoen with Maria van der Merct, who were married in 1694.35 She painted at least two other floral wreaths.36 A flower still life in coloured wash over traces of black-and-white 32 Allard Pierson, Universiteit van Amsterdam, hs. VI G1-G9. 33 Some works are attributed to Machtelt Moninckx (1610 -1687). Machtelt was an older second cousin of Maria about whom we know nearly nothing. She was married to the painter Paulus Dinant, who died in 1658, and lived in The Hague. According to Bredius, Machtelt was also an artist. However, it is likely he was referring to the work of Maria. The hypothesis that Machtelt Moninckx was an artist is solely based on the document stating that on 11 April 1658 she sold paintings, prints, plaster, drawings and other artist’s items at the confraternity room (confreriekamer) of the Saint Luke’s Guild of The Hague. However, it was probably the property and work of her late husband. Bredius 1889, pp. 277-278; Buijsen 1998, pp. 330-331. 34 A survey of the works in the auction catalogues may be found in the Segal Still Life Documentation in the RKD, The Hague. 35 397 x 297 mm, Amsterdam, Rijksprentenkabinet, inv. no. RP-T-1959-276, on loan from the Koninklijk Oudheidkundig Genootschap. 36 A work with a wreath (84 x 60 cm) around a crowned coat of arms and the monogram ‘E. v. L.’, signed in full and dated 1 March 1693 was auctioned in 1883, 1892 and 1900 in Amsterdam. A smaller work (29 x 23 cm) with a wreath and an otherwise unspecified monogram was auctioned in The Hague on 21 June 1915, no. 273.

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on paper is indistinctly signed in the lower right in pen and ink: M:F Monickx (Fig. 8.8).37 The drawing is part of the family scrapbook of Gesina ter Borch (1631-1690) in the Rijksprentenkabinet in Amsterdam.38 Maria’s Moninckx grandparents were Cornelis Moninckx and Maria ter Borch, sister of Gesina. The work has been inserted into the album between two portrait drawings of male heads by Moses ter Borch (1645-1667) after Rembrandt prints. This flower still life deviates completely from the precision of Maria Moninckx’s other botanical drawings and has not been painted on parchment. Different types of flowers have been attached to a single stem, including Passion Flower, Nasturtium and Marigold, which was something, of course, certainly not drawn from nature. This drawing is not meant to represent a botanical reality, but is simply rather a nice little exercise.

Fig. 8.8 Maria Moninckx (attributed), Several flower species together, watercolour on paper, 190 x 145 mm, Rijksprentenkabinet, Amsterdam.

37 38

Amsterdam, Rijksprentenkabinet, inv. no. B1-1887-1463-125B. Kettering 1988, II, p. 655. Amsterdam, Rijksprentenkabinet, inv. no. B1-1887-1463.

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Jan Davidsz de Heem and his Circle Jan Davidsz de Heem

Jan Davidsz de Heem was born in 1606 in Utrecht. His father was David Jansz van Antwerpen, previously referred to in the art-historical literature as ‘David de Heem I’ and as a painter. David Jansz was not, however, a painter and had already died by 1612. Jan Davidsz de Heem possibly received professional training from Balthasar van der Ast in Utrecht, or in any case his early work reveals Van der Ast’s influence. In 1625 Jan Davidsz de Heem moved to Leiden, where in 1626 he married Aeltgen Cornelisdr van Weede, also from Utrecht. They had four children, including the later still life painter Cornelis de Heem (1631-1695). In Leiden Jan must have been brought into contact with Pieter Potter (1597/1600-1652), who painted vanitas still lifes and stable pieces, as well as other types of paintings, and possibly also with Rembrandt (1606/07-1669) and Jan Lievens (1607-1674). He is last recorded there in 1631. The family probably moved to Antwerp in 1635, where Jan was entered in the Guild of Saint Luke in 1636. Aeltgen died in 1643, and in 1644 Jan married Anna Ruckers, who bore him six children, including the later still life painter Jan Jansz de Heem (1650-after 1695).39 In 1645 Laurens Craen (ca. 1620-1670) was employed by De Heem for a period of one year.40 From 1658 on De Heem alternated his place of residence between Antwerp and Utrecht, where he finally settled in 1668 and in 1669 became a member of the guild. Abraham Mignon (1640-1679) assisted him in his work there until 1672, when Jan again returned to Antwerp. Jan’s last known work is dated 1675. He died in Antwerp in 1684.41 Jan Davidsz de Heem was the most highly esteemed still life painter of his day and for many years afterwards, in fact, this remained the case until Jan van Huysum (1682-1749) was given the palm in the eighteenth century. Several hundred works have been attributed to De Heem, but many bear a false signature or have been erroneously attributed. Copies had already been reported in the seventeenth century. The success of his work lies in the skilful integration of a variety of methods, concepts and ideas taken from his predecessors and contemporaries, which he synthesized into a new and original style. He succeeded in absorbing and interpreting, for example, the innovations Balthasar van der Ast introduced into his flower and fruit pieces, plus those Daniël Seghers applied in his flower still lifes and Jacques de Gheyn II (1565-1629) in his vanitas paintings. He also adopted the use of self-portrait and paper objects from the works of David Bailly (ca. 1584-1657), as well as elements from the meal and sumptuous still lifes of Pieter Claesz (1597-1661), Willem Heda (1594-1680) and Jan Jansz den Uyl (1595/961639), along with the sheer exuberance of the works of Frans Snyders (1579-1657). Jan Davidsz de Heem replaced both the multi-coloured palette of the earlier painters and a tonal use of colour of the artists of the second period with new kinds of colour harmony. He softened sequences of related hues and the contrasting colours bordering them by applying coloured reflections or shadows as transitions. He also frequently reproduced combinations of colour and form in a highly subtle way.42 Moreover, just as is the case with other great artists, he was quite capable of applying different techniques in a single work, for example employing both refined glazing as well as selected use of a broader brushstroke or impasto. His reflections in a glass vase are especially sharp, while those on the skin of a cherry are more nuanced. You can see the seeds of redcurrants and gooseberries through the flesh of the fruit, and the skin of grapes may be either matte or have a lustrous sheen. All in all, there are many nuances in his work. In Antwerp he absorbed the broader brushstroke, the larger dimensions of canvases, the bright and multi-coloured 39 There has existed and still exists confusion about works that are attributed variously to Jan Davidsz, ‘David Davidsz’, Cornelis Jansz, Jan Jansz and David Cornelisz de Heem; see further under their names. This confusion is partially cleared up by establishing the true identity of the artist David de Heem by Segal in the exhibition catalogue Utrecht & Braunschweig 1991; Jan returned numerous times to Utrecht where he had a workshop with apprentices, including Jacob Marrel (1613/141681) and Abraham Mignon (1640-1679). 40 Felixarchief Antwerp, N 3479, 21 February 1645. The employment contract between Craen and De Heem has never been mentioned before in art-historical literature and is also missing in the recent dissertation on De Heem by Meijer (Meijer 2016). Meijer relied on published historical documents and records and did not conduct any new archival research in the notary’s archive at the Antwerp Felixarchief, although there are certainly still many sources to be discovered there that are indispensable for a monographic study. 41 Bergström 1947/1956, Chapter 4, was the first to treat the life and work of Jan Davidsz de Heem in any depth. Hairs (1955) and Greindl (1956) did this spread over several different editions, and also published a list of his works – the former his flower still lifes and the latter his other works. In 1991, the first, and up to now the only, exhibition dedicated to De Heem was mounted in Utrecht and Braunschweig. The catalogue contains extensive biographies of all the members of the De Heem dynasty with sources (pp. 55-68). Extremely extensive documentation about the artist, including many descriptions of his works with identifications, which was all originally intended as preparation for a publication, has been donated to the RKD in The Hague as part of the Segal Still Life Documentation. 42 The same can also be seen occasionally in the work of Balthasar van der Ast (1593/94-1657): a flower piece with the repetition of the S-curl of a lizard’s tail echoed in the handle of a baroque vase; Bol 1960, p. 72, no. 20.

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palette, the dynamism, and particularly the spatial effects; and he synthesized all these with the usually smaller formats and simpler, more static, tonal compositions of the North. Particularly in his sumptuous still lifes, he added new elements such as pillars or a landscape behind a curtain. No other single still life painter had such a tremendous impact on his contemporaries or succeeding generations – an influence that lasted long into the nineteenth century. We see imitators and followers not only in his sons and immediate apprentices, but also in a group of Flemish artists around Joris van Son (1623-1667); in Pieter de Ring (ca. 1615-1660) and his followers in Leiden; and elsewhere, for example in the work of Jacob van Walscappelle (1644-1727) in Dordrecht. De Heem’s influence percolated through to the works of Rachel Ruysch and Jan van Huysum. It should be noted, however, that De Heem’s influence is most especially visible on later painters of sumptuous still lifes. The work of Jan Davidsz de Heem can be found in museums all over the world. With regard to flower still lifes, the following examples in public collections are worth noting, some of them also containing fruit or vanitas elements as supplementary work: 1635, Musée du Louvre, Paris; 1654, Norton Simon Museum, Pasadena; 1663, Koninklijke Musea voor Schone Kunsten van België, Brussels. Signed works can be found in the Gemäldegalerie Alte Meister, Berlin; Koninklijke Musea voor Schone Kunsten van België, Brussels; Fitzwilliam Museum, Cambridge; Gemäldegalerie Alte Meister, Dresden (four, plus a work that was lost in World War II); Mauritshuis, The Hague; Tiroler Landesmuseum Ferdinandeum, Innsbruck; Museum der bildenden Künste, Leipzig (two); Museo Nacional Thyssen-Bornemisza, Madrid; Schlossmuseum, Mosigkau; Alte Pinakothek, Munich; Schlossmuseum, Schleissheim; State Hermitage Museum, Saint Petersburg; and National Gallery of Art, Washington. A small, simple work of 1640 is currently in a private collection. In a number of Jan Davidsz de Heem’s signed works there is an ‘R’ after his name. In my opinion (which is not shared by everyone) this means that there was collaboration with an apprentice or assistant, usually Abraham Mignon and sometimes De Heem’s son Jan Jansz.43

43 Segal in Utrecht & Braunschweig 1991, pp. 28-31.

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Fig. 8.9 Jan Davidsz de Heem, Flower piece with Opium Poppies and pods, canvas, 69.6 x 56.5 cm, National Gallery of Art, Washington. 380 |

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Jan Davidsz de Heem, Flower piece with Opium Poppy and pods (Fig. 8.9) Canvas, 69.6 x 56.5 cm, signed lower left in brown: J D . De Heem f National Gallery of Art, Washington, inv. no. 1961.6.1.44 1 Scarlet Runner Bean 2 Provins Rose 3 Pansy 4 Forget-me-not 5 Pea with pods 6 Carnation 7 Ornamental Kale 8 Small Morning Glory 9 Austrian Briar 10 Snowball 11 Red Tulip 12 Wheat 13 Yellow Tasselflower 14 Auricula 15 Apple blossom 16 German Flag Iris 17 Hyacinth 18 Hollyhock 19 Cow Parsley 20 Opium Poppy 21 Jacob’s Ladder 22 Enchanter’s Nightshade 23 Pot Marigold 24 Opium Poppy 25 Sharp Tulip 26 Purple Tulip 27 Peony 28 Snake’s Head Fritillary 29 Opium Poppy 30 Blackberry 31 Celery

Phaseolus coccineus Rosa x provincialis Viola tricolor Myosotis palustris Pisum sativum Dianthus caryophyllus plenus bicolor Brassica oleracea var. acephala f. plumacea Convolvulus tricolor Rosa foetida Viburnum opulus cv. Roseum Tulipa agenensis bicolor Triticum aestivum Emilia sagittata Primula x pubescens Malus sylvestris Iris germanica Hyacinthus orientalis Alcea rosea Anthriscus sylvestris Papaver somniferum plenum fimbriatum album Polemonium caeruleum Circaea lutetiana Calendula officinalis Papaver somniferum fimbriatum albo-rubrum Tulipa mucronata bicolor T. undulatifolia bicolor Paeonia officinalis plena Fritillaria meleagris Papaver somniferum plenum fimbriatum rubrum Rubus fruticosus agg. Apium graveolens

a Sand Lizard b Red Admiral Butterfly c Brimstone Butterfly d Clouded Yellow e Southern Wood Ant (5x) f Diadem Spider g Earth Bumblebee h Lackey Caterpillar i Hoverfly j Grove Snail

Lacerta agilis Vanessa atalanta Gonopteryx rhamni Colias croceus Formica rufa Araneus diadematus Bombus terrestris Malcosoma neustria Syrphidae spec. Cepaea nemoralis

Fig. 8.9a Sketch of the species in Fig. 8.9.

44 Provenance: collection of Lionel Nathan de Rothschild (1808-1879), London; his son Leopold de Rothschild (1845-1917); his son Lionel de Rothschild (1882-1942), Exbury (Hampshire, England); his son Edmund de Rothschild (1916-2009), Exbury; sold in 1947 to the art dealers Frank Partridge & Sons, London; collection of McIntosh, Bridge Allen, Scotland; William Hallsborough Gallery, London 1958; Galerie Fritz & Peter Nathan, Zurich 1959; Paul Rosenberg & Co. Gallery, New York 1961; gift to the museum from the Andrew W. Mellon Fund 1961. Exhibitions & literature: Benedict 1958, p. 145; Bury 1958, p. 176; Nicholson 1958, p. 145; Pavière 1965, pp. 20-21, Pl. 7; Wright 1978, p. 111; Wheelock 1984, pp. 18-19; Sutton 1986, p. 337; Grimm 1988, p. 143; Wheelock in Washington & Boston 1989, pp. 14-15; Segal in Utrecht & Braunschweig 1991, pp. 99, 187188, no. 30, illustrated with identifications (German ed. pp. 95, 183-184); Hanover, Raleigh, Houston & Atlanta 1991-93, p. 381, no. 157; Sutton in Boston & Toledo 1993-94, p. 516, Fig. 1 under no. 102; Wieseman in Boston & Toledo 1993-94, p. 524 under no. 105; Gemar-Koeltzsch 1995, II, p. 441, no. 160/63; Mallory 1995, p. 302; Taylor 1995, pp. 165-167, Fig. 104; Wheelock 1995, pp. 102-106; Dutch Cabinet Galleries (without catalogue), National Gallery of Art, Washington 1995-96; Middelkoop 1997, p. 45, Fig. 3; Berardi 1998, p. 368 n. 634; Wheelock in Washington 1998, no. 25; Wheelock in Washington 1999, pp. 62-63, 84, no. 16; Segal 2001a, p. 55, Figs 42 and 42a; Ebert-Schifferer in Washington 2002-03, p. 84, Fig. 6; Segal in Delft & Houston 2006-07, pp. 117-119, no. P4; Meijer 2007, p. 134, Fig. 69; Wheelock 2012, p. 43, Fig. 7; Hochstrasser 2012, p. 60; Meijer 2016, pp. 226-227, no. A 202.

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What is remarkable in this painting are the various repetitions of shapes and colour sequences that can be observed, such as the duplication of a red and white pattern in the two Tulips and the Opium Poppy on the right, where each red has been rendered in a slightly different nuance of colour (Fig. 8.9b).

Fig. 8.9b Detail of Fig. 8.9.

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Jan Davidsz de Heem, Flower piece with a skull and a Turban shell (Fig. 8.10) Canvas, 87.5 x 65 cm, signed on the letter in brown calligraphy: J D De Heem f (the ‘J’ curling and the ‘m’ with a flourish) Gemäldegalerie Alte Meister, Dresden, inv. no. 1265.45 1 White Rose 2 Snowball 3 Pear blossom 4 Periwinkle 5 Opium Poppy 6 Narcissus ‘Van Sion’ 7 Pot Marigold 8 Daffodil 9 White Dead-nettle 10 Small Morning Glory 11 Carnation 12 Wheat 13 Bird Cherry 14 Opium Poppy 15 Fool’s Parsley 16 German Flag Iris 17 Persian Tulip hybrid 18 Dill 19 Red Tulip 20 Tapered Tulip hybrid 21 Alpine Gentian 22 Provins Rose 23 Peony 24 Ornamental Kale 25 Crisp Mallow 26 Carnation 27 Ivy 28 Seville Orange 29 Redcurrants

Rosa x alba subplena Viburnum opulus cv. Roseum Pyrus communis Vinca minor Papaver somniferum brunnescens Narcissus pseudonarcissus plenus Calendula officinalis Narcissus pseudonarcissus Lamium album Convolvulus tricolor Dianthus caryophyllus plenus puniceo-albus Triticum aestivum Prunus padus Papaver somniferum fimbriatum plenum rubrum Aethusa cynapium Iris germanica Tulipa clusiana x T. stellata Anethum graveolens Tulipa agenensis bicolor Tulipa armena x T. undulatifolia Gentiana clusii Rosa x provincialis Paeonia officinalis plena Brassica oleracea var. acephala f. plumacea Malva verticillata var. crispa Dianthus caryophyllus plenus albo-rubrus Hedera helix Citrus aurantium Ribes rubrum

a Small Tortoiseshell Butterfly b Red Admiral Butterfly c Magpie Moth d Lackey Moth e Yellow Meadow Ant (10x) f Honeybee g White Satin Caterpillar h Brown Hawker Dragonfly i Diadem Spider j Daddy-Long-Legs k Hoverfly l Wartbiter Bush-cricket m 7-spot Ladybird n Housefly o Okinawan Turban Shell (polished)

Aglais urticae Vanessa atalanta Abraxas grossulariata Malacosoma neustria Lasius flavus Apis mellifera Leucoma salicis Aeshna grandis Araneus diadematus Tipula oleracea Syrphidae Decticus verrucivorus Coccinella septempunctata Musca domestica Turbo marmoratus

Fig. 8.10a Sketch of the species in Fig. 8.10.

45 Provenance: bought by the Earl of Wackerbarth for the collection of King Frederick August of Sachsen in 1722, and remained in the collection by inheritance until 1914; after World War II stored in Russia until about 1955. Exhibitions & literature: Parthey 1863-64, I, pp. 558-559, no. 38; Woermann 1887, p. 406; Von Wurzbach 1906-11, I, p. 657; Schneider in Thieme & Becker 1907-50, XVI, p. 224; Bergström 1947, pp. 216-19, Fig. 179, 306 n. 34; Van Gelder 1950, pp. 97 under no. 36, 129 under no. 57; Bergström 1955, pp. 343-345, Fig. 15; Hairs 1955, pp. 140, 220; Bergström 1956, pp. 154, 212-214, Fig. 179, 311 n. 39; Greindl 1956, pp. 122, 172; Dresden 1957, p. 29; Sofia 1958, no. 34; Pavière 1965, p. 20; Hairs 1965, pp. 271, 384; Brochhagen & Knüttel 1967, p. 32; De Mirimonde 1970, pp. 267, Fig. 23, 269; Zurich 1971, p. 52, no. 24; Mitchell 1973, pp. 134-137; Tokyo & Kyoto 1974-75, no. 53; Kuechen 1979, p. 512 n. 196; Veca in Bergamo 1981, p. 19, Fig. 139, p. 204; Mexico City 1980-81, no. 22; Mayer-Meintschel et al. 1982, p. 203; Dresden 1983, pp. 123-124, no. 75, Pl. 12; Bergström & Segal 1984, p. 78; New Delhi 1984, no. 19; Hairs 1985, I, p. 397, II, p. 29; Ter Kuile 1985, pp. 40-41, Fig. 20; Segal in Delft, Cambridge & Fort Worth 1988-89, pp. 112-114, 116, 236, no. 25; Meijer 1991, p. 95; Segal in Utrecht & Braunschweig 1991, pp. 97, 181-184, no. 28; Brenninkmeijer-de Rooij in The Hague 1992, pp. 26-27, Fig. 10; Trnek 1992, p. 176 n. 17; Sutton in Boston & Toledo 1993-94, p. 516, Fig. 2; Gemar-Koeltzsch 1995, II, p. 469, no. 160/40; Slive 1995, p. 281; Wheelock 1995, pp. 104, 106 n. 4; Ebert-Schifferer 1998, p. 105; Neidhardt in Dresden 2004, pp. 202-203, no. 100; Segal in Delft & Houston 2006-07, pp. 121 under no. P5, 352 n. 4; Neidhardt in Marx 2005, I, pp. 404-405; Marx 2005, II, pp. 301, no. 918; Frodl & Frodl-Schneemann 2010, p. 25; Maaz, Koch & Diederen 2014, p. 190, Fig. 5; Meijer 2016, pp. 217-218, no. A 194.

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Artistic repetitions of shape and colour are also to be found in this work. Despite the fact that there are many insects, their presence is not very noticeable. The torn paper bears the words ‘Memento Mori’. Behind the polished Turban shell we see a skull wreathed with Ivy; the evergreen Ivy would seem to indicate that fame is eternal, while on the other hand, the torn paper reinforces the notion of transience. The artist has an eye for the tiniest detail, such as making it look as if the ink on the paper has been dried with sand, a common practice in the period when sand was sprinkled on fresh pen-work to prevent it from smearing.46

Fig. 8.10 Jan Davidsz de Heem, Flower piece with a skull and a Turban shell, canvas, 87.5 x 65 cm, Gemäldegalerie Alte Meister, Dresden.

46 For an extended interpretation of the possible symbolism of this work see Segal in Utrecht & Braunschweig 1991, pp. 181184, no. 28.

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Jan Davidsz de Heem, Flowers in a glass vase with a foot (Fig. 8.11) Canvas, 63.2 x 50 cm, signed lower left in brownish black: J D De Heem f Tiroler Landesmuseum Ferdinandeum, Innsbruck, inv. no. 683.47 1 Provins Rose 2 Austrian Briar 3 Wheat 4 Alpine Gentian 5 White Rose 6 Blackberry 7 Cow Parsley 8 Pot Marigold 9 Blunt Tulip hybrid 10 Opium Poppy 11 Red Tulip 12 Small Morning Glory 13 Purple Tulip 14 Yellow Tasselflower 15 Sweet Briar 16 Pale Toadflax

Rosa x provincialis Rosa foetida Triticum aestivum aristatum Gentiana clusii Rosa x alba semiplena Rubus fruticosus coll. Anthriscus sylvestris Calendula officinalis Tulipa mucronata x T. undulatifolia Papaver somniferum plenum violaceo-miniatum Tulipa agenensis bicolor Convolvulus tricolor Tulipa undulatifolia bicolor Emilia sagittata Rosa rubiginosa Linaria repens

a b c d E f g h I j K l m n o

Lasius flavus Lilioceris lilii Tipula oleracea Coenagrion puella Anthocharis cardamines Plagionotus arcuatus Orgya antiqua Apis mellifera Gonepteryx rhamni Polygonia c-album Colias croceus Ammophila sabulosa Lepidoptera spec. Zygaena filipendulae Cepaea nemoralis

Yellow Meadow Ant (8x) Scarlet Lily Beetle Daddy-Long-Legs Azure Damselfly Orange Tip Butterfly Longhorned Beetle Vapourer Caterpillar Honeybee Brimstone Butterfly Comma Caterpillar Clouded Yellow Butterfly Spider-hunting Wasp Caterpillar (on wheat) Six-spot Burnet Caterpillar Grove Snail (2x)

This lovely work with flowers in a vase in the shape of a cognac glass shows the reflection of the studio window. The bouquet contains three kinds of Roses – with a White Rose at the centre – and three Tulips, one of which is fully open and oriented upwards towards an Opium Poppy above, which has been turned to face the back. Ears of wheat seen here and in Flower piece with a skull and a Turban shell (Fig. 8.10) are a speciality characteristic of Jan Davidsz de Heem’s paintings.

47 Provenance: collection of Alexandre d’Allard 1820; bequest of Josef Tschager 1856. Exhibitions & literature: Hairs 1955, p. 221; Hairs 1965, p. 381; Segal in Amsterdam & ’s-Hertogenbosch 1982, pp. 48, 97, no. 50; Hairs 1985, II, p. 30; Grimm 1988, pp. 86-87; Segal in Osaka, Tokyo & Sydney 1990, pp. 101, Fig. 52, 215-216, no. 52; Segal in Lisse 1992, pp. 56, 58; Gemar-Koeltzsch 1995, II, p. 469, no. 160/42; Berardi 1998, p. 203 n. 383; Amsterdam & Cleveland 1999-2000, pp. 178-179, no. 33; Meijer 2000, p. 227; Fritzsche 2010, p. 227 n. 453; Meijer 2016, pp. 227-228, no. A 203.

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Fig. 8.11 Jan Davidsz de Heem, Flowers in a glass vase with a foot, canvas, 63.2 x 50 cm, Tiroler Landesmuseum Ferdinandeum, Innsbruck. 386 |

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Cornelis de Heem

Cornelis de Heem was a son from Jan Davidsz de Heem’s first marriage. He was born in 1631 in Leiden. In 1635 he presumably moved with his parents to Antwerp, where his name appears in a document for the first time in 1657. In Antwerp he received instruction from his father, and in 1660 he became a master of the Guild of Saint Luke. He married Catharina Pauwens, and in 1663 a son was born to them, David Cornelisz de Heem (1663-1701/14), who also became a still life painter. A daughter followed in 1665. Cornelis and his family moved in with his father in Utrecht for six months during 1667. In 1676, Cornelis was apparently living in Ijsselstein and it is around this time he married secondly to Maria van Beusecom. The family, including the children from Cornelis’s first marriage, then moved to The Hague, where Cornelis became a member of the guild and instructed his son David. In 1678 he became a member of artists’ association Confrerie Pictura. The last record of his period in The Hague is dated 1687. Later he returned to Antwerp, where in 1695 he made his last will and died. Cornelis de Heem’s early work from the 1650s exhibit the strong influence of his father. His later work, however, is not executed with the same patience and therefore does not show the same subtlety. His flower pieces, in particular, become harsher with more contrast. He signed his work in capitals: C. DE HEEM, usually with a loop underneath connecting the letters ‘H’ and ‘M’. His work consists mostly of flower pieces, fruit pieces, festoons, and sumptuous still lifes, and also a couple of garlands and forest floor pieces. Several hundred works are known, of which about fifty are in museums. Dated works are fairly rare and are noted mostly between 1654 and 1664, and then run through to 1690. Of these, only one dated flower piece is currently in a public collection, a 1658 work in the Musée des Beaux-Arts in Tours. Signed flower pieces, occasionally with fruit, are held in the following public collections: the Musée des Beaux-Arts et d’Archéologie in Besançon; the Fitzwilliam Museum in Cambridge; the Gemäldegalerie Alte Meister in Dresden; The Hunterian in Glasgow; Dyrham Park, Gloucestershire (National Trust); The Israel Museum in Jerusalem; the Staatliche Kunsthalle in Karlsruhe; the Museo Nacional ThyssenBornemisza in Madrid; the Staatliches Museum in Schwerin; and the Galleria Sabauda in Turin. Many works have been erroneously attributed to Cornelis de Heem.48 Cornelis de Heem, Flowers in a glass vase (Fig. 8.12) Canvas, 65.2 x 41.5 cm, signed lower right in brown: C. DE Heem f Private collection.49 1 Pot Marigold 2 Cabbage Rose 3 Scarlet Runner Bean 4 Honeysuckle 5 Blackberry 6 White Rose 7 Austrian Briar 8 York and Lancaster Rose 9 Sweet Pea 10 Opium Poppy 11 Meadow Sweet 12 Small Morning Glory 13 Monk’s Hood 14 French Marigold 15 French Rose 16 Sweet Briar 17 Black Mulberry 18 Pea (with pods) 19 Carnation 20 Opium Poppy

Calendula officinalis aurantiaca Rosa x centifolia ab R. x provincialis Phaseolus coccineus Lonicera periclymenum Rubus fruticosus agg. Rosa x alba subplena Rosa foetida Rosa x damascena cv. Versicolor Lathyrus odoratus albo-purpureus Papaver somniferum semiplenum fimbriatum Filipendula ulmaria Convolvulus tricolor Aconitum napellus Tagetes patula Rosa gallica Rosa rubiginosa Morus nigra Pisum sativum Dianthus caryophyllus plenus bicolor Papaver somniferum subplenum

48 For extensive biographical information see Helmus & Segal in Utrecht & Braunschweig 1991, pp. 63-65 and for the oeuvre of Cornelis de Heem see Segal 1987c and the Segal Still Life Documentation in the RKD, The Hague. 49 Provenance: Novak Gallery, Prague 1899; Národní Galerie, Prague, inv. no. O 2879, sold in 1968; Galerie Brienner [Silvano] Lodi, Munich; Richard Green Gallery, London; K. & V. Waterman Gallery, Amsterdam; Sotheby’s, London, 6 December 1995, no. 43. Exhibitions & literature: Von Frimmel 1899, p. 38, no. 8; Síp in Prague 1967, p. 38, no. 39; Hairs 1985, I, pp. 398, Fig. 140, 399; II, p. 28 under ‘Oeuvres attribuées’; Segal 1987c; Leclercq 1988, p. 94; Hairs in Greindl et al. 1989, pp. 152, Fig. 119, 153; Segal in Osaka, Tokyo & Sydney 1990, pp. 218, Fig. 53b, 219; Segal in Utrecht & Braunschweig 1991, pp. 105, Fig. 36, 200-201, no. 36.

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A B c d e

Painted Lady Butterfly Garden Tiger Butterfly Earwig Garden Bumblebee Sabre Wasp

Vanessa cardui Arctia caja Forficula auricularia Bombus hortorum Rhyssa persuasoria

As in many of Cornelis de Heem’s flower pieces, the bouquet has a triangular form. The tone white and the colour red dominate. Roses usually play an important role in his works. The Garden Bumblebee is also a regular visitor in his paintings. The glass vases he paints often have a definite kick, that is an indentation at the bottom, which creates an interesting artistic challenge for the painter.50 Nearly always in the work of Cornelis de Heem the vase is placed on a stone slab with a few vertical grooves. Tulips are not found in two-thirds of his flower pieces.

Fig. 8.12 Cornelis de Heem, Flowers in a glass vase, canvas, 65.2 x 41.5 cm, private collection. 50

The ‘kick’ of a glass vase or bottle is the inward indentation at its bottom, which reduces the amount of water it can hold.

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Claes de Heem (?)

A problem that has not yet been solved is presented by a flower piece signed CLAES. DE. HEEM, which appeared on the market in 1986. However, this work had already been on the market in 1963 as a work of Cornelis de Heem, and in 1985 it appeared as attributed to J. Rootius.51 No artist with the name Claes (or Nicolaes) de Heem is known to have existed. In 1959 a flower piece signed klas de Heem was in the possession of the same art dealer as the work offered for sale in 1963.52

David Cornelisz de Heem

David Cornelisz de Heem was Cornelis de Heem’s only son, born in 1663 in Antwerp. He lived in The Hague from 1676, where in 1690 he married Anna Maria Cocq.53 In 1693 he is recorded as master of the Guild of Saint Luke in Antwerp. Afterwards the couple moved to The Hague, where their two sons were born in 1697 and 1700, and where they lived for many years with Anna Maria’s parents. The last mention of David is dated 1701 and he seems to have died in or before 1714. David de Heem had probably received instruction in his younger years from his grandfather, Jan Davidsz de Heem. In any case his earliest paintings exhibit aspects of that artist’s subtle method of working. The larger portion of David’s paintings, however, are indebted to the later work of his father Cornelis, but the expression is somewhat harsher and less nuanced. In quite a number of his works the ‘D’ for David in the signature has been amended to a ‘C’ in order to create the impression that this is a work by Cornelis, and in some cases the ‘D’ has even been changed to an ‘I’ to present the painting as a work by grandfather Jan Davidsz. David painted mostly flower and fruit still lifes. His flower pieces are dominated by colours between white and red, just like his father, but with these following differences: usually his bouquets are rounder or more oval in shape, instead of triangular, with a diagonal axis; the space in front of the vase is more filled; and the flower stems are longer, more bent but less twisted than in Cornelis’s works. In addition, the composition is often busier and, therefore, less tranquil. What is striking is the frequent inclusion of a concentric oval reflection on the inside of the glass vase. In some compositions, he painted a diagonal bouquet, presumably in imitation of Willem van Aelst.54 No dated works are known. Flower pieces in public collections may be found in the following museums: Hessisches Landesmuseum, Darmstadt; Schloss Georgium, Dessau; The Hunterian, Glasgow; Wallraf-Richartz-Museum, Cologne; Statens Museum for Kunst, Copenhagen; Grand Curtius, Liège; Musée des Arts Décoratifs, Lyon; and Castle Mnichovo Hradiště, Bohemia.55

51 52 53 54 55

Canvas, 67.5 x 54.5 cm, Hoogsteder Gallery, The Hague 1986. Zuoz 1986, no. 21. Previously Galerie Robert Finck, Brussels 1963, as Cornelis de Heem; and Sotheby’s, New York, 6 June 1985, no. 142, as J. Rootius. 38 x 29 cm, Galerie Robert Finck, Brussels 1959. This is evident from a statement that she made before a notary in The Hague in 1704. Canvas, 49 x 35.5 cm, Sotheby’s, New York, 17 January 1985, no. 100. Segal in Utrecht & Braunschweig 1991, p. 206, Fig. 39c; Gemar-Koeltzsch 1995, II, p. 452, no. 159/7. For extensive biographical information see Helmus & Segal in Utrecht and Braunschweig 1991, pp. 65-66 and for the oeuvre of David Cornelisz de Heem see Segal 1987c and the Segal Still Life Documentation in the RKD, The Hague.

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David Cornelisz de Heem, Flowers in a glass vase (Fig. 8.13) Panel, 38 x 30.5 cm, signed lower right in dark brown: D DE HEEM (the second ‘D’ and ‘M’ connected below in a brace) Private collection.56 1 Provins Rose 2 Opium Poppy 3 Bindweed 4 Pot Marigold 5 Snowdrop 6 Persian Iris 7 Snowball 8 Rape 9 Hollyhock 10 Umbelliferous flower 11 Austrian Copper (Briar) 12 Hawkweed 13 Scarlet Runner Bean

Rosa x provincialis Papaver somniferum Calystegia sepium Calendula officinalis Galanthus nivalis Iris persica Viburnum opulus cv. Roseum Brassica napus Alcea rosea lilacea Apiaceae spec. Rosa foetida cv. Bicolor Hieracium spec. Phaseolus coccineus

A Small White Butterfly b Garden Bumblebee

Pieris rapae Bombus hortorum

Fig. 8.13 David Cornelisz de Heem, Flowers in a glass vase, panel, 38 x 30.5 cm, private collection. 56 Provenance: sale C. Boisgirard & A. de Heeckeren, Paris, 25 May 1983, with pendant (unsigned); Koetser Gallery, Zurich 1983, with pendant.

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Jan Jansz de Heem

Less is known about Jan Jansz de Heem than about his older half-brother Cornelis. Jan Jansz was born in 1650 in Antwerp, the first son of Jan Davidsz de Heem’s second marriage. From 1667 until 1672 he lived with his parents in Utrecht. He is mentioned as the brother of Cornelis in a document dated 1695. According to Houbraken, he was apprenticed to his father, who ‘had the habit of going over their works with his artful brush or of giving them finishing touches [...]’.57 A number of works signed J. de Heem that seem to be of an inferior quality or versions after the works of Jan Davidsz are possibly from his hand. This also applies to paintings with a second J. de Heem signature, which are possibly witnesses to collaboration in his father’s workshop.58

Abraham Mignon

Abraham Mignon was born in 1640 in Frankfurt am Main. His Calvinist parents had fled the Southern Netherlands for religious reasons. When in 1649 they moved to Wetzlar, they left Abraham in the care of the still life painter and art dealer Jacob Marrel, who became his master. Later on, Abraham took over the business while Marrel was away. Marrel had many good relations in Utrecht, and when he settled there in 1661 he took his step-daughter Maria Sibylla Merian and Mignon with him. While there Abraham came under the influence of Jan Davidsz de Heem, who worked in Utrecht from 1669 until 1672, becoming De Heem’s apprentice in 1669 and also acting as his assistant. In that same year, 1669, he became a member of the Utrecht guild. He continued to work for De Heem and in 1672, when that artist left for Antwerp, Mignon took over his studio. From 1672 until 1677 Mignon was Dean of the French Huguenot Church. In 1675 Mignon married Maria Willaerts, daughter of Cornelis Willaerts (1609/13-1666) and granddaughter of Adam Willaerts (1577-1664), both painters. The couple had two daughters. Maria Sibylla Merian and Ernst Stuven (ca. 1657-1712) are named as his apprentices. Abraham Mignon died, still quite a young man, in Utrecht in 1679. Mignon was a very highly adept follower of Jan Davidsz de Heem, who even allowed him to collaborate on his compositions. In his own works Mignon replicated De Heem’s flowers, as well as flowers and clusters from his own work. It sometimes seems as if Mignon wanted to surpass his master De Heem in concentration and application, for example with the number of insects in a painting. Abraham Mignon painted flower and fruit pieces, festoons, garlands, forest floor pieces and grotto pieces, and bird still lifes. His paintings, finely finished in the minutest detail, were highly sought after in the eighteenth century and would fetch high prices at auction sales. The Elector of Saxony owned thirteen works, later bequeathed to the Gemäldegalerie Alte Meister in Dresden (of which eight were lost during World War II). Other princes too had his works in their collections, for example King Louis XIV of France. There are numerous copies of Mignon’s works and his signature was also forged.59 Works by Abraham Mignon are represented in more than forty museums in Europe, of which six are in the Louvre in Paris, four in the Rijksmuseum in Amsterdam, and four in the Ashmolean Museum in Oxford. None of his works are dated. Flower pieces may be found in the Rijksmuseum in Amsterdam (two), the Fitzwilliam Museum in Cambridge, the Gemäldegalerie Alte Meister in Dresden (two), the Mauritshuis in The Hague (two), the Ashmolean Museum in Oxford (two), the Museum Boijmans Van Beuningen in Rotterdam, the Louvre in Paris (two), the State Hermitage Museum in Saint Petersburg, and the Galleria Sabauda in Turin.60

57

‘[...] voor gewoonte had hunne werken met zyn konstpenceel t’ overloopen of over te polysten [...]’. Houbraken 1718-21, I, p. 212; this was a reference to both the work of Jan Jansz de Heem and Abraham Mignon. David de Heem is not mentioned in this regard. 58 See, for example, the flower piece (canvas, 103 x 85 cm) in the Alte Pinakothek in Munich, inv. no. 568. Segal in Utrecht & Braunschweig 1991, pp. 191-193, no. 32, where a third signature points to collaboration with Nicolaes van Verendael (16401691). 59 According to a MS by Jacob Campo Weyerman in the KBR in Brussels, inv. no. II 1608, vol. 1, pp. 5-6, the art dealer in The Hague Jacob Bart made forgeries; cf. Altena 1983. 60 For Abraham Mignon’s oeuvre see Noble 1972; Kraemer-Noble 1973 and 2007; the Segal Project and the Segal Still Life Documentation in the RKD, The Hague.

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Abraham Mignon, Flower piece with a cat and a mousetrap (Fig. 8.14) Canvas, 89 x 72 cm, signed lower left in dark brown: A. Mignon: fe. Rijksmuseum, Amsterdam, inv. no. SK-A-267.61

61

1 Annulated Sowbread 2 Forget-me-not 3 Provins Rose 4 Small Morning Glory 5 Garden Honeysuckle 6 Pansy 7 White Rose 8 Rosa Mundi 9 Opium Poppy 10 Cow Parsley 11 Austrian Briar 12 Apple blossom 13 Wheat 14 Chamomile 15 Carnation 16 Dandelion 17 Persian Tulip hybrid 18 Reed Canary Grass 19 Pale Iris 20 Yellow Tasselflower 21 Blunt Tulip hybrid 22 Pot Marigold 23 Musk Mallow 24 Austrian Copper (Briar) 25 Love-in-a-mist 26 Opium Poppy 27 Redshank 28 Poppy Anemone 29 Red Tulip 30 Snowball 31 Peony

Cyclamen hederifolium Myosotis palustris Rosa x provincialis Convolvulus tricolor Lonicera caprifolium Viola tricolor var. hortensis Rosa x alba semiplena Rosa gallica cv. Versicolor Papaver somniferum pseudoplenum purpureum Anthriscus sylvestris Rosa foetida Malus domestica Triticum aestivum Anthemis nobilis Dianthus caryophyllus subplenus albo-roseus Taraxacum officinale agg. Tulipa clusiana x T. stellata Phalaris arundinacea Iris pallida Emilia sagittata Tulipa mucronata x T. armena Calendula officinalis Malva moschata Rosa foetida cv. Bicolor Nigella damascena semiplena Papaver somniferum albo-rubrum Polygonum persicaria Anemone coronaria pseudoplena Tulipa agenensis bicolor Viburnum opulus cv. Roseum Paeonia officinalis plena

a Cat b House Mouse C Peacock Butterfly d White Satin Caterpillar e Black Ant f Blue Ground Beetle g House Cobweb Spider h Earwig i Diadem Spider j Brown Hawker Dragonfly k Hoverfly l Four-banded Longhorn Beetle m Peacock (Butterfly) Caterpillar n Grove Snail (2x)

Felis domestica Mus musculus Inachis io Leucoma salicis Lasius niger Lebia cyanocephala Parasteatoda lunata Forficula auricularia Araneus diadematus Aeshna grandis Syrphidae spec. Leptura quadrifasciata Inachis io Cepaea nemoralis

Provenance: collection of Pieter de la Court van der Voort, Leiden 1729; collection of Allard de la Court and his wife (the flower painter) Catharina Backer, Leiden; sale collection of Catharina Backer, widow, Leiden, 8 September 1766, no. 104; cabinet of Adriaan Leonard van Heteren, The Hague; inherited by A.L. Gevers, Rotterdam; bought by the museum in 1809 with Gevers’s collection. Exhibitions & literature: Weyerman 1729-69, II, pp. 393-394; Terwesten 1770, p. 556, no. 104; Gwinner 1862, p. 202; Waagen 1862, p. 251; Lejeune 1864-65, II, p. 289; Mireur 1911-12, I, p. 195; Moes & Van Biema 1909, pp. 148, 193; Blok 1917, p. 161; Bye 1921, p. 76; Siret 1924, p. 58; Warner 1928 (Segal ed. 1975), pp. 144-145, no. 67c; Vorenkamp 1933, p. 123; Martin 1935-36, II, pp. 430-431, Fig. 228; Bergström 1947, pp. 215, 219, Fig. 176; Gouda 1952, no. 13; Dordrecht 1955, p. 18, no. 101; Bergström 1956, pp. 217, Fig. 182, 219; Bille 1961, I, p. 109; Bol 1969, p. 323; Kraemer-Noble 1973, p. 15, no. A2, Pl. 12; van Thiel 1976, p. 389; Tapié & Segal in Caen 1987 & Paris 1989, under no. 20; Segal in Utrecht & Braunschweig 1991, pp. 215-217, no. 46, with scheme and identifications; Gemar-Koeltsch 1995, III, p. 670, no. 243/2; Ebert-Schifferer 1998, pp. 105, 107, Fig. 75; Kraemer-Noble 2007, pp. 172-173, no. 62. A copy may be found in the Musée des Beaux-Arts in Lyon (inv. no. A 129), and parts are copied in a pastiche currently in the Herzog Anton Ulrich-Museum in Braunschweig. Segal in Utrecht & Braunschweig 1991, p. 215.

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Fig. 8.14 Abraham Mignon, Flower piece with a cat and a mousetrap, canvas, 89 x 72 cm, Rijksmuseum, Amsterdam. | 393

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Fig. 8.15 Abraham Mignon, Flower piece with a squirrel, canvas, 87 x 68 cm, The State Hermitage Museum, Saint Petersburg. 394 |

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A bronze vase is set askew on a distressed marble slab in a grey stone niche with water spilling out, looking as if it is about to fall over (Fig. 8.14). To the left is a mousetrap that has been knocked on its side, while a tabby cat turns and hisses. The vase is decorated with two winged putti on either side of a coat of arms, and a lion’s head above held in check, reined in by the two putti. A lion held in check by putti is a favourite theme in the pictorial symbolism of Classical Antiquity and the Renaissance.62 This work succeeds really well in displaying Mignon’s virtuosity. In 1729 Jacob Campo Weyerman described this as Mignon’s best work: ‘het is een Konstjuweel dat ten trots der lente, en als in een tweestrijd met de Natuur schynt geschildert’ (‘it is a jewel of Art that seems to have been painted in spite of spring, and as if in a contest with Nature’).63 Mignon was hard-working and tremendously prolific and well might we ask where his efforts would have led him, if he had not died so young, and been able to mature as an artist. There are many if subtle differences to be observed between his work and that of his master, Jan Davidsz de Heem. Mignon’s work has been more graphically and colourfully executed, and with greater colour contrasts.64 The lighting is transparent, but lacks the softer shades of light and dark we see in De Heem’s works. In addition, there is a kind of forced flamboyance in the wheat with its bent stalks, in the zigzag foliage, the looping stem of the Opium Poppy, the broken stalk of a Tulip, and the bent and downward drooping stem of the Peony. The many insects are also less well hidden and integrated than in De Heem’s paintings. There is less sense of unity, and many individual details demand their own special attention. But there are also delightfully surprising elements, such as the snail on the left crawling along the underside of the plinth. We see the same kind of pictorial restlessness in a related work now in the State Hermitage Museum in Saint Petersburg, which was possibly a pendant to this painting, showing a squirrel on a chain just on the verge of knocking over a vase filled with flowers (Fig. 8.15).65

Hendrik Schoock

Hendrik Schoock was born in 1630 in Utrecht, the son of the painter Gysbert Schoock (ca. 1591-ca. 1662) and Johanna van Voorst. Hendrik served apprenticeships as a painter under Abraham Bloemaert (15661651) and Jan Davidsz de Heem. According to Houbraken, he also continued to learn about art by practical experience in Amsterdam under Jan Lievens (1607-1674).66 That he lived in that city is attested to by a document of 1674, the year of Lievens’s death.67 Under the influence of Jan Davidsz de Heem he abandoned genre and portrait painting and turned to flower and fruit pieces, flower garlands, and forest floor pieces. His work is strongly based on that of De Heem’s followers, Abraham Mignon in particular, and he imitated portions of that artist’s compositions in his own paintings. He remained in contact with Mignon in Utrecht, since in 1673 Mignon acted as witness in a family matter for Hendrik. Along with Gerard Hoet (1648-1733), Schoock was founder of the Utrecht drawing academy in 1696. A last will of 1698 indicates that he remained unmarried. Hendrik Schoock died in Utrecht in 1707. His work can be identified from his technique, which is inferior to that of Abraham Mignon and Jan Davidsz de Heem, as well as by his more colourful palette, and stronger contrasts between light and dark. In some ways his work looks similar to that of David Cornelisz de Heem. A number of his works bear a false Mignon signature. The only known dated work is from 1657.68 Flower pieces by Hendrik Schoock can be found in the Musée des Arts Décoratifs-Hôtel Lallemant in Bourges, Fredensborg Palace near Copenhagen, Museum De Lakenhal in Leiden, the Landesmuseum in Mainz, Museum im Schloss Elisabethenburg in Meiningen and the Ashmolean Museum in Oxford. Both of the flower pieces in Leiden and Oxford bear a false Mignon signature and also the name of Mignon on the painting of a flower and fruit garland in the Centraal Museum in Utrecht is forged.

62 63 64 65 66 67

For the symbolism, including references to sources, see Segal in Utrecht & Braunschweig 1991, pp. 216-217. Weyerman 1729-69, II, p. 394. By a ‘graphic’ painting we mean one that shows the clear use of line, as in a drawing. Saint Petersburg, The State Hermitage Museum, inv. no. 1050, probably cropped. Kraemer-Noble 2007, pp. 168-169, no. 60. Houbraken 1718-21, I, p. 212. According to a survey of documents regarding Hendrik Schoock and his family in the city archive of Utrecht, collected upon my request by Liesbeth Helmus, and now deposited in the Segal Still Life Documentation in the RKD, The Hague. 68 According to Van der Willigen and Meijer, the work is probably copied after Alexander Coosemans (1627-1689); see Van der Willigen & Meijer 2003, p. 178.

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Hendrik Schoock, Flowers in a glass vase (Fig. 8.16) Panel, 30.5 x 24.8 cm, signed lower right in light beige: H: Schook · fe. Private collection.69 1 Wheat 2 Provins Rose 3 Forget-me-not 4 Pansy 5 Persian Tulip 6 White Rose 7 Austrian Briar 8 Wheat 9 Small Morning Glory 10 Foxtail 11 French Marigold 12 Poppy Anemone 13 Pot Marigold 14 Snowball 15 London Pride 16 Hollyhock 17 German Flag Iris 18 Goutweed 19 Opium Poppy 20 Yellow Tasselflower 21 Persian Tulip 22 Tapered Tulip 23 Peony 24 Hollyhock 25 Carnation 26 Chinese Lantern 27 Blackberry

Triticum sativum aculeatum Rosa x provincialis Myosotis palustris Viola tricolor Tulipa clusiana Rosa x alba subplena Rosa foetida Triticum aestivum Convolvulus tricolor Amaranthus caudatus Tagetes patula Anemone coronaria pseudoplena Calendula officinalis Viburnum opulus cv. Roseum Saxifraga umbrosa Alcea rosea duplex Iris germanica Aegopodium podagraria Papaver somniferum pseudoplenum fimbriatum Emilia sagittata Tulipa clusiana albo-violacea Tulipa armena bicolor Paeonia officinalis plena Alcea rosea lutea Dianthus caryophyllus plenus bicolor Physalis alkekengi Rubus fruticosus agg.

A Sand Lizard B Swallowtail Butterfly C Red Admiral Butterfly d Brown Hawker Dragonfly e Azure Damselfly f Caterpillar (3x) g Housefly h Garden Snail

Lacerta agilis Papilio machaon Vanessa atalanta Aeshna grandis cf. Coenagrion puella Lepidoptera spec. div. Musca domestica Cepaea hortensis

A number of the flowers are identical to those in several larger versions of the painting and in other works by the artist.70

69 Provenance: possibly sale Sinzendorf, Vienna, 17 March 1823, no. 513; private collection, United States; Salomon Lilian Gallery, Amsterdam 2003. Literature: Segal 2003a, pp. 62-63, no. 22. 70 The versions are likely later work (canvas, 100.5 x 81 cm and 106 x 93 cm respectively, Galerie Fischer, Lucerne 1981, and Lempertz, Cologne, 10 October 1995, no. 2266), the second also has a monkey and fruit to the right in the foreground and a landscape to the right in the background.

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Fig. 8.16 Hendrik Schoock, Flowers in a glass vase, panel, 30.5 x 24.8 cm, private collection. | 397

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Gerrit de Haen

According to Semenov, Gerrit de Haen came from Rotterdam.71 In any case, he is documented in The Hague in 1660, when he applied for a patent for a process of gilding that did not use gold, and in 1666, when he announced his marriage to Cornelia Cool. In 1667 he entered the guild, and in two documents, dated 1681 and 1682, he claims the payment of a debt. De Haen painted Italianate landscapes and religious images, and he was also active as a decorative painter. It is possible that he was a son of the decorative painter Andries de Haen, who died in The Hague in 1677. A flower piece signed Gerrit D’haen surfaced at a sale, where the birth and death dates in The Hague were given as 1634 and 1682 respectively (Fig. 8.17).72 The painting has a light-coloured asymmetrical central axis of Roses with a Hollyhock and a sprig of Blackberries, which points both directly and indirectly to the influence of Willem van Aelst and Jan Davidsz de Heem.

Fig. 8.17 Gerrit de Haen, Flowers in a glass vase, canvas, 57 x 43 cm, private collection. 71 72

Semenov 1906a, p. 78; see also Bredius 1890, p. 9. Provenance: collection Semenov, Saint Petersburg 1906; Galerie Robert Finck, Brussels 1970. Semenov 1906, p. CLI, no. 184; Semenov 1906a, p. 78; Brussels 1970, n.p., no. 38.

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Cornelis Kick

Cornelis Kick was born in Amsterdam in 1634. He was apprenticed under his father, the genre painter Simon Kick (1603-1652). In 1661 he married Cornelia Spaeroogh, daughter of an affluent family, with whom he went to live outside the city of Amsterdam between 1667 and 1674. After he became a widower, he remarried in 1674, taking Maghteltje Dirckx as his second wife, and returned to the city of Amsterdam. According to a 1676 document he had a shop there. Cornelis Kick died in 1681. Jacob van Walscappelle and Elias van den Broeck (ca. 1652-1708) were his apprentices. Walscappelle imitated Kick in his earliest works and conversely, work by Kick is sometimes wrongly attributed to Walscappelle, who is regarded as being the better artist, and occasionally Kick’s paintings are also erroneously ascribed to Justus van Huysum I (1659-1716).73 Kick painted flower pieces, fruit pieces and sumptuous still lifes. He made drawings for Johannes Commelin’s Nederlantze hesperides, a book about citrus fruit published in Amsterdam in 1676, which contains two prints of a sprig with blooms in a wide glass vase (Fig. 10.35). Kick’s flower pieces usually display a paucity of species, and frequently the flowers show overly flamboyant or excessively curling stems. He bestowed much attention on the foliage, which is heavily veined, something that is particularly noticeable on the undersides of the leaves. A work dated 1667 is currently in the collection of the Victoria and Albert Museum in London; undated flower pieces may be found in the Ashmolean Museum in Oxford and the Princeton University Art Museum, as well as in the Liechtenstein Princely Collections. Dated pieces from 1667, 1670 and 1675 are also presently in private collections. Cornelis Kick, Flowers in a glass vase (Fig. 8.18) Panel, 49 x 41.2 cm, signed lower left: Corn: Kick Private collection.74 1 2 3 4 5 6 7 8 9 10

Provins Rose White Rose Small Morning Glory Austrian Briar Opium Poppy Snake’s Head Fritillary English Iris French Marigold Poppy Anemone Corn Poppy

Rosa x provincialis Rosa x alba subplena Convolvulus tricolor Rosa foetida Papaver somniferum Fritillaria meleagris Iris latifolia Tagetes patula Anemone coronaria bicolor Papaver rhoeas

The same English Iris can be seen at the top of a bouquet in another work by Cornelis Kick.75

73 Panel, 60 x 44.5 cm, P. de Boer Gallery, Amsterdam 1969, as Justus van Huysum. For more examples see the Segal Still Life Documentation in the RKD, The Hague. 74 Provenance: collection of the W.A. Howgate Trust; Sotheby’s, London, 24 October 1973, no. 70, as Simon Verelst, 50 x 47 cm; Hoogsteder Gallery, The Hague, where the signature became visible after cleaning; Herner & Wengraf Gallery, London 1974; collection of J. Wetzger, Berlin; Sotheby’s, London, 3 July 1996, no. 39; Sotheby’s, New York, 27 January 2006, no. 229, as canvas and signed lower right; Gallery Rafael Valls, London 2006-2007; P. de Boer Gallery, Amsterdam 2008-2009. Exhibitions & literature: Lewis 1979, p. 37, no. 111, as Simon Verelst; Kelch in Berlin 1984, pp. 64-65, no. 30, illustrated with (several incorrect) identifications. 75 Panel, 60 x 44.5 cm, P. de Boer Gallery, Amsterdam 1969, as Justus van Huysum.

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Fig. 8.18 Cornelis Kick, Flowers in a glass vase, panel, 49 x 41.2 cm, private collection.

Cornelis Kick, Flower piece with four butterflies and a dragonfly (Fig. 8.19) Panel, 60 x 46.5 cm, signed lower left in grey: Corn. Kick F Private collection.76

76

1 2 3 4 5 6 7 8 9 10

Provins Rose Snowball White Rose Austrian Briar Peony Hollyhock Spanish Iris Opium Poppy Persian Tulip Caraway

Rosa x provincialis Viburnum opulus cv. Roseum Rosa x alba semiplena Rosa foetida Paeonia officinalis Alcea rosea lilacina Iris xiphium duplex bicolor Papaver somniferum plenum rubrum Tulipa clusiana Carum carvi

A B C d e

Small Tortoiseshell Butterfly (2x) Aglais urticae Common Blue Butterfly Polyommatus icarus Painted Lady Butterfly Vanessa cardui Blue Bottlefly Calliphora vomitoria Blue Hawker Dragonfly Aeshna cyanea

Provenance: collection of Charles Cunningham, Boston; private collection, United States; Sotheby’s, New York, 12 January 1989, no. 195, as Jacob van Walscappelle; Richard Green Gallery, London 1989; Ader & Tajan, Paris, 22 June 1990, no. 48, with scheme and identifications by Segal (without permission); Sotheby’s, New York, 24 January 2008, no. 58. Literature: Bergamo & Düsseldorf 1995, p. 220, Fig. 1; Van der Willigen & Meijer 2003, p. 25.

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Fig. 8.19 Cornelis Kick, Flower piece with four butterflies and a dragonfly, panel, 60 x 46.5 cm, private collection. | 401

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What is extraordinary here is the Provins Rose on the left, which seems to be dropping out of the bouquet. Typical is the sprig of blooms extending towards the lower left and the Opium Poppy extending towards the upper right, which reinforces the composition’s asymmetrical main axis in the spirit of Willem van Aelst. I attributed this painting to Cornelis Kick in 1989 in a report made for the Richard Green Gallery, before the signature was made visible during a cleaning. This work was originally attributed to Kick’s apprentice Jacob van Walscappelle.77 This is not surprising because the latter’s earliest dated work of 1667 (Fig. 8.20) exhibits a similar composition with a Provins Rose, Snowball and Hollyhock in corresponding positions, and an Opium Poppy above left and a full Peony to the rear, while a Carnation in the lower left displays a gently curved stem similar to the Provins Rose in the same position here. But there are characteristic differences between these masters too, such as the somewhat compact Provins Rose on the right in this painting, which is much rounder in Walscappelle’s work. In Walscappelle’s later paintings the influence of Jan Davidsz de Heem is often more evident and his bouquets are less asymmetrical. Some of the flowers here can be identified in other works by Kick.

Jacob van Walscappelle

Jacob van Walscappelle was born in Dordrecht in 1644. His name was in fact Jacob Cruydenier, but he and his sisters adopted the family name of a great-grandmother on his father’s side. He struck out early in life for Amsterdam, where he was apprenticed to Cornelis Kick from 1664 to 1667, and came under the lasting influence of Jan Davidsz de Heem. Ottomar Elliger I (1633-1679) was his brother-in-law. Beginning in 1673 he took on various roles for the city in connection with the ‘saaihal’.78 In 1674 he married Metje Bos. Jacob van Walscappelle died in 1727. Van Walscappelle painted flower pieces, festoons and cartouches with flowers and fruit, meal still lifes, sumptuous still lifes and vanitas still lifes. In his early work, he first imitated his teacher Kick, but he then quickly distanced himself from his master and created his own style, which is closer to that of Jan Davidsz de Heem. Dated works for him are known from 1667 through to 1685. Flower pieces by Jacob van Walscappelle may be found in the following public collections: 1667, Victoria and Albert Museum in London; 1681, Speed Art Museum in Louisville, Kentucky; and further in the Koninklijke Musea voor Schone Kunsten van België in Brussels, the Musée des Beaux-Arts in Caen, the Städel Museum in Frankfurt am Main, Fredensborg Palace near Copenhagen and the National Gallery in London. Jacob van Walscappelle, Flowers in a glass vase (Fig. 8.20) Canvas, 66.5 x 52.7 cm, signed and dated lower left in grey: J Walscappelle fe. 1667. Victoria and Albert Museum, London, inv. no. CAI.87.79 1 Rye 2 Carnation 3 Scentless Mayweed 4 Austrian Briar 5 Snowball 6 Hollyhock 7 French Marigold 8 Opium Poppy 9 Hollyhock 10 Hollyhock 11 Harebell 12 Provins Rose

Secale cereale Dianthus caryophyllus plenus bicolor Matricaria maritima Rosa foetida Viburnum opulus cv. Roseum Alcea rosea plena rubra Tagetes patula Papaver somniferum pseudoplenum rubrum Alcea rosea lilacina Alcea rosea plena Campanula rotundifolia Rosa x provincialis

A B c d e f

Colias croceus Pieris brassicae Coccinella septempunctata Melolontha melolontha cf. Calliphora vomitoria Cepaea hortensis

Clouded Yellow Butterfly (?) Large White Butterfly 7-spot Ladybird Cockchafer Beetle Bluebottle Fly Garden Snail

77 Sotheby’s, New York, 12 January 1989, no. 195. 78 A monumental building of 1641 in the Staalstraat where ‘saai’ or woolen cloth with a diagonal pattern was inspected and its quality assessed. 79 Provenance: bequest of Constantine Alexander Ionides 1900. Literature: Long 1925, p. 25, Pl. 34; Warner 1928 (Segal ed. 1975), pp. 228-229, no. 109; Van Gelder 1950, p. 198 under no. 92; MacLaren 1960, p. 446; Bol 1969, pp. 315-316; Kauffmann 1973, p. 298, no. 372; Mitchell 1973, p. 258, Fig. 379; Gemar-Koeltzsch 1995, III, pp. 1076-1077, no. 427/1.

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A glass vase in the shape of a cognac glass has been set on the left of a marble table (centred in the frame), with an Opium Poppy at the top left facing the back, along with a Poppy seed pod, both on strongly bent stems. This is the earliest dated work by Jacob van Walscappelle, painted at the age of twenty-three. The composition bears strong similarities to the work of Cornelis Kick (Fig. 8.19). Much attention has been lavished on the vein structure of the foliage. Several parts of this flower piece are similar to those in other early works by this artist, such as the leaves of the Provins Rose hanging down here in the foreground, the wavy stem of the Carnation in the lower left, and the bendy upward stretching stems of the Opium Poppy. Fig. 8.20 Jacob van Walscappelle, Flowers in a glass vase, dated 1667, canvas, 66.5 x 52.7 cm, Victoria and Albert Museum, London.

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Fig. 8.21 Jacob van Walscappelle, Flowers in a glass vase near a vista, dated 1681, canvas, 102.5 x 89.3 cm, Speed Art Museum, Louisville. 404 |

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Jacob van Walscappelle, Flowers in a glass vase near a vista (Fig. 8.21) Canvas, 102.5 x 89.3 cm, signed and dated lower right in grey with light grey calligraphy (as if engraved on the plinth): Jacob: van Walscappel i68i. Speed Art Museum, Louisville (Kentucky), inv. no. 1987.1.80 1 Provins Rose 2 Scentless Chamomile 3 Lily of the Valley 4 Small Morning Glory 5 Austrian Briar 6 White Rose 7 Five-lobed Mallow 8 Opium Poppy 9 Pot Marigold 10 Persian Tulip hybrid 11 French Marigold 12 Madonna Lily 13 Pale Iris hybrid 14 Sunflower 15 Crown Imperial 16 Opium Poppy 17 Opium Poppy 18 Peony 19 Poppy Anemone 20 Hollyhock 21 Purple Tulip 22 Carnation 23 Sessile Oak 24 Cypress 25 Vine

Rosa provincialis Matricaria maritima Convallaria majalis Convolvulus tricolor Rosa foetida Rosa x alba Malva alcea Papaver somniferum plenum aurantio-rosaceum Calendula officinalis Tulipa clusiana x T. stellata Tagetes patula Lilium candidum Iris pallida x I. florentina Helianthus annuus Fritillaria imperialis Papaver somniferum pseudoplenum miniatum Papaver somniferum plenum liliaceum Paeonia officinalis Anemone coronaria plena liliacena Alcea rosea plena badia Tulipa undulatifolia Dianthus caryophyllus plenus bicolor Quercus petraea Cupressus sempervirens Vitis vinifera

a Meadow Brown Butterfly b Cockchafer Beetle c Garden Snail

Maniola jurtina Melolontha melolontha Cepaea hortensis

Fig. 8.21a Sketch of the species in Fig. 8.21.

The composition in this work shows a rather loosely arranged bouquet with harmonious proportions of shapes and colours. The concept of a horizontal connection between the bouquet inside the room and the vine-stock tendrils outside climbing through the open window is borrowed from compositions by Jan Davidsz de Heem; the Sunflower towering over the bouquet at the top also appears in several of De Heem’s paintings.

Jan van Rossum

Jan van Rossum was a painter in the town of Vianen south of Utrecht. Practically nothing is known by him except his portraits, which are dated between 1654 and 1678. According to a 1671 inventory he also executed landscapes and battle scenes.81 Recently a flower piece by Van Rossum came to light. Jan van Rossum, Flower piece next to a curtain (Fig. 8.22) Canvas, 73 x 59 cm, signed and dated lower centre in dark brown: J. V. Rossum. fe. i67i. Hamburger Kunsthalle, Hamburg, inv. no. HK-5703.82 1 Provins Rose 2 Opium Poppy 3 Snapdragon 4 Snapdragon 5 Snapdragon

Rosa x provincialis Papaver somniferum plenum fimbriatum albo-rubrum Antirrhinum majus albus Antirrhinum majus roseum Antirrhinum majus griseum

80 Provenance: collection of P.H. Wall van Repelaar, Dubbeldam 1954; Richard Green Gallery, London 1976; Christie’s, Amsterdam, 21 May 1985, no. 181; donated to the museum by Eleanor Bingham Miller and Barry Bingham Sr., in honor of Mary Caperton Bingham, 1987. Exhibitions & literature: Dordrecht 1949 (not in the catalogue); Dordrecht 1954 (not in the catalogue); Bol 1969, p. 316, Fig. 289; London 1986, pp. 38-39, no. 16; Stuurman-Aalbers et al. 1992, II, p. 249. 81 Obreen 1877-90, VII, pp. 305-306. 82 Provenance: Christie’s, Paris, 22 June 2005, no. 38; Johnny Van Haeften Gallery, London; private collection, Germany; Hamburger Kunsthalle, Hamburg. Exhibition: Hamburg 2008, pp. 8, 170-171 with two details.

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6 7 8 9 10 11 12 13

False Larkspur York and Lancaster Rose Opium Poppy Opium Poppy Opium Poppy Gooseberry Strawberries Redcurrants

Consolida ajacis Rosa damascena cv. Versicolor Papaver somniferum lilacinum Papaver somniferum subplenum miniatum Papaver somniferum miniatum Ribes uva-crispi Fragaria vesca Ribes rubrum

A Magpie Moth Abraxas grossulariata B Garden Tiger Moth Caterpillar Arctia caja c Caterpillar (2x) Lepidoptera spec. Plus some other insects

An earthenware pot decorated in relief with putti, mascarons and garlands of fruit has been placed on a stone slab resting on top of a stone plateau. To the left a brown curtain has been pulled aside as if to reveal the bouquet. Fruit is scattered in the foreground. This original composition shows potential links to the work of Jacob Marrel, who had compiled a Tulip book for a botanical cultivator in Vianen, particularly in the type of vase chosen and the fruit in the foreground. What is rather exceptional are the individual shapes of the Opium Poppies and the Snapdragons, and the curtain, which we only encounter further in a flower garland by Adriaen van der Spelt (1630-1673) in 1658 (with a curtain by Frans van Mieris I (1635-1681)), and in the works of Jan van Huysum about 1723.83

Fig. 8.22 Jan van Rossum, Flower piece next to a curtain, dated 1671, canvas, 73 x 59 cm, Hamburger Kunsthalle, Hamburg. 83

Panel, 46.4 x 63.9 cm, Chicago, The Art Institute of Chicago, inv. no. 1949.585 (Van der Spelt & Van Mieris); for example, the flower piece by Jan van Huysum in the Amsterdam Museum (Fig. 9.14).

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Pieter de Ring

Pieter de Ring moved with his parents from Ypres to Leiden, or was born there, about 1615. In 1648 he was a co-founder of the Leiden Guild of Saint Luke. His apprentices were David Hoogschilt (ca. 16251691/92), Lambert van Slingelandt (active 1642-1662) and the still life painter Nicolaes van Gelder (ca. 1636-1676/77). Dated work for him is known from 1645 (or 1647) to 1660, the year in which he passed away. The majority of his works are sumptuous still lifes in the style of Jan Davidsz de Heem; he also painted meal, fruit and vanitas still lifes. De Ring signed many of his works with a diamond ring. In addition to a single flower piece (Fig. 8.23), two other works with flowers are known from his hand: a cartouche with flowers, fruit and vanitas elements of 1655 and a flower and fruit festoon of 1657.84 Pieter de Ring, Flowers in a round glass vase with fruit (Fig. 8.23) Panel, 44.3 x 33 cm, with a ring on the right and notation on the reverse: P…Ring Formerly Obermayer collection, German Embassy, The Hague.85 White Rose Rosa x alba semiplena Pot Marigold Calendula officinalis Forget-me-not Myosotis palustris Austrian Briar Rosa foetida Summer Snowflake Leucojum aestivum Poppy Anemone Anemone coronaria pseudoplena Blunt Tulip Tulipa mucronata bicolor f. obtusa Red Tulip Tulipa agenensis bicolor Bluebell Hyacinthoides non-scripta London Pride Saxifrage Saxifraga umbrosa Bachelor’s Buttons Ranunculus acris var. multiplex Columbine Aquilegia vulgaris Variegated Iris Iris variegata Auricula Primula x pubescens bicolor Provins Rose Rosa x provincialis Plus Redcurrants, Cherries and Strawberries

Fig. 8.23 Pieter de Ring, Flowers in a round glass vase with fruit, panel, 44.3 x 33 cm, private collection. 84 85

For the cartouche (canvas, 83.5 x 66 cm) see Amsterdam & Braunschweig 1983, pp. 75, 124, no. 45, Fig. 45. Attribution by Albert Blankert, March 1968.

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Martinus Nellius

The earliest record for Martinus Nellius locates him in Leiden in 1674. From 1676 on he is reported as being often in The Hague, where he died in 1719. A fruit piece by Nellius was mentioned as early as in 1669.86 He painted simple still lifes of a modest size: fruit pieces, meal still lifes, vanitas still lifes, bird still lifes, and a few flower pieces. In his works, we frequently see a leaf from a printed almanac folded into a little pouch that shows the name of the Delft bookseller Abraham Dissius. Dated paintings are known from 1671 through to 1712. A small flower piece is currently in the collection of the Musée des Arts Décoratifs in Paris. Nellius also painted a few flower and fruit combination pieces, an example of which may be found in the Muzeum Narodowe in Warsaw. To a certain extent his still lifes show similarities to the works of the Leiden painters from the circle of Pieter de Ring, but they are a bit more unpolished. The flower pieces, however, reveal his own personal style. He signed with Nellius in calligraphy.

Fig. 8.24 Martinus Nellius, Flowers in a glass vase, dated 1680, panel, 29.5 x 23 cm, private collection. 86

Bredius 1915-22, IV, p. 1313, ‘Een fruytagie van Niellius’ sold by the Amsterdam painter Jacobus Houstraet.

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Martinus Nellius, Flowers in a glass vase (Fig. 8.24) Panel, 29.5 x 23 cm, signed and dated lower centre in beige: Nellius 1680 Private collection.87 1 Peony 2 Snowdrop 3 Peach-leaved Bell-flower 4 African Marigold 5 Carnation 6 Snowdrop 7 Summer Pheasant’s Eye 8 Jerusalem Artichoke 9 Snakeweed 10 African Marigold

Paeonia officinalis Galanthus nivalis duplex Campanula persicifolia lilacina Tagetes erecta plena Dianthus caryophyllus plenus albescens Galanthus nivalis Adonis aestivalis Helianthus tuberosus Polygonum bistorta Tagetes erecta

A Large White Butterfly B Red Admiral Butterfly c Housefly

Pieris brassicae Vanessa atalanta Musca domestica

This flower piece, arranged in a rotund glass vase with a noticeable kick, is rather stiff and simplistic, resulting in some species (3, 7 and 9) not being readily identifiable.

Maria van Oosterwijck

Maria van Oosterwijck was born in Nootdorp near Delft in 1630, the daughter and granddaughter of Protestant clergymen; her father was the minister Jacob van Oosterwijck. Initially she worked in Delft. According to Houbraken she was apprenticed to Jan Davidsz de Heem, something that is not confirmed by other sources.88 There is a document indicating that she moved in 1660 from Leiden to Utrecht, where De Heem was frequently active. In any case, her work clearly shows his influence. From 1673 until 1689 she lived in a house on the Prinsengracht in Amsterdam, across from the workshop of Willem van Aelst, who is said to have made a bid for her hand in marriage.89 She remained single and spent her last years in the rectory of a cousin in Uitdam outside Amsterdam. Maria van Oosterwijck died in 1693. Maria’s life and works bear witness to a distinctive form of Christian devotion. For example, she paid the manumission monies for seamen from Holland who had been forced into slavery by non-European pirates. Her artistic work also reveals the conviction of her faith both directly and indirectly, for example by including images of a copy of the Navolging Christi by Thomas à Kempis and the book Self-Stryt by Jacob Cats in a vanitas still life of 1668 now in the Kunsthistorisches Museum in Vienna, which also contains a quotation from the Bible.90 In addition, she taught her maid Geertgen Wyntges (1636-1712) to paint. Maria van Oosterwijck painted flower pieces, including works with flowers loosely strewn on a ledge, flower and fruit festoons, and vanitas still lifes. Dated work is known from between 1667 and 1689. Van Oosterwijck achieved great success with her paintings: they were purchased by such notable persons as King William III of England, King Louis XIV of France (who gave these works a prominent place in the Cabinet du Roi in Versailles), the King of Poland, Emperor Leopold I of Austria, and the Elector of Saxony. Constantijn Huygens composed an encomium for her in 1677. Flower pieces may today be found in the following public collections: 1667, in the Städtische Kunstsammlungen (Bavarian State Collection) in Augsburg; 1669, in the Cincinnati Art Museum; 1670, in the Uffizi in Florence; 1685, in the Fredensborg Palace near Copenhagen; 1686 and 1689, in Kensington Palace in London; and undated work in the Gemäldegalerie Alte Meister in Dresden, the Mauritshuis in The Hague, and the Kunsthistorisches Museum in Vienna.

87 Provenance: Christie’s, London, 10 July 1981, no. 87; Sotheby’s, London, 5 July 2005, no. 488. Literature: Gemar-Koeltzsch 1995, III, pp. 733-734, no. 282/2; Van der Willigen & Meijer 2003, p. 149. The year had originally been read as 1650. 88 Houbraken 1718-21, II, p. 215. 89 Houbraken 1718-21, II, pp. 216-217. 90 Canvas, 73 x 88.5 cm, inv. no. 5714, extensively described by Segal in Utrecht & Braunschweig 1991, pp. 118, Fig. 49, 220-221, no. 49; Liedtke 2001a, pp. 95, Fig. 108, 110; Uchtmann & Haag 2011, pp. 28-31.

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Maria van Oosterwijck, Flowers in a glass vase with a Sunflower and Opium Poppy at the top (Fig. 8.25) Canvas, 97 x 77 cm, signed and dated lower left on the plinth in grey and light grey (as if etched in the stone): MARIA VAN OOSTERWYCK A° 1685 Private collection.91 1 Opium Poppy foliage 2 African Marigold 3 Striped Canary Grass 4 Cabbage Rose 5 Marvel of Peru 6 Carnation 7 Hollyhock 8 Hollyhock 9 Peach-leaved Bell-flower 10 Hollyhock 11 French Marigold 12 Silver Ragwort foliage 13 Opium Poppy 14 Foxtail 15 Sunflower 16 Hollyhock 17 Hollyhock 18 Foxglove 19 (Common) Myrtle 20 Carnation 21 Hollyhock 22 Small Morning Glory

Papaver somniferum Tagetes erecta Phalaris arundinacea f. picta Rosa x centifolia ad R. x provincialis Mirabilis jalapa Dianthus caryophyllus plenus albo-violescens Alcea rosea plena alba Alcea rosea plena lutescens Campanula persicifolia Alcea rosea pseudoplena Tagetes patula Senecio cineraria Papaver somniferum Amaranthus caudatus Helianthus annuus Alcea rosea plena alba Alcea rosea plena rubra Digitalis purpurea Myrtus communis Dianthus caryophyllus bicolor Alcea rosea violacea Convolvulus tricolor

A Red Admiral Butterfly b Window Fly

Vanessa atalanta cf. Scenopilus fenestralis

To the right in the foreground is a small bunch of string and a knife with an ornamented handle carved in the figure of a Moor’s head with a turban. The combination of the Sunflower and the Opium Poppy that seem to be having a conversation together at the top of the bouquet could be a reference to two poems by the renowned seventeenth-century Dutch poet Joost van den Vondel.92 In these poems the two flowers symbolize Day and Night, as well as truth and ignorance. This combination also appears in two other flower pieces by Maria van Oosterwijck, one now in the Mauritshuis in The Hague and the other in the Gemäldegalerie Alte Meister in Dresden.93 She used the Silver Ragwort and the striped Canary Grass with its wavy lines in several of her other flower pieces. One of her vanitas paintings also displays a Sunflower overhanging two adjoined stone tablets on which many references have been carved connected with the objects in the painting, some of them from the Bible.94

91

Provenance: Wolf collection, Kassel; collection of Friedrich Frey-Fürst, Bürgenstock (Switzerland); Sotheby’s, London, 11 December 1996, no. 79; Sotheby’s, New York, 26 January 2011, no. 47. Literature: Frey 1967, pp. 102-103. 92 See Chapter 2. 93 Canvas, 62 x 47.5 cm, The Hague, Mauritshuis, inv. no. 468; for an extended discussion of the work see Segal in Osaka, Tokyo & Sydney 1990, pp. 103, Fig. 54, 220-221, no. 54, with identifications; canvas, 72 x 56 cm, Dresden, Gemäldegalerie Alte Meister, inv. no. 1334, see Segal in Osaka, Tokyo & Sydney 1990, p. 221, Fig. 54b. 94 Canvas, 78.7 x 103.2 cm, Christie’s, London, 4 December 2012, no. 26; Osnabrück 1948, no. 25.

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Fig. 8.25 Maria van Oosterwijck, Flowers in a glass vase with a Sunflower and Opium Poppy at the top, dated 1685, canvas, 97 x 77 cm, private collection. | 411

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Fig. 8.26 Geertgen Wyntges, Flowers in an earthenware vase with a text, canvas, 79 x 67 cm, The Fitzwilliam Museum, Cambridge. 412 |

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Geertgen Wyntges

Geertgen (Geertie, Geertje, Gertrude, Geertruid) Wyntges was born in Delft in 1636. She was the daughter of Pieter Wyntges and that is why she is also referred to as Geertgen Pieters. In 1678 Geertgen Wyntges states that she was witness at the request of Maria van Oosterwijck for the transfer of two paintings by Maria to a dealer in Amsterdam.95 She was Maria’s servant and was taught to paint by her mistress. Constantijn Huygens composed a poem for her in 1676 and alludes to her again in later writings of 1679. Geertgen Wyntges died in 1712 in Delft. Only a few flower pieces from her hand are known today. Geertgen Wyntges, Flowers in an earthenware vase with a text (Fig. 8.26) Canvas, 79 x 67 cm, signed lower right in black with yellow: Geertie Pieters The Fitzwilliam Museum, Cambridge, inv. no. 58.96 Here we see a brown earthenware vase of German origin decorated with a representation of the Adoration: the three shepherds with haloes, a shining star, and the Virgin and Child in the stall with an ass; the vase is inscribed around with a running caption above the pictorial segments, part of which is legible: ‘…ET CHRISTVS GEBVRT DE…’. The arrangement in the vase contains the following flowers: 1 Peony 2 Striped Canary Grass 3 Dog Rose 4 Opium Poppy 5 Snowball 6 Maltese Cross 7 Canterbury Bell 8 Persian Tulip hybrid 9 Sunflower 10 German Flag Iris hybrid 11 Carnation 12 Holly foliage 13 Persian Tulip hybrid 14 Silver Ragwort

Paeonia officinalis subplena alba Phalaris arundinacea f. picta Rosa canina semiplena Papaver somniferum rubrum Viburnum opulus cv. Roseum Lychnis chalcedonica Campanula medium Tulipa clusiana x T. stellata Helianthus annuus Iris germanica x I. albicans Dianthus caryophyllus bicolor Ilex aquifolia Tulipa clusiana x T. chrysantha Senecio cineraria

The Sunflower arranged in relation to another flower as if in a conversation – here with a Tulip – is a motif borrowed from Maria van Oosterwijck, just like the Striped Canary Grass and the Silver Ragwort. In a related painting by Geertgen Pieters the Sunflower has been paired with an Iris.97 An exceptional work signed Geertruid Wijnties shows a flower arrangement with a Sunflower at the top positioned on a balustrade to the right of centre, while to the left in the background we see a formal garden with parterres and a rectangular pool, and behind that a natural landscape (Fig. 8.27).98 Two statues on the low wall mark the passage to the pool: on the left Hercules with his club and shield, quite certainly symbolizing courage and power, but even more importantly symbolizing his power to differentiate good from evil in a choice between two paths; on the right, the figure of Justice with her scales. In this work the Striped Canary Grass on the left and Silver Ragwort on the right are identical replications from Flowers in an earthenware vase with a text (Fig. 8.26).

95 Montias 1982, p. 218. 96 Provenance: from the collection of Richard Fitzwilliam, the founder of the museum in 1816. Literature & exhibitions: Earp 1902, pp. 152, 156; Warner 1928 (Segal ed. 1975), p. 163, no. 76b; Earp 1928, p. 152; Gerson & Goodison 1960, p. 98, no. 58, Pl. 48; Mitchell 1973, p. 199, Fig. 281; Cambridge 1988-89, p. 45; Gemar-Koeltzsch 1995, III, p. 784, no. 313/1. The painting is listed by the Fitzwilliam as by the Dutch artist Gerrit Pietersz. For a biography of Geertgen Wyntges see Janssen 2014. 97 Canvas, 56 x 44.5 cm, sale De Quai & Lombrail, Paris, 15 October 1996, no. 135. 98 Signed in black on the balustrade to the right. Provenance: Sotheby’s London, 14 October 1970, no. 110; Leonard Koetser Gallery, London 1971; Mak van Waay, Amsterdam, 28 April 1976, no. 258; Galerie Pallamar, Vienna 1976; Artcurial, Paris, 13 November 2019, no. 91. Literature: Gemar-Koeltzsch 1995, III, pp. 1118-1119, no. 437/1.

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Fig. 8.27 Geertgen Wyntges, Flowers in a glass vase in front of a garden, canvas, 54 x 46.5 cm, private collection.

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B. Wackis

In the Palais des Beaux-Arts in Lille there is a flower piece that is clearly signed B. Wackis. This was probably a dilettante who painted in the style of Maria van Oosterwijck. B. Wackis, Flowers in a glass vase (Fig. 8.28) Canvas, 99 x 74.5 cm, signed lower left in dark brown: B. Wackis (‘B’ and ‘W’ connected with curls, ‘s’ ending in a number of flourishes) Palais des Beaux-Arts, Lille, inv. no. 114.99 1 Carnation 2 Striped Canary Grass 3 Cabbage Rose 4 French Marigold 5 Snowball 6 York and Lancaster Rose 7 Small Morning Glory 8 Persian Tulip 9 Sunflower 10 Opium Poppy 11 Bindweed 12 Peony 13 Austrian Briar

Dianthus caryophyllus plenus bicolor Phalaris arundinacea f. picta Rosa x provincialis Tagetes erecta Viburnum opulus cv. Roseum Rosa damascena cv. Versicolor Convolvulus tricolor Tulipa clusiana Helianthus annuus Papaver somniferum rubrum Calystegia sepium Paeonia officinalis plena Rosa foetida

To the right on a marble slab is a greenish bronze-coloured cloth with gold fringe. This is a work from the end of the seventeenth or beginning of the eighteenth century. Unfortunately it is in a poor state with holes and blisters.

Fig. 8.28 B. Wackis, Flowers in a glass vase, canvas, 99 x 74.5 cm, Palais des Beaux-Arts, Lille. 99 Provenance: gift of Louis Decamps, 1871. Literature: Gazette des Beaux Arts 1873, no. 2, p. 68; Lenglart 1893, no. 858, as J.B. Wackis; Thieme & Becker 1907-50, XXXV, p. 12.

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Fig. 8.29 Henricus Maria Weerts, Flower piece with oysters and roll, canvas, 53 x 43 cm, Ashmolean Museum of Art and Archaeology, Oxford. 416 |

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Henricus Maria Weerts

We know practically nothing about Henricus Maria Weerts. A number of flower and fruit still lifes by him are known with the signature h weerts f, or a variant. He was possibly identical with Henricus van Weert, who in 1667 received a commission from the art dealer Gerrit Uylenburgh (1625/26-1679) in Amsterdam to collect certain works for him in Genoa.100 His own work bears witness to influences from artists in both Antwerp and the United Provinces. According to a catalogue of 1704, he also painted landscapes. A signed flower piece is currently in the Musée des Beaux-Arts in Tours, and a signed flower piece with fruit and the ingredients for a meal with oysters is in the Ashmolean Museum in Oxford (Fig. 8.29). He also painted festoons (including one dated 1667) and garlands, which can be viewed in Anhaltische Gemäldegalerie in Dessau, and other museums. Henricus Maria Weerts, Flower piece with oysters and roll (Fig. 8.29) Canvas, 53 x 43 cm, signed lower right: h weerts f Ashmolean Museum of Art and Archaeology, Oxford, inv. no. WA1940.2.94.101 1 Wheat 2 Great Jasmine 3 Provins Rose 4 Pot Marigold 5 Sharp Tulip 6 White Rose 7 Alpine Aster 8 Blunt Tulip 9 French Marigold 10 Umbelliferous flower 11 Tapered Tulip hybrid 12 Pomegranate blossom 13 Carnation 14 White Mulberry 15 Apricots

Triticum aestivum Jasminum grandiflorum Rosa x provincialis Calendula officinalis Tulipa mucronata bicolor Rosa x alba subplena Aster amellus Tulipa mucronata bicolor Tagetes patula Apiaceae spec. Tulipa armena x T. undulatifolia Punica granatum plena Dianthus caryophyllus plenus bicolor Morus alba Prunus armeniaca

a Garden Snail

Cepaea hortensis

A ribbed glass vase, barely visible behind its overflowing bouquet, has been placed on a stone slab in a niche, while lying next to it are a slice of lemon, a few pieces of fruit, several oysters, a half-eaten roll and a pepper mill on its side. This work, just like Weerts’s other paintings, clearly exhibits the influence of Jan Davidsz de Heem, for example in the ears of wheat, the delicate umbelliferous flower at the top right, and the fruit branch inserted in the bouquet. Meijer proposed the influence of the Antwerp painter Nicolaes van Verendael (1640-1691), and even suggests Weerts was active in his workshop.102

100 Bredius 1915-22, V, p. 1675. 101 Provenance: Galerie Guy Stein, Paris, according to Van Gelder in catalogue 1937, as Abraham Mignon, giving different measurements, but not included in Stein’s catalogues for that year; Rochas collection, Paris; collection of Daisy Linda Ward, donated with the collection to the museum in 1939. Literature: Van Gelder 1950, pp. 202-203, no. 94; mus. cat. Oxford 1961, p. 171, no. W 94; Noble 1972, p. 162, no. B231, as probably not Abraham Mignon; Kraemer-Noble 1973, pp. 65-66, no. B231, as probably not Abraham Mignon; mus. cat. Oxford 1980, p. 100; Gemar-Koeltzsch 1995, III, pp. 1109-1110, no. 431/1; Meijer 2003, pp. 324-326, no. 93. 102 Meijer 2003, p. 325.

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Johannes Borman

The birth and death dates for Johannes Borman are not known. Dated work is currently extant starting from 1653. In 1658 he was entered in the Leiden guild and a year later in the guild of Amsterdam, as well as becoming a citizen of that city. He painted fruit and meal still lifes with vine leaves that display distinct veining, sometimes with holes permeated with finely rendered veins. Only a single flower piece is known with certainty to be by him. There are also several works indistinctly signed, or bearing the monogram JB, which have been attributed to Pieter van den Bosch (ca. 1612-after 1663), but could in actual fact have been painted by Borman.103 A number of still life paintings by Borman have been listed in Amsterdam and Leiden inventories from the second half of the seventeenth century.104

Fig. 8.30 Johannes Borman, Flower piece with roll and radish, canvas, 60 x 48 cm, private collection.

103 Segal in Amsterdam & ‘s-Hertogenbosch 1982, p. 53 n. 10. 104 Bredius 1915-22, IV, p. 1237 (1667), VI, pp. 1989, 2036-2037 (1699).

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Johannes Borman, Flower piece with roll and radish (Fig. 8.30) Canvas, 60 x 48 cm, signed lower left in grey: JBorman f (‘JB’ ligated) Private collection.105 1 2 3 4 5 6 7 8 9 10 11

Provins Rose Corn Marigold Summer Pheasant’ Eye Siberian Iris Mock Orange Peach-leaved Bell-flower Austrian Briar Maltese Cross Stock Snowball Blood-red Cranesbill

A Magpie Moth B Garden Tiger Moth c Azure Damselfly

Rosa x provincialis Glebionis segetum Adonis aestivalis Iris sibirica Philadelphus coronarius Campanula persicifolia Rosa foetida Lychnis chalcedonica Matthiola incana Viburnum opulus cv. Roseum Geranium sanguineum Abraxas grossulariata Arctia caja Coenagrion puella

A terracotta vase with a relief carving of a fruit garland is set in a niche. Underneath the vase, three long radishes with their tops are lying on a tin platter alongside a roll and some fine crumbs. A few dropped flower petals have landed on the platter and the table-top.

Laurens Craen

Laurens Craen was possibly born in 1620 in The Hague. In 1645 he was employed by Jan Davidsz de Heem in Antwerp for a period of one year.106 He must have been working in The Hague before 1649, a fact that is evident from a letter in the correspondence of Constantijn Huygens whereby Craen had offered his services to the Court in The Hague. In 1649 he is documented in Middelburg, where he was admitted to the Guild of Saint Luke in 1654. Craen was still in Middelburg in 1664 at the time of his wife’s death. Laurens Craen probably died in 1670, or slightly before, something which emerges from a document about the guardianship of his children.107 He painted fruit and meal still lifes, where his vine leaves can be recognized on account of a typical way he has of rendering the light-fall. A flower piece that was mentioned as being in the hands of Van der Ven Gallery in the Netherlands in 1975 cannot presently be located. Flowers also appear in several of his complex still lifes in combination with fruit. Dated work is known from between the years 1646 and 1663. His signature is calligraphic, with flourishes and tendrils, but much simpler in his early pieces before 1650.

Jan Mortel

Jan Mortel was born in 1652 in Leiden. He was apprenticed to Jan Porcellis van Delden and is reported as a painter in 1668. In 1675 he entered the guild in Leiden, and in 1690 he was appointed as the official painter of Leiden’s botanical garden; he died in that city in 1719. Mortel initially painted portraits and (according to an inventory) kitchen pieces, but he is especially known for his fruit pieces and festoons set against a background of dense foliage. Dated work is known from between the years 1675 and 1716. Flower pieces may currently be found in the following museums: 1675, in The Mesdag Collection in The Hague (two) and 1688, in Museum De Lakenhal in Leiden (Fig. 8.31). In addition to these paintings in museums there is an interesting painting dated 1714, showing individual flowers against a background of foliage, and a further piece dated 1715, both in private collections. It is likely that a quantity of Mortel’s work consisted of decorative paintings.

105 Provenance: Sotheby’s, London, 8 July 1981, no. 186, as follower of Luttichuys; P. de Boer Gallery, Amsterdam 1982. Literature & exhibtions: Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 49-50, 100, no. 54. 106 Felixarchief Antwerp, N 3479, 21 February 1645. 107 For a biography of Laurens Craen see Zierikzee 2018-19, pp. 58-61.

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Jan Mortel, Flowers in a garden vase on a pedestal (Fig. 8.31) Canvas, 96.5 x 54.8 cm, arched, signed and dated in black: JMortel fec. 1688 * (‘JM’ ligated) Museum De Lakenhal, Leiden, inv. no. S 329.108 1 2 3 4 5 6 7 8 9 10

Tuscan Rose Provins Rose Rosa Mundi Austrian Briar Primrose Peach-leaved Bell-flower Gum Cistus Carnation French Marigold Opium Poppy

Rosa gallica cv. Tuscany Rosa x provincialis Rosa gallica cv. Versicolor Rosa foetida Primula vulgaris alba Campanula persicifolia Cistus ladanifer Dianthus caryophyllus bicolor Tagetes patula Papaver somniferum rubrum

Fig. 8.31 Jan Mortel, Flowers in a garden vase on a pedestal, dated 1688, canvas, 96.5 x 54.8 cm, arched, Museum De Lakenhal, Leiden. 108 Provenance: bought as one of a pair from Grimberg in Zutphen, 1898. Exhibitions & literature: Van Gelder 1950, p. 134 under no. 60; Bol 1969, p. 306; Wurfbain, Sizoo & Wintgens 1983, p. 230; Ember in Wausau etc. 1989-90, p. 100; Gemar-Koeltzsch 1995, III, pp. 718, 720, no. 277/4.

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11 Jasmine 12 Umbelliferous flower 13 Almond blossom 14 Madonna Lily 15 Maltese Cross 16 Snowball

Jasminum officinalis Apiaceae spec. Prunus dulcis Lilium candidum Lychnis chalcedonica Viburnmum opulus cv. Roseum

The brown vase, supported by four dolphins and with an ornamental handle is richly decorated with garlands, while in the centre a large satyr’s head mascaron gazes back at us. The dominant colours of the bouquet are red, white, and transitional tones.

Jacob Rotius

Jacob Rotius was born in 1644 in Hoorn, son of the portrait and still life painter Jan Albertsz Rotius (1624-1666), who probably also instructed him in how to paint. According to Arnold Houbraken, he was one of Jan Davidsz de Heem’s apprentices. Houbraken further reports that he was a melancholic and committed suicide around 1681 at the age of fifty (which, however, does not tally with his year of birth).109 In 1668 he married Hendrina Swol of Amsterdam; they had four children together. Possibly Jacob Rotius worked in Amsterdam. Rotius painted flower pieces, fruit still lifes, and combinations of the two, plus the odd forest floor piece. Dated work is known from between 1668 and 1680, and flower pieces from between 1670 and 1674. His bouquets are rather compact, with drooping flowers hanging down on both the left and the right, and quite multi-coloured, with strong colour contrasts. Sometimes he introduced an ear of corn into his compositions, something he also did in his festoons. A flower piece of 1674 is currently in the collection of the Seattle Art Museum, and another flower piece in the Kurpfälzisches Museum in Heidelberg.110 Jacob Rotius, Flowers in a glass vase, with Maize (Fig. 8.32) Canvas, 95 x 75 cm, signed and dated in a circle on a glass seal on the vase in black with white: Rotius FECIT 1674 Private collection.111 1 Small Morning Glory 2 Lady Tulip hybrid 3 Provins Rose 4 Blackberry 5 Bindweed 6 Austrian Copper (Briar) 7 White Rose 8 Sunflower 9 Poppy Anemone 10 Opium Poppy 11 Woody Nightshade 12 York and Lancaster Rose 13 Lady Tulip hybrid 14 Great Morning Glory 15 French Marigold 16 Orange Lily 17 Jacob’s Ladder 18 Opium Poppy 19 Pale Iris 20 False Larkspur 21 New York Aster 22 Opium Poppy 23 Persian Tulip 24 Umbelliferous flower 25 Long Smooth-headed Poppy

Convolvulus tricolor Tulipa stellata x T. clusiana Rosa x provincialis Rubus fruticosus coll. Calystegia sepium Rosa foetida cv. Bicolor Rosa x alba plena Helianthus annuus Anemone coronaria plena Papaver somniferum (violaceum) Solanum dulcamara Rosa damascena subplena Tulipa stellata x T. clusiana Ipomoea purpurea Tagetes patula Lilium bulbiferum Polemonium caeruleum Papaver somniferum plenum rubrum Iris pallida Consolida ajacis Aster novi-belgii Papaver somniferum rubrum Tulipa clusiana albo-purpurea Apiaceae spec. Papaver dubium

109 Houbraken 1718-21, II, ed. 1753, pp. 11-12. 110 For an extensive biography with an expanded survey of his then known works according to the older sources, including several pendants, see Wijnman 1930. 111 Provenance: P. de Boer Gallery, Amsterdam 1935; collection Guy Argles, United Kingdom; Sotheby’s, London, 2 December 1964, no. 24; Alfred Brod Gallery, London; private collection, Basel 1964, thereafter by inheritance; Koetser Gallery, Zurich 2003. Exhibtions & literature: Amsterdam 1935, p. 17, no. 105; Bernt 1948 (1962), IV, no. 238; Bol 1969, p. 318; Mitchell 1973, pp. 218-219, Fig. 309.

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26 27 28 29 30

Snowball Opium Poppy Austrian Briar Peony Maize

Viburnum opulus cv. Roseum Papaver somniferum plenum rubrum fimbriatum Rosa foetida Paeonia officinalis pseudoplena Zea mays

A B C D

Orange Tip Butterfly Large White Butterfly Meadow Brown Butterfly Painted Lady Butterfly

Anthocharis cardamines Pieris brassicae Maniola jurtina Vanessa cardui

A wide-bottomed glass vase with round glass seal on the left, showing a text inscribed around a walking man, is standing on a grey stone pedestal with a marble top. To the right is an ear of corn, its broken stalk still in the vase; a spent Rose and Tulip hang down on the left just under a sprig of blackberry bearing both flowers and fruit.

Fig. 8.32 Jacob Rotius, Flowers in a glass vase, with Maize, dated 1674, canvas, 95 x 75 cm, private collection. 422 |

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Fig. 8.33 Nicolaes (?) van Suchtelen, Flowers in a glass vase, dated 1675, canvas, 65 x 52 cm, private collection.

Nicolaes (?) van Suchtelen

In 1991 a flower piece was auctioned in Paris signed and dated Van Suchtelen fecit 1675 (Fig. 8.33).112 The painting displays similarities to the works of Jacob Rotius (e.g. Fig. 8.32) of Hoorn. An archival document may also indicate a link with the town of Hoorn: an important collection of paintings and drawings belonging to the burgomaster of Hoorn, Nicolaes van Suchtelen, was auctioned on 17 April 1715.113 Included in this were works by artists from Hoorn, such as Jacob Rotius, Pieter Gallis, Alida Withoos and Johannes Bronckhorst. It is possible that this collector was an amateur painter himself, or otherwise a relation of the artist Van Suchtelen. Furthermore, in the sale catalogue of the collection of C.M. Schouten in 1792 in Gouda mention is made of a fine flower piece by an artist named ‘van Zuchtelen’.114

Pieter Gallis

Pieter Gallis was born in Enkhuizen in 1633. He had a little pawnshop in Purmerend, a town north of Amsterdam, from 1679 to 1683, and afterwards in Hoorn, where he died in 1697. Gallis was a good amateur painter of flower pieces, fruit pieces, meal and game still lifes, and according to Arnold Houbraken he also painted landscapes.115 The 1765 inventory of Johanna Gallis of Hoorn records a portrait, a flower festoon, four fruit pieces, and work with flowers and fruits.116 Dated work is known from between 1661 and 1677. A flower piece is currently in the collection of Melford Hall, Sudbury.117

112 Provenance: Hubert le Blanc, Paris, 4 February 1991. Van der Willgen & Meijer 2003, p. 192, give the date on the Paris painting as 1678. I have not seen this work. 113 Hoet 1752, I, pp. 179-184. 114 Sale M. van Loopik, Gouda, 22 May 1792, no. 44. 115 Houbraken 1718-21, II, p. 328. 116 Gemeentearchief Hoorn, NA 2478, 25 December 1765. 117 Canvas, 72 x 54.5 cm, Melford Hall, Sudbury, Suffolk, National Trust, inv. no. 926818.

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Pieter Gallis, Flowers in a glass vase (Fig. 8.34) Canvas, 52 x 38 cm, signed lower right: PGallis (‘PG’ ligated) Private collection.118 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

Blackberry Provins Rose Small Morning Glory Christmas Rose Greater Celandine Harebell Snowball Auricula Corn Marigold Snake’s Head Fritillary Hollyhock Poppy Anemone Poppy Anemone Strawberry blossom Wheat Meadow Grass Lungwort Red Tulip Rye

Rubus fruticosus coll. Rosa x provincialis Convolvulus tricolor Helleborus niger Chelidonium majus Campanula rotundifolia Viburnum opulus cv. Roseum Primula x pubescens Glebionis segetum Fritillaria meleagris Alcea rosea pseudoplena rubra Anemone coronaria pseudoplena violacea Anemone coronaria rubra Fragaria vesca Triticum aestivum Poa pratensis Pulmonaria officinalis Tulipa agenensis Secale cereale

A glass vase has been placed on a stone table with several distinctive cracks. The bouquet includes seven native species and a couple of different types of grain. The presence of the grains and a twig of blackberries indicate the influence of Jan Davidsz de Heem.

Fig. 8.34 Pieter Gallis, Flowers in a glass vase, canvas, 52 x 38 cm, private collection. 118 Provenance: P. de Boer Gallery, Amsterdam 1935; Hoogsteder & Hoogsteder Gallery, The Hague 2006. Exhibitions & literature: Amsterdam 1935, p. 11, no. 52; Bol 1969, pp. 319-320; Mitchell 1973, p. 120, Fig. 160; Gemar-Koeltzsch 1995, II, p. 368, no. 132/6.

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Michiel Simons II

Michiel Simons II worked in Antwerp before he settled in Utrecht, where he is documented in 1669 and 1673, and where he died. He was a still life painter of fruit pieces and game still lifes, often in combinations, which sometimes include a vase of flowers. Independent flower pieces are not known. Dated work is extant from between 1648 and 1663. The ‘mande met blommen van Michiel Symons’ (‘flowers in a basket by Michiel Symons’) recorded in the Antwerp inventory of Sara Schut in 1644 is considered to be a work by the Antwerp painter Michiel Simons I, who died in 1632 and from whom no other work is known.119 However, it is possible that this is an early work by Michiel Simons II.

Jan Grasdorp

An advertisement in Weltkunst of 15 May 1984 displays the image of a flower piece in the possession of H.B. Paggen Gallery in Membach near Eupen (Fig. 8.35).120 Under the image it reads as follows: ‘sign. Jan Grasdorp 1651-1693 Zwolle 99 x 68 cm’. There are two known painters from Zwolle in this period who fit this name: one is Jan Grasdorp (1651-1693), the son of Jan Willem Grasdorp, whose dates correspond and who painted landscapes, city views and portraits; the other is Jan Egbertsz Grasdorp (1642-1686), who had a son who later painted flowers, Willem I Grasdorp (1678-1723; Fig. 8.51), who would be a better candidate. Judging by the reproduction, the painting seems to be an imitation of Jan Davidsz de Heem, but it is rather harsh, without the great artist’s elegance and refinement, and could be a much later forgery, but this cannot be substantiated without further research.

Fig. 8.35 Jan Grasdorp, Flowers in a glass vase, 98 x 69 cm, whereabouts unknown. 119 Duverger 1984-2002, V, 26 July 1644, p. 166. See also under Michiel Simons I in Chapter 6. 120 Weltkunst, 15 May 1984, p. 1364.

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Willem van Aelst and his Followers Willem van Aelst

Willem van Aelst was born in Delft in 1627. He came from a well-to-do family. Evert van Aelst (1602-1657) was his uncle, with whom he was apprenticed, but Willem was to quickly surpass his master’s fame. Already at the age of sixteen, in 1643, he was admitted to the Delft Guild of Saint Luke as master painter. In 1645 he left for Paris, where he worked for the flower painter and art dealer Jean Michel Picart (ca. 1600-1682), who instructed him on how to paint absolutely radiant flowers using very costly pigments. In Paris Willem came into contact with an international group of artists who congregated in SaintGermain-des-Prés. In 1648 he moved on to Italy, and in 1649 he was studying with Otto Marseus van Schrieck (ca. 1614-1678). While residing in Florence, Ferdinando II de’ Medici, Grand Duke of Tuscany, appointed him as court painter, a position that had also been given to Van Schrieck. Willem van Aelst painted fourteen paintings for Ferdinando and his brothers Giancarlo and Leopoldo, of which several are dated 1652 and a few 1654, and which can for the most part be found in the Galleria Palatina (Palazzo Pitti) in Florence. In 1653 and 1654 he spent some time in Rome. Willem van Aelst also worked for other highly placed collectors. Heaped with glory, he returned to the Netherlands in 1656, and by 1657 he had settled permanently in Amsterdam, where he later lived in a house on the Prinsengracht. In 1678 he married his housekeeper Helena Nieuwenhuis, who was then thirty-five years old and they had two children. His last known signed work is dated 1683, the year in which he died. His apprentices were Rachel Ruysch, Isaac Denies and Ernst Stuven, all of them still life painters. In his book Beschryvinge der stadt Delft, published in 1667, Dirck van Bleyswijck expresses his amazement at the artistic skills of Willem van Aelst, in whose work he marvelled at how paint had been made to appear so true to life, and indeed he was highly regarded as an artist by connoisseurs at home and abroad.121 Willem van Aelst’s works were acquired by a number of foreign princes, including William III of Orange. Back in Amsterdam, however, his reputation had to grow some more before his work could command high prices. The average cost for a work in the period 1650-1659 was 133 guilders, but in 1660 a work of Willem van Aelst was worth 250 guilders, and by 1674 his paintings grew still higher in value, with one painting given a 4,000 guilders asking price. After 1680 the average price per painting decreased to 110 guilders.122 In later periods his name became tarnished, his status declining more steeply in the nineteenth century than that of, for example, his apprentice Rachel Ruysch. Irrespective of his later reputation many artists borrowed and adopted aspects of his style and during his heyday Willem van Aelst was even the subject of a eulogy in 1662 by the poet Jan Vos (1612-1667).123 More than 150 signed and documented works by Willem van Aelst are known to be extant. These represent all different types of still lifes: flower pieces, including several with flowers strewn on a table-top that were painted in the 1670s; fruit pieces, including simple works with just a few pieces of fruit on a table-top, which was already one of his signature compositions in his earliest period dating from the 1640s; game still lifes, particularly with dead birds; sumptuous still lifes; meal still lifes; a few forest floor pieces and vanitas still lifes; kitchen still lifes; plus the odd fish still life. Much of his work is dated between 1643 and 1683. At least 65 works may be found in museums around the world and in important collections.124 The most significant innovations in Willem van Aelst’s work are the use of a pronounced diagonal main axis using both colour and form, usually oriented towards the upper right, and the edge of a marble table-top that disappears out of the frame, something which leads to considerable foreshortening in the representation of the slab. Van Aelst achieved distinctly bright translucent colours by applying glazes made from expensive pigments, such as ultramarine, and an unstable yellow, possibly orpiment or realgar. The reason that the green foliage in his paintings has, with the passing of time, changed to a blue-grey is that the underlayer is showing through the upper layer of verdigris glaze, which has faded.125 121 122 123 124

Van Bleyswijck 1667, p. 855. Hochstrasser 2012, pp. 64-65 n. 45. Vos 1662, I, pp. 566-567. The poem re-appeared in Houbraken’s biography of Willem van Aelst. Houbraken 1718-21, I, p. 230. For a survey of the life and work of Willem van Aelst see the dissertation by Tanya Paul (University of Virginia 2008), the Segal Project and the Segal Still Life Documentation about the artist, including many descriptions of his works with identifications, donated to the RKD in The Hague. A fine survey is also offered by the exhibition catalogue of Houston & Washington 2012. An important discovery made by Paul was her convincing attribution of a sumptuous still life currently in the Musée de Tessé in Le Mans, France, to Willem van Aelst that had previously generally been accepted as the work of Willem Kalf (canvas, 200 x 170 cm; Houston & Washington 2012, pp. 101-104, no. 5); an attribution that was, however, rejected by Meijer (Meijer 2013, pp. 105-106). 125 Gifford 2012, pp. 78-79, Fig. 20.

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The Rose leaves with their delicate vein structures, turning light brown at the outer edges, are especially finely executed in his works of the late 1650s and 1660s, and there are additional differences in lighting. An Opium Poppy’s wavy foliage catches the light along its curled edges. Among the frequent guests who visit his floral creations we can count the dragonfly, who often wings in from the upper left. The bouquets he painted between 1649 and 1656, and occasionally later ones too, have been arranged in a costly marble vase supported on a gilt foot with a motif of acanthus leaves.126 His contemporaries in Paris, Jean Michel Picart and Jacques Samuel Bernard (active 1657-1667), also painted this type of vase. In a later phase, Van Aelst painted silver ‘kwab’vases in an auricular style, which are most similar to the objects made by the Dutch silversmiths Johannes Lutma I (1587-1669) and Adam van Vianen (1568-1627), who were famous for their ear-like forms in silver. Another frequently rendered object in his works is a timepiece on a blue silk ribbon with a crystal case and a gilt movement, placed face down on the table so that the mechanism can be viewed. It may be seen in a 1663 flower piece in The Hague (Fig. 8.38). Van Aelst’s early works from the 1640s are usually small in size and painted on copper or panel. In later years, however, he painted mostly on canvas and executed works of a larger format as well, until the 1670s when he began painting in smaller formats again; the latter were simpler works, including images of flowers lain on a table-top, sometimes only Roses, for which he used less expensive pigments. A single drawing is known from his hand depicting a vanitas still life. Willem van Aelst initially signed W. van aelst in the majority of cases, but from 1657 he used his Italianized name Guillmo (Guillelmo). Dated flower pieces may be found in the following public collections: 1651, in the Musée des Augustins in Toulouse and the Musée des Beaux-Arts in Caen; 1652, in the Galleria Palatina (Palazzo Pitti) in Florence; 1656, in the Gemäldegalerie Alte Meister in Kassel; 1659, in the Michaelis Collection in Cape Town; 1663, in the Detroit Institute of Arts, the Mauritshuis in The Hague, the Ashmolean Museum in Oxford, and the Fine Arts Museums of San Francisco; 1675, in the Fitzwilliam Museum in Cambridge; 1677, in the Ashmolean Museum in Oxford; 1678, in the Staatliches Museum in Schwerin; and 1682, in the Brighton Museum & Art Gallery. Additionally, there is a work without signature in the North Carolina Museum of Art in Raleigh. About ten flower pieces with dates between 1643 and 1682 are currently known to be in private collections. Willem van Aelst, Flowers in a vase on a gilt foot (Fig. 8.36) Panel (with the mark MB of Melchior de Bout (active ca. 1625-1658) of Antwerp on the reverse), 42 x 32.5 cm, signed and dated lower centre in grey: W.v. aelst 1651 Musée des Beaux-Arts, Caen, inv. no. M.78-1-1.127 1 Poppy Anemone 2 Auricula 3 Great Periwinkle 4 Pansy 5 Paperwhite Narcissus 6 Angel’s Tears 7 Persian Tulip hybrid 8 Poet’s Narcissus 9 Alpine Gentian 10 Columbine 11 Poppy Anemone 12 Poppy Anemone

Anemone coronaria duplex lutea Primula x pubescens purpurea Vinca major Viola tricolor Narcissus papyraceus Narcissus triandrus Tulipa clusiana x T. stellata Narcissus poeticus Gentiana clusii Aquilegia vulgaris Anemone coronara pseudoplena bicolor Anemone coronaria duplex

a Emperor Dragonfly b Rhinoceros Beetle

Anax imperator Oryctes nasicornis

126 In the literature, these are usually described as crystal vases. Initially his glass vases were wide, but later they become narrower and more encased with metalwork, or completely encased by hand tooled silver, as seen in the works of Louis Michiel (1639/45-after 1685). Afterwards there was a period of significant simplification, as also seen in the works of Elias van den Broeck (1649-1708) and Simon Verelst (1644-1721). 127 Provenance: Galerie Jacques Bouvier, Paris; purchased for the museum with the Mancel Collection, 1977. Exhibitions & literature: Foucart 1979, pp. 375-376 n. 33; Debaisieux et al. 1980, n.p., no. 1; Segal in Caen 1987 & Paris 1989, p. 25, no. 30; Debaisieux 1994, p. 44, no. 89; Gemar-Koeltzsch 1995, II, pp. 14-15, no. 3/4; Tapié 1997, p. 109, with identifications by Segal; Berardi 1998, pp. 230 n. 419, 368 n. 634; Steensma 1999, p. 30 n. 160; Paul 2008, pp. 56, 58, 171 n. 45, 275, no. 16, 320, Fig. 8; Paul in Houston & Washington 2012, pp. 98-100, no. 4.

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Fig. 8.36 Willem van Aelst, Flowers in a vase on a gilt foot, dated 1651, panel, 42 x 32.5 cm, Musée des BeauxArts, Caen.

Willem van Aelst, Flowers in a vase on a gilt foot with a timepiece (Fig. 8.37) Canvas, 72.9 x 57.9 cm, signed and dated lower centre on the table leg in light brown: W.V. aelst / 1652 Galleria Palatina, Florence, inv. no. 508.128 1 French Rose 2 Carnation 3 Campernelle Narcissus 4 Star Anemone 5 Snake’s Head Fritillary 6 Crown Anemone 7 English Iris 8 Hyacinth 9 Hyacinth 10 Hyacinth 11 Peacock Anemone 12 Poppy Anemone 13 Peony 14 Blunt Tulip

Rosa gallica plena Dianthus caryophyllus plenus albus Narcissus x odorus Anemone hortensis bicolor Fritillaria meleagris Anemone x fulgens Iris latifolia Hyacinthus orientalis alba Hyacinthus orientalis pallida Hyacinthus orientalis atrocoerulea Anemone pavonina bicolor Anemone coronaria Paeonia officinalis plena Tulipa mucronata f. obtusa bicolor

A vase on a gilt foot decorated with acanthus leaves has been placed to the left on a marble table, which is partially covered with a royal blue cloth (painted with lapis lazuli) with Van Aelst’s customary border of gold thread, on which an open silver timepiece has been laid, just as we also see in some of his other paintings. This is one of the fourteen paintings that Van Aelst made in the two years that he worked on commission in Florence, of which eleven remain in the Palazzo Pitti. It is quite likely that Van Aelst found the flowers depicted here in his patron’s garden.129 128 Provenance: collection Giancarlo de’ Medici, Florence. Exhibitions & literature: Gerson 1942, p. 179; Florence 1988, no. 21; Gemar-Koeltzsch 1995, II, p. 15, no. 3/5; Chiarini 1997, p. 32; Florence 1998, p. 32, no. 2; Paul 2008, p. 276, no. 21; Paul in Houston & Washington 2012, pp. 90-91, 105-109, no. 6, and pendant (a sumptuous still life with a melon, no. 7); Chiarini in Chiarini & Padovani 2003, II, pp. 22-23, no. 7a. 129 Chiarini 1997, p. 32.

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Fig. 8.37 Willem van Aelst, Flowers in a vase on a gilt foot with a timepiece, dated 1652, canvas, 72.9 x 57.9 cm, Galleria Palatina, Palazzo Pitti, Florence. | 429

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Fig. 8.38 Willem van Aelst, Flowers in a silver vase with a timepiece, dated 1663, canvas, 62.5 x 49 cm, Mauritshuis, The Hague. 430 |

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Willem van Aelst, Flowers in a silver vase with a timepiece (Fig. 8.38) Canvas, 62.5 x 49 cm, signed and dated lower left in light brown: Guill.mo van. Aelst 1663. Mauritshuis, The Hague, inv. no. 2.130 1 Provins Rose 2 Carnation 3 Alpine Gentian 4 Forget-me-not 5 Snowball 6 African Marigold 7 French Marigold 8 Opium Poppy 9 Tuscan Rose

Rosa x provincialis Dianthus caryophyllus subplenus bicolor Gentiana clusii Myosotis palustris Viburnum opulus cv. Roseum Tagetes erecta Tagetes patula Papaver somniferum pseudoplenum rubrum Rosa gallica cv. Tuscany

A B c d

Vanessa cardui Pieris brassicae Aeshna cyanea Calliphora vomitoria

Painted Lady Butterfly Large White Butterfly Blue Hawker Dragonfly Bluebottle Fly (2x)

The S-shaped diagonal main axis is characteristic of Willem van Aelst’s work, as are the curled, lobed leaves of the Opium Poppy, which are echoed in the lobed ornamentation on the vase and the knotted loop of the silken ribbon. The artist has achieved a marvellous harmony of colour in his rendering of the flowers and foliage. A related compositional representation may be seen in a painting Van Aelst executed in the same year, 1663, in the Fine Arts Museums of San Francisco. Here, too, we see a silver vase and open timepiece on a marble ledge, a bouquet with an Opium Poppy at the top, which also contains a Snowball and other plants seen in the Mauritshuis painting, but in different positions.131

130 Provenance: Paleis Het Loo, Apeldoorn 1757; collection of Prince Willem V, The Hague 1774; Musée du Louvre, Paris 17951815; Mauritshuis, The Hague since 1815. Exhibitions & literature: Balkema 1844, p. 2; Bredius & Hofstede de Groot 1895, pp. 1-2, no. 2; Warner 1928 (Segal ed. 1975), pp. 14-15, no. 2d; Bredius & Hofstede de Groot 1914, p. 1; Martin & Schneider 1935, p. 3, no. 2; Martin 1935-36, II, p. 432, Fig. 229; Bergström 1947, p. 227, Fig. 185; Van Gelder 1950, p. 30 under no. 3; Bengtsson & Omberg 1951, p. 42; Gerson 1952, pp. 60-61, Fig. 182; De Vries 1954, p. 1, no. 2; Bergström 1956, pp. 222, Fig. 186, 223-224, 310 n. 100 (as Fig. 185); Gammelbo 1960, p. 98 under no. 135 (cf. O. Marseus van Schrieck 1667 with the same dimensions); Paris 1970-71, p. 3, no. 1; Bol 1969, p. 326; Mitchell 1973, p. 35, Fig. 39; Drossaers & Lunsingh Scheurleer 1974-76, II, p. 644, no. 110, III, p. 203 no. 2; Brenninkmeijer-de Rooij et al. 1977, p. 161, no. 2; Hoetink 1977, p. 29, no. 2; Haak 1984, p. 496, Fig. 1102; Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 50, 100, no. 55; Hoetink 1985, pp. 120-121, no. 1, 331, no. 2; Broos in Paris 1986, pp. 108-111, no. 1; Broos 1987, pp. 16-19, no. 1, with identifications by Segal; Brenninkmeijer-de Rooij 1987, p. 105, Fig. 44; Struyck van der Loeff 1987, pp. 112-113, Figs 52-53; Meijer 1989, p. 50, Fig. 1.1 under no. 1; Broos in The Hague & San Francisco 1990-91, p. 132, Fig. 2; Segal in Osaka, Tokyo & Sydney 1990, p. 225, Fig. 56a, n. 3 under no. 56; Taylor 1991, p. 239, Fig. 116; Mitchell 1992, p. 77; Broos in The Hague 1992, pp. 54-55, no. 2; Schwartz 1992, pp. 18-21; Trnek 1992, pp. 7 n. 4 under no. 2, 339; Mitchell in London 1993, p. 36 under no. 15; Van Eck 1993, p. 17, Fig. 7; Sluijter-Seijffert & Van Leeuwen 1993, p. 26, no. 2; Gemar-Koeltzsch 1995, I, p. 109, Pl. 1, II, p. 20, no. 3/22; Taylor 1995, pp. 49-52, Fig. 22, 74, 84, 94, 176-77, 219 n. 151; Taylor in Dulwich 1996, pp. 66-68, no. 19; Le Foll 1997, p. 112, Fig. 61; Berardi 1998, pp. 179, 182, 209, 538, Fig. 52; Ebert-Schifferer 1998, pp. 108, Fig. 76, 110; van Eikema Hommes 1998, pp. 112-114, Pl. 7-9; Chong & Kloek in Amsterdam & Cleveland 1999-2000, p. 242 n. 2 under no. 60; Berardi 2000, p. 5, Fig. 4; Gregory in Osaka 2000, p. 98, Fig. 2 under no. 13; Meijer 2003, pp. 151, 153 n. 3 under no. 4; Grohé 2004, pp. 4-5, 56-59; Van der Ploeg & Buvelot 2005, pp. 120-121; Segal in Delft & Houston 2006-07, pp. 31, Fig. 3.4, 125-126 under no. P7; Paul 2008, pp. 116-118, 188, 205-210, 266, 283, no. 55, 337, Fig. 25; Paul in Houston & Washington 2012, pp. 134-135, no. 16; Hochstrasser 2012, pp. 58-59; Gifford 2012, pp. 75-77, Fig. 14, 78-79, 86; Rakhorst & Meijer 2015, p. 80; Amsterdam 2018, p. 194; Homburg & Pey 2018, pp. 72, 73, Fig. 48. 131 Canvas, 67.6 x 54.5 cm, San Francisco, Fine Arts Museums of San Francisco, inv. no. 51.21. Segal in Delft & Houston 2006-07, pp. 125-126, no. P7. The Ashmolean Museum of Art and Archaeology in Oxford holds a seventeenth-century copy of the work in San Francisco, see Meijer 2003, pp. 151-153, no. 4.

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Willem van Aelst, Flowers on a marble ledge (Fig. 8.39) Canvas, 31.1 x 25.4 cm, signed and dated lower right in violet grey: Guilmo. van Aelst. 1675. The Fitzwilliam Museum, Cambridge, inv. no. 300.132 1 French Marigold 2 Carnation 3 Provins Rose

Tagetes patula Dianthus caryophyllus plenus bicolor Rosa x provincialis ab R. x centifolia

a Bluebottle Fly b Caterpillar c Diadem Spider

Calliphora vomitoria Lepidoptera spec. Araneus diadematus

A diagonal axis extends in an imaginary line from the Carnation hanging down on the lower left through the rosebud above to the right. In the same period, Willem van Aelst painted a few other flower pieces with such little nosegays; they are charming, but less refined in detail than his earlier flower pieces.

Fig. 8.39 Willem van Aelst, Flowers on a marble ledge, dated 1675, canvas, 31.1 x 25.4 cm, The Fitzwilliam Museum, Cambridge. 132 Provenance: gift of Daniel Mesman in 1834. Exhibitions & literature: Earp 1902, p. 2; Warner 1928 (Segal ed. 1975), pp. 14-15, no. 2; van Guldener 1949, Pl. 17; Bol 1969, pp. 296, 326; Mitchell 1973, p. 33, Fig. 32; Gerson & Goodison 1960, no. 300, Pl. 1; Van Leeuwen in Auckland 1982, pp. 150-151, no. 26; Mitchell in London 1993, pp. 36-37, no. 15; Gemar-Koeltzsch 1995, II, p. 25, no. 3/37; Taylor in Dulwich 1996, pp. 66-69, no. 20; Paul 2008, pp. 119-120, 289, no. 92, 341, Fig. 29.

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Isaac Denies

Isaac Denies was probably born in Delft in 1647. He might have served an apprenticeship with Willem van Aelst in Amsterdam, and there are strong similarities between their compositions. In any case, he was in that city in 1669, when he acted as a witness for Van Aelst in a family matter, and we know that he was working there in 1676. In 1686 Denies was back in Delft, where he is recorded as a painter and as a buyer of two houses. Isaac Denies died in Delft in 1690, but was buried in Amsterdam. He painted primarily fruit pieces, but also flower pieces and combinations of flowers and fruit, as well as forest floor pieces and game still lifes. There is only a single dated work known by him. He signed his name Isaac Denies or in the French manner I. Denis, J. De Nis, and other variants. His flower pieces exhibit a strong contrast between light and dark. Usually the marble ledge is partially covered with a velvet cloth, with sturdy raised folds and gold-coloured edging, and his fruit pieces incorporate generous amounts of foliage above the fruit.

Fig. 8.40 Isaac Denies, Flowers in a glass vase on a marble ledge covered with a cloth, dated 1676, canvas, 65 x 49.5 cm, private collection. | 433

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Isaac Denies, Flowers in a glass vase on a marble ledge covered with a cloth (Fig. 8.40) Canvas, 65 x 49.5 cm, signed and dated lower centre in brown: J. De Nis fec. 1676 Private collection.133 1 Carnation 2 Snowball 3 African Marigold 4 Provins Rose 5 Woody Nightshade 6 Hollyhock 7 Austrian Briar 8 Red Tulip hybrid 9 Ivy 10 Opium Poppy 11 Tapered Tulip 12 Peach-leaved Bell-flower 13 French Marigold 14 Poet’s Narcissus

Dianthus caryophyllus plenus Viburnum opulus cv. Roseum Tagetes patula Rosa x provincialis Solanum dulcamara Alcea rosea Rosa foetida duplex Tulipa agenensis x T. undulatifolia Hedera helix Papaver somniferum rubrum Tulipa armena bicolor Campanula persicifolia Tagetes patula Narcissus poeticus semiplena

In this painting we see a wide glass vase on a marble ledge, partially covered with a purple velvet cloth with gold fringe.

Nicolaes Lachtropius

Little is known about Nicolaes Lachtropius who was born circa 1630. He is documented in Amsterdam from 1656 to 1668, and in Alphen aan den Rijn from 1673 to 1700. In Alphen, he worked as a decorator of coaches in order to make a living. He is not mentioned as a member of the guild. Dated work is known from between 1663 and 1685. Lachtropius painted flower pieces on a marble ledge with a plinth that is rendered in a brownish pink with grey and a little white, highlighted along the edges and curves, and frequently covered with a velvet cloth with highlighted folds and a narrow band of frilly fringed edging. He also painted forest floor pieces and hunting still lifes. His calligraphic signature is ornamented with flourishes that form an arc under the N Lachtropius, while the date is placed under or within a loop. These flourishes provide a nice visual echo of the folds of the tablecloth. The majority of his works display stronger contrast and outlining than that of his main source of inspiration, Willem van Aelst. Lachtropius’s paintings are easily recognizable thanks to a combination of characteristics that developed over the course of time. For example, his initially diagonal compositions change to more vertical ones. The bouquet has frequently been placed in a glass vase with a gilt foot showing little round medallions that are connected by a stem – set with a wide oval bead – to the acanthus leaves encasing the bowl. The following observations apply to flower pieces painted up the year 1680: a fixed element is a red Opium Poppy in the upper right seen obliquely from behind, and the tips of many flower petals are frequently curled back. In his earlier flower pieces from the 1660s, the foliage is strongly curled, for example the leaves of a Tulip, while later on the smooth and open leaves of a Rose in the lower right draw our attention. The centre of gravity of the Roses in the lower portion and across the whole width of the bouquet keeps shifting to the left up to the year 1677. Also before 1677 we see a dragonfly winging in at the upper left, while after 1677 there are usually butterflies in flight around the flowers (unfortunately these are often thinly painted and not always identifiable). From the year 1668 on an orange Marigold in the centre of the bouquet is a repeated feature. In 1685 the picture suddenly changes and becomes more original thanks to Lachtropius’s choice of different flowers and a streamlined composition, which places the emphasis on a white Hollyhock and the multi-coloured leaves of a Milk Thistle. The vase on the gilt foot is similar to the vases Willem van Aelst used in his earlier paintings. Lachtropius’s work also reveals similarities to the work of Isaac Denies, Louis Michiel and Ernst Stuven. In fact, all their works have repeatedly been attributed to Willem van Aelst. Flower pieces in public collections include a painting of 1667, in the Rijksmuseum in Amsterdam, and one from 1685, in the Fitzwilliam Museum in Cambridge.134

133 Provenance: Nagel Auktionen, Stuttgart, 11 December 2003, no. 461; Nagel Auktionen, Stuttgart, 2 December 2004, no. 482; Neumeister, Munich, 29 June 2005, no. 551. 134 For the oeuvre of Nicolaes Lachtropius see the Segal Still Life Documentation in the RKD, The Hague.

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Nicolaes Lachtropius, Flowers in a silver-gilt vase (Fig. 8.41) Canvas, 66.6 x 53.5 cm, signed and dated upper left in ochre calligraphy: NLachtropius / 1668 (‘N’ and ‘L’ connected by curls, and above in an arc around the signature to the ‘p’ below) Johnny Van Haeften Limited, England 2019.135 1 French Rose 2 Sweet William 3 African Marigold 4 Blunt Tulip 5 Snowball 6 German Flag Iris 7 Opium Poppy

Rosa gallica semiplena Dianthus barbatus albus Tagetes erecta Tulipa mucronata bicolor Viburnum opulus cv. Roseum Iris germanica Papaver somniferum pseudoplenum rubrum

a Bluebottle Fly b Golden-ringed Dragonfly c Garden Snail

Calliphora vomitoria Cordulegaster boltonii Cepaea hortensis

Fig. 8.41 Nicolaes Lachtropius, Flowers in a silver-gilt vase, dated 1668, canvas, 66.6 x 53.3 cm, Johnny Van Haeften Limited, England. 135 Provenance: private collection, Germany, formerly as Rachel Ruysch; Lempertz, Cologne, 25 November 2000, no. 1276, as Jacob van Walscappelle; Rafael Valls Gallery, London. Literature: Meijer 2003, p. 152, Fig. 4.4.

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Nicolaes Lachtropius, Hollyhocks and Milk Thistle in a crosswise ribbed glass (Fig. 8.42) Canvas, 55.9 x 49.4 cm, signed and dated in calligraphy above the balustrade to the right in ochre: NLachtropius / 1685. (‘N’ and ‘L’ connected by a curl, the signature surrounded by an arc with curls) The Fitzwilliam Museum, Cambridge, inv. no. PD 29-1966.136 1 Lavatera 2 Small Morning Glory 3 Milk Thistle 4 Hollyhock 5 Stemless Gentian 6 Sunflower 7 African Marigold 8 Hollyhock 9 Foxtail

Lavatera thuringiaca Convolvulus tricolor Silybum marianum Alcea rosea pseudoplena alba Gentiana acaulis Helianthus annuus Tagetes erecta plena Alcea rosea plena aurantiaca Amaranthus caudatus

Fig. 8.42 Nicolaes Lachtropius, Hollyhocks and Milk Thistle in a crosswise ribbed glass, dated 1685, canvas, 55.9 x 49.4 cm, The Fitzwilliam Museum, Cambridge. 136 Provenance: Christie’s, London, 25 February 1938, no. 124; collection of Mary Mitchison, Blundell House, Campden Hill; bequeathed to Lady Strathcarron; W. Wheeler Gallery, London; via Levine & Mosley in 1946 sold to the collection of Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge), donated to the museum in 1966. Exhibitions & literature: Grant 1952, p. 66, no. 67, Pl. 30; London 1952-53, no. 334; Pavière 1962-64, I, p. 39, Pl. 44; Wright in Birmingham 1989-90, p. 212; Gemar-Koeltzsch 1995, I, p. 166, Pl. 58, III, p. 578, no. 206/5; Berardi 1998, pp. 373-374, 592, Fig. 105.

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A Poplar Admiral Butterfly (2x) B Large White Butterfly c Noon Fly

Limenitis populi Pieris brassicae Mesembrina meridiana

Lachtropius has replaced the Opium Poppy depicted in his earlier works with the red flowers of a Hollyhock, here seen obliquely from behind. A related unsigned work in the Fitzwilliam Museum listed as by an unknown artist is likely to also be by Nicolaes Lachtropius.137

Louis Michiel

Louis Michiel was born between 1639 and 1645 in The Hague and is documented from 1655 to 1685. He originally learned to paint from Nicolaes Willingh (ca. 1640-1678), who moved to Berlin in 1667, whereupon Michiel served an apprenticeship with Herman Verelst (1641/42-1702). In 1675 he was admitted to the Confrerie Pictura in The Hague and the following year he moved to Amsterdam, where he lived on the Prinsengracht. Louis Michiel painted flower pieces, fruit pieces and bird still lifes, as well as imitating and copying the work of Willem van Aelst and others. Only a few works are known with certainty to be by Michiel, which date between 1672 and 1685. Among them are flower pieces dated 1672 and 1673, both in private collections. Meijer proposes that Louis Michiel was influenced by Willem Van Aelst’s style through the work of Hendrick de Fromantiou (1633/34-1693) and goes on to attribute unsigned works in the museums in Kassel, Leipzig and Jerusalem to Louis Michiel.138 Louis Michiel, Flowers in a silver vase on a marble ledge (Fig. 8.43) Canvas, 71.1 x 59 cm, signed and dated lower left in grey: L. Michiel... / 1672 Private collection.139 1 Carnation 2 Rosa Mundi 3 Austrian Briar 4 Small Morning Glory 5 Austrian Copper (Briar) 6 Snowball 7 African Marigold 8 Opium Poppy 9 Umbelliferous flower 10 Poppy Anemone

Dianthus caryophyllus plenus albescens Rosa gallica cv. Versicolor Rosa foetida Convolvulus tricolor Rosa foetida cv. Bicolor Viburnum opulus cv. Roseum Tagetes erecta Papaver somniferum pseudoplenum miniatum Apiaceae spec. Anemone coronaria pseudoplena violacea

A Peacock Butterfly b Garden Snail

Inachis io Cepaea hortensis

The velvet cloth is finished in a fine edging of silver and gold silk thread. The silver ‘kwab’, or auricular style vase is a type manufactured by the Amsterdam silversmith Adam van Vianen or his son Christiaen (ca. 1598-ca. 1671), famous for their ornamental silver, whose forms were based loosely on human anatomy.140 A copy of this painting was offered for sale in 1988.141

137 Canvas, 36.8 x 29.8 cm, The Fitzwilliam Museum, Cambridge, inv. no. PD 15-1966; Grant 1952, p. 51, no. 1, as Willem van Aelst. 138 Meijer 1997. For the work of Louis Michiel see the Segal Still Life Documentation in the RKD, The Hague. 139 Provenance: Van Diemen & Co., Amsterdam, Berlin, The Hague & New York 1930; Bukowski, Stockholm, 25 April 1934, no. 92; Phillips, London, 2 July 1996, no. 67, as by L. Michielsen; Richard Green Gallery, London. Exhibitions & literature: Gemar-Koeltzsch 1995, III, p. 662, no. 240/1; Meijer 1997, p. 242, Fig. 1; Buijsen 1998, pp. 3, 28-29; Maastricht 2015, p. 73. 140 For more on the ‘kwab’ style see Amsterdam 2018, pp. 11-12. 141 Canvas, 72 x 58 cm, Dorotheum, Vienna, 16-22 February 1988, no. 478, as Austrian about 1850.

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Fig. 8.43 Louis Michiel, Flowers in a silver vase on a marble ledge, dated 1672, canvas, 71.1 x 59 cm, private collection.

Ernst Stuven

Ernst Stuven was born in Hamburg about 1657, where he was apprenticed to the still life painter Georg Hinz (ca. 1630-1688). In 1675 Stuven moved to Amsterdam with the Dutch portrait painter Johannes Voorhout (1647-1723). After spending a period of instruction with Voorhout, he served apprenticeships with Willem van Aelst in Amsterdam and subsequently with Abraham Mignon in Utrecht; and the influence of the latter two great artists may be discerned in his works. While in Amsterdam he carried out some painting work at the Hortus Botanicus. He himself had many apprentices, including Willem Grasdorp and Herman van der Mijn (1684-1741). Due to his aggressive behaviour, Stuven ended up in jail and was banished from Amsterdam. He died in Rotterdam in 1712. Ernst Stuven painted flower pieces, fruit pieces and game still lifes. A landscape by him also exists, but no known dated works. Flower pieces may today be found in the Historisch Museum Arnhem, the Muzeul National Brukenthal in Sibiu, Romania, and the Národní Galerie in Prague. A number of his works were later given false signatures with such names as Willem van Aelst, Abraham Mignon, and Jan van Huysum. 438 |

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Fig. 8.44 Ernst Stuven, Flowers in a green glass vase on a marble ledge, canvas, 68.5 x 54.5 cm, private collection.

Ernst Stuven, Flowers in a green glass vase on a marble ledge (Fig. 8.44) Canvas, 68.5 x 54.5 cm, signed lower right in brown: E Stuven (in cursive) Private collection.142 1 Forget-me-not 2 Pot Marigold 3 Rosa Mundi 4 Provins Rose 5 Small Morning Glory 6 White Rose 7 Great Jasmine

Myosotis palustris Calendula officinalis aurantiaca Rosa gallica cv. Versicolor Rosa x provincialis Convolvulus tricolor Rosa x alba plena Jasminum grandiflorum

142 Provenance: private collections, Switzerland & Germany; Sotheby’s, New York, 9 June 1983, no. 110; Christie’s, London, 6 July 1984, no. 72.

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8 Purple Tulip 9 Sea Campion 10 Rose of Sharon 11 Tazetta Narcissus 12 Opium Poppy 13 Long Smooth-headed Poppy 14 Common Persicaria 15 Marsh Mallow 16 Rose of Sharon 17 Germander Speedwell 18 Honesty 19 Garden Nasturtium 20 Opium Poppy

Tulipa undulatifolia Silene maritima Hibiscus syriacus roseus Narcissus tazetta Papaver somniferum miniatum Papaver dubium Polygonum persicaria Althaea officinalis Hibiscus syriacus Veronica chamaedrys Lunaria annua Tropaeolum majus Papaver somniferum pseudoplenum miniatum fimbriatum

a b c d e

Lasius niger Ammophila sabulosa Hyles euphorbiae Coenagrion puella Cepaea hortensis

Black Ant (4x) Spider-hunting Wasp Spurge Hawk Caterpillar Azure Damselfly Garden Snail (2x)

In this painting, tones that range from pink to vermilion are grouped around a white diagonal axis of flowers. The Rose petals in the lower left are wilting.

Jochem (van) Windtraken

From a note left by Abraham Bredius we learn that Ernst Stuven had an apprentice in 1687 whose name was ‘Jochemus Winteraeck’, who made copies of works by various painters.143 This must be Jochem (van) Windtraken, the same painter whose work has surfaced in recent years: nine still lifes and forest floor pieces, including four flower pieces where the initial letter of the signature or monogram has been erroneously read as a ‘P’ instead of a ‘J’.144 In these paintings, it looks as though – at the very least – Windtraken copied elements from the works of Ernst Stuven and Nicolaes Lachtropius. These are paintings with strong but flat lighting in which the flowers and foliage, which are rather lightly outlined, have hard contours that contrast starkly against a dark background, albeit with somewhat deeper tones on the right side. Windtraken also replicated flowers from his own works. There is a forest floor piece dated 1690 and a vanitas still life dated 1691. A flower piece, with a companion fruit piece, is in the collection of the Cultural Heritage Agency of the Netherlands.145 Jochem (van) Windtraken, Flowers in a green glass vase on a marble table (Fig. 8.45) Canvas, 75.3 x 59.5 cm, signed lower right in beige ochre: J WWindraken f (‘WW’ or ‘VW’ ligated) Private collection, Germany.146 1 2 3 4 5 6 7 8 9 10 11 12 13 14

Provins Rose Scarlet Runner Bean Rosa Mundi Great Morning Glory Pot Marigold French Marigold White Rose Milk Thistle Persian Tulip Sunflower Reed Canary Grass Umbelliferous flower Opium Poppy German Flag Iris

Rosa x provincialis Phaseolus coccineus Rosa gallica cv. Versicolor Ipomoea purpurea Calendula officinalis Tagetes patula Rosa x alba Silybum marianum Tulipa clusiana albo-violacea Helianthus annuus Phalaris arundinacea Apiaceae spec. Papaver somniferum rubrum Iris germanica

143 Archief Abraham Bredius, RKD, The Hague, no. 0380. 144 For example: Gemar-Koeltzsch 1995, III, pp. 1129-1130, as P.W. Windtraken; Van der Willigen & Meijer 2003, p. 220, as P...W... Windtraken; Härting in Frankfurt & Basel 2008-09, pp. 326-329, no. 91, as P.(?)W. Windtraken. 145 For further details on the life and oeuvre of Jochem (van) Windtraken see the Segal Still Life Documentation in the RKD, The Hague. 146 Provenance: Koetser Gallery, Zurich 2008. Exhibitions: Härting in Frankfurt & Basel 2008-09, pp. 326-329, no. 91, as P. (?) W. Windtraken.

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Fig. 8.45 Jochem (van) Windtraken, Flowers in a green glass vase on a marble table, canvas, 75.3 x 59.5 cm, private collection. | 441

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15 16 17 18 19 20 21 22

Hollyhock French Rose Yellow Tasselflower Hollyhock Lady Tulip hybrid Peony False Larkspur Austrian Briar

Alcea rosea plena Rosa gallica duplex Emilia sagittata Alcea rosea plena rubra Tulipa stellata x T. clusiana Paeonia officinalis plena Consolida ajacis Rosa foetida

A B c d

Red Admiral Butterfly Magpie Moth Yellow Meadow Ant (3x) Garden Snail

Vanessa atalanta Abraxas grossulariata Lasius flavus Cepaea hortensis

Fig. 8.45a Detail of Fig. 8.45. 442 |

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The upper part of a table leg decorated with two carved scrolls below is visible to the viewer. The corner of the marble plinth on the left has been broken off. The Provins Rose, White Rose and German Iris surface identically in the flower piece in the collection of the Cultural Heritage Agency of the Netherlands.147 The Provins Rose and German Iris also appear in a related flower piece and the same Sunflower and Red Admiral Butterfly in a forest floor piece dated 1690.148

Eltie de Vlieger

We know of a few flower pieces and a flower garland with the signature Eltie de Vli(e)ger. This artist has long been identified as the daughter or the sister of the marine and landscape painter Simon de Vlieger (1600/01-1653).149 Recently, it has been argued that Eltie de Vlieger might in actual fact be a male artist active in Amsterdam in the 1680s and Hamburg during the 1690s and through into the early eighteenth century.150 Signed flower pieces are currently in the Anhaltische Gemäldegalerie in Dessau, the Hamburger Kunsthalle, and the Latvijas Nacionālais mākslas muzejs in Riga. A fourth signed flower piece is in a private collection. Kramm reported a work with ‘Een Marmer-steenen tafel, waarop staat een flesch, met velerlei soorten van bloemen, op doek geschilderd door Eeltje de Vlieger’ (‘a marble stone table, on which a bottle is standing, with many kinds of flowers, painted on canvas by Eeltje de Vlieger’) in a catalogue from the end of the eighteenth century.151 Eltie de Vlieger, Flowers in a glass vase with a timepiece (Fig. 8.46) Canvas, 62.4 x 53.5 cm, signed lower left in brownish grey: Eltie De Vliger (and in a different, later hand:) f 1651: Private collection.152 1 Cabbage Rose 2 Apple blossom 3 White Rose 4 Jasmine 5 Seville Orange blossom 6 Carnation 7 Marguerite 8 African Marigold 9 Opium Poppy 10 Austrian Briar 11 (perennial) Lavatera (?)

Rosa x centifolia Malus sylvestris Rosa x alba Jasminum officinale Citrus aurantium Dianthus caryophyllus plenus bicolor Leucanthemum vulgare Tagetes erecta Papaver somniferum pseudoplenum purpureum Rosa foetida Lavatera thuringiaca

a Yellow Meadow Ant (6x)

Lasius flavus

The composition is evidently inspired by the work of Willem van Aelst, as can be seen in such things as the diagonal orientation of the bouquet, the cloth with its fringed edging, and the open timepiece placed face down on the table. Clearly it must be from a date later than 1651, which was added later by another hand. This painting shows many similarities with a 1678 flower piece by Willem van Aelst in the Staatliches Museum Schwerin which displays the same Rose, Carnation, and Marigold, but with a different timepiece.153 Van Aelst’s influence is less obvious in Eltie de Vlieger’s other works. The painting in Riga, which includes Striped Canary Grass exhibits a number of identical flowers on the same marble table, but without the cloth and the timepiece, and includes an earthenware instead of a glass vase.154 It 147 Canvas, 57.5 x 49 cm, Rijksmuseum, Amsterdam, inv. no. A 2737, on loan to the collection of the Cultural Heritage Agency of the Netherlands, inv. no. B 2283. Gemar-Koeltzsch 1995, III, p. 1129, no. 443/1, with a pendant fruit piece. 148 Canvas, 53 x 41.2 cm, on the art market as Nicolaes Lachtropius (flower piece); canvas, 85 x 66 cm, Lempertz, Cologne, 18 May 1996, no. 1179 (forest floor piece). 149 Kramm 1857-64, VI, p. 1780; Grant 1952; Mitchell 1973, p. 253, Fig. 369; Gemar-Koeltzsch 1995, III, p. 1055; Kloek, Peters Sengers & Tobé 1998, pp. 171-172; Van der Willigen & Meijer 2003, p. 208; and others. 150 Van Leeuwen & Nijboer 2018. According to Nijboer, Eltie is probably a male name (cf. Eeltsje, Eelke, Eelco or Elias). Van Leeuwen & Nijboer 2018, pp. 6-7. 151 Kramm 1857-64, VI, p. 1780. 152 Provenance: W. Wheeler & Sons Gallery, London 1949; collection of Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge), sold before 1973. Literature: Grant 1952, p. 81, no. 138, Pl. 47; Mitchell 1973, pp. 251, Fig. 369, 852; Van der Willigen & Meijer 2003, p. 208; Gerson & Van Leeuwen 2017; Van Leeuwen & Nijboer 2018, p. 5, Fig. 4. 153 Canvas, 73 x 57 cm, Schwerin, Staatliches Museum Schwerin, inv. no. G 451. 154 Canvas, 47 x 42 cm, Riga, Latvijas Nacionālais mākslas muzejs, inv. no. ÄMM-GL 949.

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Fig. 8.46 Eltie de Vlieger, Flowers in a glass vase with a timepiece, canvas, 62.4 x 53.5 cm, private collection.

was possibly influenced by Maria van Oosterwijck. A garland in Dessau shows an identical Provins Rose, Carnation and African Marigold.155 Several other unsigned works that are very closely related, with the same identical flowers, have in the past been attributed to Willem van Aelst, one of his followers, or to Rachel Ruysch.156

Hendrick de Fromantiou

Hendrick (also known as Henri) de Fromantiou was born in Maastricht in 1633 or 1634. During his early life around 1642 he moved to Breda and from 1647 he was living in Nijmegen. In 1655 De Fromantiou was residing in The Hague and in 1662 he is recorded as a witness in Amsterdam. In 1670 he is appointed court painter of Frederick William, Duke of Prussia and Elector of Brandenburg, in Potsdam near Berlin, who commissioned him to purchase paintings, restore them, and to manage his collection. On the Elector’s business, he made trips to many places including Amsterdam in 1671 and 1672, where he then married Ludowina Wouwerman, daughter of the genre painter Philips Wouwerman (1619-1668). In 1682 he travelled to London, then in 1683 to The Hague and Amsterdam, and in 1684 he sojourned in Danzig. From 1689 he worked for Frederick William’s heir and successor, Elector Frederick III of Brandenburg, later Frederick I, King of Prussia. In Berlin Friedrich Christian Nuglisch was his apprentice, and it is in that city De Fromantiou died in 1693. Hendrick painted flower pieces, fruit pieces, vanitas, as well as game still lifes, also in trompe l’oeil. Dated work is documented from the year 1657 and is now known from the years 1660 through to 1683.157 ‘Een blompot van rosen met een horloge van Fromantiou’ (‘a flowerpot with Roses and a timepiece by Fromantiou’) is listed in the 1678 Amsterdam inventory of the estate of the still life painter Otto Marseus van Schrieck.158 155 Canvas, 38 x 45 cm, Dessau, Anhaltische Gemäldegalerie, Schloss Georgium, inv. no. A. St. 552. 156 For example, a work sold at Christie’s, London, 7 July 1995, no. 201. For more details see the Segal Still Life Documentation in the RKD, The Hague. 157 The date 1657 refers to a work signed HDF at a Leiden auction of 1770. Rakhorst & Meijer 2015, pp. 71-72. 158 Bredius 1915-22, II, p. 699, no. 26.

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De Fromantiou signed HDFromantiou (the capitals ligated) and a number of his works with the monogram HDF, which is identical to the first three letters of the full signature on other flower pieces.159 By means of comparative analysis between these and other signed paintings a number of unsigned flower pieces can be attributed to this artist, all paintings of very high quality, of which a number are currently hanging in museums as works by Willem van Aelst, Jan van Huysum, or Abraham Mignon.160 It may be supposed that at least for some of these the original signature was removed and occasionally a false signature added. The colours of the foliage in these paintings are indeed reminiscent of Van Aelst’s work and at times also of Van Huysum’s, but the composition is different, for example more vertical than Van Aelst’s paintings and with fewer radiating axes than Van Huysum’s, whose background is also usually somewhat lighter. Flower pieces by Hendrick de Fromantiou may currently be found in the LVR-LandesMuseum in Bonn, the Herzog Anton Ulrich-Museum in Braunschweig (documented from 1737), the Fitzwilliam Museum in Cambridge, the Hamburger Kunsthalle, the Museum der bildenden Künste in Leipzig, the Museo Nacional Thyssen-Bornemisza in Madrid, and the Alte Pinakothek in Munich.161 De Fromantiou’s style is somewhat similar to that of Willem van Aelst, especially in the refined, translucent representation of the flowers and the rather cool surrounding atmosphere, which complements the warm colours so well; but additionally there is a resemblance between these two artists in the way they arrange their compositions as in, for example, the inclusion of a cloth partially draped over the marble table and the occasional appearance of a timepiece. In his bird still lifes the resemblance of De Fromantiou’s work with that of Van Aelst are even more apparent.162 Hendrick de Fromantiou, A Tulip, a Rose and a Passion Flower in an elegant glass vase (Fig. 8.47) Copper, 27.8 x 19.4 cm, signed and dated lower right in beige: HDF.romantiou. / i668 (‘H’, ‘D’ and ‘F’ ligated) Promised gift of Susan and Matthew Weatherbie to the Museum of Fine Arts, Boston in support of the Center for Netherlandish Art.163 1 Stinking Passion Flower 2 Austrian Briar 3 Snowball 4 French Marigold 5 Tapered Tulip hybrid 6 Provins Rose

Passiflora foetida Rosa foetida Viburnum opulus cv. Roseum Tagetes patula Tulipa armena x T. mucronata Rosa x provincialis ad R. centifolia

A Queen of Spain Fritillary Butterfly Issoria lathonia b Bluebottle Fly Calliphora vomitoria

159 Cf. Nieuwdorp 1988. 160 Canvas, 63.5 x 49 cm, Bonn, LVR-LandesMuseum, inv. no. GK 103 (Goldkuhle et al. 1982, pp. 11-12, as Willem van Aelst); canvas, 62.2 x 48.5 cm, Leipzig, Museum der bildenden Künste, inv. no. 638 (Heiland 1979, p. 10, as Jan van Huysum, with a false signature); canvas, 105 x 85.5 cm, Munich, Alte Pinakothek, inv. no. 5600 (before Segal in Osaka, Tokyo & Sydney 1990, p. 223 as copy after Jan van Huysum); canvas, ca. 80 x 55 cm, private collection, as Willem van Aelst (in RKDimages attributed to Nicolaes Lachtropius); canvas, 91 x 75 cm, Le Roy & Delahaye, Antwerp, 12 May 1902, no. 90, as Jan van Huysum with a false signature. In 1972, I attributed a flower piece in the collection of the Fitzwilliam Museum in Cambridge, catalogued as by Abraham Mignon (Grant 1952, p. 70, no. 87, Pl. 32), to Hendrick de Fromantiou: canvas, 90 x 77 cm, inv. no. PD 37-1966. In 1990, I attributed a painting in the Hamburger Kunsthalle, catalogued as by Jan van Huysum (Pauli 1966, p. 84, with a false signature and date) or as by Willem Frederiksz van Royen (Ter Kuile 1985b), to Hendrick de Fromantiou: canvas, 89 x 72 cm, inv. no. 81. Segal in Osaka, Tokyo & Sydney 1990, p. 223 n. 10. Van Royen (ca. 1645-1723) was in the service of the Elector of Brandenburg at the same time as De Fromantiou, and, just like Ottomar Elliger I (1633-1679), probably influenced by his work. 161 For the life and oeuvre of Hendrick de Fromantiou see Maastricht 2015 and the Segal Still Life Documentation in the RKD in The Hague. 162 Rakhorst & Meijer 2015, p. 61. 163 Provenance: Guillaume Du Ry; sale Gautier, Leuven, 4 September 1816, no. 29; Van Leemputten, sale Leuven, 5 September 1820, no. 123; Michel-Marcel Robyns; Galerie J.O. Leegenhoek, Paris 1969; Ader, Picart & Tajan, Paris, 14 April 1989, no. 217; John Mitchell & Son Gallery, London; private collection, Boston. Exhibitions & literature: Ghent 1960, p. 119, no. 62, Fig. 67; Bol 1969, p. 332, Fig. 301, 334; Mitchell 1973, p. 115; Bernt 1948 (1979-80), I, Fig. 420; Segal in Osaka, Tokyo & Sydney 1990, pp. 104, Fig. 55, 222-223, no. 55 (the painting, however, was unexpectedly refused); Van der Ploeg in The Hague 1992, pp. 74-75, no. 12; Van der Sloot 1994, p. 56; Gemar-Koeltzsch 1995, II, p. 363, no. 130/3; Baer in Boston 2002, p. 89; Lammertse & Van der Veen in London & Amsterdam 2006, pp. 222-223; Leipzig 2012, pp. 113 n. 5, 168; Maastricht 2015, pp. 31, 99, no. 8.

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Fig. 8.47 Hendrick de Fromantiou, A Tulip, a Rose and a Passion Flower in an elegant glass vase, dated 1668, copper, 27.8 x 19.4 cm, Museum of Fine Arts, Boston.

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The Stinking Passion Flower (Passiflora foetida) is particularly striking in this superb flower piece; this flower also appears in another work by De Fromantiou dated 1665, a work distinguished by the same level of sophistication.164 It is somewhat surprising that we only seldom encounter the Passion Flower in flower pieces. Most species of Passion Flower are native to North and South America. One might suspect that it was not easy to cultivate or propagate the species in Europe in the seventeenth century. We see them in different varieties in a number of paintings by Daniël Seghers, both in the period that he was active in Rome from 1625 to 1627, and subsequently when he was working in Antwerp. Later on, Rachel Ruysch and other artists included the Blue Passion Flower (Passiflora coerulea) in their paintings, and it is this variety that has remained popular from the end of the seventeenth century right up to our own time.165

Elias van den Broeck

Elias van den Broeck was probably born around 1652 in Amsterdam, where his parents had been married in 1651. After his mother died, when he was still just a seven-year-old boy, he was deposited in the Amsterdam orphanage, for which his father provided a substantial monetary settlement. Initially he was apprenticed to a goldsmith, but in 1665 his father signed a contract with the still life painter Cornelis Kick, who was to provide him with room and board, as well as the chance to learn the art of painting for a period of four years.166 Following this, in 1669 Van den Broeck continued in an apprenticeship with Jan Davidsz de Heem in Utrecht, with whom he later moved to Antwerp. In 1673 Elias was registered as a master painter in the Antwerp Guild of Saint Luke, and in 1674 he entered the service of the art dealer Bartholomeus Floquet, for whom he was to copy paintings for an annual payment.167 He married Marie Leenaerts in Antwerp in 1677 and returned to Amsterdam in 1685. Elias van den Broeck died in 1708. As an artist, Van den Broeck painted flower pieces, fruit pieces, forest floor pieces and mushroom pieces, as well as meal still lifes. The influence of Cornelis Kick is recognizable, particularly in his earliest works, and the influence of De Heem can be seen in his meal still lifes. The diagonal compositions of his flower pieces demonstrate the definite influence of Willem van Aelst. Nonetheless, Elias van den Broeck developed his own personal style. This is most apparent in his flower pieces that have been frequently rendered in an evening atmosphere with strong lighting effects. In these works, flowers in hues ranging from orange to vermilion and red have been given the leading role and placed in combination with green foliage, pink and grey transparent glazing, and shadow play, all set against a dark background. The arched leaves with their deeply embedded vein structure occasionally exude a waxy feel. In addition, the green hues of the foliage, especially of the Opium Poppy, have been given a very important role. In the lower portion of the bouquet we often see flowers such as an Opium Poppy, Rose, or a stem of Nasturtium, which is arching upwards and is visually echoed at the top of the bouquet by the leaf of an Opium Poppy or the stem of a Rose. In that floral spectrum of warm colours already mentioned, one trusty performer is the Austrian Briar; other regular figures include the Chinese Lantern, Mallow and Small Mallow. Tulips, however, were painted only occasionally by this artist. The Opium Poppy is often a simple vermilion sort, as opposed to the full variety selected by De Heem and his followers. In a number of Van den Broeck’s arrangements this Poppy is at the top, opening upwards. In this period, the Provins Rose was on the way to being replaced by the Cabbage Rose, which became popular in the eighteenth century; in Van den Broeck’s rendering the Rose is striking for its orb-like shape, tightly enfolded petals and velvety texture, the result of the softening effects of a greyish-white glaze. Just like De Heem, Van den Broeck gave his flowers added sharpness by providing them with a very fine outline in white or grey. The stems of Roses and blackberries are generally bare. The surfaces of his paintings have a characteristic craquelure, where there is a pattern of fine cracks due to the shrinkage of the paint and with this artist it is believed to have been caused, at least in part, by the composition of the primer. Jacob Campo Weyerman wrote about Van den Broeck saying he had to leave Antwerp of necessity because ‘the Antwerp gentlemen in velvet breeches accused him of sticking butterflies on and not painting them’. He also suggested that ‘stuck on butterflies are more beautiful and natural than painted ones, because they not only keep their markings, but are preserved better than painted ones’.168 This is 164 Canvas, 65 x 51 cm, private collection. 165 Regarding the history of the Passion Flower in painting see Segal in Osaka, Tokyo & Sydney 1990, p. 223. 166 For his early life see Van Eeghen 1979. The 1665 contract with Cornelis Kick was published by Bredius. Bredius 1915-22, III, p. 791. 167 Rombouts & Van Lerius 1864-76, II, p. 428; Duverger 1984-2002, X, p. 24, no. 3066. 168 Weyerman 1729-69, III, p. 211: ‘de in fluweelgebroekte Sinjoors van die eerste Stad hem beschuldigden van de Vlindertjes geplakt en niet geschildert te hebben [...] dat de geplakte Vlindertjes schooner en natuurlijker zijn als geschilderden, dewijl zy niet alleenlijk hun gantsche tekening behouden, maar ook langer dan de geschilderden duuren’. See also Chapter 3.

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Fig. 8.48 Elias van den Broeck, Flowers in a glass vase, canvas, 60.3 x 47.5 cm, private collection. 448 |

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no more than a half-truth. Like his contemporaries, he probably did in fact press butterfly wings into the wet paint, which he then removed once the paint had dried. In this way, a thin coloured imprint was created. These imprints are easily lost during restoration (cleaning the varnish), which makes it difficult to identify the species, as is frequently the case with seventeenth-century paintings.169 Only one dated work is known for Elias van den Broeck, a fruit festoon of 1676. There are also several watercolours of flowers. Flower pieces by him may currently be found in the Rijksmuseum in Amsterdam, the Fitzwilliam Museum in Cambridge, the Galleria Palatina (Palazzo Pitti) in Florence, the Statens Museum for Kunst in Copenhagen (three), the Ashmolean Museum in Oxford, the Museum Boijmans Van Beuningen in Rotterdam, the Staatliches Museum in Schwerin, the State Hermitage Museum in Saint Petersburg, the Nationalmuseum in Stockholm, the Liechtenstein Museum in Vienna, and the Kunsthistorisches Museum in Vienna. Elias van den Broeck, Flowers in a glass vase (Fig. 8.48) Canvas, 60.3x 47.5 cm, signed lower right in dark grey: E.V.D. Broeck. Private collection.170 1 2 3 4 5 6 7 8 9 10 11

Garden Nasturtium Small Morning Glory Austrian Briar White Rose Opium Poppy Provins Rose (perennial) Lavatera Pot Marigold Annual Lavatera French Marigold Coralline Peony

a Yellow Meadow Ant (4x) b Garden Slug

Tropaeolum majus Convolvulus tricolor Rosa foetida Rosa x alba Papaver somniferum subduplex miniatum Rosa x provincialis Lavatera thuringiaca Calendula officinalis miniata Lavatera trimestris Tagetes patula Paeonia mascula Lasius flavus Arion hortensis

Colours and related tones on a spectrum between yellow and red dominate the image, harmonizing with the white of the White Rose and the soft sheen of the foliage. The warm tonal hues invoke the calm feeling of evening. The Nasturtium had been imported from South America in 1684, and the painting was probably executed not long afterwards. The Dutch name Oost-Indische kers (‘East Indian Cherry’) is misleading, seeing that the species is not specifically from the East Indies, but comes from South America. Elias van den Broeck, Austrian Briar on a stone ledge in front of a niche and flying insects (Fig. 8.49) Canvas, 38.8 x 32.5 cm, signed lower left in dark brown: Elias . v . Den . / Broeck: Private collection.171 1 2 3 4

Austrian Briar Seville Orange blossom Small Morning Glory Austrian Copper (Briar)

Rosa foetida Citrus aurantium Convolvulus tricolor Rosa foetida cv. Bicolor

a Garden Snail Cepaea hortensis b Great Green Bush Cricket (2x) Tettigonia viridissima c Stag Beetle Lucanus cervus

There is also a signed version of this painting with a lizard in the lower right.172 169 Beier 1987, pp. 35-36. 170 Provenance: sale Ter Borch, Copenhagen, 26 May 1823, no. 171; sale Dewegge, Copenhagen, 6 July 1833, no. 9; collection of Count Joachim L. Moltke, Copenhagen; sale W. & M(oltke), Copenhagen, 18 April 1844, no. 309; collection C.C.B. Scavenius, Klintholm, Denmark; Christie’s, London, 2 December 1983, no. 57 and 11 December 1984, no. 2; Johnny Van Haeften Gallery, London. Literature: Gammelbo 1960, pp. 114-115, no. 162; Gemar-Koeltzsch 1995, II, pp. 204-205, no. 64/12. 171 Provenance: private collection, Germany; Galerie Lingenauber, Düsseldorf; private collection, Germany; Sotheby’s, London, 8 July 2004, no. 279. 172 Canvas, 38.8 x 32.5 cm, private collection. Christie’s, London, 19 April 1985, no. 53; Johnny Van Haeften Gallery, London. Seelig 2017, pp. 24-25, 29, Fig. 18.

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Fig. 8.49 Elias van den Broeck, Austrian Briar on a stone ledge in front of a niche and flying insects, canvas, 38.8 x 32.5 cm, private collection.

Philip van Kouwenbergh

Philip van Kouwenbergh was born in 1671 in Amsterdam, where he lived and worked for his entire life, and where he died in 1729. His father, Frans Philipsz van Kouwenbergh (ca. 1647-after 1679), was a sculptor. A large portion of Van Kouwenbergh’s oeuvre was executed in the eighteenth century; however, his subjects and style are wholly in keeping with those of the seventeenth century, more particularly they dovetail to a great degree with the work of Elias van den Broeck, who was possibly his master. Philip, who lived on the Elandsgracht, married Cornelia van der Mars in 1694. Between 1695 and 1699 three children were born to this marriage. In the year 1719, he was living on the Looiersgracht, and in 1721 he was granted citizenship rights in Amsterdam. His work has only recently received proper recognition.173 As early as 1979 I attributed certain works as by Philip van Kouwenbergh following research in country houses held by the National Trust in Great Britain. A year later I was able to do the same relating to a couple of monogrammed works in the possession of S. Nystad Gallery in The Hague, partially based on 173 Segal 2003b; Meijer 1988, with various doubtful attributions, some of them works by Elias van den Broeck.

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information in the Municipal Archives of Amsterdam. At least seven inventories between 1694 and 1772 list flower pieces by him, together with fairly high taxation amounts.174 Philip van Kouwenbergh painted flower pieces and forest floor pieces, also related works containing fruit, and among these are several pendants. Characteristic of his work are the appearance of the Tricoloured Daisy (Glebionis carinatum), which is rather rare in flower pieces, and a pink variety of the Rose Mallow (Hibiscus rosa-sinensis roseus), which, as far as I have been able to ascertain, is completely absent from other flower pieces. In the majority of his works the flowers are represented as if seen from behind, not only the Opium Poppy as is the case in some of the paintings by other artists discussed above. Other telling traits include the rather crinkly foliage of Roses, Poppies and Hollyhocks. Species are not always rendered with attention to detail, for example, the Small Morning Glory is painted with the leaves of the related Great Morning Glory. In more than a few flower pieces and flower and fruit combinations he painted a squirrel, parrot, peacock, or some other bird. He signed with P (or PH) van Kouwenbergh, or some variant, and also with PHK. There is not a single dated work currently known. Flower pieces may at present be found in the National Gallery of Art in Washington, and in Dyrham Park near Bath. A pair of paintings in Stourhead in Wiltshire are not works by Philip Van Kouwenbergh.175 Philip van Kouwenbergh, Flowers in a glass vase (Fig. 8.50) Canvas, 62 x 52 cm, signed below to the right of the centre in ochre: PH . v. Kouwenbergh (‘PH’ ligated) Private collection.176 1 Provins Rose 2 Peony 3 Forget-me-not 4 Hollyhock 5 Austrian Briar 6 Poppy Anemone 7 Rose Mallow 8 Tricoloured Daisy 9 Corn Marigold 10 Small Morning Glory 11 Austrian Copper (Briar) 12 Hollyhock 13 Hollyhock 14 Pot Marigold 15 Blunt Tulip 16 Turnip 17 Damask Rose

Rosa x provincialis Paeonia officinalis Myosotis palustris Alcea rosea pseudoplena alba Rosa foetida Anemone coronaria Hibiscus rosa-sinensis albus Glebionis carinatum Glebionis segetum Convolvulus tricolor Rosa foetida cv. Bicolor Alcea rosea Alcea rosea rubra Calendula officinalis aurantiaca Tulipa mucronata bicolor Brassica rapa Rosa x damascena

A Painted Lady Butterfly B Queen of Spain Fritillary Butterfly C Large White Butterfly d Housefly e Ant f Garden Snail

Vanessa cardui Issoria lathonia Pieris brassicae Musca domestica Formicidae spec. Cepaea hortensis

The pendant in the same private collection also displays a white Hollyhock and Tricoloured Daisy, as well as the pink Rose Mallow, three varieties of False Larkspur, and an Opium Poppy at the top with abundant foliage, along with other flowers. 174 For these archival references see the Segal Still Life Documentation in the RKD, The Hague. After my critique, a number of these were withdrawn in Meijer’s catalogue of the Museum Boijmans Van Beuningen in Rotterdam (Meijer 1989, p. 125 under no. 41). Since that time more works have surfaced. There has been a certain degree of confusion in the literature between this artist and Christiaen van Couwenbergh (1604-1667) of Delft, who painted still life elements in his works. 175 Canvas, 48.5 x 42.5 cm (a pair), Stourhead, Wiltshire, inv. nos NT 732166 and 732167. Despite the attribution as such in a publication by Van Wagenberg-ter Hoeven 1991; the attribution and facsimile of the fake signature are given in Gemar-Koeltzsch 1995, II, pp. 566-567, no. 202/1; and the re-confirmation of the attribution in Van der Willigen & Meijer 2003, pp. 126-127. The attribution was published by Meijer in 1988 for the first time (Meijer 1988, p. 315, Figs 5 and 6). I studied these paintings in 1979, and it became immediately clear that the signatures P V Kouwenberg were not original, neither in the handwriting, with a long curling line stretching out from the ‘K’, nor in their lettering, without a ‘H’ connected to the ‘P’, with a ‘K’ capital and without an ‘h’ at the end, which are characteristic for Philip van Kouwenbergh’s monograms and signatures. 176 Provenance: Giroux, Brussels, 25 April 1931, no. 217, with pendant, as P.L. van Kouwenberger; sale Martin-de-Crau, Cabinet Baille & Beauvais, Château de Vergières, 25 November 2001; Salomon Lilian Gallery, Amsterdam 2003. Literature: Meijer 1988, pp. 313-315, Figs 1-2, with pendant; Segal 2003b, p. 48.

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Fig. 8.50 Philip van Kouwenbergh, Flowers in a glass vase, canvas, 62 x 52 cm, private collection.

Willem Grasdorp I

Willem Grasdorp I was born in Zwolle in 1678, the son of Jan Egbertsz Grasdorp. In 1697 he became apprenticed to Ernst Stuven in Amsterdam, who treated him badly, which resulted in a lawsuit. He died in 1723. Willem Grasdorp I painted flower and fruit pieces. Only a single known work by him is dated, with the year 1710. The flower pieces show bouquets with a diagonal central axis arranged in a glass vase, which sometimes display similarities to the work of Elias van den Broeck, while the relatively strong lighting and deeper darkness of the background call to mind the paintings of Rachel Ruysch.177

177 For the life and oeuvre of Willem Grasdorp I see Zwolle 1993, pp. 20-21 and the Segal Still Life Documentation in the RKD, The Hague.

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Willem Grasdorp I, Flowers in a glass vase (Fig. 8.51) Canvas, 64.5 x 54.5 cm, signed on the right above the ledge in brown: W: Grasdorp. F – Private collection.178 1 2 3 4 5 6 7 8 9 10 11 12 13 14

Canary Grass Snowball foliage Provins Rose Austrian Briar Small Morning Glory White Rose York and Lancaster Rose Alpine Clematis Madonna Lily Opium Poppy Small Catchfly Corn Rocket Peony Opium Poppy

Phalaris canariensis Viburnum opulus Rosa x provincialis Rosa foetida Convolvulus tricolor Rosa x alba Rosa x damascena cv. Versicolor Clematis alpina Lilium candidum Papaver somniferum Silene gallica Bunias erucago Paeonia officinalis plena Papaver somniferum plenum

a

Garden Snail

Cepaea hortensis

Several other flower pieces with identical flowers are extant. This work was also copied by Johannes Le Francq van Berkhey (1729-1812) in a smaller format and with some alterations.179

Fig. 8.51 Willem Grasdorp I, Flowers in a glass vase, canvas, 64.5 x 54.5 cm, private collection. 178 Provenance: Semenov Collection, Saint Petersburg; The State Hermitage Museum, Saint Petersburg; collection of A. Heppner, Amsterdam; collection of Frank C. Petscheck, New York; Christie’s, New York, 11 January 1989, no. 49; Richard Green Gallery, London 1989; Ader, Picard & Tajan, Paris, 25 June 1990, no. 91, with scheme and (partly incorrect) identifications; Dorotheum, Vienna, 19 October 1993, no. 125; Sotheby’s, London, 3 December 1997, no. 52; Salomon Lilian Gallery, Amsterdam 1998. Literature: Bernt 1948 (1962), IV, no. 111; Mitchell 1973, p. 124, Fig. 163. 179 Panel, 38 x 30 cm, Maatschappij der Nederlandse Letterkunde, Leiden, inv. no. 27, on loan to the Universiteitsbibliotheek Leiden, inv. no. Icones-UB-MNL-3. See also Chapter 9.

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Simon Verelst

Simon Verelst was born in 1644 in The Hague, son of the portrait and genre painter Pieter Verelst (ca. 1618ca. 1678), who also executed several still lifes and was his master. In 1663 Simon moved to Voorburg near The Hague and in that year also became a member of the association Confrerie Pictura. In 1668 or 1669 he travelled to London, where he established a reputation as a brilliant flower painter. He painted portraits, too, and was honoured by different writers of the time. Verelst was extremely successful with the English aristocracy. After he had invited Samuel Pepys (1633-1703), Chief Secretary to the Admiralty of England and Member of Parliament, to his studio in 1669, the naval administrator and reformer expressed his great admiration for a flower piece in his famous diary, particularly for the natural representation of the water droplets, adding: ‘[...] a better picture I never saw in my whole life; and it is worth going twenty miles to see it’.180 King George II possessed no less than six flower pieces and three portraits by Verelst. Within a time frame of 65 years, works by Simon Verelst turned up an impressive 250 times at London auctions, fetching prices between 500 and 600 guilders.181 Simon Verelst was honoured in Holland, too, during his lifetime. In 1707, Gerard de Lairesse considered him the best flower painter ever, better than Daniël Seghers and Jan Davidsz de Heem, while Jacob Campo Weyerman also recorded his admiration for Verelst’s art.182 According to Weyerman, his success went to his head, and in his arrogance Verelst called himself ‘den God der bloemen, en den Koning der Konterfyters’ (‘the God of the flowers, and the King of the Painters’); he supposedly even requested an interview with the King, because there was not much difference between ‘Karel Stuart, Koning van Groot-Brittanje, en hy Simon Verelst Koning der Konstschilders’ (‘Charles Stuart, King of Great Britain, and himself Simon Verelst, King of Painters’). In 1680 Simon Verelst was working for Louis Michiel in Paris. In 1681 he was back in London. According to Weyerman, who went to visit him in 1709, his art declined drastically after a period of madness: ‘[...] en alhoewel hy t’zedert tamelyk by syn verstant is gekomen, echter heeft hy nooit als van te vooren konnen schilderen’ (‘and although he has presently recovered his senses fairly well, yet he has never been able to paint as he did before’).183 At that point he was working for the art dealer William Lovejoy.184 Verelst died in London in 1721.185 Simon Verelst painted primarily flower pieces, but he also produced some fruit pieces and bird still lifes, in addition to a number of portraits. He often did not sign his work and dates are also rather rare occurrences. His bouquets are usually quite open and loosely arranged, with plenty of space between the stems and flowers. They are usually also asymmetrical, with a diagonal central axis, and reveal a certain degree of tonality. The colours are bright and translucent. Idiosyncrasies may be observed in his rendering of Rose leaves with a brown, strongly contrasting serrated edge, and frequently also finely painted brown virus spots. The veining that runs through the holes in the leaves is done like a delicate filigree. Something else that is notable is the almost complete absence of insects and other small creatures, although sometimes we do see butterflies. Simon Verelst painted variations, as well as repeating clusters and occasionally large portions, of his own paintings. His later work shows a diminution in quality. In a few instances, we see a long thin stem of a Tulip or Opium Poppy that cuts across the entire bouquet. Flowers that commonly occur in his compositions are the Poppy Anemone and Apple blossom. Simon Verelst increased the sense of depth of his paintings by placing flowers with complementary soft reds or oranges behind green foliage.186 He made use of tinted varnishes, especially to give the leaves a bright green colour. Such varnishes are, however, very unstable, and often disappear during an injudicious cleaning. In such cases we then frequently see only the silver-grey underlayer, which is different from that used by Willem van Aelst, whose underlayer was bluer. Sometimes in Verelst’s work an underpainting in colour is visible under the paint layer, or a red bole (‘rode bolus’) underlayer has been applied in order to achieve warmer tones. Most of his flower pieces are dominated by hues between 180 181 182 183 184

Wheatly 1893-96, II, p. 1057, 11 April 1669. Karst 2014, pp. 32, 47. De Lairesse 1707, II, p. 356; Weyerman 1729-69, III, p. 252. Weyerman 1729, III, p. 252, possibly not completely reliable. According to Weyerman 1729, III, p. 250, whose reports cannot always be counted on as reliable, the following was his situation: ‘Wy gingen hem [Verelst] ontrent achtien jaaren geleden [1711] dikmaals bezoeken, zynde hy op die tyd gelogeert, of liever op de galey vastgeklonken, by een Londensche Konstkooper, genaamt [William] Lovejoy, woonachtig in de strand een der voorsteden van Londen’ (‘We used to frequently visit [Verelst] about eighteen years ago [1711], where he was lodging with – or should we rather say chained – an art merchant in London named [William] Lovejoy, who was living in the Strand, a [then] suburb of London’). There follows a circumstantial narrative about the decline of Verelst’s work and existence. 185 For biographical records and a list of secondary sources relating to Simon Verelst see the ECARTICO database of the Amsterdam Centre for the Study of the Golden Age of the University of Amsterdam (last updated 20 May 2019, accessed 7 October 2019). 186 Cf. Taylor 1995, p. 183.

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Fig. 8.52 Simon Verelst, Flowers in a glass vase with a timepiece on a red ribbon, dated 1669, canvas, 51.4 x 40.6 cm, The Fitzwilliam Museum, Cambridge. | 455

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white and red, but within these there are many fine distinctions to be observed in the varying textures of the diverse flower species. Dated works are known for the years 1665, 1668, 1669, 1672 (three) and 1709 (two). Flower pieces may be found in the following public collections: 1665, Musée Thomas-Henry in Cherbourg-en-Cotentin (with the amended signature ‘W. van Aelst’); 1665, Musée des Beaux-Arts in Reims; 1669, the Fitzwilliam Museum in Cambridge (plus an undated work); Museum Bredius in The Hague; and undated works in the Herzog Anton Ulrich-Museum in Braunschweig, the Szépmüvészeti Múzeum in Budapest, the Cleveland Museum of Art, the Statens Museum for Kunst in Copenhagen, the Wadsworth Atheneum in Hartford (Connecticut), the Ashmolean Museum in Oxford, the Collection of Graf von Schönborn at Schloss Weissenstein in Pommersfelden, and the Nationalmuseum in Stockholm.187 Simon Verelst, Flowers in a glass vase with a timepiece on a red ribbon (Fig. 8.52) Canvas, 51.4 x 40.6 cm, signed and dated lower right in dark brown: S. verelst. F / ao 1669. The Fitzwilliam Museum, Cambridge, inv. no. PD 50-1975.188 1 Cabbage Rose 2 Small Morning Glory 3 African Marigold 4 White Rose 5 Opium Poppy 6 Carnation 7 Marguerite 8 Hollyhock 9 Corn Poppy

Rosa x centifolia Convolvulus tricolor Tagetes erecta Rosa x alba rosescens Papaver somniferum Dianthus caryophyllus plenus bicolor Leucanthemum vulgare Alcea rosea plena rubra Papaver rhoeas

A Scarce Bordered Straw Moth B Large White Butterfly

Helicoverpa armigera Pieris brassicae

Particularly finely rendered here are the desiccated, decaying Rose leaves, which have been attacked by a virus, as well as by nibbling insects. Simon Verelst, Flowers in a glass vase (Fig. 8.53) Canvas, 54.5 x 44 cm, signed lower right in black: S. Verelst Fecit. The pendant, a fruit piece, is signed and dated: Si. Verelst F ao 1672 Private collection.189 1 Peony 2 French Marigold 3 Batavian Rose hybrid 4 Snowball 5 Pot Marigold 6 Red Tulip 7 German Flag Iris 8 Opium Poppy 9 French Marigold 10 Rosa Mundi

Paeonia officinalis plena salmonea Tagetes patula albo-marginata Rosa gallica cv. Batava x R. x alba Viburnum opulus cv. Roseum Calendula officinalis aurantiaca Tulipa agenensis bicolor Iris germanica Papaver somniferum plenum fimbriatum rubrum Tagetes patula Rosa gallica cv. Versicolor

A Common Blue Butterfly B Red Admiral

Polyommatus icarus Vanessa atalanta

187 The oeuvre catalogue by Lewis of 1979 contains many erroneous attributions adopted from the art trade. For Simon Verelst’s work see the Segal Still Life Documentation at the RKD, The Hague. 188 Provenance: Wheeler & Sons Gallery, London; O’Nians Gallery, London; sold via Levine & Mosley in 1945 to Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge); donated to the museum in 1975. Exhibitions & literature: Grant 1952, p. 80, no. 133; Neve 1974; Lewis 1979, p. 36, no. 101, Pl. 99; Wright in Birmingham 1989-90, pp. 68-69, 259; de Vries 1990, p. 141, Fig. 92; Van der Ploeg in The Hague 1992, pp. 102-103, no. 26; Mitchell in London 1993, p. 34 (under no. 14); Taylor 1995, pp. 101-102, Fig. 62, 183; Chong & Kloek in Amsterdam & Cleveland 1999-2000, p. 262 n. 2 and Fig. a under no. 68. 189 Provenance: a customs stamp from Rome on the reverse, 1977; private collection, United States; Sotheby’s, New York, 11 January 1990, no. 49, with pendant; Otto Naumann Gallery, New York 1995, with pendant. Exhibitions & literature: Segal in Osaka, Tokyo & Sydney 1990, pp. 106-107, 224-225, no. 56 (the pendant no. 57), with identifications; Liedtke 1991, pp. 230-231, Fig. II; Segal in catalogue Naumann 1995, no. 27.

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Fig. 8.53 Simon Verelst, Flowers in a glass vase, canvas, 54.5 x 44 cm, private collection. | 457

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The composition of the bouquet is typical of Simon Verelst’s early flower pieces: a diagonal central axis that terminates at both ends with an exceptional flower or piece of foliage. An early unsigned copy of this work is also extant.190 A painting with faded foliage – something which can frequently be seen the work of Simon Verelst – is presented in Flowers in a glass vase (Fig. 8.54).191 Also characteristic of his flower pieces are the application of shades of white, pink, orange, vermilion and red between the leaves of the foliage, with only the occasional use of blue and violet hues. The broken Rose stem in the lower left is another of his distinguishing artistic flourishes.

Fig. 8.54 Simon Verelst, Flowers in a glass vase, canvas, 97.8 x 76.1 cm, private collection. 190 Canvas, 59.7 x 49.5 cm, Koller, Zurich, 22 March 2013, no. 3037. 191 Provenance: D.A. Hoogendijk Gallery, Amsterdam 1937; H. Blairman & Sons Gallery, London 1948; collection of Jessie Cope; Christie’s, London, 6 July 1990, no. 140; Parnassus Collection; Christie’s, London, 3 December 2013, no. 26. Literature: Lewis 1979, p. 25, no. 22.

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Herman Verelst

Herman Verelst was the older brother of Simon Verelst; he was born in Dordrecht in 1641 or 1642. The family moved to The Hague in 1643. Like his brother Simon, Herman learned to paint from his father, Pieter Verelst. He was admitted to the Confrerie Pictura in The Hague in 1663, and moved with his brother to Voorburg in that same year. In 1667 he married Cecilia Vent of Venice in Amsterdam. Nearly ten years later, in 1678, he was active in Ljubljana, the capital of the Carniola (now Slovenia) under Habsburg rule.192 In 1680 Herman Verelst settled for a while in Italy. By 1683 he was working in Vienna, however, he had to flee from there due to the threat of the advancing Turks. For that reason, he headed for London with his family. In London he was reunited with his brother Simon, and he died there in 1702. Herman Verelst generally painted portraits and religious scenes, but also a few flower and fruit pieces. Dated work is documented or known from between the years 1665 and 1686. In 1665, Verelst submitted a flower piece to the Confrerie Pictura in The Hague.193 A flower piece in the Gemäldegalerie Alte Meister in Kassel shows the same loosely constructed flower arrangements we recognize in the works of his brother Simon, but without the diagonal composition, and with flowers that now bend in different directions.194 Usually the foliage is kept to a minimum. The satiny glow, particularly of the Roses, is caused by the application of flat white highlights. A number of flowers here – such as the Cabbage Rose, the single lilac Opium Poppy and the Iberian Iris – appear identically in other flower pieces by Herman Verelst. A flower piece with three large shells has been given the fake signature ‘H. Verelst’ and dated 1644, but this is probably a work by Jan van den Hecke I (1620-1684).195 Herman Verelst, Flowers in a curved bronze vase (Fig. 8.55) Canvas, 73 x 58.4 cm, signed lower centre in brown: H Verelst. F: Private collection.196 1 Cabbage Rose 2 Opium Poppy 3 Oswego Tea 4 Primrose 5 Small Morning Glory 6 Opium Poppy 7 Brush Anemone 8 Turban Buttercup 9 Hairy Bitter Cress 10 Peach-leaved Bell-flower 11 Iberian Iris 12 Purple Fumitory 13 Peony 14 Peony 15 Carnation 16 Musk Daffodil 17 Red Tulip 18 Snowball

Rosa x centifolia Papaver somniferum Monarda didyma Primula vulgaris Convolvulus tricolor Papaver somniferum rubrum Anemone x fulgens Ranunculus asiaticus albus Cardamine hirsuta Campanula persicifolia alba Iris x iberica Corydalis solida Paeonia officinalis plena Paeonia officinalis alba Dianthus caryophyllus plenus bicolor Narcissus moschatus Tulipa agenensis bicolor Viburnum opulus cv. Roseum

A Large White Butterfly

Pieris brassicae

The vase is the same type as in the flower piece in Kassel, and the Poppy Anemone is identical in that rendering, placed in the same position above a Tulip. Remarkable here are the botanical shapes of the yellow Turban Buttercup and the single lilac Opium Poppy hanging down at the bottom of the bouquet, the red variety of which at the top is incidentally also rarely seen in flower pieces.

192 Lubej 1997, pp. 43-49. 193 Obreen 1877-90, IV, p. 136: ‘een blom vlesse met een roosie ende andere bloemekens’ (‘a vase with a rose and other flowers’). 194 Canvas, 68 x 55 cm, Kassel, Gemäldegalerie Alte Meister, inv. no. GK 451. Weber 1989, p. 31, no. 26. 195 Canvas, 46 x 58 cm, Christie’s, New York, 31 May 1979, no. 98, as Harmen Verelst; Gemar-Koeltzsch 1995, III, p. 1027, no. 403/1, as Herman Verelst. 196 Provenance: Sotheby’s, New York, 25 January 2001, no. 162; Galerie Moatti, Paris, Bob Haboldt & Co. Gallery, Paris & New York, and Noortman Gallery, Maastricht.

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Fig. 8.55 Herman Verelst, Flowers in a curved bronze vase, canvas, 73 x 58.4 cm, private collection.

Cornelis Verelst

Herman Verelst had a son named Cornelis (ca. 1668-before or in 1734), to whom many works in the style of his uncle Simon have been attributed, including one in the Fitzwilliam Museum in Cambridge.197 He is also said to have painted portraits. However, not a single work can be attributed to him with certainty today.

Johannes Verelst

Johannes was the third son of the painter Pieter Verelst, the brother of Simon and Herman. He was born in 1648 in The Hague and died in London sometime after 1719. Like his father, he too was a portrait painter. However, there are references to flower pieces by Johannes Verelst in Amsterdam auctions of 1774, 1798 and 1802.198 For example, one lot is of a ‘glaaze Fles, staande op een Tafel, gevuld met diverse soorten van Bloemen, zeer dun en delicaat behandeld’ (‘a glass vase, on a table, filled with different varieties of flowers, very fine and delicately executed’) by Johannes Verelst, which was sold in Amsterdam in 1802.199 It is easy to mistake the slightly twisted ‘J’ of his signature for the ‘S’ of Simon. This is what has happened in the case of a painting in the Herzog Anton Ulrich-Museum in Braunschweig, where the signature also differs in another way from that of Simon, that is, in the use of a small ‘v’ and a capital ‘E’ in the last name: J. verElst.200 This signature is also found on several other paintings that are currently attributed to Simon.201 The painting in Braunschweig depicts a long bare Rose shoot and a few open 197 Canvas, 54.5 x 46 cm, Cambridge, The Fitzwilliam Museum, inv. no. PD 47-1966. Grant 1952, p. 79, no. 129, Pl. 44. 198 Sale J.H. Troost van Groenendoelen, Amsterdam, 29 August 1774, no. 22; sale J. Otten Husly, 30 April 1798, Amsterdam, no. 11. 199 Sale Philippus Schley, Amsterdam, 5 May 1802, no. 220. 200 Canvas, 75 x 64 cm, Braunschweig, Herzog Anton Ulrich-Museum, inv. no. 435, see Riegel 1882, p. 441; Warner 1928 (Segal ed. 1975), pp. 222-223, no.106d, as unsigned; Lewis 1979, p. 29, no. 47, as Simon Verelst; Gemar-Koeltzsch 1995, I, p. 204, Pl. 96, III, p. 1032, no. 405/3, as Simon Verelst. 201 An unsigned variant of the Braunschweig painting is currently found in the collection of the Statens Museum for Kunst in Copenhagen (canvas, 101.5 x 79 cm, inv. no. 750, as Simon Verelst), see Gammelbo 1960, pp. 120-121, no. 174. Another work (canvas, 93 x 76 cm) was at Sotheby’s, London, 29 July 1970, no. 44 and Galerie Müllenmeister, Solingen, see Lewis 1979, p. 36, no. 23; Gemar-Koeltzsch 1995, III, p. 1034, no. 405/10, as Simon Verelst and illustrated erroneously as no. 405/11.

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blooms hanging their heads downwards. Johannes Verelst’s works differ from those of his brother Simon overall by displaying less details and his palette is generally not as bright as the range of colours used by his sibling but, be that as it may, Johannes’s paintings are artistically executed. Johannes Verelst, Sunflowers and other flowers between stones (Fig. 8.56) Canvas, 73 x 63 cm, signed lower right in dark brown: J. verElst Private collection.202 1 2 3 4 5 6

Great Morning Glory Sunflower Dark Columbine Hollyhock Persian Tulip hybrid Poppy Anemone

Ipomoea purpurea Helianthus annuus Aquilegia atrata plena Alcea rosea plena alba Tulipa clusiana x T. stellata Anemone coronaria pseudoplena albo-lilacina

Fig. 8.56 Johannes Verelst, Sunflowers and other flowers between stones, canvas, 73 x 63 cm, private collection. 202 Provenance: S. Nystad Gallery, The Hague 1977. The dimensions of this piece are approximately the same as those of the painting in Braunschweig.

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A cluster of flowers has been set between stones, surrounded by the foliage of the Sunflowers. This is an unusual, original composition. There are a few similarities with a painting of flowers without a vase by Simon Verelst now in the Ashmolean Museum in Oxford, in which the flowers look as if they are emerging out of a large leaf of the Opium Poppy.203 The composition also calls to mind a canvas by the Antwerp painter Peeter Boel (1622-1674), where we see flowers placed between the remains of a ruin (Fig. 8.153), also similar in terms of that painter’s broad brushstrokes.

Abraham de Lust

The date and place of birth of Abraham de Lust remain unknown at present.204 His earliest extant work is dated 1655.205 Around 1659, he seems to have lived in Leeuwarden, in the province of Friesland.206 In Leeuwarden, Countess Albertine Agnes of Nassau gave several commissions to Abraham de Lust, including a garland and a flower piece.207 His name is mentioned in some inventories from Leeuwarden and a flower piece by De Lust is also listed in a 1661 Amsterdam inventory.208 On 21 April 1696 an individual named Swaantje Singel is mentioned as De Lust’s only heir, and from this it can be deduced that he died before that particular date.209 Abraham de Lust painted flower pieces, flowers in cartouches around a central image with figures that really seem to stand out from the cartouche, and a few fruit pieces. His flower pieces are executed with little in the way of supplementary work, only just a few fallen flower petals or a single butterfly. He signed in a pseudogothic lettering, in small letters: a.d. lust, or in a variant with a capital ‘A’ and ‘L’. Still lifes by Abraham de Lust feature in various eighteenth and nineteenth century auction catalogues.210 Dated work is only known for the years 1655 and 1659. Flower pieces may be found in the Herzog Anton Ulrich-Museum in Braunschweig (a pair); in the Fitzwilliam Museum in Cambridge; in the Anhaltische Gemäldegalerie Schloss Georgium in Dessau; and in the Ashmolean Museum in Oxford. The work in Braunschweig and the flower piece in Oxford, and others, show flowers in a marbled vase on a gilt foot decorated with acanthus leaves, in the style of Willem van Aelst. The bouquets tend to include only a couple of species of flowers, some with bent or, once in a while, wildly twisted stems. The marble slab is usually sharply outlined and recedes into the background on one side.211 Abraham de Lust, Flowers in a roemer with a timepiece (Fig. 8.57) Canvas, 50.5 x 43 cm, signed lower centre along the edge of the table in pseudogothic lettering in grey: . a . de Lust Private collection.212 A tall roemer with blackberry knops is standing on a brown marble slab with veining in white and grey, which, just as is the case with the flowers and foliage, stands out sharply against the dark background, except for the leaves on the right in shadow. Roemers like this were particularly popular after about 1670. The bouquet consists of Provins Rose (Rosa x provincialis), some still in bud, and White Rose (Rosa x alba plena), one of which has lost some of its petals. The timepiece in a gold and crystal casing, is lying face down, as in the works of Willem van Aelst. It is fastened to a blue ribbon, from which a little key is also hanging. De Lust made use of glaze in this painting, however the upper layer on the lighted leaves has now more or less disappeared.

203 Canvas, 35 x 28 cm, Oxford, Ashmolean Museum of Art and Archaeology, inv. no. A612; Meijer 2003, pp. 312-313, no. 87. 204 It is most unlikely, that Abraham de Lust can be identified with the painter ‘Lusse’, who is mentioned in Lyon in 1656. Bredius 1915-22, II, p. 372, 2 April 1656. Pending further research, it might become possible to connect this ‘Lusse’ with the painter and art dealer Lucas Luce (ca. 1576-1661). 205 Canvas, 125.5 x 104.5 cm, Galerie Sankt Lukas, Vienna 1962. 206 Bakker 2016, p. 197. 207 Savelsberg 2012; Bakker 2016, pp. 197-202. 208 Bredius 1915-22, IV, p. 1120, inventory of Willem van Campen, 10 October 1661, no. 29. 209 Bakker 2016, p. 201. 210 Bakker 2016, pp. 197, 199 n. 43. 211 For further information on his work see Savelsberg 2012, pp. 47-49 and the Segal Still Life Documentation in the RKD, The Hague. 212 Provenance: Goudstikker Gallery, Amsterdam 1919-1920; Leonard Koetser Gallery, London 1967; collection of Elinor Dorrance Ingersoll, United States; Christie’s, New York, 12 January 1978, no. 77; Aquavella Galleries, New York; Hoogsteder Gallery, The Hague. Exhibitions & literature: The Hague 1982, pp. 144-145, no. 52; Gemar-Koeltzsch 1995, III, pp. 613-614, no. 217/4; Meijer 2003, p. 243 n. 4 under no. 53; Savelsberg 2012, p. 49, no. 14.

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Fig. 8.57 Abraham de Lust, Flowers in a roemer with a timepiece, canvas, 50.5 x 43 cm, private collection.

Adriaen van der Spelt

Adriaen van der Spelt was born in Leiden in 1630. He grew up in Gouda and received early instruction from Wouter Crabeth (1595-1644), the renowned designer of the majestic stained-glass windows of the Grote Kerk in Gouda. In 1658 Adriaen van der Spelt was admitted to the Leiden guild. Back in Gouda again, he married in 1661, but by the following year his wife had already died. The same fate struck his second wife in 1664. Afterwards he accepted a post with the Great Elector of the Court of Brandenburg in Berlin. About 1670 he returned once more to Gouda, where he married for the third time in 1671, and died there in 1673. In a mezzotint of his portrait, Bernard Vaillant (1631-1698) added the caption: ‘Hadrianus van der Spelt, Celebris apud Goudanos Florum Pictor’ (‘Hadrianus van der Spelt, Celebrated among the citizens of Gouda as a Painter of Flowers’).213 Adriaen van der Spelt painted flower pieces, flower and fruit still lifes, and meal still lifes, and, according to eighteenth-century auction catalogues, an interior scene and two winter landscapes. He signed A. Van der Spelt, AVSpelt or with a monogram (or both). A flower garland of 1658, with a trompe l’oeil 213 117 mm x 90 mm, Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1910-1521.

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curtain by Frans van Mieris I, is currently in the collection of the Art Institute of Chicago; the collaboration between the two artists was already mentioned in 1667.214 Flower pieces of 1665 and 1668 (Fig. 8.58) are also known.215 In what is probably an early work he painted a simple flower piece in a marbled vase with a gilt foliage base, as in the works of Willem van Aelst, set on a stone slab with an angled receding side edge.216 Adriaen van der Spelt, Flowers in a tumbler (Fig. 8.58) Panel, 63.5 x 48 cm, signed and dated lower right in grey: A. Van der.Spelt f. 1668 Private collection.217 1 Primrose 2 Honeysuckle 3 Provins Rose 4 Star Anemone 5 Rosa Mundi 6 Pot Marigold 7 Small Morning Glory 8 Turban Buttercup 9 Pear blossom 10 Tapered Tulip 11 False Larkspur 12 Apple blossom 13 Turban Buttercup 14 Poet’s Narcissus 15 Blunt Tulip 16 Hyacinth 17 Blunt Tulip 18 Blunt Tulip hybrid 19 Pansy 20 Peaches

Primula vulgaris Lonicera periclymenum Rosa x provincialis Anemone hortensis albescens Rosa gallica cv. Versicolor Calendula officinalis Convolvulus tricolor Ranunculus asiaticus subplenus ruber Pyrus communis Tulipa armena duplex bicolor Consolida ajacis Malus sylvestris Ranunculus asiaticus Narcissus poeticus Tulipa mucronata f. obtusa Hyacinthus orientalis Tulipa mucronata f. obtusa albo-rubescens Tulipa mucronata f. obtusa x T. undulatifolia Viola tricolor Prunus persica

A B C d

Arctia caja Abraxas grossulariata Vanessa atalanta Lepidoptera spec.

Garden Tiger Moth Magpie Moth Red Admiral Butterfly Caterpillar on Pear blossom

This flower piece was painted during Van der Spelt’s residence in Berlin. Included in the composition are two peaches with their leaves lying on an austere ochre-grey balustrade, whose plinth, finely textured with vertical lines, is chipped and damaged. Next to the fruit a wide glass beaker with a pearled foot has been placed; it holds flowers that stand out starkly against the dark background and the barely discernible niche. There is a little spilled water next to the glass in the foreground.

214 Panel, 46.4 x 63.9 cm, Chicago, The Art Institute of Chicago, inv. no. 1949.585. The painting was described in the 1677 inventory of Hendrick Brugge van Ring in Leiden: ‘een stuk met bloemen van der Spelt en een gordijntgen daer bij staende van Mieris’ (‘a flower piece by van der Spelt and with a curtain by van Mieris’); see Sluijter 1988, pp. 27, Fig. 11, 40. 215 Panel, 43.8 x 34.6 cm, dated 1665, Christie’s, New York, 26 January 2012, no. 231. 216 Canvas, 63.5 x 58.5 cm, Christie’s, South Kensington, 4 July 2007, no. 50. 217 Provenance: Landesmuseum, Gotha; Jacques Goudstikker Gallery, Amsterdam 1933; P. de Boer Gallery, Amsterdam 1935; private collection, Turnhout; Gebr. Douwes Gallery, Amsterdam & London; Johnny Van Haeften Gallery, London 2007; private collection, Belgium; Johnny Van Haeften Gallery 2014. On loan to Museum De Lakenhal in Leiden 2005-2007. Exhibitions & literature: Amsterdam 1933, ex catalogue; Amsterdam 1935, p. 19, no. 122; Bol 1969, p. 306; Geselschap 1970, p. 189, Fig. 1; Broos in The Hague & San Francisco 1990-91, p. 412, Fig. 5.

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Fig. 8.58 Adriaen van der Spelt, Flowers in a tumbler, dated 1668, panel, 63.5 x 48 cm, private collection.

Willem Frederiksz van Royen

Willem Frederiksz van Royen was probably born about 1645 in Haarlem. He was apprenticed to Arnold van Ravesteyn (ca. 1605-1690) in The Hague in 1661. After being appointed as court painter of Frederick William of Brandenburg, he left for Potsdam in 1669. In 1689 he moved to Berlin, where he was the co-founder of the Berliner Akademie in 1696, and from 1706 to 1718 its director. Willem Frederiksz van Royen died in Berlin in 1723. Van Royen painted flower pieces, fruit pieces, game still lifes, birds and other animals. He signed W.F. van Roye or Royen, and sometimes Guijelmo (cf. Willem van Aelst’s use of Guillelmo). Dated works are known from between the years 1675 and 1714, with flower pieces dated 1675, 1698, 1700, 1705 and 1714. A painting of a Tulip of 1705 is currently in the collection of Jagdschloss Grunewald, Berlin, and undated flower pieces are in the Fitzwilliam Museum in Cambridge and in the Noordbrabants Museum in ‘s-Hertogenbosch (on loan from the Cultural Heritage Agency of the Netherlands). | 465

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Willem Frederiksz van Royen, A marble vase with flowers (Fig. 8.59) Canvas, 44.7 x 35.5 cm, signed above centre in grey: W. F. van / Royen Fecit The Fitzwilliam Museum, Cambridge, inv. no. PD 84-1973.218 1 2 3 4 5 6

French Marigold Cabbage Rose White Rose False Larkspur Persian Tulip Opium Poppy

Tagetes patula Rosa x centifolia Rosa x alba Consolida ajacis Tulipa clusiana x T. stellata Papaver somniferum pseudoplenum

A vase of brown and white marble has been placed on a marble ledge of the same colours, partially covered on the right by a velvet cloth whose raised folds gleam with reflected light.

Fig. 8.59 Willem Frederiksz van Royen, A marble vase with flowers, canvas, 44.7 x 35.5 cm, The Fitzwilliam Museum, Cambridge. 218 Provenance: Levine & Mosley Gallery, London 1947; W.H. Wheeler Gallery, London 1951; collection of Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge); donated to the museum in 1973. Literature: Grant 1952, p. 75, no. 107, Pl. 38; Mitchell 1973, p. 222, Fig. 315.

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Otto Marseus van Schrieck

Otto Marseus van Schrieck was born about 1614 in Nijmegen.219 It is likely that he grew up in Amsterdam and also learned to paint in that city. He travelled to Italy with Matthias Withoos (1627-1703), where in 1648 both of them entered the service of the Grand Duke Ferdinando II de’ Medici in Florence. In 1652 they were in Rome, members of the group known as the Bentvueghels, the Dutch and Flemish artists’ association in that city, where Otto received the nickname Snuffelaer (‘Sniffer’) on account of his interest in plants, animals and nature.220 In 1657 he returned to Holland with Willem van Aelst. Later he made a tour of England. In 1663 he acquired the country estate Waterrijck near the town of Diemen just outside Amsterdam, where he cultivated plants and kept various animals, including snakes and lizards. The following year he married Margerita Gijsels in Amsterdam. In 1674 he sold his estate, which had been submerged for military reasons, and afterwards lived on the Nieuwe Leliestraat in Amsterdam. He died at this residence in 1678. Dated works by Otto Marseus van Schrieck are known from the year 1632, and from 1644 to 1677. He frequently signed with the addition of a date. Van Schrieck initially painted flower pieces and fruit pieces. A few undated flower pieces could well be from before 1644, and a few others later. It was only after 1658 that he again devoted several years to painting flower pieces. One signed flower piece is currently in the collection of the University of Göttingen. We also know of several watercolours of flowers. In Italy, he began painting forest floor pieces and a few mushroom pieces; several kitchen still lifes from his hand are also known to be extant, probably from his early period. The forest floor piece became his specialty for the rest of his life.221 Otto Marseus van Schrieck acquired many followers in this regard, particularly in the period between 1660 and 1680, but even as late as the first quarter of the eighteenth century, for example in the works of Rachel Ruysch.222 In Van Schrieck’s bouquets the flowers have been loosely grouped together, as opposed to most flower pieces by other painters of the period where the bouquets are more compact. His earliest flower pieces are symmetrical, with flowers radiating out from a centre point on nearly straight stems. The early works display arrangements of only five or six types of flowers; later this number increases, but it never rises above fifteen. His later flower pieces from the early 1660s are constructed more asymmetrically, with an internal S-shaped central axis in a light colour. This asymmetry is less spectacular than in the works of Willem van Aelst because the cluster-forming species that help constitute the axis in that artist’s paintings are lacking. The composition is therefore less tight on account of the bent stems. In Van Schrieck’s middle period this asymmetry is clearly emerging, but the bouquets are often less tranquil due to the arched leaves and twisted stalks of the Opium Poppy. Butterflies consistently play a large role as if they were flowers too, and usually there are five of them in one flower piece, although canvases with four and six also occur; he painted them both resting and on the wing, whereby those in flight play a role in extending the trajectories of the axes. The flowers, subjected to rather bright lighting, stand out starkly against the dark background. That transience ought to be taken into consideration in interpreting his paintings is revealed by the painting of a flower piece dated 1649 in which a piece of paper has been included with the text: ‘DE TYT WAS / DE TYT IS / DE TY[T] SAL SYN’ (‘The time was, the time is, and the time will be’).223 This idea could be seen as applicable to his later forest floor pieces too, where living creatures are preying on smaller ones. Willem van Aelst and Otto Marseus van Schrieck constantly influenced each other – Otto with his forest floor pieces and Willem with his flower pieces – but each succeeded in channelling these influences in new directions.224

219 Biographies usually report 1619 or 1620 as Van Schrieck’s date of birth. The earlier date appears to be based on a landscape painting with a ruin of 1632, which is completely out of keeping with his later work (Sotheby’s, New York, 22 May 1997, no. 51). 220 Bocchi & Bocchi 2004, pp. 23-35. 221 A forest floor piece is a work displaying an imagined group of high, wild-growing plants, such as thistles, sometimes in a plot with other plants, seen in a natural setting and surrounded by living creatures such as snakes and lizards, in the further company of butterflies and other insects. In the literature, these pieces are often referred to as forest floor still life, herb piece, kruidstuk, sottobosco and other such names. 222 For Marseus’s life and oeuvre see Steensma 1999, the exhibition catalogue Schwerin & Enschede 2017, the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. 223 Bol 1982, pp. 97-98, Fig. 2, with the erroneous date 1647. 224 Cf. Bol 1982, pp. 97-99, Figs 1-5 and Seelig 2017, pp. 60-63.

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In the inventory of Van Schrieck’s estate we see that he possessed a large number of his own works, many of them unfinished, plus many studies. He also owned work by his contemporaries, among them at least five works by Willem van Aelst. In addition, he had a library with many botanical and zoological volumes, including the work by Dodonaeus, plus a taxidermy collection.225 Otto Marseus van Schrieck, Flowers in a wide glass on a foot (Fig. 8.60) Canvas, 59 x 48 cm, signed and dated lower right in ochre: OTTO / MARSEVS . 1661. Private collection.226 1 Carnation 2 Carnation 3 Cabbage Rose 4 Snowball 5 Small Morning Glory 6 Persian Tulip hybrid 7 Lady Tulip hybrid 8 Persian Tulip hybrid 9 Pansy

Dianthus caryophyllus plenus albo-liliaceus Dianthus caryophyllus plenus albo-rubens Rosa x centifolia Viburnum opulus cv. Roseum Convolvulus tricolor Tulipa clusiana x T. stellata Tulipa stellata x T. clusiana Tulipa clusiana x T. stellata Viola tricolor

Fig. 8.60 Otto Marseus van Schrieck, Flowers in a wide glass on a foot, dated 1661, canvas, 59 x 48 cm, private collection. 225 Bredius 1915-22, II, pp. 697-707, 25-27 June and 6 July 1678. 226 Provenance: collection of Jack Linsky, New York 1963; Galerie Xaver Scheidwimmer, Munich 1975-1977. Exhibitions & literature: Philadelphia 1963, p. 125; Mitchell 1973, p. 28, Fig. 28; Bol 1982, p. 99, Fig. 5; Walker 1983, p. 67; Berardi 1998, pp. 193 n. 360, 541, Fig. 55; Steensma 1999, pp. 26, 104, no. A1.7, 266, Fig. 7.

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A B C D e f g h I

Red Admiral Butterfly (2x) Small White Butterfly (2x) Peacock Butterfly Brimstone Butterfly Garden Bumblebee Diadem Spider Bluebottle Fly Blue Hawker Dragonfly Sand Lizard

Vanessa atalanta Pieris rapae Inachis io Gonepteryx rhamni Bombus hortensis Araneus diadematus Calliphora vomitoria Aeshna cyanea Lacerta agilis

Steensma mistook the Rose for a Peony in her thesis on Van Schrieck. A flower piece of 1658 – nearly as large as this one – also displays similarities in the composition: the use of the same glass vase, Carnations in the lower left, Tulips above, and a Lizard in the lower right gazing upwards. The butterflies are worn away and recently restored.227

Abraham Jansz Begeyn

Abraham Jansz Begeyn was born in 1637 in Leiden. He is registered as a member of the Guild of Saint Luke there from 1655 through to 1667, and he also married with Margriet van Zijl in Leiden in 1658. Begeyn was apprenticed to Nicolaes Berchem (1621/22-1683). In 1659 and 1660 he travelled to Paris and Italy, and in 1672 he was residing in Amsterdam, but he left there for London, where he executed fourteen paintings for the Duke of Lauderdale at Ham House. From 1681 he was back in the Netherlands and working in The Hague, becoming a citizen of that city in 1683, and a member of the Confrerie Pictura, as well entering the local militia. A certain Romburgh is named as his apprentice in The Hague. He was appointed court painter to the Elector of Brandenburg in Berlin in 1688, in whose service he toured Germany in order to draw city views. Begeyn died in Berlin in 1697. Abraham Jansz Begeyn is known as a painter of Italianate landscapes, many including animals, and for his forest floor pieces in the style of Otto Marseus van Schrieck but often with birds or other creatures, as well as a single bird still life. We know of only a single flower piece by Abraham Jansz Begeyn. Abraham Jansz Begeyn, Flowers in an earthenware vase on a foot (Fig. 8.61) Canvas, 63.5 x 53 cm, signed lower right in grey: A. Beg[ein] (partly reinforced) Private collection.228 1 Great Jasmine 2 Auricula 3 Opium Poppy 4 Hollyhock 5 Byzantine Gladiolus 6 Carrot (?) 7 German Flag Iris 8 Hyacinth 9 Austrian Copper (Briar) 10 French Marigold (2 varieties) 11 Purple Tulip 12 Provins Rose

Jasminum grandiflorum Primula x pubescens violacea Papaver somniferum pseudoplenum rubrum Alcea rosea duplex alba Gladiolus byzantinus Daucus carota Iris germanica Hyacinthus orientalis Rosa foetida cv. Bicolor Tagetes patula Tulipa undulatifolia bicolor Rosa x provincialis ad R. x centifolia

a Earth Bumblebee

Bombus terrestris

227 Canvas, 59.5 x 45.5 cm, dated 1658, private collection. Steensma 1999, pp. 103, no. A1.4, 264, Fig. 4, with partly incorrect provenance. 228 Provenance: Jan De Boever Gallery, Ghent 1986; Sotheby’s, Monaco, 29 November 1986, no. 331; sale Jacques Martin & Olivier Desbenoit, Versailles, 1 March 1987, no. 63.

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Fig. 8.61 Abraham Jansz Begeyn, Flowers in an earthenware vase on a foot, canvas, 63.5 x 53 cm, private collection.

Nicolaes Berchem

Nicolaes Berchem was born in 1621 or 1622 in Haarlem, son of the still life painter Pieter Claesz. His early apprenticeships were with Pieter de Grebber (1595-1652) in Haarlem and Claes Moeyaert (1592-1655) in Amsterdam. He was admitted to the Haarlem Guild of Saint Luke in 1642 and possibly left for Italy in the same year, where he would remain until 1645. In 1646 he married Catrijne Claesdr de Groot, and in 1649 he remarried, this time with the stepdaughter of his master Jan Wils (1603-1666). A notarial deed mentions him as a resident of Amsterdam in 1661. Berchem returned to Haarlem in the Spring of 1670. In 1677 he moved again from Haarlem to Amsterdam, where he died in 1683. His specialty was painting Italianate landscapes, although he also painted genre pieces, interiors, portraits, game still lifes and forest floor pieces. He also executed drawings and engravings. A small flower arrangement has been incorporated into a vanitas still life of 1641.229

Philippus Brandis

Philippus Brandis was probably active at the end of the seventeenth century, possibly in Amsterdam or The Hague. His paintings have been clearly signed in several instances: P. or Philipp’ (for Philippus?) Brandis. He is listed under various names in catalogues and inventories as a painter of flower, fruit, and game still lifes. An Amsterdam inventory of 1700 lists ‘twee blomstukken van Brande’ (‘two flower pieces by Brande’).230 A festoon of fruit by ‘Brandis’ was on the art market in Amsterdam in 1708 and according to Kramm, a flower and fruit still life by ‘P. Branders’ was sold at an auction in Middelburg in 1712.231 The inventory of the estate of the Confrerie Pictura in The Hague lists a small flower piece by ‘P. Branders’ in 1763.232 A game still life by ‘P. Branus’ was one of the lots in an Amsterdam sale of 1791.233 In addition a 229 Panel, 43 x 66 cm, Christie’s, Amsterdam, 11 May 1994, no. 59. 230 Bredius 1915-22, IV, p. 1307, inventory of Dr Cornelis Wynandus Sjoer. 231 Van der Willigen & Meijer 2003, p. 49; Kramm 1857-64, pp. 149-150: ‘Bloemen en Fruiten door P. Branders’ (‘Flowers and fruit by P. Branders’) in the sale of the collection of David Grenier, 18 August 1712, no. 136. 232 Obreen 1877-90, IV, p. 211: ‘Een bloemstukje met Capellen &ca. door P. Branders [...]’ (‘A little flower piece with Butterflies &c. by P. Branders’). 233 Van der Willigen & Meijer 2003, p. 50.

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fruit piece by ‘L. Brandis’ was on offer in Nijmegen in 1816.234 Finally, an Amsterdam exhibition catalogue of 1935 names almost certainly erroneously ‘Johan van den Brandt’ as the painter of a flower piece.235 Little is known about the identity of Philippus Brandis. Perhaps he is the certain ‘N.N. Brant’ who became member of the Confrerie Pictura in The Hague in 1683.236 In any case, it could explain why the association’s inventory still contained a work by the painter in 1763.237 Philippus Brandis, Loose flowers on a marble ledge (Fig. 8.62) Canvas, 57.5 x 49 cm, signed lower centre: Philipp’ Brandis Private collection.238 1 2 3 4 5 6 7

Jasmine French Marigold White Rose Provins Rose Opium Poppy Small Morning Glory Austrian Copper (Briar)

a Garden Snail (?) b Garden Chafer Beetle

Jasminum officinale Tagetes patula Rosa x alba Rosa x provincialis Papaver somniferum Convolvulus tricolor Rosa foetida cv. Bicolor Cepaea hortensis Phyllopertha horticola

The leaves have been rendered in a hard, crinkly texture with deep veining; the painting is further characterized by strong contrasts between light and dark.

Fig. 8.62 Philippus Brandis, Loose flowers on a marble ledge, canvas, 57.5 x 49 cm, private collection. 234 Sale of the collection of Hendrik Hoogers, Nijmegen, 7 June 1816, no. 10. 235 Amsterdam 1935, p. 8, no. 30. The attribution to Johan van den Brandt is almost certainly erroneous. The portrait painter Johannes van den Brandt (or Brande) was recorded as an apprentice of Caspar Netscher in The Hague in 1683, entered the Confrerie in 1686, and is further documented until 1693. Obreen 1877-90, V, p. 136. 236 Obreen 1877-90, V, p. 136, 6 April 1683. 237 Van der Willigen & Meijer 2003, p. 50. 238 Provenance: Duits Gallery, Amsterdam; sale Hoogendijk, Amsterdam, 15 June 1952, no. 11. Exhibitions & literature: Amsterdam 1933, no. 34; Gemar-Koeltzsch 1995, II, p. 188, no. 57/1. Identifications were established from studying the photograph.

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Fig. 8.63 G.M., Flowers in a glass vase, canvas, dimensions unknown, private collection.

G.M.

A flower piece more or less in the style of Willem van Aelst was sold in 1933 (Fig. 8.63).239 According to Van der Willigen and Meijer, the signature is unclear and has been erroneously read as G.V. (or Av) Marnius (or Narnius), having been evaluated on the basis of the photograph.240 In the reproduction we see a glass vase placed on a ledge covered with a cloth and holding a bouquet, which includes, inter alia, Small Morning Glory (Convolvulus tricolor), Provins Rose (Rosa x provincialis), Bindweed (Calystegia sepium), Opium Poppy (Papaver somniferum), Orange Lily (Lilium bulbiferum), and Snowball (Viburnum opulus cv. Roseum), plus a Red Admiral Butterfly (Vanessa atalanta).

Abraham van Beyeren and other Painters with a Fluid or Loose Brushstroke A number of painters became proficient in the painting of still lifes – and not only flower pieces – using a freer technique, one that could be both fluid using thinned paint, as well as impasto, with effects that are comparable to the style of the later Impressionists. The prime example here is Abraham van Beyeren. These were painters who lived and worked for at least a part of their lives in The Hague and Leiden. In the latter locale, vanitas still lifes were a popular genre of painting.

Abraham van Beyeren

Abraham van Beyeren was born in The Hague in 1620 or 1621. He became apprenticed to Tyman Arentsz Cracht (ca. 1600-1646) in 1636, although he moved many times during the course of his life. In 1638-1639 he was in Leiden, where he married Emmerantia Stercke, who died after bearing him three daughters. In 1640, he registered in the Guild of Saint Luke in The Hague and was co-founder of the Confrerie Pictura in that city. He remarried in 1647, this time to the still life painter Anna van den Queborn (ca. 16251689/90). He became a member of the Delft guild in 1657, but returned to The Hague six years later. After a further six years, from 1669 onwards, he was residing in Amsterdam, however, in 1674 he was entered

239 Christie’s, London, 3 August 1933, no. 177. Gemar-Koeltzsch 1995, III, p. 628, no. 224/1, as G.A. Marnius (Narnius). 240 Van der Willigen & Meijer 2003, p. 138. For example, Gemar-Koeltzsch 1995, III, p. 628, no. 224/1, as G.A. Marnius (Narnius).

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in the guild of Alkmaar, and the following year, 1675, saw him in Gouda. He finally settled for good in Overschie near Rotterdam in 1677, where he remained until his death in 1690. Initially Abraham Van Beyeren painted marine pictures, but, quite early on and probably from the beginning of the 1640s, he began to paint all manner of still lifes, particularly sumptuous, fruit, fish, meal, kitchen, vanitas and even bird still lifes, in addition to several flower pieces and a festoon of flowers strung above fruit. He lived under a continuous burden of debt and his works were little valued during his lifetime. Dated still lifes are known from between 1653 and 1675, but just a few are actually dated, usually with the years between 1653 and 1657, but also for 1666 and 1667. He customarily signed with the monogram AVB, usually followed by an f. Van Beyeren left a substantial oeuvre at his death and is represented in numerous museums around the world. A good monograph on this artist is still lacking at present.241 Flower pieces by Abraham van Beyeren are held by the Rijksmuseum in Amsterdam, the Rijksmuseum Twenthe in Enschede, as well as by the Mauritshuis in The Hague.242 These works have a character all of their own, partially thanks to his artistic style of painting with a broad brushstroke. Abraham van Beyeren, Flower piece with a timepiece on a marble pedestal (Fig. 8.64) Canvas, 80 x 69 cm, signed in monogram to the right of centre on the plinth in brown: .AVB f. Mauritshuis, The Hague, inv. no. 548.243 1 Carnation 2 Brueghel Nasturtium 3 Great Morning Glory 4 Love-in-a-mist 5 White Rose 6 Provins Rose 7 Turk’s Cap Lily 8 Maltese Cross 9 Small Morning Glory 10 Austrian Briar 11 Star Anemone 12 Pansy 13 Monk’s Hood 14 Honeysuckle 15 Star Anemone 16 Opium Poppy 17 Stock 18 Pot Marigold 19 Lady Tulip hybrid 20 Winter Aster 21 African Marigold 22 Rape 23 Opium Poppy 24 Blunt Tulip 25 Wallflower 26 Dark Scabious 27 Rose of Sharon 28 Opium Poppy 29 Hollyhock

Dianthus caryophyllus plenus bicolor Tropaeolum brueghelianum Ipomoea purpurea Nigella damascena Rosa x alba Rosa x provincialis Lilium chalcedonicum Lychnis chalcedonica Convolvulus tricolor Rosa foetida Anemone hortensis rubra Viola tricolor hortensis Aconitum napellus Lonicera periclymenum Anemone hortensis phlogina Papaver somniferum plenum rubellum Matthiola incana plena Calendula officinalis Tulipa stellata x T. clusiana Chrysanthemum indicum plenum Tagetes erecta Brassica napus Papaver somniferum plenum fimbriatum Tulipa mucronata bicolor Erysimum cheiri Scabiosa atropurpurea Hibiscus syriacus Papaver somniferum plenum roseum Alcea rosea plena rubra

Fig. 8.64a Sketch of the species in Fig. 8.64. 241 Gemar-Koeltzsch 1995, II, pp. 90-109, presents 59 works with illustrations. See also Bergström 1947/1956, Chapter 8 and the Segal Still Life Documentation in the RKD, The Hague. 242 Canvas, 64 x 46 cm, Amsterdam, Rijksmuseum, inv. no. A355; panel, 74.3 x 59.5 cm, Enschede, Rijksmuseum Twenthe, inv. no. 0391. For the flower piece in the Mauritshuis see Fig. 8.64. 243 Provenance: sale collection Snouck van Loosen, Enkhuizen, 29 April 1886, no. 10; sale Pappelendam & Schouten, Amsterdam, 11 June 1889, no. 12, where bought by the museum. Exhibitions & literature: Blok 1918, p. 121; Warner 1928 (Segal ed. 1975), pp. 22-23, no. 6a; Vorenkamp 1933, p. 128; Bergström 1947, p. 247; Bernt 1948, I, no. 79; The Hague 1948, p. 98, no. 902; Martin 1950, p. 115, Fig. 324; Cape Town 1952, p. 8, no. 6; New York, Toledo & Toronto 1954-55, p. 6; Bergström 1956, p. 244; Eindhoven 1957, n.p., no. 7; Luxemburg & Liège 1957, p. 24, no. 8; Oslo 1959, n.p., no. 5; Hoetink 1977, p. 41; Haak 1984, p. 460, Fig. 1010; Brenninkmeijer-De Rooij 1992, p. 34; Broos in The Hague 1992, pp. 60-61, no. 5; Taylor 1995, pp. 51, Fig. 23, 84, 171-172; Meijer in Buijsen 1998, p. 110, Fig. 2; Giltaij & de Leeuw 2004, p. 257, Fig. 277; Runia & Segal 2007, pp. 52-53, with identifications by Segal.

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Fig. 8.64 Abraham van Beyeren, Flower piece with a timepiece on a marble pedestal, canvas, 80 x 69 cm, Mauritshuis, The Hague. 474 |

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In the three known flower pieces by Abraham Van Beyeren, the artist displays his idiosyncratic artistic nature more overtly than in his other works. In these paintings, one is struck by the free, spontaneous and loose style of painting with considerable use of impasto, so different from the usually quite stylized and detailed method employed by other flower painters of the period. In some respects, for example in the symmetrical arrangement and even lighting, his works are comparable to that of earlier artists of the genre, such as Jan Brueghel I (1568-1625). However, in contradistinction to that predecessor, many of Van Beyeren’s flowers are already wilting. The timepiece has been placed face downwards, just as in the paintings of Willem van Aelst. In terms of colour, hues ranging between white and red attract our attention here. A sense of depth is not developed to any great extent in his work.

Jacques de Claeuw

Jacques de Claeuw – also called De Grieff – was born in Dordrecht in 1623. He may have served an apprenticeship under Jacob Gerritsz Cuyp (1594-1652). He moved to The Hague in 1646, where he was admitted to the Guild of Saint Luke. In 1649, he married Maria van Goyen, daughter of the landscape painter Jan van Goyen (1596-1656) and sister-in-law of Jan Steen (1625/26-1679). She bore him eight children, the first after being married for two months. One of their children, Adriaen de Grieff (16581715), became a painter of hunting still lifes with figures. In 1651 the family moved to Leiden, where Jacques became a member of the guild and remained so until 1665. Maria van Goyen died in 1662, and a year later Jacques married the Portuguese Maria de Cheropy, who bore him three more children. He moved to the province of Zeeland in 1666. After this date we only know that he was possibly residing in Haarlem in 1687, and that in 1694 he witnessed the baptism of his grandson, one of Adriaen’s sons, in Leiden. A number of times during his life De Claeuw was burdened by debt. Jacques de Claeuw painted flower pieces, several fruit pieces and game still lifes, meal still lifes, but predominantly vanitas still lifes. Dated works are known for the years 1646 to 1689, that is if we go by information contained on vanitas still lifes that are not linked with his signature. He signed a number of paintings with the monogram JDC. Many of his flower pieces were early works. Two flower pieces are dated 1651. Most of the works now known are small in size. In some of his vanitas still lifes he also painted a little bouquet of flowers. His rapid, spontaneous technique of application, alternating fluid and impasto brushstrokes with strong contrasts between light and dark, calls to mind the work of Abraham van Beyeren, with whom he most likely had contact during the period he lived in The Hague. There are no flower pieces in public collections.244 A painting of a vase with flowers by De Claeuw was owned by Judith Leyster’s (1609-1660) husband, the genre painter Jan Miense Molenaer (1609/10-1668), in Haarlem.245 Jacques de Claeuw, Flowers in a broad glass vase with shells (Fig. 8.65) Panel, 66 x 47 cm, signed and dated lower right in dark brown: JDCLaEw . 165i (JDC in monogram) Private collection.246 1 Provins Rose 2 Groundsel 3 Stock 4 Long-beaked Storksbill 5 Corn Poppy 6 Poppy Anemone 7 Honeysuckle 8 German Flag Iris 9 Tapered Tulip 10 French Marigold 11 St Bruno’s Lily 12 Sweet Briar 13 Pot Marigold

Rosa x provincialis ad R. x centifolia Senecio vulgaris Matthiola incana alba Erodium gruinum Papaver rhoeas Anemone coronaria alba Lonicera periclymenum Iris germanica Tulipa armena bicolor Tagetes patula Paradisea liliastrum Rosa rubiginosa Calendula officinalis

244 For the life and oeuvre of Jacques de Claeuw and Adriaen de Grieff see Renckens 1949; Meijer in Buijsen 1998, pp. 109-112; and the Segal Still Life Documentation in the RKD, The Hague. 245 Bredius 1915-22, I, p. 5, 10 October 1668: ‘Een bloempot van Clauw’ (‘A flowerpot by Clauw’). 246 Provenance: P. de Boer Gallery, Amsterdam 1966-67; Galleria Silvano Lodi, Campione d’Italia 1974; Waterman Gallery, Amsterdam 1990; Sotheby’s, London, 3 July 1996, no. 32; Christie’s, London, 9 July 2008, no. 186. Literature: Lewis 1973, p. 23, Fig. 48; Bol 1969, p. 343.

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A Striped Cone B Rat Cone C Florida Fighting Conch

Conus striatus Conus rattus Strombus alatus

A flower piece of the same year, a little bit larger, displays a similar composition with some of the identical species, including the Tulip and Striped Cone.247

Fig. 8.65 Jacques de Claeuw, Flowers in a broad glass vase with shells, dated 1651, panel, 66 x 47 cm, private collection.

247 Panel, 69 x 50.5 cm, dated 1651, private collection; see Gemar-Koeltzsch 1995, II, pp. 249-250, no. 78/3.

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Leendert van Beke

Leendert van Beke was born in 1660 in Dirksland and died in 1707. Leendert’s parents were Daniël van Beke and Sara Leenderts Ongeraen, and his younger brother became the flower painter Daniël van Beke (1669-1728; Fig. 9.64). In addition to being a poet, amateur painter, and art collector, he became the director of the Gemeenlandshuis in Delft, an association in support of the water board. Only a single work by him is currently known. Leendert van Beke, Flowers in a glass vase with fruit (Fig. 8.66) Canvas, 78.7 x 62.9 cm, signed and dated lower left in ochre: L: VAN BEKE 1689 Private collection.248 1 Opium Poppy 2 Pansy 3 Cabbage Rose 4 Small Morning Glory 5 Austrian Briar 6 Wood Forget-me-not 7 Carnation 8 Borage 9 French Marigold 10 Opium Poppy 11 Lady Tulip hybrid 12 Snowball 13 Siberian Iris 14 Groundsel 15 Pale Iris 16 Opium Poppy 17 Cornflower 18 Pot Marigold 19 Sweet Sultan 20 Peony 21 Danube Tulip hybrid

Papaver somniferum pseudoplenum albo-miniatum Viola tricolor Rosa x centifolia Convolvulus tricolor Rosa foetida Myosotis sylvatica Dianthus caryophyllus plenus albus Borago officinalis Tagetes patula semiplena Papaver somniferum roseum Tulipa stellata x T. clusiana Viburnum opulus cv. Roseum Iris sibirica Senecio vulgaris Iris pallida Papaver somniferum plenum fimbriatum roseum Centaurea cyanus Calendula officinalis Amberboa moschata fimbriata alba Paeonia officinalis plena Tulipa hungarica x T. agenensis

On the plinth 22 Borage 23 Carnation 24 Peach 25 Apricot

Borago officinalis Dianthus caryophyllus plenus albus Prunus persica Prunus armeniaca

a Common Club-tail Dragonfly B Red Admiral Butterfly

Gomphus vulgatissimus Vanessa atalanta

When the Swedish botanist Linnaeus described the Common Club-tail Dragonfly as vulgatissima, in other words ‘extremely common’, during the eighteenth century, he could not have imagined that this species would become extremely rare due to water pollution.249

248 Provenance: collection of Van Rossum Duchatel, Leiden 1891; Scherer Gallery, Daytona Beach (Florida); Sotheby’s, New York, 14 January 1994, no. 284; Mercier, Lille, 25 November 1995, no. 351; Thierry de Maigret, Paris, 5 December 2006, no. 120; Caudron, Paris, 7 November 2011, no. 20. Exhibitions & literature: Hofstede de Groot 1891a; Van der Veen 2002, p. 59, Fig. 41. 249 Linnaeus 1758-59, I, p. 544.

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Fig. 8.66 Leendert van Beke, Flowers in a glass vase with fruit, dated 1689, canvas, 78.7 x 62.9 cm, private collection.

Abraham Susenier

Abraham Susenier was born in Leiden around 1620. About 1640 he was residing in The Hague, but in 1646 he married in Dordrecht, where he was also admitted to the guild and where he died between 1667 and 1672. It is unknown from whom he received his artistic training. He usually signed AB S: and for a long time his monogram was read as Abraham van Beyeren or Abraham Steenwyck, until in 1909 a fully signed work surfaced, which is now in the museum of the Akademie der bildenden Künste in Vienna.250 A Dordrecht inventory dated 1682 appears to contain no fewer than eighteen works by Abraham Susenier, including landscapes and marine paintings, as well as a flower piece.251 Other seventeenth-century inventories also list works by Abraham van Susenier, while a sale of works by members of The Hague guild of 1647 mentions five works by him (this sale also 250 Panel, 79 x 105 cm, Vienna, Akademie der bildenden Künste, inv. no. 1385. 251 Veth 1894, p. 110.

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included works by his contemporary Abraham van Beyeren).252 In the last century different types of still lifes have surfaced with dates from between 1664 and 1666, but no flower piece, although there are a few still lifes with a Rose.253

Cornelis Brouwer

A painter and draughtsman named Cornelis Brouwer was born in Rotterdam, married in 1664, and died in 1681. He painted portraits, historical scenes and genre pieces, as well as other types of paintings, and made illustrations for title pages.254 In the stairway of Schloss Celle in Germany there is a large oval flower piece on canvas (170 x 125 cm) which is indistinctly signed in the lower centre. It shows a bronze vase decorated with standing naked figures on a lobed foot with scroll motifs placed upon a marble ledge, just as we see in the works of other painters of the period, including for example Balthasar Hyacinth Verbruggen (1680-before 1772). We may assume that it is a work from the end of the seventeenth or early eighteenth century, possibly Flemish, but otherwise influenced by the Verbruggens. It was probably originally a decorative painting. The bouquet consists of Carnations, Tulips, Small Morning Glory, Snowball, Provins Rose, African Marigold, Hollyhocks, Pale Iris, Opium Poppy, full Peony, Turk’s Cap Lily and Austrian Briar. I would have been able to describe this work more fully had it not been hung too high for the signature to be legible and the details clearly viewed. A photograph was not available.

Other Painters of the Northern Netherlands David Bailly

In 1651 David Bailly (ca. 1584-1657) painted a vanitas still life with a small jug of Roses. The painting is currently in the collection of the Museum De Lakenhal in Leiden.255

Karel Batist

Karel Batist is documented in Amsterdam in 1659 and in the Guild of Saint Luke in Alkmaar from 1663 to 1668.256 He painted flower and fruit still lifes. A cartouche showing flowers around a niche with a roemer and signed in the lower centre K. BATIST F is currently in the collection of the Rijksmuseum in Amsterdam.257 A signed flower piece in a private collection seems to be from a totally different hand than the flowers in the work in Amsterdam.258 If this last mentioned attribution were correct, it would signify that Karel Batist would have made a transition to a much wilder, more modern style, which is unlikely. There is also reason to doubt the attribution of a signed painting of a flower arrangement in a bronze vase with fruit in the foreground now in a private collection in Germany. It is conceivable that this was originally intended as a decorative painting for an interior.259 Finally, two flower pieces attributed to Karel Batist may be found in the Walker Art Gallery in Liverpool, but, judging by the style, these are more likely Flemish works from the beginning of the eighteenth century.260 Flower pieces by ‘Batist’ are sometimes listed in eighteenth century inventories and sale catalogues, but sometimes these might also be works by Jean Baptiste Monnoyer (1636-1699).261

252 Bredius 1915-22, II, pp. 496, 497, 501, 511. 253 A monogrammed piece with peaches and Rose: panel, 32.4 x 26 cm, in a private collection. Literature: (inter alia) Warner 1928 (Segal ed. 1975), pp. 216-217, no. 100d, considered by Meijer to be a work by Hans Bollongier, probably based on a very similar work signed HB/1635, which requires further investigation. 254 Houbraken 1718-21, III, pp. 392-393; Thieme & Becker 1907-50, V, pp. 75-76. Currently only a single print of one of his drawings is known in the literature. 255 Panel, 89.5 x 122 cm, dated 1651, Leiden, Museum De Lakenhal, inv. no. S 1351; Wurfbain, Sizoo & Wintgens 1983, pp. 51-52. 256 Bredius 1915-22, VII, p. 44; Obreen 1877-90, II, p. 32. 257 Canvas, 121.5 x 106 cm, Amsterdam, Rijkmuseum, inv. no. A 732; Van Thiel 1976, p. 102. 258 Canvas, 40 x 27.5 cm, P. de Boer Gallery, Amsterdam; Bernt 1948 (1962), IV, no. 14. 259 Canvas, 75 x 67 cm, private collection. 260 Canvas, 99 x 73.6 cm, Liverpool, Walker Art Gallery, inv. nos 822 & 823; Morris & Hopkinson 1977, I, p. 17, Pl. 14; Gemar-Koeltzsch 1995, II, p. 68, no. 13/2. 261 Inventories: Franciscus de Cock, Antwerp, 1709, nos 38 & 39; Simon Balthasar de Neuf, Antwerp, 1740, nos 25 & 26. Sales: collection D. Potter, The Hague, 19 May 1723, no. 62; Michiel van Hoecken & Theodore Hartsoeker, The Hague, 1 May 1742, no. 100; collection Pierre Snijers, Antwerp, 22 August 1752, no. 61; collection of Martin Robyns, Brussels, 22 May 1758, nos 140 & 141; Christian Bagge, Copenhagen, 26 March 1765, no. 23.

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Gerrit Battem

Gerrit Battem was probably born about 1636 in Rotterdam. He is documented from 1661 until his death in 1684. Battem resided in Utrecht in 1661 and in 1667 married Margaretha Scheffer, a native of that city. He painted landscapes, kitchen pieces and fish still lifes. A single flower piece is also known from his hand. Gerrit Battem, Flowers in a decorated bronze vase on a pedestal (Fig. 8.67) Panel, 39.5 x 32 cm, signed in the centre of the pedestal in bronze-brown: Battem Private collection.262 1 Snowball 2 Opium Poppy 3 Turk’s Cap Lily 4 Provins Rose 5 White Rose 6 Persian Tulip hybrid 7 Poppy Anemone 8 French Rose 9 Martagon Lily 10 Austrian Briar 11 Grass Pink 12 Madonna Lily 13 Tapered Tulip 14 Stock 15 Poet’s Narcissus 16 Orange Lily 17 Maltese Cross 18 African Marigold 19 Poppy Anemone 20 Cardinal Flower 21 Sunflower 22 Opium Poppy 23 German Flag Iris 24 Turban Buttercup 25 Spanish Iris 26 Carnation 27 Carnation 28 Daffodil 29 Peony 30 Lilac 31 Garden Honeysuckle 32 Peony 33 Poppy Anemone 34 Great Morning Glory

Viburnum opulus cv. Roseum Papaver somniferum plenum rubrum Lilium chalcedonicum Rosa x provincialis Rosa x alba plena Tulipa clusiana x T. chrysantha Anemone coronaria pseudoplena Rosa gallica semiplena alba Lilium martagon album Rosa foetida Dianthus plumarius Lilium candidum Tulipa armena Matthiola incana densiflora alba Narcissus poeticus Lilium bulbiferum Lychnis chalcedonica Tagetes erecta Anemone coronaria violacea Lobelia cardinalis Helianthus annuus Papaver somniferum plenum rubrum Iris germanica Ranunculus asiaticus miniatus Iris xiphium Dianthus caryophyllus albus Dianthus caryophyllus plenus bicolor Narcissus pseudonarcissus Paeonia officinalis Syringa vulgaris Lonicera caprifolium Paeonia officinalis plena Anemone coronaria Ipomoea purpurea

A B c d

Pieris brassicae Vanessa atalanta Lestes sponsa Cepaea hortensis

Large White Butterfly Red Admiral Butterfly Emerald Damselfly Garden Snail

Against a background that is lit on the right, we see a wide baroque bronze vase on a slender foot set on a marble pedestal. The vase is decorated in relief with medallions, two winged putti on either side of a shield, and two more putti with garlands of fruit around them. The vase has been filled with a large, wide bouquet.

262 Sotheby’s, Monaco, 22 February 1986, no. 202.

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Fig. 8.67 Gerrit Battem, Flowers in a decorated bronze vase on a pedestal, panel, 39.5 x 32 cm, private collection.

Anthonie Marinusz Beauregaert

Anthonie Marinusz Beauregaert entered the Delft Guild of Saint Luke in 1646.263 Beauregaert is believed to have been buried in Delft in 1653.264 Delft inventories from between 1650 and 1666 report fairly high prices for his flower and fruit still lifes. According to Kramm, who had not seen the work himself, Beauregaert painted in the style of Willem van Aelst. If that is the case, then these are most probably works from after 1650.265 No work by this artist is known today.

T. Bellechiere

T. Bellechiere was a member of The Hague guild in 1664.266 The inventory of the estate belonging to the cabinet maker Philips van Santwyck from The Hague, as drawn up in 1700, lists four little flower pieces and two little landscapes by Bellechiere.267 These works are unknown today. 263 264 265 266 267

Obreen 1877-90, I, pp. 40, 48. Stolk 2016, p. 25. Kramm 1857-64, I, p. 62, as A. Beauregaer; Bredius 1915-22, IV, pp. 1439, 1441-1443. Obreen 1877-90, IV, pp. 101, 151. Bredius 1915-22, IV, pp. 1423, 1425.

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J. (or H. or J.H.) Bern

J. Bern is a painter thought to have been active in Amsterdam. In the 1665 bankruptcy inventory of Gerbrandt Warnaertsz Brandhout of Amsterdam we read the following: ‘een groote schildery synde een blompot van J. Bern’ (‘a large painting being a flowerpot by J. Bern’); and in the 1715 inventory of the estate of the widow of Gerard Kuysten of Amsterdam: ‘blompotje, H. Bern’ (‘little flowerpot, H. Bern’).268 It could well be that the signature has a ‘J’ linked to the ‘B’ with a little cross line, or that there is an ‘H’ with a curlicue on the left, or that it ought to be read ‘JH’. It is also conceivable that we are dealing here with two different artists, one J. and the other H. Bern. No work by Bern is known today.

Willem Beurs

Willem Beurs was born in 1656 in Dordrecht. In 1671, he became apprenticed to Willem van Drielenburg (1632-after 1677). He was later married in Amsterdam to Margreta Jans Rijlof. In 1687 or 1688 he moved to Zwolle, where he most likely remained until his death in, or after, 1693. According to Houbraken, he started off painting landscapes and portraits, fruit pieces and game still lifes, but in Zwolle he painted predominantly flower pieces.269 While living in that city he gave lessons to four women who were amateur painters: Aleida Greve (1670-1742), Anna Cornelia Holt (1671-before 1706), Sophia Holt (1658-1734) and Cornelia van Marle (1661-1698).270 In 1692 he published De groote waereld in ‘t kleen geschildert in Amsterdam, which discusses painting techniques and most interestingly and of pertinence is that he does so with regard to still lifes.271

K. de Bie

Jan Vos refers to a flower painter named K. de Bie in a poem of 1662 celebrating the paintings in the collection of the Amsterdam alderman Jan Jacobsen Hinloopen.272 No work by this artist is known today.

Jakob Bogdáni

Jakob Bogdáni was a Hungarian, born in Eperjes in 1658, who was influenced by Dutch masters in his flower and fruit still lifes, paintings of birds and other animals, and combination works. In 1684, he was working in Amsterdam and painted interior pieces for country estates and town houses located along the city’s exclusive canals. But he was primarily active in England, where he married a woman named Elizabeth Hemmings. Jakob Bogdáni had a great deal of success and worked for Queen Anne and members of the aristocracy. His works are represented in diverse museums and collections in England, including the Fitzwilliam Museum in Cambridge and the Royal Collection. Jakob Bogdáni died in 1724 in Finchley. A 1691 manuscript written by him is preserved in the British Library in London, a compilation containing recipes for painters and an extensive treatment of how to paint foliage with an underlayer and glaze, among other things.273 Jakob Bogdáni, Flowers in a garden vase set before a park landscape with architectural features (Fig. 8.68) Canvas, 80.7 x 144.8 cm, signed above the plinth to the left in dark brown: J. Bogdani Private collection.274 1 Peony 2 Snowball 3 English Iris 4 Fynbos Aloe 5 African Marigold 6 German Flag Iris 7 Scarlet Runner Bean 8 Yellow Flag Iris 9 Stock

Paeonia officinalis plena Viburnum opulus cv. Roseum Iris latifolia Aloe succotrina Tagetes erecta Iris germanica Phaseolus coccineus Iris pseudacorus Matthiola incana densiflora alba

268 269 270 271 272 273

Bredius 1915-22, III, pp. 848, 856. Houbraken 1718-21, III, pp. 354-356. Beurs 1692, pp. 2-4. Beurs 1692. Vos 1662, pp. 571-572. According to Kramm, the poem was published in 1726. Kramm 1857-64, I, p. 93. London, British Library, add. MS 22.950. For further details on the life and oeuvre of Bogdáni see London 1989a. For more on his working practices see Rajnai 1993. 274 Provenance: probably Francis North, 1st Earl of Guilford, and by inheritance collection of the Earl of Guilford, Waldeshare Park, Dover; Christie’s, London, 12 December 1980, no. 71; Christie’s, London, 9 December 2005, no. 184, with pendant; Rafael Valls Gallery, London, with pendant.

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10 Martagon Lily 11 Turk’s Cap Lily 12 Pyrenean Turk’s Cap Lily 13 Peony 14 Poppy Anemone 15 Small Morning Glory 16 Monk’s Hood 17 Heavenly Blue Morning Glory

Lilium martagon Lilium chalcedonicum Lilium pyrenaicum Paeonia officinalis plena salmonea Anemone coronaria lilacina Convolvulus tricolor Aconitum napellus Ipomoea tricolor

A terracotta vase adorned with fruit garlands is displayed on a marble balustrade. The pendant shows a similar composition with the flowers in an openwork basket. Both works were originally overdoor paintings. They look as though they were influenced by the work of Jean Baptiste Monnoyer. Fig. 8.68 Jakob Bogdáni, Flowers in a garden vase set before a park landscape with architectural features, canvas, 80.7 x 144.8 cm, private collection.

Jan Boogaert

Jan Boogaert was born around 1639. The first document relating to Boogaert records that in 1657 he made off with the painter’s materials of Anthony de Haen (1640-1670) from the studio of Pieter Verelst (ca. 1618-ca. 1678) in The Hague.275 Boogaert married Lysbeth Moninckx, daughter of the painter Pieter Moninckx, and he is also known to have been a member of the Confrerie Pictura in The Hague.276 Jan Boogaert died in 1692. He painted hunting and fish still lifes. The Gemeentemuseum in The Hague has a painting in its collection of a flower garland with a dead bird strung up.277 A 1661 inventory from The Hague lists both a large vase with flowers and a flower piece by Boogaert.278 In the literature Jan Boogaert is not always properly differentiated from the painter Iemant (Jemant) Boogaert of Middelburg, and he is also confused with Hans Boogaert (active 1621-1656).279

Pieter van den Bosch

Pieter van den Bosch was born around 1612. He is documented in Amsterdam in 1645 as working for the art dealer Marten Kretzer (ca. 1598-1670). He was last documented in Amsterdam in 1660, and in 1663 he was active in London as a sales representative.280 Further, it is recorded that in 1650 two of his still lifes were offered to the Court in Berlin by the art dealer Johannes de Renialme (ca. 1600-ca. 1657), while a different work was in the collection of Archduke Leopold Wilhelm.281 A still life with grapes by Van den 275 276 277 278 279

Bredius 1915-22, V, pp. 1725-1727. Obreen 1877-90, V, p. 155. Canvas, 59 x 78.1 cm, The Hague, Gemeentemuseum, inv. no. 92. Archief Abraham Bredius, RKD, The Hague, no. 0380. Gemar-Koeltzsch 1995, II, p. 134, no. 40/1, without illustration, reports a flower piece by the Middelburg painter of game still lifes Jemant Bogaert, on canvas, 37 x 43 cm, and possibly dated 1624, that was said to have been sold by Mak van Waay, Amsterdam, 27 May 1974, no. 33. 280 Bredius 1934, pp. 188-189. 281 Seidel 1890, p. 123; Berger 1883, p. CLI, no. 769; cf. Bredius 1915-22, I, p. 236.

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Fig. 8.69 Pieter van den Bosch, A silver tazza, fruit and flowers in a niche, dated 1652, canvas, 72 x 62 cm, private collection. 484 |

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Bosch was recorded in the inventory of Elisabeth Wijmer in Amsterdam in 1671.282 Van den Bosch painted sumptuous still lifes, fruit pieces, meal still lifes, tobacco pieces, and combinations of sumptuous pieces with fruit and flowers. Three versions of such a combination are extant displaying fruit and a silver tazza, which was probably crafted by the Amsterdam silversmith Adam van Vianen I, and all of them are signed and dated 1652. One of these three also shows a flower arrangement. Dated works are known from the years 1645 to 1663. There is some confusion in the literature between this artist and Pieter van den Bosch of Leiden (1604-after 1649), who primarily painted barn still lifes; Pieter is also sometimes referred to as Paulus van den Bosch. Pieter van den Bosch, A silver tazza, fruit and flowers in a niche (Fig. 8.69) Canvas, 72 x 62 cm, signed and dated lower left: P. v. Bosch f. 1652 Private collection.283 In a brick niche, stuccoed on the inside, we see fruit lying on a ledge (the grapes on a silver plate) set before a silver tazza, whose stem is decorated with a Hercules figure supporting the shallow bowl. On the right, slightly in the background, is a glass vase with a scalloped ornamentation around its neck holding an arrangement of the following flowers: French Rose (Rosa gallica semiplena), Lily of the Valley (Convallaria majalis), Pot Marigold (Calendula officinalis), French Marigold (Tagetes patula), Flax (Linum usitatissimum), Honeysuckle (Lonicera periclymenum), English Iris (Iris latifolia), Carnation (Dianthus caryophyllus), Batavian Rose (Rosa gallica cv. Batava) and White Rose (Rosa x alba). On the ledge to the left is an orange along with a single segment of orange, and on the right a pear and two Seville Oranges. A somewhat simpler work of the same year and of a similar size, includes an identical tazza, pear and dish of grapes, although in that painting some other fruit enters into the composition of the picture too.284

Bartholomeus Brandon

Very little is known about the life of Bartholomeus Brandon. Brandon executed the title page and two other drawings for the Hortus Regius Honselaerdicensis (Fig. 8.70), an album which displays plants and bouquets, most of them placed in baroque garden vases.285 The title page by Brandon shows a garden, with a little lane in the background lined with two rows of potted plants on either side. The first of the two drawings by Brandon presents a Narrow-leaved Dragon Tree in a garden vase. The Narrow-leaved Dragon Tree (Dracaena marginata) is an indoor plant in Europe, originally native to East Africa and related to the large Dragon Tree. This drawing has been copied from a watercolour by Stephanus Cosijn in the same album, where the plant is in a simpler vase. The plant in the second of the two drawings by Brandon is a ‘Palm Tree’ from Sri Lanka (formerly Ceylon), at least it is catalogued as ‘Palma vinifers todde panna horti malabarici’; this tree is in an identical vase with a mascaron. The three works mentioned here were produced and signed by Brandon in 1692. Bartholomeus Brandon died in 1701, possibly in The Hague.

282 Stadsarchief Amsterdam, NAA 2853, 15 April 1671, no. 20. 283 Provenance: collection of Count Otto Thott, Gavnø, Denmark; his sale by C.W. Haagen, Copenhagen, 24 April 1787, no. 50, as P.v.d. Bohl; Steeman Collection, Copenhagen; his sale 20 April 1794, no. 72; collection of Frederik Conrad Bugge, Copenhagen, catalogue 1829, no. 331; his sale 21 August 1837, no. 416; sold to I.C. Dahl for August Konow of Bergen, Norway, until 1873, as Pieter Boel; collection of his son H. Konow, collection of chamberlain H.H. Konow, Sprinfurki near Copenhagen; sale Arne Bruun Rasmussen, Copenhagen, 9 May 1972, no. 14; Sotheby’s, London, 12 March 1973, no. 76; Richard Green Gallery, London; sale Paul Brandt, Amsterdam, 7 April 1975, no. 47; sale Galliéra, Paris, 5 May 1976, no. 13. Exhibitions & literature: Copenhagen 1891, no. 20; Copenhagen 1946, no. 14; Gammelbo 1960, pp. 90-91, no. 115; Segal in Delft, Cambridge & Fort Worth 1989, pp. 199, 221 n. 8; Gemar-Koeltzsch 1995, II, p. 153, no. 48/5. 284 Canvas, 61 x 49.5 cm, Christie’s, London, 16 June 1984, no. 29. 285 Hortus Regius Honselaerdicensis, Biblioteca Nazionale, Florence, MS Palatina 6, B.B. 8.5. For more on the Hortus Regius Honselaerdicensis see Apeldoorn 1988, pp. 288-289, no. 139, Pl. IV & XV. Oldenburger-Ebbers 1990, p. 171, Fig. 10; Oldenburger-Ebbers 2009, pp. 10-11, Fig. 3. The other drawings are attributed to Stephanus Cosijn (ca. 1650-1697; Figs 8.75 and 8.76).

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Fig. 8.70 Bartholomeus Brandon, Hortus Regius Honselaerdicensis, watercolour on vellum, 510 x 346 mm, Biblioteca Nazionale, Florence.

Brauch

Bredius reports a painting listed in an inventory as ‘bloemen van Brauch’ (‘flowers by Brauch’) and suggests that perhaps this is Frederick Broech, who signed and witnessed a list of paintings in Amsterdam in 1653.286 The name could, however, be a corrupted form of (Elias van den) Broeck.

Dirck de Bray

Dirck de Bray was probably born about 1635 in Haarlem. Like his brothers Jan (1626/27-1697) and Joseph (ca. 1628-1664), Dirck was inducted into the profession by his father Salomon (1597-1664). In 1651 Dirck de Bray became apprenticed to the bookbinder and publisher Passchier van Wesbusch. During the years 1656-1676 Dirck engraved all kinds of subjects using diverse techniques. In 1664, he and his brother Jan survived the plague epidemic in Haarlem when six close family members succumbed to the disease. Dirck de Bray became a member of the Guild of Saint Luke in 1671, and in 1675 he became its secretary. A deeply devout Roman Catholic, De Bray entered the monastery of Gaesdonck near Goch, just across the border in Germany, as a lay brother in around 1678, where he worked as a bookbinder. He died in 1694. Dirck de Bray painted flower pieces, still lifes with religious objects, and still lifes with dead animals. In his drawings, he used a variety of techniques, including watercolours for flower pieces and animals. Dated still lifes in oils are known from between 1665 and 1686, but as early as the year 1661 there is a woodcut with a Tulip.287 The inventory of the Amsterdam painter Pieter Fris (1627/28-1706), which was

286 Bredius 1915-22, III, pp. 760-761 n.1. 287 60 x 85 mm, Amsterdam, Rijksprentenkabinet, inv. no. RP-P-BI-4416. For the oeuvre of Dirck de Bray see the Segal Project and the Segal Still Life Documentation in the RKD, The Hague.

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drawn up in 1668, records ‘een bloemglasie van D. de Braey’ (‘a flower glass by D. de Braey’).288 Dated flower pieces are known from the year 1665 onwards, including one of 1671 in the Los Angeles County Museum of Art; and 1673 and 1674, in the Mauritshuis in The Hague. Most of them show a bouquet in a glass vase. De Bray’s religious still lifes with flowers are known from 1672, 1678 and 1686.289 He painted with broad brushstrokes, revealing an excellent skill in suggesting shapes and outlines of objects, including those of leaves, which are not very detailed. Of a pair of flower pieces dated 1671, one is on loan to the National Gallery of Scotland in Edinburgh from a private collection in London, the other is in a private collection in the United States. The flower piece from London displays flowers in a white vase with a Columbine at the top left (Fig. 2.10) and a bumblebee crawling away from the vase on the left (Fig. 8.71).290 The pendant displays flowers in a boat-shaped basket standing askew.291

Fig. 8.71 Dirck de Bray, Flowers in a white vase, dated 1671, panel, 62 x 44 cm, private collection. 288 Bredius 1915-22, VI, p. 1986. 289 Segal in Delft, Cambridge & Fort Worth 1988-89, pp. 205, 250, no. 60; Segal in Osaka, Tokyo & Sydney 1990, pp. 232-233, Fig. 63a. 290 Segal in Amsterdam 2012, pp. 60-62, no. 12. 291 Panel, 62 x 44 cm, dated 1671, private collection; Segal in Amsterdam 2012, p. 61, Fig. 12b.

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Dirck de Bray, Flowers strewn in front of a vase with flowers (Fig. 8.72) Panel, 40.5 x 35.7 cm, signed and dated lower left in grey: 1674 D D Bray. f. (with calligraphic arcs) Mauritshuis, The Hague, inv. no. 1166.292 1 2 3 4 5 6 7

Poppy Anemone Columbine Poppy Anemone Poppy Anemone Full Campernelle Narcissus Sharp Tulip Poet’s Narcissus

Anemone coronaria pseudoplena salmoneo-alba Aquilegia vulgaris pallida Anemone coronaria pseudoplena rhodea Anemone coronaria pseudoplena glauco-rosea Narcissus x odorus cv. Rugulosus-plenus Tulipa mucronata purpurescens Narcissus poeticus plenus

Fig. 8.72 Dirck de Bray, Flowers strewn in front of a vase with flowers, dated 1674, panel, 40.5 x 35.7 cm, Mauritshuis, The Hague. 292 Provenance: Christie’s, London, 21 June 1968, no. 91; E. Speelman Gallery, London; collection of Robert H. Smith, Washington; S. Nystad Gallery, The Hague 1977; collection of Jonkheer L.C. de Villeneuve, Wassenaar, until 2005 (with a report by Segal) and by inheritance; acquired by the museum in 2011 from the inheritors with the support of the Bankgiro Loterij, the Vereniging Rembrandt and H.B. van der Ven. Exhibitions & literature: Mitchell 1973, p. 61, Fig. 81, as dated 1671; Van de Watering in The Hague 1982, no. 17; Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 51, Fig. 58, 102, no. 58; Los Angeles, Boston & New York 1981-82, p. 26, Fig. 2, as dated 1671; Haak 1984, p. 392, Fig. 838; Briels 1987, pp. 248-249, Fig. 315; Broos 1990, pp. 187/189, Fig. 2; Broos in The Hague & San Francisco 1990-91, p. 189, Fig. 2; Segal in Osaka, Tokyo & Sydney 1990, pp. 111, 232-233, no. 63; Van der Ploeg in The Hague 1992, pp. 68-69, no. 9; Molenaar 1998, pp. 9, Fig. 2, 16-17; Amsterdam & Cleveland 1999, pp. 265-267, no. 70; Meijer in Haarlem & Dulwich 2008, pp. 31, 128-129, 152, no. 49; Runia 2011; Gordenker 2012.

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A B c d e f

Small Tortoiseshell Butterfly Aglais urticae Large White Butterfly Pieris brassicae Azure Damselfly Coenagrion puella Garden Tiger Caterpillar Arctia caja Hoverfly Syrphidae spec. Dwarf Spider Erigone spec.

The light-brown imprimatura, which has the effect of creating a certain kind of atmosphere, shows strongly through the lighter portions of the background. Dirck de Bray often depicts the tips of his flower petals curled or a bit twisted. This is one of the idiosyncrasies that helps to determine the general mood of his works, which is always surprisingly personal; spatial effects, lighting and choice of pigment also contribute to his artistic signature. The background is much lighter on the right than on the left, making the yellow Daffodils stand out against the dark shadow, while on the right we see butterflies and a little spider dangling in mid-air. The placement of the vase in the background with flowers loosely strewn in front is also quite unusual. These flowers in particular draw our attention, as if they were ready and waiting to be placed in the vase. A further naturalistic detail is that all the flowers in this composition actually bloom in the same period, from mid-May to mid-June. Both the foreground and the background of the painting have been left undefined. The flower colours are predominantly gradations between white and red, with some blue on the left.293

Joseph de Bray

Joseph de Bray was the brother of Dirck and Jan de Bray, who all three learned their professional skills from their father, Salomon de Bray, a painter of portraits and historical scenes. Joseph was born in Haarlem about 1628 and died in 1664 during an epidemic of the plague that also took the lives of his father, brother Jacob and two sisters. He is well known for a meal still life with a herring, existing in several versions, which includes a poem by his uncle Jacob Westerbaen ’t Lof van den Pekelharingh. Until recently the only flower piece known was an item in the list of a 1754 Haarlem auction catalogue for the estate of Jan Laurensz van der Vinne (1699-1753).294 However, two flower pieces signed Josepho, previously attributed to the Portuguese painter Josefa de Obidos (ca. 1630-1684), with the dates 1661 and 1664 respectively, have now been correctly assigned to Joseph de Bray.295 The 1661 work is currently in the Koninklijke Musea voor Schone Kunsten van België in Brussels.296 The other work, dated 1664 and displaying flowers in a glass vase, is now in a private collection.297 Joseph de Bray, Flowers in glass vase (Fig. 8.73) Panel, 37 x 29.8 cm, signed and dated lower right, above the ledge, in dark brown with greyish white: Josepho. 1664. Private collection.298 1 Great Periwinkle 2 Bluebell 3 Bluebell 4 Stock 5 Peru Squill 6 Primrose Peerless 7 Snake’s Head Fritillary 8 Auricula 9 Cherry

Vinca major Hyacinthoides non-scripta Hyacinthoides non-scripta alba Matthiola incana alba Scilla peruviana Narcissus x medioluteus Fritillaria meleagris Primula x pubescens badia Prunus cerasus

293 It is surprising that Meijer (Haarlem & Dulwich 2008, no. 49, p. 152 n. 2) thinks that the caterpillar is not the Garden Tiger. For comparison, cf. the scientific literature, for example Carter & Hargreaves 1986, pp. 10, no. 13, 29, no. 6; and De Wilde 1991, pp. 103, 105, Fig. 18.4, 106, Fig. 18.5. Further, he rejects a suggestion about the identification and symbolic meaning of the Anemone (Haarlem & Dulwich 2008, p. 128), an attribution which could be erroneously read as my own (Haarlem & Dulwich 2008, p. 152 n. 3). 294 Taco Jelgersma, Haarlem, 13 May 1754, no. 160. 295 Hairs 1966; Christie’s, Amsterdam, 6 May 1993, no. 70; for the attribution to Joseph de Bray see Meijer 2008, p. 30. 296 Panel, 55 x 44 cm, dated 1661, Brussels, Koninklijke Musea voor Schone Kunsten van België, inv. no. 6315. 297 For Joseph de Bray see the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. 298 Provenance: Christie’s, London, 4 March 1966, no. 108, as Dutch, 17th century; Christie’s, Amsterdam, 6 May 1993, no. 70, as Josefa Obidos de Ayala. Literature: Van der Willigen & Meijer 2003, p. 50; Meijer 2008, pp. 30, 32, Fig. 28, in reverse and with the erroneous caption of a 1673 work by Dirck de Bray.

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Fig. 8.73 Joseph de Bray, Flowers in a glass vase, dated 1664, panel, 37 x 29.8 cm, private collection.

With its squat base, the vase has a shape reminiscent of a ship’s decanter and is studded at its widest girth with a continuous beading of smooth spherical prunts, whilst the flowers are supported upright by the gently flared neck. What is exceptional in this painting is the nearly horizontal central axis. In this work, we also see a repeat of the Snake’s Head Fritillary from the 1661 flower piece. Both paintings exude a mysterious atmosphere, just like the works of his brother Dirck, with pronounced chiaroscuro and harmonious application of colour.

Johannes Bronckhorst

Johannes Bronckhorst was born in Leiden in 1648. When his father died in 1661, his mother deposited him with a cousin in Haarlem who was a pastry chef and from whom he was apprenticed in that trade. He established himself in 1670 as a pastry chef in the town of Hoorn, married, and for his own pleasure began to paint watercolours of exotic birds and insects, as well as flowers and the odd flower wreath. Bronckhorst died in 1727. Flower pieces by Johannes Bronckhorst are mentioned in several auction 490 |

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catalogues.299 He was self-taught and extremely skilled. His apprentices were Hendrik Graauw (ca. 16271693) and Herman Henstenburgh (1667-1726), the latter being just as skilled as his teacher, so that the works of master and apprentice are sometimes hard to tell apart. Bronckhorst was probably familiar with Pieter Withoos (1654/55-1692) from Hoorn or knew his work. The minister and poet Johannes Vollenhove wrote a poem praising Bronckhorst’s facility with watercolour, which, in his opinion, was superior to other works in oils. Today no flower pieces by Bronckhorst are known.300

A. vander Cabel

In the Haarlem sale of 29 August 1752 a flower piece by ‘A. vander Cabel’ was put up for auction.301 Van der Willigen and Meijer propose that this could be the work of the landscape painter Adriaen van der Kabel (1630/31-1705). The writer Reyer Anslo (1626-1669) praised him for his fruit pieces and other works.302 At the time of writing no flower pieces by Vander Cabel have been located.

Abraham van Calraet

Abraham van Calraet was born in Dordrecht in 1642. His father was the sculptor Pieter van Calraet (ca. 1615-1680), who instructed his son in the profession and sent him for further practical experience to his colleagues, the Huppe brothers. Abraham’s younger brother Barent (1649-1737) learned to paint from the famous landscape and cattle painter Aelbert Cuyp (1620-1691), and Abraham did so too at a later date. In 1680 Calraet married Anna Bisschop, daughter of the painter Cornelis Bisschop I (1630-1674). He lived his entire life in Dordrecht and died there in 1722. Abraham initially specialized in fruit pieces, but a single shell piece is also known by him (in the style of Balthasar van der Ast), and a single flower piece. Only the odd painting is signed in full, and a few are dated between 1659 and 1670. For a signature, he usually used his initials AC, which, until the beginning of the twentieth century were read as a monogram for Aelbert Cuyp. In 1916, Abraham Bredius discovered this attribution to Van Calraet, which led to an academic dispute with Cornelis Hofstede de Groot, won convincingly by Bredius the following year.303 Abraham van Calraet, Flowers in a glass vase (Fig. 8.74) Panel, 47.8 x 38.2 cm, signed lower right in black: A C. (with a bar over the ‘C’) The Fitzwilliam Museum, Cambridge, inv. no. PD 62-1973.304 1 White Rose 2 Forget-me-not 3 Persian Iris 4 Brueghel Nasturtium 5 Primrose 6 Blunt Tulip 7 Sweet Briar 8 Turk’s Cap Lily 9 Tapered Tulip hybrid 10 Tapered Tulip hybrid 11 Lily of the Valley 12 Blunt Tulip hybrid 13 Cabbage Rose

Rosa x alba plena Myosotis palustris Iris persica Tropaeolum brueghelianum Primula vulgaris Tulipa mucronata bicolor Rosa rubiginosa Lilium chalcedonicum Tulipa armena x T. mucronata Tulipa armena x T. undulatifolia Convallaria majalis Tulipa mucronata x T. undulatifolia Rosa x centifolia

299 H. De Winter & J. Yver, Amsterdam, 20 February 1764, nos 144 & 145; Paris, 5 May 1959, no. 26. 300 Houbraken 1718-21, pp. 242-244, with the poem. For further details on the life and work of Johannes Bronckhorst see the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. 301 Collection of Frans Decker, sale Haarlem, Izaak and Johannes Enschede, Jan Bosch, 29 August 1752, no. 56. 302 Van der Willigen & Meijer 2003, p. 120. 303 For the controversy see the extensive contribution of Hofstede de Groot in Thieme & Becker 1907-50, XIX, pp. 482-484. After his publication in Oude Kunst (Bredius 1916), and a series of notices in the same journal (Bredius 1916a & 1916b), Bredius published his most convincing article in The Burlington Magazine (Bredius 1917). 304 Provenance: collection of Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge); on loan from 1962 and donated to the museum with the collection in 1973. Exhibitions & literature: Grant 1952, p. 57, no. 24, Pl. 14; Pavière 1962-64, I, p. 20, Pl. 21; Mitchell 1973, p. 76, Fig. 98; Wright in Birmingham 1989-90, p. 176; Mitchell in London 1993, pp. 24-25, no. 9.

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Fig. 8.74 Abraham van Calraet, Flowers in a glass vase, panel, 47.8 x 38.2 cm, The Fitzwilliam Museum, Cambridge. 492 |

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Pieter Cosijn

Pieter Cosijn was born about 1630 in Rijswijk near The Hague. In 1647, he was apprenticed to the portrait painter Pieter Nason (1612-ca. 1688) in The Hague and in 1648 to the still life painter Peter Willebeeck in Antwerp. Cosijn married Sara Clarebouts in 1649. He worked in Leiden during the years 1654-1655, but afterwards returned to The Hague, where he entered the Confrerie Pictura in 1658.305 According to Jacob Campo Weyerman, Pieter Cosijn was a flower painter, but today only landscapes are known.306 Two flower pieces are listed in a sale of 1759 in The Hague.307 In 1932 a combined still life with ‘fruit, flowers and objects of still life on a table’ was auctioned in London.308 These references, however, could also relate to Stephanus Cosijn.

Stephanus Cosijn

Stephanus Cosijn lived in The Hague, where he married Leonora Wighman and was a member of the Confrerie Pictura. He became organist of the Grote Kerk in The Hague during 1680, and from 1682 to 1697 also its bellmaster, also known as carillonneur. He died in The Hague in 1697. It is likely that he was related to Pieter Cosijn. The album entitled Hortus Regius Honselaerdicensis, executed between 1685 and 1688 and containing ninety-five watercolours of plants, has been attributed to Stephanus Cosijn.309 In sixty-nine of the plates the flowers are represented in different kinds of pot. Ten of the leaves display pots containing only Tulips, while several others show Tulips in combination with other plants. Most of the species are exotics collected on early plant-hunting expeditions from far-flung parts of the world, including Africa. New species and varieties were enthusiastically purchased and cultivated by plant collectors in Europe and those painted by Stephanus Cosijn were mainly from the country estate Leeuwenhorst in the town of Noordwijkerhout, the residence of Gaspar Fagel, who held the official role of pensionary, which meant he presided over the provincial legislature. Prince William III gave the order to have the drawings made in 1685. The series was completed in 1688 upon the death of Fagel. In 1692, William III, now King of England, took the drawings with him to Hampton Court in London. There they were compiled into an album, and it is at this point in time, that Bartholomeus Brandon added a title page (Fig. 8.70) and two additional drawings. Stephanus Cosijn was also active as a painter. Before World War II a still life dated 1670 had been in the collection of Berckerath in Berlin. Two flower wreaths dated 1686 went up for auction in Vienna in 1806.310 A flower piece by ‘Coussin’ was auctioned in Frankfurt in 1764 and ‘een kaerslicht van Cosyn’ (‘a candlelight by Cosyn’) was listed in a sale of 1669.311

305 Obreen 1877-90, IV, pp. 69, 73. 306 Weyerman 1729-69, IV, p. 39. Perhaps he was also referring to Stephanus Cosijn. 307 Collection of the painter Hendrik van Limborch, The Hague, 17 September 1759, no. 110: ‘Twee Bloemstukken, kragtig en goed, door Cousyns’ (‘Two Flower pieces, fine strong works, by Cousyns’); Hoet & Terwesten 1770, p. 221. According to Jager (Jager 2016, p. 294), Pieter Cosijn is probaby not the painter of the flower pieces in the 1759 inventory. 308 Christie’s, London, 10 June 1932, no. 81. 309 Hortus Regius Honselaerdicensis, Biblioteca Nazionale, Florence, MS Palatina 6, B.B. 8.5. About the Hortus Regius Honselaerdicensis see Apeldoorn 1988, pp. 288-289, no. 139, Pl. IV & XV. 310 Collection of Armand François Louis de Mestral de St. Saphorin, sale Vienna, 19 May 1806, no. 423. 311 Kaller, Frankfurt am Main, 12 March 1764, no. 28; Bredius 1915-22, IV, p. 1313, sale by the Amsterdam painter Jacobus Houstraet to Pieter Nijs, 27 November 1669; drawings are listed in other seventeenth-century and eighteenth-century inventories and sales.

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Stephanus Cosijn (attributed), Nasturtiums in a glass vase from Hortus Regius Honselaerdicensis (Fig. 8.75) Watercolour on paper, 515 x 355 mm. Biblioteca Nazionale, Florence, MS Palatina 6, B.B. 8.5.312 At the time, the Nasturtium was a species that had been only recently imported from Peru. Of particular note in this image is the source of light from the right casting a shadow on the left.

Fig. 8.75 Stephanus Cosijn (attributed), Nasturtiums in a glass vase from Hortus Regius Honselaerdicensis, watercolour on paper, 515 x 355 mm, Biblioteca Nazionale, Florence.

312 For the provenance of the Hortus Regius Honselaerdicensis see Oldenburger-Ebbers 2009, pp. 10-11. Exhibitions & literature: Schuurmans Stekhoven 1938; Apeldoorn 1988, pp. 288-289, no. 139, Pl. XV; Oldenburger-Ebbers 1990, p. 171, Fig. 11; Oldenburger-Ebbers 2009, p. 8, Fig. 1.

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Stephanus Cosijn (attributed), Flowers in an ornamented vase on a small foot from Hortus Regius Honselaerdicensis (Fig. 8.76) Watercolour on paper, 515 x 355 mm. Biblioteca Nazionale, Florence, MS Palatina 6, B.B. 8.5.313 In this little vase, we see a dark purple Auricula (Primula x pubescens purpurea), three Poppy Anemones (Anemone coronaria pseudoplena) and a Tulip (Tulipa agenensis bicolor). The soft shadow is quite touching.

Fig. 8.76 Stephanus Cosijn (attributed), Flowers in an ornamented vase on a small foot from Hortus Regius Honselaerdicensis, watercolour on paper, 515 x 355 mm, Biblioteca Nazionale, Florence.

313 For the provenance of the Hortus Regius Honselaerdicensis see Oldenburger-Ebbers 2009, pp. 10-11. Exhibitions & literature: Schuurmans Stekhoven 1938; Apeldoorn 1988, pp. 288-289, no. 139.

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Ernst van Dalen

Ernst van Dalen must have been born around 1648 in Gorinchem and died there in 1709, which may be inferred from the inscription on a portrait drawing.314 He was probably apprenticed to his father, Jan van Dalen (ca. 1610-in or after 1677), who was a painter of game and vanitas still lifes. The only known works by Ernst van Dalen are the portrait of a woman of 1676, a pair of bird pieces of 1683, a chicken piece of 1709, an overmantel painting, and a landscape. An Amsterdam auction of 1776 lists a flower piece by ‘E. van Dalen’.315

Isabella Dedel

According to the inventory of her estate dated 1685 at The Hague, Isabella Dedel painted two fruit pieces and ‘een stuck met Roosen’ (‘a piece with Roses’), most likely as an amateur.316 She was the mistress of Constantijn Huygens Jr (1628-1697), eldest son of the poet, courtier and statesman Constantijn Huygens and Suzanna van Baerle. The possessions listed in her inventory had been bequeathed to her underage daughter, Justina Huygens.

Christiaen van Dielaert

There is no biographical documentation on Christiaen van Dielaert. He was probably an artist from Holland because his works are listed in inventories and sale catalogues located in Amsterdam and Hoorn. He painted several meal still lifes, fruit pieces, and sumptuous still lifes with flowers, whilst a single flower piece is also known, which includes fruit in the foreground. Dated works are known for the years 1664, 1666 and 1671.317 Christiaen van Dielaert, Flowers in a ribbed glass vase, with fruit and shells (Fig. 8.77) Canvas, 103 x 86 cm, signed: Ch. Van Dielaert f ... Private collection.318 Sharp Tulip French Rose Turk’s Cap Lily Poppy Anemone Nettle-leaved Bell-flower Timothy’s Grass Sunflower Star of Bethlehem Tapered Tulip Carnation Cherry twigs

Tulipa mucronata Rosa gallica semiplena Lilium chalcedonicum Anemone coronaria pseudoplena Campanula trachelium Phleum pratense Helianthus annuus Ornithogalum umbellatum Tulipa armena Dianthus caryophyllus semiplenus Prunus cf. avium

Large White Butterfly Garden Snail

Pieris brassicae Cepaea hortensis

A glass vase with vertical ribbing design has been placed on a table with a cloth. A Sunflower crowns the upper right of the bouquet. In the foreground are redcurrants, apricots, peaches and a pomegranate.

Evert van Doyenburgh

Evert van Doyenburgh lived in Utrecht and is documented there from 1645 onward when he married Christina van de Wall.319 He died in that same city in 1664. Van Doyenburgh painted fruit and flower still lifes. We only know of one signed flower piece and a fruit festoon. The flower piece displays a bouquet that fans out at the top, with Roses, Tulips, Iris, Turk’s Cap Lily and other flowers in a vase, whose base has the shape of three winged female sphinx-like figures (Fig. 8.78).320 314 Kramm 1857-64, II, p. 317; Muller 1853, p. 68, no. 1230. 315 Amsterdam, 7 August 1776, no. 230. 316 Bredius 1915-22, VI, pp. 2025-2026, 18 January 1685. Paintings are also recorded without any description, as well as empty canvasses. 317 For Christiaen van Dielaert as a still life painter see Gammelbo 1957. 318 Provenance: private collection, Denmark 1957. Literature: Gammelbo 1957, p. 197, Fig. 2; Gammelbo 1960, pp. 120-121, no. 175; Gemar-Koeltzsch 1995, II, p. 288, no. 96/3. I have not seen the original painting. 319 Het Utrechts Archief, 702, inv. no. 3295, 21 June 1645. 320 Canvas, 101 x 83 cm, signed lower right: E. Van Doyenburgh, sale Mme Rheims at Charpentier, Paris, 10 June 1958, no. 89; Gemar-Koeltzsch 1995, II, pp. 298-299, no. 102/2; Van der Willigen & Meijer 2003, p. 75. I have not seen the original painting.

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Fig. 8.77 Christiaen van Dielaert, Flowers in a ribbed glass vase, with fruit and shells, canvas, 103 x 86 cm, private collection.

Fig. 8.78 Evert van Doyenburgh, Flowers in a baroque vase, canvas, 101 x 83 cm, private collection.

Ottomar Elliger I

Ottomar Elliger I was born in Copenhagen in 1633. Although a native of Denmark, Elliger is included in this book, because his art was strongly influenced by various Dutch artists, such as Jan Davidsz de Heem, Jacob Marrel and Willem Kalf (1619-1693), as well as by the German painter Georg Hinz. In Copenhagen he painted members of the royal family encircled by a cartouche with flowers. In 1660 he married in Amsterdam, taking as his wife Teuntje van Walscappelle of Dordrecht, an older sister of the painter Jacob van Walscappelle (Figs 8.20 and 8.21). Although he acted as a witness in 1662 in Dordrecht, Ottomar resided in Amsterdam until 1665. In that year he moved to Hamburg, and in 1670 to Berlin, where he entered the service of Frederick William, Elector of Brandenburg, as court painter, and where he died in 1679. Ottomar Elliger painted flower pieces, as well as cartouches, wreaths, garlands and festoons with flowers or fruit, plus separate fruit pieces, and also many other kinds of still lifes including sumptuous, vanitas, bird, and trompe l’oeil still lifes (that is, at least one example of each of these is known). He also executed combination works. In addition, he painted portraits and mythological scenes. In some of his flower pieces he painted individual blooms strewn on a ledge, just as Jacob Marrel had done earlier. A particular characteristic of Elliger’s work is his wilting and withering Roses. Sometimes we see that he repeated details. His work is usually easily recognizable on account of the luminous, somewhat impasto highlights and the thin, sharp but impasto contour lines of the flower petals. Other particularities are his use of a pinkish beige colour for the veining of Rose leaves accentuated by dark shadows, the leaves frequently showing signs of having been extensively chewed at by insects, while his butterflies are somewhat stiff. Dated paintings are known from 1653 through to 1678, with many from the year 1667. Two oval flower pieces are dated 1653. Flower pieces, most of them with a few pieces of fruit, can be found in the following public collections: 1662, in Göteborgs konstmuseum in Göteborg; 1664, in the Anhaltische | 497

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Gemäldegalerie Schloss Georgium in Dessau; 1671, in the Catharina Gasthuis in Gouda (on loan from the Rijksmuseum in Amsterdam); 1673, in the Rijksmuseum in Amsterdam; 1674, in the Gemäldegalerie Alte Meister in Dresden; 1678, in the Hamburger Kunsthalle in Hamburg and the Staatsgalerie in Stuttgart; and a painting with a false date in the Ashmolean Museum in Oxford.321 Ottomar Elliger I, Roses and Forget-me-nots on a marble ledge (Fig. 8.79) Panel, 24.7 x 19.9 cm, signed and dated lower right in pinkish beige: Ottman Elliger . / Fecit Anno i666 Private collection.322 On a marble ledge, rendered in different tones of grey and with an ornamental carved head under the corner in the foreground, we see a little sprig of Forget-me-not (Myosotis palustris) on a bent stem, two Cabbage Roses (Rosa x centifolia) and a bud and leaves showing much insect damage. Two Red Admiral Butterflies (Vanessa atalanta), a Small White Butterfly (Pieris rapae), and a two Cockchafer Beetles (Melolontha melolontha) enliven the image. A closely related work from the same period displays the same flowers and a Red Admiral in a somewhat different position.323 A similar carved table may be seen in other works by Elliger, for example in a painting of 1664 in Dessau.324

Fig. 8.79 Ottomar Elliger I, Roses and Forgetme-nots on a marble ledge, dated 1666, panel, 24.7 x 19.9 cm, private collection.

321 For further details on the life and oeuvre of Ottomar Elliger I see Bergström 1943; van Gelder 1946 and the Segal Still Life Documentation in the RKD, The Hague. 322 Provenance: Phillips, London, 11 March 1980, no. 55; Koetser Gallery, Zurich 1980; Charles Roelofsz Gallery, Amsterdam 1992; private collection, Germany; Noortman Gallery, Maastricht 1999; Sotheby’s, New York, 22 January 2004, no. 61. 323 Panel, 24.5 x 19.2 cm, dated ‘166.’, Bassenge, Berlin, 5 June 2009, no. 6003. 324 Panel, 25.5 x 20 cm, dated 1664, Dessau, Anhaltische Gemäldegalerie; Klingen 1996, pp. 64-65, no. 334.

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Caesar van Everdingen

Caesar van Everdingen was born in 1616 or 1617, probably in Alkmaar. He was apprenticed to Jan van Bronckhorst (1603-1661) in Utrecht and in 1632 he entered the Guild of Saint Luke in Alkmaar. In 1646 he married Helena van Oosthoorn, and in 1648 he and his wife moved to Haarlem. He died in Alkmaar in 1678. Van Everdingen painted portraits, group portraits, historical and allegorical images, and a wonderful painting with a bust of Venus. The inventory of his estate lists ‘een blompot, C.v.E.’ (‘a flowerpot, C.v.E.’).325 So far no flower pieces by Caesar van Everdingen are known.

Johannes Fabritius

Johannes Fabritius was born in Middenbeemster in the province of North Holland in 1636, son of the amateur painter Pieter Carelsz Fabritius (1598-1653), who was also his first master. After the death of his father, he possibly received further training from his older brother Barent (1624-1673). In 1676 he was active in Hoorn, where he is last documented in 1693. Johannes Fabritius painted flower pieces with fruit, as well as bird and fish still lifes. He also painted topographical works. Two flower pieces with fruit are known by him: a 1691 painting currently in Musée Jeanne d’Aboville in La Fère, and an undated work in the Musée des Beaux-Arts d’Orléans. Johannes Fabritius, Flower piece with fruit and two parrots (Fig. 8.80) Panel, 81 x 64 cm, signed and dated lower right in dark brown and grey: IOANNES . FABRICIUS pinx / 1691 Musée Jeanne d’Aboville, La Fère, inv. no. MJA 278.326 1 White Rose hybrid 2 Pot Marigold 3 Hollyhock 4 White Rose 5 African Marigold 6 French Marigold 7 Opium Poppy 8 Snapdragon 9 Lilac 10 Lady Tulip hybrid 11 Great Morning Glory 12 Honeysuckle 13 Snowball 14 Corn Marigold 15 Daisy 16 Provins Rose 17 Pot Marigold 18 French Rose hybrid 19 York and Lancaster Rose

Rosa x alba x R. gallica subplena Calendula officinalis plena aurantiaca Alcea rosea albescens Rosa x alba Tagetes erecta Tagetes patula Papaver somniferum plenum roseum Antirrhinum majus bicolor Syringa vulgaris Tulipa stellata x T. clusiana Ipomoea purpurea Lonicera periclymenum Viburnum opulus cv. Roseum Chrysanthemum segetum Bellis perennis plena Rosa x provincialis Calendula officinalis aurantiaca Rosa gallica x R. alba plena Rosa damascena cv. Versicolor

In the foreground 20 Purple Grapes 21 Peaches 22 Green Grapes

Vitis vinifera Prunus persica Vitis vinifera

A B C D e f

Arctia caja Maniola jurtina Vanessa atalanta Pieris brassicae Melolontha melolontha Prosopeia spec.

Garden Tiger Moth Meadow Brown Butterfly Red Admiral Butterfly Large White Butterfly Cockchafer Beetle Parakeet (2x)

The bouquet has been arranged in a glass vase with a narrow neck, ribbed at the top and with a silver stopper, set on a grey stone slab. Notable here are the Opium Poppy hanging down its head on the left; the extended stems of Honeysuckle in the upper right; the prominent U-shaped stem of the vine leaf in 325 Dresch 1935, p. 45. For further details on the life and oeuvre of Van Everdingen see Huys Janssen 2002. 326 Provenance: collection of Countess d’Héricourt, bequest to the museum in 1889. Literature: Brown 1981, p. 51, Fig. 38; Sumowski 1983-94, VI, pp. 3642, 3652 n. 69; Debrie 1988, pp. 38, 40-42, Fig. XXX; Moinet 1996, p. 64; Bénézit 1999, V, p. 252.

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Fig. 8.80 Johannes Fabritius, Flower piece with fruit and two parrots, dated 1691, panel, 81 x 64 cm, Musée Jeanne d’Aboville, La Fère.

the centre left; and the colourful parrots. The flower piece in Orléans shows a similar bunch of grapes and stem, one of the parrots and the four butterflies in corresponding positions, while the peaches have been replaced with plums. Striking differences in that painting, however, are the four Sunflowers which dominate the top of the bouquet.327

William Gowe Ferguson

William Gowe Ferguson was probably born around 1632 in Scotland. In 1648 he became a member of the Guild of Saint Luke in Utrecht, and the following year a citizen of that city. In 1651-1652 he travelled to France and Italy, remaining in Europe until 1660. Thereafter he resided in The Hague until 1680, with a three-year sojourn in England from 1672 to 1675. He married Sara van Someren of Stockholm in Amsterdam during 1681, prior to leaving once again for England. He initially painted landscapes but later primarily bird still lifes; he also painted trompe l’oeil works and a few flower pieces. In the latter paintings, his brushstrokes are rather loose and broad. Dated work is known from between 1656 and 1695. The 1700 inventory of Philips van Santwyck of The Hague records ‘een blomstuck van Fergeson’ (‘a flower piece by Fergeson’).328 A flower piece of 1659 is currently in the collection of the Museum Flehite in Amersfoort, and one of 1678 in the Musée des Arts Décoratifs in Lyon.329 327 Panel, 84.1 x 64.3 cm, Orléans, Musée des Beaux-Arts, inv. no. 1509; Moinet 1996, p. 64, with identifications; Amsterdam 1935, p. 13, no. 70, as Dutch school (17th century). 328 Bredius 1915-22, IV, p. 1424. 329 Canvas, 59 x 46 cm, Lyon, Musée des Arts Décoratifs, inv. no. 3167; Lyon, Bourg-en-Bresse & Roanne 1992, pp. 392-393, no. 375, as anonymous.

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Fig. 8.81 William Gowe Ferguson, Flowers in a wide glass vase with a lizard on a table with a red cloth, dated 1659, panel, 53 x 42 cm, Museum Flehite, Amersfoort.

William Gowe Ferguson, Flowers in a wide glass vase with a lizard on a table with a red cloth (Fig. 8.81) Panel, 53 x 42 cm, signed and dated lower right: WG Ferguson 1659. Museum Flehite, Amersfoort, inv. no. 1899-001.330 The flowers in this image have been arranged around the central Provins Rose. The top of the bouquet is marked by three large Tulips. The painting is in need of restoration; the panel is cracked down the middle.

François de Geest

François de Geest was born around 1635 into an artistic family in Leeuwarden. His father Wybrand de Geest (1592-after 1672) and his brother Julius (1638/39-1699) were portrait painters of the Frisian nobility. Very little is known about the life of François de Geest. A deed from 4 April 1682 records that he must have died before that date.331 The existing oeuvre is very limited and consists of flower and insect representations. Accurate depiction and diverse selection of species exhibit a real interest in botany. De Geest rarely signed his pictures. Dated work is known from 1653 (two) and 1668. The Fries Museum in Leeuwarden holds a watercolour drawing signed F.d.G. and dated 1653 showing a circular cartouche with insects.332 A flower piece dated 1653 with Roses in a Chinese vase, attributed to François de Geest, was obtained in the Spring of 2019 by the same museum (Fig. 8.82). 330 Literature: Gemar-Koeltzsch 1995, II, p. 345, no. 126/4. 331 For a biography of François de Geest see Huisman 2011. 332 Watercolour on parchment, 205 x 185 mm, Leeuwarden, Fries Museum, inv. no. P01944. Bakker 2008a, p. 41, Fig. 37.

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Apart from the two drawings in Leeuwarden, François de Geest also compiled two albums with watercolours of garden plants. The first florilegium bears the title Hortus Amoenissimus – Omnigenis Floribus, Plantis, Stirpibus and contains a drawing in which François de Geest is mentioned (and depicted) as the author of the work and also the year 1668 is stated. The manuscript is currently part of the collection of the Biblioteca Nazionale Centrale di Roma and contains drawings of more than five hundred botanical species and varieties of plants.333 The second florilegium contains a page with a cartouche in the form of a grotesque mask decorated with flowers. The title Jardin de Rares et curieux Fleurs faictes P[a]r Francois de Geest de Leavarde en Frise in the cartouche clearly indicates the authorship of François de Geest.334 The manuscript is not dated and contains drawings of two hundred and thirty-five different plants on vellum (Figs 11.23 and 11.24). It is the more luxurious version of the two. Both florilegia are preceded by a watercolour drawing in grey tones of a garden urn signed by Adam Pijnacker, François’ brother-in-law (Fig. 8.93).335 François de Geest (attributed), Roses in a Chinese vase (Fig. 8.82) Watercolour, gouache on vellum, 305 x 242 mm, dated on the lower right with brush and grey ink: A:°1653 Fries Museum, Leeuwarden, inv. no. S2019-065.336 1 Batavian Roses

Rosa x gallica cv. Batava

a Crane Fly Larva b Wasp Beetle C Meadow Brown Butterfly D Common Blue Butterfly e 7-spot Ladybird F Red Admiral Butterfly G Phoenix Moth H V-Moth i Beetle Larva j 7-spot Ladybird K Pale Clouded Yellow Butterfly Plus three unidentified insects

Tipula oleracea Clytus arietis Maniola jurtina Polyommatus icarus Coccinella septempunctata Vanessa atalanta Eulithis prunata Macaria wauaria Coccinella septempunctata Colias hyale

A large branch of Roses in bloom with half-open and closed buds stands in a pear-shaped vase made from Chinese porcelain. Different species of butterflies, caterpillars and beetles fly and sit on and near the Rose branch. The whole is depicted with great attention to detail, light and shadow. A drawing in the Groninger Museum greatly resembles the work in Leeuwarden (Fig. 8.83).337 It shows one Batavian Rose in a very similar pear-shaped blue and white vase with a bird on a branch and foliage. The same shadow can be found left of the vase. However, the whole is much more outlined and the bird looks the other way in the sketch. Maybe it served as a study for the work in Leeuwarden. This drawing is part of a series of drawings – including many Tulips – long attributed to Margareta de Heer (ca. 1600-before 1665), but the works are in fact by François de Geest.338 There is no doubt that François was familiar with the work of his thirty-year-older townswoman Margareta de Heer (Fig. 7.34) and her 333 Biblioteca Nazionale Centrale di Roma, Rome, MS Varia 291 (Banc._LXII). A facsimile edition of the album was published in 2011 (Menghini 2011; English ed. 2012) with an extensive commentary in a separate volume and complete identifications by Sam Segal (Segal 2011; English ed. 2012). It also includes those of the similar album now in the Oak Spring Garden Foundation, Upperville, Virginia. The study of these two albums enabled me to identify Tulip watercolours in the Groninger Museum as the work by François de Geest. 334 For the album in the Oak Spring Garden Foundation in Upperville, Virginia (inv. no. M-351) see Wheelock in Washington 1999, p. 57, Figs 48-49 and Tomasi 1997, pp. 84-87, no. 20 and Segal 2011. Tomasi attributed the florilegium to ‘Julius François de Geest (ca. 1639-1699)’ and mixed up the names and biographical data of the two brothers, Julius (1638/391699) on the one hand and François (ca. 1635-before 1712) on the other hand. Thieme & Becker and other publications also assumed that Julius and François were the same person. Bakker was the first to throw some light on the matter and clarified biographical information. Bakker 2008, pp. 196-197 and Bakker 2008a, p. 182. 335 For the drawing by Pijnacker in the manuscript in the Oak Spring Garden Foundation, Upperville, Virginia, see Bakker 2008a, p. 126, Fig. 114. 336 Provenance: private collection, The Netherlands; Onno van Seggelen Fine Arts, Rotterdam 2019; Collection Fries Museum, Leeuwarden, acquired with the support of the Vereniging Rembrandt (thanks to her Dorodarte Kunst Fonds and her Saskia Fonds). I would like to thank Katharina Schmidt-Loske for her help in identifying the larvae and the Phoenix Moth. 337 Groningen, Groninger Museum, inv. no. 1951.0597. 338 Segal 2011, p. 70. The flowers should be attributed to François de Geest, while the foliage of the plants was painted by someone else.

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Fig. 8.82 François de Geest (attributed), Roses in a Chinese vase, dated 1653, watercolour, gouache on vellum, 305 x 242 mm, Fries Museum, Leeuwarden. | 503

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Fig. 8.83 François de Geest (attributed), Batavian Rose in a Chinese vase, watercolour, 170 x 115 mm, Groninger Museum, Groningen.

nephew Willem (1637/38-1681) (Fig. 8.84).339 In order to gain a better insight into the oeuvre of these three Frisian artists, not only their signed works need to be studied thoroughly and compared with each other, but also their socio-economic relations need to be reconstructed through archival research.

Margaretha van Godewijck

Margaretha van Godewijck was born in 1627 in Dordrecht. She served an apprenticeship with Cornelis Bisschop I. Margaretha van Godewijck died in 1677 in Dordrecht. In addition to being a painter, she was a poet, harpsichordist, needleworker, and glass etcher. According to Houbraken, she also painted flowers in oils and watercolours.340 Today no flower pieces by Margaretha van Godewijck are known.341

Reinier de la Haye

Reinier de la Haye was probably born in The Hague between 1640 and 1645. In 1660 he became apprenticed to the portait painter Adriaen Hanneman (ca. 1604-1671) in that city, and in 1662 he entered the Guild of Saint Luke. In 1669 he became a member of the Guild of Saint Luke in Utrecht, but fled to Antwerp, possibly in the company of Jan Davidsz de Heem. De la Haye was registred as a master pain-

339 The literature indicates that François de Geest copied insects from Margareta de Heer (for example in Bakker 2008a, p. 41). Despite the age difference between the two, it is not unthinkable that Margareta also copied work made by François de Geest and/or that both artists even collaborated. 340 Houbraken 1718-21, I, p. 316. 341 For more on the artistic activities and oeuvre of Margaretha van Godewijck see the paper by Klara Alen, ‘‘Dit al wert u verthoont in dit mijn Schilderijtie’. De artistieke veelzijdigheid van Margaretha van Godewijck (1627-1677) in woord en beeld’, forthcoming.

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ter in the Antwerp Guild of Saint Luke in 1672.342 It is likely that he returned to Holland at some point. Reinier de la Haye died in or after 1695. De la Haye painted primarily portraits, genre pieces and historical scenes, but also several garlands and cartouches with flowers and fruit. Eighteenth-century sales in Amsterdam and London report works with flowers, but whether these are flower pieces remains uncertain.343

Willem de Heer

Willem de Heer was born in 1637 or 1638 in Leeuwarden, son of the glazier Gerrit de Heer (1606-1670), who trained him in his profession. Nonetheless, Willem is known principally for drawings of flowers in watercolour and body colour, a number of them depicting several individual flowers strewn on a stone ledge with a bird and insects, of which three examples may currently be found in the Fries Museum in Leeuwarden. To a certain extent his works are reminiscent of those by his aunt Margareta de Heer (Fig. 7.34), and François de Geest (Fig. 8.82). Willem de Heer is documented in Amsterdam in 1677 and died there in 1681. Several dozen of his flower drawings were done on commission for Agnes Block.344 Willem de Heer, Flowers and a Chaffinch on a stone ledge surrounded by insects (Fig. 8.84) Watercolour and body colour on prepared paper, glued to a wooden panel, 215 x 290 mm, signed lower right in grey: W D. HEER. Fries Museum, Leeuwarden, inv. no. P1982-068.345 1 2 3

Red Tulip Corn Poppy Provins Rose

Tulipa agenensis bicolor Papaver rhoeas Rosa x provincialis

Fig. 8.84 Willem de Heer, Flowers and a Chaffinch on a stone ledge surrounded by insects, watercolour and body colour on prepared paper, glued to a wooden panel, 215 x 290 mm, Fries Museum, Leeuwarden.

342 Rombouts & Van Lerius 1864-76, II, pp. 418, 426, 436. 343 Amsterdam 1739; Prestage, London, 14 May 1762, no. 34. 344 See above under Moninckx; Segal in Frankfurt & Haarlem 1997-98, pp. 79-81, including literature; Van de Graft 1943, pp. 118-121, 135, 144-146; Leeuwarden 2002, p. 102. 345 On the reverse of the panel the coats of arms of Freiherr von Landberg and Count Galen. Provenance: S. Nystad Gallery, The Hague; sold to the museum with the pendant in 1982; acquisition with support of the Vereniging Rembrandt. Literature: Bol 1982, pp. 94, 96, Fig. 22; Leeuwarden 2002, pp. 102, 118.

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A Chaffinch B Great Green Bush Cricket C Meadow Brown Butterfly D The Herald Butterfly E Red Admiral Butterfly F Blue Butterfly Plus seven small insects

Fringilla coelebs Tettigonia viridissima Lasiommata jurtina Scoliopteryx libatrix Vanessa atalanta Lycaenidae spec.

The pendant depicts a similar scene and the Tulip is the same, but the side of the ledge is on the right instead of the left, the Roses are laid differently, there is a different kind of Finch and three different butterflies, a large dragonfly and eight small insects.346

Herman Henstenburgh

Herman Henstenburgh was born in 1667 in Hoorn. He was apprenticed to Johannes Bronckhorst, who taught him how to bake pastries as well as how to draw flowers and insects in watercolour and body colour, usually on parchment. Henstenburgh died in Hoorn in 1726. He produced an array of paintings, including diverse flower and fruit still lifes, some of them with a vanitas theme, plus landscapes and gardens with birds, all painted meticulously in bold colours. Henstenburgh signed H. Henstenburgh or HHB joined. His son, Anton Henstenburgh (1695-1781), who was his apprentice, had a rather more limited range of subjects.347 Herman Henstenburgh, Flower swag around a garden vase and fruit on a stone ledge (Fig. 8.85) Watercolour and body colour on vellum with the remains of black chalk, 470 x 350 mm, signed lower right in brownish red: H: Henstenburgh . fec Private collection.348 In the swag ( from the top down) 1 Ground Ivy 2 Marsh Mallow 3 Nonesuch Daffodil 4 Holly with berries 5 Pot Marigold 6 Borage 7 Turban Buttercup 8 Blue Mountain Anemone 9 Columbine 10 Horned Poppy 11 Dog Rose 12 Ivy 13 Liverwort 14 Comfrey

Glechoma hederacea Althaea officinalis Narcissus x incomparabilis Ilex aquifolia Calendula officinalis Borago officinalis Ranunculus asiaticus plenus miniatus Anemone apennina Aquilegia vulgaris Glaucium flavum Rosa canina Hedera helix Hepatica nobilis Symphytum officinale

On the ledge 15 Peaches 16 Musk Grapes 17 Hazelnuts

Prunus persica Vitis vinifera Corylus avellana

A Silver-bordered Fritillary Butterfly b Yellow Meadow Ant c Garden Snail

Boloria selene Lasius flavus Cepaea hortensis

346 Watercolour and body colour on prepared paper, glued to a wooden panel, 215 x 290 mm, Leeuwarden, Fries Museum, inv. no. P1982-067. Leeuwarden 2002, p. 119. 347 For an overview of Herman and Anton Henstenburgh’s life and work see the Segal Project and the dissertation by my former student Anne Zaal in the Segal Still Life Documentation donated to the RKD (Zaal 1991). Works with a black background that are attributed to Henstenburgh in the literature are works by the Nuremberg artist Barbara Regina Dietzsch (1706-1783), or her circle. 348 Provenance: Elsbeth van Tets Antiques, Amsterdam 1990; collection of Jacobus A. Klaver, Wageningen; his sale Sotheby’s, Amsterdam, 10 May 1994, no. 85; Sotheby’s, London, 9 July 2003, no. 112. Exhibitions & literature: Hoorn 1991, pp. 6, no. 16, 17, Fig. 13; Zaal 1991, II, no. A 027; Amsterdam 1993, pp. 216-217, no. 102.

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Fig. 8.85 Herman Henstenburgh, Flower swag around a garden vase and fruit on a stone ledge, watercolour and body colour on vellum, 470 x 350 mm, private collection.

Half of the flowers shown here are native. Of these, the Marsh Mallow (Althaea officinalis) is an unusual choice and the yellow Horned Poppy (Glaucium flavum) is extremely rare. The Marsh Mallow still grows in the area around Hoorn among the reed banks, which in times past would be periodically flooded by silt water, and the Horned Poppy probably grew along what used to be the coast of the Zuiderzee, which was partially drained and closed by dikes in the twentieth century. The peach leaves have been attacked by insects. A painting with a flower swag around a vase and a swag around the bust of a woman are in the collection of the Fitzwilliam Museum in Cambridge.349

349 Watercolour and body colour on vellum, 319 x 277 mm, Cambridge, The Fitzwilliam Museum, inv. no. PD 645-1973; watercolour and body colour on vellum, 442 x 348 mm, Cambridge, The Fitzwilliam Museum, inv. no. PD 647-1973.

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Van Heusden

A flower piece signed Van Heusden was put up for auction in Brussels in 1949.350 It is possible that the painter was Adolf van Heusden (1643-1714/24), who lived and worked in Bergen op Zoom. A fruit piece dated 1670, and signed A. de Heusden, is also attributed to him.351 Another candidate, although less likely, is Adriaen van Heusden, who is documented in The Hague from 1678 to 1703.352

Magdalena Hofmann

Magdalena Hofmann was born in Zurich in 1633, the daughter of Samuel Hofmann (1591/92-1649) and Lijsbet Jans Basson. Samuel Hofmann painted portraits, historical scenes, and also still lifes, some of them in the style of Frans Snyders. Magdalena grew up in Amsterdam, married four times, and died in 1688. She is mentioned as a painter of flowers, portraits and works of a religious nature, but today not a single work by her is known.353

Justus van Huysum I

Justus van Huysum I was born in 1659 in Amsterdam. In 1675 he was apprenticed to the landscape and historical painter Nicolaes Berchem. In 1681 Justus married Margrietje Schouten, who died in 1689 after bearing him five children, three of whom also became painters: the still life painters Jan (1682-1749) and Jacob (1688-1740), and Justus II (1685-1707), who died at the age of twenty-two. In 1690 Justus I remarried Elisabeth Sanderus. To this marriage another seven children were born, including Michiel (1703-1777), who later became a painter of flowers and fruit, and Josua (1699-1728), who painted in other genres. Justus I was primarily active as a decorative interior painter. In his workshop, he took on his sons as apprentices, and they worked alongside him producing paintings. He also sold artists’ materials. Justus I died in Amsterdam in 1716. In addition to flower pieces, Justus also painted other types of flower still lifes, fruit pieces and a forest floor piece, along with landscapes, portraits, equestrian pieces and genre paintings. His typical interior paintings were chimneypieces and overdoor paintings. We also have studies in watercolour of still lifes and of individual flowers. Dated work is known from between 1685 to 1699. As a decorative painter, Justus van Huysum I used a brushstroke that is broader than that of his sons, while the contrasts in his paintings are harsher, with deeper shading. These differentiate his works from those of his more famous son Jan, who quickly developed as an artist and grasped the techniques of fine painting. Justus’s works reveal the influence of Jan Davidsz de Heem and Willem van Aelst, but his compositions are original in a number of specific respects. For example, his work is frequently recognizable on account of the general use of terracotta vases (although sometimes these might be of bronze) standing on a solid foot, while either the vase, or the foot, or both are polygonal with sharp edges, or have a bowl that is wide at the bottom and decorated with putti or medallions. Occasionally he adds a parrot. Sprays of flowers such as Nasturtium, Great Morning Glory or Small Morning Glory often trail down in front of the foot of the vase in an arc. The flower arrangements have frequently been set in a niche. His signature, typically Justus Van Huijsum in full, or with his first name abbreviated as Jus, or only with the letter J, may display different kinds of ligation between the letters, although usually the ‘J’ is joined with the ‘H’, the ‘V’, or both. Flower pieces are in the Fitzwilliam Museum in Cambridge (three), Museum De Lakenhal in Leiden, the Pushkin State Museum of Fine Arts in Moskow, the Musée des Beaux-Arts in Quimper, the Museum of Fine Arts in Springfield (Massachusetts), the State Hermitage Museum in Saint Petersburg, the Staatliches Museum in Schwerin (three), the collection of the Cultural Heritage Agency of the Netherlands, and the castles Amerongen and De Cannenburgh (two) in Vaassen. Studies in watercolour are in the Amsterdam Museum, the Gemäldegalerie in Berlin (two), the Hamburger Kunsthalle in Hamburg and the British Museum in London.354

350 351 352 353 354

Brussels, 19 December 1949. 51 x 43 cm. The flower piece has probably been cut. For an illustration see Gemar-Koeltzsch 1995, II, p. 486, no. 170/1. Obreen 1877-90, IV, pp. 174-175; Bredius 1915-22, IV, pp. 1140-1141, VII, pp. 108-109. Kloek, Peters Sengers & Tobé 1998, p. 145. See further Ellens & Segal 2006-07, p. 15; Segal in Delft & Houston 2006-07, pp. 130-133, nos P9 and P10; the Segal Project and the Segal Still Life Documentation in the RKD, The Hague.

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Justus van Huysum I, Hollyhocks and other flowers in a decorated vase on a hexagonal foot (Fig. 8.86) Canvas, 118.1 x 91.5 cm, signed lower left in dark brown: Jus. V. Huijsum (‘J’, ‘V’ and ‘H’ ligated) The Fitzwilliam Museum, Cambridge, inv. no. PD 28-1975.355 1 Cabbage Rose 2 Great Morning Glory 3 Opium Poppy

Rosa x centifolia Ipomoea purpurea Papaver somniferum liliaceum

Fig. 8.86 Justus van Huysum I, Hollyhocks and other flowers in a decorated vase on a hexagonal foot, canvas, 118.1 x 91.5 cm, The Fitzwilliam Museum, Cambridge.

355 With pendant inv. no. PD.29-1975. Provenance: sale H. Helbing, Munich, 16 June 1931, no. 51; Galerie Böhler, Munich; collection of Baron Marcell von Nemes, Munich; Sotheby’s, New York, 15-18 January 1947, no. 444; collection of the Duke of Kent; collection of Henry Rogers Brougton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge), donated with the collection to the museum in 1975. Exhibitions & literature: Amsterdam 1933, nos 164-165, with pendant; Grant 1952, p. 64, no. 61; Pavière 1962-64, I, p. 37; Wright 1976, p. 95; Wright in Birmingham 1989-90, p. 209, with incorrect inventory numbers; Davies 1993, p. 59 n. 7 under no. 7; Gemar-Koeltzsch 1995, II, pp. 528-529, no. 186/5, as by Jan van Huysum.

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4 Pot Marigold 5 Hollyhock 6 French Marigold 7 Austrian Copper (Briar) 8 Forget-me-not 9 African Marigold 10 Hollyhock 11 English Iris 12 Jerusalem Artichoke 13 Sweet Pea 14 Trumpet Honeysuckle 15 Umbelliferous flower 16 Stock 17 Lupine 18 Herb Robert 19 German Flag Iris 20 Hollyhock 21 Small Morning Glory 22 Corn Poppy

Calendula officinalis Alcea rosea pseudoplena alba Tagetes patula Rosa foetida cv. Bicolor Myosotis palustris Tagetes erecta Alcea rosea rubra Iris latifolia pallida Helianthus tuberosus Lathyrus odoratus Lonicera sempervirens Apiaceae spec. Matthiola incana Lupinus polyphyllus bicolor Geranium robertianum Iris germanica Alcea rosea (simplex) Convolvulus tricolor Papaver rhoeas

A Meadow Brown Butterfly b Garden Snail

Maniola jurtina Cepaea hortensis

There are several elements in this work which may also be observed in Jan van Huysum’s earliest works from the beginning of the eighteenth century, such as the vase decorated with putti, the Jerusalem Artichoke and the Lupine. However, the shape of the vase and its other decorations, acanthus leaves and shells, are characteristic of the works of Justus. The diagonal axis running through the Cabbage Roses is reminiscent of the works of Willem van Aelst. A related work is the overdoor painting in the Museum Arnhem (Fig. 8.87). The signature of Justus van Huysum I (Fig. 8.87a) is completely different from that of his son Jan van Huysum.356

Fig. 8.87a Signature of Justus van Huysum I.

356 Arnhem, Museum Arnhem, inv. no. GM 07896; Pavière 1962-64, I, p. 36 as Jan van Huysum; Pavière 1965, p. 44 as Jan van Huysum; Buurman & Temminck Groll 1990, p. 237, Fig. 164; Segal in Delft & Houston 2006-07, pp. 49-50, Figs 5.1 and 5.2.

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Fig. 8.87 Justus van Huysum I, Flowers in a decorated vase, canvas, 140 x 111 cm, Museum Arnhem, Arnhem.

Isaak Kleynhens

Isaak Kleynhens was born in 1633, son of the tanner Marten Martensz Klijnhans (1598-1644). In 1660 Isaak married Magdalena Molineus in Amsterdam. In addition to being a painter, Isaak is documented in 1674 as being a leather merchant. Magdalena died in 1688. Thereafter Isaak moved to Haarlem, where he was entered in the Guild of Saint Luke in 1696.357 He died in that city in 1701. Isaak painted flowers and fruit. The 1701 inventory of Josua Sanderus, the brother-in-law of Justus van Huysum I, lists ‘een blomstuck van Kleynhens’ (‘a flower piece by Kleynhens’) and ‘een ditto van deselve’ (‘a ditto of the same’).358 No work by this artist is known to exist.

357 Miedema 1980, II, p. 948. 358 Bredius 1915-22, IV, p. 1195.

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Gerard and Jacques de Lairesse

Gerard de Lairesse was born in Liège in 1641. He initially learned the trade from his father Reinier de Lairesse (ca. 1596-1667), and from 1655 was apprenticed to Bertholet Flémalle (1614-1675). A tempestuous affair with two sisters, which also involved broken promises of marriage, led one of the sisters to attack him with a knife. Gerard de Lairesse fled to Utrecht with his fiancée Marie Salme, whom he married on the way in Navagne. In 1665 he set himself up in Amsterdam, where he founded his own academy and quickly won success with his mythological and allegorical paintings. In 1689 Gerard de Lairesse went blind and wrote two books: Grondlegginge der teekenkonst and Groot schilderboek, published in Amsterdam in 1701 and 1707 respectively.359 He continued to live in Amsterdam until 1711. There is a flower and fruit cartouche combined with an allegorical image by him dated 1664, now in the Schlossmuseum in Aschaffenburg.360 An Amsterdam auction of 6 April 1695 lists ‘een vaes met bloemen, van Larisse’ (‘a vase with flowers by Larisse’), while an Amsterdam auction of 23 July 1722 reports a flower piece by Gerard de Lairesse.361 The former could also refer to a work painted by his younger brother Jacques de Lairesse (ca. 1645-1690), a decorative painter, who painted allegorical images and grisaille trompe l’oeil images set in a niche. Jacques de Lairesse had also come to live in Amsterdam, and according to Houbraken, his best work was in painting flowers.362

Pieter de Leeuw

A flower piece described as ‘Flowers in a sculptured vase’ and signed Pieter de Leeuw was put up for auction twice in London in 1950.363 Another flower piece signed P. v. Leeuw F was auctioned in 1923 in Amsterdam and again in 1950 in New York.364 According to the descriptions given, this was a flower piece showing red and white Roses, together with quite a lot of foliage, in a decorated metal or earthenware vase, with a further Rose and cherries in the foreground on a marble slab and butterflies in flight. It is possible that the artist of these works was the Pieter van der Leeuw who was born in Dordrecht in 1647 and served an apprenticeship with his father, the animal painter Bastiaan Govertsz van der Leeuw (1624-1680). Pieter became a member of the guild in 1669, married in 1674, and died in 1679.365 His main subjects were cattle pieces and hunting scenes, and a market piece is also known.

Cornelis Lelienbergh

The first document we have relating to the life of Cornelis Lelienbergh is his registration in the guild in The Hague in 1646. In 1656 he was a co-founder of the Confrerie Pictura of that same city. However, in 1666 he was a clerk in the village of Zuiddorpe. He painted game and bird still lifes, but also several animal, fruit, and stable pieces. Dated work by him is known for the years 1650 through to 1680. A Hague inventory of 1652 lists a flower piece; this must have been one of his early works.366 In 1786 a flower piece by Lelienbergh was sold at auction in Brussels.367 No flower pieces by him are known today.

Robbert van Mandevyll

The painter Robbert van Mandevyll was born around 1617 in Middelburg and married Sara Rodenburg in Amsterdam during 1644. In 1649 he acquired citizen rights in Amsterdam, and remained there until his death in 1673. In 1653 he had an inventory made up of his personal goods, which was to serve as security for a debt. The list includes ‘een blompot sonder lyst’ (‘a flowerpot without frame’), valued at two guilders.368 No work by Robbert van Mandevyll is currently known.

359 360 361 362 363 364 365 366 367 368

See also Chapter 1. Brochhagen et al. 1975, p. 121, no. 6509. Amsterdam, 6 April 1695, no. 47; Jan Pietersz Zomer, Amsterdam, 23 June 1722, no. 69. Houbraken 1718-21, III, p. 133. Canvas, ca. 86.3 x 61 cm; Christie’s, London, 23 June 1950, no. 82 and 20 October 1950, no. 119. Panel, 49 x 37.5 cm; Frederik Muller, Amsterdam, 13 November 1923, no. 93; Parke Bernet, New York, 2 March 1950, no. 5. Veth 1890. Meijer in Buijsen 1998, pp. 185-189. Brussels, 10 July 1786, no. 10. Bredius 1915-22, III, p. 761, 5 July 1653.

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Jan Marcelis

In 1662 an Amsterdam auction lists a vase with flowers by Jan Marcelis.369 No flower piece by Marcelis is currently known. Records of forest floor pieces with snakes by ‘Marcelis’ most likely refer to works by the painter Otto Marseus van Schrieck.370

Daniël Marot I

Daniël Marot I was a Frenchman by birth and became a naturalized citizen of Amsterdam in 1709. He was born about 1663 in Paris. During 1685 he settled in The Hague, where he quickly entered the service of William III of Orange and his wife Mary Stuart. As an interior and garden architect he worked on many royal residences in Holland, including Paleis Noordeinde and Huis ten Bosch in The Hague, and Paleis Het Loo in Apeldoorn. In 1694 Marot married Catharina Maria Golé in Amsterdam. In 1695-1696 he was in London, where he supervised the implementation of his designs for the interiors of Hampton Court and Kensington Palace commissioned by William. After the death of William in 1702, Marot entered the service of the States General of the Netherlands. He alternated his place of residence between The Hague and Amsterdam, until he settled for good in The Hague in 1713. In the meantime, he worked on canal houses in Amsterdam and country estates elsewhere in the United Provinces. He died in The Hague in 1752.

Fig. 8.88 Andries van den Berg after Daniël Marot I, Chimneypiece with flowers in a decorated vase for the bedroom of Queen Emma, dated 1897, canvas, 110 x 93 cm, Paleis Het Loo, Apeldoorn. 369 Amsterdam, 1 October 1662. 370 Based on the manuscript list of painters who lived in Haarlem drawn up by Van der Vinne, Van der Willigen & Meijer refer to Jan Claesz Marcelis, member of the guild in Haarlem in 1610 (Van der Willigen & Meijer 2003, p. 137). His membership is nowhere to be found in the published sources of the Haarlem guild by Miedema. A certain Jan Klaassen Marcelis worked as plumber and ‘vinder’ (‘finder’) of the guild from 1662 onwards. Van der Willigen 1866, p. 23 and Miedema 1980, II, pp. 1160-1161.

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Daniël Marot I made drawings and engravings of designs for interiors, including those for ceilings and chimneypieces, as well as gardens and garden ornaments, including vases. A few watercolours of Tulips are also known by him. Many of his designs may be found in the Rijksprentenkabinet in Amsterdam and the University of Leiden, plus other public collections. Whether he himself painted is unknown, however it is certain that his designs were executed by others, also in later centuries, for example in 1897 by Andries van den Berg (1852-1944) (Fig. 8.88).371

Cornelis May

A flower painter named Cornelis May is listed in the register kept between 1669 and 1678 by the Amsterdam ‘city doctor’ and art connoisseur Jan Sysmus.372 No works by him are known today.

Maria Sibylla Merian

Maria Sibylla Merian was born in Frankfurt am Main in 1647 and was the daughter of the famous engraver and publisher Matthäus Merian I (1593-1650) and Johanna Catharina Heim. Her father died when Maria was still very young. In 1651 her mother remarried, this time to the still life and flower painter Jacob Marrel, who taught Maria Sibylla Merian to paint.373 In 1665 she married Johann Andreas Graff (1637-1701), one of her stepfather’s apprentices. The couple moved to Nuremberg. She had two daughters, Johanna Helena (1668-after 1723) and Dorothea Maria (1678-1743), who, just like their mother, became expert in painting watercolours of flowers and insects.374 In 1685 Maria Sibylla left her husband and moved with her mother and daughters to the Netherlands, where she lived until 1691 at Walta state in Wieuwerd, in the province of Friesland, in a Labadist commune. Afterwards she moved to Amsterdam. From a young age Maria was interested in butterflies and other insects and their metamorphosis. For that reason, she began to keep caterpillars, so as to be able to observe and describe their metamorphoses from immature larvae, through several molts to their transformation into pupae, and on to their emergence as adult insects, as well as the plants they fed on, and to draw them in books of studies, which formed the foundation for her three books about caterpillars, each containing fifty prints, published between 1679 and 1713 in various editions. Her first publications, however, were three books on flowers, published between 1675 and 1680, each with twelve prints, including several flower still lifes, along with a few wreaths and garlands, bunch of flowers tied up in a bow, a basket with flowers (Fig. 10.42) and flowers in a vase decorated with Cranes (Fig. 10.43). In 1699 Maria Sibylla Merian travelled to Suriname in order to study the lifecycle of insects and other animals there, which resulted in the publication in 1705 of a folio-sized book entitled Metamorphosis insectorum Surinamensium.375 Following her trip to Suriname, Maria fell ill. In 1714 or 1715 she suffered a stroke, which made it almost impossible for her to continue her activities, so her daughters continued her work. Maria Sibylla Merian died in Amsterdam in 1717.376 Little bunches of flowers, with or without a ribbon, are known to exist for the period before 1685, as well as from her later years in Amsterdam. These images also appear in the flower books. She often painted flower pieces and fruit pieces in pairs. The flowers are arranged in white vases decorated with blue chinoiserie figures, animals, including birds and insects, or branches with leaves or flowers. Her earliest flower piece is signed and dated 1675, where the arrangement displays a Crown Imperial at the top and butterflies on the wing.377 Two flower vases in the Kupferstichkabinett in Berlin are of a slightly later date, probably about 1680.378 A flower piece in a Chinese vase now in a private collection was probably executed shortly after 1690 (Fig. 8.89). A flower piece in an album now in Windsor Castle may be dated to around 1705; it presents flowers strewn on a grey stone slab.379 Finally, there are two bouquets with 371 372 373 374 375 376 377 378 379

Apeldoorn, Paleis Het Loo, inv. no. PL1141. Bredius 1890, p. 5. See Chapter 7. For the work of Johanna Helena and Dorothea Maria see the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. The original watercolours for this publication and other works by her may currently be found in the Academy of Sciences in Saint Petersburg and the British Museum in London, as well as in other collections. Among the abundant literature available see Segal 1997; Frankfurt & Haarlem 1997-98; Schmidt-Loske 2007; Amsterdam & Los Angeles 2008 and Berlin & Frankfurt 2017-18. Watercolour and body colour on vellum, ca. 350 x 260 mm, private collection; Nuremberg 1962, p. 65, no. A 160, Fig. 25. I have only seen a black and white reproduction. Watercolour and body colour on vellum, 265 x 185 mm, Berlin, Kupferstichkabinett der Staatlichen Museen zu Berlin, inv. nos KdZ 8929 and KdZ 8949; Frankfurt & Haarlem 1997-98, pp. 118-120, nos 62 and 63. Watercolour and body colour on vellum, 252 x 353 mm, Windsor, Windsor Castle, inv. no. RL 21234; Rücker & Stearn 1982, pp. 28-29, with many erroneous identifications; see Segal 1997, p. 87 n. 32.

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flowers in vases the same shape as the chinoiserie vases, but decorated with branches and set on grey blocks of marble. On the plinth we read MARIA SIBIJLLA MERIAN.F.a AMS=D. 1714. These are much less complex works than the early flower pieces, with few structured flowers and leaves. The supplementary work consists of only a few ants.380 Maria Sibylla Merian, Chinese vase with an English Iris and other flowers (Fig. 8.89) Watercolour on vellum, 373 x 298 mm, signed lower right in brown: Pinxit maria S. Merian Private collection.381 1 2 3 4 5 6 7 8 9 10 11 12

Pomegranate blossom Blue Passion Flower Auricula Blunt Tulip English Iris Garden Nasturtium Pheasant’s Eye foliage Hyacinth Snake’s Head Fritillary White Rose Carnation Poppy Anemone

a Walker Beetle

Punica granatum plenum Passiflora coerulea Primula x pubescens alba Tulipa mucronata bicolor Iris latifolia pallida Tropaeolum majus Adonis spec. Hyacinthus orientalis albus Fritillaria meleagris alba Rosa x alba duplex Dianthus caryophyllus subplenus luteus Anemone coronaria bicolor Polyphylla fullo

Fig. 8.89 Maria Sibylla Merian, Chinese vase with an English Iris and other flowers, watercolour on vellum, 373 x 298 mm, private collection.

380 Watercolour and body colour on vellum with sketch lines in black chalk, 305 x 245 mm, private collection. For an extended overview of the flower pieces, see Segal 1997, the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. 381 Provenance: Rafael Valls Gallery, London 1983; private collection, Germany; Antiquariaat Junk, Amsterdam; Arader Galleries, Philadelphia. Exhibitions & literature: Segal in Amsterdam 1994, pp. 71, Fig. 55, 118, no. 143; Segal 1997, p. 75; Wettengl in Frankfurt & Haarlem 1997-98, pp. 165-167, no. 110.

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A wide Chinese vase, decorated with figures including two fishermen, has been placed on the left of a wooden table. All these flowers can be traced back to the first two volumes of the flower books of 1675 and 1679. The bouquet here is more dynamic than the others that were painted in a Chinese vase, such as the two lovely flower pieces in the Kupferstichkabinett in Berlin. The signature using her maiden name indicates that this is a work from a later date, probably shortly after 1690, after her separation from Johann Andreas Graff. Signed work by Maria Sibylla Merian is rare.

Cornelis van der Meulen

Cornelis van der Meulen was born in 1642 in Dordrecht. He was apprenticed to Samuel van Hoogstraten (1627-1678). In or shortly before 1689, at the age of forty-seven, he moved to Sweden, where he became a member of the guild in Stockholm, and died there a few years later in 1692. He painted vanitas, trompe l’oeil, and hunting still lifes, as well as portraits and topographical representations. Dated work is known from between 1668 and 1689. A signed flower piece was auctioned in Rotterdam on 20 July 1768.382 Currently no flower pieces are known by him.383

Michiel van Musscher

The painter of portraits and merry companies Michiel van Musscher, who was also an engraver, was born in 1645 in Rotterdam. In 1688 Van Musscher was given citizen rights in Amsterdam, where he died in 1705. Ottomar Elliger II (1666-1732) and Dirk Valckenburg (1675-1721) were his apprentices. In the collection of the North Carolina Museum of Art in Raleigh is an unsigned painting representing an allegorical portrait of an artist in her studio (Fig. 8.90).384 Since the beginning of the eighteenth century this has been regarded as a work of Constantijn Netscher (1668-1723), and only in 1999 was it recognized as a work of Michiel van Musscher.385 In this work the central figure points with the paintbrush in her right hand to an easel holding a painting with flowers. The flower piece which served as the model for the painting in this work has turned up on the art market, and is now attributed to Michiel van Musscher. Michiel van Musscher (attributed), Flowers in a baroque vase in a niche (Fig. 8.91) Canvas, 56 x 46 cm. Private collection.386 1 Deptford Pink 2 Marguerite 3 White Rose 4 Garden Nasturtium 5 African Marigold 6 German Flag Iris 7 Stock 8 French Rose 9 Broom 10 Snakeweed 11 Carnation 12 Cabbage Rose 13 Small Morning Glory

Dianthus armeria Leucanthemum vulgare Rosa x alba subplena Tropaeolum majus Tagetes erecta Iris germanica Matthiola incana alba Rosa gallica Cytisus scoparius Polygonum bistorta Dianthus caryophyllus plenus Rosa x centifolia Convolvulus tricolor

a Brown Hawker Dragonfly b Copse Snail C Small Tortoiseshell Butterfly

Aeshna grandis Arianta arbustorum Aglais urticae

The vase decoration includes two playful putti with a trident and water jug, whilst its foot has scrollwork and acanthus leaves, which together give the impression of a mascaron.

382 Bredius 1915-22, V, p. 1761 n. 1. 383 He is also referred to by the name ‘Vermeulen’ in biographies. This erroneous amendment of the name prefix ‘Van der’ into ‘Ver-’ also occurs with the artists Pieter van der Meulen, Barend van der Meer, Johannes van der Meer (‘Vermeer’), and possibly others. 384 Raleigh, North Carolina Museum of Art, inv. no. G.57.10.1, gift of Armand and Victor Hammer. 385 Wheelock in Washington 1999, pp. 72-74, Fig. 64, 84, no. 22. The portrait and flower piece have been variously interpreted as a representation of Maria van Oosterwijck (1630-1693) and Rachel Ruysch (1664-1750). De Jongh 2000. 386 Provenance: private collection, Germany; Galerie Neuse, Bremen; Galerie Haboldt & Co., Paris; Noortman Gallery, Maastricht.

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Fig. 8.90 Michiel van Musscher, Allegorical portrait of an artist in her studio, canvas, 114.2 x 91 cm, North Carolina Museum of Art, Raleigh. | 517

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Fig. 8.91 Michiel van Musscher (attributed), Flowers in a baroque vase in a niche, canvas, 56 x 46 cm, private collection.

Matthijs Naiveu

Matthijs Naiveu was born in 1647 in Leiden. In 1665 he was apprenticed to Abraham Toorenvliet (16401692), and from 1667 through to 1669 to Gerard Dou (1613-1675). Naiveu died in 1726 in Amsterdam. He painted mostly genre pieces and portraits, but several still lifes by him are also known, among them a single flower piece (possibly only a fragment) signed lower right M. Naiveu f. (Fig. 8.92). It is a work with flowers in a low, wide cylindrical vase with double curved handles and figures of adults and children in relief. A certain number of flower species can be identified from a black and white photograph, the only image available.387 Carnation Rose Small Morning Glory Pot Marigold Opium Poppy

Dianthus caryophyllus plenus Rosa spec. plena Convolvulus tricolor Calendula officinalis Papaver somniferum plenum

387 Christie’s, London, 18 February 1936, no. 19.

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Fig. 8.92 Matthijs Naiveu, Flowers in a decorated vase, panel, 31 x 25 cm, private collection.

Elisabeth Neal

In his book published in 1662 entitled Het gulden cabinet vande edel vry schilder const [...], Cornelis de Bie mentions a woman who was a painter of flowers named Elisabeth Neal, probably originally from England, who was living in the Netherlands at the time.388 No works by this artist are known today.

Catharina Oostfries

Catharina Oostfries was born in 1636 in Nieuwkoop. In 1661 she married Claes van der Meulen (16421693), a glass painter and marine painter, in Alkmaar, who was a colleague of her older brother Jozef Oostfries (1628-1661), a successful glass painter in the area of Hoorn. Catharina died in Alkmaar in 1708. She painted and made drawings of flowers, plus one flower garland dated 1678, and bird still lifes. A pair of miniature flower pieces executed by her in 1702 were auctioned in Amsterdam in 1763, while a drawing of a flower piece was auctioned in Amsterdam 1869 and another flower piece in that same city during 1924.389 She signed a still life with dead birds Catherina / Oostfries fecit.390 Her name is sometimes also given as Trijntje Sieuwerts after her father, Sieuwert Oostfries.391

Monogrammist JE or EJ

A miniature flower piece in a doll’s house owned by Petronella Oortman, currently in the collection of the Rijksmuseum in Amsterdam, bears the monogram JE or EJ.392 The flower piece forms part of the painted chimney in the salon, the most beautiful room of the house. The cabinet of the doll’s house was 388 De Bie 1662, p. 558. 389 Amsterdam, 26 September 1763, nos 138 and 139; Amsterdam, 2 March 1869, no. 115; A. Mak, Amsterdam, 27 May 1924, no. 84. Other sales: Alkmaar, 19 October 1778, no. 90; Amsterdam, 27 November 1900, no. 25; Christie’s, Amsterdam, 14 November 1991, no. 58 (the garland). For the oeuvre of Catharina Oostvries see the Segal Still Life Documentation in the RKD, The Hague. 390 Panel, 21 x 31 cm; Piasa, Paris, 25 June 2004, no. 89. 391 Bruinvis 1909, p. 120; Kloek, Peters Sengers & Tobé 1998, p. 157; Huiskamp 2014b. 392 Amsterdam, Rijksmuseum, inv. no. BK-NM 1010.

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probably made between 1686 and 1690 and its contents in the following fifteen years, but in any case before the death of Petronella Oortman in 1716.393

Adam Pijnacker

Adam Pijnacker was born in 1622 in Schiedam. In 1658 he married Eva Maria de Geest, the daughter of the Frisian portrait painter Wybrand de Geest (1592-after 1672), at which time he converted to Catholicism. Pijnacker himself made paintings and drawings of Italianate landscapes, and in 1654-1655 he also worked for the Court of Brandenburg in Lenzen. At the same time, he was active as a wine merchant. Pijnacker maintained a relationship with Adam Pick (1621/22-1659/66) in Delft, from whom a single still life is known. In 1661 Pijnacker moved his family to Amsterdam, where he lived on the Rozengracht, and died there in 1673. His work has turned up for the most part in Delft inventories. François de Geest (ca. 1635-in/before 1682) was Pijnacker’s brother-in-law. He compiled two albums with watercolours of garden plants (Figs 11.23 and 11.24). Both florilegia are preceded by a watercolour drawing in grey tones of a garden urn signed by Adam Pijnacker, intended as a kind of title page.394

Fig. 8.93 Adam Pijnacker, Plants in a garden urn for the florilegium of François de Geest, watercolour in tones of grey on paper, 271 x 170 mm, Biblioteca Nazionale Centrale di Roma, Rome. 393 Van Thiel 1976, p. 439; Pijzel-Dommisse 1994, p. 16. 394 A facsimile edition of the album in Rome was published in 2011 (Menghini 2011; English ed. 2012) with an extensive commentary in a separate volume and complete identifications by Sam Segal (Segal 2011; English ed. 2012). For the drawing by Pijnacker in the manuscript in the Oak Spring Garden Foundation, Upperville, Virginia, see Bakker 2008a, p. 126, Fig. 114.

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Adam Pijnacker, Plants in a garden urn for the florilegium of François de Geest, 1668 (Fig. 8.93) Watercolour in tones of grey on paper, 271 x 170 mm, signed in the centre below in black: APÿnacker (‘A’ and ‘P’ intertwined) Biblioteca Nazionale Centrale di Roma, Rome, MS Varia 291 (Banc._LXII).395 A very large garden urn, decorated with mermaids and a swag of flowers, is depicted standing on a block of stone at the edge of a planting with low-growing creepers and some upright growing herbs, as may also be seen in the vase ornamentation. Behind the urn is an empty open space closed off by a balustrade in the middle distance where a man and woman with a child are looking out over the garden in the far distance. The plants in the urn are almost unidentifiable, the artist showing himself here to be a landscape painter first and foremost. In the Kupferstichkabinett in Berlin there is a drawing by Pijnacker with a similar garden urn on a stone block surrounded by trees.396

Isaak van der Put

Isaak van der Put was born in 1618 in Amsterdam.397 His father Guillaume van der Put (ca. 1569-1644), who moved the family from Antwerp to Amsterdam, paid for his son’s entry into the Haarlem guild in 1638.398 Two flower pieces by ‘Vanderpute’ were auctioned in Douai in 1772.399 Another pair was sold in Lille in 1776 and 1779.400 A flower piece was recorded in the collection of Franz Ferdinand Wallraf in Cologne.401 In the Musée de l’Hôtel Sandelin in Saint-Omer a flower piece is signed Van der Putte and is thought to be of seventeenth-century Flemish origin (Fig. 9.184); this is possibly also a work by Isaak van der Put.402

Anna van den Queborn

Anna van den Queborn was born around 1625 and probably learned to paint from her father, the portrait painter Crispyn van den Queborn (1604-1652), in The Hague. In 1647 she married the still life and marine painter Abraham van Beyeren. Anna died in Overschie in 1689 or 1690. The following record is preserved from an auction of The Hague Guild of Saint Luke for the year 1647: ‘een prin. van Anna van Beyeren’ (‘prin.’ means ‘principael’, an original work by Anna van Beyeren).403 A Delft inventory of 1666 lists a flower piece signed AN V B (‘AN’ ligated), and a Hague inventory of 1680 mentions a small piece with flowers and fruit by ‘de huysvrouw’ (‘the wife’) of Van Beyeren.404 Currently no flower pieces are known, which can be securely attributed to Anna van den Queborn.405

C. van der Radt

Recently a flower piece signed C van der Radt was discovered (Fig. 8.94). Almost nothing is known about C. van der Radt. Probably he or she was active in Dordrecht. Three portraits by this artist are documented, one of which is dated 1676.406

395 Menghini 2011, I, fol. 1; Huisman 2011, p. 23. 396 Watercolour in tones of grey on paper, 442 x 300 mm, Berlin, Kupferstichkabinett der Staatlichen Museen zu Berlin, inv. no. 5845. 397 Stadsarchief Amsterdam, DTB 130, fol. 70. 398 Miedema 1980, II, pp. 476-477. 399 Douai, 7 July 1772, no. 89. Two flower garlands by ‘J. van Put’ were sold at auction in The Hague, 14 September 1772, no. 34. 400 Lille, 14 October 1776, no. 88; Lille, 15 March 1779, no. 35. In 1799 a basket with flowers by ‘Vanderput’ was sold. Lille, 17 September 1799, no. 14. Another flower piece by Van der Put was sold in 1808 in Paris and a pair of flower pieces was at auction in Douai in the same year. Paris, 13 February 1808, no. 8; Douai, 21 August 1808, no. 206. 401 Parthey 1863-64, II, p. 305. 402 See Chapter 9. 403 Bredius 1915-22, II, p. 517. 404 Archief Abraham Bredius, RKD, The Hague, no. 0380; Löffler 1998, p. 339. 405 About a still life with smoking and drinking utensils signed and dated ‘Anna Q 1651’ (canvas, 61.6 x 66.4 cm, Sotheby’s, New York, 27 January 1999, no. 30) see Van der Willigen & Meijer 2003, p. 166. 406 Cornelis Hofstede de Groot fiches, RKD, The Hague, no. 0351, card nos 1421582, 1421583 and 142184.

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Fig. 8.94 C. van der Radt, Flowers in a decorated vase, panel, 49.5 x 36.5 cm, private collection.

C. van der Radt, Flowers in a decorated vase (Fig. 8.94) Panel, 49.5 x 36.5 cm, signed lower right in brown: C van der Radt Private collection.407 1 Hollyhock 2 Opium Poppy 3 Provins Rose 4 Poet’s Narcissus 5 Purple Tulip 6 Crown Imperial 7 Red Tulip hybrid 8 Cornflower 9 Parrot Tulip

Alcea rosea pseudoplena Papaver somniferum rubrum Rosa x provincialis Narcissus poeticus semiplenus Tulipa undulatifolia bicolor Fritillaria imperialis Tulipa agenensis x T. undulatifolia albo-rubescens Centaurea cyanus Tulipa hungarica x T. praecox

The brown earthenware vase is decorated with a mascaron and two harpies. The flowers are set off brightly against the greyish-black background with a brown underlayer. The colours of the flowers are strong and dynamic. The symmetrical structure of the bouquet is a bit stiff, layered towards the back yet nonetheless lacking any noticeable feeling of depth. There is at most only a slight connection with other flower painters from Dordrecht, such as Bartholomeus Assteyn (Fig. 7.18), or perhaps with the one known flower piece by the portrait painter Godfried Schalcken (1643-1706, Fig. 8.97).

407 Provenance: Tajan, Paris, 26 June 2008, no. 52; Rafael Valls Gallery, London, catalogue 2009, no. 31 and catalogue TEFAF 2009, p. 172.

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Pieter Gerritsz van Roestraeten

Pieter Gerritsz van Roestraeten was born in Haarlem in 1630, where in 1645 he became apprenticed to Frans Hals (ca. 1582-1666), whose daughter Adriaentje he married in 1654 in Amsterdam. He probably moved to London for good in 1663, where he became crippled in the Great Fire of 1666. He died in 1700 after having wed a second time shortly before then. His works are mentioned five times in London auctions before the year 1695.408 Van Roestraeten is primarily known for his sumptuous still lifes with English silverwork, including tea services, often combined with objects symbolizing transience. He also painted several silver vases with flowers and a number of genre pieces. Dated work is only known for his English period, from 1678 to 1696. We only know of two signed flower pieces, which together form a pair, and a vanitas still life that includes a flower arrangement. Several unsigned flower pieces have also been attributed to him. Among them is a painting showing a silver vase with a sprig of Seville Orange and Seville Orange blossom identical to a signed work by Jan Frans van Son (1658-1701) (Fig. 8.149).409 The silver vase, however, is more simply decorated than the silver vases in Van Roestraeten’s signed works and therefore possibly indicates that this is more likely a version of a painting by Joris van Son (1623-1667), or possibly one of his followers. Pieter Gerritsz van Roestraeten, Flowers in a decorated silver vase in a niche with a timepiece (Fig. 8.95) Canvas, 74.9 x 63.5 cm, signed lower centre: P Roestraeten Private collection.410

Fig. 8.95 Pieter Gerritsz van Roestraeten, Flowers in a decorated silver vase in a niche with a timepiece, canvas, 74.9 x 63.5 cm, private collection. 408 Karst 2014, p. 32; cf. Simon Verelst (1644-1721) who is mentioned 250 times. For Roestraeten see Ter Kuile 1969. 409 Canvas, 39 x 29.8 cm, Christie’s, London, 7 December 1951, no. 53, and Dorotheum, Vienna, 13 October 2010, no. 358. The species is not Quince as stated in RKDimages. 410 Provenance: Christie’s, London, 24 November 1967, with pendant, nos 78 and 79; Sotheby’s, New York, 23 May 2001, with pendant, no. 96. Literature: Mitchell 1973, p. 218, Fig. 308; Hamburg 2008, p. 87. I have not seen the original painting.

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The silver vase with its high neck is richly decorated with floral ornamentation and the bouquet includes two Tulips, (Apple?) blossom, Provins Rose and Columbine. An open timepiece on a blue ribbon with a key is lying in the foreground. The niche is decorated with fruit festoons in deep relief. The bouquet in the pendant, also signed, includes various Roses, identical Tulips, and with a York and Lancaster Rose in the foreground, placed in a more simply constructed niche.

Alexander Ruwel

Alexander Ruwel was born in Liège. In 1667 he married for the second time in Amsterdam, taking Catharina Smit as his wife. Both died in Leiden in 1672 leaving a daughter named Maria. His inventory of 1672 records five ‘onopgemaeckte blompotschilderijen’ (‘incomplete flowerpot paintings’), together estimated at four guilders, and an incomplete marine painting estimated at six guilders.411 No works by Alexander Ruwel are known today.

Pieter Jansz van Ruyven

Pieter Jansz van Ruyven born in 1651 and was an apprentice of Hans Jordaens IV (1616-1680) in Delft. Later he was apprenticed to Willem Doudijns (1630-1697) in The Hague and in 1668 admitted to the guild. In 1673 he married Barbara van Schinne. He is further documented in The Hague from 1688 to 1691, and in Leiden from 1703 to 1714. Van Ruyven died in Delft in 1719. He was primarily a decorative painter of mythological scenes, and also painted a trompe l’oeil sumptuous still life, bird pieces, and several flower pieces. One flower piece is listed in a Delft inventory of 1703.412 An overdoor painting of 1707 showing a basket with flowers and two putti, with a view through to a sky with some clouds, was put up for auction in Munich in 1974.413 Pieter Jansz van Ruyven (attributed), Flowers in a glass flask in a niche (Fig. 8.96) Canvas, 91.5 x 64 cm, remains of a signature lower right in dark grey: P. v. Ru... Private collection.414 1 Snowball 2 Love-in-a-mist 3 Austrian Copper (Briar) 4 Stock 5 Pomegranate blossom 6 Pear blossom 7 Variegated Iris 8 White Flag Iris 9 Poppy Anemone 10 Red Tulip 11 Hollyhock 12 Opium Poppy 13 Garden Nasturtium

Viburnum opulus cv. Roseum Nigella damascena semiplena Rosa foetida cv. Bicolor Matthiola incana Punica granatum plenum Pyrus communis Iris variegata Iris albicans Anemone coronaria atrata Tulipa agenensis bicolor Alcea rosea plena Papaver somniferum plenum rubrum Tropaeolum majus

411 Bredius 1915-22, II, p. 692. He is not to be confused with the Amsterdam still life painter Alexander Roswel (1633/36-1680). For Roswel see Bredius 1915-22, II, pp. 689-691. 412 Archief Abraham Bredius, RKD, The Hague, no. 0380. 413 Bantele Kunst Auktionen, Munich, 24 June 1974, no. 212. 414 Provenance: Wiener Kunstauktion, 20 April 1994, no. 2; Dorotheum, Vienna, 20 March 1995, no. 77; Galleria Luigi Caretto, Turin. The attribution to Van Ruyven is not completely certain, however the current attribution to Peter van Kessel by Meijer in the database RKDimages seems doubtful.

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Fig. 8.96 Pieter Jansz van Ruyven (attributed), Flowers in a glass flask in a niche, canvas, 91.5 x 64 cm, private collection.

Salomon van de Sande

Salomon van de Sande, who was born about 1625 in Amsterdam, was a journeyman baker, as well as a painter. ‘Een fruytagie’ (‘a fruit piece’) and ‘een blompot’ (‘a flowerpot’) by Van de Sande are listed in the 1681 inventory of the deceased painter Alexander Roswel (1633/36-1680) in Amsterdam, who after the death of Salomon in 1664 had married his widow, Annetje Jagers.415

François van Santwyck

François van Santwyck was born around 1637 in The Hague. He was a member of the Confrerie Pictura in The Hague from 1663 to 1672; later in Amsterdam he was appointed painter to the admirality of the Dutch East India Company. He was married to Maria Hamers and lived with her at various addresses in The Hague and Amsterdam. In 1684 he remarried to Marie Wittelaer. François van Santwyck died in the same year in Amsterdam. He painted portraits, historical scenes, allegorical scenes and still lifes. In the 1700 inventory of Philips van Santwyck fifteen works by François are listed, but without subjects. The same inventory also mentions four drawings and two flower pieces by him (and many flower pieces without an artist’s name).416 Currently no work by him is known. 415 Bredius 1915-22, II, pp. 690-691. Salomon van de Sande was buried on 8 September 1664 in Amsterdam, see Stadsarchief Amsterdam, DTB 1055, fol. 154. 416 Bredius 1915-22, IV, pp. 1422-1427, the flower pieces p. 1423. For more on François van Santwyck see Bredius 1915-22, IV, pp. 1428-1429 and Löffler 1998, p. 344. The first name is sometimes also spelled ‘Fransois’ and the last name ‘Sandtwijck’.

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Fig. 8.97 Godfried Schalcken, Flowers in a square stoneware vase in a niche, panel, 44 x 32 cm, Ashmolean Museum of Art and Archaeology, Oxford.

Godfried Schalcken

Godfried Schalcken was born in Made, a village between Breda and Dordrecht, in 1643. In 1654 he moved with his parents to Dordrecht, and in 1656 he was apprenticed to Samuel van Hoogstraten. After 1662 he became an apprentice to the Leiden painter Gerard Dou, who had a great influence on his style as a fine painter and his use of chiaroscuro. From 1675 he was back in Dordrecht, where in 1679 he married Françoise van Dimen of Breda. He became a member of the guild in The Hague during 1691. From 1692 to 1698 he resided in London where he was engaged as a portrait painter. Thereafter he returned to The Hague where he remained, except for a visit to Düsseldorf in 1703 in the service of Johann Wilhelm, Elector Palatine, until his death in 1706. Schalcken was first and foremost a portrait painter, but he also painted a variety of genre pieces. In many of his works he creates strong contrasts between light and shade naturalistically supported by the representation of candlelight. Other works by him still extant are a single vanitas still life, two fruit still lifes, and a single flower piece. In his still lifes he appears to have been influenced by Simon Verelst (Figs 8.52-54), and yet these works also reveal his own personal approach. Dated work is known from 1663 through to 1706.417

417 For further details on the life and oeuvre of Schalcken see Beherman 1988 and the exhibition catalogue Cologne & Dordrecht 2015-16.

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Godfried Schalcken, Flowers in a square stoneware vase in a niche (Fig. 8.97) Panel, 44 x 32 cm, in a painted frame, signed on the vase in black: G. Schalcken Ashmolean Museum of Art and Archaeology, Oxford, inv. no. WA1940.2.68.418 1 Columbine 2 Cabbage Rose 3 Peony 4 Borage 5 Bachelor’s Buttons 6 Opium Poppy 7 Honeysuckle 8 Tapered Tulip 9 German Flag Iris 10 Yellow Tulip hybrid 11 Snowball

Aquilegium vulgare Rosa x centifolia Paeonia officinalis cv. Mutabilis plena Borago officinalis Ranunculus acris var. multiplex Papaver somniferum rubrum Lonicera periclymenum Tulipa armena bicolor Iris germanica Tulipa chrysantha x T. clusiana Calendula officinalis

A Blue Butterfly

Lycaenidae spec.

Pieter Schuyten

Pieter Cornelisz Schuyten was born about 1653 in Dordrecht and is documented again in 1697.419 Two flower pieces by him are listed in 1688 in the inventory of the Dordrecht collector Aert Teggers.420 Currently no work by Schuyten is known.

Pieter van Slingelandt

Pieter van Slingelandt was born in 1640 in Leiden, where he became apprenticed to Gerard Dou and entered the Guild of Saint Luke in 1661. Jacob van der Sluys (ca. 1650-1732) and Johannes Tilius (1653after 1694) were his apprentices. Van Slingelandt died in 1691. For the most part, he painted portraits and genre pieces containing many still life objects. Old inventories and auction catalogues also list fruit pieces, and further a vanitas still life, a tobacco and game still life, plus a kitchen piece, of which there is currently little extant. Dated work is known from 1653 through to 1691. The only flower piece now known is a miniature in a doll’s house.421 Pieter van Slingelandt, Miniature flower piece in a doll’s house (Fig. 8.98) Copper, 10.2 x 8.3 cm, signed and dated lower centre in grey: PVSlingeland 1685 (‘P’, ‘V’ and ‘S’ intertwined) Centraal Museum, Utrecht, inv. no. 5000/129.422 1 Provins Rose 2 Carnation 3 Honeysuckle 4 Pot Marigold 5 Rosa Mundi 6 African Marigold 7 English Iris 8 Carnation 9 False Larkspur 10 Cornflag 11 False Larkspur 12 Opium Poppy

Rosa x provincialis Dianthus caryophyllus plenus purpureus Lonicera periclymenum Calendula officinalis plena Rosa gallica cv. Versicolor Tagetes erecta Iris latifolia Dianthus caryophyllus bicolor Consolida ajacis Gladiolus italicus Consolida ajacis rosea Papaver somniferum plenum album

418 Provenance: Galerie J. Herbrand, Paris 1926; bequeathed to the museum by Daisy Linda Ward in 1939. Literature: Warner 1928 (Segal ed. 1975), pp. 180-181, Pl. 85; Van Gelder 1950, pp. 150-151, no. 68; mus. cat. Oxford 1961, p. 145, no. W68; mus. cat. Oxford 1980, p. 84; Beherman 1988, p. 306, no. 209; Gemar-Koeltzsch 1995, III, p. 901, no. 356/1 (illustrated in reverse); Taylor 1995, pp. 102-103, Fig. 63; Van Eck 1996, p. 83; Meijer 2003, pp. 272-273, no. 67; Franits in Cologne & Dordrecht 2015-16, pp. 180-182, no. 34. 419 According to notes by Bredius, see Archief Abraham Bredius, RKD, The Hague, no. 0380. 420 Loughman 1991, pp. 535, 537. 421 For the oeuvre of Pieter van Slingelandt see Hofstede de Groot 1907-1927, V, pp. 420-474. 422 Provenance (the doll’s house, Utrecht, Centraal Museum, inv. no. 5000): collection of Petronella de la Court, Amsterdam 1685-1707; collection of M. Oortmans with A.C.O. Oortmans and P. Oortmans, Amsterdam 1707-1720; collection of P. van der Beek, Amsterdam; his sale Amsterdam, 19 April 1758; collection M. Slob-van der Beek, Aalsmeer 1758-1782; collection of P. Holtzweg-Slob, Middelburg 1782-1823; collection of J.H.C. Pipersberg-Holtzweg, Utrecht 1823-1866; donated to the museum in 1866. Literature: Dommisse 1932; Veldkamp 1977, p. 24; Wright 1980, p. 428; Gemar-Koeltzsch 1995, III, p. 942, no. 366/1; Helmus 1999, II, pp. 1407-1408, no. 607; Pijzel-Dommisse 2000, p. 39, Fig. 18.

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Fig. 8.98 Pieter van Slingelandt, Miniature flower piece in a doll’s house, dated 1685, copper, 10.2 x 8.3 cm, Centraal Museum, Utrecht.

13 14 15 16 17 18

Cornflag Turk’s Cap Lily Hyacinth Peruvian Hyacinth White Rose Opium Poppy

Gladiolus italicus albus Lilium chalcedonicum Hyacinthus orientalis Scilla peruviana alba Rosa x alba plena Papaver somniferum plenum rubrum

A B c d e

Red Admiral Butterfly Small White Butterfly Green Hawker Dragonfly Housefly Garden Snail

Vanessa atalanta Pieris rapae Aeshna viridis Musca domestica Cepaea hortensis

The baroque bronze vase is decorated with a winged putto. The artist has succeeded quite well in rendering so many different species more or less recognizably on such a small picture plane.

Caspar Smits

A painter named Caspar Smits was probably born around 1635 in Zwartewaal near Rotterdam. He worked primarily in England in the years immediately following the Restoration of the English monarchy in 1660; then between 1675 and 1677 in Dordrecht; and from 1681 on in Dublin, where he died. Smits painted religious subjects, as well as portraits and several still lifes, of which a meal still life is known and possibly a flower still life. Houbraken gives him the first name ‘Ludowyk’ and writes that his nickname was ‘Hartkamp’.423 Bredius confuses him with the still life painter Theodoor Smits.424

423 Houbraken 1718-21, III, pp. 66-68, 354. 424 Bredius 1915; for more on Theodoor Smits see Van der Willigen & Meijer 2003, p. 183.

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Fig. 8.99 J[an?] Smits (attributed), Flowers and Gooseberries in a glass vase, panel, 24.7 x 19 cm, whereabouts unknown.

J[an?] Smits

In 1937 a flower piece signed i. smits was offered for sale in London (Fig. 8.99). Van der Willigen and Meijer read the initial ‘i’ as possibly the ‘J’ in ‘Jasper’ standing for ‘Caspar’, or possibly a false signature of an artist in the Antwerp circle of such artists as Gaspar Peeter Verbruggen I (1635-1681) and Jan Davidsz de Heem.425 A vanitas painting signed Jan Smits fecit was in the hands of an art dealer in Paris in 1939. That work is said to have been inspired by the Leiden vanitas painters.426 J[an?] Smits (attributed), Flowers and Gooseberries in a glass vase (Fig. 8.99) Panel, 24.7 x 19 cm, signed to the right on the plinth in white: i. smits Whereabouts unknown.427 Garden Nasturtium Provins Rose Gooseberry sprig Small Morning Glory Red Campion Tapered Tulip Poppy Anemone

Tropaeolum majus Rosa x provincialis Ribes uva-crispi Convolvulus tricolor Silene dioica Tulipa agenensis bicolor Anemone coronaria pseudoplena

Large White Butterfly

Pieris brassicae

The vase has been set on the left of a stone ledge. In the left side of the glass we see the reflection of the workshop window. A few petals have fallen onto the ledge, as has also a waterdrop on the plinth. The Garden Nasturtium only became known in Holland in the late seventeenth century and indicates the Dutch origins of this work. The possible influence of Jan Davidsz de Heem in Antwerp is not a view that I share. 425 Van der Willigen & Meijer 2003, p. 183, as Caspar Smits and as J[an?] Smits. 426 Panel, 40 x 53 cm, Galerie Curt Benedict, Paris 1939; Van der Willigen & Meijer 2003, p. 183. 427 Provenance: Christie’s, London, 16 July 1937, no. 117. Literature: Gemar-Koeltzsch 1995, II, pp. 945-946, no. 369/2, as Johannes Smits; Van der Willigen & Meijer 2003, p. 183.

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Fig. 8.100 A. Stevens, Putti with flowers in a basket, support, dimensions and whereabouts unknown.

A. Stevens

A decorative painting depicting a stonework garden ornament in the form of a basket overflowing with flowers supported by two putti, where one of the putti bears the basket on its head, was shown by Galleria Luciano Funghini in Florence in 1959 as by A. Stevens (Fig. 8.100).428 The Rijksmuseum in Amsterdam owns a vanitas still life signed Stevers that is possibly earlier and painted by a different artist than the work presented here, but facts about that artist similarly remain obscure.429

Esaias Terwesten

Esaias Terwesten was born in The Hague in 1661 and learned the trade from his older brother, Augustinus Terwesten I (1649-1711), with whom he moved to Berlin in 1692. In 1694, the Elector Frederick III sent Esaias to Rome to buy works of art. There he received the sobriquet Den Brander (‘Hothead’) and Paradijsvogel (‘Bird of Paradise’) from the Dutch and Flemish painters’ society there, the Bentvueghels, who gave such nicknames to all their members. While in Rome he married, and he remained there until his death about 1724 or 1729.430 Esaias was primarily a decorative painter. He painted flower and fruit still lifes and genre scenes. In the older literature, he is usually erroneously referred to as ‘Elias’. In Paleis Het Loo in Apeldoorn is a large flower piece with a parrot and two guinea pigs by Esaias Terwesten. 428 Catalogue Mostra Mercato Internazionale dell’Antiquariato, Palazzo Strozzi 1959, p. 129, illustrated, without further details. 429 Canvas, 45 x 52 cm, Amsterdam, Rijksmuseum, inv. no. SK-A-2358. 430 For his period in Rome see Bocchi & Bocchi 2004, pp. 251-262, as Esaias Terwesten detto Paradiso.

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Esaias Terwesten, Flower piece with two guinea pigs (Fig. 8.101) Canvas, 133 x 99 cm, signed and dated on the pedestal in brown: E TERWES... PARADIS[O] / 170[2] Cultural Heritage Agency of the Netherlands, inv. no. NK3092, on loan to Paleis Het Loo, Apeldoorn.431 1 Poppy Anemone 2 Cabbage Rose (and other Roses) 3 Tulips 4 Great Morning Glory 5 False Larkspur 6 Opium Poppy 7 Great Jasmine 8 Carnations 9 Hollyhock 10 Sweet Sultan 11 Cockscomb 12 Jacob’s Ladder 13 Pot Marigold 14 Daffodil

Anemone coronaria div. Rosa x centifolia ad R. x provincialis Tulipa div. Ipomoea purpurea Consolida ajacis Papaver somniferum Jasminum grandiflorum Dianthus caryophyllus div. Alcea rosea div. Amberboa moschata Celosia cristata Polemonium caeruleum Calendula officinalis Narcissus pseudonarcissus

a Guinea Pig (2x)

Cavia porcellus

Fig. 8.101 Esaias Terwesten, Flower piece with two guinea pigs, canvas, 133 x 99 cm, Cultural Heritage Agency of the Netherlands on loan to Paleis Het Loo, Apeldoorn. 431 Provenance: Handels- en Transport Maatschappij Vulcaan, Rotterdam; during World War II appropriated by Germany; after the war restituted by Stichting Nederlands Kunstbezit, Amsterdam 1945-48, no. 2274; on loan from the Cultural Heritage Agency of the Netherlands. Literature: Ter Kuile 1985, pp. 186-187, no. VI-62; Löffler 1998, p. 351. The painting has darkened considerably, which has obscured some details, including portions of the signature and date.

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In the background on the left we see a sculpted figure and an obelisk atop a stone wall set against a hilly landscape in the fading evening light. In the foreground two guinea pigs are poking around between a few pieces of fruit (redcurrants, grapes, peaches, pomegranates and plums). A large baroque vase on a pedestal is decorated in relief and supported by two chiselled satyrs and a sleeping nymph. The interwoven flowers in the compact bouquet, abundantly sprinkled with waterdrops, show a great deal of depth.

Arent van Tongeren

An Arent van Tongeren who painted flower pieces is documented in The Hague in 1684 and 1689.432 Intriguingly, irrespective of that seventeenth-century evidence, the fruit and flower pieces signed A. Van Tongeren fecit, which do exist, must be by an artist from the last decade of the eighteenth century (Fig. 9.34).433

Michiel van Uffelen

Michiel van Uffelen (also given as ‘Nuffelen’) was active between 1633 and 1650 in Antwerp.434 He is also the flower painter who is recorded in 1668 as being sixty-three years old and living in Amsterdam. In 1650 or 1651 he rented a house in Amsterdam without paying for it, instead the landlord had to make do with two poorly painted pictures, that were only worth eight guilders. Van Uffelen lived in the same house as Evert Marseus van Schrieck (ca. 1614-after 1681), the brother of Otto Marseus van Schrieck.435 Michiel van Uffelen died in 1670. In 1693 ‘twee schilderijkens sijnde blomflesjens van Uffelen’ (‘two paintings, flowers in a flask by van Uffelen’) were recorded in the Utrecht inventory of Johan van Schoonhoven and his wife.436 No works are known by him today.

Juffer Uylenburgh

The German inventory of the portrait painter Jürgen Ovens (1623-1678), compiled after his death, lists a flower piece by ‘Jumffer Uylenburg’.437 Ovens was in Holland from about 1670 onwards and he had been well acquainted with the Uylenburgh family, who were art dealers and painters. ‘Jumffer Uylenburg’ was probably one of four daughters of the famous Amsterdam art dealer Hendrick Uylenburgh (ca. 15871661) mentioned in a record of 1634: Sara, Anna, Susanna and Lyntgen.438 Rembrandt’s wife Saskia was a relative of the Uylenburgh family.

Jan van der Vaart

Jan van der Vaart was born in Haarlem around 1653. He learned painting from Thomas Adriaensz Wyck (ca. 1616-1677), who is mostly known for his interiors with alchemists or philosophers. In 1674 Van der Vaart moved to England, where he worked on commission for the portrait painter Peter Lely (1618-1680) and as an assistant to, and collaborator with, Willem Wissing (ca. 1656-1687); whilst from 1687 on he had his own atelier. He gave up painting in 1713 and worked as a restorer and art expert until his death in 1727.439 A few portraits by him are known, plus a trompe l’oeil still life of a violin hanging on a door. In addition, inventories list a game still life, a trompe l’oeil (the violin again?), and a stable interior. A flower piece with a parrot was in the possession of a London art dealer in 1949. Jan van der Vaart, Vase of flowers with architectural details, an urn, fruit and a parrot (Fig. 8.102) Canvas, 88 x 111 cm, signed in a dark colour to the right on the plinth: I. VANDER / VAART Whereabouts unknown.440 Blunt Tulip Honeysuckle Cabbage Rose

Tulipa mucronata f. obtusa bicolor Lonicera periclymenum Rosa x centifolia

432 Bredius in Thieme & Becker 1907-50, XXXIII, p. 276; Löffler 1998, p. 352, according to whom no work by this artist is known to exist. 433 See Chapter 9. 434 Rombouts & Van Lerius 1864-76, II, pp. 48, 55. 435 Bredius 1915-22, II, p. 710, document B of 1660, and p. 711, Document D of 1668. 436 Martin 1903, p. 62. 437 Schmidt 1914, p. 43. 438 Bredius 1915-22, V, p. 1687. 439 Kollmann 2000, p. 275. 440 Art Gallery G.M. Lotinga, London, advertisement in The Connoisseur, March 1949, p. 8, illustrated.

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Fig. 8.102 Jan van der Vaart, Vase of flowers with architectural details, an urn, fruit and a parrot, canvas, 88 x 111 cm, whereabouts unknown.

Auricula Small Morning Glory Hollyhock White Rose Orange Lily Opium Poppy Sunflower

Primula x pubescens Convolvulus tricolor Alcea rosea Rosa x alba duplex Lilium bulbiferum Papaver somniferum plenum fimbriatum Helianthus annuus

Small Tortoiseshell Butterfly Small Cabbage White Butterfly Parrot

Aglais urticae Pieris rapae Psittacidae

A wide vase of flowers has been set on top of an architectural structure in front of a dark wall, fruit (figs, blue and white grapes) having been laid next to it, including a parrot perched on a peach. To the right in the background we view an architectural feature with a rounded wall and on top of it a tall garden urn with a lid; at the far right the crown of a tree and in the background a sky with some clouds.

Vandenburgh

In 1984 the Rafael Valls Gallery in London exhibited a pair of flower pieces, both including baskets in their compositions and signed VANDENBVRGH. Currently nothing is known about the artist who signed in this way, who may well have been an amateur. There is a family Van der Burgh who were active mostly in Delft and who painted landscapes, genre pieces and merry companies, as well as other subjects. A certain Willem van der Burgh made flower still lifes and harbour scenes, but nothing further is known about him. The most well-known member of the family is Hendrick van der Burgh (1627-after 1668), who was active in Delft and Leiden as a painter of interiors in the style of Pieter de Hooch (1629-after 1684), and among these is an interior showing a still life with a lobster on the wall.441 Vandenburgh, Flowers in a basket (Fig. 8.103) Copper, 29.4 x 46.6 cm, signed lower centre in brown: VANDENBVRGH Private collection.442 1 Great Jasmine 2 Poppy Anemone 3 Sweet William

Jasminum grandiflorum Anemone coronaria plena Dianthus barbatus violaceus

441 Canvas, 47 x 37 cm, Gemäldegalerie, Berlin, inv. no. 912D. For more on Hendrick van der Burgh see Sutton 1980. 442 Provenance: Rafael Valls Gallery, London 1984; Sotheby’s, New York, 17 April 1986, no. 133, as Van Der Burch, 28 x 45 cm, with pendant.

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4 5 6 7 8 9 10 11 12 13 14 15

Carnation Stock York and Lancaster Rose False Larkspur Purple Tulip Danube Tulip hybrid Turban Buttercup False Larkspur Poppy Anemone Carnation Carnation Stock

Dianthus caryophyllus plenus albus grandiflorus Matthiola incana semiplena tricolor Rosa damascena cv. Versicolor Consolida ajacis plena alba Tulipa undulatifolia Tulipa hungarica x T. agenensis Ranunculus asiaticus plenus miniatus Consolida ajacis Anemone coronaria pseudoplena albo-coerulea Dianthus caryophyllus semiplenus miniatus Dianthus caryophyllus plenus purpurescens Matthiola incana semiplena albo-purpurea

The pendant (Fig. 8.104) has a richer assortment of flowers plus three exotic shells on a marble slab damaged by several cracks.

Figs 8.103 and 8.104 Vandenburgh, Flowers in a basket, a pair, copper, 29.4 x 46.6 cm, private collection. 534 |

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Lodewijck Vay

Lodewijck Vay was born in Bergen op Zoom in 1630. From 1654 to 1657 he was registered in the Middelburg Guild of Saint Luke.443 He is reported as being a portrait painter in Maassluis between 1660 and 1670. A religious painting and an allegorical composition by Vay are known today. In 1902 a large flower piece was identified by Cornelis Hofstede de Groot in a private collection in Rotterdam.444

Jan Verschuren

In 1948 the art historian P.T.A. Swillens published a black-and-white reproduction of a flower piece in a niche that is signed IAN VERSCHUREN (Fig. 8.105).445 The artist is most likely Jan Pietersz Verschuren of Rotterdam. Eleven of his paintings, including two seascapes, were in the possession of Tryntge Pieters, the widow of the art dealer Crijn Hendricksz Volmarijn (ca. 1601-1645), in 1648.446 According to Van der Willigen and Meijer, Verschuren was probably born in 1621 or 1622, which means that he must have executed the eleven works mentioned, before he was 27 years old. They base their interpretation partially on documentation regarding an Amsterdam artist who is recorded as being thirty-one years old in 1652 and on a ‘Jan Verschuiere’ who entered the Delft guild in 1671 and died in that city in 1674.447 No other works are known for this artist.

Fig. 8.105 Jan Verschuren, Flowers in a decorated vase, canvas, 74 x 59.5 cm, whereabouts unknown. 443 444 445 446 447

Obreen 1877-90, VI, pp. 184, 186, 188, 189. Cornelis Hofstede de Groot fiches, RKD, The Hague, no. 0351, card no. 1572363. Swillens 1948, p. 22; Gemar-Koeltzsch 1995, III, p. 1044, no. 409/1, with wrong identification (see p. 1045 under no. 410/1). Bredius 1915-22, V, pp. 1634-1643. Van der Willigen & Meijer 2003, p. 206, with references to Bredius’s notes (Archief Abraham Bredius, RKD, The Hague, no. 0380), and Obreen 1877-90, I, pp. 46, 71 and VI, p. 11.

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Jan Verschuren, Flowers in a decorated vase (Fig. 8.105) Canvas, 74 x 59.5 cm, signed lower left: IAN VERSCHUREN Whereabouts unknown.448 Lily of the Valley Tulips Poppy Anemone Honeysuckle Tazetta Narcissus Martagon Lily English Iris Madonna Lily Cornflower

Convallaria majalis Tulipa div. spec. Anemone coronaria pseudoplena Lonicera periclymenum Narcissus tazetta Lilium martagon Iris latifolia Lilium candidum Centaurea cyanus

Adriaen Huibertsz Verveer

Adriaen (Arie) Huibertsz Verveer was born around 1626 in Dordrecht. He was apprenticed to Jacob Gerritsz Cuyp in 1641, and in 1646 he became a member of the guild in Dordrecht. Verveer painted in various genres, including portraits and mythological figures, as well as being a wine merchant and a marktschipper in Rotterdam, someone who ferried people and goods across the river on market days. He died in Dordrecht in 1680. Adriaen Verveer’s estate lists many paintings, including several still lifes with flowers, fruit or dead birds, as well as artists’ materials, from which may be deduced that many of the works were his own. In the list, we find ‘een blommetje en roemer’ (‘a little flower piece and roemer’), ‘blommen, sonder lysten’ (‘flowers, unframed’), ‘een blompoth’ (‘a flowerpot’), and ‘blommen’ (‘flowers’).449 No flower pieces are known by him today.

Titia van Vierssen

Titia van Vierssen was born in 1641 in Leeuwarden and died in 1706. We know from an anonymous poem dated to around 1659 that she painted flowers on panel.450 It is unclear whether she only painted individual flowers or also bouquets.

Vincent Laurensz van der Vinne I

Vincent Laurensz van der Vinne is the progenitor of several generations of Haarlem painters and draughtsmen running through into the early nineteenth century. He was born in 1628 in Haarlem. In 1647 he was apprenticed to Frans Hals, and in 1649 he became a member of the Guild of Saint Luke in Haarlem. Between 1652 and 1655 he travelled through Germany, Switzerland and France, and there are landscape drawings of this tour. Van der Vinne painted diverse kinds of still lifes, but his vanitas paintings are the most well known. Vincent van der Vinne died in 1702. A 1668 inventory made up after the death of his first wife, Anneken Gaver, lists eleven of his own works, including a flowerpot.451 Later he remarried, this time to Cathalyntge Boeckaert. His own estate inventory lists ‘een blompot van deselve’ (‘a flowerpot by the same’, i.e. the deceased), and nine other pieces with flowers.452 Currently we only know of one flower painting that is attributed to him, an overdoor painting in the Rechtbank NoordHolland (Jansstraat 81) in Haarlem depicting Passion Flowers and other flowers in a niche, which is more likely a work by his grandson Vincent Laurensz van der Vinne II (1686-1742), who was a decorative painter (Fig. 9.128).453

Carel de Vogelaer

Carel de Vogelaer was born in 1653 in Maastricht and must have been initiated in the profession in his native city. While he was still young he travelled via Paris and Lyon to Rome, where he took up residence in 1675 and remained until his death in 1695. In Rome, he made a name for himself as a painter of flowers calling himself ‘Carlo dei Fiori’. His work can be better classified with Italian art than with 448 Provenance: private collection, Utrecht 1943, thereafter sold. Literature: Swillens 1948, p. 22; Gemar-Koeltzsch 1995, III, p. 1044, no. 409/1, with wrong identification (see p. 1045 under no. 410/1). 449 Bredius 1915-22, III, p. 899. 450 Breuker 1989, I, p. 240; De Jeu 2000, p. 98 n. 42. 451 Bredius 1915-22, IV, p. 1259. 452 Bredius 1915-22, IV, pp. 1262-1263. 453 Canvas, 155 x 100 cm, signed lower right: Vincent vander Vinne. Kurtz & Blauw 1951, p. 43; Sliggers 1985, p. 338; in the database RKDimages Meijer attributes the work to Vincent Jansz van der Vinne (1736-1811). See Chapter 9.

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Dutch art, as is also the case with artists like Abraham Brueghel (1631-1697) discussed further below. De Vogelaer primarily painted large flower pieces, but also made a few fruit pieces with flowers, frequently in pairs and against a background with a landscape, sometimes including contemporary Roman architecture or ancient Roman ruins. He signed CAREL (sometimes CARLO) DE VOGELAER ROME. Flower pieces, occasionally with one or more birds or rabbits, may be found in the Niedersächsisches Landesmuseum in Hannover, dated 1690; in the Szépmüvészeti Múzeum in Budapest; the Alte Pinakothek in Munich (multiple); the Norwich Castle Museum with a pendant in nearby Felbrigg Hall (National Trust); in the Galleria Borghese and the Galleria Pallavicini in Rome and in the Nationalmuseum in Stockholm (a pair).454 An artist who signed JACOB V P F is a follower, or copyist, of Carel de Vogelaer.455 Carel de Vogelaer, Flower piece with a rabbit and an architectural fragment (Fig. 8.106) Canvas, 134.6 x 98.4 cm, signed to the right on the architectural fragment, slanting upwards in dark brown: CAREL . DE . VOGELAER ROME Private collection.456 1 Provins Rose 2 Snowball 3 Auricula 4 Love-in-a-mist 5 Wallflower 6 Poppy Anemone 7 Cherry blossom 8 Poppy Anemone 9 Golden Flax 10 Great Morning Glory 11 Poppy Anemone 12 Turban Buttercup 13 Stock 14 Umbelliferous flower 15 Opium Poppy 16 Crown Imperial 17 Columbine 18 Columbine 19 Lilac 20 Poppy Anemone 21 Lilac 22 Stock 23 French Marigold 24 Poppy Anemone 25 Tapered Tulip (3x) 26 Squirting Cucumber 27 Pale Iris

Rosa x provincialis Viburnum opulus cv. Roseum Primula x pubescens ochracea Nigella damascena semiplena Erysimum cheiri plenum Anemone coronaria pseudoplena albescens Prunus avium plenum Anemone coronaria pseudoplena albo-coerulea Linum flavum Ipomoea purpurea Anemone coronaria pseudoplena albo-rosacea Ranunculus asiaticus subplenus ruber Matthiola incana duplex Apiaceae spec. Papaver somniferum pseudoplenum Fritillaria imperialis Aquilegia vulgaris violacea Aquilegia vulgaris alba Syringa vulgaris alba Anemone coronaria pseudoplena alba Syringa vulgaris (coerulea) Matthiola incana plena alba Tagetes patula Anemone coronaria pseudoplena albo-purpurea Tulipa armena bicolor Ecballium elaterium Iris pallida

a Rabbit

Oryctolagus cuniculus

It is very likely that this work has a pendant of the exact same dimensions, where the rabbit on the right here is replaced by a dove on the left.457 A similarly decorated vase on a ribbed foot may be seen in a number of De Vogelaer’s other works, and similar ornamentation also can be found on a number of other vases.

454 455 456 457

For the oeuvre of Carel de Vogelaer see Primarosa 2012. Canvas, 64 x 46 cm, pendants, Koller, Zurich, 18 September 1996, no. 79. Provenance: Christie’s, London, 10 July 2002, no. 165. Literature: Primarosa 2012, pp. 62, 93 n. 233, 102, Fig. 58. Canvas, 135 x 98 cm, Galleria Canessa, Rome 1964; Bodart 1970, I, pp. 519-520, Fig. 311.

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Fig. 8.106 Carel de Vogelaer, Flower piece with a rabbit and an architectural fragment, canvas, 134.6 x 98.4 cm, private collection. 538 |

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Fig. 8.107 Isaac Vroomans, A garden pot with plants in front of a tree, with mushrooms and animals, canvas, 132 x 98.5 cm, private collection. | 539

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Isaac Vroomans

Isaac Vroomans is first documented as living in Schiedam in 1662. He was a member of the Guild of Saint Luke in Schiedam from 1688 through to 1692, after a short marriage to Maria Engelaer in The Hague. He became gravely ill in that city in 1701-1702. In 1706 he was active in ‘s-Hertogenbosch, where, according to a legal document, his second wife left him in that same year.458 Vroomans painted forest floor pieces and a few fruit pieces in the manner of Otto Marseus van Schrieck, also with all kinds of creatures, but he had his own style, shrouding half his canvases in darkness. Isaac Vroomans, A garden pot with plants in front of a tree, with mushrooms and animals (Fig. 8.107) Canvas, 132 x 98.5 cm, remains of a signature lower right: IV Private collection.459 In the pot 1 Sunflower stalk and leaves 2 Bank Cocklebur 3 Columbine 4 Garden Honeysuckle 5 Primrose

Helianthus annuus Xanthium orientale Aquilegia vulgaris Lonicera caprifolium Primula vulgaris

On the ground left 6 Glistening Ink Cap 7 Liverwort 8 Cornflower

Coprinus micaeus Hepatica nobilis Centaurea cyanus

On the ground right 9 Peony 10 Oak 11 Grey Lichens 12 Ivy

Paeonia officinalis plena Quercus robur Lichenes spec. Hedera helix

a b C D

Lacerta agilis Vipera berus Inachis io Gonepteryx rhamni

Sand Lizard Northern Viper (tightly coiled) Peacock Butterfly Brimstone Butterfly

We can consider the illustrated pot with plants as having an intermediate position between a flower piece and a forest floor piece. The flowers on the left are rendered in light colours, as if side-lit from the left. The Bank Cocklebur (Xanthium orientale) is a native species, but in my experience unknown in other still life paintings.

Jan Weenix

Jan Weenix was born in 1642 in Amsterdam. He learned to paint from his father, Jan Baptist Weenix (ca. 1621-1659), who painted primarily game and bird still lifes, and son Jan also applied himself to these genres. Jan was registered in the Guild of Saint Luke in Utrecht in 1664 and 1668. In 1669 he was living in The Hague, and before 1677 (possibly in 1675) he had taken up residence in Amsterdam, where he married Petronella Bakkers in 1679. Jan Weenix painted flower pieces, and combinations with fruit and birds, plus several portraits, some of these decorative interior pieces. Dated work is known from 1676 through to 1718, the year before his death. Dated flower pieces may be seen in the following collections: 1676, in the Wallace Collection in London (with fruit); 1694, in the Musée des Beaux-Arts in Lyon; 1712, in the Hamburger Kunsthalle; and 1714, in the Alte Pinakothek in Munich. Van der Willigen and Meijer consider the work in Hamburg and pendants in the William Humphrey’s Art Gallery in Kimberley as possibly executed by his daughter Maria Weenix (1697-1774). Furthermore, a number of unsigned flower pieces previously attributed to 458 Van der Willigen & Meijer 2003, pp. 212-213; Weyerman 1729-69, III, pp. 260-264. Weyerman devotes a great deal of attention to this artist with some rather unlikely anecdotes. 459 Provenance: Sotheby’s, Parke Bernet, New York, 9 January 1980, no. 40; Christie’s, London, 2 May 1980, no. 118, as Otto Marseus van Schrieck; Finarte 375, Milan, 21 May 1981, no. 83, as idem; Christie’s, Rome, 18 November 1990, no. 200, as attributed to Otto Marseus van Schrieck; Dorotheum, Vienna, 11 June 1996, no. 208, as Isaac Vromans; Christie’s, London, 3 November 2000, no. 35 and 13 July 2001, no. 98. Exhibitions & literature: Tennessee Centennial Exposition 1897; Steensma 1999, p. 173, no. B3.10, Fig. 171, with an improbable attribution to Otto Marseus van Schrieck (Abzuschreibende Werke).

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Jan Weenix have been re-assigned in recent decades to Maria Weenix, but not always convincingly.460 His daughter, Maria Weenix, has so far been mistaken for the flower painter Josina Margareta Weenix (1674/75-before 1728) (Fig. 9.22) whose flower pieces were already for sale in 1706.461 Jan Weenix, Flowers in glass vase (Fig. 8.108) Canvas, 82 x 68 cm, illegibly signed. Private collection.462 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

White Rose (?) Hollyhock Provins Rose Love-in-a-mist African Marigold Carnation Marguerite Opium Poppy German Flag Iris Carnation Opium Poppy Hollyhock Yellow Wolf’s Bane French Marigold Pansy

A Red Admiral Butterfly B Small White Butterfly

Rosa x alba duplex Alcea rosea pseudoplena Rosa x provincialis Nigella damascena semiplena Tagetes erecta Dianthus caryophyllus plenus albescens Leucanthemum vulgare Papaver somniferum albo-rosescens Iris germanica Dianthus caryophyllus plenus bicolor Papaver somniferum roseum Alcea rosea plena rubra Aconitum vulparia Tagetes patula Viola tricolor Vanessa atalanta Pieris rapae

Fig. 8.108 Jan Weenix, Flowers in a glass vase, canvas, 82 x 68 cm, private collection. 460 Van der Willigen & Meijer 2003, pp. 215-216. 461 See Chapter 9. 462 Provenance: Fawkes Collection; Christie’s, London, 2 July 1937, no. 60, as Rachel Ruysch; Phillips, London, 6 July 1993, no. 46, as attributed to Ernst Stuven; private collection, Washington, D.C.; Johnny Van Haeften Gallery, London. I have not seen the original painting.

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What is most unexpected here is the arrangement of the flowers and the leaves with their harmonious hues of green and brown, as well as the delicate stems extending out from the bouquet above and below. Jan Weenix, An Agave in a garden urn ringed with other plants, a King Vulture and other animals set before a seascape (Fig. 8.109) Canvas, 326.3 x 202.5 cm, signed and dated lower right: J: Weenix f 1714. Alte Pinakothek, Munich, inv. no. 1729.463

Fig. 8.109 Jan Weenix, An Agave in a garden urn ringed with other plants, a King Vulture and other animals set before a seascape, dated 1714, canvas, 326.3 x 202.5 cm, Alte Pinakothek, Munich.

463 Provenance: collection of Johann Wilhelm, Elector Palatine. Literature: Gerson 1942, p. 249; Brochhagen & Knüttel 1967, p. 90; Ginnings 1970, no. 269; Eikemeier 1978, p. 296.

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This work of 1714 is exceptional in a number of ways. It is one picture from a series, that originally consisted of twelve paintings with hunting scenes, which decorated the audience room and two antechambers on the first floor of the Southern wing of the hunting and summer residence Schloss Bensberg in Germany. Particularly of note is the large pineapple, which at this time had only been imported into Europe for a short while; it has been placed before a substantial urn, which contains a large Agave and is decorated in relief with a representation of Christ as a gardener appearing to Mary Magdalene at the noli me tangere moment in the Gospel of John. Remarkable, too, are the exotic plant species such as the Cacti, and a shallow urn holding a small Agave, Cacti and Gum Cistus (Cistus ladanifer). The animal diversity in the work is also unique. There is a King Vulture (Sarcoramphus papa), native to Central and South America, standing over the carcass of a rooster, along with a monkey and a parrot. All these elements have been set against a seascape, which further contributes to the unusual nature of this fine work of art.

Maria Willaerts

Maria Willaerts was the daughter of the Utrecht historical painter Cornelis Willaerts and the granddaughter of the marine painter Adam Willaerts. In 1675 she married the artist Abraham Mignon. It is likely that Maria painted for her own pleasure and was probably not trained by Mignon, seeing that hardly any similarities can be found between her work and his. A flower piece by her turned up at a sale in The Hague in 1965 depicting a flower arrangement with a Crown Imperial at the top along with mulberries set on a marble table (Fig. 8.110).464

Fig. 8.110 Maria Willaerts, Flowers in a glass vase, panel, 55 x 45 cm, whereabouts unknown.

464 Van Marle & Bignell, The Hague, 15 December 1965, no. 386, illustrated, as H. Willaerts. I have only seen the mediocre reproduction in the catalogue.

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Dirck Willems

Dirck Willems is recorded in the 1668 inventory of the estate of the Haarlem painter Jan Miense Molenaer (the husband of Judith Leyster), which lists ‘3 blompotjes van Dirck Willems’ (‘3 flowerpots by Dirck Willems’).465 Possibly Dirck Willems and Dirck van Poelenburg (active 1610-1645/46) were one and the same person.466 No works by this artist are known of today.

Matthias Withoos

Matthias Withoos was born in 1627 in Amersfoort. He was apprenticed to Jacob van Campen (1596-1657) and was entered in the guild as a master painter in 1647. He travelled in the company of Otto Marseus van Schrieck and others to Florence and Rome, where he became a member of the Bentvueghels, the Dutch and Flemish artists’ association there, under the name Calzetta Bianca, an Italian translation of his last name (‘white hose’).467 About 1652-1653 he returned via Lyon to Amersfoort. He married Wendela (Weijntje) van Hoorn. In Amersfoort Matthias filled different official posts. He was a council member and director of the city orphanages in 1665, and alderman and regent of the Chapel of Our Lady in 1671. He moved to Hoorn, north of Amsterdam, with his family and his apprentice Caspar van Wittel (1652/53-1736) in 1672, where his wife’s family was living; they were fleeing the threat of a French capture of Amersfoort. Matthias Withoos died in 1703 after serious attacks of gout and rheumatism in his hands which made it difficult for him to work. Matthias painted primarily forest floor pieces, just like Otto Marseus van Schrieck. Frequently he enlivened these images with small mammals and set the whole against an Italianate landscape or garden as background. Often the plants growing in these scenes look something like a bouquet, and this also holds for the works of his children, who painted similar forest floor pieces. One of Matthias’s specialties was combining plants with vanitas elements in the foreground (sometimes a horse’s skull) and a view of Rome in the background, or other elements that make reference to his stay in Rome, such as ruins, sculptures or urns. He also painted a single flower piece and one fish still life, several hunting still lifes, landscapes, genre pieces and portraits. Matthias signed MWithoos or MW ligated. Dated work is known from 1656 through to 1676. Seger de Vries painted several forest floor pieces that are closely related to Withoos’s work. It is possible that Seger, who was registered in the guild of Amersfoort in 1658, was his apprentice. Matthias Withoos, Flower piece with a timepiece (Fig. 8.111) Canvas, 47.6 x 38.7 cm, signed lower right: MWithoos The Royal Collection, Kensington Palace, London, inv. no. RICN 405622.468 1 Small Morning Glory 2 Austrian Briar 3 Provins Rose 4 Umbelliferous flower 5 Love-in-a-mist 6 African Marigold 7 Purple Fumitory 8 Forget-me-not 9 Dark Scabious 10 Garden Nasturtium 11 False Larkspur

Convolvulus tricolor Rosa foetida Rosa x provincialis Apiaceae spec. Nigella damascena Tagetes erecta Corydalis solida Myosotis palustris Scabiosa atropurpurea Tropaeolum majus Consolida ajacis

The painting has become quite dark. On the gold timepiece with Roman numerals it is nearly twelve o’clock, a reference to fleeting time and thus transience. To the right of the vase is a book. Seeing that Garden Nasturtium only became known in the Netherlands in 1684, this is most likely a later production by the artist. This flower piece has been taken to be the pendant of a forest floor piece with a snake by Otto Marseus van Schrieck in the same collection.469 465 Bredius 1915-22, I, p. 4. 466 See Chapter 7. 467 Bocchi & Bocchi 2004, pp. 49-65, as Matthias Withoos detto Calzetto biancha. 468 Provenance: probably acquired by Queen Anne. Literature: White 1982, p. 119, no. 183, Fig. 154, as Otto Marseus van Schrieck; Wright in Birmingham 1989-90, p. 216, as Otto Marseus van Schrieck; Steensma 1999, pp. 107, no. A2.5, 270, Fig. 14, as Otto Marseus van Schrieck doubtful. 469 Canvas, 47.6 x 38.7 cm, London, The Royal Collection, Kensington Palace, inv. no. RICN 405621.

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Matthias Withoos had three sons and five daughters; he taught five of these children to paint flower pieces: Pieter (1654/55-1692), Johannes (1656-1687/88), Alida (ca. 1659-1730), Maria (1663-after 1699) and Frans (1665-1705). They all worked in the style of their father and made flower pieces set in the outdoors, which brings into play aspects associated with the forest floor piece. Frequently in these paintings a thistle is combined with a number of cultivated flowers. The best known work by a member of the Withoos family is that of Alida, who was probably the most productive, and who also drew many individual flowers. In the art trade, some of the works by each of the Withoos siblings has been mistakenly regarded as the work of their father Matthias. Here follows some details on each of the Withoos arranged chronologically according to their year of birth.470

Fig. 8.111 Matthias Withoos, Flower piece with a timepiece, canvas, 47.6 x 38.7 cm, The Royal Collection, Kensington Palace, London.

470 For more on the oeuvre of Matthias Withoos and other members of the Withoos family see the Segal Still Life Documentation in the RKD, The Hague. For a biographical overview of the family Withoos see Heijenga-Klomp 2005.

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Pieter Withoos

Pieter Withoos was born in 1654 or 1655 in Amersfoort as the second child, and oldest son, of Matthias Withoos. Like his brothers and sisters, he served an apprenticeship with his father. The family moved to Hoorn in 1672. It is likely that, while he was there, Pieter got to know Johannes Bronckhorst (1648-1727) or his work. Pieter married Maria van Oldenbarnevelt later in Amersfoort. In 1687 Pieter was registered as a citizen of Utrecht. Later he moved to Amsterdam, where he died in 1692. Pieter Withoos is particularly known for his watercolour drawings of butterflies and other insects, birds and flowers, as well as other subjects. Just like his sister Alida, he was commissioned by Agnes Block, who had a famous garden with exotic plants on her country estate named Vijverhof on the river Vecht, not far from Utrecht.471 Pieter also painted several works in oils: currently known are a flower piece, a forest floor piece, and a vanitas still life, the latter dated 1679. Several drawings of Tulips are dated 1683. Pieter Withoos, Flowers in a broad green flask in a niche (Fig. 8.112) Canvas, 132 x 97.2 cm, signed lower left, with large letters in brown: Pwithoos fe (‘P’ and ‘w’ ligated, ‘h’ with an arc over ‘oo’) Private collection.472 1 Love-in-a-mist 2 Purple Fumitory 3 York and Lancaster Rose 4 Wheat 5 New York Aster 6 Provins Rose 7 Sunflower 8 African Marigold 9 French Rose 10 Fine Pink 11 Opium Poppy 12 London Pride 13 Yellow Tulip hybrid 14 Red Catchfly 15 Meadow Sweet 16 Umbelliferous flower 17 Silver Ragwort 18 Valerian 19 Moth Mullein 20 Welted Thistle 21 New York Aster 22 Sand Cat’s Tail 23 Opium Poppy 24 Blue Globe Thistle 25 Field Mouse-ear 26 Opium Poppy 27 Narcissus ‘Van Sion’ 28 Cornflower 29 Foxtail 30 Snowball 31 Lady Tulip hybrid 32 Agrimony 33 Greater Meadow Rue

Nigella damascena semiplena Corydalis solida Rosa x damascena cv. Versicolor Triticum aestivum Aster novi-belgii Rosa x provincialis Helianthus annuus Tagetes erecta Rosa gallica Dianthus superbus Papaver sommniferum albo-miniatum fimbriatum Saxifraga umbrosa Tulipa chysantha x T. clusiana Lychnis viscaria Filipendula ulmaria Apiaceae spec. Senecio cineraria Valeriana officinalis Verbascum blattaria Carduus crispus Aster novi-belgii pallida Phleum arenarium Papaver somniferum plenum miniatum fimbriatum Echinops bannaticus Cerastium arvense Papaver somniferum plenum albo-miniatum fimbriatum Narcissus pseudonarcissus cv. Van Sion Centaurea cyanus Amaranthus caudatus Viburnum opulus cv. Roseum Tulipa stellata x T. clusiana Agrimonia eupatoria Thalictrum aquilegifolium

A B C D e f g

Vanessa atalanta Maniola jurtina Abraxas grossulariata Pieris brassicae Bombus terrestris Mus musculus Lacerta agilis

Red Admiral Butterfly Meadow Brown Butterfly (2x) Magpie Moth Large White Butterfly (2x) Earth Bumblebee House Mouse Sand Lizard

471 See above under Johannes Moninckx II. 472 Provenance: (in all cases as Matthias Withoos) collection of an institute; sale Paul Brandt, Amsterdam, 13 December 1962, no. 47; Christie’s, London, 4 May 1979, no. 39; Alan Jacobs Gallery, London 1980; Sotheby’s, New York, 7 November 1984, no. 146; Christie’s, New York, 2 June 1988, no. 25. Literature: Gemar-Koeltzsch 1995, III, p. 1140, no. 448/3; Van der Willigen & Meijer 2003, p. 222, as Pieter Withoos.

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In general, the quality of Pieter Withoos’s watercolours is higher than that of his paintings in oils. Possibly this was early apprentice work. In addition, he probably used relatively cheap pigments here, such as smalt for the colour blue, which has led to a number of colour changes. This means that for some species the identifications are uncertain. One thing that is striking, however, is the large number of native species depicted. For many years this work was thought to have been painted by Pieter’s father Matthias Withoos, the ‘P’ in the ligature ‘PW’ being read as an ‘M’. I established the correct identity of the artist in 1979, but only a few others have taken note of it.473

Fig. 8.112 Pieter Withoos, Flowers in a broad green flask in a niche, canvas, 132 x 97.2 cm, private collection.

473 Van der Willigen & Meijer 2003, p. 222.

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Johannes Withoos

Johannes Withoos was born in 1656 in Amersfoort, the second son of Matthias Withoos. Like his father, he too made a trip to Rome, where he made drawings and paintings of landscapes and a few flower pieces. In 1682 he returned to the Netherlands. Sometime thereafter he became court painter to Julius Francis, Duke of Saxe-Lauenburg in Ratzeburg, and made drawings of flowers and insects for his patron, probably from the Duke’s own garden. The meagre Amsterdam inventory of his estate in 1688 lists twenty-seven small boxes of dried insects, as well as a book by Jan Swammerdam, Historia insectorum generalis ofte algemeene verhandeling van de bloedeloose dierkens (1669), and a further one by Johannes Goedaert, Metamorphosis naturalis (1660-1669), and a still life.474 The Amsterdam merchant and bibliophile Paulo van Uchelen, whose possessions were auctioned in 1703, owned three albums with two-hundred-and-sixty-three plant drawings by Johannes Withoos.475 Johannes Withoos, Flowers in front of trees in a landscape (Fig. 8.113) Canvas, 74.5 x 68 cm, signed and dated lower left in brownish red: . J : w A° i678 Private collection.476 1 2 3 4 5 6

Henbane White Rose Opium Poppy Iberian Iris German Flag Red Catchfly

Hyoscyamus niger Rosa x alba subplena Papaver somniferum demiplenum fimbriatum rubrum Iris x iberica Iris germanica Lychnis viscaria

A B C D e

Small Tortoiseshell Butterfly Red Admiral Butterfly Magpie Moth Small White Butterfly Smooth Snake

Aglais urticae Vanessa atalanta Abraxas grossulariata Pieris rapae Coronella austriaca

Fig. 8.113 Johannes Withoos, Flowers in front of trees in a landscape, dated 1678, canvas, 74.5 x 68 cm, private collection. 474 Bredius 1915-22, III, pp. 873-874. 475 The albums are currently held at the Oak Spring Garden Foundation, Upperville, Virginia. See Tomasi 1997, pp. 87-89, no. 21 and Wheelock in Washington 1999, pp. 58-59, Figs 50-51, 85, nos 47-48. 476 Provenance: Christie’s, Amsterdam, 13 November 1990, no. 189.

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The light colours of the flowers and the red Opium Poppies stand out brightly against the dark background in this piece.

Alida Withoos

Alida Withoos was born around 1659 in Amersfoort and died in Hoorn, north of Amsterdam, in 1730. She is known primarily for her watercolours of flowers, some of them made about 1686 at the behest of Agnes Block, who also commissioned her brother Pieter. Another patron was Johannes Commelin, chief gardener of the Hortus Botanicus in Amsterdam; the watercolours she executed for him have been collected into a large album of plant drawings currently in the collection of the University of Amsterdam, and a portion of them appeared in Commelin’s book about the Hortus.477 Alida also painted in oils. The majority of these works are flower pieces set outdoors, sometimes supplemented with small mammals in the style of her father Matthias, and there is also a flower garland by her. Dated works are known from the years 1675 and 1686. In 1701 Alida Withoos married the Amsterdam painter Andries van Dalen (1672-1741), who was ten years younger than her, but is otherwise unknown. One example of a work showing flowers in the open air is now in Musée Fabre in Montpellier.478 In 1733 two flower pieces by Alida Withoos were auctioned in Hoorn, and in 1841 ‘een ruiker bloemen, door A. Withoos’ (‘a nosegay of flowers, by A. Withoos’) was sold in Utrecht.479 We do not know whether these were flower arrangements in a pot or vase. In her outdoor botanical works Alida’s style of painting differs markedly from that of her father Matthias and her brothers and sister, which can be detected in such things as the large flat leaves of the foliage with dominant veining in light colours. Nonetheless, works by her have been attributed to her father.480 A lovely flower piece by Alida in watercolour on parchment is currently in the Museum Flehite in Amersfoort.481 Alida Withoos (attributed), Flower piece with Sunflowers and some fruit (Fig. 8.114) Canvas, ca. 90 x 72.5 cm, signed in a light colour that stands out against the dark plinth lower right: Alida Withoos Whereabouts unknown.482 Garden Nasturtium Tropaeolum majus Honeysuckle Lonicera periclymenum Opium Poppy div. Papaver somniferum div. Roses Rosa div. spec. Small Morning Glory Convolvulus tricolor African Marigold Tagetes erecta Madonna Lily Lilium candidum Sunflower Helianthus annuus Orange Lily Lilium bulbiferum Small Morning Glory Convolvulus tricolor Striped Canary Grass Phalaris arundinacea f. picta

On the table are several filberts (cultivated hazelnuts), peaches, and walnuts. The presence of the Sunflowers and the Striped Canary Grass in this work lead one to suppose the influence of Maria van Oosterwijck. The signature has been erroneously read as Maria Withoos and taken as a work by Alida’s younger sister.

477 See above under Johannes Moninckx II. 478 Canvas, 84.5 x 66 cm, Montpellier, Musée Fabre, inv. no. 895-7-57; Buvelot, Hilaire & Zeder 1998, pp. 304-305. 479 Sale of Hilegonda Coninck, widow of Joan Boterpot, Burgomaster of Hoorn, and Cornelia Coninck, widow of Paulus Penningbroek, Hoorn, 24 March 1773; sale of the collection of G.J. Klinkenberg at Heimans, Keunink & Zonen and Johannes van Velthoven, Utrecht, 8 November 1841, no. 17. 480 For example, Christie’s, London, 6 July 2013, no. 113. 481 330 x 240 mm, Amersfoort, Museum Flehite, inv. no. 1002-313; Heijenga-Klomp 2005, p. 126, Fig. 7. 482 Provenance: (as Maria Withoos) Leger Gallery, London, in or before 1928. Literature: Warner 1928 (Segal ed. 1975), pp. 236237, no. 113c. I have only seen the 1928 photograph.

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Fig. 8.114 Alida Withoos (attributed), Flower piece with Sunflowers and some fruit, canvas, ca. 90 x 72.5 cm, whereabouts unknown.

Alida Withoos, Flowers before an Italianate landscape (Fig. 8.115) Canvas, 110.8 x 94.5 cm, signed lower left in brownish pink: Alida: Withoos: Private collection.483 1 2 3 4 5 6 7 8 9 10 11 12

Meadow Cranesbill Austrian Copper (Briar) Chinese Lantern Horned Poppy Tapered Tulip African Marigold Garden Honeysuckle Purple Tulip Blue Mountain Anemone Fine Pink Small Morning Glory Pansy

A Bath White Butterfly B Red Admiral Butterfly C Pale Clouded Yellow Butterfly

Geranium pratense bicolor Rosa foetida cv. Bicolor Physalis alkekengi Glaucium flavum Tulipa armena bicolor Tagetes erecta plena Lonicera caprifolium Tulipa undulatifolia bicolor Anemone apennina Dianthus superbus Convolvulus tricolor Viola tricolor hortensis Pontia daplidice Vanessa atalanta Colias hyale

483 Provenance: Frederik Muller, Amsterdam, 5 June 1917, no. 79; Mak van Waay, Amsterdam, 25 May 1970, no. 630; Alan Jacobs Gallery, London 1973; Bonhams, London, 13 December 1979, no. 124; Sotheby’s, London, 23 April 1998, no. 97; Phillips, London, 10 July 2001, no. 43, and 11 December 2001, no. 267. Literature: Gemar-Koeltzsch 1995, III, p. 1131, no. 444/3.

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Fig. 8.115 Alida Withoos, Flowers before an Italianate landscape, canvas, 110.8 x 94.5 cm, private collection. | 551

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Maria Withoos

Maria Withoos was born in Amersfoort in 1663 and was last documented in 1699 when her son was baptized. Maria was married in Hoorn to Johannes Brickely, and later to Dirck Knijp. Two outdoor pieces with flowers arranged in an antique vase by Maria Withoos were put up for auction in Amsterdam during 1792.484 Of her work, only an outdoor flower piece and a flower garland are known. Maria Withoos (attributed), Flowers before an Italianate landscape with evening sky (Fig. 8.116) Canvas, 86.4 x 64.2 cm. Private collection.485 1 2 3 4 5 6 7 8 9

French Marigold Spanish Broom Ray Daisy St. Joseph’s Coat Cabbage Rose Opium Poppy Yellow Jasmine Meadow Cranesbill Fine Pink

A Magpie Moth B Bath White Butterfly

Tagetes patula Spartium junceum Glebionis coronarium var. ligulosum Amaranthus tricolor Rosa x centifolia Papaver somniferum plenum fimbriatum rubrum Jasminum fruticans Geranium pratense alba Dianthus superbus Abraxas grossulariata Pontia daplidice

Fig. 8.116 Maria Withoos (attributed), Flowers before an Italianate landscape with evening sky, canvas, 86.4 x 64.2 cm, whereabouts unknown. 484 Amsterdam, 16 July 1792, no. 406. A flower garland is listed in an Amsterdam auction of 2 August 1828, no. 138. 485 Provenance: collection of W. and L. Zangg-Gram, Basel 1967; Phillips, London, 11 December 2001, no. 26; Dorotheum, Vienna, 21 March 2002, no. 391, as Alida Withoos; Dorotheum, Vienna, 11 June 2003, no. 169, as Alida Withoos; Dorotheum, Vienna, 10 December 2004, no. 108, as Alida Withoos.

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This work has been erroneously attributed to Alida Withoos.486 Certain species here are identical to those in Flowers before an Italianate landscape by Alida Withoos (Fig. 8.115), such as the Bath White Butterfly and the Fine Pink. This could be due to the influence of her older sister. Be that as it may, in Maria’s work, the flowers stand out more starkly against the dark background under the strong lighting and the pronounced outlining; the leaves have also been lightly outlined, and somewhat less gently veined. A possible signature in the lower right was probably removed in the nineteenth century by the application of C. Verbruggen, which was removed later.

Frans Withoos

According to Houbraken, Francoys or Frans Withoos also painted flowers and insects.487 He was born in 1665 in Amersfoort. After 1684 he travelled as a soldier with a convoy of merchant ships to Indonesia. In the capital Batavia (now Jakarta), he received the commission from the Governor-General Johannes Camphuys to make drawings of plants and insects. This provided him with enough remuneration to pay his way back to Holland.488 Frans died in Hoorn in 1705. An outdoor flower piece with a hedgehog, signed f. Withoos (the ‘f’ has been tampered with), depicts a St. Joseph’s Coat (Amaranthus tricolor) from Indonesia (Fig. 8.117).489 A similar work with a large Madonna Lily, signed FW, was in a Danish collection in 1960.490 There are no images available for a flower piece that was shown at an exhibition in Helsinki in 1936, which was a painting on canvas, signed and dated 1687.491

Fig. 8.117 Frans Withoos, An outdoor flower piece with a hedgehog, St Joseph’s Coat and other flowers, canvas, 76.2 x 66.1 cm, private collection. 486 Dorotheum, Vienna, 21 March 2002, no. 391; Dorotheum, Vienna, 11 June 2003, no. 169; Dorotheum, Vienna, 10 December 2004, no. 108 and by Meijer in the database RKDimages. 487 Houbraken 1718-21, II, p. 189. 488 Camphuys had also underwritten Georg Everhard Rumphius’s Amboinsche Kruidboek, published posthumously in 1741. Possibly Withoos’s drawings were sent along to the directors of the Dutch East India Company (VOC) in the Netherlands with copies of the six albums of drawings for the Amboinsche Kruidboek; the originals, however, were lost during a sea battle with the French. 489 Christie’s, New York, 20 October 1988, no. 105; Finarte, Milan, 12 June 1989, no. 93; Dorotheum, Vienna, 6 June 1991, no. 108. Gemar-Koeltzsch, III, p. 1132, no. 445/1. 490 Gammelbo 1960, pp. 100-111, no. 140. The indistinct reproduction makes little identifiable. 491 Helsinki 1936, p. 21, no. 127, collection of D.T.H. Whittick-Kunau.

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Artists of the Southern Netherlands The Brueghel Dynasty Jan Brueghel I had two sons from two different marriages who painted flowers: Jan II (1601-1678) and Ambrosius (1617-1675). Jan Brueghel II and Anna Maria Janssens (ca. 1605-1668) had eleven children of whom Jan Pieter (1628-in or after 1664), Abraham (1631-1697), Henri Ferdinand (1637-after 1678), and Jan Baptist (1647-1719) also painted flowers.492 Their father was their master. However, there are actually some doubts about whether Jan Baptist was a flower painter, which is also the case with his uncle Ambrosius.

Ambrosius Brueghel

Ambrosius Brueghel was born in 1617 in Antwerp. His older half-brother Jan Brueghel II instructed him in the art of painting. Ambrosius planned to take a trip to Italy in 1639. In 1641 he was in Antwerp, becoming a member of the Guild of Saint Luke there in 1645 and filling the post of dean several times from 1653 on. After 1645 he also became a member of the chamber of rhetoric called De Violieren. He married Anna Clara van Triest in 1649, with whom he had four children. In the 1650s he visited his brother in Paris, where he remained from 1657 through to 1662. In 1663 Ambrosius offered his services to the Antwerp Academie as instructor. He died in 1675. Ambrosius Brueghel was a highly regarded artist during his lifetime. He was a landscape painter and there is confusion about a number of flower pieces being his work. In some of these works the signature has turned out to be apocryphal, or has been suspected of being a forgery. In addition, works monogrammed AB have been attributed to Abraham Brueghel. A pair of large works assigned to him, now in the Koninklijke Musea voor Schone Kunsten van België in Brussels, one of them signed A. Brueghel F. 1663, were formerly attributed to Abraham Brueghel, later to Ambrosius, but according to Hairs are the work of Osias Beert and his workshop.493 There is also a signed flower piece, which can be coupled with a companion piece with vanitas objects, although according to Meijer the latter is a work by Adriaen van Nieulandt (1587-1658).494 For the time being we have to accept the fact that further research is necessary in order to lay to rest these doubts. It is possible that Ambrosius did not paint flowers at all, or that he imitated various other artists.

Jan Pieter Brueghel

Jan Pieter Brueghel was born in Antwerp in 1628. He probably served an apprenticeship as a painter with his father, Jan Brueghel II. In 1645 he is reported as a wine master in the Guild of Saint Luke in Antwerp. Sometime before 1662 he made a trip to Liège and Paris. In Liège he worked in the workshop of Walther Damery (1614-1672), for whom he painted flowers around an image of the Virgin and Child. In 1662 he was back in Antwerp. Afterwards he travelled to Italy, and in 1664 he was in Venice, where he painted flowers around an image of the Biblioteca Marciana. Further information about his life is lacking. In addition to cartouches and several garlands with flowers, he also painted flower pieces. He signed I.P. Bruegel or I.B.P. In recent decades, a number of his works have surfaced and works that were formerly attributed to other masters have been identified as his. Flower pieces by Jan Pieter Brueghel are currently in the Museu Nacional de Belas Artes in Rio de Janeiro and the Liechtenstein Museum in Vienna. His brushstroke is rather impasto, and his later paintings show some similarities to the work of Gaspar Peeter Verbruggen II. Jan Pieter’s work is recognizable on account of the bright lighting that lends the objects a special kind of glow, giving them a kind of ‘glamour effect’. This is especially noticeable in the case of Roses where the radiance is created by a marked dilution of pink with fluid white highlights that shades off to dark grey in the shadows. His manner of painting Honeysuckle is striking, as is his rendering of a red Opium Poppy in the variety with white at the base of the cup, and his placement of 492 For Jan Brueghel I see Chapter 6 and for Jan Brueghel II and Anna Maria Janssens see Chapter 7. 493 Panel, 182 x 140 cm, dated 1663, Brussels, Koninklijke Musea voor Schone Kunsten van België, inv. no. 6588; panel, 179 x 140 cm, Brussels, Koninklijke Musea voor Schone Kunsten van België, inv. no. 15. A similar composition is in a private collection in Spain (canvas, 127 x 98 cm). Hairs 1953, as by workshop of Osias Beert; Hairs 1985, I, pp. 344-347, Fig. 116, as by Osias Beert and workshop. 494 96 x 75 cm, private collection; panel, 124 x 77 cm, Sotheby’s, London, 10 July 1974, no. 124; Meijer 1995; both works are represented in Hairs 1985, I, pp. 240-241, Figs 64 and 65.

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an Iberian Iris at the top of various flower arrangements. We frequently see repetitions of flowers in his work – identically replicated, in reverse, or in a different position.495 Jan Pieter Brueghel, Flowers in a terracotta vase (Fig. 8.118) Canvas, 68.5 x 59.6 cm, signed lower left in greenish grey: I.P. Bruegel Private collection.496 1 2 3 4 5 6

Carnation Provins Rose Opium Poppy White Rose Great Periwinkle African Marigold

Dianthus caryophyllus plenus bicolor Rosa x provincialis ad R. x centifolia Papaver somniferum fimbriatum rubrum Rosa x alba subplena Vinca major Tagetes erecta

Fig. 8.118 Jan Pieter Brueghel, Flowers in a terracotta vase, canvas, 68.5 x 59.6 cm, private collection. 495 Hairs 1985, I, pp. 244-245, II, pp. 17-18; the list is now incomplete and contains a few doubles. A more complete overview can be found in the Segal Still Life Documentation in the RKD, The Hague. 496 Provenance: Christie’s, Amsterdam, 7 February 1982, no. 103, and 26 April 1983, no. 173; Koller, Zurich, 25 May 1984, no. 5062; Christie’s, London, 19 April 1985, no. 99; Ader, Picard & Tajan, Paris, 5 March 1986, no. 136. Literature: Hairs 1985, II, pp. 17, no. 1, as sale Mak van Waay, Amsterdam 1983, no. 173.

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7 8 9 10 11 12 13 14

Lady Tulip hybrid Garden Honeysuckle Iberian Iris Maltese Cross Carnation Opium Poppy Small Morning Glory Turk’s Cap Lily

A Garden Tiger Moth

Tulipa stellata x T. clusiana Lonicera caprifolium Iris x iberica Lychnis chalcedonica Dianthus caryophyllus plenus tricolor Papaver somniferum duplex rubrum Convolvulus tricolor Lilium chalcedonicum Arctia caja

The terracotta vase is decorated with a garland below a few imaginary flowers. The composition is symmetrical, which also applies to the application of the colours red, white, blue and yellow.

Abraham Brueghel

Abraham Brueghel was born in 1631 in Antwerp. He must have given indications of an exceptional talent at a very young age, because in 1646, when he was only fifteen, his father had already sold a little flower piece painted by him.497 Before he turned eighteen Abraham had departed for Italy, where he was to live for the rest of his life. Once there, he travelled through the entire country, and quickly found a patron who was to support him for many years by purchasing his work, Antonio Ruffo of Messina in Sicily, something which is evident from extant correspondence dated between 1649 and 1671, as well as several inventories. In one inventory of 1649 nine flower pieces by Abraham are recorded, and an inventory of 1663-1664 records fifteen flower pieces and twelve other paintings by him. About 1659 Abraham settled in Rome, where he married Angela Boratti (or Baratti) in 1666, and was appointed a member of the Accademia di San Lucca in 1670. Before he left Rome for Naples in 1670 he had made several trips to Sicily. During 1671 he settled in Naples for good, remaining there until his death in 1697.498 Abraham’s work – always painted on canvas – is made up to a considerable extent of large size paintings in a tradition that may be called Italian rather than Dutch or Flemish – comparable, for example, with the work of Michelangelo di Campidoglio (1625-1669). It is Italian both in the quick and impasto style of applying the paint and in the choice of objects (garden urns and silver work) and subjects (usually combinations of flowers and fruit set against a background garden landscape, frequently with architectural features, sometimes with game, and occasionally with figures executed by other artists, among them Carlo Maratti (1625-1713)). Many of the paintings incorporate plateaus. His paintings can be recognized by certain specific recurring details, for example a glass jug, half a watermelon with a knife handle sticking out, or a watermelon sliced open showing different cut surfaces. Further idiosyncrasies include the painting of large flowers such as the Amaryllis, and animals such as a dog, cat, monkey or parrot, which point to a Flemish influence, for example Frans Snyders. He also painted cartouches with flowers, which reveal a certain influence of Daniël Seghers. He signed his name in a variety of ways, but mostly as ABreugel or Abreughel, the AB ligated, but sometimes simply Brughel, and usually with F., Fa, Fe. or Fecit, often with Roma added at the end. Combinations of flowers and fruit may be seen in a variety of museums, but most flower pieces are in private collections and seldom dated. The Louvre in Paris has a flower piece with fruit of 1669, and the Koninklijke Musea voor Schone Kunsten van België in Brussels a work of 1677. Undated flower pieces may be found in the Musée du Mont-de-Piété in Bergues, the Perth Museum and Art Gallery in Scotland, and the Galleria Sabauda in Turin. The State Hermitage Museum in Saint Petersburg has a piece with flowers placed next to a fragment of a sculpture dated 1686 that measures an astounding 257 x 360 cm. Other dated flower pieces are known for the years 1660 through to 1687.499 Abraham Brueghel and other Italian contemporaries exerted a strong influence on Flemish flower painters at the beginning of the eighteenth century, such as Gaspar Peeter Verbruggen II. In these flower pieces the lighter colours, especially white, stand out starkly against the other colours. To a certain degree this is a technique that is in line with the earlier multi-coloured pallette of Jan Brueghel I. Abraham’s work was also copied, among others by Guillielmus Verspreet, an Antwerp dilettante, as is evident from his estate.500 497 Denucé 1934, p. 154. 498 For his biography see Bocchi & Bocchi 2004, pp. 117-147, as Abraham Brueghel detto Rijngraaf. 499 For Abraham Brueghel’s oeuvre see Hairs 1985, I, pp. 246-250 and the Segal Still Life Documentation in the RKD, The Hague. 500 Felixarchief Antwerp, N 4156, 15 August 1715.

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Abraham Brueghel, Flowers in a garden vase on a foot (Fig. 8.119) Canvas, 97.5 x 74.5 cm, signed lower left in brown: ABrughel FE. (‘AB’ ligated) Private collection.501 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

Great Jasmine Oleander Sulphur Rose Opium Poppy Candle Larkspur Carnation Carnation Carnation Opium Poppy Opium Poppy Corn Marigold Tuberose hybrid Tuberose Cockscomb Carnation Orange Lily French Marigold

Jasminum grandiflorum Nerium oleander Rosa hemispherica Papaver somniferum subplenum album Delphinium elatum semiplenum Dianthus caryophyllus plenus bicolor Dianthus caryophyllus plenus albo-purpureus Dianthus caryophyllus plenus Papaver somniferum plenum violaceum Papaver somniferum plenum rubrum Glebionis segetum Polyanthus tuberosus plenus ruber Polyanthus tuberosus Celosia cristata purpurea Dianthus caryophyllus purpureus Lilium bulbiferum Tagetes patula

Fig. 8.119 Abraham Brueghel, Flowers in a garden vase on a foot, canvas, 97.5 x 74.5 cm, private collection.

501 Provenance: Ader & Tajan, Paris, 15 December 1993, no. 16; Noortman Gallery, Maastricht 1995.

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18 19 20 21 22

Opium Poppy Hyacinth Jasmine Great Morning Glory Squirting Cucumber

Papaver somniferum semiplenum roseum Hyacinthus orientalis Jasminum officinale Ipomoea purpurea Ecballium elaterium

The bouquet has been arranged in a terracotta vase on an ornate foot, decorated in relief with a mermaid who is turned facing away from the viewer. This painting is quite likely to be a relatively early work. The dark neutral background – somewhat illuminated on the right – has been painted over a red bole (‘rode bolus’) underlayer, which is typical of many Italian paintings. In the rather rare, smaller compositions of this artist, in addition to the multi-coloured bouquets with their contrasting hues, the nearly symmetrical compositions are also rather old fashioned at this point, as we see in Flowers in a glass vase (Fig. 8.120).502 Possibly this was one of eight octagonal flower pieces that Abraham Brueghel painted for the collection of Antonio Ruffo in 1649, and thus executed while still quite young and apprenticed to his father Jan Brueghel II.

Fig. 8.120 Abraham Brueghel, Flowers in a glass vase, canvas, 41.5 x 33 cm (octagonal), private collection.

Henri Ferdinand Brueghel

Henri Ferdinand Brueghel was born in 1637 in Antwerp. In a document of 1662 he is referred to as ‘constschilder’ (‘art painter’), along with his brothers Jan Pieter and Philip Brueghel (1635-before 1678).503 Henri Ferdinand is last documented in 1678 in the estate inventory of his father Jan Brueghel II.504 We know of only three works by this artist, one of them is a flower piece that shows similarities in style to the work of Jan Pieter. Of the other two paintings, one is a flower swag around a female sculpture with a skull, signed HENRI FERDINANDVS BREVGHEL, and the other is a cartouche with flowers around a bust of Flora, signed the same way.505 502 503 504 505

One of a pair of flower pieces; Laureati in Bergamo & Düsseldorf 1994, pp. 184-187, with a few incorrect identifications. Van den Branden 1883, pp. 457-458 n. 4. Duverger 1984-2002, X, pp. 281, 288. Canvas, 80 x 66 cm, Christie’s, New York, 12 January 1994, no. 227; canvas, 88 x 65 cm, sale Menna, Cologne, 17 February

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Henri Ferdinand Brueghel, Flowers in a glass jug (Fig. 8.121) Canvas, 53 x 36 cm, signed lower left in greyish black: H.F. BREUG[HE]L Private collection.506 Seville Orange blossom African Marigold Austrian Copper (Briar) Rosa Mundi White Rose Rose of Sharon Yellow Jasmine Carnation Opium Poppy Iberian Iris Moldavian Balm Corn Poppy Columbine Small Morning Glory Provins Rose

Citrus aurantium Tagetes erecta Rosa foetida cv. Bicolor Rosa gallica cv. Versicolor Rosa x alba semiplena Hibiscus syriacus Jasminum fruticans Dianthus caryophyllus albo-violaceus Papaver somniferum Iris x ibirica Dracocephalum moldavicum Papaver rhoeas Aquilegia vulgaris pallida Convolvulus tricolor Rosa x provincialis

Fig. 8.121 Henri Ferdinand Brueghel, Flowers in a glass jug, canvas, 53 x 36 cm, private collection. 1950, no. 350. For the work of Henri Ferdinand Brueghel see the Segal Still Life Documentation in the RKD, The Hague. 506 Provenance: private collection, Vienna; Christie’s, Paris, 22 June 2006, no. 7; Dorotheum, Vienna, 24 April 2007, no. 450, 18 April 2012, no. 542 and 21 October 2014, no. 225. My identifications were established from studying a photograph. I have not been able to study the original painting.

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Jan Baptist Brueghel

Jan Baptist Brueghel was born in 1647 in Antwerp, the son of Jan Brueghel II. He followed his brother Abraham to Italy and in 1675 he was present at the initiation ceremony of three new members of the Bentvueghels, the Dutch and Flemish painters’ association in Rome. He himself was also a member with the nickname Meleager. Around 1675 he travelled on to Naples where his brother lived, but after Abraham’s death in 1697 he returned to Rome, where he died in 1719. According to Immerzeel, just like Abraham, Jan Baptist painted flowers and fruit.507 A pair of large still lifes set in a garden landscape now in the Villa Cagnola in Gazzada can be connected with Jan Baptist Brueghel. One of these is a complex flower piece signed and dated G.B. Brueghel fecit 1690 (as Giovanni Baptista) (Fig. 8.122), set in a garden with a pool, garden urns and cypresses.508 The pendant is a work with flowers and fruit signed Ab. Brueghel Fe 1689 (as Abraham).509 Both paintings with their compact bouquets are strongly similar to, yet also somewhat different from, Abraham’s work.

Fig. 8.122 Jan Bapist Brueghel (attributed), Flowers in three vases in a garden, dated 1690, canvas, 154 x 201 cm, Villa Cagnola, Gazzada.

507 Immerzeel 1842-43, I, p. 96. Hairs lists a still life with flowers and fruit in the Galleria Sabauda in Turin attributed to him, and a still life with flowers, fruit and a parrot of the same size in a Belgian private collection. Hairs 1985, I, p. 250, II, p. 17. 508 Gazzada, Villa Cagnola, inv. no. DI.A 16. Meijer 2001-02, p. 117, no. 135, with provenance and literature. I have not seen these works and unfortunately the images obscure most details. 509 Gazzada, Villa Cagnola, inv. no. DI.A 17.

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Artists following in the Footsteps of Daniël Seghers Jan Philip van Thielen

Jan Philip van Thielen was born in Mechelen in 1618. His father was Libertus van Thielen, lord of the country estate Couwenberg, and his mother was Anna Rigouldts. Jan sometimes used the names of Couwenberg and Rigouldts in his signature, a way of laying claim to an elevated status. In 1631 he was apprenticed in Antwerp to his brother-in-law Theodoor Rombouts (1597-1637), and afterwards he became the apprentice of Daniël Seghers. In 1639 he married Francesca de Hemelaer in Antwerp, the sister-in-law of Erasmus Quellinus II (1607-1678). They had nine children together, among them three daughters, whom he taught to paint: Maria Theresia (1640-1706), Anna Maria (1642-after 1664) and Francisca Catharina (1645-after 1662). In 1641 Jan Philip van Thielen was entered as a master painter in the Antwerp Guild of Saint Luke. In 1660 Van Thielen returned to Mechelen where he entered the painters’ guild. One of his apprentices was N. Bainville. Jan Philip died in 1667 in Booischot near Mechelen. The majority of Jan Philip van Thielen’s paintings are cartouches with flowers, usually executed in collaboration with Erasmus Quellinus II, Frans Francken II (1581-1642), or Cornelis Schut (1597-1655). Of these cartouches, a number of them have been cut into garlands or festoons by art dealers. Van Thielen also painted flower pieces. Dated work is known from 1641 to 1667, and dated flower pieces may currently be found in the following collections: 1641, in the Fitzwilliam Museum in Cambridge; 1651, in the Musée des Beaux-Arts in Dunkerque; 1651, 1662 and 1663, in the Alte Pinakothek in Munich; and 1665, in the Rijksmuseum in Amsterdam.510 Two pendants now in the Abbey of Tongerlo as works of Daniël Seghers are also by Van Thielen.511 Paintings by Van Thielen are, in general, somewhat stiffer, have less sense of depth, and are more symmetrical than Seghers’s works. Van Thielen’s Rose leaves usually have insect holes, while Seghers’s seldom do (although they do occasionally in works which make reference to martyrdom). In the works of both artists the yellow pigment is often unstable and friable, or has been altered by restoration. In Seghers’s works Roses dominate, whilst in Van Thielen’s Tulips frequently play a large role. Jan Philip van Thielen, Flowers in a glass vase (Fig. 8.123) Panel, 62 x 43 cm, signed lower right in dark grey: I P Van Thielen F. Private collection.512 1 Provins Rose 2 Austrian Briar 3 Nonesuch Daffodil 4 Great Jasmine 5 Meadow Saffron 6 Hyacinth 7 White Rose 8 Tapered Tulip 9 Blunt Tulip 10 Crown Imperial 11 Variegated Iris 12 Hyacinth 13 Tapered Tulip hybrid 14 Hyacinth 15 Tapered Tulip 16 Red Tulip 17 Blue Mountain Anemone 18 Damask Rose 19 Poppy Anemone

Rosa x provincialis Rosa foetida Narcissus x incomparabilis Jasminum grandiflorum Colchicum autumnale Hyacinthus orientalis albus Rosa x alba semiplena Tulipa armena bicolor Tulipa mucronata albo-rosescens Fritillaria imperialis Iris variegata Hyacinthus orientalis pallida Tulipa armena x T. undulatifolia Hyacinthus orientalis (coeruleus) Tulipa armena albo-purpurescens Tulipa agenensis bicolor Anemone apennina Rosa x damascena plena Anemone coronaria semiplena bicolor

a B C D

Trichius fasciatus Abraxas grossulariata Pieris rapae Gonepteryx rhamni

Banded Brush Beetle Magpie Moth Small White Butterfly Brimstone Butterfly

510 For further details on the life and works of Jan Philip van Thielen and his daughters see Hairs 1985, I, pp. 263-277, II, pp. 50-52 and the Segal Still Life Documentation in the RKD, The Hague. 511 Van Hout in Antwerp 2015-16, pp. 166-167, nos 26a-b, as Daniël Seghers or Jan Philip van Thielen. 512 Provenance (please note, however, the different measurements mentioned in the sale catalogues): Sotheby’s, New York, 3 June 1988, no. 142 (62 x 43 cm); Galerie De Jonckheere, Brussels & Paris 1988-1991 (57 x 42 cm); Christie’s, London, 6 December 2007, no. 23 (43.8 x 31.9 cm), and 4 July 2012, no. 38 (43.8 x 31.9 cm).

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Fig. 8.123 Jan Philip van Thielen, Flowers in a glass vase, panel, 62 x 43 cm, private collection.

Jan Philip van Thielen, Tulips in a glass vase (Fig. 8.124) Canvas, 88.9 x 67.6 cm, signed lower centre in greyish black: I. P. Van. Thielen. F. Private collection.513 In a pear-shaped glass vase, we see eighteen Tulips, and in the lower left a sprig of Dwarf Nasturtium (Tropaeolum minus) in bud, stems of Oleander (Nerium oleander) with foliage, two Provins Roses (Rosa x provincialis) and two yellow blooms of Austrian Briar (Rosa foetida). Some of the leaves of the Roses and the Oleander have insect holes. On the left in the foreground is a list with the names of the Tulips in the image along with an inkpot, two pen-holders and two quills, suggesting that the page was written with these pens. The list reads as follows: 513 Provenance: S. Nystad Gallery, The Hague 1954; collection of A.C.T. Tempel-Zwartsenberg; Christie’s, Amsterdam, 14 May 2003, no. 180; Richard Green Gallery, London 2003-2004; Johnny Van Haeften Gallery, London 2005. Exhibitions & literature: Hairs 1955, pp. 109, 244, Fig. 44, as panel; Hairs 1985, I, pp. 268-269, Fig. 76, II, p. 51, as panel; Wieseman in Boston & Toledo 1993-94, pp. 521, 523, Fig. 1; Segal 2004, pp. 36-37, Fig. 23; De Maere & Wabbes 1994, I, p. 391, III, p. 1161, as panel; Morris in sales catalogue Van Haeften 2005, with erroneous information and identifications; Hamburg 2008, pp. 164-165, illustrated with detail of list of Tulips; Maciesza, Mak & Segal 2019, p. 4.

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Fig. 8.124 Jan Philip van Thielen, Tulips in a glass vase, canvas, 88.9 x 67.6 cm, private collection. | 563

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Parragoen [Paragon] van geroen. [of the floriculturist Jeroen of Haarlem] 1 Donee. [Donnieu] 2 g. gauda. [Generael Gouda] 3 Semper augustus Jer. [Jeroen] 4 g. [Generael] bol. [of the floriculturist Pieter Bol of Haarlem] 5 p. [Paragon] Doria. 6 sedunule. [Cedonulle] 7 robanette. [Robinette] 8 Leopoldus.

Most of the names of these varieties can be found in seventeenth-century Tulip books and lists of cultivators from the Northern Netherlands. Frequently the names given to flowers were spelled in different ways. A Paragon is an altered form of the cultivar intended as an improvement. Generael (and Admirael) are ‘titles’ that might be given to a Tulip during competitions between Tulip dealers. The Semper Augustus was the most expensive Tulip, priced at more than ten-thousand guilders per bulb. That amount is really fictitious, however, because it only represents the amount of money, that was offered to the sole owner of twelve examples of that particular Tulip, which were in the garden of the Amsterdam pensionary Adriaen Pauw in Heemstede near Haarlem, who in fact did not want to sell. Probably the names given to the Tulips in the painting are also fictitious for they are in fact all varieties of the Tapered and the Sharp Tulip (Tulipa armena and T. mucronata) and the Persian Tulip (Tulipa clusiana), some hybrids with related species, and it is quite possible that they all came from one grower. In the seventeenth century in the Northern Netherlands alone at least eight hundred different names were given to Tulips, but among these were also some forms which occur simultaneously under different names, even though they are one and the same.514 The Tulips that Van Thielen painted in his flower pieces are never exactly the same.

Maria Theresia van Thielen

Maria Theresia van Thielen was the oldest daughter of Jan Philip van Thielen and Francesca de Hemelaer. She was born in 1640 in Antwerp and learned to paint from her father. In a 1732 auction ‘vier waterverfjes uit het Kabinet van de Keurvorst van Beijeren, door Juffr. Maria Theresia van Tielle’ (‘four watercolours from the Cabinet of the Elector of Bavaria, by Ms Maria Theresia van Tielle’) were offered for sale in Amsterdam.515 In 1660 the family moved back to Mechelen, but in 1665 Maria Theresia returned to Antwerp, where she died a spinster in 1706. We know today of one large memorial tablet of 1664 with horns of plenty on either side holding flowers, now in the Museum Hof van Busleyden in Mechelen.516 Recently, a flower piece by Maria Theresia van Thielen came to light (Fig. 8.125). Maria Theresia van Thielen, Flowers in a glass vase (Fig. 8.125) Canvas, 47.5 x 35.5 cm, signed lower left in grey: M.T Van Thielen. F. Private collection.517

514 515 516 517

Love-in-a-mist Small Morning Glory Turban Buttercup Peach-leaved Bell-flower Opium Poppy Slender Vervain Tapered Tulip hybrid Rampion Purple Mullein Green Hellebore Provins Rose

Nigella damascena semiplena Convolvulus tricolor Ranunculus asiaticus pallidus Campanula persicifolia alba Papaver somniferum plenum roseum Verbena rigida Tulipa armena x T. mucronata Campanula rapunculus Verbascum phoeniceum pallidum Helleborus viridis Rosa x provincialis

Large White Butterfly

Pieris brassicae

For an overview of Tulip names see Krelage 1942a, and the Segal Still Life Documentation in the RKD, The Hague. Amsterdam, 29 April 1732, no. 40. Canvas, 55.5 x 91 cm, Mechelen, Museum Hof van Busleyden, inv. no. 59. Provenance: private collection, France; Cazaux & Associés, Bordeaux, 24 June 2004; Koetser Gallery, Zurich 2005; Galerie Scheidwimmer, Munich 2006; Sotheby’s, London, 4 December 2008, no. 237.

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Fig. 8.125 Maria Theresia van Thielen, Flowers in a glass vase, canvas, 47.5 x 35.5 cm, private collection.

Anna Maria van Thielen

Anna Maria van Thielen was a daughter of Jan Philip van Thielen and Francesca de Hemelaer. She was born in 1642 in Antwerp and learned to paint from her father. She and her sister Francisca Catharina entered a convent in Muizen. Two cartouches with flowers by Anna Maria van Thielen are known, one of them dated 1664.518

518 Hairs 1985, I, pp. 276-277, II, p. 50.

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Francisca Catharina van Thielen

According to Cornelis de Bie, the sisters Maria Theresia, Anna Maria and Francisca Catharina painted flowers, but unfortunately none of the paintings by Francisca Catharina appear to have survived.519 What is known for certain about the background of Francisca Catharina van Thielen is reassuringly similar to that of her sister Anna Maria. Francisca Catharina was also born in Antwerp, although a few years later in around 1645, both learned to paint from their father, and together the sisters entered a religious community in Muizen on the outskirts of Mechelen in Belgium.

J. and/or G. van Bloclant

To date no biographical information about this artist have been unearthed. A pair of small flower pieces were included in a sale in Amsterdam held during November 1984 catalogued under the name Jan Philip van Thielen. One of these is clearly signed J. v. Bloclant. One painting shows flowers in a round glass vase (Fig. 8.126), the other flowers in a pear-shaped glass, a shape often painted by Daniël Seghers’s followers. These small flower pieces do indeed seem to have been painted in the style of Seghers and it is therefore understandable that Van Thielen’s name came to mind. J. van Bloclant, Flowers in a small round glass vase (Fig. 8.126) Panel, 39.4 x 27.4 cm, signed lower right in greyish black: J. v. Bloclant. Private collection.520

Fig. 8.126 J. van Bloclant, Flowers in a small round glass vase, panel, 39.4 x 27.4 cm, private collection. 519 Hairs 1985, I, pp. 276-277; de Bie 1662, pp. 347-348. 520 Provenance: Sotheby’s Mak van Waay, Amsterdam, 26 November 1984, no. 36, with pendant, as J.P. van Thielen. Literature: Van der Willigen & Meijer 2003, pp. 38-39, as G. van Bloclant.

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1 2 3 4 5 6 7 8 9 10

Austrian Briar Provins Rose White Rose French Marigold Small Morning Glory Ray Daisy (?) Tapered Tulip Carnation Pomegranate blossom Poppy Anemone

Rosa foetida Rosa x provincialis Rosa x alba Tagetes patula Convolvulus tricolor Chrysanthemum coronarium var. ligulosum Tulipa armena bicolor Dianthus caryophyllus plenus bicolor Punica granatum plena Anemone coronaria pseudoplena albo-rubra

In December 1984 a pair of flower pieces were sold in London, one of which displays a timepiece on a table-top (Fig. 8.127). These two have been signed G. v. Bloclant and look like the work of a different artist. They are more highly finished. The same signature can be found on a painting in the Bowes Museum at Barnard Castle.521 G. van Bloclant, Flowers in a glass vase on a foot with a timepiece (Fig. 8.127) Canvas, 93.5 x 73 cm, signed lower left: G. v. Bloclant Private collection.522 1 Snowball 2 Austrian Briar 3 Poppy Anemone 4 Provins Rose 5 White Rose 6 African Marigold

Viburnum opulus cv. Roseum Rosa foetida Anemone coronaria bicolor Rosa x provincialis Rosa x alba plena Tagetes erecta plena

Fig. 8.127 G. van Bloclant, Flowers in a glass vase on a foot with a timepiece, canvas, 93.5 x 73 cm, private collection. 521 In 1944 with P. de Boer Gallery in Amsterdam; from 1991 in the museum. Pavière 1962-64, I, p. 13, Pl. 11a. 522 Provenance: Christie’s, London, 11 December 1984, no. 25; Sotheby’s, London, 4 December 2008, no. 234. Literature: Gemar-Koeltzsch 1995, II, p. 120, no. 32/1; Van der Willigen & Meijer 2003, pp. 38-39.

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7 Damask Rose 8 Tazetta Narcissus 9 Columbine 10 Red Tulip 11 Blunt Tulip 12 Purple Tulip 13 Iberian Iris 14 German Iris 15 Opium Poppy 16 French Marigold 17 Love-in-a-mist

Rosa x damascena bicolor Narcissus tazetta var. aureus Aquilegia vulgaris bicolor Tulipa agenensis bicolor Tulipa mucronata bicolor Tulipa undulatifolia bicolor Iris x iberica Iris germanica Papaver somniferum rubrum Tagetes patula plena Nigella damascena

A Red Admiral Butterfly

Vanessa atalanta

If this, in fact, should turn out to be the same artist as the Flowers in a small round glass vase signed J. v. Bloclant (Fig. 8.126), then this artist signed with the ‘G’ for ‘J’, for example, Jeronimus signed as ‘Geronimo’, or Johannes signed as ‘Giovanni’.523

Jan Anton van der Baren

Jan Anton van der Baren was born around 1616, probably in Brussels. He was a priest at the court of Archduke Leopold Wilhelm in Brussels and returned with him to Vienna in 1656. There the painter remained as chaplain and curator of the collection of paintings until his death in 1686. Van der Baren painted flower still lifes, for the most part flowers around cartouches, as well as flowers and fruit pieces, sometimes with a park or architectural structure in the background. Various flower pieces are dated 1663, one of which is currently in the Manchester Art Gallery.524 Jan Anton van der Baren, Flowers in a glass vase (Fig. 8.128) Canvas, 56.5 x 41.6 cm, signed and dated lower centre in brown: 16 JB 63 (‘JB’ ligated with a 4 extending above the crossbar of the ‘J’) Manchester Art Gallery, Manchester, inv. no. 1979.535.525 1 White Rose 2 Cherry blossom 3 Love-in-a-mist 4 Austrian Briar 5 Lady Tulip hybrid 6 Great Jasmine 7 Persian Tulip 8 Columbine 9 Winter Aconite 10 Persian Tulip hybrid 11 Poppy Anemone 12 Provins Rose 13 Showy Hebe

Rosa x alba plena Prunus avium Nigella damascena semiplena Rosa foetida Tulipa stellata x T. clusiana Jasminum grandiflorum Tulipa clusiana Aquilegia vulgaris Eranthis hyemalis Tulipa clusiana x T. stellata Anemone coronaria Rosa x provincialis Hebe cf. speciosa

A Magpie Moth b Emerald Damselfly

Abraxas grossulariata Lestes sponsa

The composition of this flower arrangement is symmetrical. The pear-shaped vase is a type that appears regularly in the works of Daniël Seghers and his followers.

523 Works by G. van Bloclant are also listed in the following sales and collection: a large work (canvas, ca. 121 x 100 cm) in the sale of A.R. van Waay, Utrecht, 27 February 1764, no. 25; two works on panel (40 x 29 cm) in the sale of G. Utenhoven in Amsterdam, 24 April 1917, nos 5 and 6; and two signed works in the collection of J. Bierens de Haan in Amsterdam ca. 1920. 524 For the work of Jan Anton van der Baren see Hairs 1970; Hairs 1985, I, pp. 309-312, and II, pp. 3-4 and the Segal Still Life Documentation in the RKD, The Hague. 525 Provenance: Arthur De Heuvel Gallery, Brussels 1935-37; Curt Benedict, Paris 1937; Richard Green Gallery, London 1971; bequeathed to the museum by Mr and Mrs Assheton-Bennett. Literature: Lewis 1973, p. 12, Pl. 22; Mitchell 1973, p. 42, Fig. 46; Van Leeuwen in Auckland 1982, pp. 156-157, no. 28; Hairs 1985, I, pp. 309, Fig. 94, 312.

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Fig. 8.128 Jan Anton van der Baren, Flowers in a glass vase, dated 1663, canvas, 56.5 x 41.6 cm, Manchester Art Gallery, Manchester. | 569

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Philip van der Baren

The 1659 inventory of the Archduke Leopold Wilhelm in Vienna lists ‘a miniature on parchment, which has three Tulips, one Carnation and other individual flowers in a porcelain dish [...] by Philipp van Baren’.526 Philip van der Baren was born in Brussels in 1624. In 1640 Philip van der Baren became an apprentice of Maria de Waeyer, and in 1649 master painter in the Brussels guild of painters, goldbeaters and stained-glass makers.527 Van der Baren died in Brussels in 1664. No works are known by him today.

Jan van den Hecke I

Jan van den Hecke I was born in 1620 in Kwaremont near the town of Oudenaarde. During 1636 he became apprenticed to Abraham Hack in Antwerp, and in 1642 he entered the Guild of Saint Luke as a master painter. Jan van den Hecke lived for several years in Italy, from which he returned in 1657. In 1660 he married Maria Adriana Heyens in Antwerp, where he remained until his death in 1684. He had eleven apprentices between 1657 and 1675, of whom two are recorded: Peter van der Elstraten in 1659 and Peeter de Clerck in 1672. One of his sons, Jan van den Hecke II (1661-after 1702), became a landscape painter. Jan I initially painted landscapes and made drawings and engravings of animals, but, under the influence of Daniël Seghers, Jan Davidsz de Heem and Joannes Fyt, became first and foremost a painter of still lifes of all types – from flower and fruit still lifes to sumptuous and game still lifes. The flower pieces by Jan van den Hecke I frequently show background views of an outdoor landscape or scene. Dated work is known from between 1641 and 1675. Archduke Leopold Wilhelm’s inventory, compiled by his curator Jan Anton van der Baren (see above) in 1659, who was a friend of Van den Hecke, records twenty-one works by Van den Hecke, among them sixteen flower still lifes.528 A number of these works can now be found in the Kunsthistorisches Museum in Vienna, including a flower piece dated 1652 and three other flower pieces. Another signed flower piece is in the Fondation Custodia in Paris, although most flower pieces are unsigned. In addition to the four in Vienna, examples of flower pieces may also be found in the collections of the Gemäldegalerie in Berlin, the Rijksmuseum Twente in Enschede, the Noordbrabants Museum in ‘s-Hertogenbosch (on loan from the P. & N. de Boer Foundation in Amsterdam), and the Museo Nacional del Prado in Madrid.529 Jan van den Hecke I, Flower piece with ten Tulips and a vista (Fig. 8.129) Canvas, 65.8 x 38.7 cm, cut, the year 1652 is derived from the chronogram on the shield now removed: Date eI CoronaM gLorIae Kunsthistorisches Museum, Vienna, inv. no. GG 7989.530 1-10 Persian Tulips 11 Pansy 12 Great Jasmine 13 Austrian Briar 14 Paperwhite Narcissus 15 Turban Buttercup 16 Tazetta Narcissus 17 Hyacinth 18 Austrian Copper (Briar)

Tulipa clusiana x T. stellata Viola tricolor Jasminum grandiflorum Rosa foetida Narcissus papyraceus Ranunculus asiaticus plenus miniatus Narcissus tazetta Hyacinthus orientalis Rosa foetida cv. Bicolor

The vista is a view of the siege of the former Flemish town of Grevelingen, that fell into French hands in 1644.

526 Berger 1883, p. CXXXIV, no. 355: ‘Ein Stückhel von Miniatur auff Pergament, warin drey Tulipanen, ein Naglein unndt andere underschiedliche Blumen in einer porcelainen Schalen [...] von Philipp von Baren’. 527 Hairs 1985, I, p. 312 and the Cornelia database. Maria de Waeyer was the mother of the Brussels flower painter Leo van Heil (1605-1685). For Leo van Heil, see Chapter 7. 528 Berger 1883, pp. CXVI, CXVIII, CXX, CXXII, CXXXI, CXXXIII, CXXXIV, CXLIII as ‘von Eckh’, CXXIV, CXXXVI as ‘Johann von den Eckh’, CXXVII, as ‘Capitain von Eckh’. 529 See further Hairs 1985, I, pp. 313-317, II, p. 27, and for more recent attributions Segal 1990, p. 38 and the Segal Still Life Documentation in the RKD, The Hague. 530 Provenance: in 1659 in the inventory of Archduke Leopold Wilhelm in Vienna; in 1879 in Schloss Ambras in Innsbruck; in 1962 to the Kunsthistorisches Museum in Vienna. Exhibitions & literature: Heinz 1973, pp. 1, Fig. 4, 25, Fig. 22, 33; Hairs 1985, I, p. 314, II, p. 27 as 104 x 74.8 cm; Haja 1991, p. 66, Pl. 453; Härting 2002, pp. 31-32, no. 12; Schreiber 2004, p. 43; Tokyo etc. 2008-09, pp. 126-127, no. 41; Uchtmann & Haag 2011, pp. 26-27.

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Fig. 8.129 Jan van den Hecke I, Flower piece with ten Tulips and a vista, formerly dated 1652, canvas, 65.8 x 38.7 cm, Kunsthistorisches Museum, Vienna. | 571

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Fig. 8.130 Carstian Luyckx, Flower piece with a Passion Flower in a hexagonal glass vase, panel, 31.9 x 24.8 cm, private collection. 572 |

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Carstian Luyckx

Carstian Luyckx (also given as Christiaen Luyckx and in other spellings) was born in 1623 in Antwerp. In 1640 he was apprenticed to Philips de Marlier (ca. 1600-1668), although later on he was active in the workshop of Frans Francken III (1607-1667). In 1644 Luyckx became a master of the Antwerp Guild of Saint Luke, and seems to have produced work for the King of Spain.531 As far as dated works are concerned, we only know of two works from the year 1650. The last dated documentation for Luyckx bears the date 1653 and refers to the birth of a son, although there is evidence that points to later residence in Antwerp. This is important for establishing whether several vanitas still lifes signed K. Lvx are by this artist or someone else, possibly a painter named ‘Lucx’ who was recorded as living in Amsterdam in 1652.532 Carstian Luyckx painted flower still lifes of various types, breakfast and sumptuous still lifes in the style of Jan Davidsz de Heem and bird and game still lifes in the style of Joannes Fyt. Luyckx collaborated with David Teniers II (1610-1690) at least twice; one of these works is a kitchen piece that contains a flower piece by Nicolaes van Verendael.533 That the latter was born in 1640 does not preclude a date for the piece in the late 1650s, but taking into consideration the course of development of Van Verendael’s flower pieces, a date of about 1670 is more plausible. Flower pieces and garlands by Luyckx are recorded in Antwerp inventories of 1652 and 1676.534 Carstian Luyckx, Flower piece with a Passion Flower in a hexagonal glass vase (Fig. 8.130) Panel, 31.9 x 24.8 cm, signed to the right above the table, small, in grey: Cristian Luyckx Private collection.535 1 Auricula 2 Auricula 3 Provins Rose 4 White Rose 5 Meadow Saffron 6 Purple Granadilla 7 Scarlet Runner Bean 8 Scarlet Runner Bean 9 Lupine 10 Scarlet Runner Bean 11 Auricula 12 Snapdragon

Primula x pubescens rosea Primula x pubescens alba Rosa x provincialis ad R. x centifolia Rosa x alba semiplena Colchicum autumnale Passiflora edulis Phaseolus coccineus albus Phaseolus coccineus albo-roseus Lupinus polyphyllus bicolor Phaseolus coccineus albo-coeruleus Primula x pubescens miniatus Antirrhinum majus

A Magpie Moth b 7-spot Ladybird

Abraxas grossulariata Coccinella septempunctata

According to Van der Willigen and Meijer, this painting is a fragment of a garland to which a glass has been added.536 There are no visible indications, such as remains of Ivy, which would suggest that this is the case and, in addition, it should be noted, that no complex works are known for this artist.

531 Van den Branden 1883, p. 1135. 532 Bredius 1915-22, III, p. 1040. As this otherwise has nothing to do with flower pieces it will receive no further attention here, see Segal in ‘s-Heerenberg 1988, pp. 56-62 for a further discussion. 533 Canvas, 83 x 120 cm, Dresden, Gemäldegalerie Alte Meister, inv. no. 1091; Segal in Amsterdam & Braunschweig 1983, p. 67, with sources. 534 Denucé 1932, pp. 150 (1652), 268 (1676). For more on Luyckx see further Hairs 1985, I, pp. 321-322, II, p. 37 and the Segal Still Life Documentation in the RKD, The Hague. 535 Provenance: Brian Koetser Gallery, London 1971; Galerie Julia Kraus, Paris 1976-80, Sotheby’s, London, 4 July 2013, no. 182; Koetser Gallery, Zurich 2014. Literature: Mitchell 1973, p. 164, Fig. 230; Hairs 1985, I, p. 322, II, p. 37, without mentioning the signature, as attributed; Van der Willigen & Meijer 2003, p. 135, as fragment. 536 Van der Willigen & Meijer 2003, p. 135.

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Hieronymus Galle

Hieronymus Galle was born in Antwerp in 1625. In 1636 he became apprenticed to Abraham Hack, and in 1645 he was admitted to the Antwerp Guild of Saint Luke as a master painter. During 1661-1662 he was in Rome. He painted flower and fruit still lifes and combinations, as well as game still lifes. In 1675 he painted a large work with a lady standing before an Italianate garden landscape with cypresses plus fruit, and a flower piece with three Sunflowers and other species in the style of the work of Abraham Brueghel and Gaspar Peeter Verbruggen II.537 Hieronymus’s work often betrays the influence of Daniël Seghers, on the one hand, particularly in his cartouche pieces, but, on the other hand, his brushstroke is more energetic and fluid, somewhat in the style of Joannes Fyt, and his lighting shows less contrast than Seghers’s, with multiple light and shade effects, while his bouquets are more compact. Hieronymus Galle’s early bouquets are often rendered in a tonal style, with colours ranging between white and salmon-pink to soft vermilion or red.538 His later work has more movement, being both more dynamic and asymmetrical. He sometimes painted butterflies, but never any other insects. Galle signed his name Hieronimo Galle or Hier. Galle, usually calligraphically, but replaced the ‘H’ of his first name with a ‘G’ after 1660: Gieronimo or Giero. His bouquets have usually been placed in terracotta vases from Raeren decorated in relief, or in bronze vases. Hieronymus Galle died in or after 1679. Dated work is known from 1643 through to 1675, and dated flower pieces are known from 1643, 1651, 1653, 1663 and 1667. Flower pieces in public collections may be found in the Museum Mayer van den Bergh in Antwerp (pendants); Galerij Prins Willem V in The Hague; and the Musée des Beaux-Arts in Tourcoing (pendants).539 Hieronymus Galle, Tuberose and other flowers in a wide bronze vase (Fig. 8.131) Canvas, 68.8 x 54 cm, signed and dated upper left in grey-green calligraphy with arcs and curls: GIERO . GALLE ft. / Anno. 1667 Private collection.540 1 Provins Rose 2 Poppy Anemone 3 Persian Tulip hybrid 4 Hyacinth 5 Crown Anemone 6 Golden Narcissus 7 Wallflower 8 Poppy Anemone 9 Sweet Rocket 10 Tuberose 11 Poppy Anemone 12 Poppy Anemone 13 Stock 14 Poppy Anemone 15 Poppy Anemone

Rosa x provincialis Anemone coronaria pseudoplena albo-rubra Tulipa clusiana x T. stellata Hyacinthus orientalis Anemone x fulgens Narcissus tazetta subsp. aureus Erysimum cheiri plenum Anemone coronaria pseudoplena albescens Hesperis matronalis Polyanthes tuberosa Anemone coronaria pseudoplena rosea Anemone coronaria pseudoplena indigofera Matthiola incana alba Anemone coronaria pseudoplena rubra Anemone coronaria (simplex)

The flowers have been arranged in a vase on a small foot decorated with garlands and a mascaron. The dimensions of this painting are the same as another flower piece now in Potsdam, also dated 1667, which is possibly a pendant.541 In many of Galle’s flower pieces the foliage – especially in the background (on the outer edges of the bouquet) – has darkened significantly.

537 Canvas, 135 x 205 cm; Hairs 1985, I, p. 319, Fig. 100. I have not seen this work. Further research is needed in order to conclude whether this really is a work by Hieronymus Galle and not a painting by Gaspar Peeter Verbruggen II (1664-1750) and whether the dating is in fact correct. 538 For example, panel, 47 x 34.7 cm, Cultural Heritage Agency of the Netherlands, on loan to the Noordbrabants Museum, ‘s-Hertogenbosch; Segal in Osaka, Tokyo & Sydney 1990, pp. 100, Fig. 50, 213-214, no. 50. 539 For further details on the life and work of Hieronymus Galle see Hairs 1985, I, pp. 317-320, II, p. 23-24 and the Segal Still Life Documentation in the RKD, The Hague. 540 Provenance: Sotheby’s, London, 18 October 1995, no. 25; Rafael Valls Gallery, London 1996; Galerie Scheidwimmer, Munich 1997 and P. de Boer Gallery, Amsterdam 1999. 541 Potsdam, Rotes Haus, inv. no. 2222. Hairs 1985, II, p. 24.

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Fig. 8.131 Hieronymus Galle, Tuberose and other flowers in a wide bronze vase, dated 1667, canvas, 68.8 x 54 cm, private collection.

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Anthonie van Eeckhout

Anthonie van Eeckhout was born in 1656 in Bruges. He made a six-year trip to Rome and Florence with fellow Bruges native Lodewijk de Deyster (1657-1711). After the two returned to Bruges in 1688, Lodewijk married Anthonie’s sister. Later Anthonie departed for Lisbon, where he married in 1691, and in 1695 was shot dead by a rival. Lodewijk and Anthonie collaborated on works in which Lodewijk painted the figures and Anthonie the flowers and fruit, but these works are now unknown. Anthonie was highly regarded in Bruges as a painter of flowers and fruit, but today only one flower piece by him is known.542 Anthonie van Eeckhout, Flowers in a wide glass vase (Fig. 8.132) Panel, 50.8 x 38.8 cm, signed lower right in natural beige: AVE (ligated) Private collection.543 1 Poppy Anemone 2 Columbine 3 Narcissus ‘Van Sion’ 4 Batavian Rose 5 Poet’s Narcissus

Anemone coronaria pseudoplena striata Aquilegia vulgaris alba Narcissus pseudonarcissus cv. Van Sion Rosa gallica cv. Batava ad R. x provincialis Narcissus poeticus duplex

Fig. 8.132 Anthonie van Eeckhout, Flowers in a wide glass vase, panel, 50.8 x 38.8 cm, private collection. 542 Immerzeel 1842-43, I, p. 217; Kramm 1857-64, II, p. 414. According to Van der Willigen and Meijer, no works by Anthonie van Eeckhout are known to exist. Van der Willigen & Meijer 2003, p. 77. 543 Provenance: private collection, Switzerland; Koetser Gallery, Zurich 1989; Douwes Gallery, Amsterdam 1993-1995.

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6 Peach-leaved Bell-flower 7 Carnation 8 Opium Poppy 9 Pale Iris 10 Wallflower 11 Frankfurt Rose

Campanula persicifolia Dianthus caryophyllus (simplex) Papaver somniferum plenum miniatum Iris pallida Erysimum cheiri Rosa turbinata

The flowers are rendered in many hues of white, pink and red, and they stand out starkly against the dark background. Half-wilted petals dropped by the Iris are lying in the foreground to the left. Particularly noteable here are the wrinkled folds of the droopy Opium Poppy foliage in the lower right.

Jan van Kessel I

Jan van Kessel I was born in Antwerp in 1626. He was the son of the painter Hieronymus van Kessel (1578-after 1636) and Paschasia Brueghel, a daughter of Jan Brueghel I. This means his grandfather was Jan Brueghel I and his uncle was Jan Brueghel II. Besides being an apprentice to his father, in 1634, while still very young, he also served an apprenticeship with Simon de Vos (1603-1676). Later he was apprenticed to his uncle Jan Brueghel II. In 1644 he became a master painter in the Antwerp Guild of Saint Luke. During 1647 he married Maria van Apshoven, who also came from a family of painters. Of their thirteen children, Ferdinand (1648-ca. 1696) and Jan II (1654-ca. 1708) became painters too. Jan van Kessel I died in 1679, one year before the death of his wife. Jan van Kessel I painted primarily flower pieces and miniature-like images against a white background displaying flowers and sometimes fruit, accompanied by butterflies, insects and occasionally shells. These paintings seem to have been influenced by the work of Joris (1542-1600) and Jacob (15731632/33) Hoefnagel. In addition, he painted garlands and cartouches in the style of Daniël Seghers and the Brueghels. Around these cartouches he painted not only flowers, but also from time to time heraldic shields, hunting attributes, dead birds, fish, and pieces of porcelain. He also created allegorical scenes, hunting still lifes, and meal still lifes in the style of Jan Davidsz de Heem. Further, he was engaged in producing decorative borders for a number of historical paintings by David Teniers II, with whom he also collaborated on a number of cartouches. Finally, a number of series of paintings are known to have been executed by Jan van Kessel I, among them a very large series of parts of the globe and cities, which includes sixty-four images of live animals. Dated work is known from between the years 1647 and 1676. Flower pieces with bright, richly contrasting colours, painted in dimensions that range between small miniatures to large works on copper, are currently distributed across a number of private collections, the absolute highpoint being at least eight pairs of paintings on copper dated 1652, having previously been in the collection of the Marqués de la Nieves in Spain. Work by Jan van Kessel I is represented in at least forty-five museums in Europe and North America. Flower pieces, at times including flowers in a basket, are to be found in the Musée des Beaux-Arts of Angers, dated 1664; the Fitzwilliam Museum in Cambridge; the Musée des Beaux-Arts in Tournai (two); the Landesmuseum in Mainz; and the Muzeul National Brukenthal in Sibiu, Romania. Small paintings, with just one, or a few flowers and insects, are in the National Gallery of Art in Washington, dated 1653; the Rijksmuseum in Amsterdam, dated 1654; the LVR-LandesMuseum in Bonn, dated 1657; the Musée des Beaux-Arts in Strasbourg, dated 1660; and in the Fitzwilliam Museum in Cambridge, dated 1661 (two). Undated works are currently in the Fitzwilliam Museum in Cambridge (five), the Detroit Institute of Arts, the Ashmolean Museum in Oxford (four), the Fondation Custodia in Paris, and the National Gallery of Art in Washington. Many works by his followers have been classified dubiously under Jan van Kessel I’s name. Cynical self-interest or a lack of curiosity may in part be the reasons behind why art historians and dealers continue to fudge issues of authenticity relating to the numerous works, which have been inspired by Jan van Kessel I and, all too often, have been attributed to him, but sometimes also to his son Jan van Kessel II, as well as to his elder son Ferdinand (for both see further below).544

544 See Hairs 1985, I, pp. 287-300, II, pp. 33-36, which also probably includes works by Ferdinand, for example a little flower piece in a private collection (copper, 16.3 x 21.5 cm; Hairs 1985, I, p. 299, Fig. 99). For a recent overview of the work of Jan van Kessel I see Ertz & Nitze-Ertz 2012; a number of their attributions require further critical investigation. See further Baadj 2012, Baadj 2016 and the Segal Still Life Documentation in the RKD, The Hague.

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Fig. 8.133 Jan van Kessel I, Flowers in a glass vase, dated 1652, copper, 77.5 x 60 cm, private collection. 578 |

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Jan van Kessel I, Flowers in a glass vase (Fig. 8.133) Copper, 77.5 x 60 cm, signed and dated on the table at the lower left in brown: J. v. kessel. fecit / anno 1652. Private collection.545 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

Musk Rose Poppy Anemone Love-in-a-mist Provins Rose White Rose Pot Marigold Persian Tulip hybrid French Rose Primrose Peerless Peruvian Hyacinth Lady Tulip hybrid Persian Tulip Variegated Iris Persian Tulip Tapered Tulip Primrose Peerless Hyacinth Snake’s Head Fritillary Damask Rose Woody Nightshade Carnation Opium Poppy

Rosa moschata Anemone coronaria pseudoplena albo-malvina Nigella damascena semiplena Rosa x provincialis Rosa x alba subplena Calendula arvensis Tulipa clusiana x T. stellata Rosa gallica Narcissus x medioluteus semiplenus Scilla peruviana Tulipa stellata x T. clusiana Tulipa clusiana Iris variegata Tulipa clusiana purpurea Tulipa armena Narcissus x medioluteus Hyacinthus orientalis Fritillaria meleagris alba Rosa x damascena semiplena Solanum dulcamara Dianthus caryophyllus plenus bicolor Papaver somniferum pseudoplenum miniatum

a b c d e f g h i j k l m

Orange Tip Butterfly ♀ Large White Butterfly Pale Clouded Yellow Butterfly Common Blue Butterfly Elephant Hawk Moth Queen of Spain Fritillary Butterfly Red Spot Beetle Common Flowerbug Beautiful Demoiselle Magpie Moth Caterpillar (2x) Cockchafer Beetle Scarlet Lily Beetle Pale Tussock Caterpillar

Anthocharis cardamines Pieris brassicae Colias hyale Polyommatus icarus Deilephila elpenor Issoria lathonia Malachius bipustulatus cf. Anthocoris nemorum Calopteryx virgo Abraxas grossulariata Melolontha melolontha Lilioceris lilii Calliteara pudibunda

Fig. 8.133a Sketch of the species in Fig. 8.133.

This work is one of sixteen monumental flower pieces on copper executed in 1652 (all with the same dimensions), divided into eight pairs, each painting with its own vase. The pendant shows an identical glass vase and presents fourteen different species of butterflies and other insects.

545 Provenance: possibly collection of the Duke d’Aveyro, Madrid; private collection, Spain; Speelman Gallery, London 1979; Christie’s, New York, 31 May 1991, no. 86; Richard Green Gallery, London 1992. Literature: Bergström in Washington & Boston 1989, p. 113, Fig. 2; Baadj 2012, p. 369, no. 7; Ertz & Nitze-Ertz 2012, pp. 307-308, no. 514. | 579

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Fig. 8.134 Jan van Kessel I, Rosemary with butterflies and other insects, dated 1653, panel, 11.7 x 13.9 cm, National Gallery of Art, Washington.

Jan van Kessel I, Rosemary with butterflies and other insects (Fig. 8.134) Panel, 11.7 x 13.9 cm, signed and dated lower left in brownish grey: J. v kessel: f. A° 1653 National Gallery of Art, Washington, inv. no. 2018.41.1.546 1 Rosemary

Rosmarinus officinalis

A B C d e f g h i-l

Pontia daplidice Abraxas grossulariata Gonepteryx rhamni Trichius fasciatus Melolontha melolontha Bombus terrestris Pyrochroa coccinea Cicindela campestris Diptera div. spec.

Bath White Butterfly Magpie Moth Brimstone Butterfly Banded Brush Beetle Cockchafer Beetle Garden Bumblebee Cardinal Beetle Green Tiger Beetle four other insects

546 Provenance: Richard Green Gallery, London 1982; Paul and Rachel Lambert Mellon collection; Sotheby’s, New York, 10 November 2014, no. 31; Johnny Van Haeften Limited, England; acquired by the museum with the support of The Richard C. Von Hess Foundation, Nell and Robert Weidenhammer Fund, Barry D. Friedman, and Friends of Dutch Art. Literature: Greindl 1983, p. 365, no. 3; Segal in Osaka, Tokyo & Sydney 1990, p. 209, Fig. 47a; Tomasi 1997, p. 106; Meijer 2003, p. 230 n. 6; Baadj 2012, p. 422, no. 60; Ertz & Nitze-Ertz 2012, p. 262, no. 378.

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Such small paintings as this, always set against an off-white background, were usually mounted in cabinets of curiosities and could run to considerable numbers.547 Often in these cabinets there was a larger central panel around which smaller panels were placed; that central panel could quite well be a flower piece, such as the Flowers in a glass vase (Fig. 8.135).548 Fig. 8.135 Jan van Kessel I, Flowers in a glass vase, panel, 24 x 17.3 cm, private collection.

Ferdinand van Kessel

Ferdinand van Kessel was born in 1648 in Antwerp, the son of Maria van Apshoven and Jan van Kessel I, from whom he learned to paint, and who, as eldest son, also took over the workshop of his father upon his death in 1679. But shortly afterwards in about 1680 Ferdinand moved to Amsterdam, where he remained until 1688 or 1689, when he departed for Breda, where he died around 1696. During 1689 he painted a series of forty-four small topographical images, as well as a series with allegorical images of the Four Elements and the Four Continents, all of which he sold to the King of Poland, Jan III Sobieski, together with paintings of animals and birds. Ferdinand probably executed many unsigned small paintings in the style of his father, but with significantly less refinement, which nonetheless frequently pass as attributed to his father. Among the best of these, in my opinion, is a pair of complex works with flowers and fruit, now in the Galleria Doria Pamphilj in Rome.549 547 See Segal in Osaka, Tokyo & Sydney 1990, p. 209, Fig. 47b, with an example of sixteen small images around one larger one. I have not seen complete cabinets with images by Jan van Kessel I; however, several series of such images have been preserved, that contain as many as forty-eight little panels. 548 Signed lower right in black: I.V. Kessel. Fecit. (with a dot on the ‘I’). Provenance: Leger Galleries, London 1979. Literature: Hairs in Greindl et al. 1989, pp. 153, 179, Fig. 143; Hairs 1985, p. 298, Fig. 98; Baadj 2012, p. 372, no. 10; Ertz & Nitze-Ertz 2012, p. 317, no. 535. 549 Copper, 41 x 76 cm, Rome, Galleria Doria Pamphilj, inv. nos 297 and 298; Ertz & Nitze-Ertz 2012, pp. 400-401, nos 11 & 12, as Jan van Kessel II.

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We know of several small signed works, among them an image of a single flower with fourteen insects against a light background (Fig. 8.136), as well as a watercolour on parchment signed F. Kessel which shows nine butterflies and eight other insects.550 There can be no absolute certainty, however, about the attribution of either one of these. Ferdinand van Kessel (attributed), False Larkspur with butterflies and other insects (Fig. 8.136) Copper, 8.7 x 12.6 cm, previously signed lower left in greyish brown: F.V.K. Private collection.551 1

False Larkspur

A Wall Butterfly B Marbled Beauty Moth C White Satin Moth d Spider-hunting Wasp e Lacewing f Black Carrion Beetle g Rust Fly h Brown Longhorn i Crane Fly (2x) j Bee Rove Beetle k Pillbug l Variable Bibio Fly m Caddish Fly

Consolida ajacis Lasiommata megera Bryophila domestica Leucoma salicis Ammophila sabulosa Neuroptera spec. Silpha atrata Psilidae spec. Celosterna scabrator Tipula paludosa Emus hirtus Oniscus spec. Bibio varipes Trichoptera spec.

Fig. 8.136 Ferdinand van Kessel (attributed), False Larkspur with butterflies and other insects, copper, 8.7 x 12.6 cm, private collection.

550 116 x 230 mm; Zurich 1973, no. 209 and Bol 1982, pp. 73, Fig. 8, 74. 551 Provenance: Christie’s, London, 7 July 1978, no. 185; John Mitchell & Son Gallery, London 1978; Richard Green, London; collection of Mrs. Paul Mellon; Sotheby’s, New York, 21 November 2014, no. 357; Johnny Van Haeften Gallery, London 2015, with the signature removed. Literature: Hairs 1985, I, p. 300, II, p. 33; Tomasi 1997, p. 106 under no. 26; Ertz & Nitze-Ertz 2012, p. 265, no. 390 as Jan van Kessel I, and Borage instead of False Larkspur (cf. no. 389 also Borage instead of False Larkspur).

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Jan van Kessel II

Jan van Kessel II was the younger son of Jan van Kessel I and Maria van Apshoven. He was born in Antwerp in 1654 and lived until 1708. He was never registered in the Antwerp Guild of Saint Luke and it remains an open question as to whether he painted still lifes or not.552

Nicolaes van Verendael

Nicolaes van Verendael was born in 1640 in Antwerp. His father Willem taught him to paint, and in 1656 Nicolaes was entered in the Antwerp Guild of Saint Luke as the son of a master painter. He painted predominantly flower pieces and flower cartouches, but also garlands, several game pieces, combinations of flowers with vanitas elements, and paintings in which monkeys replace human figures after David Teniers’ singeries. During 1669 he married Catharina van Beveren, daughter of the sculptor Matthias van Beveren (ca. 1630-1691). When Nicolaes died in 1691 only two of their ten children were still alive, with another on the way. His apprentices were Jeronimus van Scharenborgh and the still life painter Jan Baptist Morel (1662-1732). For his flower pieces Verendael collaborated with Jan Davidsz de Heem, David Teniers II, Carstian Luyckx, Joannes Fyt and Jan Boeckhorst; for his cartouches, he collaborated with others. Dated work is known from between the years 1659 and 1690. He worked with bright, contrasting colours, with even more contrast than Jan van Kessel I used in his works, including a brighter green. In terms of insects, he sometimes approached the numbers found in the paintings of Jan van Kessel I, but his butterflies are usually less noticeable. His brushstroke is freer in his later work, at which time he also combined flower pieces with vanitas elements. Dated flower pieces can be found in the following public collections: 1661, Tiroler Landesmuseum Ferdinandeum in Innsbruck; 1662, the Metropolitan Museum of Art in New York; 1669, Dyrham Park (a National Trust estate near Bath); 1670, Gemäldegalerie Berlin and Musée des Beaux-Arts, Marseille; 1673, the Fitzwilliam Museum in Cambridge and Stedelijk Museum Wuyts-Van Campen & Baron Caroly in Lier (with fruit); 1674, Musée Fabre in Montpellier; 1684, Suermondt-Ludwig-Museum in Aachen; 1689, Musée Jeanne d’Abboville in La Fère (with vanitas elements) and the Evansville Museum of Arts, History & Science in Indiana. Undated flower pieces may be found in the Fitzwilliam Museum in Cambridge (two), the Gemäldegalerie Alte Meister in Dresden, the Hunterian Museum in Glasgow, the Muzeum Umění in Olomouc in the Czech Republic (with fruit), and in the Casa Carlo Goldoni in Venice (with vanitas elements). Many more works are currently in private collections.553 Nicolaes van Verendael, Flowers in a glass vase (Fig. 8.137) Canvas, 37.5 x 27 cm (original size, slightly enlarged), signed and dated lower right in greyish black: ni. v. verendael 1671 Private collection.554 1 Poppy Anemone 2 Liverwort 3 Poppy Anemone 4 White Rose 5 Navelwort 6 Austrian Briar 7 Great Jasmine 8 Columbine 9 Tapered Tulip 10 Rosemary 11 Pot Marigold 12 Auricula 13 Small Morning Glory 14 Provins Rose 15 Pomegranate blossom

Anemone coronaria pseudoplena albo-coerulea Hepatica nobilis plena Anemone coronaria pseudoplena albo-miniata Rosa x alba semiplena Omphalodes verna Rosa foetida Jasminum grandiflorum Aquilegia vulgaris bicolor Tulipa armena bicolor Rosmarinus officinalis Calendula officinalis Primula x pubescens albo-purpurescens Convolvulus tricolor Rosa x provincialis Punica granatum plena

552 Van der Willigen & Meijer 2003, p. 124; Ertz & Nitze-Ertz 2012, pp. 135-143. 553 For further details on the life and oeuvre of Nicolaes van Verendael see Hairs 1985, I, pp. 301-309, II, pp. 53-55; the Segal Project and Segal Still Life Documentation in the RKD, The Hague. 554 Provenance: collection of G.M. Hollowes; Sotheby’s, London, 7 December 1960, no. 67; Leonard Koetser Gallery, London; collection of Paul Mellon; Christie’s, New York, 18 January 1984, no. 9. Literature: Pavière 1965, pp. 30-31, Pl. 12; Hairs 1985, II, p. 54; Buvelot in Buvelot, Hilaire & Zeder 1998, p. 229 n. 5 under no. 62.

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A B C D E f g h i j k l m n

Orange Tip Butterfly Drinker Moth White Admiral Butterfly Common Blue Butterfly Magpie Moth Wart-biter Bush Cricket Drinker Caterpillar Yellow Meadow Ant Hairy Bee-eating Beetle Phantom Crane Fly Garden Tiger Caterpillar Cockchafer Beetle Magpie Moth Caterpillar Spotted Brown Longhorn Beetle

Anthocharis cardamines Euthrix potatoria Limenitis camilla Polyommatus icarus Abraxas grossulariata Decticus verrucivorus Euthrix potaria Lasius flavus Trichodes alvearius Ptychoptera contaminata Arctia caja Melolontha melolontha Abraxas grossulariata Saperda carcharias

Fig. 8.137 Nicolaes van Verendael, Flowers in a glass vase, dated 1671, canvas, 37.5 x 27 cm, private collection.

The placement of the Wart-biter Bush Cricket, just peeping out from behind the Anemone in the lower left, is reminiscent of the Flower piece with a skull and a Turban shell by Jan Davidsz de Heem in Dresden (Fig. 8.10). How much Nicolaes van Verendael changed his style in later life may be seen in Flowers in a sculpted urn (Fig. 8.138), a painting of 1689.555 The flowers are no longer cleanly and sharply outlined, but more ‘fuzzy’ as it were, which is similar to the technique of Flemish decorative painters of the time, such as Gaspar Peeter Verbruggen II. 555 Provenance: collection of Jacques Dupount, Brussels; Sotheby’s, London, 19 April 1967, no. 94 (with pendant); Galerie Robert Finck, Brussels; Christie’s, New York, 11 January 1979, no. 69; collection of Bernars Palitz, New York; Sotheby’s, New York, 29 January 2015, no. 258. Exhibitions: Brussels 1967, no. 39; Worcester 1983-84, pp. 136-137, no. 36. The pendant is in the Evansville Museum of Arts, History & Science in Indiana, inv. no. 1979.33.

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Fig. 8.138 Nicolaes van Verendael, Flowers in a sculpted urn, dated 1689, canvas, 80 x 62.8 cm, private collection. | 585

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Cano

A document of 1683 records that a priest named Cano was one of Nicolaes van Verendael’s apprentices. Cano had painted two little flower pieces, and a frame-maker Boots asked Van Verendael to paint them over and to sign them, which he did on condition that the flower pieces would be sold outside Antwerp as ‘geene principale’ (‘no original paintings’) by Van Verendael.556

C. de Vil or de Uil

In Warner (1928) there is an illustration of a flower piece that is said to be signed C. De Vil, f. (Fig. 8.139). It depicts a stone table-top, covered on the left with a cloth. Warner had little regard for the piece.557 C. de Vil or de Uil, Flowers in a glass vase with a peach (Fig. 8.139) Panel, 52 x 40 cm, signed: C. de Vil, f. Whereabouts unknown.558 Provins Rose Snowball Small Morning Glory Great Jasmine Sharp Tulip Hyacinth Umbelliferous flower Blackberry sprig In the foreground left: a Peach

Rosa x provincialis Viburnum opulus cv. Roseum Convolvulus tricolor Jasminum grandiflorum Tulipa mucronata Hyacinthus orientalis Apiaceae spec. Rubus fruticosus coll.

According to Van der Willigen and Meijer this painting is a ‘much simplified copy’ of Van Verendael’s flower piece of 1674 in the Musée Fabre in Montpellier.559 A large portion of the work, however, consists of flowers that have not been copied from Verendael. This particular painting would appear to be the work of a follower of considerably inferior abilities.

Fig. 8.139 C. de Vil or de Uil, Flowers in a glass vase with a peach, panel, 52 x 40 cm, whereabouts unknown. 556 Duverger 1984-2002, XI, p. 206. 557 Warner 1928 (Segal ed. 1975), pp. 226-227, Pl. 108a. 558 Provenance: collection of T.W.H. Ward, London. Literature: Warner 1928 (Segal ed. 1975), pp. 226-227, Pl. 108a; Gemar-Koeltzsch 1995, III, p. 991, no. 388/1, as C. den Uyl, a name that is otherwise absent in the literature; Van der Willigen & Meijer 2003, p. 207, under Jacques de Ville. My identifications are based on a photograph of inferior quality. 559 Van der Willigen & Meijer 2003, p. 207, under Jacques de Ville. Canvas, 62 cm x 49.5 cm, Musée Fabre, Montpellier, inv. no. 837-1-90.

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Gaspar Thielens

Gaspar Thielens was probably born in Antwerp around 1630. In 1647 he was registered in the Antwerp Guild of Saint Luke as an apprentice and in 1676 as a master painter. He died in Antwerp in 1691. In 1653 the Antwerp art firm Forchondt possessed a ‘cleyn blomghelas van Tilens’ (‘small glass of flowers by Tilens’).560 The inventory of Gaspar Thielens’s estate lists eight flower pieces in addition to cartouches, vanitas still lifes, paintings of religious subjects, landscapes and genre pieces, but today we know of only five flower pieces, one cartouche with flowers and one meal still life.561 The name ‘Gaspar’ is often reported in the literature and sale catalogues as ‘Gaspard’.562 Gaspar Thielens, Flowers in a glass vase with some fruit (Fig. 8.140) Canvas, 45.5 x 34.5 cm, signed lower centre in greyish black: Gasp... THIELENS fecit Private collection.563 1 Blunt Tulip 2 Provins Rose 3 False Larkspur 4 Primrose 5 White Rose 6 Hawthorn 7 Turk’s Cap Lily

Tulipa mucronata bicolor Rosa x provincialis Corydalis ajacis lilacina Primula vulgaris Rosa x alba plena Crataegus monogyna Lilium chalcedonicum

Fig. 8.140 Gaspar Thielens, Flowers in a glass vase with some fruit, canvas, 45.5 x 34.5 cm, private collection. 560 Denucé 1931, pp. 45, 52. 561 Duverger 1984-2002, XII, pp. 70-73. See further Hairs 1959; Hairs 1985, I, pp. 388-389, II, pp. 52-53 and the Segal Still Life Documentation in the RKD, The Hague. 562 Van der Willigen & Meijer 2003, p. 195, as Gaspard Thielens. 563 Provenance: S. Nystad Gallery, Lochem 1954; collection of W.C. Deenik, Haarlem; Christie’s, London, 3 November 2004, no. 73. Exhibitions & literature: Hairs 1959, p. 38; Ghent 1960, no. 147, Fig. 66; Segal in Amsterdam & ’s-Hertogenbosch 1982, p. 108, no. 69; Hairs 1985, I, p. 388, II, p. 53.

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8 9 10 11 12 13 14 15 16 17 18 19

Clustered Bell-flower False Larkspur Great Spearwort Love-in-a-mist Columbine Poppy Anemone Damask Rose Pomegranate blossom Apricot Redcurrants Cherries Grapes

Campanula glomerata Consolida ajacis (coerulea) Ranunculus lingua Nigella damascena plena Aquilegia vulgaris bicolor Anemone coronaria pseudoplena albo-rosea Rosa x damascena Punica granatum plena Prunus armeniaca Ribes rubrum Prunus cerasus Vitis vinifera

Gaspar Peeter Verbruggen I

Gaspar Peeter Verbruggen I was born in Antwerp in 1635, the son of a gardener named Gaspar Verbruggen who thus had much practical experience with cultivated flowers.564 Gaspar Peeter was apprenticed at a rather young age in 1644 to Cornelis Mahu (1613-1689), and was entered in the Antwerp Guild of Saint Luke as a master painter in 1649. Listed as his apprentices are Joris Carpentero and Norbertus Beeckmans in 1661; Norbertus Martini in 1669; and Jacobus Seldenslach (1652-1735) in 1680, the only one to make a name for himself. In 1658 Gaspar Peeter married Catharina van Severdonck, who bore him six daughters and five sons. One of his sons was the flower still life painter Gaspar Peeter Verbruggen II, who was born in 1664. In 1679 a second marriage followed to the widow Sara Catharina Raeps, who brought three of her own children to the family. In 1680 a son was born to this union, Balthasar Hyacinth, who also became a still life painter. Due to various inheritances Gaspar Peeter became an affluent man, owning six houses at the time of his death. Gaspar Peeter Verbruggen I painted flower pieces, cartouches with flowers – several of them without a central medallion – and flower festoons. His bouquets, in a vase or basket, frequently display a composition fanning out at the top. In many of his later works we can differentiate two crossing diagonal axes, with flowers that extend outwards at the bottom on the left and right. Dated work is known from the years 1654 to 1676. A flower piece dated 1654 is now in the Tiroler Landesmuseum Ferdinandeum in Innsbruck, and we also know of others dated 1661, 1664, 1665, 1668 and 1676. Much of his signed work is currently in private collections.565 Gaspar Peeter Verbruggen I’s brushstroke is broader than that of Daniël Seghers or Jan Philip van Thielen. In his later work his technique of application becomes even freer; this tendency towards a looser brushstroke was, incidentally, taken even further by his son Gaspar Peeter II, who had been taught by his father. Nonetheless, differentiating the works of father and son is sometimes quite difficult. In the case of dated works, a mistake is only possible in the overlapping years of production from 1675 through to 1680. However, clues and identifying leads can be found in the signature. Both signed Gasp. P. Verbruggen, but with variants. The father frequently signed in capitals and sometimes with an ‘h’ in Verbrugghen. The son frequently signed Gaspar Pedro. Sometimes they both signed with the monogram PVB, the father from 1664 on, the son more often. Gaspar Peeter Verbruggen I, Flowers in a glass vase (Fig. 8.141) Canvas, 65.4 x 47.6 cm, signed and dated lower left in grey in a family monogram with a large P between 16 and 68 VB that finishes in a 4, a G attached to the side of the 4. Private collection.566 1 Alpine Clematis 2 Snowball 3 Rose of Sharon 4 Great Morning Glory 5 Tuberose 6 Illyrian Gladiolus 7 Blue Monk’s Hood

Clematis alpina Viburnum opulus cv. Roseum Hibiscus syriacus Ipomoea purpurea Polyanthes tuberosa Gladiolus illyricus Aconitum napellus

564 Van den Branden 1883, p. 1137. 565 For an overview of the work of Gaspar Peeter Verbruggen I see Hairs 1975; Hairs 1985, I, pp. 325-333, II, pp. 55-56 and the Segal Still Life Documentation in the RKD, The Hague. 566 Provenance: private collection, Switzerland; Galerie Bruno Meissner, Zurich 1998.

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8 9 10 11

Tapered Tulip Fire Tulip hybrid African Marigold Provins Rose

a 7-spot Ladybird B Blue Butterfly c Black Ant (?) d small Spider on a thread e-f Caterpillars

Tulipa armena bicolor Tulipa praecox x T. armena Tagetes erecta Rosa x provincialis Coccinella septempunctata Lycaenidae spec. Lasius niger Araneae spec. Lepidoptera spec.

Fig. 8.141 Gaspar Peeter Verbruggen I, Flowers in a glass vase, dated 1668, canvas, 65.4 x 47.6 cm, private collection. | 589

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Gaspar Peeter Verbruggen II and his Followers Gaspar Peeter Verbruggen II

Gaspar Peeter Verbruggen II was born in Antwerp in 1664, the son of Gaspar Peeter I, who taught him to paint. Already by the year 1676, Gaspar II had been admitted to the Guild of Saint Luke in Antwerp as a master painter.567 In 1691 he became dean, an office that he fulfilled four more times between 1694 and 1702. During 1689 he also became a member of the chamber of rhetoric De Violieren. His apprentices were Pieter Frans Casteels in 1690, his half-brother Balthasar Hyacinth Verbruggen, his brother-in-law Jacob Melchior van Herck and Frans Naulaerts in 1691, Franciscus d’Olivera in 1696, Gillis Vinck in 1697, and his cousin Hieronymus Galle.568 Only some of them went on to make a name for themselves. In 1700 Gaspar II married Dymphna van der Voort, who died two years later. Up until that time he had lived as an affluent man who freely spent his money in taverns. Weyerman describes him as a shallow and incurable gossipmonger. He then fell deeply into debt and had to sell his collections at auction in 1703. In order to give his creditors the slip, he moved to Holland in about 1705-1706, initially to Amsterdam and then to The Hague, where in 1708 he became a member of the Confrerie Pictura, and where he remained until 1723. Afterwards he returned to Antwerp a poor man, where his colleagues gave him a nominal job in the guild as knape. He died in 1730. Both father and son Verbruggen tended toward the decorative, an approach directed at making ornamental art for interiors. While his father Gaspar Peeter I still clearly operated according to the mentality of seventeenth-century Flemish flower painters, his son Gaspar Peeter II is a transitional figure, in whose work we can differentiate two different periods of style. Although Gaspar Peeter II also painted flower still lifes more or less in the ‘Flemish’ style, following directly the example of his father and, therefore, indirectly in the footsteps of the Brueghels and Daniël Seghers, quite quickly he started to use an even looser brushstroke than that which his father had deployed at the end of his career. Verbruggen II’s flowers are often large and round; his Tulips, including Parrot Tulips, are often partially or fully open. He painted many bouquets, but combined them with fruit and more often with mythological allegorical figures, which means that the bouquets are relegated to a subordinate position. He also painted putti with swags of flowers. Gaspar Peeter II worked in collaboration with several other artists, calling on the assistance of Pieter Frans de Bailliu (1644-1726/27) for his stone urns; Pieter Eyckens (1648-1695) and Caspar Jacob van Opstal (1654-1717) for the figures and putti; and Jan Pauwel Gillemans II (1651-1704) for the fruit. He frequently painted on canvas made from a rather rough-woven linen.569 Gaspar Peeter II also contributed designs for tapestries, and while these were probably for the most part for flowers in the borders, we also know of a design with a true flower arrangement showing flowers in a baroque glass vase incorporated into the central image of a tapestry.570 In Verbruggen II’s Dutch period the decorative function becomes stronger, but the images are more subdued, with ornamented or moulded garden urns frequently on a pedestal with scrolls. He also painted flower swags around a garden urn. In his period in The Hague he collaborated with Mattheus Terwesten (1670-1757). It must be said that the two different styles cannot be clearly distinguished according to a fixed point in time, since the Northern influences and preferences from Holland had already set in during his Antwerp period. Yet as a transitional figure Gaspar Peeter II seems also to have been influenced by Abraham Brueghel and the Italian artists from Rome and Naples in his circle. Simultaneously, he was an important representative of a trend towards much more decorative pieces, along with a number of Flemish artists who worked in the same style in the first decade of the eighteenth century, including Jan Baptist Bosschaert (1667-1746), as well as several decorative artists from Liège and a few such artists in Holland from The Hague and surrounding area.571 Dated work by Gaspar Peeter Verbruggen II is only known for the years from 1687 through to 1703, his first Antwerp period, but in 1708 he painted flowers in a series of the Seasons in collaboration 567 Romb0uts & Van Lerius 1864-76, II, p. 455. 568 Nearly nothing is known about this Hieronymus Galle. In 1673 a Hieronymus Galle was registered in the Antwerp Guild of Saint Luke as apprentice to Erasmus Quellinus II; he became a master painter in 1681 and died in 1713. 569 Many canvasses have 7 to 9 threads per cm, while most painters’ canvasses of the time had approximately 12 to 17 threads per cm, and the threadcount of the finest canvasses was more than 20 per cm. 570 The flower arrangement in Oriane receiving the weapons was part of the tapestry series The History of Amadis and Oriane, commissioned by the Antwerp tapestry entrepreneur Cornelis de Wael (1646-1721) in 1698. About Verbruggen as a designer for the Antwerp tapestry industry and for the production of the Amadis and Oriane series in Antwerp see Alen 2017, I, pp. 231, 235-236, 242, 249, 259, 567-570, III, XL. 571 See further Chapter 9.

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with Terwesten. Dated flower pieces can be seen in allegorical representations of 1688 and 1690 in the Koninklijk Museum voor Schone Kunsten in Antwerp, and further in a work of 1699 to be found in Croft Castle (Herefordshire, National Trust). Signed flower pieces are in Musée Rupert de Chièvres in Poitiers, the Art Museum Riga Bourse in Riga and the Staatliches Museum Schwerin (pendants).572 Gaspar Peeter Verbruggen II, Flowers in a glass (Fig. 8.142) Coppper, 26 x 18.4 cm, signed and dated lower right in black: gas.p. verbruggen. / 1695 Private collection.573 1 Great Jasmine 2 Forget-me-not 3 Auricula 4 Poppy Anemone 5 Greater Meadow Rue 6 Opium Poppy 7 Pot Marigold

Jasminum grandiflorum Myosotis palustris Primula x pubescens Anemone coronaria pseudoplena albo-rosea Thalictrum aquilegifolium Papaver somniferum rubrum Calendula officinalis

The flowers have been arranged in a pear-shaped glass standing on a grey foreground surface with indistinct edges.

Fig. 8.142 Gaspar Peeter Verbruggen II, Flowers in a glass, dated 1695, copper, 26 x 18.4 cm, private collection. 572 Unsigned works attributed to Gaspar Peeter Verbruggen II are in museums in Anholt, Aschaffenburg, Basel (with fruit), Bruges, Chambéry, Kortrijk, Lille (with fruit), Paris, Saint-Omer and Valenciennes. For an overview of his oeuvre see Hairs 1975; Hairs 1985, I, pp. 407-413, II, pp. 56-58 and the Segal Still Life Documentation in the RKD, The Hague. 573 Provenance: Sotheby’s, New York, 6 October 1995, no. 114; Glerum, Amsterdam, 10 November 1998, no. 24 (catalogue as 9 November); Rafael Valls Gallery, London; Koller, Zurich, 19 September 2008, no. 3105.

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Pieter Frans de Bailliu

Pieter Frans de Bailliu II was born in 1644 in Antwerp, son of the copper engraver Pieter de Bailliu I (1613-ca. 1660). After a stay in Rome, where he worked for Carlo Maratti, he became a master painter in the Antwerp Guild of Saint Luke in 1688. Pieter Frans de Bailliu died in Antwerp in 1726 or 1727. He painted flowers, which could be arranged in vases, in allegorical scenes with nymphs, satyrs and putti, in works by Gaspar Peeter Verbruggen II, but also in a bust for Jan Baptist Bosschaert, as well as for Jan Pauwel Gillemans II.574 A vase by Balliu, decorated with flowers by Jan Baptist Bosschaert is mentioned in the auction catalogue relating to the collection of the painter Jacques de Roore (1686-1747) in 1747.575

Jean Baptist de Crepu

Jean Baptist de Crepu was born about 1640 in Wallonia. He served in the Spanish army as lieutenant. During 1682 he married Marie Anna Pauli in Antwerp, daughter of the miniaturist Andries Pauli. In 1683, Jean Baptist de Crepu and Nicolaes van Verendael were called as witnesses to a notarial declaration concerning two flower pieces by Cano.576 In 1684 he entered the Antwerp Guild of Saint Luke as a master painter, and a year later took on Jan Baptist Bosschaert and Simon Hardimé as his apprentices. He fled Antwerp to get away from his creditors and died in Brussels in 1689. A number of flower pieces by De Crepu are mentioned in the literature and in inventories.577 Jean Baptist de Crepu, Roses, a Tulip and other flowers in a round glass vase (Fig. 8.143) Canvas, 35.5 x 27 cm, monogrammed lower right on the plinth in black: JBC (‘JB’ ligated) Private collection.578

Fig. 8.143 Jean Baptist de Crepu, Roses, a Tulip and other flowers in a round glass vase, canvas, 35.5 x 27 cm, private collection. 574 575 576 577

Van Lerius 1880-81, I, pp. 205-210. The Hague, 4 September 1747, no. 193. Duverger 1984-2002, XI, p. 206. Hairs 1985, I, p. 406, II, p. 20 and the Segal Still Life Documentation in the RKD, The Hague. For paintings by Crepu in Antwerp inventories of 1739, 1754 and 1761 see Van Hemeldonck 2007, no. S 1269. 578 Provenance: collection of Dr Fröhlich, Vienna 1926; sale Bangel, Frankfurt am Main, 5 July 1927, no. 10; Koller, Zurich, 22

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1 Spanish Jasmine 2 Provins Rose 3 Small Morning Glory 4 White Rose 5 Chinese Wisteria 6 Blunt Tulip 7 Rosemary 8 Auricula

Jasminum grandiflorum Rosa provincialis Convolvulus tricolor Rosa x alba duplex Wisteria sinensis Tulipa mucronata f. obtusa Rosmarinus officinalis Primula x pubescens albo-purpurea

A Orange Tip Butterfly (?) B White Admiral Butterfly c Dragonfly d Marbled Coronet Caterpillar

Anthocharis cardamines Limenitis camilla Odonata spec. Hedena confusa

Frans van Cuyck de Myerhop

Frans van Cuyck de Myerhop is thought to have been born in Bruges about 1640. He became a member of the Guild of Saint Luke in Ghent in 1665 and was dean from 1679 through to 1685. He died in Ghent in 1689. A number of fish and game still lifes are known.579 In 2011, a signed and dated flower piece by Van Cuyck de Myerhop from 1661 appeared at an auction. Frans van Cuyck de Myerhop, Flowers in a pot on a stone slab covered with a folded cloth (Fig. 8.144) Canvas, 102 x 70 cm, signed and dated lower left: F.v. Myerhop / F 1661 Private collection.580 1  Great Morning Glory 2  Carnation 3  Poppy Anemone 4  Chrysanthemum 5 Jasmine 6  Winter Aster 7  Pot Marigold 8  Opium Poppy 9  Forget-me-not 10 Red Tulip 11 Red Tulip 12 Tapered Tulip hybrid 13 French Marigold 14 False Larkspur 15 Provins Rose 16 Blunt Tulip

Ipomoea purpurea Dianthus carophyllus plenus Anemone coronaria albo-rosea plena Chrysanthemum morifolium plenum Jasminum officinale Chrysanthemum indicum album plenum Calendula officinalis plena Papaver somniferum plenum Myosotis palustris Tulipa agenensis bicolor flavo-miniata Tulipa agenensis bicolor albo-rubra Tulipa armena x T. undulatifolia albopurpurea Tagetes erecta Consolida ajacis Rosa provincialis Tulipa mucronata f. obtusa

A Small White Butterfly B Red Admiral Butterfly c  Common Harvester Spider

Pieris rapae Vanessa atalanta Phalangium opilio

The flower piece shows a bisque-coloured earthenware pot decorated with three playing putti in relief on a white background. A sumptuous cloth of gold is decorated with crests, shields and trefoils, while its diamond and circular shapes are filled with silver-thread embroidery and edged in frilly long fringe. The cloth is turned so that we can admire the underside of orange offset by delicate curling lines in gold appliqué (sometimes raised from the surface). It may have been influenced by Jean Baptiste Monnoyer. The ornamentation on the container suggests the work of a distant forerunner of Jan van Huysum, but is probably rather a later augmentation of the painting. A spray of Great Morning Glory extends well into the foreground on the lower left, while two Tulips on bent stems draw our attention to the upper left. These too are striking and unusual representations, as are the somewhat crumpled Forget-me-nots.

September 2017, no. 3041. 579 Van der Willigen & Meijer 2003, p. 147. 580 Provenance: De Vuyst, Lokeren, 26 February 2011, no. 11.

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Fig. 8.144 Frans van Cuyck de Myerhop, Flowers in a pot on a stone slab covered with a folded cloth, dated 1661, canvas, 102 x 70 cm, private collection.

Jan Baptist de Gheyn

Nothing is known about this artist. Four flower pieces signed by Jan Baptist de Gheyn are currently known in France, one dated 1666, and the others 1683 through to 1689. There are also two further examples in private collections in the Netherlands. The work dated 1666 is in the Musée des Beaux-Arts in Valenciennes and displays a bouquet in a terracotta vase decorated with oak leaves, a feature we also see multiple times in works doubtfully attributed to Hieronymus Galle. De Gheyn’s later works are structured vertically and usually have fruit in the foreground. Red and white hues dominate his bouquets. He signed in greyish white in various ways, for example Jan. Bat : De gheyn Ao 1666. (with curlicues after the ‘n’), or JB. D. Gheyn 1683 (‘JB’ ligated).581 Jan Baptist de Gheyn, Flowers in a baroque vase on four bent legs on rocky ground (Fig. 8.145) Canvas, 65.3 x 44.1 cm, signed lower right in greyish white: Jan BDe gheijn (‘BD’ ligated) Private collection.582 1 2 3 4 5 6

Poppy Anemone Poppy Anemone French Rose Poppy Anemone Turban Buttercup Poppy Anemone

Anemone coronaria pseudoplena luteo-rubra Anemone coronaria albo-rubra Rosa gallica Anemone coronaria pseudoplena albo-rubra lutescens Ranunculus asiaticus albo-purpureo marginata Anemone coronaria pseudoplena (rubra)

581 Hairs 1955, pp. 285-286, but not included in later editions. For his work see also the Segal Still Life Documentation in the RKD, The Hague. 582 Provenance: P. de Boer Gallery, Amsterdam 1976; collection of Professor Hellema, Laren; Sotheby’s Mak van Waay, Amsterdam, 14 March 1983, no. 39.

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Fig. 8.145 Jan Baptist de Gheyn, Flowers in a baroque vase on four bent legs on rocky ground, canvas, 65.3 x 44.1 cm, private collection.

7 8 9 10 11 12 13

Turban Buttercup Poet’s Narcissus Lilac Snake’s Head Fritillary Poppy Anemone Poppy Anemone Turban Buttercup

Ranunculus luteo-miniata Narcissus poeticus Syringa vulgaris Fritillaria meleagris Anemone coronaria pseudoplena purpurea Anemone coronaria pseudoplena atrato-rubra Ranunculus asiaticus plenus ruber

Johannes Lotyn

Johannes Lotyn was born in Brussels around 1618 but was active for many years in The Hague, where in 1686 he became a member of the Confrerie Pictura. He worked for Queen Mary II of England, wife of King William III, and probably followed her to England after her marriage to Willem III in 1689. After her death in 1694 he seems to have returned to Brussels, where he died after 1700. Various eighteenth-century inventories from Apeldoorn and The Hague and its environs report flower pieces by ‘Lottyn’ or ‘Lottin’, including from Paleis Het Loo, Huis ten Bosch and Huis Honselaarsdijk.583 A flower piece in a terracotta pot and two representations with vases and garlands of flowers that can be attributed to Lotyn are located at the Museum Paleis Het Loo in Apeldoorn.584 In 1994, a flower piece signed J: Lottin. 1691 turned up at a sale in Vienna. This work probably functioned as an overdoor painting (Fig. 8.146). A 1694 flower piece by Lotyn is located at Slavkov-Austerlitz Castle.585 583 Van der Willigen & Meijer 2003, p. 133, partially based on notes in the RKD; Spliethoff 2012, p. 10. 584 Spliethoff 2012, pp. 8-12, Figs 1-3. 585 Mžyková 2012, pp. 108-113, 201, no. 64

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Johannes Lotyn, Flowers in a broad baroque vase (Fig. 8.146) Canvas, dimensions unknown, signed and dated lower right: J: Lottin. 1691 Private collection.586 Small Morning Glory Provins Roses Blunt Tulip Poppy Anemone Yellow Rose White Rose African Marigold Hyacinth Poet’s Narcissus Hollyhock Great Morning Glory Tazetta Narcissus Pomegranate blossom Auricula

Convolvulus tricolor Rosa x provincialis Tulipa mucronata f. obtusa Anemone coronaria pseudoplena bicolor Rosa foetida Rosa x alba plena Tagetes erecta Hyacinthus orientalis lilacina Narcissus poeticus Alcea rosea plena Ipomoea purpurea Narcissus tazetta Punica granatum plenum Primula x pubescens alba

On the ledge Great Morning Glory Lilac Seville Orange blossom

Ipomoea purpurea Syringa officinalis Citrus aurantium

Fig. 8.146 Johannes Lotyn, Flowers in a broad baroque vase, dated 1691, canvas, dimensions unknown, private collection.

586 Provenance: Dorotheum, Vienna, 18 October 1994, no. 109, without dimensions. Literature: Löffler in Buijsen 1998, p. 326; Spliethoff 2012, pp. 9-10. I have not seen the original.

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Artists following in the Footsteps of Jan Davidsz de Heem Jan Pauwel Gillemans I

Jan Pauwel Gillemans I was born in 1618 in Antwerp. He was trained in Liège as a gold and silversmith, his father’s profession. He took up painting and in 1647 was registered in the Guild of Saint Luke as a master painter in Antwerp, where in 1648 he married Paulina uyt den Eeckhout, who bore him four sons and four daughters, including Jan Pauwel Gillemans II, who also became a still life painter, and also Peter Matheus Gillemans, who likewise painted still lifes. After the birth of their eighth child, Jan Pauwel Gillemans I opened a gold and silversmithing shop. The last record of his life is dated 1675. It is assumed that he died in Antwerp. Gillemans I painted primarily fruit still lifes, but also composed a number of flower and vanitas still lifes, as well as a few hunting still lifes. He signed his early work Gilemans, and his later work – from the second half of the 1650s on – Gillemans (with two ‘l’s), and many times with the first names ‘Joan Paolo’. His sons and Jan Frans van Son served as his apprentices. His later work is not always easy to differentiate from that of his son, Jan Pauwel Gillemans II. Dated work is known from between the years 1652 and 1675. A flower piece of 1652 is currently in the Augustinermuseum in Freiburg im Breisgau, Germany.587 Jan Pauwel Gillemans I, Flowers in a wide glass vase (Fig. 8.147) Panel, 39.2 x 27.3 cm, signed lower right above the plinth in greyish black: Gillemans. fe. Private collection.588 White Rose Fennel Pot Marigold Borage Carnation Rosemary foliage Tapered Tulip Canterbury Bell Provins Rose

Rosa x alba semiplena Foeniculum vulgare Calendula vulgaris Borago officinalis Dianthus caryophyllus plenus bicolor Rosmarinus officinalis Tulipa armena bicolor Campanula media Rosa x provincialis ad R. x centifolia

Fig. 8.147 Jan Pauwel Gillemans I, Flowers in a wide glass vase, panel, 39.2 x 27.3 cm, private collection. 587 See also Greindl 1983, pp. 135, 355-356; Hairs 1985, I, p. 400, II, p. 25 and the Segal Still Life Documentation in the RKD, The Hague. 588 Provenance: Koller, Zurich, 9 September 1999, no. 25.

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The bouquet is nearly square in shape on account of the diagonally intersecting axes. Other flower pieces by the artist follow a similar pattern. In most of his work he shows himself as a follower of Jan Davidsz de Heem, but that is less clearly evident in his flower pieces, which reveal some slight similarities to the work of Daniël Seghers.

Jan Pauwel Gillemans II

Jan Pauwel Gillemans II was born in Antwerp in 1651. His father Jan Pauwel I was his first master, while from 1665 he served an apprenticeship with Joris van Son. In 1673 he entered the Antwerp Guild of Saint Luke as a master painter. In 1675 he was in Middelburg, where he had to pay a fine, because he was not registered in the guild there. We assume that he was active in London from 1678 since the epigraph ‘Londini’ appears on a work, that was most likely to have been executed in that year. He returned from London to Antwerp once again, where, in 1693, Gillemans II married Isabella van den Eynde. After her death in 1697 he remarried on 24 March 1698 to a woman named Johanna van Hellefort. He must have returned again from Antwerp to Middelburg, since he entered the guild there in 1702. Shortly thereafter he settled in Amsterdam, where in 1704 he drowned in a canal. The work of Jan Pauwel Gillemans II is more decorative than that of his father. It is primarily combined with fruit, as well as being set outdoors with animals, figures or mythological themes, executed in collaboration with other artists, including Peter Rysbrack (1655-1729) and Pieter Eyckens.589 Several unsigned flower pieces have been attributed to Gillemans II, but these may in fact be works by his father.590

Joris van Son

Joris van Son was born in 1623 in Antwerp. In 1640 he was apprenticed to Jan Lievens for one year.591 In 1643 he entered the Antwerp Guild of Saint Luke as a master painter. Joris van Son had five apprentices: Abraham Herderwyn in 1652; Cornelis van Huynen and Frans van Everbroeck in 1654; Jan Pauwel Gillemans II in 1665; and Norbert Montalie in 1665 (no works are known by the first and the last of these). In 1656 Van Son married Cornelia van Heulens. Their third child, Jan Frans van Son, born in 1658, became a still life painter just like his father. Joris died in Antwerp in 1667. Van Son was a friend of Jan Pauwel Gillemans I and Erasmus Quellinus II, who frequently painted the medallions for his cartouches with flowers, fruit or both. In addition, he painted sumptuous still lifes, fruit pieces, vanitas still lifes, and after 1660 a few flower pieces, some of them in combination with fruit, plus a single still life with fish. The flower pieces are always enriched with supplementary work, including fruit, shrimp and oysters. A few small flower pieces from his hand are in fact fragments of flower cartouches that have been cut into smaller pieces by art dealers. Joris van Son was highly regarded in his own lifetime, for example, Cornelis de Bie complimented his work commenting that, in his opinion, it surpassed Nature.592 In his work Joris followed the developments and innovations of Jan Davidsz de Heem very closely. Yet his art differentiates itself by a more tonal approach to colour, with softer contours and many transitional hues. What is also characteristic of his technique is a special glow that he achieved by thinly glazing pigments on a ground of a related colour, for example, purple on vermilion, or blue on green. Insects rarely appear in his works, and only occasionally do we see a butterfly. Dated work is known from 1645 on, but principally from 1650 through to 1666. He usually worked in a large format, but after 1653 he also created some smaller works. Dated flower pieces are known for 1661, 1663 and 1664, the latter in the Prado in Madrid (with fruit and an oyster). A combination with a crab and fruit of 1658 in the collection of the Museum Kunstpalast in Düsseldorf is on loan to the Schlossmuseum in Gotha.593

589 For the collaboration of Gillemans and Rysbrack see Corstens, Jurgens, Spliethoff et al. 2004. 590 For example, a work (panel, 40 x 27.3 cm) at a sale at Sotheby’s, New York, 3 October 1996, no. 91, depicting Roses, Carnations, Pot Marigold plus other flowers in a glass vase. 591 For the apprenticeship with Jan Lievens see Felixarchief Antwerp, N 2689, 12 October 1640. 592 De Bie 1662, pp. 402-404: ‘Gheen vruchten sonder Son en hebben goeden aert, Soo oock niet sonder Konst de edel vry Pictuer, Die ons Van Son door gheest uyt sijn Pinseelen baert: Die t’hans maer schaduw, is, en overtreft Natuer’. 593 For further details on the life and work of Joris van Son see Hairs 1985, I, pp. 401-402, II, p. 49 and the Segal Still Life Documentation in the RKD, The Hague.

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Joris van Son, Flower piece with shrimps and figs (Fig. 8.148) Canvas, 31.1 x 24.2 cm, signed and dated lower left in grey black: J. VAN . SON. / . 1661 Private collection.594 1 Honeysuckle 2 Provins Rose 3 Hollyhock 4 Borage 5 Sweet Briar 6 Rosemary foliage 7 Love-in-a-mist 8 Blackberry 9 Poppy Anemone 10 Sour Cherry 11 Figs

Lonicera periclymenum Rosa x provincialis Alcea rosea duplex alba Borago officinalis Rosa rubiginosa Rosmarinus officinalis Nigella damascena Rubus fruticosus coll. Anemone coronoria pseudoplena albo-striata Prunus cerasus Ficus carica

a North Sea Shrimp

Crangon crangon

A bouquet has been arranged in a wide glass vase and placed in a niche, with three shrimp lying on the ledge of the niche, plus a few pieces of fruit. The rather elementary nature of the reflection of the workshop window on its own betrays the fact that in terms of technique this work is far removed from the superior artistry of Jan Davidsz de Heem.

Fig. 8.148 Joris van Son, Flower piece with shrimps and figs, dated 1661, canvas, 31.1 x 24.2 cm, private collection. 594 Provenance: collection of J.H. Elrington; Sotheby’s, London, 12 December 1973, no. 91; Richard Green Gallery, London 1974; Sotheby’s, London, 6 July 1994, no. 86; Sotheby’s, London, 6 December 2007, no. 217.

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Jan Frans van Son

Jan Frans van Son was born in 1658, the son of Joris van Son and Cornelia van Heulens. He was still a child when his father died in 1667 and he became apprenticed to his father’s friend, Jan Pauwel Gillemans I. After his master’s death he left for London. There he married Elizabeth Harder in 1684. They had five children together, several of whom died in childhood. Jan Frans was quite successful in England and received various commissions, including one from the Earl of Radnor to paint the medicinal plants in his garden in Chelsea. Van Son died in London in 1701, although some scholars are misled into fixing the date of his death after 1705 based on a work with a false signature bearing this date in the Palais des Beaux-Arts in Lille.595 Jan Frans van Son painted flower pieces, fruit pieces, combinations of both, and game still lifes. According to the literature, it is frequently difficult to differentiate his work from that of his father, Joris van Son, because both signed J. Van Son. We can then only be certain of works dated after the death of Joris, such as a fruit piece of 1683, or if a work is signed JF van Son, which is seldom the case. There is also this point to bear in mind, however, namely that Joris mostly signed in capital letters and Jan Frans possibly did not, in addition to the fact that Jan’s work probably lacks the subtle, idiosyncratic, somewhat matte shine that Joris bestowed on his paintings. If these points are correct, then there are a few flower pieces, most of them with fruit, which can be attributed to Jan Frans van Son.596 The following are two examples, both of them of quite different character and distinct from the work that Joris produced. Jan Frans van Son, Seville Orange with blossom in an earthenware jug (Fig. 8.149) Canvas, 44 x 31 cm, signed lower right in black: J van son Private collection.597 The wide-bellied earthenware jug with its narrow neck and scrolled handle has been placed on a marble ledge. In it we see a small branch of Seville Orange (Citrus aurantium) of the variety that has multi-coloured foliage, along with the fruit (one ripe and two unripe), plus the blossom. Jan Frans van Son, Flowers and fruit on a marble ledge (Fig. 8.150) Canvas, 56.3 x 49.4 cm, signed lower right in black: J van son Private collection.598 1 Small Morning Glory 2 Cabbage Rose 3 Poppy Anemone 4 Bindweed 5 Rose of Sharon 6 Stock 7 Tapered Tulip 8 Seville Orange (diverse stages) 9 Cherries 10 Blackberries

Convolvulus tricolor Rosa x centifolia Anemone coronaria pseudoplena Calystegia sepium Hibiscus syriacus Matthiola incana rosea Tulipa armena bicolor Citrus aurantium Prunus avium Rubus fruticosus coll.

The pendant shows Roses and other flowers, a twig of Seville Orange, cherries, and hazelnuts.

595 I saw and described the painting (canvas, 110 x 89, inv. no. 73) in 1974, and after thorough comparative investigation decided to reject it as a Jan Frans van Son; see also Fuchs 2014, pp. 8-9. Weyerman 1729-69, III, p. 282, gives 1718, while other sources give other dates. 596 For an overview see the Segal Still Life Documentation in the RKD, The Hague. 597 Provenance: S. Nystad Gallery, The Hague ca. 1980; Phillips, London, 9 December 1980, no. 32, as Joris van Son; Galerie Julius Böhler, Munich 1983, as Jan Frans van Son; Sotheby’s, New York, 5 June 1986, no. 57, as Joris van Son; Rafael Valls Gallery, London 1990; Lempertz, Cologne, 20 November 1993, no. 1026. 598 Provenance: Christie’s, London, 11 December 2002, no. 41, with pendant. Literature: Fuchs 2014, pp. 5-6.

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Fig. 8.149 Jan Frans van Son, Seville Orange with blossom in an earthenware jug, canvas, 44 x 31 cm, private collection.

Fig. 8.150 Jan Frans van Son, Flowers and fruit on a marble ledge, canvas, 56.3 x 49.4 cm, private collection.

Frans van Everbroeck

Frans van Everbroeck was probably born in Antwerp about 1638. In 1653 he became apprenticed to Joris van Son, and in 1661 he entered the Antwerp Guild of Saint Luke as a master painter and a master vintner. Peter Lints was his apprentice. Van Everbroeck was married to Maria Viers. About 1667 he resided in Amsterdam for a period of time. Frans van Everbroeck is last mentioned in Antwerp in 1672. In 1676, he is registered in the Painter Stainers Company in London.599 Everbroeck painted fruit, mostly in cartouches, but occasionally with a few flowers. His garlands and festoons are sometimes fragments that have been cut from cartouche still lifes. He painted a single vanitas still life and only a few flower pieces. A work showing a bottle with flowers was sold at a sale in Middelburg in 1796.600 Dated work is only known for the years 1665, 1667 and 1668.601 A signed flower piece is currently in the collection of the Musée Bossuet in Meaux. Frans van Everbroeck, Flowers in a glass vase on a stone ledge (Fig. 8.151) Marouflage (canvas on panel), 38 x 29 cm, signed lower right in black: F. EVERBROECK Musée Bossuet, Meaux.

599 Karst 2014, p. 33 n. 39. 600 Sale Pieter Beun, Middelburg, 30 May 1796, no. 85. 601 Hairs 1985, I, pp. 402-403, II, pp. 21-22.

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Fig. 8.151 Frans van Everbroeck, Flowers in a glass vase on a stone ledge, canvas, 38 x 29 cm, Musée Bossuet, Meaux.

1 2 3 4 5 6 7 8

Provins Rose White Rose Small Morning Glory False Larkspur Rosemary sprig Red Tulip Pot Marigold Seville Orange blossom

Rosa x provincialis Rosa x alba subplena Convolvulus tricolor Consolida ajacis alba Rosmarinus officinalis Tulipa agenensis bicolor Calendula vulgaris aurantiaca Citrus aurantiaca plena

The ledge is covered on the left with a linen cloth; the stone edge is damaged on the right. On the upper left part of the glass we see the complex reflection of the workshop window, and again on the inside of the glass on the right caused by the penetrating fall of the light. Another flower piece by this artist is in a private collection.602

Jacob Caproens

Very little is known about the life of Jacob Caproens. A large flower piece plus two large paintings with flowers and fruit by Caproens are listed in a Brussels auction catalogue of 1763.603 A work signed Jac. Caproens with a flower garland, fruit and a lobster in a garden landscape was at one time in the collection of John H. Carnier in Charleston, South Carolina. Several similar works have turned up in recent decades, all of them with a bouquet that forms part of a complex still life, as seen also in Still life on rocky ground.604 602 Canvas, 60 x 40.5 cm, signed lower right in beige with black: …VERBROECK, in 1975 in the possession of P. de Boer Gallery in Amsterdam. This work contains thirteen species of flowers, including Roses, Tulips, Marigolds, a Hyacinth, in addition to redcurrants, three butterflies and various caterpillars. Of this work, I only possess a photograph of inferior quality. For more details see the Segal Still Life Documentation in the RKD, The Hague. 603 Sale of widow Huwaerts, Brussels, 14 June 1763, nos 23 and 51. 604 See Hairs 1985, I, pp. 403-404, II, p. 18.

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Jacob Caproens, Still life on rocky ground (Fig. 8.152) Canvas, 136 x 114 cm, with indistinct remains of signature and date. Private collection.605 Austrian Briar White Rose Opium Poppy Poppy Anemone Carnation False Larkspur Hyacinth Tuberose Hollyhock Blunt Tulip hybrid Blunt Tulip Cabbage Rose

Rosa foetida Rosa x alba Papaver somniferum plenum rubrum Anemone coronaria pseudoplena Dianthus caryophyllus plenus bicolor Consolida ajacis Hyacinthus orientalis Polyanthes tuberosa Alcea rosea plena rubra Tulipa mucronata x T. undulatifolia Tulipa mucronata bicolor Rosa x centifolia

In the foreground Cabbage Rose Opium Poppy Great Morning Glory Rose of Sharon Plus several pieces of fruit

Rosa x centifolia Papaver somniferum Ipomoea purpurea Hibiscus syriacus

This work displays a decorated bronze vase with flowers, on the right a waterspout with a putto on a dolphin and on the left a park landscape with architectural features. Various elements here, such as the opulent gilt beaker, the parrot, and the lobster, seem to hark back to the work of Jan Davidsz de Heem and his followers, Flemish works of about 1700. We also see such spouts as the one depicted here in the works of H. Morell (Fig. 9.158).

Fig. 8.152 Jacob Caproens, Still life on rocky ground, canvas, 136 x 114 cm, private collection. 605 Provenance: sale Karlstein & Schultze, Düsseldorf, 25 September 1984, no. 16, as Jan Davidsz de Heem; Christie’s, London, 4 August 1987, no. 16.

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Artists following in the Footsteps of Joannes Fyt Peeter Boel

Peeter Boel was born in Antwerp in 1622. He served apprenticeships with his father, Jan Boel (1592-1640), who was an engraver, as well as with the painters Frans Snyders and Joannes Fyt, whose influence may be clearly seen in his free, broad brushstroke. He married Maria Blankaert before 1643, travelled to Italy, and stayed in Genoa from circa 1647 to 1649. In 1650 Peeter Boel was registered in the Antwerp Guild of Saint Luke as a master painter. In 1669 he moved to Paris, where he died in 1674. Boel often painted animal pieces and many types of still lifes, including game, vanitas, fish, weapon, sumptuous, and music still lifes, frequently in combination with flowers. He also painted one cartouche with flowers and fruit and several flower pieces, usually in large sizes, one of these currently in the Athenæum in Boston.606 In addition, several flower pieces are mentioned in old inventories.607 Peeter Boel collaborated with Jacob Jordaens and Erasmus Quellinus II.608 Peeter Boel, Flowers among ruins with fruit and a parrot (Fig. 8.153) Canvas, 89.9 x 123.2 cm, signed to the right on the foot of the column in black: PEETER BOEL Private collection.609 1 Snowball 2 Foxglove 3 Opium Poppy 4 Opium Poppy 5 White Rose 6 Provins Rose 7 African Marigold 8 Columbine 9 Hollyhock 10 Hollyhock 11 Madonna Lily 12 Canterbury Bell 13 Poppy Anemone

Viburnum opulus cv. Roseum Digitalis purpurea Papaver somniferum plenum roseum Papaver somnferum simplex roseum Rosa x alba Rosa x provincialis Tagetes erecta Aquilegia vulgaris Alcea rosea plena Alcea rosea plena alba Lilium candidum Campanula medium Anemone coronaria

Along the background to the right is a massive wall with vertical grooves, while on the left a tree and shrubbery are darkly silhouetted against an evening sky. On the left in the foreground a large red parrot is perched on the remains of a broken capital, standing askew, while on the right we see the tumbled remains of the foot of the pillar. Between these two fallen ruins a copper tub, placed at an angle and leaning to the left, has been filled with flowers pressed close together in a tightly formed bouquet. The different flowers have been broadly painted whereby the beauty of the multi-coloured palette seems to have been more important than precise representation of the characteristics of each botanical species.

Jan Baptist Boel

Jan Baptist Boel was a son of Peeter Boel and Maria Blankaert. He was born in Antwerp in 1643 and served an apprenticeship with his father. During 1674 he entered the Antwerp Guild of Saint Luke as a master painter and he died in 1689. Jan Baptist Boel painted the same type of subjects as his father, also in combination with flowers, but was less productive. A still life with flower and fruit signed J. Boel was put up for auction in Brussels in 1958.610

606 Canvas, 126.6 cm x 188.4 cm, Boston, Athenæum, inv. no. UR135. A large flower piece on canvas is measuring 175 x 205 cm; see Glück 1912, p. 252, no. CXIV, Pl. 99. 607 Van Hemeldonck 2007, no. S 1106, in the estate of Cornelia Bertrijn, the wife of Norbertus Schut of Antwerp, 14 November 1689; and in the estate of Franciscus de Cock of Antwerp, 18 July 1709. 608 For an overview of his work (with a single flower piece), see Greindl 1985, pp. 112-116, 147 and 339-340. 609 Provenance: Sotheby’s, New York, 7 April 1988, no. 87; Johnny Van Haeften Gallery, London 1989; Rafael Valls Gallery, London; Christie’s, New York, 31 May 1990, no. 74; Galerie Lingenauber, Düsseldorf. Exhibitions & literature: Bergamo & Düsseldorf 1995, pp. 160-163, no. XXV; Meijer 1989, p. 58, Fig. 5.2. 610 Canvas, 109 x 138 cm, Palais des Beaux-Arts, Brussels, 5 June 1958, no. 324. For more on Jan Baptist Boel see Van den Branden 1883, pp. 1096-1097.

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Fig. 8.153 Peeter Boel, Flowers among ruins with fruit and a parrot, canvas, 89.9 x 123.2 cm, private collection.

Other Painters of the Southern Netherlands François van Aken

François van Aken was registered in the Antwerp Guild of Saint Luke in 1667 as a master painter. It is known that in 1690 Jan Baptist van Deventer served as his apprentice, followed by Joseph Oliva in 1693, and Maximiliaen Blommaert in 1696. He is last recorded in Antwerp in 1713-1714, that is, if a certain record of ‘Van Aeken’ in the accounts of the Guild of Saint Luke refers to him.611 Van Aken is regarded as a painter of flowers and fruit. A complex cartouche piece dated 1669 with flowers and fruit around a Biblical representation of the travellers to Emmaus, with an image of the chalice and host of the Eucharist on an altar with a laurel wreath above it, was auctioned in 1992.612 A signed flower piece was put up for auction in 1974 (Fig. 8.154).

611 Rombouts & Van Lerius 1864-76, II, p. 689. 612 118 x 84 cm, signed F. VA. F 166[9] (‘VA’ ligated), Christie’s, London, 15 April 1992, no. 134, attributed by Meijer, who takes the monogram as apocryphal, to Jan Pauwel Gillemans I (1618-after 1675).

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Fig. 8.154 François van Aken, Flower piece with a parrot, panel, 68 x 53 cm, private collection.

François van Aken, Flower piece with a parrot (Fig. 8.154) Panel, 68 x 53 cm, signed in full on the plinth. Private collection.613 Hollyhock White Rose Carnation Marguerite False Larkspur Sunflower Blue Passion Flower

Alcea rosea Rosa x alba plena Dianthus caryophyllus Leucanthemum vulgare Consolida ajacis Heliantus annuus Passiflora coerulea

Red Admiral Butterfly

Vanessa atalanta

Hendrick Andriessen

Hendrick Andriessen was born in 1607 in Antwerp and admitted to the Guild of Saint Luke in 1637 as an apprentice. He died in Antwerp or the province of Zeeland in 1655. The only works by Andriessen known to be extant today are one tobacco still life and a few vanitas still lifes with small flower arrangements and smoking devices, currently in the collections of museums in Ghent, Oxford, and others.614

613 Galerie Fischer, Lucerne, 16 November 1974, no. 104. I have not seen this painting. 614 For more on Andriessen see Mautner 1934.

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Fig. 8.155 Hendrick Andriessen, Vanitas still life with a flower arrangement and smoker’s requisites, panel, 49.6 x 37.8 cm, Museum voor Schone Kunsten, Ghent.

Hendrick Andriessen, Vanitas still life with a flower arrangement and smoker’s requisites (Fig. 8.155) Panel, 49.6 x 37.8 cm, signed lower left in dark brown with greenish grey: HAD . fecit. (‘HAD’ ligated) Museum voor Schone Kunsten, Ghent, inv. no. 1914-DE.615 1 2 3 4 5 6

Batavian Rose Liverwort Borage Peach-leaved Bell-flower Pansy Umbelled Candytuft

On the ledge of the niche 7 Winter Aconite

Rosa gallica cv. Batava Hepatica nobilis Borago officinalis Campanula persicifolia alba Viola tricolor Iberis umbellata Eranthis hyemalis

In a niche illuminated from the left outwith the painted view there is a flower piece standing behind a skull and a terracotta oil burner, which has been lit and has sulphur sticks resting in its base. There is also a folded sheet of paper with tobacco and a pipe, whilst a soap bubble floats at the top centre. 615 Provenance: collection of Van Rotterdam, Ghent, no. 25; collection of Atheunis, Minard & Dael, Ghent 1835; Galerie Fiévez, Brussels, 18 December 1896, no. 13; bequest of Fernand Scribe 1913. Exhibitions & literature: Van Gelder 1950, p. 34 under no. 5; Greindl 1956, pp. 124, 148; Ghent 1960, p. 106, no. 5, Fig. 75; Hairs 1965, pp. 281, 345; Segal in Amsterdam & ’s-Hertogenbosch 1982, pp. 22, 77, no. 15; Briels 1987, pp. 264, Fig. 331, 266; Caen 1990, pp. 242-243, no. 9.14; De Maere & Wabbes 1994, II, p. 28; Marijnissen & Kockaert 1995, pp. 115-116; Dechaux in Roberts-Jones & De Wilde 1995, I, p. 33; Hoozee 2007, I, p. 47. A copy at Christie’s, Amsterdam, 9 May 1987, no. 12, and Christie’s, South Kensington, London, 20 April 1989, no. 125, as follower of Jacques de Claeuw.

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Isaac Bernard

A signed work by Isaac Bernard dated 1663 showing long stemmed flowers in a low wide vase was formerly at P. de Boer Gallery in Amsterdam. The 1672 inventory of the art collection of the merchant Hendrik Bertels lists ‘een blompodt van Bernards’ (‘a vase with flowers by Bernards’).616 Biographical details for this artist remain obscure. Isaac Bernard, Flowers in an ornamented vase (Fig. 8.156) Panel, 45 x 27 cm, signed and dated 1663 Private collection.617 Annulated Sowbread Stock English Iris Bee Orchid Late Spider Orchid Persian Iris

Cyclamen hederifolium Matthiola incana plena Iris latifolia Ophrys apifera Ophrys fuciflora Iris persica

Both the orchids (Ophrys apifera and Ophrys fuciflora) are rare species native to the geographical region of modern Belgium, which I have never seen in another painting.

Fig. 8.156 Isaac Bernard, Flowers in an ornamented vase, dated 1663, panel, 45 x 27 cm, private collection. 616 Duverger 1984-2002, IX, p. 353. In a second inventory the same painting is mentioned, but here the painter’s first name is also stated (‘een stuck van Isack Bernards’, a work by Isack Bernards). Duverger 1984-2002, IX, p. 354. 617 Provenance: P. de Boer Gallery, Amsterdam. Exhibitions & literature: Amsterdam 1956-57, n.p.; Hairs 1985, II, p. 5; De Maere & Wabbes 1994, I, p. 52 and II, p. 77, as J. Bernard.

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J. van der Borght

Two flower pieces are known by J. van der Borght. One of them was sold by the Centraal Museum in Utrecht in 1954 and is now in a private collection, the other used to be in Wingfield Castle in Diss (Norfolk, England). Both works are signed J van der borght. Little is known with certainty about the identity of the artist. The paintings are more consistent with work from the Southern, as opposed to the Northern Netherlands, and seem to call to mind the work of Johannes Baptista Petrus Coclers (16961772) of Liège. This might indicate that they are from the hand of an artist ‘N. vander Burgt’ mentioned by Weyerman, who worked in Brussels and environs painting large flower and fruit pieces for country houses.618 Van der Willigen and Meijer write about a Jacobus van der Borght, a painter apprenticed to Gaspar de Cle in Antwerp in 1685.619 J. van der Borght, Flowers in a dark earthenware vase (Fig. 8.157) Canvas, 64 x 59 cm, signed on the plinth to the right in black: J van der borght Private collection.620 1 Moonflower 2 Hollyhock 3 Provins Rose 4 Austrian Briar 5 Peony 6 Snowball 7 Sunflower 8 White Rose

Ipomoea alba Alcea rosea violacea Rosa x provincialis Rosa foetida Paeonia officinalis plena Viburnum opulus cv. Roseum Helianthus annuus Rosa x alba

Fig. 8.157 J. van der Borght, Flowers in a dark earthenware vase, canvas, 64 x 59 cm, private collection. 618 Weyerman 1769, IV, pp. 90-91. 619 Thieme & Becker 1907-50, IV, pp. 356-357; Van der Willigen & Meijer 2003, p. 43. 620 Provenance: Museum Kunstliefde, Utrecht, until 1918; City Hall, Utrecht, on loan to the Centraal Museum Utrecht, sold in 1954 to S. Nystad Gallery, Lochem; Christie’s, Amsterdam, 5 November 2003, no. 1. Literature: De Jonge 1952, p. 344, no. 1043; Hairs 1985, II, p. 6.

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9 German Flag Iris 10 Poppy Anemone 11 Blunt Tulip hybrid 12 Hawthorn 13 Carnation 14 Blunt Tulip hybrid 15 Opium Poppy 16 Tuberose 17 Foxglove 18 Hollyhock 19 Turban Buttercup 20 Great Morning Glory

Iris germanica Anemone coronaria alba Tulipa mucronata x T. armena Crataegus monogyna Dianthus caryophyllus plenus ruber Tulipa mucronata x T. undulatifolia Papaver somniferum plenum rubrum Polyanthes tuberosa Digitalis purpurea Alcea rosea pseudoplena Ranunculus asiaticus plenus albus Ipomoea purpurea

The vase, on a vertically ribbed foot, decorated with figures that are difficult to make out, is standing to the right on a balustrade. Flowers in a dark earthenware vase is smaller than the other approximately ten known or documented monumental, unsigned works that are all much larger, mostly between 118-245 cm x 93-200 cm in size, which show flowers and fruit in a garden with architectural features, or figural sculpture.621

Michel Bouillon

Michel Bouillon was born in Ere, although his date of birth is unknown. During 1638 he entered the Guild of Saint Luke in Tournai and was still active in that place in 1670. Bouillon painted small and large flower and fruit still lifes, a vegetable still life, a kitchen still life (with figures), and a market piece; he especially painted combinations in large formats, frequently including a flower arrangement. Dated work is known from 1642 through to 1674. A small flower piece dated 1650 is currently in the Musée du Louvre in Paris. Other flower pieces bear dates between 1654 and 1668 (the latter with vanitas objects).622 Michel Bouillon, Flower piece in a niche with vanitas objects in the foreground (Fig. 8.158) Canvas, 114 x 85 cm, signed and dated lower left in beige: Mbouillon. 1668. (‘M’ and ‘b’ connected in an arc) Real Academia de Bellas Artes de San Fernando, Madrid, inv. no. 1403.623 1 Poppy Anemone 2 Poppy Anemone 3 Poppy Anemone 4 Small Periwinkle 5 Star Anemone 6 Blunt Tulip 7 Jonquil 8 Crown Anemone 9 Primrose Peerless 10 Persian Tulip ‘Lack’ 11 Golden Narcissus 12 Tapered Tulip 13 Red Tulip 14 Poppy Anemone 15 Auricula 16 Star Anemone

Anemone coronaria pseudoplena albo-rosea Anemone coronaria pseudoplena albo-rubra Anemone coronaria pseudoplena albo-violacea Vinca minor Anemone hortenis semiplena bicolor Tulipa mucronata bicolor Narcissus jonquilla Anemone x fulgens Narcissus x medioluteus Tulipa clusiana Narcissus tazetta subsp. aurea Tulipa armena bicolor Tulipa agenensis Anemone coronaria pseudoplena albo-purpurea Primula x pubescens purpurea Anemone hortensis subplena

A bronze vase decorated in relief with playing putti has been placed on a small pedestal in a stone niche. The outside wall, on both sides of the niche, have arabesques with the shape of a human torso sculpted in bas relief. The right is partially covered by a brown curtain illuminated by the way the light falls. To the left, in the foreground, we see diverse vanitas objects, including silver and gold coins, documents, an hourglass, a copper candlestick with the stump of a candle, a skull wreathed with dry stalks of wheat, playing cards and dice. 621 See the Segal Still Life Documentation in the RKD, The Hague, for further examples. 622 For further details on the life and oeuvre of Michel Bouillon see Faré 1974, pp. 264-270; Hairs 1985, I, pp. 385-386, II, p. 9 and the Segal Still Life Documentation in the RKD, The Hague. 623 Provenance: Sotheby’s, Monaco, 12 June 1991, no. 135; Colnaghi Gallery, London 1992; Tajan, Paris, 9 December 1996, no. 41; Caylus Gallery, Madrid 1997-98. Literature: González de Amezúa 2012, pp. 133-134.

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Fig. 8.158 Michel Bouillon, Flower piece in a niche with vanitas objects in the foreground, dated 1668, canvas, 114 x 85 cm, Real Academia de Bellas Artes de San Fernando, Madrid. | 611

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Fig. 8.159 Jean de la Bouverie II, Flower piece with a Kingfisher, canvas, 71 x 67 cm, Slavkov-Austerlitz Castle, Slavkov u Brna.

Jean de la Bouverie II

Little is known about Jean de la Bouverie II. He was born around 1635 in Namur. His father Jean de la Bouverie I (before 1595-1655) taught him to paint. In 1661 he was registered in Namur as a painter in his own right, reportedly painting Biblical subjects in his father’s style. A painting with flowers in a high vase, decorated with a satyr and a nymph, and a Kingfisher to the right in the Slavkov-Austerlitz Castle in the Czech Republic is signed J DE.LA.BOUVVERIE. PINXIT (Fig. 8.159) on the lower left.624 In 1952 another signed flower piece was sold at auction in Vienna.625

Jan Peeter van Bredael I

Jan Peeter van Bredael I was born in Antwerp in 1654. He learned to paint from his father, Peeter van Bredael (1629-1719). Jan Peeter travelled to Italy, and afterwards in 1680 was admitted to the Antwerp Guild of Saint Luke. In 1685 he is reported as being an artist, art dealer and art restorer in London, and in 1719 in Paris, although he died in Antwerp in 1745. A flower piece signed in full, with both his first and middle names, is in the Museo Nacional de Artes Visuales in Montevideo; a flower piece, signed with a monogram, is in the Museum Wasserburg in Anholt; and a pair of flower pieces with fruit may currently be found in the Hamburger Kunsthalle. Of the latter, one displays flowers in a large spherical glass, with two melons and some other fruit lying in the foreground (Fig. 8.160). These two works have been attri-

624 Slavkov u Brna, Slavkov-Austerlitz Castle, inv. no. SL 17 (118/38/141). Mžyková 2012, pp. 104-108, 199, no. 15. 625 Dorotheum, Vienna, 13 March 1952, no. 15.

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Fig. 8.160 Jan Peeter van Bredael I, Flowers and fruit, canvas, 68 x 51.4 cm, Hamburger Kunsthalle, Hamburg. | 613

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buted to his nephew, Jan Pieter van Bredael II (1683-1735).626 Jan Pieter van Bredael II signed with the initials J.P., while Jan Peeter van Bredael I signed with the initials JP ligated, which has been erroneously read more than once as a single letter ‘P’ for ‘Peeter van Bredael’.627 Additional works by Jan Peeter van Bredael I now extant include several hunting still lifes and several allegorical images with flowers and fruit, for example, a female figure with fruit and a pot of flowers, said to be an allegory of Fertility.628

Abraham Couchet

In the last will drawn up in 1697 in relation to the painter Anton Goubau (1616-1698) of Antwerp, he bequeathes two paintings by Couchet, flowers and fruit, worth twenty-five guilders.629 It is quite likely that the artist in question was Abraham Couchet, who was apprenticed to Goubau in 1666. So far no paintings with flowers and/or fruits are known. Abraham Couchet’s known works consist of a pair of hunting still lifes.630

Jacques Damery

Jacques Damery was born in Liège in 1626 and served an apprenticeship with his older brother Walther (1614-1672). After an earlier trip in the year 1649, he left again for Rome in 1657, and died there in 1685. Jacques Damery painted flowers, fruit and vases in the works of other artists. In 1657 a series of twelve prints of antique vases after his designs was published in Rome.631

Walther Damery

Walther Damery was born in Liège in 1614, where he received his training from Antoine Durbuto. In 1639 he travelled to England and in 1640 to Italy. On his return journey during 1643 he was taken captive by pirates and transported to Algiers. He was able to escape in 1644, however, and travelled back to Liège, via Toulon and Paris, where he stayed until 1646. His apprentices were his younger brother Jacques Damery and Gilles Hallet (1635-1694). Walther Damery died in Liège in 1672. Walther was a decorative painter of interiors. He primarily painted religious subjects and portraits, and collaborated with others, Jan Pieter Brueghel among them. He also painted flowers. No flower pieces by him are known today.632

Daniël van den Dyck

Daniël van den Dyck was born in Antwerp in 1614. In 1631 he was apprenticed to Peeter Verhaecht (ca. 1590-1652/53). He entered the Guild of Saint Luke as a master painter in 1633. Afterwards he travelled to Italy, via Bergamo to Venice, where he married Lucretia Regnier, the eldest daughter of the Flemish painter Nicolaes Regnier (1591-1667). He became curator of the art collection of the Duke of Mantua in 1658. Van den Dyck painted religious subjects, mythological scenes and flower pieces. A painting in the Duke’s collection, which is attributed to Van den Dyck, shows a Sunflower lower down in a bouquet of flowers, all arranged in a high baroque vase decorated with figures (Fig. 8.161).633 Daniël van den Dyck died in Mantua circa 1663.634

626 Canvas, 68 x 51.2 cm and 68 x 51.4 cm, signed lower left and right respectively: P Bredael fe., Hamburg, Hamburger Kunsthalle, inv. nos 472 and 473; Ketelsen, Brink & Walczak 2001, pp. 64-65, as Jan Peeter van Bredael II. Provenance: collection of Otto Speckter, Hamburg, donated to the museum by his widow in 1892. These are possibly the same works as those listed in the 1692 inventory of the estate of the deceased Guillielmo Potteau in Antwerp. Duverger 1984-2002, XII, p. 210. 627 Hairs 1985, I, p. 389, II, p. 10. 628 Canvas, 135 x 189 cm, Tajan, Paris, 16 December 2014, no. 13. 629 Felixarchief Antwerp, N 2731, 17 June 1697. 630 Van der Willigen & Meijer 2003, pp. 67-68. 631 See, for example, the series in the Bibliothèque de l’Institut National d’Histoire de l’Art, collections Jacques Doucet, inv. nos NUM FOL EST 312 and NUM 4 RES 15. 632 For the life and work of Walther Damery see the exhibition catalogue Alden Biesen 1987. 633 Mantua, Palazzo Ducale, inv. no. 11252; Meijer 2001-02, p. 139, no. 181. In 1657 the Duke of Mantua commissioned thirteen paintings of flowers in a vase for the Gabinetto dorato. According to Logan, these paintings are lost. Logan 1994, p. 99. 634 For more on Van den Dyck see Logan 1994.

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Fig. 8.164 Peter van Kessel, Flowers in a baroque vase, canvas, 82.6 x 63.6 cm, private collection.

11 12 13 14 15 16 17 18

Persian Tulip Tapered Tulip hybrid French Marigold Turk’s Cap Lily Carnation Auricula Hollyhock Great Morning Glory

In the foreground 19 Small Periwinkle

Tulipa clusiana Tulipa armena x T. undulatifolia Tagetes patula Lilium chalcedonicum Dianthus caryophyllus plenus bicolor Primula x pubescens azurea Alcea rosea Ipomoea purpurea Vinca minor

A bronze vase decorated with fruit festoons on a foot with three knops has been set in a niche. One can perhaps detect some of the influence of the flower pieces of Jan van Kessel I from the period after 1650 in this artist’s works.

Giacomo Legi

The Flemish still life painter Giacomo (Jacob) Legi was trained in Genoa by a relative named Jan Roos (1591-1638), who painted game and sumptuous still lifes, as well as flowers.655 Legi died in Milan between 1640 and 1645. He painted kitchen pieces and may in addition also have painted flowers and fruit, but these works are unknown today.

Lutgeert

The inventory of the estate of the Antwerp painter and art dealer Herman de Neyt (1588-1642) lists a small flower piece on panel by Lutgeert.656 This may be a corrupted form of the name of the Westphalian painter Ludger tom Ring II (1522-1584), who is known to have painted a few still lifes (Figs 1.1, 1.2 and 5.18). 655 See Chapter 7. 656 Duverger 1984-2002, V, p. 17, no. 1212.

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Fig. 8.161 Daniël van den Dyck (attributed), Sunflower and other flowers in a high baroque vase, canvas, 80 x 57 cm, Palazzo Ducale, Mantua.

Van Eck

The last will of Marie van Praet from Antwerp in 1658 states that she bequeathes to Angela Spinola ‘een schilderyken wesende een Blompotteken geschildert door Mynheer Van Eck’ (‘a small painting being a little flower bouquet painted by Mynheer Van Eck’).635 Possibly this was Jan van den Hecke I who is referred to several times as ‘Van Eck’ in the inventory of Archduke Leopold Wilhelm.636

Van der Elst

The documentation relating to the estate of Simon Balthasar de Neuf, drawn up in 1740 in Antwerp, lists a flower piece by Van der Elst.637 A painter named Ludovicus van der Elst served an apprenticeship with Guilliam van der Lust in Antwerp.638 It may also be that ‘Van der Elst’ should be interpreted as ‘Verelst’. 635 Duverger 1984-2002, VIII, p. 23, no. 2249. 636 See Jan van den Hecke I above in this chapter, and Berger 1883, pp. CXVI, CXVIII, CXX, CXXII, CXXXI, CXXXIII, CXXXIV, CXLIII as ‘von Eckh’, CXXIV, CXXXVI as ‘Johann von den Eckh’, CXXVII, as ‘Capitain von Eckh’. 637 Felixarchief Antwerp, N 1739, fol. 328. 638 Felixarchief Antwerp, N 4046, declaration of 4 June 1674.

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Melchior de la Faille

Melchior de la Faille was born in 1626 in Antwerp. In 1656 in Amsterdam he announced his betrothal to Aeltje Jans, the sister of his deceased wife Tryn Jans. In the document of 1656, he is referred to as a ‘blomschilder’ (‘flower painter’) from Antwerp.639 No work is known by him today.

Carel Fonteyn

Carel Fonteyn was probably born between 1640 and 1645. In 1656 he was in Antwerp and apprenticed to Simon Johannes van Douw (1628-in or after 1677), a painter of landscapes with animals, and in 1664 he became a master painter in the Guild of Saint Luke. Carel Fonteyn painted several vanitas still lifes that are known today, in which one of the compositional elements is a flower piece; one of these is dated 1665. He signed C.L. Fonteyn f, the ‘L’ possibly standing for his father’s name, although De Mirimonde calls this artist ‘Carel le Fontijni’.640 Independent flower pieces from his hand are not known. Carel Fonteyn, Vanitas still life with a flower piece (Fig. 8.162) Canvas, 90 x 109 cm, signed and dated lower right: C.L. Fonteyn f 1665 Whereabouts unknown.641 In this painting, we see a table covered with an Oriental carpet on which various vanitas objects have been placed, including books (one of them an open music book), a recorder and a pochette violin, documents, a large shell, smoking devices, a Provins Rose, a skull, a copper candlestick holding a candle stump, and an hourglass.642 In the centre, towards the back, is a vase decorated with putti containing a flower arrangement, in which the following species can be identified: Provins Rose Small Periwinkle Snowball Carnation Austrian Briar Snake’s Head Fritillary Poet’s Narcissus False Larkspur

Rosa x provincialis Vinca minor Viburnum opulus cv. Roseum Dianthus caryophyllus plenus bicolor Rosa foetida Fritillaria meleagris alba Narcissus poeticus Consolida ajacis

Fig. 8.162 Carel Fonteyn, Vanitas still life with a flower piece, dated 1665, canvas, 90 x 109 cm, whereabouts unknown. 639 Stadsarchief, Amsterdam, DTB 476, p. 533. 640 De Mirimonde 1965. 641 Provenance: Galerie François Heim, Paris 1964. Literature: De Mirimonde 1965, pp. 175-182; Greindl 1983, p. 148; De Maere & Wabbes 1994, I, p. 157, II, p. 416; Wuyts 1996, p. 243. I have not seen the original painting. 642 Thanks to Marcus van den Munckhof for his kind help.

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Tapered Tulip New York Aster Cone Flower (?) Snake’s Head Fritillary Damask Rose Poppy Anemone

Tulipa armena bicolor Aster novi-belgii Rudbeckia spec. Fritillaria meleagris Rosa x damascena Anemone coronaria pseudoplena

Another work with a skull, books and a document depicts a nearly identical Provins Rose in a simple bouquet, plus a candlestick on the right that strongly resembles the one in this painting.643

Geerard

The Antwerp estate of Emerentiana Bosschaert, widow of the painter Justus van Egmont (1602-1674), lists a pot with flowers by ‘Meester Geerard’ in 1685.644 This possibly refers to Jasper Geerards (ca. 16201649/54), who is recorded as a master painter in the Antwerp Guild of Saint Luke in 1644 and from whom we currently have meal and sumptuous still lifes in the style of De Heem. Another possibility is Louis Geeraerts, who was apprenticed to the animal and still life painter Peeter Boel in 1652.645 The reference may also be to an artist with the first name Ge(e)rard, such as Gerard Goswin (1613-1691), who is known to have painted flower pieces (Fig. 8.163).

Gerard Goswin

Gerard Goswin was born in 1613 in Liège. He was likely to have been apprenticed there to Gérard Douffet (1594-1660), with whom he forged a close friendship, which led to a trip to Rome together and artistic collaborations. He stayed in Rome for several years. Afterwards Goswin went to Paris, where in 1648 he became a member of the Académie Royale de Peinture, and in 1658 professor. In 1659 he was appointed Peintre du Roi, at which point he gave drawing lessons to the crown prince Louis XIV. He returned to Liège in 1665 where he worked on decorations for the Royal Entry of the Princess of Bavaria. He died in 1691. Goswin painted flower pieces and fruit pieces. Dated work is known for the year 1640 and from between 1659 and 1661, his period in Paris. A flower piece of 1640 is currently in the collection of the Musée de Tessé in Le Mans. Goswin was possibly influenced by Willem Kalf, who also worked in Paris in the 1640s, as can be seen in his use of a velvet tablecloth with gold fringed edging laid over a stone table with one side receding into the background. Nor should the influence of Willem van Aelst be ruled out. Gerard Goswin worked on two flower pieces for the church where he was to be buried, the Notre Dame de Saint Remy in Liège, which was torn down at the beginning of the nineteenth century.646 Gerard Goswin, Broad bouquet in a decorated lapis lazuli vase on a gilt foot (Fig. 8.163) Canvas, 90 x 110.5 cm, signed and dated below the plinth to the left in black: G . Gosuin . F. 1659 fecit Accad. Private collection.647 1 Tazetta Narcissus 2 Persian Tulip 3 Snowball 4 Star Anemone 5 Blunt Tulip 6 Hyacinth 7 Poppy Anemone 8 Prickly Starthistle 9 Blunt Tulip 10 Yellow Jasmine 11 Poppy Anemone 12 Tapered Tulip 13 Purple Tulip hybrid

Narcissus tazetta Tulipa clusiana Viburnum opulus cv. Roseum Anemone hortensis duplex bicolor Tulipa mucronata bicolor Hyacinthus orientalis plenus Anemone coronaria pseudoplena atrato-bicolor Centaurea muricata Tulipa mucronata bicolor Jasminum fruticans Anemone coronaria pseudoplena (rubra) Tulipa armena luteo-rubra Tulipa undulatifolia x T. mucronata

643 644 645 646

Canvas, 34 x 47 cm, Stockholms Auktionsverk, Stockholm, 8 December 2010, no. 2820. Duverger 1984-2002, XI, p. 317, no. 3710. Rombouts & Van Lerius 1864-76, II, p. 241. Faré 1974, pp. 260-264. Various publications report different birth, death and marriage dates. For more on the flower piece in Le Mans see Salvi 2000, pp. 130-131. 647 Provenance: Galerie Heim-Gairac, Paris, 1961; Ader, Picard & Tajan, Paris, 14 April 1989, no. 270b, with the pendant 270a. Literature: Faré 1974, pp. 262-263.

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Fig. 8.163 Gerard Goswin, Broad bouquet in a decorated lapis lazuli vase on a gilt foot, dated 1659, canvas, 90 x 110.5 cm, private collection.

14 15 16 17 18 19 20 21 22

Tapered Tulip White Flag Iris hybrid Hyacinth Illyrian Gladiolus Blunt Tulip hybrid Auricula Lilac Turban Buttercup Plume Cockscomb

Tulipa armena bicolor Iris albicans x I. germanica Hyacinthus orientalis albus Gladiolus illyricus Tulipa mucronata x T. undulatifolia Primula x pubescens ochraceus Syringa vulgaris Ranunculus asiaticus plenus ruber Celosia argentea plumosa

In the foreground 23 Carnations 24 Auricula

Dianthus caryophyllus subplenus bicolor Primula x pubescens luteo-pallidus

A Meadow Brown Butterfly

Maniola jurtina

The vase is decorated with two putti, and has a scrolled gilt handle in the shape of a snake, and is similar to the vases Jean Michel Picart painted in his flower pieces (Fig. 8.166). Presumably the two artists were in touch with each other in Paris. The pendant shows fruit along with Jasmine, an African Marigold and a Goldfinch on a stone table, partially covered with a blue cloth decorated with graceful silver fringe, while to the right of an acanthus leaf under the plinth we see a classic egg-and-dart design.

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James de Hamilton

Together with his brother Francis, James de Hamilton was the forefather of a dynasty of Scottish painters called De Hamilton, who took up residence on the Continent. They painted game still lifes and forest floor pieces, as well as other types of works. James de Hamilton was born in Lanarkshire, Scotland, about 1640, and in 1650 fled the religious persecutions of Oliver Cromwell with his family. By 1664 he had settled in Brussels, where he remained until his death in 1720. James de Hamilton is mentioned as a painter of flowers and fruit, but today no extant work can be attributed to him with certainty.

Joannes Hermans

Joannes Hermans was probably born around 1630 in Antwerp. In 1644 he was apprenticed to Adriaen Willenhoudt (ca. 1609-1675/76). Joannes is documented as being in Rome between 1657 and 1665, and he worked on the decorations for the Galleria Doria Pamphilj, where a number of his paintings are preserved, particularly game pieces (with animals depicted alive), and game still lifes. He also painted fruit pieces. Hermans nickname in Rome was Monsú Aurora.648 A large sumptuous still life by him is known dated 1653 that includes a bouquet with flowers.649 It is not known whether he painted independent flower pieces.

Nicola van Houbraken

Nicola van Houbraken was born around 1663 in Messina on the island of Sicily. He fled the Spanish crackdown of the revolt of Messina in 1674 with his parents, moving to Livorno, where he remained until his death in 1723. Nicola painted mostly forest floor pieces. His grandfather had emigrated from Flanders and his father Hector was also a still life painter. It is very likely that his works have been classified under the name of other artists, while conversely other works, including flower pieces, have been erroneously attributed to him.650

Peter van Kessel

There is not a great deal of information available on Peter van Kessel, and nothing about his possible kinship with Jan van Kessel I. An artist named Pieter Jeronimus van Kessel is recorded as a member of the Delft guild, while another Peter van Kessel seems to have been a native of Antwerp.651 The latter also worked in Germany, where he is documented in Würzburg and Bamberg in 1658, later on in Danzig (today Gdańsk), and in 1668 in Lübeck; this Peter van Kessel died that same year in Ratzeburg near Lübeck. Peter van Kessel painted cartouches with flowers and fruit and weapon still lifes, all dated between 1658 and 1668. Two cartouches are currently in museums in Bavaria, and the other still lifes are in four museums in Slovenia.652 He also painted a single vanitas still life. A flower piece was auctioned a number of times from 1967 onwards in Berlin (Fig. 8.164), and another was auctioned in Vienna in 1995.653 Peter van Kessel, Flowers in a baroque vase (Fig. 8.164) Canvas, 82.6 x 63.6 cm, signed lower right in dark brown: P. v. Kessel. Fe Private collection.654 1 Christmas Rose 2 Seville Orange blossom 3 African Marigold 4 Wallflower 5 Tapered Tulip 6 Poppy Anemone 7 Great Jasmine 8 Rose of Sharon 9 Provins Rose 10 Variegated Iris 648 649 650 651 652 653 654

Helleborus niger Citrus aurantium Tagetes erecta plena Erysimum cheiri Tulipa armena bicolor Anemone coronaria Jasminum grandiflorum Hibiscus syriacus Rosa x provincialis Iris variegata

For his life and work see Bocchi & Bocchi 2004, pp. 67-75. Canvas, 119 x 174 cm; Tajan, Paris, 17 June 1997, no. 9. For Houbraken see Hoogewerff 1931. Obreen 1877-90, I, pp. 58-59. Hach 1885, pp. 330-335. Dorotheum, Vienna, 20 March 1995, no. 77. Provenance: sale Spik, Berlin, 25 October 1967, no. 220; private collection, Germany; sales Spik, Berlin, 22 June 1995, no. 401, 12 June 1997, no. 365, 18 June 1998, no. 358, and 23 March 2000, no. 397 (always as Jan van Kessel); Sotheby’s, Amsterdam, 2 November 2004, no. 52. Literature: Ertz & Nitze-Ertz 2012, p. 12, Fig. 5.

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C H A P TE R 8 | TH E S ECO N D H A L F O F TH E S EVENT EENT H C ENT URY (C A . 16 50- 1700)

Egidius Nuemans

Nothing is known about the life of Egidius Nuemans. His work is mentioned in the inventory relating to Robertus Dominicus Ignatius van Craesbeecq in 1695. More specifically, a religious painting is listed: a ‘Mariebeldeken in eenen Bloemencrans geschieldert van Niemans’ (‘Mary surrounded by a wreath of Flowers painted by Niemans’).657 A cartouche with flowers with an Italianate landscape in the centre and a still life with flowers surrounding a garden urn placed on a low balustrade before a garden with architectural elements from his hand is preserved.658

Fig. 8.165 Egidius Nuemans, Flower swag around a garden urn placed on a low balustrade before a garden with architectural elements, canvas, 102.5 x 76.5 cm, private collection.

657 Duverger 1984-2002, XII, p. 366, no. 4190. 658 Canvas, 162.5 x 117.1 cm, Christie’s, Amsterdam, 1 November 2011, no. 106 (the cartouche).

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Egidius Nuemans, Flower swag around a garden urn placed on a low balustrade before a garden with architectural elements (Fig. 8.165) Canvas, 102.5 x 76.5 cm, indistinctly signed lower left: E. Nuemans Private collection.659 Provins Rose Blunt Tulip hybrid Poppy Anemones Austrian Briar Love-in-a-Mist Carnation Stock Golden Narcissus Jasmine Hyacinth York and Lancaster Rose Small Morning Glory Peony Eryngo

Rosa x provincialis ad R. x centifolia Tulipa mucronata x T. undulatifolia Anemone coronaria pseudoplena div. Rosa foetida Nigella damascena Dianthus caryophyllus plenus bicolor Matthiola incana Narcissus tazetta subsp. aureus Jasminum officinale Hyacinthus orientalis pallidus Rosa x damascena Versicolor Convolvulus tricolor Paeonia officinalis plena Eryngium

Red Admiral Butterfly Vanessa atalanta Magpie Moth Abraxas grossulariata Butterfly Lepidoptera spec. Garden Beetle Bombus hortorum In front of the balustrade: Grapes and Peaches

Jean Michel Picart

Jean Michel Picart was born in Antwerp circa 1600. It is unknown who he served an apprenticeship with, but it is conceivable that his master should be sought within the Francken family. A certain Clara Pickarts was married to Ambrosius Francken I (ca. 1544-1618), the uncle of Hiëronymus Francken II (1578-1623) and Frans Francken II (1581-1642). Jean Michel ‘Pickarts’ changed his name to ‘Picart’ after he moved to Paris, sometime before 1635. While in Paris he became an art dealer, who also trained young painters to make copies of paintings, in addition to making a name for himself as a painter. He became a member of the Académie de Saint-Luc in 1640, when he also married Jeanne Cholin, who died that same year. A year later he married again, this time with Marie Richard, who bore him six children between 1646 and 1651. In 1651 he became a member of the Académie Royale de Peinture et de Sculpture. King Louis XIV named him Peintre du Roi in 1671, then Peintre ordinaire du Roi from 1679 to 1682. In Paris he was brought into contact with Willem van Aelst, who was influenced by him. Picart was successful as an art dealer, collaborating with the art dealer Matthijs Musson in Antwerp and selling works by great artists like Raphael, Titian, Rubens, Jan Brueghel I, and Snyders, as well as luxury goods, like gemstones. One of his customers was King Louis XIV. Picart died in Paris in 1682. Jean Michel Picart painted primarily flower pieces, but also several fruit pieces. We only know of three dated flower pieces: one of 1645 and two of 1653 – one of which is in the Staatliche Kunsthalle in Karlsruhe (Fig. 8.166). There are a few signed pieces in public collections: pendants in the Fitzwilliam Museum in Cambridge (one of which is signed), and a possibly early fruit piece in the Kunsthalle in Karlsruhe with a pendant flower piece. An unsigned flower piece is in the Musée d’Art et d’Industrie in Saint-Étienne, and a large painting with flowers and fruit is in Schloss Fuschel near Salzburg. The hallmark of Picart’s work is the use of bright, clear colours, each hue set off against the others in the bouquet, making the flowers stand out distinctly. He frequently painted simple Turban Buttercups and Oleanders in diverse colours, while for other species too he would put different cultivars next to each other, often including the botanical form or a variety in a different colour. A great deal of unsigned work has erroneously been attributed to Picart and, with that in mind, we have to approach the existing literature with a critical eye.660

659 Provenance: Christie’s, London, 29 November 1968, no. 54; Koller, Zurich, 23 September 2011, no. 3043, and 30 March 2012, no. 3087; Christie’s, London, 29 October 2015, no. 155; Christie’s, London, 13 January 2016, no. 117; Stahl, Hamburg, 24 September 2016, no. 13; Dorotheum, Vienna, 2 March 2017, no. 153. Literature: Van der Willigen & Meijer 2003, p. 152. 660 A work dated 1663 is not by Picart. Meijer also rejects a number of attributions (see Van der Willigen & Meijer 2003, p. 160). This selective attitude also applies to an overview of his work in Greindl 1983, pp. 166-169, Hairs 1985, I, pp. 376-385, II, pp. 39-40, with sources, and Faré 1974, pp. 84-98. For his oeuvre see the Segal Still Life Documentation in the RKD, The Hague.

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Jean Michel Picart, Flowers in a blue vase with a gilt mount (Fig. 8.166) Canvas, 98 x 82.5 cm, signed and dated lower right as if engraved on the plinth: JMPicart 1653 (‘JMP’ ligated) Staatliche Kunsthalle, Karlsruhe, inv. no. 2603.661 1 Purple Tulip 2 Blunt Tulip 3 Turban Buttercup 4 Garden Honeysuckle 5 Primrose 6 Poppy Anemone 7 Poppy Anemone 8 Poppy Anemone 9 Poppy Anemone 10 Poppy Anemone 11 Persian Tulip 12 Seville Orange blossom 13 Turban Buttercup 14 Persian Tulip hybrid 15 Soapwort 16 Tazetta Narcissus 17 False Larkspur 18 Scarlet Runner Bean 19 Sharp Tulip 20 Snowball 21 Beardless Flag Iris 22 Tobacco 23 Sicilian Iris 24 Peony 25 Siberian Iris 26 False Larkspur 27 False Larkspur 28 Sharp Tulip hybrid 29 Golden Narcissus 30 False Larkspur 31 Virginian Spiderwort 32 Great Periwinkle

Tulipa undulatifolia albescens Tulipa mucronata bicolor Ranunculus asiaticus pallidus Lonicera caprifolium Primula vulgaris alba Anemone coronaria pseudoplena rubra Anemone coronaria pseudoplena albo-rosea Anemone coronaria pseudoplena rosea-alba Anemone coronaria pseudoplena purpurea Anemone coronaria pseudoplena albo-ochrorosea Tulipa clusiana duplex Citrus aurantium Ranunculus asiaticus albus Tulipa clusiana x T. stellata Saponaria officinalis Narcissus tazetta Consolida ajacis ochrescens Phaseolus coccineus Tulipa mucronata bicolor Viburnum opulus cv. Roseum Iris spuria Nicotiana tabacum Iris pseudopumila Paeonia officinalis plena Iris sibirica Consolida ajacis alba Consolida ajacis (coerulea) Tulipa mucronata x T. undulatifolia Narcissus tazetta subsp. aurea Consolida ajacis purpurea Tradescantia virginiana Vinca major

In this flower piece we see a blue vase decorated with seven figures in relief. The vase is mounted on a gilt foot and has two decorative gilt bands which are linked on both sides by handles in the shape of loosely coiled and looped snakes. The vase has been placed on a stone balustrade, which shows some slight damage along the top edge. Another flower piece dated the same year bears a strong resemblance to this one, something that has caused some confusion in the literature.662

661 Provenance: private collection, France; sale Galliéra, Paris, 14 March 1970, no. 17; obtained from art dealer Frederick Mont in 1971. Literature: Lauts 1973, p. 53; Faré 1974, p. 96; Hairs 1985, I, p. 376; Reising 1988, p. 152-153; Mitchell 1993, p. 20 under no. 7; Ebert-Schifferer 1998, pp. 236-339. In the sale catalogue and older literature as 120.5 x 88.5 cm, but later enlargements were removed during a restoration. 662 Canvas, 120 x 88 cm, Galerie Bruno Meissner, Zurich 1985; Hairs 1985, I, pp. 376, 383, Fig. 135.

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Fig. 8.166 Jean Michel Picart, Flowers in a blue vase with a gilt mount, dated 1653, canvas, 98 x 82.5 cm, Staatliche Kunsthalle, Karlsruhe. 624 |

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C H A P TE R 8 | TH E S ECO N D H A L F O F TH E S EVENT EENT H C ENT URY (C A . 16 50- 1700)

Bartholomeus van Winghen

No information is known about the life of Bartholomeus van Winghen. His signature is found on three flower pieces (dated 1664, 1667, and 1670) and a 1669 cartouche with flowers.663 The flower pieces show the influence of Antwerp artists from this period, including Gaspar Peeter Verbruggen I. Bartholomeus van Winghen, Flowers in a glass vase on a plinth with a Garden Tiger Moth (Fig. 8.167) Canvas, 58.5 x 42 cm, signed and dated: B. van Winghen 1667 Private collection.664 White Rose Provins Rose Pot Marigold Rose of Sharon White Rose Liverwort Almond blossom Mock Orange Austrian Briar Madonna Lily Tapered Tulip Primrose Peerless Poppy Anemone Red Tulip hybrid African Marigold Hollyhock Austrian Copper (Briar) Cornflower

Rosa x alba plena Rosa x provincialis Calendula officinalis Hibiscus syriacus rosescens Rosa x alba semiplena Hepatica nobilis plena Prunus dulcis Philadelphus coronarius Rosa foetida Lilium candidum Tulipa armena albo-rubra Narcissus x medioluteus Anemone coronaria pseudoplena albo-rosea Tulipa agenensis x T. armena Tagetes erecta Alcea rosea pseudoplena alba Rosa foetida cv. Bicolor Centaurea cyanus

Garden Tiger Moth

Arctia caja

Fig. 8.167 Bartholomeus van Winghen, Flowers in a glass vase on a plinth with a Garden Tiger Moth, dated 1667, canvas, 58.5 x 42 cm, private collection. 663 Canvas, 86 x 59.2 cm, dated 1664, private collection; canvas, 69.2 x 54.5 cm, dated 1670, Boisgirard & Antonini, Paris, 24 June 2015, no. 17; the cartouche is in Berkeley Castle, Gloucestershire. 664 Provenance: probably collection of Macalester Loup; probably Bosboom, The Hague, 20 August 1806, no. 78; Galerie Sanct Lucas, Vienna, catalogue 1964-65, no. 12, illustrated. I have not seen the original painting.

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DUTCH AND FLEMISH FLOWER PIECES Paintings, Drawings and Prints up to the Nineteenth Century

VOLUME II

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DUTCH AND FLEMISH FLOWER PIECES Paintings, Drawings and Prints up to the Nineteenth Century

VOLUME II

Sam Segal and Klara Alen Translation: Judith Deitch

LEIDEN . BOSTON

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Graphic-design and lay-out: Annelies Mikmak, Heino Printing and binding: Wilco, Amersfoort Composed in Dutch, the text was translated into English by Judith Deitch and edited by Philip Kelleway Publication of this book was made possible thanks to generous support of: Dr. med. Bettina Leysen Rose-Marie and Eijk van Otterloo and the Center for Netherlandish Art at the Museum of Fine Arts, Boston With additional support of the M.A.O.C. Gravin van Bylandt Stichting This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface

Library of Congress Control Number: 2020938655 ISBN ISBN ISBN ISBN

978-90-04-33589-9 (Set) 978-90-04-43929-0 (Volume 1) 978-90-04-43930-6 (Volume 2) 978-90-04-42745-7 (E-Book)

All rights reserved Copyright 2020 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. This book is printed on acid-free paper.

Cover illustrations: Front cover illustration: Dirck de Bray, Flowers strewn in front of a vase with flowers, dated 1674, panel, 40.5 x 35.7 cm, Mauritshuis, The Hague. Back cover illustration: Margareta Haverman, Flower piece with fruit in a niche, dated 1716, panel, 79.4 x 60.3 cm, The Metropolitan Museum of Art, New York.

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Contents

VOLUME I Introduction

xvi

Acknowledgements

xx

Chapter 1 | Backgrounds: Historical, Botanical, Cultural and Aesthetic The Northern and Southern Netherlands in the Seventeenth Century Flower Still Lifes and Flower Pieces The Function and Meaning of Flower Still Lifes Symbolism and Religion Decoration Practice and Artistic Skill Composition and Style Appreciation and Appraisal Flowers in Interiors Botanical Writings after Antiquity Gardens and Garden Flowers Flower Fashion Tulips Roses Native Species

1 3 4 6 6 6 8 9 9 11 13 16 19 20 23 24

Chapter 2 | On the Symbolism of Flowers and Animals in Still Life Paintings

25

Sources The Bible and Apocrypha Scientific Works of Classical Antiquity Medieval Encyclopaedists Literary Works and Mythology from Classical Antiquity Religious and Profane Poetry and Prose since the Middle Ages Collections of Proverbs and Sayings Engravings with Texts Books of Symbols Emblem Books Devices Herbals, Medicinal Books, and Cookbooks Florilegia and Other Flower Books, Fruit Books, Insect Books and Animal Books Manuals by and for Painters Works of Art and Their Traditions Satirical Texts Books of Fables Old Dictionaries Publications on Symbolism Generalized Meanings Interpretations

29 29 30 30 31 31 31 31 34 34 34 35 35 35 35 36 36 36 36 37 38

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Themes Symbols of Mary, Christ and God The Glory of Creation The Song of Songs The Seasons The Months Vanitas: Vanity, Vacancy and Transience The Choice between Good and Evil

39 39 40 40 42 42 42 49

The Symbolism of Flowers and Plants in Paintings – A Selection Adonis species – Pheasant’s Eye, including Fire Pheasant’s Eye Agrostistemma githago – Corn Cockle Alcea rosea – Hollyhock Amaranthus tricolor – St. Joseph’s Coat Anemone species – Anemone Aquilegia vulgaris – Columbine Arctium species – Burdock Bellis perennis sensu lato – Daisy Borago officinalis – Borage Calendula officinalis – Pot Marigold Celosia cristata – Cockscomb Centaurea cyanus – Cornflower Chelidonium majus – Greater Celandine Citrus aurantium – Orange Blossom Convallaria majalis – Lily of the Valley Consolida and Delphinium – Larkspur Convolvulaceae species – Bindweed/Morning Glory Crocus sativus – Saffron Crocus Cyclamen species – particularly Annulated Sowbread (Cyclamen hederifolium) Cypripedium calceolus – Lady’s Slipper Dianthus caryophyllus – Pink/Carnation Erysimum cheiri – Wallflower (see also Matthiola incana, Stock) Fragaria vesca – Strawberry Fritillaria imperialis – Crown Imperial Fritillaria meleagris – Snake’s Head Fritillary Hedera helix – Ivy Helianthus annuus – Sunflower Hyacinthus orientalis – Hyacinth Iris – various species Lilium species – Lily Lilium candidum – Madonna Lily Malva species – Mallow Matthiola incana – Stock Myosotis species – Forget-me-not Narcissus – various species – Narcissuses Paeonia – various species – Peony Papaver somniferum – Opium Poppy Passiflora species – Passion Flower Pisum sativum – Pea Plantago species – Plantain Primula species – Auricula Rosa – various species – Rose Rosmarinus officinalis – Rosemary Taraxacum officinale sensu lato – Dandelion Trifolium species – Clover Triticum aestivum – Wheat Tulipa – various species – Tulip

50 51 51 51 52 52 53 53 54 54 54 55 55 56 56 56 57 57 57 57 58 58 59 59 59 61 61 61 64 65 65 65 66 66 66 66 66 67 69 69 69 69 69 70 70 70 71 72

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CONT ENT S

Veronica species – Speedwell Vinca species – Periwinkle Viola odorata – Sweet Violet Viola tricolor – Pansy

73 73 74 74

The Symbolism of Animals in Paintings – A Selection Deer Mice Lizards Frogs Birds Goldfinches Spiders Insects Dragonfly Grasshoppers Dung Beetles and Sexton Beetles Stag Beetle Ladybird Caterpillars and Butterflies Honeybee Bumblebee Wasps Ants Flies Shells Nautilus Snails

75 75 75 76 76 77 77 77 78 78 78 79 79 79 80 81 82 82 82 83 83 84 84

Chapter 3 | Artists’ Materials and Techniques

87

The Support The Ground Imprimatura Underpainting and Underdrawing Paint Layers Pigments Preparation Coherence Dutch vs. Flemish Still Lifes The Representation of a Flower or Animal Alterations and Restorations Butterflies Drawings Research into Flower Pieces Roses Tulips Irises

89 90 90 90 91 91 92 93 93 94 94 95 95 95 97 100 103

Chapter 4 | The Development of Flower Pieces Style Material Expression The Picture Plane Background Foreground Containers

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The Bouquet Space Depth and Perspective Colour Composition Light The Flowers Supplementary Work

Chapter 5 | The Prehistory of the Flower Piece Illuminated Manuscripts The Ghent Altarpiece Flower Pieces in other Religious Paintings and Portraits Precursors of the Painted Flower Piece Early Flower Studies The Earliest Painted Flower Pieces – A Comparative Analysis

Chapter 6 | The Early Period (ca. 1600-1620) Characteristics of the Earliest Flower Pieces

Artists of the Northern Netherlands

112 114 114 115 116 117 118 121 124 129 136 138 143 143 161 164 167

Gillis van Coninxloo III | Jacques de Gheyn II | Jacob Vosmaer | Jacob Savery | Roelandt Savery | Ambrosius Bosschaert I | Adriaen van Nieulandt | Christoffel van den Berghe | Nicolaes Gillis | Jan Serange | Pieter van der Voort | F. (?) van Remunde

Artists of the Southern Netherlands

210

Jan Brueghel I | Pieter Brueghel II | Andries Daniëls | Juliaen Teniers I | Gaspar van den Hoecke I | Abraham Govaerts | Andries Snellinck | Andries van Baesrode I | Osias Beert I | Clara Peeters | Jacob van Hulsdonck | Michiel Simons I | Jeremias van Winghe | Jan van Balen | Peter Binoit | Hendrick van der Borcht I

Chapter 7 | The Second Quarter of the Seventeenth Century (ca. 1620-1650) Tulip Mania Important Innovators of the Flower Piece Characteristics of the Flower Piece in the Second Period (ca. 1620-1650)

Artists of the Northern Netherlands

259 261 263 263 265

The Painters of the Bosschaert Dynasty Balthasar van der Ast | Johannes van der Ast | Johannes Bosschaert | Ambrosius Bosschaert II | Abraham Bosschaert | Jeronimus Sweerts | Anna Splinters

265

Other Artists in the Tradition of Bosschaert and Savery Jacob Marrel | Bartholomeus Assteyn | Jacob Gerritsz Cuyp | Dirck van Delen | Johannes Matham | Dirck van Poelenburg | Gillis de Bergh | Evert van Aelst | Anthony Claesz | Hans Bollongier

289

Artists following in the Footsteps of Jacques de Gheyn Jan Baptist van Fornenburgh | Dirck van der Mast | Joris Gerritsz van der Lier | Johannes Baers

311

Other Painters of the Northern Netherlands Cornelis de Beer | Harmen van Bolgersteyn | Boys | Camphuysen | Johannes Flups | Frans van Dalen | Maria de Grebber | Margareta de Heer | Lettré | Judith Leyster | Cornelis Stooter | Monogrammist JF | Simon Peter Tilman

317

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Artists of the Southern Netherlands

325

Artists in the Tradition of Jan Brueghel I Jan Brueghel II | Anna Maria Janssens | Samuel van den Hecken | Abraham van den Hecken | Magdalena van den Hecken | Alexander Adriaenssen

325

Daniël Seghers and his Followers Daniël Seghers | Philips de Marlier | Frans Ykens | Catharina Ykens I | Jacob Foppens van Es

337

Frans Snyders and his Followers Frans Snyders | Adriaen van Utrecht | Joannes Fyt | Jan Roos

351

Other Painters of the Southern Netherlands Bulgert | Leo van Heil | Balthasar Huys | Jacob van Ostayen | Isaak Soreau | Jacques van Uden | Thomas Willeboirts Bosschaert

357

Chapter 8 | The Second Half of the Seventeenth Century (ca. 1650-1700) Characteristics of the Flower Piece in the Second Half of the Seventeenth Century

Artists of the Northern Netherlands

361 364 366

The Declining Influence of the Bosschaerts Johannes Goedaert | Helena Roovers | Pieter van de Venne | Jan Olis | J. van Slechtenhorst | Pieter Jansen | Johannes Moninckx II | Maria Moninckx

366

Jan Davidsz de Heem and his Circle Jan Davidsz de Heem | Cornelis de Heem | Claes de Heem (?) | David Cornelisz de Heem | Jan Jansz de Heem | Abraham Mignon | Hendrik Schoock | Gerrit de Haen | Cornelis Kick | Jacob van Walscappelle | Jan van Rossum | Pieter de Ring | Martinus Nellius | Maria van Oosterwijck | Geertgen Wyntges | B. Wackis | Henricus Maria Weerts | Johannes Borman | Laurens Craen | Jan Mortel | Jacob Rotius | Nicolaes (?) van Suchtelen | Pieter Gallis | Michiel Simons II | Jan Grasdorp

378

Willem van Aelst and his Followers Willem van Aelst | Isaac Denies | Nicolaes Lachtropius | Louis Michiel | Ernst Stuven | Jochem (van) Windtraken | Eltie de Vlieger | Hendrick de Fromantiou | Elias van den Broeck | Philip van Kouwenbergh | Willem Grasdorp I | Simon Verelst | Herman Verelst | Cornelis Verelst | Johannes Verelst | Abraham de Lust | Adriaen van der Spelt | Willem Frederiksz van Royen | Otto Marseus van Schrieck | Abraham Jansz Begeyn | Nicolaes Berchem | Philippus Brandis | G.M.

426

Abraham van Beyeren and other Painters with a Fluid or Loose Brushstroke Abraham van Beyeren | Jacques de Claeuw | Leendert van Beke | Abraham Susenier | Cornelis Brouwer

472

Other Painters of the Northern Netherlands David Bailly | Karel Batist | Gerrit Battem | Anthonie Marinusz Beauregaert | T. Bellechiere | J. (or H. or J.H.) Bern | Willem Beurs | K. de Bie | Jakob Bogdáni | Jan Boogaert | Pieter van den Bosch | Bartholomeus Brandon | Brauch | Dirck de Bray | Joseph de Bray | Johannes Bronckhorst | A. vander Cabel | Abraham van Calraet | Pieter Cosijn | Stephanus Cosijn | Ernst van Dalen | Isabella Dedel | Christiaen van Dielaert | Evert van Doyenburgh | Ottomar Elliger I | Caesar van Everdingen | Johannes Fabritius | William Gowe Ferguson | François de Geest | Margaretha van Godewijck | Reinier de la Haye | Willem de Heer | Herman Henstenburgh | Van Heusden | Magdalena Hofmann | Justus van Huysum I | Isaak Kleynhens | Gerard and Jacques de Lairesse | Pieter de Leeuw | Cornelis Lelienbergh | Robbert van Mandevyll | Jan Marcelis | Daniël Marot I | Cornelis May | Maria Sibylla Merian | Cornelis van der Meulen | Michiel van Musscher | Matthijs Naiveu | Elisabeth Neal | Catharina Oostfries | Monogrammist JE or EJ | Adam Pijnacker | Isaak van der Put | Anna van den Queborn | C. van der Radt | Pieter Gerritsz van Roestraeten | Alexander Ruwel | Pieter Jansz van Ruyven | Salomon van de Sande | François van Santwyck | Godfried Schalcken | Pieter Schuyten | Pieter van Slingelandt | Caspar Smits | J [an?] Smits | A. Stevens | Esaias Terwesten | Arent van Tongeren | Michiel van Uffelen | Juffer Uylenburgh | Jan van der Vaart | Vandenburgh | Lodewijck Vay | Jan Verschuren | Adriaen Huibertsz Verveer | Titia van Vierssen | Vincent Laurensz van der Vinne I | Carel de Vogelaer | Isaac Vroomans | Jan Weenix | Maria Willaerts | Dirck Willems | Matthias Withoos | Pieter Withoos | Johannes Withoos | Alida Withoos | Maria Withoos | Frans Withoos

479

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Artists of the Southern Netherlands

554

The Brueghel Dynasty Ambrosius Brueghel | Jan Pieter Brueghel | Abraham Brueghel | Henri Ferdinand Brueghel | Jan Baptist Brueghel

554

Artists following in the Footsteps of Daniël Seghers Jan Philip van Thielen | Maria Theresia van Thielen | Anna Maria van Thielen | Francisca Catharina van Thielen | J. and/or G. van Bloclant | Jan Anton van der Baren | Philip van der Baren | Jan van den Hecke I | Carstian Luyckx | Hieronymus Galle | Anthonie van Eeckhout | Jan van Kessel I | Ferdinand van Kessel | Jan van Kessel II | Nicolaes van Verendael | Cano | C. de Vil or de Uil | Gaspar Thielens | Gaspar Peeter Verbruggen I

561

Gaspar Peeter Verbruggen II and his Followers Gaspar Peeter Verbruggen II | Pieter Frans de Bailliu | Jean Baptist de Crepu | Frans van Cuyck de Myerhop | Jan Baptist de Gheyn | Johannes Lotyn

590

Artists following in the Footsteps of Jan Davidsz de Heem Jan Pauwel Gillemans I | Jan Pauwel Gillemans II | Joris van Son | Jan Frans van Son | Frans van Everbroeck | Jacob Caproens

597

Artists following in the Footsteps of Joannes Fyt Peeter Boel | Jan Baptist Boel

604

Other Painters of the Southern Netherlands François van Aken | Hendrick Andriessen | Isaac Bernard | J. van der Borght | Michel Bouillon | Jean de la Bouverie II | Jan Peeter van Bredael I | Abraham Couchet | Jacques Damery | Walther Damery | Daniël van den Dyck | Van Eck | Van der Elst | Melchior de la Faille | Carel Fonteyn | Geerard | Gerard Goswin | James de Hamilton | Joannes Hermans | Nicola van Houbraken | Peter van Kessel | Giacomo Legi | Lutgeert | Egidius Nuemans | Jean Michel Picart | Bartholomeus van Winghen

605

VOLUME II Chapter 9 | The Eighteenth Century (ca. 1700-1800) Characteristics of the Flower Piece in the Eighteenth Century

Artists of the Northern Netherlands

629 631 634

Rachel Ruysch, her Family, and her Followers Frederik Ruysch | Rachel Ruysch | Anna Ruysch | A. van den Bergh | Catharina Backer

634

The Van Huysum Dynasty Jan van Huysum | Jacob van Huysum | Josua van Huysum | Michiel van Huysum | Francina Margaretha van Huysum

650

Artists following in the Footsteps of Jan van Huysum Margareta Haverman | Johan Willem Frank | Josina Margareta Weenix | Coenraet Roepel | Jan van Os | Pieter Gerardus van Os | Cornelis Kuipers | Jacobus Linthorst | Jan Hendrik Fredriks | Johannes Christiaan Roedig | Wybrand Hendriks | Paulus Theodorus van Brussel | A. van Tongeren | Gerrit Johan van Leeuwen | Hermanus Uppink | J. Niels | F.R. Pieters | A. Klein

671

Artists following in the Footsteps of Jan van Huysum: Watercolourists and Draughtsmen H. Berninck | Johannes de Bosch | Jacob Buijs | Jan Jansz Gildemeester | Pieter van Loo | Cornelis Ploos van Amstel | Oswald Wijnen

704

Gerard van Spaendonck and his Followers Gerard van Spaendonck | Cornelis van Spaendonck | Willem van Leen | Christiaan van Pol | Nicolaas Frederik Knip I | Josephus Augustus Knip | Cornelis Johannes Schaalje | Jan Evert Morel I

714

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CONT ENT S

Other Painters of the Northern Netherlands Adrianus Apol | Benedictus Antoni van Assen | Jan Augustini | Pieter Barbiers III | Wernerd de Beet | Daniël van Beke | Jacques Estienne Benoist | Jean Bernard | Cornelis Bisschop II | Leendert Brasser | Maria van Broyel | Bruijn | Johannes Cornelis de Bruyn | Jan Buiteveld | P. van Buren | Adriaen Coorte | Helena Margareta van Dielen | J. van Dieviel | J. van Diren | Catharina Dubois | Johannes Le Francq van Berkhey | Laurens Gelderblom | T. van Geyl | Cornelis van Glashorst | Willem Grasdorp II | A.R. Griffier | J.E. Haag | Anna van Hannover | Johanna Helena Herolt-Graff | J.C. Hilst | Hendrik Jacob Hoet | Pieter Hofman | Elisabeth Georgina van Hoogenhuyzen | Hendrik Hoogers | G. van Hooren | Jordanus Hoorn | Cornelis Houtman | J.B. Huys | J.F.C. Jacobs | A. van Jonge | Reint Albert de Jonge | Jan Kelderman | Andreas Kinderman | Pieter Klinkhamer II | Jan Kraÿ | Jacob l’Admiral II | Arie Lamme | J. van Lemmen | Hendrick Lofvers | Johannes Hermanus van Loon | Abraham Meertens | Agatha van der Mijn | Cornelia van der Mijn | Herman van der Mijn | J. Mulckenhof | Jacoba Maria van Nickelen | Jan van Nickelen | Barbara van Nijmegen | Elias van Nijmegen | A. van Olst (?) | M.J. van Olst | Maria Margaretha van Os | Jacobus Ouwater | J. van Pielier | Antoni Piera | Joris Ponse | Louis François Gerard van der Puyl | Gerrit Rademaker | Pieter Recco | A. Ree | Annette Reijerman | P.A. Robart I and II | R.G. Robart | R.H. Robart | Willem Robart | J. Roepel | Gerard Sanders | Anna Barbara Schilperoort | Hendriks Petrus Schindelaar | Johan Joseph Schomper | W(illem?) Schouten | Maria Geertruida Snabilié | Sonneman | Johannes Sonnenberg | C. Stoppelaer | Abraham van Strij | Albartus Otto Swalue | Frans Jurjens Swart | Johan Wilhelm Tengeler | Pieter Terwesten | Abraham Teixeira de Mattos | Johannes Teyler | Jan Hendrik Troost van Groenendoelen | Adriana Verbruggen | Verhoek | The Van der Vinne Family | Vincent Laurensz van der Vinne II | Laurens Jacobsz van der Vinne | Laurens Vincentsz van der Vinne | Vincent Jansz van der Vinne | Carel Borchart Voet | Jacobus Vonk | Alexander Vos | Jan Abel Wassenbergh I | Jacob Campo Weyerman | A.D. Wit | Adrianus van Wÿck | Gerard Joseph Xavery | Jacob Xavery | Joost Zeeman

Artists of the Southern Netherlands

733

845

Artists following in the Footsteps of Jan van Huysum and Gerard van Spaendonck Pieter Faes | J.B. Faes | Jan Frans Eliaerts | Georg Frederik Ziesel | Jan Frans van Dael | J.B. van Dael | Jean Baptiste Berré | Michel Joseph Speeckaert | M. van Spaey | Pierre Joseph Thys | Philips Jacob Peeters | Pieter Joseph Sauvage | C.G. Sauvage

845

Artists following in the Footsteps of Gaspar Peeter Verbruggen II Balthasar Hyacinth Verbruggen | H. Berck | Jacobus Seldenslach | Jan Baptist Bosschaert | J.(F.?) van der Beken | Jan Baptist Morel | H. Morell | Jean René Morel | Jean Baptiste Morel II | Jean Pierre Morel | Jacob Melchior van Herck | Coclers family | Johannes Baptista Petrus Coclers | Jean George Christian Coclers | Henri Joseph Léonard Eugène Coclers | Jean Dieudonné Deneux | Carolus Bigée | Arnold Smitsen | P. Blom | Pieter Casteels III | Pieter Frans Casteels | Simon Hardimé | Pieter Hardimé

863

Other Painters of the Southern Netherlands J. Balen | J. Van Bernard | Jan Baptist Bouttats | M. van Buiten | Petrus Gerardus Philippus Colin | Marie Diffiori | Guillaume Dominique Jacques Doncre | Johann(es) van Dorne | Martin van Dorne | Jan Baptist Govaerts | Jan Josef Horemans II | Margarita van Horne | J.F. van der Hulst | Paul Joseph de Kock | Cornelis Lens | Jan Frans Jozef Mertens | Henri Albert Imbert des Motelettes | Antoine Plateau | Van der Putte | Antoine Ferdinand Redouté | Pierre-Joseph Redouté | Jean Baptiste De Roy | Maria E.J. Schepers | Pieter Snijers | Franciscus Tan | Peter Tillemans | Dominique Joseph Vanderburch | S. Vermeirsch | Hendrik van Waterschoot | Karl Wuchters

890

Chapter 10 | The Flower Piece as Print Replication, Loss and Dispersion: Challenges for the Researcher of Prints The Uses of Prints Early Prints of Flower Pieces The Later Tradition of Printed Flower Pieces Influences on – and from – Foreign Art Dutch and Flemish Printmakers of Flower Pieces up to 1800 Adriaen Collaert | Crispyn de Passe I | Hendrick Hondius I | Jacob Matham | Johann Theodor de Bry | Pieter van der Keere | Nicolaes de Bruyn | Claes Jansz Visscher, Nicolaes Visscher II and Nicolaes Visscher III | Cornelis Kick | Jan van Somer | Gerard van Keulen | Pieter van den Berge II | Pieter Mortier | Maria Sibylla Merian | J. Waterloos | Johannes Teyler | Gerard Valck | Pieter Schenk I and his sons Pieter II & Leonard | Jacobus Coelemans | Justus Danckerts I and his sons Theodorus, Cornelis II and Justus II | Carel Allard | Abraham Munting | F. van Swijnen | Barent Velthuysen | Cornelis Ploos van Amstel and Oswald Wijnen | Bernardus Schreuder | Hendrik Schwegman | Hendrik Leffert Mijling | Noach van der Meer II | Anthonie van den Bos

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Chapter 11 | About Florilegia What is a Florilegium? Charles Jourdain Adriaen Collaert, Crispyn de Passe I and Jacques le Moyne Crispyn de Passe II Pierre Vallet, Johann Theodor de Bry and Emanuel Sweert Basilius Besler Other Florilegia and Flower Books from the Late Sixteenth and Early Seventeenth Centuries Manuscripts

Chapter 12 | Botanical and Zoological Aspects in Art The History of Flowers in Science and Art The Systematic Organization of the Plant Kingdom and Names Used in this Study Flower Classification and Flower Pieces Tulips Narcissuses Irises Opium Poppy Auricula Garden Nasturtium Forget-me-not Roses Animal Classification and Flower Pieces

Appendix 1 | Flora Flower and Plant Species in Still Lifes and other Paintings, Prints and Drawings Glossary of Botanical Terms Select Bibliography

Appendix 2 | Animalia Animal Species in Still Life Paintings and Drawings Select Bibliography

997 999 1000 1000 1011 1015 1022 1023 1027 1031 1033 1034 1035 1036 1039 1039 1039 1039 1039 1040 1040 1040 1042 1045 1100 1104 1106 1108 1141

Bibliography

1144

Index

1207

Photograph Credits

1227

Detail Fig. 9.3

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9

The Eighteenth Century (ca. 1700-1800)

Two main lines of development can be seen unfolding in the history of the flower piece over the course of the eighteenth century. In Holland there is a continuation of the traditions developed and established by Dutch flower painters in the seventeenth century, many of whom had emigrated from Flanders to the North. The specific genius of great artists of the past, like Balthasar van der Ast (1593/94-1657), Jan Davidsz de Heem (1606-1684) and Willem van Aelst (1627-1683), was carried forward in the first place by Jan van Huysum (1682-1749) and his followers, but also by such artists as Rachel Ruysch (1664-1750) and later Gerard van Spaendonck (1746-1822), in a living tradition that survived well into the first decades of the nineteenth century. This stream of development was strongly influenced by French flower painters, particularly Jean Baptiste Monnoyer (1636-1699), whose prints were frequently copied in both France and Holland.1 The other current of the tradition, initiated in Flanders by the creative virtuosity of Jan Brueghel I (1568-1625) and augmented by the innovations of Daniël Seghers (1590-1661) – with additional inspiration from flower painters like Abraham Brueghel (1631-1697) who lived and worked in Italy – flowed on through the works of their successors at the end of the seventeenth century, such as Gaspar Peeter Verbruggen II (1664-1730), but only lasted until about the middle of the eighteenth century, or perhaps a bit later. This line of development encompassed many decorative painters: artists who were engaged to make paintings such as chimneypieces and overdoor paintings (supraportes) as luxury interior decoration. Both streams shared a diminished interest in religious and learned themes compared to previous generations of flower painters, hence fewer spiritual and moralizing aspects can be discovered in their paintings, while, on the other hand, more emphasis has clearly been placed in the decorative elements of these works. This decorative aspect is stronger in the Flemish branch of the tradition, while on the Dutch side the influence of botanical cultivation and garden design brought with it a greater drive for precision in the reproduction of details. Neoclassical elements can also be found in both eighteenth-century variations of the tradition – whether in the mythological figures and putti decorating a vase, or in the statuary, columns and ruins adorning the background of a flower piece. The influence of the great seventeenth-century masters remains palpable in the works of their descendants in the eighteenth century. Jan Davidsz de Heem exerted the greatest influence on painters in this period, with Abraham Mignon (1640-1679) and Willem van Aelst following closely in his wake. Among eighteenth-century artists the real leader in terms of artistic innovation is Jan van Huysum, for both the Northern and Southern Netherlands. A different trend we witness in the eighteenth century – one which becomes even more prominent in the nineteenth century – is that many artists choose to manifest their art in an individual way, making it less easy to assign them to a specific category. This individuality may be due to an accomplished artist’s independent self-development, or, conversely, it may in fact arise due to amateurism, since the number of liefhebbers (in this instance meaning ‘dilettantes’), who took up the brush, pencil, or pen, without professional training, increased significantly in this period. Over the years a great many works have come to light by artists who are otherwise unknown, or about whom very little is documented, and for whom either only few or in fact no works are extant. This is probably an indication that there were many amateurs practising at the time.

Characteristics of the Flower Piece in the Eighteenth Century

– The majority of flower pieces were painted on canvas, with a smaller number still painted on panel, but very few on copper. Panels in Holland were sometimes made of expensive mahogany, frequently in a uniform size of approximately 80 x 60 cm. This wood is much less sensitive to relative changes in humidity and temperature than oak panel. Starting at the end of the eighteenth century there was some use of marble as a support for paintings, particularly among those artists who were based in Paris. – Dutch artists start employing a number of new pigments such as Prussian blue. The method of 1

See further Chapter 10.

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– – –

– – – – – – –

– – – – – –

– 2

application basically differs very little from that of previous periods, except that in Flanders and among the decorative painters the brushstroke is freer with a broader rendering of details. The imprimatura is frequently lighter than hitherto and more of an ochre colour. The background is also lighter than previously, particularly in Dutch paintings starting from around the year 1720. In addition, we very rarely see a niche, but instead quite often there is an indistinct background of trees or foliage, or a garden landscape, which may be set off with some architectural elements or occasionally a statue. In the foreground, a marble slab often supports the container, which, in the second half of the century, is frequently of rococo design with carved horizontal curves and scrolls. The bouquets are almost never symmetrical and frequently have multiple axes instead, with flower stems extending in different directions. Blooms often hang down over the lip of the container. There is a great degree of harmony in the application of colour. Dutch paintings frequently reveal a palette incorporating light, pastel-like tones. Often, too, we can discern what is called a colour series: a transitional sequence of hues extending across a whole range of related colours. In the hands of the best Dutch painters the nuances of colour and texture are of an unparalleled subtlety and refinement. Flower stems are reproduced according to the natural tendency of each individual species to bend, curl or remain straight. The arrangement of the flowers looks very natural with a high degree of overcutting. In most cases there is a compelling sense of unity linking all the components of the bouquet. Usually each individual flower exhibits a reasonable ratio in terms of size relative to the other flowers in the arrangement. Sense of depth is convincingly natural thanks to a combination of intelligent design and the skilful handling of light and shade effects. The light is nearly always concentrated on the centre of the bouquet. In Dutch paintings, much attention has been lavished on the application of light and shadow, including in and around individual blooms and their neighbours. In Van Huysum’s works the light no longer merely falls across the outer surface of the individual flowers, it actually penetrates the interstices, that is the small spaces, between them. There is much evidence of species with variegated leaves, such as Striped Canary Grass (Phalaris arundinacea f. picta) and Seville Orange blossom. Material expression is at its peak – something that also applies to the depiction of foliage, which is rendered from every possible angle and under different intensities of light. Insects in Dutch paintings are represented in minute detail. Waterdrops are common and represented to perfection in Dutch paintings. Seldom do we see details adopted from other artists or replicated by a painter from his or her other works. However, many works by Jan van Huysum were copied or counterfeited. There are new botanical species in evidence from South Africa, South America and, to a lesser extent, North America, but they are rarely seen with great frequency. An increase in the variety of species is observable only at the end of the eighteenth century and is more noticeably evident at the beginning of the nineteenth. Frequently occurring botanical species between 1700 and 1800 include the Cabbage Rose (Rosa x centifolia), which tends to replace the Provins Rose (Rosa x provincialis), Garden Nasturtium (Tropaeolum majus), Tuberose (Polyanthes tuberosa), Cockscomb (Celosia cristata), Foxtail (Amaranthus caudatus), Small Morning Glory (Convolvulus tricolor), False Larkspur (Consolida ajacis), Salmon Peony (Paeonia officinalis cv. Mutabilis plena), Sweet Pea (Lathyrus odoratus) and new varieties of Auricula (Primula x pubescens). More newcomers include yellow varieties of Carnation (Dianthus caryophyllus plenus luteus), Large Blanket Flower (Gaillardia aristata), China Aster (Callistephus chinensis), and at the end of the century the Sulphur Rose (Rosa hemisphaerica), which replaces the Yellow Cabbage Rose (Rosa x huysumiana). Characteristic of the eighteenth century too are increased numbers of double-flowered (or full) botanical varieties, particularly of the Hyacinth (Hyacinthus orientalis). Examples of other double-flowered species in flower pieces are the Hollyhock (Alcea rosea), Stock (Matthiola incana), Larkspur (Consolida and Delphinium), Anemone (Anemone) and Turban Buttercup (Ranunculus asiaticus).2 This was the period of the Hyacinth Mania, which occurred a century after the Tulip Mania bubble Double-flowered varieties are referred to in Latin as ‘flore pleno’, which means ‘with full flower’.

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had burst, when Hyacinths similarly became wildly popular and fantastically expensive, as did Anemones and Auriculas. In addition to simple glass tumblers, we also see terracotta, stoneware, or bronze baroque vases, usually with ornamentation in relief. Frequently these are garden urns, although only rarely do they sport snake-shaped handles, as seen in some seventeenth-century works. Garden urns on scrolled feet are only seen at the beginning of the eighteenth century in Flemish works, and then primarily in decorative paintings. At the end of the eighteenth century, French marble vases begin to gain popularity, as does the placing of blocks of marble in the foreground, usually with figures in relief, something which is particularly noticeable in works executed by Dutch and Flemish artists working in Paris. In the ensuing period alabaster and porphyry vases start to appear. Pendants are rather frequent occurrences, and much of the time these are pairings of a flower piece with a fruit piece; and while the flower piece may be filled out with fruit, more often we see a fruit piece with the inclusion of flowers. An innovation, which can be traced to the work of Jan van Huysum, is the representation of a bird’s nest with eggs, occasionally with chicks and/or a bird. Signatures are usually inscribed on the plinth, as was the practice hitherto, and often represented as if they have been carved in the stone, with a lighter outline underneath and darker shading above the signature. Many artists are now engaged part-time or full-time as decorative painters, contributing to interior decoration by executing wall paintings, chimneypieces and supraportes, the latter often from a worm’s-eye view. Insofar as they painted flower pieces these were frequently bouquets in large vases or garden urns, often set on a pedestal, or, particularly among the Flemish painters, flower swags around such a container.

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Artists of the Northern Netherlands Rachel Ruysch, her Family, and her Followers Frederik Ruysch

Frederik Ruysch was the father of the flower painters Rachel and Anna Ruysch. He was born in The Hague in 1638 and in 1661 he married Maria Post. After working for a time in his native city, he moved to Amsterdam, where from 1666 on he acquired acclaim as a professor of anatomy and botany at the Athenaeum Illustre, a civic institution and predecessor of the University of Amsterdam, also associated with the city’s Hortus Botanicus. Frederik Ruysch collected anatomical specimens, butterflies and other insects, shells, sea plants, and cultivated a herbarium for preserving samples of dried plants. A portion of his collection was sold to the Russian Tsar Peter the Great and shipped in sixty crates to Saint Petersburg in 1718, where the contents can still be found today. Frederik Ruysch authored eighteen books, including works on the plants in the botanical garden of Johannes (1629-1692) and Caspar Commelin (1668-1731), the drawings for which were made by a number of artists, including Johannes Moninckx II, Ruysch’s son-in-law, Maria Moninckx (1676-1757), and Johanna Helena HeroltGraff (1668-after 1723), Maria Sibylla Merian’s (1647-1717) eldest daughter, amongst others. Frederik Ruysch died in Amsterdam in 1731. According to the 1773 inventory of the estate of Isaac Pool, one of Rachel Ruysch’s sons, Frederik Ruysch painted a flower piece and a forest floor piece that were sold as Rachel’s works. The whereabouts of these is currently unknown.3

Rachel Ruysch

Rachel Ruysch was born in The Hague in 1664. Her father was Frederik Ruysch. Her mother, Maria Post, was the daughter of the renowned architect Pieter Post (1608-1669), who designed the royal residence Huis ten Bosch in The Hague. In 1679 Rachel Ruysch was apprenticed to Willem van Aelst in Amsterdam. In 1693 she married the portrait painter Juriaen Pool (1666-1745), with whom she had ten children. In 1701 Rachel and Juriaen became members of The Hague Confrerie Pictura, but they carried on living in Amsterdam. In 1708 they were both appointed painters to the court of the Elector Palatine, Johann Wilhelm in Düsseldorf, who purchased all the works that they produced from that time until his death in 1716. The couple continued to reside in their house on the Wolvenstraat in Amsterdam. Rachel carried on with her painting until she reached quite an advanced age, although her output gradually decreased. Her husband died in 1745, and she in 1750. Rachel Ruysch’s works were highly sought after and could command high prices, and she enjoyed much prestige during her lifetime, as well as posthumously. At least three portraits were made of her during her life.4 Shortly before her death eleven of her contemporaries published Dichtlovers voor de uitmuntende schilderesse mejuffrouwe Rachel Ruisch, weduwe van den kunstlievenden heere Juriaan Pool, a volume of poetry celebrating and honouring her.5 In his book De Nieuwe Schouburg der Nederlantsche Kunstschilders en Schilderessen of 1750, Johan van Gool devoted a substantial chapter to Rachel Ruysch, which also includes four poems.6 Three oeuvre catalogues of her work have appeared. The first was compiled by John Smith in 1835 with a supplement in 1842.7 This was expanded by Cornelis Hofstede de Groot in 1928 and Maurice H. Grant in 1956, but with an increasing number of misattributions.8 Marianne Berardi has given a new overview of the early works of Rachel Ruysch in her 1998 dissertation.9

3 4 5 6 7 8 9

For further details about Frederik Ruysch and his daughters see Bredius 1915-22, IV, pp. 1203-1209, Kooijmans 2004 and Kooijmans 2011. The portrait of Rachel Ruysch with her husband and son (canvas, 71 x 62.5 cm) is in the Stadtmuseum, Düsseldorf; Van Leeuwen in Auckland 1982, p. 179, Fig. 36a. The poems are dated between 1731 and 1750. Van Gool 1750-51, I, pp. 210-233. Smith 1829-42, VI, pp. 493-502. Hofstede de Groot 1928, pp. 307-332; Grant 1956. Berardi 1998.

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The earliest known painting by Rachel Ruysch is dated 1681, when she would have been seventeen or eighteen years old and only painted floral festoons. In her early flower pieces, particularly those with separate flowers from the 1690s, the influence of Willem van Aelst can be clearly detected. Quite quickly she began to devote her attention to forest floor pieces too, presumably under the direct or indirect influence of Abraham Mignon, and quite possibly made known to her by his apprentice Ernst Stuven (ca. 1657-1712), a contact with whom Rachel Ruysch also collaborated. Nonetheless in her oeuvre flower pieces have pride of place, although from 1707 she also painted fruit pieces with outdoor settings. Most of her works are executed on canvas, even the smaller pieces that she created in her old age. Her flower arrangements have usually been placed in a round green vase. Examples painted before 1700 are relatively simple compositions with few insects. Starting in 1701, however, she began to add pieces of fruit – usually to the right in the foreground – and more insects, one or two of them placed in a prominent position. The notion of adding fruit to a flower piece had become an integral part of the tradition since Jan Davidsz de Heem. So in Ruysch’s works we see peaches in a 1701 work, plums in paintings from 1703 and 1704, grapes in works from the year 1706, and Seville Oranges in an example from 1708. The foliage has been painted in a highly refined manner, which registers differences in texture and colour, including between the surface and underside of a leaf, variations in colour caused by the change of season, or species with variegated leaves. It is evident that she had made a thorough study of the influence of lighting. Green leaves appear yellowish in sunlight, but dark green in shadow. These effects are easily observed in the Autumn leaves of the Cabbage Rose and Opium Poppy, and in the multi-coloured leaves of Ivy. This detailed rendering of foliage has a strong effect on the atmosphere in her paintings. What is also particularly noteworthy in her works are the open Tulips with their extended petals. Her chosen colour palette is applied very subtly on a white ground, soft and tender as a baby’s skin, with many nuances and transitional shades and tints of pink, orange and red. She employed strong contrasts between light and shade. The centre of the bouquet is illuminated, having been painted in lighter colours with distinctive shadows, which also fall on the flowers placed in the back of the arrangement, while the outer edges of the bouquet are represented in gradually deepening darkness. The majority of these bouquets are relatively compact at the centre, with several large blooms punctuating the cluster. From the beginning of the eighteenth century, the composition of her bouquets seems to be based on a network of imaginary parallel lines in the shape of a grid, with graceful flourishes of Tulip stems and grass stalks angled crosswise to the main pattern. The compositional plans of the earlier and later works are less complex. Rachel Ruysch was not afraid to place a bare cut stem in the centre of a bouquet, which works to separate the upper and lower portions of the arrangement harmoniously, such as the stem of an Opium Poppy in a flower piece of 1700 currently in the Mauritshuis in The Hague.10 Dated paintings are known for the years 1681 through to 1748, when she was eighty-four years old. We have works from most years between 1681 and 1723, with peak years 1690, 1701 and 1715-1716 (after a period with few or no dated works from 1712-1715). The majority of her works are dated, in the 1690s sometimes with Roman numerals. Flower pieces may be found in the following public collections: 1682, in the Národní Galerie in Prague; 1689, in the Niedersächsisches Landesmuseum in Hannover and in the San Diego Museum of Art; 1690 and 1718, in the Gemäldegalerie Alte Meister in Dresden; 1691, in the Hamburger Kunsthalle (two); 1696, in the Musée Thomas-Henry in Cherbourg-Octeville; 1698, in the Städel Museum in Frankfurt am Main; 1700, in the Schloss Fasanerie in Eichenzell, and in the Mauritshuis in The Hague; 1701, in the Fitzwilliam Museum in Cambridge (two); 1703, in the Gemäldegalerie der Akademie der bildenden Künste in Vienna; 1704, in the Koninklijke Musea voor Schone Kunsten van België in Brussels and in the Detroit Institute of Arts; 1705, formerly in the Gemäldegalerie in Berlin; 1706, in the Kunsthistorisches Museum in Vienna; 1707, in the Museum der bildenden Künste in Leipzig; 1708 and 1715, in the Alte Pinakothek in Munich; 1709, in the Cultural Heritage Agency of the Netherlands and in the Alte Pinakothek in Munich; 1715, in the Galleria Palatina in Florence and in the Staatliche Kunsthalle Karlsruhe; 1716, in the Rijksmuseum in Amsterdam; 1723, in the Hunterian Museum and Art Gallery in Glasgow; 1741, in the Kunstmuseum Basel and in the Ashmolean Museum in Oxford; 1746, in the Kurpfälzisches Museum in Heidelberg (two); 1747, in the Palais des Beaux-Arts in Lille (two); and 1748, in the Musée Granet in Aix-en-Provence. Moreover, dated work is cited in older sources for the years 1719, 1720, 1728, 1731, 1735 and 1740. 10

Canvas, 79.5 x 60.2 cm, The Hague, Mauritshuis, inv. no. 151; Runia & Segal 2007, pp. 62-65, 69, no. 11.

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Fig. 9.1 Rachel Ruysch, Flowers in a dark green glass vase, canvas, 50.8 x 40.6 cm, private collection. 636 |

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Undated flower pieces can further be found in the Baroda Museum and Picture Gallery in Vadodara (India), the LVR-LandesMuseum in Bonn, the Fitzwilliam Museum in Cambridge, the Gemäldegalerie Alte Meister in Dresden, the Schloss Fasanerie in Eichenzell, the Uffizi in Florence, the Musée d’Art et d’Histoire in Genève (two), the Hamburger Kunsthalle, the Tiroler Landesmuseum Ferdinandeum in Innsbruck (two), the National Gallery and Victoria and Albert Museum in London, the Alte Pinakothek in Munich, the Norton Simon Museum in Pasadena,11 the North Carolina Museum of Art in Raleigh, the Hallwyl Museum in Stockholm, the Toledo Museum of Art in Ohio, the Princely Collections Liechtenstein in Vaduz-Vienna, the National Museum of Women in the Arts in Washington, the Muzeum Narodowe in Wroclaw, and the Martin von Wagner Museum in Würzburg. Copies are known to exist for a number of works, some of them executed by her sister, Anna Ruysch.12 Rachel Ruysch, Flowers in a dark green glass vase (Fig. 9.1) Canvas, 50.8 x 40.6 cm, signed lower right in grey-green: Rachel Ruysch Private collection.13 1 Garden Honeysuckle 2 Broom 3 Great Morning Glory 4 White Rose 5 Anemone 6 Anemone 7 Auricula 8 Blue Lilac 9 Carnation 10 Auricula 11 Austrian Briar 12 Provins Rose 13 Wheat

Lonicera caprifolium album Cytisus scoparius Ipomoea purpurea Rosa x alba semiplena Anemone coronaria pseudoplena rubra Anemone coronaria malvina Primula x pubescens aurantiaca Syringa caerulea Dianthus caryophyllus bicolor Primula x pubescens purpurea Rosa foetida Rosa x provincialis Triticum aestivum

a b c D e F

Buprestridae spec. Ichneumonidae spec. Lasius flavus Pieris brassicae Ammophila sabulosa Macroglossum stellatarum

Jewel Beetle Ichneumon Wasp Yellow Meadow Ants Large White Butterfly Spider-hunting Wasp Hummingbird Hawk Moth

This is an early flower piece by Rachel Ruysch, probably painted between 1685 and 1690. Flower species like Broom (Cytisus scoparius), Blue Lilac (Syringa caerulea) and Garden Honeysuckle (Lonicera caprifolium album) seldom appear in other flower pieces of this period. It is possible that this has to do with the interests of Rachel’s father Frederik Ruysch. Some species might be found in the collections of her father or have grown in the Hortus Botanicus. The signature shows a fast-trained hand.

11 12 13

There is a print after the work in Pasadena by Noach van der Meer II from ca. 1785 (Fig. 10.65). For the oeuvre of Rachel Ruysch see Berardi 1998, Prague 2004, the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. Provenance: private collection, U.K.; Leonard Koetser Gallery, London 1965; Simon C. Dickinson Gallery, London.

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Fig. 9.2 Rachel Ruysch, Flowers on a marble ledge, canvas, 33 x 26.4 cm, private collection. 638 |

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Rachel Ruysch, Flowers on a marble ledge (Fig. 9.2) Canvas, 33 x 26.4 cm, indistinctly signed lower right: Rachel Ruysch Private collection.14 1 Golden Crocus 2 White Spring Crocus 3 Striped Canary Grass 4 Liverwort 5 Auricula 6 Hyacinth 7 Auricula 8 Auricula

Crocus flavus Crocus vernus subsp. albiflorus Phalaris arundinacea f. Picta Hepatica nobilis Primula x pubescens coccinea grandiflora Hyacinthus orientalis Primula x pubescens cinnabaria Primula x pubescens purpurea

A b c d e f

Pieris rapae Ammophila sabulosa Calliphora vomitoria Formica rufa Chrysis ignita Coenagrion puella

Small White Butterfly Spider-hunting Wasp Bluebottle Fly Southern Wood Ant Gold Wasp Azure Damselfly

This is an example of a flower piece with a posy of loose flowers on a marble table-top, a work of about 1695. From 1680 until 1695, or sometime thereafter, Rachel Ruysch painted a number of these compositions, and later, in the final years of her life, she was to return to these relatively simple creations in a small format. Rachel Ruysch, Flowers in a glass vase (Fig. 9.3) Canvas, 83 x 66 cm, signed and dated lower right in grey: Rachel Ruysch 1704 Detroit Institute of Arts, Detroit, inv. no. 1995.67.15 1 Wheat Triticum aestivum 2 Jasmine Jasminum officinale 3 Small Morning Glory Convolvulus tricolor 4 Canterbury Bell Campanula medium 5 Cabbage Rose Rosa x centifolia 6 Opium Poppy Papaver somniferum cinnabarinum plenum 7 Pot Marigold Calendula officinalis 8 Madonna Lily Lilium candidum 9 Lavatera Lavatera thuringiaca 10 Orange Lily Lilium bulbiferum 11 Tapered Tulip Tulipa armena bicolor 12 Scentless Mayweed Tripleurospermum maritimum 13 Dark Mullein Verbascum nigrum 14 Sharp Tulip Tulipa mucronata bicolor 15 Pale Iris hybrid Iris x squalens 16 Variegated Ivy Hedera helix 17 Feverfew Tanacetum parthenium album subplenum 18 Carnation Dianthus caryophyllus bicolor plenus 19 Bird’s-foot Trefoil Lotus spec. 20 Red Peony Paeonia peregrina

14 15

Provenance: possibly sale Van der Schley & de Vries, Amsterdam, 26 August 1807, no. 185; S. Nystad Gallery, The Hague 1974; private collection, Germany; Johnny Van Haeften Gallery, London 2010. Provenance: probably collection of James West (1704-1772), President of the Royal Society from 1768 until 1772, who lived on the estate Alscot Park in Warwickshire, although the most important part of his collection was present in his home at the west side of the Piazza on King Street, Covent Garden, London; thence by inheritance: 1824 James West’s grandson James J.R. West (1775-1838); Captain W.R. West; James William A.R. West 1956; Sotheby’s, London, 6 July 1994, no. 30; Johnny Van Haeften Gallery, London 1994 and Otto Naumann Gallery, New York 1995; obtained by the museum in 1995 (Founders Society Purchase, Robert H. Tannahill Foundation Fund). Exhibitions & literature: Hofstede de Groot 1928, p. 323, no. 73; Birmingham 1938, p. 23, no. 70; Leamington 1951, p. 7, no. 28; Grant 1956, p. 30, no. 56, Pl. 1; Russel in Washington 1985-86, pp. 368-369, no. 298; Berardi 1998, pp. 317, 483, Fig. 55; Keyes 2004, pp. 212-216, no. 87; Segal in Delft & Houston 2006-07, pp. 306-308, no. C1.

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Fig. 9.3 Rachel Ruysch, Flowers in a glass vase, dated 1704, canvas, 83 x 66 cm, Detroit Institute of Arts, Detroit. 640 |

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Fig. 9.3a Sketch of the species in Fig. 9.3.

21 Primrose 22 Corn Marigold 23 Bindweed 24 Yellow Jasmine 25 Aubergine

Primula vulgaris alba Glebionis segetum Calystegia sepium Jasminum fruticosum Solanum melalonga

a Garden Tiger Moth b Rosy Footman Moth c White Satin Moth d Brimstone e Great Capricorn Beetle f Dor Beetle g Spider-hunting Wasp h Cinnabar Caterpillar i Hoverfly j Earth Bumblebee k Wasp Beetle l Common Wasp m Azure Damselfly n Yellow Meadow Ant o Two-banded Ichneumon Fly p Banded Brush Beetle

Arctia caja Miltochrista miniata Leucoma salicis Gonepteryx rhamni Cerambyx cerdo Geotrupes stercorarius Ammophila sabulosa Tyria jacobaeae Ichneumon suspiciosus Bombus terrestris cf. Clytis arietis Vespula vulgaris Coenagrion puella Lasius flavus Amblyteles armatorius Trichius fasciatus

All the insects painted are native to the Netherlands, as well as the Orange Lily, Tapered Tulip, Scentless Mayweed, Variegated Ivy, Primrose, Corn Marigold and Bindweed.

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Rachel Ruysch, Flowers in a glass vase (Fig. 9.4) Canvas, 46.5 x 36 cm, signed and dated lower right in beige-grey: Rachel Ruysch . 1716 Private collection.16 1 Common Cow-Wheat 2 Poppy Anemone 3 Scarlet Runner Bean foliage 4 Pot Marigold 5 Poppy Anemone 6 Poppy Anemone 7 Hyacinth 8 Hollow Root Fumitory 9 Austrian Copper (Briar) 10 Pear blossom 11 Tapered Tulip hybrid 12 Hyacinth 13 Auricula 14 Canary Grass 15 Poppy Anemone 16 Poppy Anemone 17 Barberry 18 Annual Meadow Grass 19 Honeysuckle

Melampyrum pratense Anemone coronaria pseudoplena rosea Phaseolus coccineus Calendula officinalis Anemone coronaria pseudoplena lilacina Anemone coronaria pseudoplena albo-cinnabarina Hyacinthus orientalis plenus roseus Corydalis cava Rosa foetida cv. Bicolor Pyrus communis Tulipa armena x T. undulatifolia Hyacinthus orientalis plenus Primula x pubescens rubiginosa Phalaris canariensis Anemone coronaria pseudoplena rubescens Anemone coronaria pseudoplena rubra Berberis vulgaris Poa annua Lonicera periclymenum

a b c d e

Leptura quadrifasciata Ischnura elegans Calliphora vomitoria Malacosoma neustria Trypocopris vernalis

Four-banded Longhorn Beetle Blue-tailed Damselfly Bluebottle Fly Lackey Moth Caterpillar Golden Scarab Beetle

Common Cow-Wheat (Melampyrum pratense) is a native hemiparasite, meaning that although it has green leaves with the pigment chlorophyll enabling it to photosynthesize, at least some of its nutrients are obtained from the roots of nearby plants. This particular plant is otherwise scarcely seen in flower pieces. In Rachel Ruysch’s paintings a Tulip is frequently placed at the top of the bouquet. The variegated leaves of the Tulip shown here have been caused by a virus. We encounter multi-coloured foliage quite often in her other works too, for example, Canary Grass where the lines of the stripes follow the bends and folds of the leaves. The dark green glass vase is a constant in Ruysch’s flower pieces. The distinctive bloom of the Honeysuckle catching the light as it hangs down on the right of the bouquet also appears in other flower pieces, such as a painting currently in the National Gallery in London.17 Two intersecting axes can be discerned in the composition of this painting, plus two additional angled axes that bisect them, with the white-vermilion Poppy Anemone (Anemone coronaria pseudoplena albo-cinnabarina) as the point of intersection. There is another painting of 1716, approximately the same size as this work, in the Rijksmuseum in Amsterdam, with the corner of the table on the right instead of on the left, which possibly served as a pendant.18 The centrally placed flower that draws our attention in that work is a Gum Cistus (Cistus ladanifer), also called Gum Rockrose. Rachel Ruysch continued to paint until an advanced age, but we have few dated works in the period between 1716 (the last year that she worked for the Elector in Düsseldorf) and 1740. The paintings executed in 1716 are of the same high quality as her other works from the years 1700 until then. There is a copy of the Flowers in a glass vase in watercolour by someone named D.E. Simon-Thomas, an amateur, which was probably done at the end of the eighteenth century.19

16

Provenance: private collection, Tours, France; by inheritance: private collection, Belgium; Galerie Jan De Maere, Brussels; Sotheby’s, London, 12 December 2002, no. 42; Richard Green Galleries, TEFAF Maastricht 2003. Exhibitions: Segal in Amsterdam 2012, pp. 64-66, no. 14; London 2016 (without catalogue). 17 Canvas, 57 x 43.5 cm, London, The National Gallery, inv. no. NG 6425; Taylor 1995, p. 186, Fig. 115. 18 Canvas, 48.5 x 39.5 cm, Amsterdam, Rijksmuseum, inv. no. SK-A-2338. 19 Watercolour on paper, ca. 600 x 500 mm (framed), signed on the passe-partout: D.E. Simon Thomas na Rachel Ruijsch geschildert in’t jaar 1716, private collection.

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Fig. 9.4 Rachel Ruysch, Flowers in a glass vase, dated 1716, canvas, 46.5 x 36 cm, private collection. | 643

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Fig. 9.5 Rachel Ruysch, Cabbage Rose and other flowers on a stone balustrade, dated 1741, canvas, 20 x 24.5 cm, Kunstmuseum Basel, Basel.

Rachel Ruysch, Cabbage Rose and other flowers on a stone balustrade (Fig. 9.5) Canvas, 20 x 24.5 cm, signed and dated lower left: Rachel AE 78 Ruysch / 1741 (‘AE’ ligated) Kunstmuseum Basel, Basel, inv. no. 1100.20 Meadow Cranesbill Tricoloured Daisy Summer Pheasant’s Eye Feverfew French Marigold Yellow Daisy

Geranium pratense Glebionis carinatum Adonis aestivalis Tanacetum parthenium Tagetes patula Coleostephus myconis

March Fly Longhorn Beetle

Muscidae spec. Trachyderes hilaris

A 1741 flower piece displaying individual flowers on a stone slab with a straight plinth is reminiscent of the simplicity of the little flower pieces Ruysch created in the 1690s. She signed this painting proudly stating her age of 78: Rachel AE 78 Ruysch 1741. In this work, we see a Cabbage Rose encircled with smaller flowers and on the left a non-native Longhorn Beetle.

Anna Ruysch

Anna Ruysch was Rachel Ruysch’s younger sister. She was born in The Hague in 1666. As a flower painter, she stood in the shadow of her talented sister Rachel. Anna probably painted out of sheer love for the art, in Dutch called liefhebberij. Six signed works are now known by her, three of them dated 1685: two simple flower and fruit pieces, plus a forest floor piece. The forest floor piece is a copy of a 20 Provenance: sale J. Pekstok, Amsterdam, 17 December 1792, no. 89; collection of Leonard Beckers, Cologne 1840; sale Amsterdam, 4 April 1854, no. 45; sale Cologne, 11 November 1886, no. 139; collection of E. Habich, his sale, Kassel, 9 May 1892, no. 127; gift of the Prof. J.J. Bachofen-Burckhardt-Stiftung in 2015. Literature: Hofstede de Groot 1928, pp. 310-311, no. 8; Grant 1956, p. 43, no. 207; mus. cat. Basel 1966, p. 169; Gemar-Koeltzsch 1995, III, p. 860, no. 340/34; Berardi 2000, pp. 2, Fig. 1, 4; Segal 2008, p. 312, Fig. 68.

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work by Abraham Mignon now in the Koninklijke Musea voor Schone Kunsten van België in Brussels.21 Anna was married to Isaak Hellenbroek, and it appears from the couple’s last will that each of their two daughters were to inherit two flower pieces by Anna Ruysch, signed with a monogram AR (ligated).22 A number of unsigned works have also been attributed to Anna Ruysch, likely doubtful, among them an item in the Musée des Beaux-Arts in Rouen.23 The signature on a work signed and dated A. Ruysch 1706 is likewise doubtful.24 Anna Ruysch died in 1754. Anna Ruysch, Flowers on a marble table (Fig. 9.6) Canvas, 33.5 x 29.6 cm, signed and dated lower right in grey: Anna Ruysch 1685 (with a flourish under the ‘u’ around to the right connecting to the ‘y’ above with a little loop) Private collection.25 1 Striped Canary Grass 2 York and Lancaster Rose 3 Small Morning Glory 4 Hyacinth 5 Sunflower 6 French Marigold

Phalaris arundinacea f. picta Rosa damascena cv. Versicolor Convolvulus tricolor Hyacinthus orientalis atratus Helianthus annuus cv. Pumilus Tagetes patula

The flowers have been arranged in a triangular shape on the ledge with the stems on the right.

Fig. 9.6 Anna Ruysch, Flowers on a marble table, dated 1685, canvas, 33.5 x 29.6 cm, private collection. 21 22 23 24 25

Canvas, 60 x 50.5 cm, Brussels, Koninklijke Musea voor Schone Kunsten van België, inv. no. 2754. Bredius 1915-22, IV, p. 1209. Meijer & Buijsen 1998; Berardi in Gaze 2001, p. 589. Canvas, 69 x 51 cm, Lempertz, Cologne, 17 May 2014, no. 1234; I have not seen the painting. Provenance: probably sale of I. Stinstra, Amsterdam, 2 July 1829; probably the estate of Cabauw of Breukelen, sales of Pappelendam, Amsterdam, 1849, 1852 and 13 June 1889, no. 158; collection of Max Wasserman, Paris; sale Palais Galliéra, Paris, 26 November 1967, no. 35; private collection, Paris; Christie’s, Paris, 17 March 2016, no. 769; Galerie Lowet de Wotrenge, Antwerp. Literature: Kramm 1857-64, IV, p. 1416.

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A. van den Bergh

Nothing is known about an artist who signed a flower piece A van den Bergh in 1702. Possibly this may refer to a copper engraver named Abraham van den Bergh who was born in Kampen and in 1682 bought a house on the Egelantiersgracht in Amsterdam. He was first married to Swaentje Lucas, and after her death remarried Annetje Harmens. He died before 1692.26 Taking into consideration the obvious influence of Rachel Ruysch on this signed work, it is plausible that the artist was active in Amsterdam. A. van den Bergh, Flowers in a glass vase (Fig. 9.7) Canvas, 60 x 52.5 cm, signed and dated lower right in dark brown: A van den Bergh 1702 Private collection.27 1 Pot Marigold 2 Snowball 3 Peony 4 Striped Canary Grass 5 Small Morning Glory 6 Hollyhock 7 Opium Poppy 8 Rue 9 Blunt Tulip hybrid 10 Persian Tulip 11 Hollyhock 12 French Rose 13 Milk Thistle 14 African Marigold

Calendula officinalis Viburnum opulus cv. Roseum Paeonia officinalis alba Phalaris arundinacea f. picta Convolvulus tricolor Alcea rosea lutea Papaver somniferum rubrum plenum Ruta graveolens Tulipa mucronata x T. undulatifolia Tulipa clusiana Alcea rosea pallida Rosa gallica plena Silybum marianum Tagetes erecta

A Red Admiral Butterfly B Gentian Blue Butterfly

Vanessa atalanta Maculinea cf. alcon

A 1691 work signed Rachel Ruysch now in the Hamburger Kunsthalle shows a similar composition of flowers in a glass vase, including such species as the Striped Canary Grass, a large open Tulip in the upper left, and a Red Admiral Butterfly in the lower left.28 Similarly, a 1698 signed work in the Städel Museum in Frankfurt am Main shows a bouquet in a glass vase with an Opium Poppy at the top with the same curled stem.29 The composition in Flowers in a glass vase has some similarities to the work of contemporaries, such as Simon Verelst (1644-1721) and Elias van den Broeck (ca. 1652-1708). Note, for example, the foliage of the Opium Poppy in the upper half of the bouquet, which is like that found painted by Verelst, whilst the Opium Poppy opening upward in the upper right, the partially open Tulip, and a dominant white flower are all reminiscent of those in the paintings of Van den Broeck. But this work can be differentiated according to several distinctive features, for example the diagonal composition and blooms hanging down in the foreground. It may be possible that some of these works which currently pass under the names of these artists should rather be attributed to A. van den Bergh, for example a work with a false Rachel Ruysch signature in the Akademie der bildenden Künste in Vienna, and a work attributed to Simon Verelst in a private collection.30 Two other versions of this work are known from the art trade, one bearing a false Rachel Ruysch signature, the other listed as by Cornelis Kick (1634-1681).31

26 Obreen 1877-90, II, p. 5; Moes in Thieme & Becker 1907-50, III, p. 401. 27 Provenance: sale Sweden, 29 October 1936, no. 39; Stockholms Auktionsverk, Stockholm, 30 November 1993, no. 5542; Nordén Auktioner, Stockholm, 30 November 1995, no. 221; Noortman Gallery, Maastricht 1996. Literature: Berardi 1998, p. 351 n. 606, as copy after Rachel Ruysch. Cf. a similar composition, Lempertz, Cologne, 17 May 2014, no. 1236, canvas, 63 x 51 cm, signed and dated lower right with small lettering in black: Rachel Ruysch (I have not seen the original painting; the signature is probably to the right on the plinth where it looks damaged, with on the left and right a niche wall) 28 Canvas, 44.5 x 34.3 cm, Hamburg, Hamburger Kunsthalle, inv. no. 28; Hamburg 2008, p. 202. 29 Canvas, 58.5 x 44.5 cm, Frankfurt am Main, Städel Museum, inv. no. 540. 30 Canvas, 67.5 x 53.5 cm, Vienna, Akademie der bildenden Künste, inv. no. 678; canvas, 60.5 x 49.5 cm, Koller, Zurich, 22 March 2013, no. 3041. 31 These two versions are extensively discussed in a report by Segal dated 1996, now in the Segal Still Life Documentation at the RKD, The Hague, with details on the provenance plus literature.

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Fig. 9.7 A. van den Bergh, Flowers in a glass vase, dated 1702, canvas, 60 x 52.5 cm, private collection.

Catharina Backer

Catharina Backer was born in 1689 in Amsterdam. In 1711 she married her cousin, the wealthy cloth manufacturer and art collector Allard de la Court van der Voort of Leiden, where she went to live and where she died in 1766.32 Catharina Backer has been written off as a dilettante, but her work is of a quite acceptable standard. It is not known if she was apprenticed to a master painter. The family inventory lists eleven paintings from her hand, of which two are currently known: one in the Museum De Lakenhal in Leiden, and a work dated 1712 in the Hallwylska Museet in Stockholm. Other flower pieces are mentioned in two sale catalogues from 1855 and 1906.33 The Amsterdam Museum owns a 32 After her death, the art collection was auctioned in Leiden in 1766 and included works by Willem van Aelst, Rachel Ruysch (two), Cornelis de Heem (three), Jan Davidsz de Heem (five), Jan van Huysum, Abraham Mignon, Jan Mortel, Pieter de Ring and Jan Weenix (three); see Terwesten 1770, pp. 542-566. 33 Amsterdam, 19 October 1855, no. 182, and 14 November 1906, from the Semenov collection in Saint Petersburg.

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very fine watercolour album compiled by Catharina Backer with many flowers, butterflies and insects, dated before 1711. In most cases the drawings are signed Catharina Backer / naar het (or ‘t) leeve (or leeven): from life.34 Catharina Backer, Flowers in a glass vase (Fig. 9.8) Canvas, 89 x 71 cm, signed and dated lower right in ochre grey: Catharina · Backer · / fecit 1712 Hallwylska Museet, Stockholm, inv. no. XXXII:B.80.35 1 Garden Honeysuckle 2 Provins Rose 3 Great Morning Glory 4 Apple blossom 5 Parrot Tulip 6 Scarlet Runner Bean 7 Pear blossom 8 Hawthorn 9 German Flag Iris 10 Tapered Tulip 11 Opium Poppy 12 Tassel Flower 13 Pot Marigold 14 Blunt Tulip 15 French Marigold 16 Forget-me-not 17 Sweet Briar 18 English Iris 19 Austrian Copper (Briar) 20 Poppy Anemone 21 Poet’s Narcissus 22 Auricula 23 Poppy Anemone 24 White Rose 25 Snowball 26 Peony

Lonicera amplexicaule Rosa x provincialis Ipomoea purpurea Malus sylvestris Tulipa praecox x T. hungarica Phaseolus coccineus Pyrus communis Crataegus monogyna Iris germanica Tulipa armena bicolor Papaver somniferum rubrum Emilia sagittata Calendula officinalis Tulipa mucronata bicolor Tagetes patula Myosotis palustris Rosa rubiginosa Iris latifolia Rosa foetida cv. Bicolor Anemone coronaria duplex albo-miniata Narcissus poeticus plenus Primula x pubescens violacea Anemone coronaria plena Rosa x alba plena Viburnum opulus cv. Roseum Paeonia officinalis plena

A Large White Butterfly B Peacock Butterfly C Camberwell Beauty Butterfly d Lackey Caterpillar e Caterpillars and Cocoon f Fen Hawker g Splendid Demoiselle h Diadem Spider i Hornet j Alder Moth Caterpillar k Leaf Beetle l Lackey Caterpillar m Ants n Garden Snail

Pieris brassicae Inachis io Nymphalis antiopa Malacosoma neustria Lepidoptera spec. Aeshna juncea Calopteryx splendens Araneus diadematus Vespa crabro Acronicta alni Chrysomelidae spec. Malacosoma neustria Formicidae spec. Cepaea hortensis

34 Amsterdam, Amsterdam Museum, inv. no. TB 5955; Segal in Amsterdam 2012, pp. 72-73, no. 17. 35 Provenance: sale Frederik Muller, Amsterdam, 21 September 1904, no. 52; Carl Ulrik Palm; Bukowski, Stockholm; collection of Wilhelmina von Hallwyl, 7 October 1904. Literature: mus. cat. Stockholm 1930, I, pp. 198-199; Thieme & Becker 1907-50, II, p. 321; Fock 1980, pp. 78-79; Cassel-Phil 1997, p. 120, no. 46; Sluiter 1998, p. 50.

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Fig. 9.8 Catharina Backer, Flowers in a glass vase, dated 1712, canvas, 89 x 71 cm, Hallwylska Museet, Stockholm. | 649

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The Van Huysum Dynasty36 Justus van Huysum I (1659-1716) was the progenitor of the following generations of artists.37

Jan van Huysum

Jan van Huysum was born in 1682 in Amsterdam. He was the eldest son of the still life and decorative painter Justus van Huysum I, and the brother of Justus II (1685-1707), Jacob (1688-1740) and Michiel (1703-1777) van Huysum, all children who followed in the footsteps of their father and became still life painters. In their youth these sons worked in their father’s workshop. Jan was married in 1704 to Elisabeth Takens, who survived him. Of their twelve children eight died while still very young and only three outlived him. There are no documents that would show that he ever left Amsterdam, in fact, in general, very little is known about his life with any certainty. His working method seems to have been strictly private because no one was able to get him to divulge the secrets behind his use of materials and technique. Margareta Haverman (1693-after 1722) is named as his only apprentice. Jan van Huysum died in 1749. Jan van Huysum’s success was enormous. He received commissions from many patrons representing a wide range of European royal houses and was very well paid. To this day a considerable portion of his work may still be found in private aristocratic collections, particularly in England and France. Well into the nineteenth century his paintings were among the most expensive in the world, and the high valuation of his work has hardly diminished in our own time. Even in that period in the nineteenth century when the works of fine painters from Holland were generally condemned as decadent, the work of Jan van Huysum retained its value and esteem. An exception to universal acclaim is Reitlinger’s 1961 pronouncement: ‘The worship of Huysum, the most mechanical and least inspired of the masters of the tight brush, showed eighteenth-century taste at its most deplorable’.38 Jan’s works are distinguished from the Dutch art of his predecessors by the use of bright, translucent colours, sometimes in pastel-like tints. Jan van Huysum’s style was much imitated, and his influence can be detected in the works of flower and fruit painters well into the nineteenth century. Jan van Huysum is especially celebrated for his flower and fruit pieces. He painted many pendants, usually a flower piece plus a fruit piece with flowers. These works have, for the most part, become separated due to estate partition and auction sales. If a pairing has not been documented then it is difficult to guess at the matching painting because so much work was executed on mahogany panel in standard dimensions, usually 80 x 60 cm. He painted pastoral Arcadian landscapes too, but these were not held in as high esteem. Drawings and studies also exist in many different kinds of media and using a variety of techniques. We must, however, exercise caution when approaching all these works because a very large portion of the art that passes as by Jan van Huysum was not executed by him. In addition, many copies of his paintings are extant, and many paintings that have been provided with a false signature.39 Moreover, we have to take into consideration the inevitable confusion presented by works executed by other family members – his father Justus I, and his brothers Justus II and Jacob – who could all have signed J. Van Huysum.40 The dark background in Jan’s early works, against which the floral colours stand out starkly, differentiates them from his later ones. Those viewers who are particularly enamoured of seventeenth-century 36 The spelling of the name ‘Huysum’ has recently been changed to ‘Huijsum’ in the database RKDartists&. There are some good reasons for doing this: Jan signed more often with ‘ij’ than with ‘y’, even though the majority of his early works are signed with ‘y’, sometimes with the umlaut ‘ÿ’. Father Justus usually signed with ‘y’ and sometimes with ‘ij’, brother Jacob signed with both ‘ij’ and ‘y’, and younger half-brother Michiel with ‘ij’. But all other names in the RKD database that could be spelled ‘ij’ are still spelled with a ‘y’, therefore it is inconsistent to single out Jan van Huysum for this change. Moreover, the spelling ‘Jan van Huysum’ is the one that appears in all the artist’s biographies and oeuvre catalogues, plus an exhibition catalogue of the artist’s work (Delft & Houston 2006-07). I am going to stay with the tradition and continue to use the spelling ‘Huysum’ for all family members. It is regrettable that there was no consultation of specialists regarding this change of spelling. Similar problems also occur in other dynasties where members of the family signed their names in different ways, for example among the Brueghels. 37 See Chapter 8 for an overview of his life and work. 38 Cited by Mitchell 1973, p. 143. 39 There are three oeuvre catalogues for the paintings of Jan van Huysum: Smith 1829-42, VI, pp. 459-491; Hofstede de Groot 1928, pp. 333-391 and Grant 1954, with increasing numbers of erroneous attributions. Further, there is a survey of his drawings (White 1964), however, it is incomplete and also contains a number of incorrect attributions. For further details on the life and work of Jan van Huysum see Ellens & Segal 2006-07; Delft & Houston 2006-07, the Segal Project and the Segal Still Life Documentation at the RKD, The Hague. 40 See also Segal in Delft & Houston 2006-07, p. 66.

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art often prefer this early period of production. From the year 1720 on he painted a background of trees or a park landscape in light colours, sometimes including a statue. The earliest example of this type is a flower piece dated 1720, which served as a sketch for a painted flower piece with a statue of Persephone in the background.41 His mostly terracotta vases are set on a balustrade, intimating an outdoor scene. In colour composition he followed Jan Davidsz de Heem, but with a more refined rendering of details, even though he sometimes also adopted details from De Heem. Jan van Huysum often painted a bird’s nest with eggs – something others were to imitate – along with his other innovations, such as the use of a light background and the depiction of light falling between and through the flowers of a bouquet. Characteristic flowers in Jan van Huysum’s paintings are the Yellow Cabbage Rose (Rosa x huysumiana), Golden Flax (Linum flavum), Tuberose (Polyanthes tuberosa), Jacob’s Ladder (Polemonium caeruleum), Alpine Gentian (Gentiana clusii) and Lavatera (Lavatera thuringiaca), with as typical insects the Gold Wasp (Chrysis ichnita), the Wasp Hoverfly (Syrphus ribesii) or other hoverfly species, and the Fast Woodlouse (Philoscia muscorum) on a bird’s nest. He also painted many species of small native plants. Infrared reflectography reveal Jan van Huysum’s underdrawings consist of a grid in black chalk, quite likely deployed as an aid to achieving an overall harmonious distribution of the elements of his compositions.42 Dated work by Jan van Huysum is known for the years 1706 through to 1745.43 From 1722 on we know of works from just about every year, with a peak in the numbers produced between 1722 and 1724. Some doubt exists regarding the attribution of a few older works, such as a sketch of a nosegay of flowers, signed and dated J. van Huysum 1699.44 This also applies to a work signed and dated J.V.H. 1702.45 An impressive ninety works by Jan van Huysum may currently be found in museums all over the world. Among these are dated flower pieces in the following collections: 1706, in the Palais des BeauxArts in Lille; 1714, in the Staatliche Kunsthalle in Karlsruhe; 1720 (drawing) and 1735, in the Musée du Louvre in Paris; 1722, in the Gemäldegalerie in Berlin, the State Hermitage Museum in Saint Petersburg, the Getty Museum and the Los Angeles County Museum of Art in Los Angeles; 1723, in the Rijksmuseum in Amsterdam; 1724, in the Herzog Anton Ulrich-Museum in Braunschweig and the Los Angeles County Museum of Art in Los Angeles; 1726, in the Wallace Collection in London; 1727, in the Hunterian Museum and Art Gallery in Glasgow; 1727-28 (with fruit) and 1742 in the Staatliches Museum in Schwerin; 1732, in the Wallraf-Richartz-Museum in Cologne; 1733 (drawing), in the Teylers Museum in Haarlem; 1735, in the Alte Pinakothek in Munich; and 1736-37, in the National Gallery in London. Signed flower pieces are included but not restricted to public collections in the following cities: Amsterdam (Amsterdam Museum and Rijksmuseum), Antwerp, Berlin, Braunschweig, Cambridge, Copenhagen, Dresden, Edinburgh, Florence, Frankfurt am Main, The Hague, Kansas City (Missouri), Karlsruhe, Kimberley (Australia), Leipzig, London, Lyon, Manchester, Montpellier, Munich, Paris, Richmond, Rotterdam, Strasbourg, Stuttgart, Troyes and Vienna. Jan van Huysum, Flowers in garden urn on a pedestal (Fig. 9.9) Canvas, 104 x 67.5 cm, signed and dated lower centre in dark brown: Jan Van Huysum 1707 Private collection.46 1 Small Morning Glory 2 Peony 3 Austrian Copper (Briar) 4 Sunflower 5 French Marigold 6 White Rose 41 42 43 44 45 46

Convolvulus tricolor Paeonia officinalis plena Rosa foetida cv. Bicolor Helianthus annuus Tagetes patula Rosa x alba

Panel, 80 x 60 cm, Paris, Musée du Louvre, inv. no. 1389, on loan to the Musée des Beaux-Arts in Dijon; black chalk and watercolour, 413 x 328 mm, Paris, Musée du Louvre, inv. no. 22672; Segal in Delft & Houston 2006-07, pp. 57-58, Figs 5.10 and 5.11. See the research by Emma Boyce on Jan van Huysum in the Rijksmuseum from 2011. In the literature the painting considered his earliest work is a falsely signed piece dated 1706 (canvas, 89 x 72 cm) in the Hamburger Kunsthalle, which is not by Jan van Huysum but by Hendrick de Fromantiou (1633/34-1693; see Chapter 8); see Segal in Osaka, Tokyo & Sydney 1990, p. 223 n. 10. Red and black chalk, 340 x 280 mm, Sotheby’s, London, 10 July 1963, no. 314. Sale of Baron de C., Paris, 10 December 1913, no. 40. For the early dated works see Segal in Delft & Houston 2006-07, pp. 50-55. Provenance: collection Sir Richard Goodenough, England; Galerie Knoedler & Cie, Paris 1969; Terry-Engell Gallery, London 1970; Christie’s, New York, 13 January 1987, no. 123; Phillips, London, December 1989, no. 84; private collection, Switzerland; Koller, Zurich, 27 March 2015, no. 3080. Literature: Segal in Delft & Houston 2006-07, p. 51.

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Fig. 9.9 Jan van Huysum, Flowers in a garden urn on a pedestal, dated 1707, canvas, 104 x 67.5 cm, private collection.

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7 8 9 10 11 12 13 14 15 16

Opium Poppy Corn Chamomile False Larkspur Small Mallow Iberian Iris Corn Marigold Lupine Cabbage Rose Marguerite Scarlet Runner Bean

Papaver somniferum (simplex lilacinum) Anthemis arvensis Consolida ajacis Malva pusilla Iris x iberica Glebionis segetum Lupinus polyphyllus bicolor Rosa x centifolia Leucanthemum vulgare Phaseolus coccineus

The large terracotta urn on a foot decorated with acanthus leaves bears a central roundel with a bust whose face, however, is teasingly concealed by an overhanging leaf. This early work in which the flower composition stands out colourfully against the dark background fits in well with the decorative works produced in the workshop of father Justus (Fig. 8.87). A characteristic of Jan van Huysum’s early period is a shoot or spray winding around the foot of the vase which serves a decorative function and may have been borrowed from Jean Baptiste Monnoyer. Sometimes this trailing stem is a Nasturtium, as in a related painting of 1706 now in Musée des Beaux-

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Arts in Lille, which also shows a strongly vertical bouquet and a sunflower placed crosswise.47 The shoot of Small Morning Glory, the species depicted here, does not actually have this circular winding property as does its relative the Great Morning Glory, which incidentally serves the same function in a related but undated work in a private collection.48 There is a study in Museum Boijmans Van Beuningen in Rotterdam with a few different flowers, particularly at the top of the bouquet (Fig. 9.10).49 This work can be seen as a preliminary sketch for the Flowers in a garden urn on a pedestal of 1707, as well as the abovementioned undated painting with the Great Morning Glory. It presents support in favour of the argument that Jan van Huysum’s studies were not always intended as preparation for a single painting.50 Jan van Huysum, Flowers in a decorated stoneware vase in a niche (Fig. 9.11) Panel, 79 x 60.3 cm, signed and dated lower left in dark grey with ochre: Jan Van Huÿsum fecit 1714 (‘V’ and ‘H’ ligated with flourishes below the ‘J’ and ‘ÿ’) Staatliche Kunsthalle, Karlsruhe, inv. no. 380.51

47 48 49 50 51

1 Carnation 2 Auricula 3 Small Morning Glory 4 Opium Poppy 5 ‘Baguette’ Tulip (2x) 6 Cabbage Rose 7 Auricula 8 Auricula 9 White Rose 10 Double Narcissus ‘Van Sion’ 11 Flax 12 Full Campernelle Narcissus 13 New York Aster 14 Star of Bethlehem 15 Auricula 16 Shepherd’s Purse 17 Hyacinth 18 French Marigold 19 Meadow Grass 20 Stock 21 Cornflower 22 Large Quaking Grass 23 Jasmine 24 New England Aster 25 Goldlilocks Aster 26 Maltese Cross 27 Poppy Anemone 28 Oat 29 Auricula 30 Toadflax 31 Peony 32 Rape 33 Pansy

Dianthus caryophyllus plenus bicolor Primula x pubescens atrocoerulea Convolvulus tricolor Papaver somniferum plenum fimbriatum miniatum Tulipa armena x T. undulatifolia Rosa x centifolia Primula x pubescens ardesiaca Primula x pubescens subviolacea Rosa x alba plena Narcissus pseudonarcissus cv. Van Sion Linum sativum Narcissus x odorus cv. Rugulosus-plenus Aster novi-belgii Ornithogalum umbellatum Primula x pubescens coerulea Capsella bursa-pastoris Hyacinthus orientalis Tagetes patula Poa pratensis Matthiola incana plena rosea Centaurea cyanus Briza maxima Jasminum officinale Aster novae-anglicae Aster linosyris Lychnis chalcedonica semiplena Anemone coronaria violacea Avena sativa Primula x pubescens atroindigotica Linaria vulgaris Paeonia officinalis plena Brassica napus Viola tricolor

A Brimstone Butterfly b Blue Blow Fly

Gonopteryx rhamni Calliphora erythrocephala

Canvas, 156 x 65 cm, Lille, Palais des Beaux-Arts, inv. no. P974; Segal in Delft & Houston 2006-07, pp. 50, 52, Fig. 5.4. Canvas, 145 x 112 cm, private collection; Segal in Delft & Houston 2006-07, pp. 51, 54, Fig. 5.6. Rotterdam, Museum Boijmans Van Beuningen, inv. no. MB 1330; Segal in Delft & Houston 2006-07, pp. 51, 54, Fig. 5.7. Segal in Delft & Houston 2006-07, p. 47. Provenance: collection of the painter Jacques-André-Joseph Aved, Paris; obtained by Ebers for the Marquess Karoline Luise in October 1760, along with a painting by Maria van Oosterwijck as a ‘pair’ (but that painting, formerly inv. no. 378, was exchanged for another work in 1932). Literature: Waagen 1843, II, p. 244; Parthey 1863-64, I, p. 636, no. 27; Von Wurzbach 1906-11, I, p. 741; Hofstede de Groot in Thieme & Becker 1907-50, XVIII, p. 208; Hofstede de Goot 1928, p. 348, no. 52; Kircher 1933, pp. 18, 128 no. 45, 201, illustrated overleaf p. 96; Grant 1954, p. 18, no. 12; Lauts 1969, pp. 44-46, Figs 31-32; Lauts 1980, pp. 175-176, Fig. 23; Keyes in Minneapolis, Houston & San Diego 1985, p. 60 n. 3 under no. 21; Hofmann et al. 1985, pp. 40-41, no. 16 (illustrated upside down); Schweers 1994, II, p. 848; Kolfin in Delft 2006-07, p. 16, Fig. 7; Segal in Delft & Houston 2006-07, pp. 51, 53, Fig. 5.5; Ludwig 2008, p. 334, Fig. 72, as in Braunschweig, Herzog Anton Ulrich-Museum; Karlsruhe 2015, pp. 295-297, no. 19.

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c d e f g

Yellow Meadow Ant (5x) Housefly Hoverfly Garden Snail (2x) Chaffinch Nest with Eggs

Lasius flavus Musca domestica Syrphidae spec. Cepaea hortensis Fringilla coelebs

The stoneware vase decorated with two putti has been set in a shadowy niche. This gives the work a high level of light-dark contrast, something that has been intensified by the darkening of the painting over time. In 1965 a copy was offered for sale in Paris.52

Fig. 9.11 Jan van Huysum, Flowers in a decorated stoneware vase in a niche, dated 1714, panel, 79 x 60.3 cm, Staatliche Kunsthalle, Karlsruhe.

52

Canvas, 77 x 66 cm, Galliéra, Paris, 23 March 1965, no. 10.

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Fig. 9.12 Jan van Huysum, Hollyhocks and other flowers in a glass vase, canvas, 62.1 x 52.3 cm, The National Gallery, London. 656 |

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Jan van Huysum, Hollyhocks and other flowers in a glass vase (Fig. 9.12) Canvas, 62.1 x 52.3 cm, signed lower right in dark brown with grey: Jan Van Huijsum fe (‘V’ and ‘H’ ligated; the letters ‘cit’ after ‘fe’ have been removed as they were a later addition) The National Gallery, London, inv. no. NG 1001.53 1 African Marigold 2 Liverwort 3 Bird’s Eye Primrose 4 Hollyhock 5 Forget-me-not 6 Jacob’s Ladder 7 Feverfew 8 Pyrethrum 9 Stock 10 Opium Poppy 11 Pansy 12 Lavatera 13 Hollyhock 14 Liverwort 15 Sunflower 16 Small Morning Glory

Tagetes erecta Hepatica nobilis alba Primula farinosa Alcea rosea pseudoplena Myosotis palustris Polemonium caeruleum Tanacetum parthenium Pyrethrum coccineum Matthiola incana plena Papaver somniferum pseudoplenum miniatum fimbriatum Viola tricolor Lavatera thuringiaca Alcea rosea alba Hepatica nobilis duplex alba Helianthus annuus Convolvulus tricolor

a Garden Snail b Black Ant

Cepaea hortensis Lasius niger

The work can be dated to about 1718 partially based on the botanical species selected. An almost identical replica of this work is currently in the Gemäldegalerie der Akademie der bildenden Künste in Vienna, and four other versions are also extant.54 Jan van Huysum, Flowers in a terracotta vase before a landscape with a statue (Fig. 9.13) From panel transferred to canvas, 79 x 60 cm, signed and dated lower right in brown: Jan Van Huijsum fecit 1722 (‘V’ and ‘H’ ligated, and ‘J’, ‘V’, ‘H’ and ‘f’ with flourishes) The State Hermitage Museum, Saint Petersburg, inv. no. GE 1051.55 1 Yellow Cabbage Rose 2 Common Scurvy Grass 3 Cabbage Rose 4 Small Morning Glory 5 Pansy 6 Pot Marigold 7 White Rose 8 Opium Poppy 9 Poppy Anemone

Rosa x huysumiana Cochlearia officinalis Rosa x centifolia Convolvulus tricolor Viola tricolor Calendula officinalis aurantiaca Rosa x alba Papaver somniferum pseudoplenum miniatum Anemone coronaria pseudoplena (miniata)

53

Provenance: collection Wynn Ellis, London; bequest to the museum in 1876. Exhibitions & literature: Furst 1927, pp. 40, 95, 217-218, Pl. 40; Hofstede de Groot 1928, p. 364, no. 124, with Sweet Briar instead of Hollyhock; Grant 1954, p. 23, no. 85, with Larkspur, which is lacking; Gwynne-Jones 1954, p. 63, Pl. 55; London 1954-55, no. 168; Piper 1981, p. 433; Brenninkmeijer-de Rooij in The Hague 1992, pp. 29-30, 32, Fig. 15; Trnek 1992, pp. 244, Fig. 82a, 246-247; Hoekstra 1994, p. 56; Taylor 1995, pp. 188-190, Fig. 117, with Hibiscus, which is lacking; Fisher 1998, pp. 50-51, Fig. 63; Kolfin 2006, pp. 16-17, Fig. 8; Segal in Delft & Houston 2006-07, pp. 57, 65, 166-168, no. F9; Taylor 2008, pp. 257-259, Fig. 2. 54 See Segal in Delft & Houston 2006-07, p. 168. 55 Provenance: either directly, or through an intermediary of the artist, sold to the collector Sir Robert Walpole (1676-1745) of Houghton Hall (Norfolk) and hung in the ‘green velvet drawing room’, according to an inventory of 1736. After Walpole’s death sold in 1779 with a large part of the collection of paintings (mainly Italian works) to the Tsarina Catharine the Great in Saint Petersburg. The transaction included a pair of Jan van Huysum paintings with an estimated value in 1778 of £1,200 (while Rembrandt’s Abraham’s Sacrifice went for £300). The collection of the Tsarina became the foundation of the later State Hermitage Museum. Exhibitions & literature: Walpole 1752, p. 70; catalogue Robert Walpole Collection 1767, no. 70; Martyn 1767, I, p. 62; Chambers 1829, I, part IV, p. 531, no. 99; Smith 1829-42, VI, pp. 484-485, no. 98; mus. cat. Saint Petersburg 1838, p. 470, no. 22; Viardot 1852, p. 275, with pendant; Von Wurzbach 1906-11, I, p. 741; Shcherbacheva 1926, p. 47; Hofstede de Groot 1928, p. 352, no. 68; Shcherbacheva 1945, p. 57, no. 50; Simpson 1953, p. 41, no. 66; Grant 1954, p. 19, no. 28; Gothenburg 1970; Fechner 1981, pp. 172, Figs 85-87; Kuznetsov & Linnik 1982, no. 286; Kirby Talley 1983, p. 199; Moore in Norwich 1988, p. 15; Eisler & Piotrovsky 1990, p. 606; Norwich & London 1996-97, pp. 99-100, 137-138; Stockholm 1998-99, p. 416, no. 404; Sobolova in Dudelskaya & Moore 2002, pp. 250-251, no. 150; DaCosta Kaufmann et al. 2002, pp. 298-299, 305, 314, Pl. 279; Kolfin 2006, detail, pp. 38-39, Figs 44-45, 61, Fig. 72; Segal in Delft & Houston 2006-07, pp. 184-187, no. F13.

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Fig. 9.13 Jan van Huysum, Flowers in a terracotta vase before a landscape with a statue, dated 1722, from panel transferred to canvas, 79 x 60 cm, The State Hermitage Museum, Saint Petersburg. 658 |

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10 11 12 13 14 15 16 17 18 19 20 21 22

Poppy Anemone Cornflower Scabious French Marigold Opium Poppy English Iris Auricula African Marigold Harebell Auricula Flax Garden Nasturtium Century Plant

Anemone coronaria pseudoplena albo-rosea Centaurea cyanus Scabiosa columbaria Tagetes patula Papaver somniferum pseudoplenum calendulinum Iris latifolia Primula x pubescens violacea Tagetes erecta Campanula rotundifolia Primula x pubescens spadicea Linum usitatissimum Tropaeolum majus Agave americana

A B C D a b c d e f g H

Barred Sallow Moth Queen of Spain Fritillary Butterfly Small White Butterfly Brown Argus Butterfly Window Fly Gold Wasp Sulphur Beetle (?) Yellow Meadow Ant (11x) 7-spot Ladybird Fast Woodlouse Mayfly wings Chaffinch Nest with Eggs

Xanthia aurugo Issoria lathonia Pieris rapae Aricia agestis Scenopius fenestralis Chrysis ichnita Cteniopus sulphureus Lasius flavus Coccinella septempunctata Philoscia muscorum Ephemeroptera spec. Fringilla coelebs

The flowers are almost all arranged in a terracotta urn decorated with five putti. To the left close behind is another wide-mouthed terracotta urn on a pedestal decorated with bacchants and filled with Century Plant (Agave americana). In the background we see a park landscape with trees, a pool, and a statue of a woman. In the middle ground to the right just behind a broken column is a statue of Daphne pursued by Apollo – according to the myth in Ovid’s Metamorphoses, she escapes him by being turned into a laurel tree as she flees. The Apollo and Daphne figures are probably painted after a print (no longer extant) of an original statue by Gian Lorenzo Bernini (1598-1680), which is now in the Galleria Borghese in Rome. Jan van Huysum had a large collection of prints, as is evident from his estate inventory. However, I have been unable to locate a print of Apollo and Daphne, although I have found several other prints of statues that appear in his paintings. For example, a print of the sculpture of the woman near the pool in the background may be found in Simon Schynvoet’s Voorbeelden der Lusthof-Cieraaden, zynde Vaasen, Pedestallen, Orangiebakken, Blompotten en andere bywerken, published shortly after 1710, which was in Jan’s collection.56 Characteristic of Jan van Huysum’s choice of flowers are the Yellow Cabbage Rose (Rosa x huysumiana), a cross between the Cabbage Rose and the distantly related Austrian Briar. Rose specialists in the twentieth century used to think that this Rose was an imaginary flower the artist had invented. However, it is really a weak effort on the part of nature that was doomed to failure. The Rose can also be found in the works of several of Jan van Huysum’s followers. Other characteristic selections are the Flax (Linum usitatissimum) and the Gold Wasp (Chrysis ichnita). The artist’s particular touch can be seen further in what is known as ‘light perspective’: the fall of light that penetrates between the flowers of the bouquet, casting shadows on the flowers and foliage at the back. There are many copies of this painting but somewhat fewer of the pendant, a fruit piece with flowers, now in the same collection with an identical provenance.57 The most familiar of these copies are large format mezzotint prints made by Richard Earlom (1743-1822) in 1778, which were issued in three different states and later copied by others.58

56 57 58

Fig. 9.13a Sketch of the species in Fig. 9.13.

For the prints recorded in his estate inventory see Segal in Delft & Houston 2006-07, p. 58. A number of copies are included in Delft & Houston 2006-07, p. 185; see further in the Segal Project. See Chapter 10.

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Jan van Huysum, Flowers in a terracotta vase decorated with a text from the Sermon on the Mount (Fig. 9.14) Canvas, 80.5 x 62 cm, signed on the right of the plinth in brown with greyish-white: Jan van Huijsum fecit (‘V’ and ‘H’ ligated) Amsterdam Museum, Amsterdam, inv. no. SA 7523.59 1 Small Morning Glory 2 Yellow Cabbage Rose 3 Cabbage Rose 4 Poppy Anemone 5 White Rose 6 Madonna Lily 7 Orange Lily 8 English Iris 9 York and Lancaster Rose 10 Corn Poppy 11 Musk Rose 12 Bachelor’s Buttons 13 Opium Poppy 14 Maltese Cross 15 Nonesuch Daffodil 16 African Marigold 17 Honesty 18 Peony 19 French Marigold 20 Garden Nasturtium

Convolvulus tricolor Rosa x huysumiana Rosa x centifolia Anemone coronaria pseudoplena (miniata) Rosa x alba L. subplena Lilium candidum Lilium bulbiferum Iris latifolia Rosa damascena cv. Versicolor Papaver rhoeas var. plenum Rosa moschata x R. x alba Ranunculus acris var. multiplex Papaver somniferum fimbriatum plenum Lychnis chalcedonica plena Narcissus x incomparabilis plenus Tagetes erecta plena Lunaria annua Paeonia mascula Tagetes patula Tropaeolum majus

a Bluebottle Fly b Yellow Meadow Ant c Gold Wasp

Calliphora vomitoria Lasius flavus Chrysis ignita

Proof that the connection between flower pieces and religious thought had not completely faded away is provided by this Van Huysum painting in the Amsterdam Museum bearing a text from the Sermon on the Mount in the New Testament etched on a terracotta vase: ‘AENMERK[T] DE / LELIEN / DES / VELTS // SALO[MO] I[N] ALLE S[Y]NE HEER[LI]CK / HEIT NI[ET] IS BEK[LEED] /GEWE[EST GELIJK ENE VAN DEZE]’ (‘Consider the Lilies of the field; Solomon, in all his glory, was not arrayed like one of these’).60 Inserted between these lines of text we see a female figure in relief with a branch of Lilies and a half-hidden man with a beard. Possibly the woman is a reference to the bride in the Song of Songs and the man a reference to Solomon. Madonna Lilies have the dominant role in the bouquet, which has been placed with its pot in front of a curtain. The unambiguous message is, that it does no good to accumulate material goods, since these are all transitory. It is much better to store up treasure in heaven, treasures of the heart, which cannot be taken away.

59 Provenance: Albertus Brondgeest, Amsterdam; Héris, Brussels; collection Adriaan van der Hoop, Amsterdam 1835; bequeathed to the City of Amsterdam in 1854; Museum van der Hoop, Oudemannenhuis, Amsterdam; in 1885 on long-term loan to the Rijksmuseum, Amsterdam; moved to the Amsterdam Museum in 1975. Exhibitions & literature: Smith 1829-42, IX, p. 787, no. 4; Amsterdam 1845, no. 32; Oltmans 1845-46, p. 11; Bürger 1858-60, II, p. 154; Waagen 1862, p. 281; Hofstede de Groot 1928, p. 346, no. 41; Martin 1950, pp. 113-114, Fig. 315; Grant 1954, p. 17, no. 2, Pl. 2; Eindhoven 1957, no. 35; Luxembourg & Liège 1957, no. 35, Fig. 36; Stockholm 1959, no. 227; Van Wessem 1961;Rosenberg, Slive & Ter Kuile 1966, p. 217; Segal in Amsterdam 1970, p. 45; de Jongh in Brussels 1971, pp. 153-154; Mitchell 1973, p. 144, Fig. 198; Bergström 1977/79, p. 195; Pieper 1979, pp. 320, 322; Münster & Baden-Baden 1979-80, no. 168; de Jongh in Auckland 1982, pp. 171-172, Fig. 33a; Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 112-113, no. 77; Segal in Osaka, Tokyo & Sydney 1990, pp. 114, 240-242, no. 67; Van der Schaaf in Erkelens et al. 1993, p. 39; Davies 1993, p. 58; Slive 1995, p. 321; Taylor 1995, p. 65; Van der Blom et al. 1997, pp. 129-130; Buvelot, Hilaire & Zeder 1998, p. 88 n. 9 under no. 24; Amsterdam 2004-05, no. 85; Segal in Delft & Houston 200607, pp. 179-183, no. F12. 60 Matthew 6:28-29.

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Fig. 9.14 Jan van Huysum, Flowers in a terracotta vase decorated with a text from the Sermon on the Mount, canvas, 80.5 x 62 cm, Amsterdam Museum, Amsterdam. | 661

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Fig. 9.15 Jan van Huysum, Flower piece with a statue of Flora, panel, 80 x 61 cm, private collection. 662 |

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Jan van Huysum, Flower piece with a statue of Flora (Fig. 9.15) Panel, 80 x 61 cm, signed on the plinth on the right in greenish brown: Jan van Huijsum / fecit Private collection.61 1 Pear tree with fruit 2 Great Sallow 3 Garden Nasturtium 4 Orange blossom 5 Forget-me-not 6 Auricula 7 Peony 8 Poppy Anemone 9 Yellow Cabbage Rose 10 Auricula 11 Cabbage Rose 12 Poppy Anemone 13 White Rose 14 Poet’s Narcissus 15 English Iris 16 Bizarde Tulip 17 Scabious 18 Full Campernelle Narcissus 19 Stock 20 Opium Poppy 21 Larkspur 22 Baguette Tulip 23 Auricula 24 French Marigold 25 Opium Poppy 26 Honesty 27 Peony 28 Garden Nasturtium 29 Carnation 30 Small Morning Glory

Pyrus communis Salix caprea Tropaeolum majus Citrus aurantium Myosotis palustris Primula x pubescens coerulea Paeonia officinalis plena Anemone coronaria rubra pseudoplena Rosa x huysumiana Primula x pubescens albo-violacea Rosa x centifolia Anemone coronaria albo-rosea pseudoplena Rosa x alba subplena Narcissus poeticus plenus Iris latifolia Tulipa chrysantha x T. clusiana Scabiosa columbaria cv. Alba Narcissus x odorus plenus Matthiola incana purpurescens plena Papaver somniferum plenum rubrum fimbriatum Consolida ajacis Tulipa clusiana x T. stellata Primula x pubescens flavovirens Tagetes patula Papaver somniferum roseum plenum Lunaria annua Paeonia officinalis plena Tropaeolum majus subplenum Dianthus caryophyllus bicolor plenus Convolvulus tricolor

A Silver-studded Blue Butterfly B Wall Butterfly C Small White Butterfly D Small Tortoiseshell Butterfly E Painted Lady Butterfly f Yellow Half Moon Hoverfly g Yellow Meadow Ant (6x) h Gold Wasp i Lesser Housefly j Honeybee k Housefly l 13-spotted Ladybird

Plebejus argus Lasiommata megera Pieris rapae Aglais urticae Vanessa cardui Scaeva selenitica Lasius flavus Chrysis ignita Fannia canicularis Apis mellifera Musca domestica Hippodamia tredecimpunctata

Fig. 9.15a Sketch of the species in Fig. 9.15.

This flower piece, whose pendant, a fruit piece, is dated to 1730, is another highpoint of Jan van Huysum’s oeuvre. The flower piece shows a luxurious, overflowing bouquet in a large terracotta vase decorated with putti, accompanied on the ledge by a small bird’s nest with eggs, and set against a background of dark trees on the left, while on the right we see a dimly lit architectural structure with a side lit statue of the goddess Flora holding a sculpted flower wreath. The bright, multi-coloured flowers in the bouquet have been arranged on either side of a predominantly white diagonal axis. 61

Provenance: collection of Jan Bisschop, Amsterdam; Peter Bisschop, Amsterdam; J. van den Ende, Amsterdam 1776; John Hope, Amsterdam; Henry Philip Hope, London; Henry Thomas Hope, London & Deepdene; Carl Meyer London; Adele Lady Meyer, Sevenoaks (Kent) & London; Christie, Manson & Woods, 30 May 1930, no. 144; Gallery Leggatt, London; Mrs. Whitelaw Reid; Sotheby’s, New York, 17 January 1992, no. 96; French & Co., New York; Sotheby’s, New York, 26 January 2006, no. 72. Exhibitions & literature: London 1815, no. 100 (with the fruit piece, no. 107); Smith 1829-42, VI, p. 480, no. 76; Waagen 1854-57, I, p. 124; Wiersum 1910, p. 180; Graves 1914, p. 1532; Hofstede de Groot 1928, p. 358, no. 94; Fröhlich-Bume 1967, p. 969, Fig. 6; Niemeijer 1981, p. 185; Segal 1991b, pp. 27, 59-60; Mitchell 1992, pp. 31-32, 34-35, Fig. 18; Chong in Amsterdam & Cleveland 1999, pp. 283-286, no. 78; Berardi 2000, p. 14, Fig. 15; Spliethoff & Hoogsteder 2000, p. 27; Greenwich & Forth Worth 2002-03, pp. 9, 38-39; Segal in Delft & Houston 2006-07, pp. 232-236, no. F28.

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Jan van Huysum, Flowers in a terracotta vase (Fig. 9.16) Watercolour on paper, 455 x 325 mm, signed and dated at the lower left in dark grey: Jan Van Huijsum / fecit 1739 (with elegant loops of the ‘J’, ‘V’, ‘H’ and ‘ij’, the ‘V’ and ‘H’ ligated) Private collection.62 1 Peony 2 Tazetta Narcissus 3 Auricula 4 White Rose 5 Bizarde Tulip 6 Poppy Anemone 7 Poppy Anemone 8 Hyacinth 9 Opium Poppy 10 Baguette Tulip 11 Hyacinth 12 Honesty 13 Hyacinth 14 Cabbage Rose 15 Poppy Anemone 16 Yellow Cabbage Rose 17 Stemless Gentian 18 Poppy Anemone 19 Thick-headed Moss

Paeonia officinalis plena cv. Salmonea Narcissus tazetta Primula x pubescens albo-violacea Rosa x alba subplena Tulipa mucronata lutea x T. agenensis Anemone coronaria pseudoplena lavandula Anemone coronaria pseudoplena albo-lilacina Hyacinthus orientalis subplenus pallidocoeruleus Papaver somniferum pseudoplenum rubellum Tulipa mucronata alba x T. undulatifolia Hyacinthus orientalis plenus albus Lunaria annua Hyacinthus orientalis subplenus Rosa x centifolia Anemone coronaria pseudoplena rubra Rosa x huysumiana Gentiana acaulis Anemone coronaria pseudoplena albo-rosea Brachythecium rutabulum

A b c d e f

Lasiommata megera Lasius flavus Calliphora vicina Chrysis ignita Philoscia muscorum Fringilla coelebs

Wall Butterfly Yellow Meadow Ant (3x) Orange-cheeked Bluebottle Fly Gold Wasp Fast Woodlouse Chaffinch Nest with Eggs

This watercolour is the only known dated work by Jan van Huysum from the period between 1737 and 1742, although from the preceding period, the years 1720 through to 1737, we have a dated work for almost every year.63 The distribution of the colours in the composition is typical Van Huysum: arranged on either side of a light-coloured diagonal axis. A species that is a constant in his works is the Honesty (Lunaria annua). A large work of 1736-37, now in the National Gallery in London, shows a Peony, an Opium Poppy, a Baguette Tulip, an Honesty and an identical Yellow Cabbage Rose all in corresponding positions to those in the composition here.64

62 Provenance: according to the sale catalogue of 1833 sold to Dionys Muilman, probably by the painter; his sale (Jan and Bernardus Jeronimusz de Bosch, Cornelis Jac. Cornelisz. Ploos van Amstel, Hendrik de Winter and Jan Yver), Amsterdam, 29 March 1773, no. 1, with a fruit piece as pendant no. 2; art dealer Pieter Fouquet, Amsterdam; probably Johann Edler Goll van Frankenstein; Johan Goll van Frankenstein, Amsterdam and Velzerbeek 1821; Pieter Hendrik Goll van Frankenstein; the sale of his father’s collection of drawings and prints, Amsterdam (Jeronimo de Vries, Albertus Brondgeest, Engelbert Michael Engelberts and Cornelis François Roos), 1 July 1833, no. 1, the pendant no. 2; art dealer Samuel Woodburn; collection Robert Steyner Holford, Dorchester House, Park Lane, London, according to a collector’s stamp on the reverse of the drawing (‘R / S H’ in a triangle; cf. Lugt 1921, pp. 420-421); Holford’s sale, Christie, Manson & Woods, London, 14 July 1893, no. 685; collection Siegfried Lorraine Sassoon; his son; sale Shapes, Edinburgh, 7 March 2009, no. 437; Guy Peploe Gallery, Edinburgh. Literature: Ploos van Amstel 1772; Ireland 1790, I, pp. 48-52; Smith 1829-42, VI, p. 488, no. 1, with the pendant no. 2; Blanc 1863, II, p. 16; Haarlem & Paris 2001-02, p. 8; Plomp 2001, pp. 250-251. A more detailed history can be found in a report in the Segal Still Life Documentation at the RKD in The Hague. 63 A work dated 1740 (panel, 41.9 x 32.7 cm) now in The San Diego Museum of Art (inv. no. 1938.243) is by Jan’s younger brother Jacob van Huysum (1688-1740). 64 Canvas, 133.5 x 91.5 cm, London, The National Gallery, inv. no. NG 796.

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Fig. 9.16 Jan van Huysum, Flowers in a terracotta vase, dated 1739, watercolour on paper, 455 x 325 mm, private collection.

Jacob van Huysum

Jacob van Huysum was Jan van Huysum’s younger brother. Jacob was born in Amsterdam in 1688. He was overshadowed by Jan and possibly his father Justus protected him. After the death of Justus in 1716, Jacob took over the workshop and inherited all his father’s flower studies. Louis Fabritius Dubourg (1693-1775), who later made interior paintings in houses in Amsterdam, was apprenticed to Jacob van Huysum. Jacob married Francina van Drekvoort, who died giving birth to a child. In 1721 he moved to England and initially made a living there selling copies of works by his brother Jan. For two years he also worked making copies of old masters for Sir Robert Walpole in Houghton Hall in Norfolk. In England he married a waitress in a pub, acquired a drinking problem, and died in poverty in 1740. | 665

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Jacob van Huysum painted primarily flower pieces, also in watercolour and usually set against a landscape background. He also executed a number of fruit pieces and drawings of plants for botanical works which were issued in coloured mezzotint, a new technique at the time. The best known is a series of twelve mezzotints representing the months of the year that were made after paintings from the years 1731 and 1733. These paintings may now be found in the Fitzwilliam Museum in Cambridge.65 Dated works by Jacob van Huysum are known from between 1720 and 1740. These paintings are usually flatter and less detailed than Jan van Huysum’s paintings. A number of works by Jacob have been offered on the market as works by Jan. Jacob signed Jacobus Van Huijsum and less frequently J van Huysum, sometimes with fecit, and with calligraphic flourishes but less elaborate than those of Jan’s signature. Among these works are decorative paintings in a horizontal format primarily showing flower baskets, characterized by a little cluster or posy of flowers lying crosswise in the foreground. A work dated 1736 is currently in the collection of the Amsterdam Museum, and fifteen works are in the collection of the Fitzwilliam Museum in Cambridge.66 Jacob van Huysum also made watercolours of flowers, a number of which were used in diverse publications.67 Jacob van Huysum, March (Fig. 9.17) Canvas, 76 x 63.3 cm, signed lower right in dark brown: Jacobus Van Huijsum / fecit and with inscription: MARCH: The Fitzwilliam Museum, Cambridge, inv. no. PD 68-1973.68 Poppy Anemone Jersey Cudweed Auricula Primrose Peerless Hyacinth Golden Narcissus Hyacinth Iberian Fritillary Crown Imperial Paperwhite Narcissus Fire Tulip Hyacinth Poet’s Narcissus Persian Tulip Auricula Snake’s Head Fritillary Auricula Alpine Squill Hyacinth

Anemone coronaria pseudoplena Gnaphalium luteo-album Primula x pubescens rubescens Narcissus x medioluteus Hyacinthus orientalis albus Narcissus tazetta subsp. aureus Hyacinthus orientalis (coeruleus) Fritillaria lusitanica Fritillaria imperialis Narcissus papyraceus Tulipa praecox Hyacinthus orientalis pallidus Narcissus poeticus Tulipa clusiana Primula x pubescens coeruleus Fritillaria meleagris Primula x pubescens violacea Scilla bifolia Hyacinthus orientalis plenus albus

The intention of the series is to represent flowers that bloom in every month, but this is not accurately carried out, especially for the Winter months. Quite a number of species were drawn from one or several collections of exotics, which we seldom or never see in other paintings, and for which I lack the specialist knowledge necessary to identify them all. In order to elucidate the meaning of each image, the background of every one of the works in the series shows us something specific to that particular time of year, for example skaters on a pond in January. In March we see elements borrowed from Jan van Huysum, such as the garden urn on the wall in the middle ground at the left, and the statue of Venus and low balustrade in the background at the right (cf. Fig. 9.13 and the Venus in a work of 1723 now in the Rijksmuseum, Amsterdam).

65 Grant 1950, with reproductions of all the works. 66 For his biography see Ellens & Segal 2006-07, pp. 23-24. For his work see Grant 1950; Segal in Delft & Houston 2006-07, pp. 321-325, nos C7 and C8; the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. 67 Martyn 1728-38; N.N. 1730, with plants drawn from various cultivators; Wilkes 1747-49. 68 Provenance: probably collection of Robert James, Ingatestone Hall, Essex; by inheritance in Lord Peter’s sale at Sotheby’s, London, 17 December 1947, no. 57, with the complete series of twelve paintings, of which two are illustrated; collection of Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge); donated to the museum in 1973. Exhibitions & literature: Grant 1950, pp. 29-31; Grant 1952, p. 63, no. 48; Bergström 1956, p. 312 n. 72; Neve 1974, p. 1186; Mitchell in London 1993, pp. 42-43, no. 18.

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Fig. 9.17 Jacob van Huysum, March, canvas, 76 x 63.3 cm, The Fitzwilliam Museum, Cambridge. | 667

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Josua van Huysum

Josua van Huysum was one of at least ten children born to Justus van Huysum I and a half-brother of Jan and Jacob. He was born in 1699 and died at a young age in 1728. In 1758 Michiel van Huysum gave a flower still life by Josua to his niece Francina Margaretha (1707-1789). Also, an 1801 sale lists ‘een Borstbeeld met Bloemen omslingerd, waarby Hoorns en Schelpen’ (‘a Bust entwined with Flowers, including Horns and Shells’) by Josua van Huysum.69 Whether he painted flower pieces is unknown.70

Michiel van Huysum

Michiel van Huysum was born in 1703, the youngest child of Justus van Huysum I and his second wife, Elisabeth Sanderus, hence half-brother to Jan van Huysum and around twenty years his junior. His mother died when he was seven years old and his father when he was thirteen. It is quite likely that he learned to draw and paint from Jan. In 1729 he received his patrimonial inheritance. By 1735 he must have built up a reputation as an art connoisseur since at that time he was asked to appraise the value of paintings. He also gave painting lessons to the nobility of Amsterdam. Michiel felt closely connected with the family of Jan van Huysum and became the executor of the estate of Jan’s wife, Elisabeth Takens. In his last will of 1776 he bequeathed a large portion of his personal possessions to his niece Francina Margaretha, who then lived with him in Jan’s house on the Prinsengracht and with whom he maintained a close relationship. They were both on very cordial terms with the art collector Jan Jansz Gildemeester (1744-1799), who is thought to have been one of Michiel’s apprentices. Michiel van Huysum died in 1777.71 Michiel van Huysum is known for his watercolours of flower and fruit pieces, plus a great number of flower studies. Only a few simple works in oils are known, one of them now in the Gemäldegalerie Alte Meister in Dresden.72 Dated work is only known for the year 1755. He signed MVHuijsum, the ‘M’, ‘V’ and ‘H’ ligated with a high arc above the ‘M’. Some biographies refer to Michiel by the name Nicolaes.73 Michiel van Huysum, Flowers in a Chinese porcelain vase decorated with flowers (Fig. 9.18) Watercolour and body colour with Arabic gum over a sketch in black chalk, 318 x 191 mm, signed in black chalk lower left: MVHuijsum (‘M’, ‘V’ and ‘H’ ligated with an arc over the ‘M’) The Fitzwilliam Museum, Cambridge, inv. no. PD 689-1973.74 1 Sweet Sultan 2 Yellow Cabbage Rose 3 Love-in-a-mist 4 Streaked Cranesbill 5 Opium Poppy 6 Poppy Anemone 7 French Marigold

Amberboa moschata Rosa x huysumiana Nigella damascena duplex Geranium versicolor Papaver somniferum plenum (purpureum) Anemone coronaria albo-purpureo-striata Tagetes patula

The rich collection of works by the Van Huysum family in the Fitzwilliam Museum also includes this drawing by Michiel van Huysum. His works, apart from his flower drawings, always display simple flower or fruit pieces, and this presents a typical example. In fact, it can get even simpler: one work shows only a single White Rose with a solitary leaf in a Chinese vase.75

69 Sale Jan Yver, Amsterdam, 23 April 1801, no. 21. The description of the painting is reminiscent of the work of Herman Henstenburgh (1667-1726). 70 See Ellens & Segal 2006-07, p. 24. 71 See Ellens & Segal 2006-07, p. 24; Segal in Delft & Houston 2006-07, pp. 326-333; the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. 72 Canvas, 58.5 x 49.5 cm, Dresden, Gemäldegalerie Alte Meister, inv. no. S228, as Jan van Huysum. 73 Nagler 1835-52, VII, p. 208; Kramm 1857-64, III, p. 781. 74 Provenance: unknown sale, no. 1599 (numbered on the reverse); collection of Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge); donated to the museum in 1973. Literature: Scrase 1997, pp. 42-43, no. 18, with incorrect identifications. 75 In a private collection, measurements unknown, see photograph in the Segal Project and in the Segal Still Life Documentation in the RKD, The Hague.

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Fig. 9.18 Michiel van Huysum, Flowers in a Chinese porcelain vase decorated with flowers, watercolour and body colour with Arabic gum over a sketch in black chalk, 318 x 191 cm, The Fitzwilliam Museum, Cambridge.

Francina Margaretha van Huysum

Francina Margaretha van Huysum was one of Jan van Huysum’s daughters. She was born in 1707 in Amsterdam and died there in 1789. She lived in common law with her uncle Michiel van Huysum, who was only three years her senior. In 1761 the art collector Cornelis Ploos van Amstel (1726-1798) acquired a flower piece and a fruit piece of equal size ‘by F.M. van Huyzum. As good as J. van Huizum’.76 These works are now in the Fitzwilliam Museum in Cambridge. The flower piece is dated and signed F.M. Van Huysum / 1729 (Fig. 9.19), and the fruit piece is signed but undated. The ‘F’ looks like a large ‘f’ and may well have been tampered with.77 The works in the Fitzwilliam Museum differ considerably from the style of Jan van Huysum and in 1976 I attributed them to Michiel, which was later adopted by other scholars.78 While the works exhibit many similarities to Michiel’s work, there are noticeable differences in terms of composition, objects and style 76 77

78

Sale D. Smith, Amsterdam, 13 July 1761, nos 5 and 6. In the eighteenth century, replicas of these works were in the renowned collection of Gerret Braamcamp, and they are now in the Dulwich Picture Gallery in London (inv. nos. DPG 42 and DPG 61). The ‘M’ of the replica flower piece and the ‘F.M.’ of the replica fruit piece have been changed to ‘Jan’ (probably this already happened quite early on). This pair has been listed as Jan van Huysum in the oeuvre catalogues compiled by Smith in 1835, Hofstede de Groot in 1928, and Grant in 1954. Smith 1829-42, VI, pp. 469-470, nos 23 and 24; Hofstede de Groot 1928, pp. 362-363, 378-379, nos 114 and 205; Grant 1954, pp. 22, no. 75, 28, no. 164, with many errors of provenance. In addition, there are copies of these works by Oswald Wijnen (1739-1790), who was familiar with Ploos van Amstel’s collection, in the Teylers Museum in Haarlem documented as by Jan van Huysum (with other copies that Wijnen drew reported as ‘after Jan van Huysum’). See notes in the Segal Still Life Documentation in the RKD, The Hague; see also Moiso-Diekamp 1987, pp. 558-559.

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and the signature is also different: only the ‘V’ and the ‘H’ ligated, with a large double loop under the ‘y’, which is lacking in Michiel’s signature. As a result, my attribution to Michiel of 1976 must be reviewed. It is now clear that the two paintings must be by Jan’s daugther Francina Margaretha van Huysum. Some biographies refer to Francina Margaretha as Maria van Huysum, but this name is unknown in the original documents. Drawings of flowers, fruit and a single flower still life by her and by ‘Juffrouw van Huysum’ that appear in various sales in the eighteenth and nineteenth centuries are presumably the work of Francina Margaretha.79

Fig. 9.19 Francina Margaretha van Huysum, Flowers in a Chinese porcelain vase, dated 1729, canvas, 39.9 x 32.3 cm, The Fitzwilliam Museum, Cambridge.

79 Sale H. Schut, Rotterdam, 8 April 1739, no. 106; sale C. Zonne, Rotterdam, 20 July 1768, no 78; Ellens & Segal 2006-07, pp. 25-26.

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Francina Margaretha van Huysum, Flowers in a Chinese porcelain vase (Fig. 9.19) Canvas, 39.9 x 32.3 cm, signed and dated lower left in dark brown: F.M. Van Huysum / 1729 (‘V’ and ‘H’ ligated, ‘y’ with a large double loop). The Fitzwilliam Museum, Cambridge, inv. no. PD 30-1975.80 1 Carnation 2 Golden Flax 3 Corn Poppy (?) 4 Cabbage Rose 5 Orange blossom 6 Garden Nasturtium 7 Harebell 8 Pot Marigold 9 Autumn Pheasant’s Eye

Dianthus caryophyllus plenus bicolor Linum flavum Papaver rhoeas plenum Rosa x centifolia Citrus aurantium Tropaeolum majus Campanula rotundifolia Calendula officinalis Adonis annua

A B C d e

Vanessa atalanta Melitea athalia Maculinea arion Lasius flavus Cepaea hortensis

Red Admiral Butterfly Heath Fritillary Butterfly Large Blue Butterfly Yellow Meadow Ant Garden Snail

Artists following in the Footsteps of Jan van Huysum Margareta Haverman

Margareta Haverman was born in 1693 in Breda. Before 22 September 1703 the family moved to Amsterdam. In Amsterdam she possibly became acquainted with the Flemish portrait painter Antoon Schoonjans (1655-1726), who was living in Amsterdam about 1706.81 In any case, after 1715 Margareta Haverman became sole apprentice of Jan van Huysum, who afterwards wanted to distance himself from her because of some unknown kind of problem that arose around 1720.82 In Amsterdam she married the French merchant Jacques Mondoteguy in 1721, with whom she moved to Paris.83 Haverman was nominated as Agréée and Académicienne of the Académie Royale in 1722 for which she had to present a painting. Some publications claim that, in 1723, Margareta Haverman was excluded from the Académie and that her membership was revoked because the flower piece with fruit that she submitted turned out to be a painting by Jan van Huysum, or rather a faithful copy. However, no written confirmation of this plagiarism can be found in the academic records. A more obvious explanation is the fact that, due to circumstances, she never managed to submit the requested morceau de réception.84 Later, Margareta Haverman moved to Bayonne, where her husband is mentioned in a deed from 1733.85 We know of only two works by this artist: one of 1716, now in the Metropolitan Museum of Art in New York (Fig. 9.20), and the other in the Fredensborg Palace, on loan from the Statens Museum for Kunst in Copenhagen.86 At least twelve works by Margareta Haverman are listed in eighteenth-century sale catalogues, if we include those in different dimensions.87 The famous Amsterdam art collector Cornelis Ploos van Amstel owned ‘een Vles met Bloemen; met Dekverven, door Juffrouw Haverman, naar J. Van Huysum’ (‘a Bottle with Flowers; with Body colour, by Miss Haverman, after J. Van Huysum’), possibly a study she made when she was his apprentice.88

80 With pendant (inv. no. PD 31-1975), always as Michiel van Huysum. Provenance: sale D. Smith, Amsterdam, 13 July 1761, no. 5; collection Cornelis Ploos van Amstel, Amsterdam; collection of H.G. Winkler, Hamburg and Dresden; his sale, Cologne 1888, no. 40; Galerie Weber, Hamburg; Lepke, Berlin, 20 February 1912, no. 343; Wheeler & Sons Gallery, London; collection of Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge); donated to the museum with the collection in 1975. Literature: Von Wurzbach 1906-11, I, p. 742; Grant 1952, p. 65, no. 63, Pl. 28 (and no. 64); Pavière 1962-64, II, p. 36, Pl. 25; Gemar-Koeltzsch 1995, II, p. 528, no. 186/3, with incorrect dimensions and other errors. 81 Alen 2010, pp. 28-29. 82 Alen 2010, p. 30. 83 Alen 2010, pp. 8-9. For more on Mondoteguy see Alen 2010, pp. 13-20. 84 Alen 2010, pp. 31-38, which also provides further details on the admission of female artists into the Académie Royale. 85 Alen 2010, pp. 39-40. 86 Canvas, 56.7 x 47.5 cm, inv. no. 88; Alen 2010, pp. 52-56. 87 Alen 2010, pp. 65-73. 88 Van der Schley & Roos, Amsterdam, 3 March 1800 and following days, no. 55.

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Fig. 9.20 Margareta Haverman, Flower piece with fruit in a niche, dated 1716, panel, 79.4 x 60.3 cm, The Metropolitan Museum of Art, New York. 672 |

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Margareta Haverman, Flower piece with fruit in a niche (Fig. 9.20) Panel, 79.4 x 60.3 cm, signed and dated lower right in black with light grey: Margareta. Haverman fecit / A 1716 The Metropolitan Museum of Art, New York, inv. no. 71.6.89

89

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

Opium Poppy Cabbage Rose Hoary Alyssum Pot Marigold Forget-me-not Small Morning Glory White Rose Auricula Red Catchfly Hyacinth Hollyhock Blue Passion Flower Round-leaved Saxifrage Meadow Grass Maltese Cross New York Aster Lady Tulip hybrid Narrow-leaved Pepperwort Baguette Tulip English Iris Hyacinth Auricula Feverfew Dark Scabious French Marigold Jasmine Peach Auricula Green Grapes Violet Grapes

Papaver somniferum pseudoplenum miniatum Rosa x centifolia Alyssum alyssoides Calendula officinalis Myosotis palustris Convolvulus tricolor Rosa x alba subplena Primula x pubescens lilacina Lychnis viscaria Hyacinthus orientalis subplenus pallidus Alcea rosea plena albo-ochrescens Passiflora coerulea Saxifraga rotundifolia Poa pratensis Lychnis chalcedonica plena Aster novi-belgii Tulipa stellata x T. clusiana Lepidium ruderale Tulipa mucronata x T. undulatifolia Iris latifolia Hyacinthus orientalis plenus albo-purpurescens Primula x pubescens badia Tanacetum parthenium Scabiosa atropurpurea Tagetes patula Jasminum officinale Prunus persica Primula x pubescens violaceo-caesia Vitis vinifera Vitis vinifera

A B c d e f g h

Heath Fritillary Butterfly Red Admiral Butterfly Lesser Housefly Yellow Meadow Ant Blue Blow Fly Black Ant Garden Bumblebee Garden Snail

Melitea athalia Vanessa atalanta Fannia canicularis Lasius flavus Calliphora erythrocephala Lasius niger Bombus hortensis Cepaea hortensis

Fig. 9.20a Sketch of the species in Fig. 9.20.

Provenance: probably sale of Nicolaas Nieuhoff, Amsterdam, 14 April 1777, no. 62, with pendant, a fruit piece, no. 63, sold to Cornelis Ploos van Amstel, Amsterdam (but not in his sale of 1700); sale Louis Fould, Paris, 4 June 1860, nos 5 and 6; sale Edouard Fould, Paris, 5 April 1869, nos 7 and 8; the flower piece: Galerie Léon Gaichez; Blodgett & John Taylor Johnston, who sold it to the museum in 1871. Exhibitions & literature: Decamps 1872, p. 437; James 1872 reprinted in The Painter’s Eye 1956, p. 65; Thieme & Becker 1907-50, XVI, p. 162; Warner 1928 (Segal ed. 1975), pp. 88-89, no. 39a; Salinger 1950, pp. 259-260; Baumann 1970, pp. 36, 38 n. 19; Mitchell 1973, p. 129, Fig. 174; Nochlin in Los Angeles, Austin, Pittsburgh & New York 1976, pp. 34-35, Fig. 11; Greer 1979, pp. 243-245; Sutton 1986, p. 190; Grimm 1988, pp. 199, Fig. XXXI, 233; Berardi in Gaze 1997, I, pp. 650-652; Kloek, Peters Sengers & Tobé 1998, p. 144; Baetjer 2004, pp. 182, 210, 244-245; Segal in Delft & Houston 2006-07, pp. 317-320, no. C6; Liedtke 2007, pp. 308-310, no. 72; Quodbach 2007, pp. 7, 9; Alen 2010, pp. 43-51; Van der Stighelen 2010, pp. 156-157, Fig. 65; Albertson, Centeno & Eaker, forthcoming, with technical study. Klara Alen would like to thank Adam Eaker for sending his forthcoming article on Haverman.

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Johan Willem Frank

Johan Willem Frank was born in 1720. He is usually regarded as a Hague painter, but he came from elsewhere because in 1745 he was registered as a new citizen in The Hague, and in that same year was entered as a member of Confrerie Pictura. He died in The Hague in 1761 and his estate was auctioned in 1762.90 Johan Willem Frank painted in a variety of genres, including flower and fruit pieces with birds, and he copied diverse seventeenth-century masters, as well as Jan van Huysum. His own flower pieces are in the manner of Van Huysum, but of a much inferior quality. The art dealer and collector Willem Lormier bought four of Frank’s works in Van Huysum’s style in 1754.91 Johan Willem Frank, Flower piece with a bird’s nest before a garden landscape with architectural features (Fig. 9.21) Panel, 70.1 x 50.8 cm, signed lower left in greyish black: JWFRANK Private collection.92 1 Carnation 2 Yellow Cabbage Rose 3 Alpine Gentian 4 Auricula 5 Hyacinth 6 Damask Rose 7 Pot Marigold 8 Great Morning Glory 9 Meadow Cranesbill 10 Provins Rose 11 Autumn Pheasant’s Eye 12 Stock 13 Hyacinth 14 Navelwort 15 Carnation 16 Tapered Tulip hybrid 17 Golden Flax 18 Corn Poppy 19 Baguette Tulip 20 Hollyhock 21 German Flag Iris 22 Danube Tulip 23 Maltese Cross 24 Opium Poppy 25 Small Morning Glory 26 Carnation

Dianthus caryophyllus plenus bicolor Rosa x huysumiana Gentiana clusii Primula x pubescens badia Hyacinthus orientalis plenus albo-flavescens Rosa x damascena Calendula officinalis Ipomoea purpurea Geranium pratense roseum Rosa x provincialis Adonis annua Matthiola incana plena Hyacinthus orientalis plenus albo-rubescens Omphalodes verna Dianthus caryophyllus plenus tricolor Tulipa armena x T. mucronata Linum flavum Papaver rhoeas plenum albo-marginatum Tulipa mucronata alba x T. undulatifolia Alcea atrorosea Iris germanica Tulipa hungarica Lychnis chalcedonica plena Papaver somniferum (lilacinum) Convolvulus tricolor Dianthus caryophyllus plenus rubescens

A B C d e

Pieris brassicae Lycaena phlaeas Nymphalis polychloros Calliphora erythrocephala Aves spec.

Large White Butterfly Small Copper Butterfly (?) Large Tortoiseshell Butterfly Blue Blow Fly Bird’s Nest with seven Eggs

The compact bouquet has been arranged in a terracotta vase on a marble balustrade and a bird’s nest with eggs placed next to it. The background reveals an indistinct garden landscape with a small domed building beside a pool with a swan in it. We can see the influence of Jan van Huysum in several elements in this painting, including the background, the bird’s nest with eggs, and the botanical species Alpine Gentian (Gentiana clusii) and Golden Flax (Linum flavum). Another flower piece by Frank was put up for auction in London in 1978.93

90 Immerzeel 1842-43, II, p. 247; Thieme & Becker 1907-50, XII, p. 351; Scheen 1981, p. 153; for the sale of his estate on 5 and 6 April 1762 in The Hague see Terwesten 1770, pp. 244-252, with a great number of paintings by seventeenth and eighteenth-century masters, plus a list of his own works. 91 Korthals Altes 2003, p. 112 n. 127. 92 Provenance: Sotheby’s Mak van Waay, Amsterdam, 18 May 1981, no. 32. 93 Panel, 69.5 x 53 cm, Phillips, London, 19 June 1978, no. 230.

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Fig. 9.21 Johan Willem Frank, Flower piece with a bird’s nest before a garden landscape with architectural features, panel, 70.1 x 50.8 cm, private collection.

Josina Margareta Weenix

Paintings by a Juffr[ouw] Weenix, ‘M. Weenix’ or ‘J.M. Weenix’ (also spelt Wenix, Weninx, Weeninks, Weenincx) were put up for auction from the year 1706 on – flower pieces, fruit pieces, and combinations – at least ten works in the eighteenth century, plus another four in the nineteenth century.94 Until now, the paintings were attributed to the Amsterdam-born Maria Weenix (1697-1774), daughter of Jan Weenix (1642-1719).95 But since she was baptized in 1697, it is unlikely that any of her works were already for sale in 1706. A certain Josina Margareta Weenix married Pieter van der Sloot in Amsterdam on 22 November 1716.96 Following the deed of notice of intended marriage earlier that month, she was 31 years old at the time and so she was born in 1674 or 1675.97 Her father Jan Baptist Weenix assisted her. In 1723, Josina Margareta and Pieter van der Sloot welcomed a son.98 It is possible that she died shortly afterwards. In 1728, Pieter van der Sloot remarried and is mentioned as the widower of Josina Margareta Weenix.99 A group of flower and fruit pieces are known, many of them signed as mentioned above and bea94

95 96 97 98 99

The earliest record is from a sale of 4 May 1706 in Amsterdam, nos 56 (‘Vrugten en Blommen van Juffr. M. Weninx (‘Flowers and Fruit by Miss M. Weninx’)), and 57 (‘een ditto van dezelve’ (‘another by the same’)). Other sales: Herman van Swol, 20 April 1707, nos 24 and 25; sale The Hague, 15 July 1749, no. 24; Willem van Haansbergen, 19 June 1755, The Hague, no. 114; J. Tyler, widow L. van Beek, Amsterdam, 30 April 1759, no. 36; B. Cronenburgh, Amsterdam, 22 March 1762, nos 35 and 36; H. Hontkamp, Alkmaar, 19 March 1776, no. 105; sale Amsterdam, 6 December 1797, no. 97; J. van de Putte, Amsterdam, 22 May 1810, no. 126; sale Amsterdam, 26 July 1810, no. 143; Carré, Paris, 7 and 8 January 1817, no. 99. These details may in part be located in notes made by Hofstede de Groot in the RKD, The Hague. Van der Willigen & Meijer 2003, p. 216 and the database RKDartists&. At the Koninklijke Bibliotheek in The Hague, a collection of poems can be found on the marriage between Pieter van der Sloot and Josina Margareta Weenix, signed by W.J.W. and published by Jacobus Verheyden in Amsterdam. Stadsarchief Amsterdam, DTB 710, p. 374, 5 November 1716. Stadsarchief Amsterdam, DTB 309, p. 98, 21 April 1723. Stadsarchief Amsterdam, DTB 716, p. 307, 7 May 1728.

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ring witness to the same hand. A number of these have in the past been erroneously attributed to Jan Weenix. There is occasional similarity in the style of these sometimes rather wildly painted flowers to that of the elder Weenix, which does make it conceivable that Josina Margareta Weenix was a relative, or had perhaps even been apprenticed to Jan. We see some variation in this artist’s compositions, for example works with a toppled vase or with parrots. Josina Margareta Weenix, Flowers before a garden with architectural features (Fig. 9.22) Canvas, 58.3 x 48.2 cm, signed and dated lower left: I.M. Weenix f 1713 The Fitzwilliam Museum, Cambridge, inv. no. PD 55-1975.100 White Rose Small Morning Glory Turban Buttercup Blunt Tulip hybrid Cornflower Peacock Anemone False Larkspur Poppy Anemone Long Speedwell Blunt Tulip

Rosa x alba plena Convolvulus tricolor Ranunculus asiatica alba Tulipa mucronata x T. undulatifolia Centaurea cyanus Anemone pavonina duplex Consolida ajacis Anemone coronaria duplex Veronica longifolia Tulipa mucronata bicolor

Fig. 9.22 Josina Margareta Weenix, Flowers before a garden with architectural features, dated 1713, canvas, 58.3 x 48.2 cm, The Fitzwilliam Museum, Cambridge. 100 With a pendant fruit piece (inv. no. PD 54-1975). Provenance: probably the Church of Antonius of Padua, Amsterdam, later renamed the Moses and Aaron Church, which sold them in 1867 as Jan Weenix; Levine & Mosley Gallery, London, sold 1943 to the collection of Lord Broughton; bequest of 1975. Literature: Grant 1952, p. 82, no. 142 with pendant no. 143, as Jan Weenix.

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The flowers are arranged in a pot almost completely obscured from view that has been set on the bare ground in an outdoor setting with a pool, architectural features and statuary. The pendant shows flowers with fruit set outdoors against a background with a garden and a statue. A related work depicting a bouquet tied together laid on a balustrade before a garden with statuary in the background, signed I.M. Weenix, was offered for sale in London in 2006.101 The background in particular exhibits the influence of Jan van Huysum, who in turn was himself possibly influenced by Jan Weenix’s game still lifes with garden settings.

Coenraet Roepel

Coenraet Roepel was born in 1678 in The Hague. He suffered from a weak constitution but gained strength from gardening and became an enthusiastic painter of flowers and fruit. About 1695 he was apprenticed to the portrait painter Constantijn Netscher (1668-1723), whose influence can be observed in various details in Roepel’s work, particularly in the architectural elements and sculptures in the background. Roepel was further trained at the Haagsche Teeken-Academie (The Hague Drawing Academy) in 1698-1699. He became a member of the Confrerie Pictura in 1711. Roepel served for several years on the committee of the Drawing Academy as a governor and as its director. He collaborated with Mattheus Terwesten (1670-1757) on the wall decorations of some Hague interiors, several of which have been preserved. Roepel died in The Hague in 1748.102 Roepel was successful, receiving commissions in 1716 from the Elector in Düsseldorf, Johann Wilhelm, who had earlier employed Rachel Ruysch. He also worked for other members of the nobility, including Lord Cadogan and Georg Wilhelm von Hessen-Darmstadt.103 Coenraet Roepel’s works were sometimes copied, for example by Adriana Verbruggen (1707-1791). He himself copied one of Jan van Huysum’s paintings and also borrowed from that artist’s early works.104 Dated work is known from 1715 through to 1738; these are frequently pendants – a flower piece with a fruit piece – and can be found in the following public collections: 1715, in the Alte Pinakothek in Munich; 1719, in Museum der bildenden Künste in Leipzig; 1721, in the Rijksmuseum in Amsterdam; 1722 in Schloss Wilhelmshöhe in Kassel, the Museo Lázaro Galdiano in Madrid, the Národní Galerie in Prague and the Brukenthal National Museum in Sibiu. Coenraet Roepel, Flowers in a basket with a bird’s nest (Fig. 9.23) Canvas, 52 x 44.4 cm, signed and dated lower left in dark grey with light grey: C · Roepel · fecit 1724 Private collection.105 1 Cabbage Rose 2 Snowball foliage 3 Golden Rod 4 Autumn Pheasant’s Eye 5 Small Morning Glory 6 Poppy Anemone 7 Long Speedwell 8 Scabious 9 White Rose 10 Auricula 11 Apple blossom 12 Maltese Cross 13 Jasmine 14 Meadow Grass 15 Opium Poppy 16 Carnation 17 Dark Scabious 18 False Larkspur 19 Persian Tulip

Rosa x centifolia ad R. x provincialis Viburnum opulus cv. Roseum Solidago virgaurea Adonis annua Convolvulus tricolor Anemone coronaria miniata plena Veronica longifolia Scabiosa columbaria Rosa x alba plena Primula x pubescens violaceo-alba Malus domestica Lychnis chalcedonica Jasminum officinale Poa pratensis Papaver somniferum miniatum pseudoplenum Dianthus caryophyllus diversicolor plenus Scabiosa atropurpurea Consolida ajacis Tulipa clusiana

101 Canvas, 52.6 x 43.8 cm, Christie’s, London, 28 April 2006, no. 48, as attributed to Jan Weenix. 102 Van Gool 1750-51, I, pp. 426-433; Terwesten 1770, p. 60; Obreen 1877-90, IV, pp. 89-91, 96, 112, 139, 140-141, 161, 172, 174, 177; V, pp. 91-92, 141, 152; Löffler 1998, p. 341. 103 Van Gool 1750-51, I, p. 429. 104 Canvas, 84 x 65.5 cm, Sotheby’s, London, 3 December 1997, no. 90 after a work by Van Huysum (78 x 59 cm) in Lyon, Musée des Beaux-Arts, inv. no. A 128. 105 Provenance: Richard Green Gallery, London 1994-95. Literature: Segal in catalogue Richard Green Gallery 1994, no. 16, and 1995, no. 8, illustrated with identifications.

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20 Scented Vernal Grass 21 Viper’s Bugloss 22 Auricula 23 Turban Buttercup 24 Pot Marigold 25 Mountain Cornflower 26 Forget-me-not 27 Wood Small-reed 28 Auricula A b c d e

Anthoxanthum odoratum Echium vulgare Primula x pubescens lilacino-alba Ranunculus asiaticus albus subplenus Calendula officinalis Centaurea montana Myosotis palustris Calamagrostis epigeios Primula x pubescens coeruleo-alba

Orange Tip Butterfly (?) Anthocharis cardamines Spurge Hawk (?) Caterpillar Hyles euphorbiae Yellow Meadow Ant (4x) Lasius flavus Sawfly (?) Symphyta spec. Bird’s Nest with Eggs Aves spec.

Fig. 9.23 Coenraet Roepel, Flowers in a basket with a bird’s nest, dated 1724, canvas, 52 x 44.4 cm, private collection.

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A conspicuously extraordinary detail in this painting is the inclusion of native Meadow Grass (Pao pratensis), Scented Vernal Grass (Anthoxanthum odoratum) and other native species (3, 7, 8, 21, 26 and 27 in the list above). There is much that is reminiscent of Jan van Huysum, too, such as the bird’s nest, the plant selection and their placement and colouring within the composition. There are also clear references to Rachel Ruysch: the evenly spaced flowers and the crossing diagonal axes of the bouquet. This scoop shaped basket appears in other works by Roepel, including a somewhat smaller related painting and a larger work of 1726 with similar details.106

Jan van Os

Jan van Os was born in 1744 in Middelharnis. He was an apprentice of Aert Schouman (1710-1792) in Dordrecht, and afterwards worked in The Hague, where he became a member of the Confrerie Pictura in 1773. In 1775 he married Susanna de la Croix (1755-1789), draughtswoman and the daughter of the portrait painter Pierre Frédric de la Croix (1709-1782). Jan van Os died in The Hague in 1808. He painted primarily flower pieces and those with fruit, frequently as pendants, as well as river scenes and marine pictures. Three of his children – Georgius Jacobus Johannes (1782-1861), Maria Margaretha (1779-1862), and occasionally Pieter Gerardus (1776-1839; Fig. 9.26) – made flower and fruit pieces too. Jan van Os also instructed the still life painter Petronella van Woensel (1785-1840). From 1773 to 1791 he exhibited his paintings at the Society of Artists in London, which allowed him to establish a reputation in England. The work of Jan van Os is almost as detailed as that of Jan van Huysum, but his technique is somewhat harder and the compositions do not always succeed in forming a harmonious unity, including in his use of colour. A typical element in his work is the pineapple, which also appears in his flower pieces. He sometimes painted a fishbowl, too. Van Os painted few butterflies, and when he did they were different from those selected by Jan van Huysum. For example, Jan van Os chose the Large Copper Butterfly (Lycaena dispar batava), whose habitat is restricted to a small area of the Netherlands today, although its environment was probably much more extensive at that time. Van Os dated few works between 1765 and 1795, and usually the one’s he did were fruit pieces. Some works have been given the dates of two successive years – as is the case with Jan van Huysum – which indicates that the painting was executed in the Summer and Autumn of the first year and finished in the Spring of the second year.107 Flower pieces, which are often accompanied by a pendant fruit piece with flowers, may be seen in many public collections including the following: the Art Gallery of South Australia in Adelaide; Museum Mayer van den Bergh in Antwerp (as Jan van Huysum); Museum Bredius in The Hague (dated 1770); the Fitzwilliam Museum in Cambridge; the Musée d’Art et Histoire in Geneva; the Speed Art Museum in Louisville (Kentucky); the Alte Pinakothek in Munich; the Ashmolean Museum in Oxford; Musée du Louvre in Paris; the Centraal Museum in Utrecht; and in Dudmaston Hall, Shropshire. Jan van Os also worked in watercolour, plus several sketches in black chalk are also extant, including in the Fitzwilliam Museum in Cambridge, the Kröller-Müller Museum in Otterlo, and the Albertina in Vienna.108 Jan van Os, Sketch for a flower piece (Fig. 9.24) Black chalk on paper, 296 x 193 mm, signed lower right in ink: Extemporé van den / Heer J. van Os by Zyn / introductie Kröller-Müller Museum, Otterlo, inv. no. 12-1 494. Carnation Cabbage Rose White Rose Opium Poppy English Iris Poppy Anemone Auricula

Dianthus caryophyllus Rosa x centifolia Rosa x alba Papaver somniferum Iris latifolium Anemone coronaria Primula x pubescens

106 Canvas, 50 x 41 cm, see Segal in Amsterdam & ‘s-Hertogenbosch 1982, p. 114, no. 78; canvas, 71 x 57 cm, see Bergström in Washington & Boston 1989, pp. 70, Fig. 30, 122, no. 30. 107 For example, a flower and fruit piece in the National Gallery in London dated 1777 and 1778; see Segal in Delft & Houston 2006-07, pp. 334-335, no. C13. 108 For his life and work see Mitchell 1968.

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The piece was intended as the artist’s introduction to The Hague Confrerie Pictura in 1773. The composition is reminiscent of sketches by Jan van Huysum, but has been executed much more hastily with rough hatching and few details. Fig. 9.24 Jan van Os, Sketch for a flower piece, black chalk on paper, 296 x 193 mm, Kröller-Müller Museum, Otterlo.

Jan van Os, Flowers in a terracotta vase with a bird’s nest (Fig. 9.25) Panel, 79.5 x 58 cm, signed right of lower centre in grey with light-grey: J Van Os fecit Private collection.109 1 2 3 4 5 6 7 8 9 10 11 12

Cabbage Rose Auricula Pot Marigold Auricula Snake’s Head Fritillary Peony Poppy Anemone Poppy Anemone Poppy Anemone Poppy Anemone Hyacinth Iberian Fritillary

Rosa x centifolia Primula x pubescens coerulea Calendula officinalis Primula x pubescens badia Fritillaria meleagris alba Paeonia officinalis plena alba Anemone coronaria pseudoplena albo-rubra Anemone coronaria pseudoplena albo-violescens Anemone coronaria pseudoplena albo-virescens Anemone coronaria pseudoplena lutea Hyacinthus orientalis plenus (coeruleus) Fritillaria lusitanica

109 Provenance: collection of Baron A. de Rothschild; L. de Rothschild, Exbury; H.J. Joel, London; Christie’s, London, 18 April 1980, no. 98; Richard Green Gallery, London 1983; Christie’s, New York, 12 January 1994, no. 39. Literature: Mitchell 1968, p. 22, no. 27, Pl. 27, with pendant no. 26; Hoving 1982, p. 101.

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13 14 15 16 17 18 19 20 21 22 23

French Marigold Bizarde Tulip Bristle Grass Daisy blossom Baguette Tulip Opium Poppy Crown Imperial Flax Hyacinth English Iris Yellow Cabbage Rose

Tagetes patula Tulipa mucronata lutea x T. undulatifolia Setaria viridis Senecio cruentus Tulipa mucronata alba x T. undulatifolia Papaver somniferum rubrum Fritillaria imperialis Linum usitatissimum Hyacinthus orientalis plenus albus Iris latifolia Rosa x huysumiana

Fig. 9.25 Jan van Os, Flowers in a terracotta vase with a bird’s nest, panel, 79.5 x 58 cm, private collection. | 681

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24 Opium Poppy 25 Red Peony 26 Garden Nasturtium 27 Alpine Gentian 28 Auricula 29 Cockscomb

Papaver somniferum plenum atroviolaceum Paeonia peregrina plena Tropaeolum majus Gentiana clusii Primula x pubescens lutea Celosia cristata

a Bird’s Nest with five Eggs

Aves spec.

Right of centre in the background we see the pointed conical shape of a cypress with other trees. In the middle ground on the right is a short column and on the left a statue. The vase is decorated with three playing putti. A copy that deviates slightly from the original was put up for auction in London in 1965.110

Pieter Gerardus van Os

Pieter Gerardus van Os was born in 1776 in The Hague and learned to paint from his father Jan van Os (Figs 9.24 and 9.25). In 1794-1795 he attended the Haagsche Teeken-Academie (The Hague Drawing Academy). From about 1796 to 1810 he worked in Amsterdam and afterwards in various locations east of Amsterdam in the area called Het Gooi, returning to The Hague in 1830, where he died in 1839. Pieter Gerardus mainly painted landscapes with cattle influenced by the seventeenth-century masters, as well as battle scenes, plus several miniature portraits and a small number of flower pieces, in both oils and watercolours. He was a member of various academies and associations and a recipient of a number of different awards. He had at least fifteen apprentices, including his son Pieter Frederik van Os (18081892), the animal painter, as well as Wouterus Verschuur (1812-1874). While his work in general is typical of the nineteenth century, his flower pieces still show the strong influence of his father – in contradistinction to those of his brother Georgius Jacobus Johannes and his sister Maria Margaretha.111 Pieter Gerardus van Os, Flower piece with fruit in the foreground (Fig. 9.26) Panel, 62.5 x 49.5 cm, signed lower left: PG v. OS (‘PG’ in monogram) Private collection.112 1 Great Morning Glory 2 Provins Rose 3 Auricula 4 Large-flowering Larkspur 5 Auricula 6 White Rose 7 Snowball 8 Blue Lupine 9 Sweet Briar (?) 10 Opium Poppy 11 Herb Robert 12 French Marigold 13 Turban Buttercup 14 Dark Scabious 15 Stock 16 Great Morning Glory

Ipomoea pupurea Rosa x provincialis Primula x pubescens albo-purpurea Delphinium grandiflorum roseum Primula x pubescens luteo-purpurea Rosa x alba plena Viburnum opulus cv. Roseum Lupinus angustifolius Rosa rubiginosa Papaver somniferum pseudoplenum Geranium robertianum Tagetes patula Ranunculus asiaticus plenus ruber Scabiosa atropurpurea Matthiola incana plena Ipomoea purpurea albescens

17 White Grapes 18 Mellon (cut)

Vitis vinifera Cucumis melo

A Small Copper Butterfly B Peacock Butterfly

Lycaena phlaeas Inachis io

110 Canvas, 77.5 x 57 cm, Christie’s, London, 18 June 1965, no. 83; without the background, but with two butterflies and some other changes. 111 For his life and work see Mitchell 1968, and Scheen 1981, pp. 387-388. For Georgius Jacobus Johannes and Maria Margaretha see Scheen 1981, pp. 386-387 and Van Loo 2000. 112 Provenance: collection of the Duchess de Dodeauville; Ader, Picard & Tajan, Paris, 8 December 1977, no. 35, with pendant, as Jan van Os. I have only seen reproductions of the painting.

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The Large-flowering Larkspur (Delphinium grandiflorum) was first cultivated in England in 1741. It is rarely seen in painted flower pieces. The pendant to this piece shows some different botanical species, such as a Passiflora, a flowering Epiphyllum, and a Fuchsia magellanica, and is closer in style to the work of Pieter’s brother Georgius Jacobus Johannes.113

Fig. 9.26 Pieter Gerardus van Os, Flower piece with fruit in the foreground, panel, 62.5 x 49.5 cm, private collection.

113

Panel, 62.5 x 49.5 cm, Ader, Picard & Tajan, Paris, 8 December 1977, no. 35, with pendant, as Jan van Os. I have only seen reproductions of the painting.

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Cornelis Kuipers

Cornelis Kuipers was born in Dordrecht in 1739. He trained as a decorative painter probably in The Hague. Kuipers was inspired by the work of Johan Hendrik Keller (1692-1765) and Dirk van der Aa (17311809), which can be detected in many of his paintings. Various examples of his decorative work can be found today, particularly in Dordrecht, where his painting business was based. In that city, too, he married Adriana Booy in 1764. Cornelis Kuipers died in Dordrecht in 1802. Dated work by Kuipers is known from 1773 to 1787, with a flower still life and a fruit still life from 1777 and 1779 respectively.114 Cornelis Kuipers, Flowers in a gilt vase behind a bowl of goldfish (Fig. 9.27) Panel, 87 x 70 cm, signed and dated lower right in grey with beige-white: C: KUIPERS. F: 1777 Het Dordts Patriciërshuis, Dordrecht.115 1 Cabbage Rose 2 White Rose 3 Pot Marigold 4 Peony 5 Spanish Iris 6 Carnation 7 Cornflower 8 Cockscomb 9 Canterbury Bell 10 Opium Poppy 11 Scabious 12 China Aster 13 Auricula 14 Peony 15 Primrose Peerless 16 Alpine Gentian 17 Peony 18 Auricula 19 Auricula 20 Umbelliferous flower 21 Wheat 22 Green Grapes 23 Peach 24 White Currants 25 Walnut 26 Redcurrants 27 Blue Grapes

Rosa x centifolia Rosa x alba plena Calendula officinalis Paeonia officinalis subplena alba Iris xiphium Dianthus caryophyllus plenus luteus Centaurea cyanus Celosia cristata Campanula medium alba Papaver somniferum plenum rubrum Scabiosa columbaria Callistephus chinensis Primula x pubescens coerulea Paeonia officinalis plena salmonea Narcissus x medioluteus Gentiana clusii Paeonia officinalis plena Primula x pubescens atrocoerulea Primula x pubescens violacea Apiaceae spec. Triticum aestivum Vitis vinifera Prunus persica Ribes rubrum album Juglans regia Ribes rubrum Vitis vinifera

a B c d e f g h i

Cerassius auratus Acherontia atropa Bombus terrestris Trichius fasciatus Amblyteles armatorius Acherontia atropos Lasius flavus Pachygnatha degeeri Volucella zonaria

Goldfish (5x) Death’s Head Hawk Moth Earth Bumblebee (2x) Banded Brush Beetle Two-banded Ichneumon Fly Death’s Head Hawk Caterpillar Yellow Meadow Ant (2x) Thick-jawed Orb Weaver (in web) Hornet Mimic Hoverfly (?)

The bowl of goldfish points to the direct influence of Joris Ponse (1723-1783) and the indirect influence of Jan van Os. Additionally, the bowl might have been borrowed from Kuipers’s Dordrecht neighbour Abraham van Strij (1753-1826), who had included such an object in a painting the year before as a tribute to the work of his teacher Ponse. The pendant to this work is a flower piece with peaches, grapes and a pineapple (the last-mentioned species also borrowed from Jan van Os), plus a cat and mouse.116 114 For his life and work see Erkelens 1988 and Erkelens et al. 1993. 115 Provenance: probably Maria Kuipers & Cornelis van Nispen, Gorkum; den Haan family, Gorkum; Sotheby’s, Amsterdam, 25 April 1988, no. 267, with the fruit piece of 1779 as pendant; Simonis & Buunk Gallery, Ede; on loan to the Dordrechts Museum 1999-2001; sold to the Stichting LWG Museum aan de Maas, Dordrecht in 2001. Exhibitions & literature: Segal 1993a, with details and identifications; Schoon in Nagasaki 1993-94, p. 96; Haarlem 1997 (without catalogue); Dordrecht & Enschede 2000, p. 250, Fig. 380, no. 218. 116 Panel, 87 x 70 cm, dated 1779, Het Dordts Patriciërshuis, Dordrecht.

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Fig. 9.27 Cornelis Kuipers, Flowers in a gilt vase behind a bowl of goldfish, dated 1777, panel, 87 x 70 cm, Het Dordts Patriciërshuis, Dordrecht.

Jacobus Linthorst

Jacobus Linthorst was born in 1745 in Amsterdam. In 1789 he entered the Amsterdam Guild of Saint Luke. Linthorst was a decorative painter who painted flower pieces – usually with fruit – and fruit pieces, as well as pendants. Dated work is known from 1765 to 1813. Just like Jan van Os, Linthorst included a pineapple in a number of his works. His bouquets are usually compact with an intense white that has a rather harsh effect, while his technique is actually rather looser than that of his great contemporaries. He was one of Jan Evert Morel’s (1769-1808) masters. Jacobus Linthorst died in Amsterdam in 1815. Two flower pieces – pendants – are now in the collection of the Fitzwilliam Museum in Cambridge, one of them dated 1799. A flower piece dated 1811 is currently hanging in Dudmaston Hall (Shropshire) and another in Bolling Hall (Bradford). The Szépmüvészeti Múzeum in Budapest holds a flower piece with the false signature J. van Huysum, and in the Schlossmuseum in Weimar is an unsigned pen and ink wash drawing by Linthorst.117 117 I discussed the painting in Budapest in 1988 and made this attribution – an attribution which was accepted by Meijer and not vice versa, as is reported in the RKD documentation and database, and in Ember 2011, p. 174, 175, n. 4 and 5. For further details on the life and oeuvre of Linthorst see Scheen 1981, p. 318 and the Segal Still Life Documentation in the RKD, The Hague.

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Jacobus Linthorst, Flower piece with fruit on a rococo balustrade (Fig. 9.28) Canvas, 102 x 86.5 cm, signed and dated at the lower left in greenish brown: J. Linthorst, 1793 Private collection.118 1 Peony 2 White Rose 3 Rosa Mundi 4 Forget-me-not 5 Auricula 6 Auricula 7 Auricula 8 Hyacinth 9 Hyacinth 10 Stock 11 Auricula 12 Opium Poppy 13 Bachelor’s Buttons 14 English Iris 15 English Iris 16 English Iris 17 English Iris 18 Purple Tulip hybrid 19 Wallflower 20 Hyacinth 21 Baguette Tulip 22 Auricula 23 Tazetta Narcissus 24 Golden Narcissus 25 Raceme Narcissus 26 Cabbage Rose 27 Peony 28 Hazelnuts 29 Blue Grapes 30 Pomegranates 31 Purple Plums 32 Walnuts 33 Garden Nasturtium 34 Green Grapes 35 Peach 36 Blue Plums 37 Melon

Paeonia officinalis plena rosea Rosa x alba Rosa gallica cv. Versicolor Myosotis palustris Primula x pubescens atroviolacea Primula x pubescens pallidoviolacea Primula x pubescens coerulea Hyacinthus orientalis subplenus (coeruleus) Hyacinthus orientalis subplenus albus Matthiola incana plena violacea Primula x pubescens pallidocoerulea Papaver somniferum plenum rubrum Ranunculus acris plenus Iris latifolia alba Iris latifolia pallidocoerulea Iris latifolia (coerulea) Iris latifolia indigofera Tulipa undulatifolia x T. mucronata Erysimum cheiri plenum Hyacinthus orientalis semiplenus albus Tulipa mucronata alba x T. undulatifolia Primula x pubescens violaceo-alba marginata Narcissus tazetta subsp. tazetta Narcissus tazetta subsp. aureus Narcissus tazetta plenus Rosa x centifolia Paeonia officinalis plena Corylus avellana Vitis vinifera Punica granatum Prunus domestica Juglans regia Tropaeolum majus Vitis vinifera Prunus persica Prunus domestica Cucumis melo

A Great White Butterfly B Red Admiral Butterfly c Grove Snail

Pieris brassicae Vanessa atalanta Cepaea nemoralis

On a marble balustrade, against a background of trees with a waterfall to the right, a great deal of fruit has been piled up, which conceal the vase from our view.

Jan Hendrik Fredriks

Jan Hendrik Fredriks was born in Breda in 1751. At the age of eleven he became an orphan. In 1774, at the age of twenty-two, Joseph Meyers, who carried out the decorations of the directors’ office of the orphanage, ensured that Jan Hendrik received written permission to attend the drawing school in The Hague to receive training. In 1778 Jan Hendrik became a member of the Confrerie Pictura in The Hague. In 1780 he was in Paris where he took part in the Salon de la Correspondance. Afterwards he returned to Breda and set up a private drawing school with M. van Sluysze, the former director of the Academy in Antwerp, Louis de la Rivière and A.H. van Stratem. Jan Hendrik always signed J.H. Fredriks, the ‘JH’ sometimes ligated and his last name inscribed in full, although he is sometimes mentioned in the secondary literature as ‘Frederiks’. 118 Provenance: Knoedler Gallery, London, before 1948; sale Frost & Reed, London; Sotheby’s, London, 7 July 1976, no. 67; Sotheby’s, New York, 24 May 1984, no. 3; collection of Steve and Linda Horn, New York 1984-2011; Christopher Wade Gallery, London; Richard Green Gallery, London; Sotheby’s, New York, 9 June 2011, no. 129.

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Fredriks painted flower and fruit still lifes, decorated houses with grisailles and painted wall coverings, as well as drawing portraits. Sometimes he included a bowl of goldfish or a pineapple in his paintings in imitation of Jan van Os. His wall coverings with festoons and flower swags around a vase are indications of the influence of Flemish painters from the beginning of the eighteenth century. Dated work is known from 1774 to 1807. Flower pieces are presently in the Stedelijk Museum in Breda (six) with dates of 1781 and 1799; Stichting de Zuidwester in Breda (a series of large wall coverings from the former Protestant orphanage); and in the Fitzwilliam Museum in Cambridge.119

Fig. 9.28 Jacobus Linthorst, Flower piece with fruit on a rococo balustrade, dated 1793, canvas, 102 x 86.5 cm, private collection.

119 For further details on the life and oeuvre of Fredriks see Scheen 1981, p. 154, Grosfeld in Breda 2008-09, pp. 8-13 and the Segal Still Life Documentation in the RKD, The Hague.

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Fig. 9.29 Jan Hendrik Fredriks, Flowers set before a garden urn with fruit and a nest with young birds, dated 1774, panel, 58 x 45.8 cm, private collection. 688 |

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Jan Hendrik Fredriks, Flowers set before a garden urn with fruit and a nest with young birds (Fig. 9.29) Panel, 58 x 45.8 cm, signed and dated lower right in beige: JH: Fredriks. / 1774 (‘JH’ ligated with a loop above the ‘F’ and the ascender of the ‘d’ through the crossbar of the ‘F’) Private collection.120 1 Opium Poppy 2 French Rose 3 False Larkspur 4 White Currants 5 Plums 6 White Rose 7 Liverwort 8 Stock 9 African Marigold 10 English Iris 11 Garden Nasturtium 12 Hollyhock 13 Small Morning Glory 14 Cockscomb 15 Jacob’s Ladder 16 Blue Grapes

Papaver somniferum plenum rubrum Rosa gallica duplex Consolida ajacis Ribes rubrum album Prunus domestica Rosa x alba Hepatica nobilis Matthiola incana subplena alba Tagetes erecta Iris latifolia Tropaeolum majus Alcea rosea pseudoplena lutea Convolvulus tricolor Celosia cristata Polemonium caeruleum Vitis vinifera

A Small White Butterfly B Small Tortoiseshell Butterfly c Peacock Caterpillar d Black Ant (4x) e Housefly f Sand Lizard g Bird’s Nest with young Starlings (?)

Pieris rapae Aglais urticae Inachis io Lasius niger Musca domestica Lacerta agilis Sturnus vulgaris

The flowers have been piled up in front of a terracotta urn that is decorated with putti in relief and bears a gilt mount ornamenting the neck, plus a gold lid. In the background is a niche with two pilasters on the right. There are virus patches on the leaves of the Rose and lichen on the branch of Plums. A related work was auctioned in 2005 in Amsterdam.121

Johannes Christiaan Roedig

Johannes Christiaan Roedig was born in 1750 in The Hague and when old enough was apprenticed to Dirk van der Aa. In 1794 he became Secretary of the Haagsche Teeken-Academie (The Hague Drawing Academy). He died in The Hague in 1802. Roedig was a painter of flower and fruit pieces into which he sometimes incorporated small animals. Dated works are known from 1779 to 1801, including various pendants of a flower piece with a fruit piece. His technique is somewhat harsh. Flower pieces can be currently found in the Fitzwilliam Museum in Cambridge and the Galleria Sabauda in Turin (as Jan van Huysum).122

120 Provenance: Richard Green Gallery, London 1989; Christie’s, New York, 21 May 1992, no. 58 and 17 June 2004, no. 25; Couturier & de Nicolay, Paris, 17 March 2009, no. 30. 121 Panel, 45.8 x 37.6 cm, Christie’s, Amsterdam, 12 October 2005, no. 26, as circle of J.F. Eliaerts. 122 About the life and oeuvre of Roedig see Scheen 1981, p. 432; Hoogsteder & Buijsen 1997, p. 25 and the Segal Still Life Documentation in the RKD, The Hague.

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Fig. 9.30 Johannes Christiaan Roedig, Flowers in a toppled vase with a cat and a mouse, dated 1779, panel, 72.4 x 57.9 cm, private collection, pendant of Fig. 9.31. 690 |

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Johannes Christiaan Roedig, Flowers in a toppled vase with a cat and a mouse (Fig. 9.30) Panel, 72.4 x 57.9 cm, signed and dated lower right on a stone in brown and greyish-brown: C: Roedig / 1779 Private collection.123 1 Apple blossom 2 Red Peony 3 Small Morning Glory 4 Holly 5 Barnyard Grass 6 Chinese Lantern 7 Pansy 8 Cabbage Rose 9 Auricula 10 Golden Narcissus 11 Honeysuckle 12 White Rose 13 French Rose 14 Hyacinth 15 Jonquil 16 Meadow Grass 17 March Foxtail 18 French Marigold 19 Opium Poppy 20 Wheat 21 Persian Tulip hybrid 22 Auricula 23 Yellow Cabbage Rose 24 Ivy 25 Finely-scaled Dapperling Mushroom

Malus sylvestris Paeonia peregrina plena Convolvulus tricolor Ilex aquifolium Echinochloa crus-galli Physalis alkekengi Viola tricolor var. hortensis Rosa x centifolia Primula x pubescens ochracea Narcissus tazetta subsp. aureus Lonicera periclymenum Rosa x alba subplena Rosa gallica semiplena Hyacinthus orientalis plenus laxus Narcissus jonquilla Poa pratensis Alopecurus geniculatus Tagetes patula Papaver somniferum pseudoplenum Triticum aestivum Tulipa clusiana x T. chrysantha Primula x pubescens violescens Rosa x huysumiana Hedera helix cf. Lepiota echinata

A B b c d e f

Meganola albula Spilosoma lubricipeda Fannia canicularis Lasius flavus Abraxas grossulariata Cepaea hortensis Aves spec.

Kent Black Arches Moth (?) White Ermine Moth Lesser Housefly Yellow Meadow Ant (3x) Magpie Moth Caterpillar Garden Snail Bird’s Nest with four Eggs

Flowers in a toppled vase with a cat and a mouse was painted exactly one hundred years after the death of Abraham Mignon (1640-1679), whose work clearly inspired its creation. The tumultuousness depicted here deviates from Roedig’s other works and can be seen as a direct homage to Mignon. A cat chasing a mouse has caused the flower vase to topple over. In Mignon’s work the mouse is in an overturned mousetrap and the vase is just at the point of falling over (Fig. 8.14). As in Mignon’s painting, there are mushrooms in the foreground. There are also many references to Roedig’s other source of inspiration, namely the work of Jan van Huysum, which is especially perceptible in the trees, the statue of Flora, the architectural elements in the background, the bird’s nest in the foreground, and the choice of flowers for the bouquet. The terracotta vase is decorated with three putti. The pendant (Fig. 9.31) is a fruit piece with a garden urn decorated with bacchants and an offering scene. It evokes the season of Autumn as a counterbalance to Spring and Summer, the period of growth and flowering, and the time of nesting and laying eggs.

123 Provenance: probably sale P.B. Bunel, Amsterdam, 11 April 1791, no. 217, with pendant no. 218; sale Philippus van der Schley, 7 May 1804, no. 145, with pendant; Wreesman; sale Philippus van der Schley, 11 April 1816, no. 154; with pendant; collection of Ms Wurfbain, Wassenaar 1983; Hoogsteder Gallery, The Hague; private collection; Bonhams, London, 9 December 2009, no. 81, with pendant. Exhibitions & literature: Segal in Amsterdam 1970, n.p., no. 26; Segal in Amsterdam & Braunschweig 1983, pp. 86-87, 135, no. 70, with pendant no. 71; Segal 1993a, p. 32; Hoogsteder & Buijsen 1997, p. 22.

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Fig. 9.31 Johannes Christiaan Roedig, Fruit and flowers in a garden urn decorated with bacchants and an offering scene, dated 1779, panel, 72.4 x 57.9 cm, private collection, pendant of Fig. 9.30.

Wybrand Hendriks

Wybrand Hendriks was born in 1744 in Amsterdam and trained at the Teeken-Academie (Drawing Academy), where he won three prizes. After completing his instruction he initially worked for a while in the wallpaper company of Johannes Remmers (1741-in or after 1818) before buying the wallpaper establishment of Anthony Palthe (1726-1772) in 1774. The following year he travelled to Belgium and England, afterwards marrying Agatha Ketel, the widow of Anthony Palthe. Together the couple moved to Haarlem in 1775, where Wybrand became a member of the Guild of Saint Luke in 1776, at which time he also sold the wallpaper business in Amsterdam. From 1782 to 1785 the couple lived in Ede, where Hendriks primarily painted landscapes with cattle and decorations for affluent farmhouse interiors. Upon returning to Haarlem he succeeded Vincent Jansz van der Vinne (1736-1811) as chamberlain of the Teylers Stichting and curator of the famous Kunstkabinet, today the Teylers Museum. Hendriks lived in the house of the foundation and fulfilled his duties for thirty-four years until 1819. During his 692 |

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tenure many works were acquired for the collection, including a celebrated group of Italian drawings from the collections of Queen Christina of Sweden and Pope Innocent XI. In 1786 Wybrand Hendriks also became director of the Haarlemse Tekenacademie (Haarlem Drawing Academy), and for many years maintained his position in its board of directors. He remarried in 1806, taking as his second wife Geertruid Harmsen. He died in 1831 in Haarlem. His estate was put up for auction in 1832 in Amsterdam.124 Wybrand had a reputation for being a likable person who also maintained good relations with the Haarlem elite. Wybrand Hendriks painted in oils and watercolours, as well as making drawings and etchings in a variety of genres, although still lifes make up only a small portion of his oeuvre. In addition to these flower and fruit still lifes (some incorporating dead birds), he executed landscapes, city views, portraits and group portraits (of regents and families), plus interiors. He also made watercolour copies of works by such artists as Frans Hals, Cornelis Cornelisz van Haarlem, Jan Steen and Jan Weenix, and made etchings after Jan van Huysum. In 1795 he painted an allegorical scene as a chimneypiece for the Trêveszaal, one of the chambers of the Parliament buildings in The Hague, designed by Daniël Marot I in 1696. Dated work is known from 1764 through to 1827. Oil paintings and watercolours of flower pieces may currently be found in the Fitzwilliam Museum in Cambridge, the Städel Museum in Frankfurt am Main (two watercolours), and the Teylers Museum in Haarlem.125 Wybrand Hendriks, Flowers in a terracotta vase (Fig. 9.32) Panel, 60.4 x 47.3 cm, signed lower right: Wd - Hendriks, / Pinx= (with a small loop under the ‘H’) Private collection.126 1 Sulphur Rose 2 Peony 3 White Rose 4 Great Marguerite 5 Golden Narcissus 6 Hyacinth 7 Forget-me-not 8 Carnation 9 Jonquil 10 French Marigold 11 Opium Poppy 12 Susan’s Iris 13 Bachelor’s Buttons 14 Tazetta Narcissus 15 Poppy Anemone 16 Harebell 17 Cabbage Rose 18 Auricula 19 African Marigold 20 Small Fumitory 21 Peony 22 Great Morning Glory 23 Crown Imperial

Rosa hemisphaerica Paeonia officinalis plena salmonea Rosa x alba semiplena Leucanthemum maximum Narcissus tazetta subsp. aureus Hyacinthus orientalis Myosotis palustris pallida Dianthus caryophyllus pallidolilacina Narcissus jonquilla Tagetes patula Papaver somniferum duplex roseum Iris susiana Ranunculus acris plenus Narcissus tazetta subsp. tazetta Anemone coronaria pseudoplena albo-coerulea Campanula rotundifolia Rosa x centifolia Primula x pubescens atropurpurea Tagetes erecta Fumaria officinalis subsp. wirtgenii Paeonia officinalis plena Ipomoea purpurea Fritillaria imperialis

a Greenbottle Fly b Yellow Meadow Ant (3x) c Common Garden Snail

Lucilia caesar Lasius flavus Cornu aspersum

The overabundance of flowers here has been arranged in a ribbed vase, with only part of the foot and a putto visible, set on a marble balustrade before a park landscape with trees and a pool.

124 Jeronimo de Vries, Amsterdam, 27-29 February 1832. 125 For his life and oeuvre see Haarlem 1972, Scheen 1981, p. 206, Plomp 1993 and Schwartz 2004, pp. 17-21, 134-162. 126 Provenance: sale Delaporte & Rieunier, Paris, 6 November 1983, no. 16, with pendant, a fruit piece, no. 15; Christie’s, London, 7 July 1995, no. 22, with pendant; Sotheby’s, London, 13 December 2001, no. 63, without pendant.

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Fig. 9.32 Wybrand Hendriks, Flowers in a terracotta vase, panel, 60.4 x 47.3 cm, private collection. 694 |

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Paulus Theodorus van Brussel

Paulus Theodorus van Brussel was born in the village of Zuid Polsbroek, between Rotterdam and Utrecht, in 1754. He learned to draw in Haarlem from Jan Augustini (1725-1773). While in Haarlem he went on to make designs for wallpaper. In 1774 he married Clasina van Geenhuysen in Amsterdam. Van Brussel painted flower pieces, often incorporating fruit and a bird’s nest with eggs, and fruit pieces, usually with a few flowers. His works – including pendants – were mostly painted on mahogany wood panels, but also sometimes in watercolour on paper. Dated works are known from between 1778 and 1794. Paulus Theodorus drowned in 1795. Van Brussel’s signature looks as though it has been etched in stone. In the years 1781 and 1782 we sometimes only see the initials ‘P.T.VB’ (‘V’ and ‘B’ ligated), otherwise in cursive: P.T. van Brussel fecit, or some variant. His style has more in common with Jan van Os than with Jan van Huysum. One particular characteristic is the tight outlining of flowers. His vases are not decorated with putti as Van Huysum’s, but rather with garlands or round medallions with a head in the middle. Over the course of his lifetime his bouquets come to contain a greater assortment of botanical species, while also becoming fuller, with frequent selections including Crisp Mallow (Malva verticillata var. crispa), Cockscomb (Celosia cristata), and Pyrethrum (Pyrethrum coccineum). Dated flower pieces are present in the collections of the following museums: 1781, in the Musée des Beaux-Arts in Lyon; 1782, in the Wallraf-Richartz-Museum in Cologne; 1783 and 1792 in the Fitzwilliam Museum in Cambridge; 1787, in the Art Institute of Chicago; and 1789 and 1792 in the National Gallery in London. Drawings by him may be found in the Rijksprentenkabinet in Amsterdam and the Albertina in Vienna.127 Paulus Theodorus van Brussel, Flowers in a terracotta vase and a bird’s nest with six eggs (Fig. 9.33) Panel, 72.7 x 57.1 cm, signed and dated in the centre on the plinth (as if etched) in brown with greyish ochre: P. T. v. Brussel fecit 1783 (the ‘us’ partially concealed behind a leaf) The Fitzwilliam Museum, Cambridge, inv. no. PD 58-1973.128 1 French Marigold 2 Auricula 3 Pear blossom 4 Peony 5 Small Morning Glory 6 Golden Narcissus 7 Meadow Grass 8 Hyacinth 9 Hyacinth 10 Opium Poppy 11 Sweet Pea 12 Crown Imperial 13 Baguette Tulip 14 Bizarde Tulip 15 Honesty 16 Texas Star Jonquil 17 Cabbage Rose 18 English Iris 19 Pot Marigold 20 Common Violet 21 Auricula 22 Forget-me-not 23 Wall Lettuce foliage 24 Poppy Anemone 25 Poppy Anemone 26 Greater Celandine 27 Poppy Anemone 28 Peach foliage

Tagetes patula Primula x pubescens coerulea Pyrus communis Paeonia officinalis plena alba Convolvulus tricolor Narcissus tazetta subsp. aureus Poa pratensis Hyacinthus orientalis subplenus albus Hyacinthus orientalis semiplenus Papaver somniferum roseum Lathyrus odoratus Fritillaria imperialis Tulipa mucronata x T. undulatifolia Tulipa mucronata x T. undulatifolia tricolor Lunaria annua Narcissus x intermedius Rosa x centifolia Iris latifolia Calendula officinalis Viola riviniana Primula x pubescens indigofera Myosotis palustris Mycelis muralis Anemone coronaria pseudoplena albescens Anemone coronaria pseudoplena rubra Chelidonium majus Anemone coronaria pseudoplena lilacina Prunus persica

127 For a biography and an overview of his work see Scheen 1981, p. 79; Billinge & Wieseman 2016; the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. 128 Provenance: Levine & Mosley Gallery, London, sold in 1946 to Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge); donated to the museum with a large part of his collection in the 1970s. Exhibitions & literature: Grant 1952, p. 56, no. 20, Pl. 4; Foshay in New York 1984, p. 39, Fig. 28; Mitchell in London 1993, pp. 50-51, no. 22.

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A Red Admiral Butterfly B Queen of Spain Fritillary Butterfly c Yellow Meadow Ant d Hoverfly e Red Damselfly f Greenbottle Fly g Bird’s Nest with six Eggs

Vanessa atalanta Issoria lathonia Lasius flavus Syrphidae spec. Pyrrhosoma nymphula Lucilia caesar Aves spec.

On a marble balustrade with a small outward bow in the centre is a terracotta vase decorated in relief with a garland. To the left in the middle ground is a garden urn on top of a low wall, while further back to the right we see some architectural features, and beyond that tall trees and a patch of blue sky. The background, the urn on the wall, and the bird’s nest are all reminiscent of Jan van Huysum.

Fig. 9.33 Paulus Theodorus van Brussel, Flowers in a terracotta vase and a bird’s nest with six eggs, dated 1783, panel, 72.7 x 57.1 cm, The Fitzwilliam Museum, Cambridge. 696 |

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A. van Tongeren

There may be up to five signed works by an artist with the name A. van Tongeren: a flower piece in the Shipley Art Gallery in Gateshead catalogued as A. van Tongeren; a flower piece auctioned in 1991 with a flower and fruit piece companion piece of the exact same dimensions (at auction in 1992 as by Arnt van Tongeren); and another flower piece with fruit was offered for sale in Amsterdam in 1907.129 Recently, a flower piece with fruit was sold at the London art market (Fig. 9.34). The above-mentioned works, bearing the signature A. Van Tongeren fecit, undoubtedly date back to the last decade of the eighteenth century. They clearly display the influence of Jan van Huysum and Paulus Theodorus van Brussel, as is suggested by the presence of (among other things) the terracotta vases, the shape of the marble plinth, the garden urn on the wall to the left in the middle ground, and the selection of the flower species in the composition. Their dating means that they must be by the hand of another artist other than the flower painter Arent van Tongeren who was active in The Hague in 1684 and 1689.130 A. van Tongeren, Flowers in a terracotta vase in front of a niche with fruit (Fig. 9.34) Canvas, 77 x 58.5 cm, signed lower left in black: A v Tongeren fec Private collection.131 1 Primrose Peerless 2 Cabbage Rose 3 Hyacinth 4 Hyacinth 5 White Rose 6 Carnation 7 Stock 8 Auricula 9 unidentified 10 Crown Imperial 11 unidentified 12 English Iris 13 False Larkspur 14 Small Morning Glory 15 Auricula 16 Auricula 17 Forget-me-not

Narcissus x medioluteus Rosa x centifolia Hyacinthus orientalis plenus albus Hyacinthus orientalis subplenus (coeruleus) Rosa x alba subplena Dianthus caryophyllis plenus Matthiola incana plena rosea Primula auricula Fritillaria imperialis Iris latifolia Consolida ajacis alba Convolvulus tricolor Primula x pubescens purpureus Primula x pubescens ochra Myosotis palustris

On a marble balustrade with a slight indentation curving to the left, before a niche, we see in the foreground on the right green and blue grapes and on the left a speckled melon and a roughly woven bird’s nest with four light-blue eggs. In the centre between these objects a terracotta urn has been placed holding a bouquet with a Crown Imperial at the top.

129 Canvas, 55.2 x 46.7 cm, Gateshead, Shipley Art Gallery, inv. no. 276, photograph, description with identifications and notes in the Segal Still Life Documentation in the RKD, The Hague (the poor condition of the image does not permit reproduction); canvas, 66 x 48.2 cm, Christie’s, South Kensington, 21 November 1991, no. 268, and 267, the latter also sale Schloss Ahlden, 21 November 1992, no. 1746, as by Arnt van Tongeren; canvas, 59 x 47 cm, sale Frederik Muller, Amsterdam, 11 November 1907, no. 1391. 130 Bredius in Thieme & Becker 1907-50, XXXIII, p. 276; Löffler 1998, p. 352, according to whom no work by this artist is known to exist. For Arent van Tongeren see Chapter 8. It is conceivable, but unlikely, that Bredius mistakenly noted 1684 and 1689 instead of 1784 and 1789. A. van Tongeren is not included in Scheen 1981. 131 Provenance: Sotheby’s (Olympia), London, 1 November 2005, no. 170 and 25 April 2006, no. 430; Bonhams, London, 26 October 2011, no. 134, in all cases as by A. van Jongere; John Bennett Fine Paintings, London, as A. van Jongere.

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Fig. 9.34 A. van Tongeren, Flowers in a terracotta vase in front of a niche with fruit, canvas, 77 x 58.5 cm, private collection.

Gerrit Johan van Leeuwen

Gerrit Johan van Leeuwen was born in 1756 in Arnhem, although he himself said that he was born in 1758. He was apprenticed to Wybrand Hendriks and Willem van Leen (1753-1825). In Arnhem he was steward responsible for the income from the city’s chapels. He was a member of the Amsterdam Koninklijke Academie van Beeldende Kunsten (Royal Academy of Fine Arts) and on the board of directors of the Arnhemse Tekengenootschap (Arnhem Drawing Society). Gerrit Johan van Leeuwen died in Arnhem in 1825. His work was very highly valued in his own time given the high prices the paintings fetched at the auction of his estate in Amsterdam in 1825.132 132 Immerzeel 1842-43, II, p. 166; his sale at Jeronimo de Vries, Amsterdam, 14 October 1825.

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Van Leeuwen painted flower pieces and fruit pieces in oils and watercolours, some of them as pendants. Dated work is known from 1794 through to 1817. His works may be found in several public collections, including the Museum Arnhem in Arnhem and the Fitzwilliam Museum in Cambridge. A 1794 watercolour is in the Albertina in Vienna, and a watercolour of 1809 in the KBR in Brussels. Furthermore, there is an 1817 fruit piece with flowers in the Rijksmuseum in Amsterdam.133 Gerrit Johan van Leeuwen, Flowers in a terracotta vase (Fig. 9.35) Watercolour on paper, 466 x 433 mm, signed to the right of centre below in dark grey in cursive: G. J. Van Leeuwen. Private collection.134 1 Garden Nasturtium 2 Pansy 3 White Rose 4 Cabbage Rose 5 Auricula 6 Hyacinth 7 Hyacinth 8 French Marigold 9 Spring Lathyrus 10 Meadow Buttercup 11 Pot Marigold 12 Blunt Tulip

Tropaeolum majus Viola tricolor Rosa x alba plena Rosa x centifolia Primula x pubescens pallidoviridis Hyacinthus orientalis plenus (coeruleus) Hyacinthus orientalis subplenus albus Tagetes patula Lathyrus vernus coeruleo-roseus Ranunculus acris Calendula officinalis Tulipa mucronata

Fig. 9.35 Gerrit Johan van Leeuwen, Flowers in a terracotta vase, watercolour on paper, 466 x 433 mm, private collection.

133 For his life and oeuvre see Scheen 1981, pp. 309-310 and the Segal Still Life Documentation at the RKD, The Hague. 134 Provenance: John Mitchell & Son Gallery, London 1984; Noortman Gallery, Maastricht 1988.

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13 Stock 14 English Iris 15 False Larkspur 16 Baguette Tulip 17 Small Morning Glory 18 Jacob’s Ladder 19 Auricula 20 Opium Poppy

Matthiola incana subplena pallidorosea Iris latifolia Consolida ajacis laxa stellata Tulipa mucronata alba x T. undulatifolia Convolvulus tricolor Polemonium caeruleum Primula x pubescens violacea Papaver somniferum plenum fimbriatum roseum

A B C d

Nymphalis antiopa Scopula ornata Coenonympha tullia Lasius niger

Camberwell Beauty Butterfly Lace Border Moth Large Heath Butterfly Black Ant (4x)

On a marble ledge we see a terracotta vase decorated deeply in relief with putti. In the sketchily painted background to the left, there is a gnarled tree-trunk, and on the right a semi-circular wall. Van Leeuwen’s paintings have a rather wild and erratic feel, not only in the twisting stems of the Nasturtium, the Buttercup and the Stock, or the curled leaves of the Rose, Nasturtium and Opium Poppy, but also in the shapes of a number of flowers and the distribution of the waterdrops. Van Leeuwen could also be quite subtle in his representations, as is demonstrated by the wormholes and virus spots on the Rose leaves here. The broken Tulip is reminiscent of some of those to be found in the paintings of Jan van Huysum.

Hermanus Uppink

Hermanus Uppink was born in Amsterdam about 1765 and died in 1791, only twenty-six years old. He drew portraits and painted flower and fruit pieces. Two flower pieces are known by him, one of them dated 1789, plus a fruit piece with flowers. His style of painting is also a bit erratic, just as Gerrit Johan Van Leeuwen’s (Fig. 9.35). It is quite possible, that Hermanus Uppink was an amateur painter.135 Hermanus Uppink, Flowers in a vase (Fig. 9.36) Canvas, 72.5 x 59.5 cm, signed and dated lower left: Hs;uppink / 1789 Rijksmuseum, Amsterdam, inv. no. A 2293.136 1 Poppy Anemone 2 Wallflower 3 Auricula 4 Pansy 5 Snowball 6 Cabbage Rose 7 White Rose 8 Garden Honeysuckle 9 Stock 10 Sunflower 11 Opium Poppy 12 False Larkspur 13 Garden Balsam 14 Stock 15 German Flag Iris 16 Carnation 17 Auricula 18 Trumpet Vine 19 Purple Tulip 20 Bizarde Tulip 21 Small Morning Glory 22 Peony

Anemone coronaria pseudoplena Erysimum cheiri plenum Primula auricula Viola tricolor Viburnum opulus cv. Roseum Rosa x centifolia Rosa x alba plena Lonicera caprifolium Matthiola incana plena violacea Helianthus annuus Papaver somniferum plenum rubrum Consolida ajacis Impatiens balsamina plena bicolor Matthiola incana (coerulea) Iris germanica Dianthus caryophyllus plenus Primula x pubescens badia Campsis radicans Tulipa undulatifolia Tulipa mucronata lutea x T. undulatifolia Convolvulus tricolor Paeonia officinalis plena

135 Scheen 1981, pp. 530-531, as Harmanus Uppink. 136 Provenance: on loan from J.B.A.M. Westerwoudt of Haarlem in 1902 and his bequest to the museum in 1907. Exhibitions & literature: Von Wurzbach 1906-11, II, p. 727; Scheen 1946, I, p. 314, II, Pl. 163; Segal in Amsterdam 1970, n.p., no. 38, with identifications; Mitchell 1973, p. 246, Fig. 359; Van Thiel 1976, p. 550.

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Trees and architectural features are vaguely visible in the background. The vase, which is almost completely hidden from view, has been placed on a balustrade. The bouquet is compact and overflowing with flowers, which have been represented with very little in the way of detail. Nonetheless this work gives an overall artistic impression. Fig. 9.36 Hermanus Uppink, Flowers in a vase, dated 1789, canvas, 72.5 x 59.5 cm, Rijksmuseum, Amsterdam.

J. Niels

J. Niels is an artist who presents us with a number of questions. A flower painter named ‘J. Niels’ is mentioned by Nagler in 1841 and by Grotefend in 1881, and from thence adopted by Thieme and Becker in 1931 as both ‘J. Niels’ and ‘J.R. Niels’ without providing any further information about the artist.137 Six flower pieces by ‘J. Niels’ and ‘J. Nils’ are known, as is presented in the following list: 137 Nagler 1835-52, X, p. 233; Grotefend 1881, p. 262; Thieme & Becker 1907-50, XXV, p. 464.

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Fig. 9.37 J. Niels, Flowers in vase on a turned foot, dated 1797, panel, 68.5 x 52 cm, private collection.

– In 1933 a painting was auctioned in London as signed J. Nils f., without dimensions, showing a bouquet in an earthenware vase on a turned foot, along with a bird’s nest holding three eggs, a downward hanging Tulip and a standing Tulip, plus a Cabbage Rose and Honeysuckle.138 – In 1950 a work signed J. Niels and dated 1797 was auctioned in London as a flower piece in a glass vase with a bird’s nest on a marble ledge.139 – In 1973 a painting of a bouquet in a vase decorated with flowers on a table, along with a bird’s nest with three eggs, set before a slightly curved wall was put up for auction in Brussels.140 The notable species are the large Blunt Tulip hanging down below left of centre and a large striped Tulip standing right of centre in the middle, as well as the Cabbage Rose, the Opium Poppy at the top of the bouquet, in addition to the butterflies and other insects. – In the Prehn’sche Gemäldekabinett in the Historisches Museum Frankfurt, a miniature cabinet of curiosities containing copies of various paintings, there is a little flower piece by J. Niels, showing a glass container with several flowers, accompanied by butterflies.141 – At the same Historisches Museum Frankfurt a flower piece in a terracotta vase with a ribbed edge in a niche signed J. Niels f is located.142 – In 2017 a painting signed and dated J. Niels f. 1797 was auctioned in Paris (Fig. 9.37). The work is stylistically and compositionally speaking similar to the work sold in 1933. The bouquet shows the same earthenware vase on a turned foot, along with a bird’s nest holding four (instead of three) eggs, a downward hanging Carnation (instead of a Tulip), plus some of the same species mentioned above, such as the Cabbage Rose and the Honeysuckle.143 138 139 140 141 142 143

Sotheby’s, London, 13 July 1933, as J. Nils; Gemar-Koeltzsch 1995, III, p. 745, no. 290/1, illustrated. Panel, ca. 63.5 x 48.3 cm, Christie’s, London, 12 May 1950, no. 153, without illustration. Panel, 64 x 50 cm, Palais des Beaux-Arts, Brussels, 14 March 1973, no. 23, illustrated. Panel, 28 x 22.8 cm, Frankfurt, Historisches Museum, inv. no. Pr322. Panel, 42 x 34.5 cm, Frankfurt, Historisches Museum, inv. no. B495. Tajan, Paris, 27 October 2017, no. 134.

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Nothing further is known about this artist. He is possibly identical to the Leiden painter J.R. Niels who executed a group portrait in 1760. In the artist lexicons J. Niels is listed erroneously as an artist of the late seventeenth century, instead of as an artist of the eighteenth century.144 The bird’s nest with eggs and certain species, such as the Cabbage Rose, point to the influence of Jan van Huysum.

F.R. Pieters

A flower piece signed F.R. Pieters showing a vase decorated with putti and a bird’s nest (Fig. 9.38) was included in an art fair at Rosendael Castle in Gelderland in 1969.145 Nothing is known about this artist. The work was probably created in the second half of the eighteenth century.

A. Klein

In the photographic documentation of the RKD in The Hague is a somewhat indistinct image of a flower piece from the collection of C.H. Peters signed A. Klein (Fig. 9.39). Probably we are dealing with an amateur painter here from the end of the eighteenth century, someone who followed in the footsteps of Jan van Huysum and Gerard van Spaendonck. In a wide pot with a handle the following species can be identified: Small Morning Glory White Rose Cabbage Rose China Aster Hyacinth Cockscomb Hollyhock Tulip Auricula Poppy Anemone Fynbos Aloe

Fig. 9.38 F.R. Pieters, Flowers in a decorated vase, canvas, 80 x 60 cm, private collection.

Convolvulus tricolor Rosa x alba Rosa x centifolia Callistephus chinensis Hyacinthus orientalis plenus Celosia cristata Alcea rosea Tulipa spec. Primula x pubescens Anemone coronaria Aloe succotrina

Fig. 9.39 A. Klein, Flowers in a wide pot with a handle, support, dimensions and whereabouts unknown.

144 Thieme & Becker 1907-50, XXV, p. 464, and others. For an overview see the Segal Still Life Documentation at the RKD, The Hague. 145 Provenance: art dealer Han Jüngeling (Het Konstkabinet) in The Hague; illustrated in catalogue 3e Gelderse Kunst en Antiekbeurs 1969.

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Artists following in the Footsteps of Jan van Huysum: Watercolourists and Draughtsmen The following artists, who clearly exhibit the influence of Jan van Huysum, primarily or exclusively made drawings of flower pieces. They are listed here alphabetically.

H. Berninck

H. Berninck was a coppersmith in Amsterdam until an inheritance provided him with the opportunity to give up his trade, whereupon he became a ‘flower painter’.146 Currently only a single work of 1789 is known. The initial of the first name in the signature of this work has been read as a ‘J’ instead of an ‘H’, and Kramm suspected that this points to two different artists.147 What has been read as a ‘J’ is, however, connected to the ‘B’ with a little loop, which means the letter should in fact be read as an ‘H’. Drawings of flower pieces by him are documented as having been auctioned in 1792, 1793 and 1833 in Amsterdam, and in 1874 in The Hague.148

Fig. 9.40 H. Berninck, Flowers in a basket with fruit on a marble ledge, dated 1789, watercolour with sketch lines in pencil and outlining in ink, 446 x 354 mm, private collection. 146 Van Eijnden & van der Willigen 1816-40, II, p. 449. 147 Kramm 1857-64, I, p. 85. 148 Scheen 1981, p. 39.

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H. Berninck, Flowers in a basket with fruit on a marble ledge (Fig. 9.40) Watercolour with sketch lines in pencil and outlining in ink, 446 x 354 mm, signed and dated lower right in brownish black: HBerninck. Fecit 1789 (the ‘H’ like a ‘J’ connected to the ‘B’ with a loop). Paper with a watermark of a Strasbourg Lily. Private collection.149 1 White Rose 2 Forget-me-not 3 Hollyhock 4 Sweet Sultan 5 Small Morning Glory 6 Blue Grapes 7 White Grapes 8 Redcurrants 9 Peach 10 Pomegranate 11 Raspberry 12 Medlar

Rosa x alba plena Myosotis palustris Alcea rosea plena alba Amberboa moschata Convolvulus tricolor Vitis vinifera Vitis vinifera Ribes rubrum Prunus persica Punica granatum Rubus idaeus Mespilus germanica

A Red Admiral Butterfly b Yellow Meadow Ant (4x) c Bluebottle Fly

Vanessa atalanta Lasius flavus Calliphora vomitoria

Johannes de Bosch

Johannes de Bosch was the son of an apothecary and art collector in Amsterdam, Jeronimo de Bosch. Johannes was a not undistinguished amateur painter, draughtsman and engraver, and an art collector just like his father. He was born in Amsterdam in 1713 and died there in 1785. Johannes mostly made drawings of flower and fruit pieces, in addition to landscapes, city views, architecture and animals. He took inspiration from Jan van Huysum for a number of pastoral Arcadian landscapes and flower and fruit pieces, and also imitated him. Johannes de Bosch’s collection of drawings was auctioned on 14 March 1787 in Amsterdam, and his own works were also included in many other later auctions, including in 1800 and 1814 (as after Jan van Huysum).150 Johannes de Bosch after Jan van Huysum, Flowers in a terracotta vase (Fig. 9.41) Watercolour on paper, 438 x 340 mm, signed and dated lower right: J: de Bosch: naa Jan van Huijsum / 1756 Museum der bildenden Künste, Graphische Sammlung, Leipzig, inv. no. N.I. 410.151 1 Garden Nasturtium 2 Cabbage Rose 3 White Rose 4 Pot Marigold 5 Orange blossom 6 French Marigold 7 Small Morning Glory 8 False Larkspur 9 unidentified 10 Tuberose 11 Opium Poppy 12 False Larkspur 13 Hollyhock 14 Sunflower 15 Maltese Cross 16 Carnation

Tropaeolum majus Rosa x centifolia Rosa x alba Calendula officinalis Citrus aurantium Tagetes patula Convolvulus tricolor Consolida ajacis lilacina

A Small White Butterfly

Pieris rapae

Polyanthes tuberosa Papaver somniferum pseudoplenum fimbriatum rubrum Consolida ajacis (coerulea) Alcea rosea plena flava Helianthus annuus Lychnis chalcedonica Dianthus caryophyllus plenus bicolor

149 Provenance: probably sale A. Mak, Amsterdam, 18 March 1919, no. 73, as J. van Berninck; Christie’s, Amsterdam, 3 November 2004, no. 156. Earlier sales in Amsterdam only have vague descriptions without mention of a date, which make identifications nearly impossible. Literature: Hostyn & Rappard 1995, p. 199. 150 For his life and work see Meerdink 1979; Scheen 1981, p. 63; Segal in Delft & Houston 2006-07, pp. 104-105 and the Segal Project; for his work at auction see the approximately 300 files of Hofstede de Groot in the database RKDexcerpts. 151 Provenance: collection of Johann August Otto Gehler; Emilie Gheler & Heinrich Dörrin; donated to the museum in 1859. Klara Alen would like to thank Bert Schepers for his kind help.

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Fig. 9.41 Johannes de Bosch after Jan van Huysum, Flowers in a terracotta vase, dated 1756, watercolour on paper, 438 x 340 mm, Museum der bildenden Künste, Graphische Sammlung, Leipzig.

This is a drawing after a painting by Jan van Huysum dated 1724.152 At the rear and to the right of the composition we see a Sphinx, an element that Jan van Huysum employed multiple times in the backgrounds of his landscapes.153

Jacob Buijs

Jacob Buijs was born in Amsterdam in 1724. He was apprenticed to Cornelis Pronk (1691-1759), with whom he practised by copying the work of Jacob de Wit (1696-1754). In 1743 he became a member of the Amsterdam Tekenakademie (Drawing Academy) and there he received instruction from Cornelis Troost (1696-1750). In 1755 he was made alderman of the town of Mijdrecht, only to return to Amsterdam in 1760, where he became a teacher and subsequently director at the Tekenakademie. Jacob Buijs painted portraits and group portraits of regents, as well as other subjects, plus wall coverings, and he made many drawings in watercolour and pastels. A portion of his drawings were copies of Dutch masters from the seventeenth and early eighteenth centuries, many of which were in the possession of the important collector Cornelis Ploos van Amstel. Further he engraved and made illustrations for books. Jacob Buijs died in 1801. His art collection was put up for auction in Amsterdam in 1802.154 Jacob Buijs after Jan van Huysum, Flowers in a glass vase in a niche (Fig. 9.42) Watercolour in grey and black chalk on paper, 415 x 317 mm, signed lower right in cursive in ink: J Buijs. Ft. naar ‘t Schilderij van J. Van Huisum Museum Boijmans Van Beuningen, Rotterdam, inv. no. JB 9 (PK).155 152 Panel, 79 x 59 cm, private collection; Segal in Delft & Houston 2006-07, p. 60-61, Fig. 5.12. 153 Segal in Delft & Houston 2006-07, pp. 61, 98-99. Probably Jan van Huysum was inspired by the work of Isaac de Moucheron (1667-1744). 154 For his life and work see Scheen 1981, p. 84 and Löffler 2010; for the auction see Phillipus van der Schley, Amsterdam, 16 February 1802. 155 Provenance: bequest of F.J.O. Boymans, 1847. Literature: Rotterdam 1960, n.p., no. 18.

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Fig. 9.42 Jacob Buijs after Jan van Huysum, Flowers in a glass vase in a niche, watercolour in grey and black chalk on paper, 415 x 317 mm, Museum Boijmans Van Beuningen, Rotterdam.

1 Carnation 2 Opium Poppy 3 Pansy 4 Small Morning Glory 5 White Rose 6 Spanish Iris 7 Japanese Hedge Parsley 8 Hollyhock 9 Musk Mallow 10 Corn Poppy 11 Blackberry 12 Provins Rose

Dianthus caryophyllus plenus Papaver somniferum fimbriatum Viola tricolor Convolvulus tricolor Rosa x alba subplena Iris xiphium Torilis japonica Alcea rosea pseudoplena Malva moschata Papaver rhoeas Rubus fruticosus coll. Rosa x provincialis

The painting of Jan van Huysum after which this drawing has been made is as yet unknown. The drawing is roughly yet artistically done, but in a completely different style from Jan van Huysum’s own manner of drawing.

Jan Jansz Gildemeester

Jan Jansz Gildemeester was born in Lisbon in 1744. But after the city had been much destroyed by an earthquake the family moved to Utrecht, and again around 1760 to Amsterdam. From 1778 Gildemeester was an agent and Consul General of Portugal in the Netherlands. In 1792 he bought a property on the Herengracht, where he assembled a collection of paintings and drawings of great importance. He died in Amsterdam in 1799. His estate was auctioned in 1800 and consisted of 300 paintings and 2,095 drawings, plus other works of art.156 Gildemeester was also an amateur draughtsman himself. He made drawings of city views and a few sketches in watercolour of flowers in the style of Jan van Huysum, executed with a moderate degree of 156 Sale Phillipus van der Schley, Amsterdam, 11-13 June 1800.

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artistic success. He was a friend of both Jan and Michiel van Huysum, and their works were in his collection. Indeed, he owned three works by Jan van Huysum, which he had purchased from the famous collection of Gerret Braamcamp.157 Watercolours of flower pieces by Gildemeester may currently be found in the Gemäldegalerie in Berlin, the Fitzwilliam Museum in Cambridge, and the Hamburger Kunsthalle (two, one of them with fruit).158 Jan Jansz Gildemeester, Flowers in a decorated terracotta vase before a park landscape with trees (Fig. 9.43) Watercolour and black chalk on paper, 204 x 155 mm, signed lower right in brown ink with the initials: JG. On the reverse at the lower left: ‘uit agting en Vriendschap door / den Maeker Jan Gildemeester Jansz.’ (‘in appreciation and Friendship from / the artist Jan Gildemeester Jansz.’), and a stamp from the Rhodin Collection. Hamburger Kunsthalle, Hamburg, inv. no. 1963/198.159 1 Garden Nasturtium 2 Poppy Anemone 3 Small Morning Glory 4 Yellow Tulip hybrid 5 Lady Tulip 6 Poppy Anemone 7 Opium Poppy 8 Forget-me-not 9 Wallflower 10 Poppy Anemone 11 Cherry blossom 12 Blunt Tulip 13 Crown Imperial 14 Poppy Anemone 15 Yellow Jasmine 16 Snake’s Head Fritillary 17 Cabbage Rose 18 Auricula 19 Peony

Tropaeolum majus Anemone coronaria pseudoplena rosea Convolvulus tricolor Tulipa chrysantha x T. clusiana Tulipa stellata x T. clusiana Anemone coronaria pseudoplena lilacino-ochracea Papaver somniferum plenum Myosotis palustris Erysimum cheiri Anemone coronaria pseudoplena coerulea Prunus avium Tulipa mucronata bicolor Fritillaria imperialis Anemone coronaria pseudoplena violacea Jasminum fruticans Fritillaria meleagris Rosa x centifolia Primula x pubescens violacea Paeonia officinalis plena

The drawing shows similarities to the watercolour in Berlin and to a drawing by Jan van Huysum in the Albertina in Vienna, as well as to a painting by Jan van Huysum of 1723 in the Rijksmuseum in Amsterdam and another of 1724 in the Los Angeles County Museum.160

Pieter van Loo

Pieter van Loo was born in 1735 in Haarlem. He worked in the wallpaper company of Jan Hendrik Troost van Groenendoelen (ca. 1722-1794). He painted and made drawings of landscapes, city views, flower and fruit still lifes, and drew flowers in watercolour for horticulturalists, including many Hyacinths. Hendrik Schwegman (1761-1816) was apprenticed to him. Van Loo died in Haarlem in 1784. Dated work is known from 1774 through to 1784. His watercolours often show flower pieces placed in a niche, which occasionally bear semi-circular arches with stepped shoulders. These flower pieces can be combined with fruit and may be found in the Rijksmuseum in Amsterdam; the Fitzwilliam Museum in Cambridge; the Noord-Hollands Archief and Teylers Museum in Haarlem; the Hamburger Kunsthalle; the print department of the Statens Museum for Kunst in Copenhagen; the Kröller-Müller Museum in Otterlo; and Museum Boijmans Van Beuningen in Rotterdam.

157 There is some confusion about these works in the oeuvre catalogue compiled by Hofstede de Groot in 1928. 158 For the collection, life and work of Gildemeester see De Bruyn Kops 1965, Plomp 2002, II, n.p., list 2a and Den Leeuw & Pruijs 2006, pp. 76-81. 159 Provenance: collection of Bernardus de Bosch, Amsterdam; Carl Frederick Christian Rhodin, Altona; Washington von der Hellen, Hamburg; Gustav von der Hellen, San Isidoro (Argentina); donated to the museum in 1962. Literature: Bruyn Kops 1965, pp. 96-97; Stefes 2011, I, p. 238, III, p. 132. 160 See the Segal Still Life Documentation in the RKD, The Hague.

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Fig. 9.43 Jan Jansz Gildemeester, Flowers in a decorated terracotta vase before a park landscape with trees, watercolour and black chalk on paper, 204 x 155 mm, Hamburger Kunsthalle, Hamburg.

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Pieter van Loo, Flowers in a basket set askew in front of a marble niche (Fig. 9.44) Watercolour on paper, 475 x 363 mm, signed lower right in brown: P. v. Loo. (in letters of double lines) Teylers Museum, Haarlem, inv. no. V029.161 1 Yellow Cabbage Rose 2 Opium Poppy foliage and buds 3 Hyacinth 4 Pot Marigold 5 Auricula

Rosa x huysumiana Papaver somniferum Hyacinthus orientalis plenus lilacinus Calendula officinalis Primula x pubescens rubra

Fig. 9.44 Pieter van Loo, Flowers in a basket set askew in front of a marble niche, watercolour on paper, 475 x 363 mm, Teylers Museum, Haarlem.

161 Provenance: unknown. Exhibitions & literature: Scholten 1904, p. 429; Segal in Amsterdam 1970, n.p., no. 57, illustrated with identifications.

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6 Tazetta Narcissus 7 White Rose 8 Hyacinth 9 Peony 10 Small Morning Glory 11 Gooseberries 12 Stock 13 False Larkspur 14 Hollyhock 15 Narcissus ‘Van Sion’ 16 Cornflower 17 Crown Imperial 18 Auricula 19 French Marigold 20 Garden Nasturtium 21 Bindweed 22 Peony 23 Auricula 24 Cabbage Rose

Narcissus tazetta Rosa x alba Hyacinthus orientalis plenus albus Paeonia officinalis plena alba Convolvulus tricolor Ribes uva-crispi Matthiola incana plena rosea Consolida ajacis Alcea rosea plena alba Narcissus pseudonarcissus cv. Van Sion Centaurea cyanus Fritillaria meleagris Primula x pubescens Tagetes patula Tropaeolum majus Calystegia sepium Paeonia officinalis plena Primula x pubescens luteo-rubra Rosa x centifolia

A Large White Butterfly

Pieris brassicae

The many double or filled cultivars of the flowers (plena-forms) and the three-coloured varieties of Auricula are typical of the eighteenth century. This work is reminiscent of the little flower baskets painted by Jan van Huysum, especially those of 1733.162

Cornelis Ploos van Amstel

Cornelis Ploos van Amstel was born in 1726 in Weesp near Amsterdam, where he spent the greater part of his life, as a broker. In 1758 he married Elizabeth Troost, daughter of the painter Cornelis Troost, and after her death remarried Margaretha Soumans. He received drawing lessons from various teachers, including Jacob Buijs, and also gave drawing lessons to several apprentices, including Elizabeth van Woensel from 1776 to 1780. Ploos van Amstel developed a special technique for etching, including etching in colour, called manière de crayon, and copied drawings by the great masters. In addition, he collected around 5,000 drawings and a large number of prints, among them seven from the collection of Valerius Röver of Delft; 456 prints by Rembrandt, for which he published a separate catalogue; 1358 books, 105 manuscripts, and innumerable sale catalogues (now in the Bibliothéque Nationale in Paris). Ploos van Amstel died in Amsterdam in 1798. His estate was sold for 11,300 guilders, excluding the Rembrandt etchings, which were sold at a later date.163 From 1777 on Cornelis Ploos van Amstel made etchings of flower pieces (Fig. 9.45) and fruit pieces after Jan van Huysum’s drawings in watercolour. Cornelis Ploos van Amstel had purchased these in 1776 from the collection of M. Neyman and had them, amongst numerous other paintings, hand coloured under his direction by Oswald Wijnen, and sometimes by Elizabeth van Woensel.164 The original drawings of 1735 by Jan van Huysum may currently be found in the Fitzwilliam Museum in Cambridge.165

162 For two examples see Segal in Delft & Houston 2006-07, pp. 266-269, nos F37-38. 163 For further details on the life and work of Cornelis Ploos van Amstel see Laurentius, Niemeijer & Ploos van Amstel 1980. 164 Included here because the handcolouring makes it look like a watercolour. On the completely coloured etching at the lower left on the plinth: Jan van Huÿsum / fecit 1735 (after his handwriting), Amsterdam, Rijksprentenkabinet, inv. no. RPP-OB 24.684; Josi 1821, p. 121, no. 68; Von Alten 1864, p. 63, no. 58; Laurentius, Niemeijer & Ploos van Amstel 1980, pp. 283284, no. 66; Segal in Delft & Houston 2006-07, pp. 250, 358 n. 5 under F32. An early state (248 x 169 mm), partially coloured and the insects less clear: Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1959-481. For Ploos van Amstel see also Chapter 10. 165 The flower piece: watercolour and body colour on paper, 482 x 336 mm, Cambridge, The Fitzwilliam Museum, inv. no. PD 78-1975; the fruit piece: watercolour and body colour on paper, 492 x 340 mm, Cambridge, The Fitzwilliam Museum, inv. no. PD 62-1975; Segal in Delft & Houston 2006-07, p. 250, Fig. F32.1.

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Fig. 9.45 Cornelis Ploos van Amstel and Oswald Wijnen after Jan van Huysum, Flowers in a decorated terracotta vase, coloured etching, 250 x 175 mm, Rijksprentenkabinet, Amsterdam.

Oswald Wijnen

Oswald Wijnen was born in Heusden in 1739. About 1754 he moved to Amsterdam, where he remained until his death in 1790. Wijnen made drawings primarily of flower and fruit still lifes in the style of Jan van Huysum. He also made copies of watercolours by Jan van Huysum for Cornelis Ploos van Amstel, which he signed with his own name with the addition naar Jan van Huysum (‘after Jan van Huysum’); he also made such drawings after the works of Francina Margaretha van Huysum.166 Dated work is known from 1762 through to 1778. Flower pieces may presently be found in the Fitzwilliam Museum in Cambridge (four, including a fruit piece with flowers of 1778); the Städel Museum in Frankfurt am Main (two); and the Teylers Museum in Haarlem (four). Oswald Wijnen, Flowers in a terracotta pot decorated with a mascaron and laurel wreaths (Fig. 9.46) Watercolour on paper, 435 x 300 mm, signed lower right in black: O. Wijnen fecit Private collection.167 1 2 3 4 5 6

False Larkspur Poppy Anemone Auricula White Rose Hyacinth Peony

Consolida ajacis Anemone coronaria pseudoplena pallidocoeruleo-rosea Primula x pubescens coerulea Rosa x alba Hyacinthus orientalis plenus (pallidocoeruleus) Paeonia officinalis plena alba

166 Ellens & Segal 2006-07, pp. 24, 26; Segal in Delft & Houston 2006-07, p. 65. For Wijnen see Scheen 1981, p. 596 and the Segal Still Life Documentation at the RKD, The Hague. 167 Provenance: collection of Pieter de la Court; Douwes Gallery, Amsterdam 2005.

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7 Hyacinth 8 Golden Narcissus 9 Poppy Anemone 10 Pear blossom 11 Opium Poppy 12 Bachelor’s Button 13 Bizarde Tulip 14 Baguette Tulip 15 Forget-me-not 16 Snake’s Head Fritillary 17 Hyacinth 18 Pot Marigold 19 Poppy Anemone 20 Cabbage Rose 21 Auricula

Hyacinthus orientalis plenus albus Narcissus tazetta subsp. aureus Anemone coronaria pseudoplena albo-pallidocoerulea Pyrus communis Papaver somniferum plenum rubrum Ranunculus acris plenus Tulipa mucronata lutea x T. undulatifolia Tulipa mucronata alba x T. undulatifolia Myosotis palustris Fritillaria meleagris Hyacinthus orientalis plenus (coeruleus) Calendula officinalis Anemone coronaria pseudoplena (rubra) Rosa x centifolia Primula x pubescens coerulea

a B C d

Lasius niger Maculinea arion Issoria lathonia Cepaea hortensis

Black Ant Large Blue Butterfly Queen of Spain Fritillary Butterfly Garden Snail

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Gerard van Spaendonck and his Followers Gerard van Spaendonck

Gerard van Spaendonck was born in 1746 in Tilburg. He was apprenticed to Willem Jacob Herreyns (1743-1827) in Antwerp from 1764. In 1769 he was in Breda for a short period, where he worked on the gate of honour for a visit of William V, Prince of Orange. In that same year he went to Paris, where he remained for the rest of his life, except for a visit to his family in Tilburg in 1797. Initially he made a name for himself as a miniature and decorative painter. In 1774 he was appointed as court miniaturist to King Louis XVI. From 1777 on he regularly sent work to the Salons, the annual exhibitions at the Louvre, where he garnered great acclaim. Despite his close relations with the court he retained his status after the French Revolution in 1789. The new regime put him in charge of the former royal parks, the Jardin des Plantes, and gave him with the task of studying the iconography of plants. In 1804 he was one of the first of those awarded the Légion d’honneur, and in 1808 he received the title of Count from Emperor

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Napoleon. Gerard van Spaendonck died in Paris in 1822. He had many apprentices, including his own brother Cornelis (1756-1839), who was ten years his junior, Jan Frans van Dael (1764-1840), and probably Pierre-Joseph Redouté (1759-1840), of whom it was later said that he harvested what Van Spaendonck had sown.168 Gerard’s work consists mainly of flower and fruit pieces in oils and various kinds of drawings, as well as miniatures, used for example as ornamentation for snuffboxes. Dated work is known from 1773 through to 1796. Van Spaendonck experimented with drawing techniques at the behest of the Académie Royale de Peinture et de Sculpture, where he had been a candidate since 1775 and where he became a full member in 1781, going on to fulfil a director’s role in 1788. A famous series of twenty-four lithographs of plants, Fleurs Dessinées d’après Nature, was published in six instalments during the first years of the nineteenth century. Gerard van Spaendonck had many followers in the first half of the nineteenth century, mostly in France but also in the Netherlands and Belgium; frequently we can also discern the influence of Jan van Huysum in their works. Dated and undated flower pieces can presently be found in the following public collections: 1773, in the Noordbrabants Museum in ’s-Hertogenbosch; 1779, in the Stichting Edwina van Heek at the country estate Singraven (near Denekamp); 1783, in the Rijksmuseum, Amsterdam; 1785, in Musée National du Château de Fontainebleau; the Musée des Beaux-Arts in Angers; and the Musée du Louvre in Paris. Miniatures are in the possession of the following museums: the Fitzwilliam Museum in Cambridge has two from 1778, one from 178(0?), two from 1785, and eight undated; four are in the Musée du Louvre in Paris; and one is in the Musée des Arts Décoratifs in Paris. Drawings of flower pieces can be found in the Fitzwilliam Museum in Cambridge and in the Noordbrabants Museum in ’s-Hertogenbosch. Lithographs after paintings have been made by Auguste Piquet de Brienne (1789-after 1846), Antoine Chazal (1793-1854) and Villain. Painted porcelain manufactured by Sèvres can be found in various collections, including a cabinet belonging to the British monarchy at Windsor Castle, dated 1785. A number of flower studies on canvas as preparatory works have also been preserved. Gerard van Spaendonck painted several paintings on white marble. A very fine example is a painting of a loose bunch of Bizarde Tulips (Tulipa mucronata f. obtusa bicolor), Cabbage Roses (Rosa x centifolia) and an Opium Poppy (Papaver somniferum) (Fig. 9.47).169 Finally, some extremely fine floral watercolours are currently in the Vélins du Roi, also known as the Collection des Vélins, of the Muséum national d’histoire naturelle in Paris.170 Gerard van Spaendonck, Flowers in a basket on an alabaster pedestal next to a vase with a bronze mount (Fig. 9.48) Canvas, 117 x 97 cm, signed and dated lower left in brown: G. Van Spaendonck.1785. Musée National du Château de Fontainebleau, Fontainebleau, inv. no. 1854.171 1 Cabbage Rose 2 Peony 3 Auricula 4 Poppy Anemone 5 Pot Marigold 7 Stock 8 Opium Poppy 9 Opium Poppy 10 Hyacinth 11 Blunt Tulip 12 Rape 13 Hollyhock 14 German Flag Iris 15 Great Burnet 16 New England Aster

Rosa x centifolia Paeonia officinalis plena rosea Primula x pubescens coeruleo-alba Anemone coronaria rosea Calendula officinalis Matthiola incana duplex Paeonia officinalis rubra plena Paeonia officinalis (lilacina) plena Hyacinthus orientalis duplex Tulipa mucronata f. obtusa Brassica napus Alcea rosea Iris germanica Sanguisorba officinalis Aster novae-anglicae

168 Blunt 1950, p. 176. 169 Segal in ‘s-Hertogenbosch 1980-81, pp. 104, no. 8a, Fig. 7. 170 For the biography and oeuvre of Gerard (and Cornelis) van Spaendonck see Van Boven & Segal 1980 (‘s-Hertogenbosch 1980-81), Jonkman 2017; ‘s-Hertogenbosch 2019 and the Segal Still Life Documentation at the RKD, The Hague. 171 Provenance: collection of King Louis XVI ca. 1785. Exhibitions & literature: Deloynes in Journal de Paris, 14 (1785) no. 350, p. 827; presumably Salon du Louvre 1787, no. 64; Lossky 1967; Mitchell 1973, p. 228; Paris, Detroit & New York 1974-75, no. 168; Faré & Faré 1976, p. 305, no. 489; Faré & Faré in Bergström 1977/79, p. 136, Fig. 130; Berrall 1953 (1978), p. 61, Fig. 63 (erroneously stating that Van Huysum was Van Spaendonck’s teacher); Segal in ’s-Hertogenbosch 1980-81, pp. 101-102, no. 6, Fig. 6, with identifications; Huys Janssen in ‘s-Hertogenbosch 2019, n.p., no. 12. The catalogue of the Salon reports larger dimensions calculated according to French sizes (ca. 138 x 113.5 cm), presumably including the frame.

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Fig. 9.48 Gerard van Spaendonck, Flowers in a basket on an alabaster pedestal next to a vase with a bronze mount, dated 1785, canvas, 117 x 97 cm, Musée National du Château de Fontainebleau, Fontainebleau. 716 |

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17 Pale Iris 18 Hyacinth 19 Poppy Anemone 20 False Larkspur 21 Peony 22 Wood Forget-me-not 23 Lilac

Iris pallida Hyacinthus orientalis albus plenus Anemone coronaria pseudoplena albo-rosea Consolida ajacis Paeonia officinalis plena Myosotis silvatica Syringa vulgaris

A Marbled White Butterfly B Small Copper Butterfly C Pale Clouded Yellow Butterfly d Caterpillar e Beetle f Ant g Ladybird h Chaffinch and Bird’s Nest with four Chicks

Melanargia galathea Lycaena phlaeas Colias hyale Lepidoptera spec. Selatosomus aeneus (?) Formicidae spec. Coccinellidae spec. Fringilla coelebs

In the painting light falls from a source to the left along the foreground and penetrates all the way to the background on the right. The marble balustrade has been rendered in reddish brown with grey. The spherical agate vase is held up by a bronze, or possibly gilt, mount on three little feet decorated above with female figures as caryatids, which wrap around the vase with gazes fixed outwards. The vase has been filled solely with Roses of a single species. The decoration on the pedestal shows a priestess holding a torch above a round altar while with her left hand she holds an offering, which seems to be for the god Eros, the youthful male figure with wings holding a quiver with arrows. On the side of the pedestal in shadow we can indistinctly make out the figures of a mother and child. Possibly there is some relation between the bird caring for its young and the scene represented on the pedestal. In the Salon’s record book for 1785 the work is listed as ‘Pour le Roi’; however, it was not immediately exhibited at this venue. According to Deloynes the painting was not completely finished in time for the opening. A restoration report states that the flower piece hung in Fontainebleau from 1785 on, but in the nineteenth century it also hung for a time in the Ministry of Foreign Affairs.172 In any case, in 1841 the work was hanging in a bedroom at Fontainebleau, and, according to Lossky, in 1869 in the hall leading to the master bathroom. Gerard van Spaendonck, A basket with flowers and an alabaster urn on a marble pedestal (Fig. 9.49) Canvas, 99.6 x 81.2 cm, signed and dated lower right in brown: G. Van Spaendonck. 1787 Private collection.173 1 Small Morning Glory 2 Auricula 3 Peony 4 White Rose 5 Poppy Anemone 6 Poppy Anemone 7 Hyacinth 8 Bladder Senna 9 Rose of Sharon 10 Pot Marigold 11 Opium Poppy 12 Hyacinth 13 Hyacinth 14 Peony

Convolvulus tricolor Primula x pubescens coerulea Paeonia officinalis subplena salmonea Rosa x alba Anemone coronaria pseudoplena violacea Anemone coronaria pseudolena albo-rosea Hyacinthus orientalis plenus pallidocoeruleus Colutea arborescens Hibiscus syriacus Calendula officinalis plena Papaver somniferum plenum rubrum Hyacinthus orientalis plenus lilacinus Hyacinthus orientalis plenus atrocoeruleus Paeonia officinalis plenus

172 Paris, Louvre, inv. no. MR 2596. 173 Provenance: collection of the Duc d’Artois (brother of King Louis XVI), bought from the artist in 1787; collection of Irene and Salomon R. Guggenheim; donated to the R. Guggenhein Foundation; Sotheby’s, London, 11 July 1962, no. 10; Leonard Koetser Gallery, London; sale Knight, Frank & Autley, London, 13 October 1965, no. 154; private collection of U.S. Industries Inc., Great Britain Ltd.; Christie’s, London, 22 April 1966, no. 57 (unsold); Wildenstein Gallery, New York 1967; private collection, France; Christie’s, Monaco, 3 April 1987, no. 66; French & Co. Gallery, New York; collection of Wendell Cherry, U.S.A.; Sotheby’s, New York, 19 September 1994, no. 129; Sotheby’s, New York, 22 January 2004, no. 123 (unsold). Exhibitions & literature: Salon du Louvre, Paris, 1787, no. 85; Mercure de France, September 1787; Faré & Faré 1976, p. 309; Segal in ‘s-Hertogenbosch 1980-81, pp. 198-199, no. 159; Paris 1988, p. 73; Segal in Osaka, Tokyo & Sydney 1990, p. 246, Fig. 70b; Segal in Delft & Houston 2006-07, pp. 336-337, no. C14.

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Fig. 9.49 Gerard van Spaendonck, A basket with flowers and an alabaster urn on a marble pedestal, dated 1787, canvas, 99.6 x 81.2 cm, private collection. 718 |

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15 White Melilot 16 Auricula 17 Angel Wings 18 Corn Poppy 19 Tolpis 20 Hyacinth 21 Cabbage Rose 22 Garden Nasturtium

Melilotus alba Primula x pubescens indigofera Schizanthus cf. wisetonensis Papaver rhoeas Tolpis barbata Hyacinthus orientalis plenus alborosescens Rosa x centifolia Tropaeolum majus

A Clouded Yellow Butterfly B Small Heath Butterfly Plus five species of other insects

Colias croceus Coenonympha pamphilus

A basket of flowers has been placed on a brown and grey marble pedestal, its upper portion decorated with a framed band showing floral roundels in a double interlaced looped ribbon. Next to the flower basket is an alabaster urn with a lid on a cylindrical marble pedestal decorated with the scene of an ancient offering performed by three priestesses before a herm, one of them holding a vessel. The upper rim of the pedestal is decorated with garlands between mascarons with goat heads, and above that a tiny ring in egg-and-dart design. The vase is partially ornamented with gilt mounts, with two handles in gilt bronze in the form of mermaids. The painting has been completely adapted to the French style in furnishings and the decorative arts of the period: a classicism tending towards empire style. Here the relief sculptures have now more or less been transferred to the pedestals or other decorative elements and are no longer seen on the facing side of a balustrade or architectural component, as was mostly the case in the seventeenth century, or on vases, as in the works by Jan van Huysum. The offering with priestesses may remind us of the nymphs in the landscapes of Jan van Huysum, but really derives from a French tradition. The Angel Wings is a Schizanthus species from Chile, but according to the botanical literature these only started to be imported in 1822. Colour prints after this painting were made by Antoine Chazal for his Flore pittoresque, published in Paris about 1820.174 The painting was popular with other artists: there are a number of copies known from the eighteenth and nineteenth centuries made either directly, or from the print.175 Gerard van Spaendonck, Flowers in a basket with an ornamental vase (Fig. 9.50) Body colour on paper, ø 8.1 cm, signed lower centre in black: G. van Spaendonck Private collection.176 1 Cabbage Rose 2 Small Morning Glory 3 White Rose 4 Golden Narcissus 5 Poppy Anemone 6 Poppy Anemone 7 Bizarde Tulip 8 Hyacinth 9 Peony 10 Columbine 11 Stock 12 Hyacinth 13 Auricula

Rosa x centifolia Convolvulus tricolor Rosa x alba semiplena Narcissus tazetta subsp. aureus Anemone coronaria pseudoplena albo-rosea Anemone coronaria pseudoplena albo-coerulea Tulipa mucronata alba x T. undulatifolia Hyacinthus orientalis plenus albus Paeonia officinalis subplena alba Aquilega vulgaris plena Matthiola incana plena pallida Hyacinthus orientalis semiplenus Primula x pubescens rufa

a Greenfinch with Worm in its Beak and a Bird’s Nest with Chicks

Chloris chloris

174 Provenance: Rachel Mellon Collection, Upperville; Sotheby’s, New York, 23 January 2003, no. 87. Literature: Segal in ‘s-Hertogenbosch 1980-81, pp. 188-189, no. 137-4, Fig. 40. 175 See further the Segal Still Life Documentation at the RKD, The Hague. 176 Provenance: John Mitchell Gallery, London 1981; collection of James Dawson, Corpus Christi (Texas); Otto Naumann Gallery, New York 1989; Sotheby’s, New York, 30 January 2014, no. 140. Literature: Segal in ‘s-Hertogenbosch 1980-81, p. 123, no. 65a.

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Fig. 9.50 Gerard van Spaendonck, Flowers in a basket with an ornamental vase, body colour on paper, ø 8.1 cm, private collection.

This is a complete, fairly complex, yet delicate, flower piece, which has been painted in a small format with great finesse. The flowers are also in a basket placed on a rococo table similar in shape to the marble pedestal in A basket with flowers and an alabaster urn (Fig. 9.49). The alabaster vase has a gilt mount and is decorated in bas-relief with playing putti. The same bas-relief design appears again on a console in a large flower piece by Gerard van Spaendonck of 1783 in the Rijksmuseum in Amsterdam.177 In the painting of miniatures showing complete compositions, just as we would find on a canvas of substantial dimensions, Gerard van Spaendonck was a master of unparalleled artistry. This gave him a considerable following among later artists.

Cornelis van Spaendonck

Cornelis van Spaendonck was born in Tilburg in 1756. In 1773 he was apprenticed to Willem Jacob Herreyns for a short while in Antwerp. Herreyns had also trained Cornelis’s brother Gerard, who was ten years his senior. In that same year Cornelis departed for Paris where his brother Gerard made him proficient in painting flowers and fruit, and also ensured that he received several commissions. In 1789, eight years after Gerard’s appointment, Cornelis was similarly made a member of the Académie Royale de Peinture et de Sculpture. He exhibited at the Salons at the Louvre from 1789 through to 1833, and so participated even when he had reached an advanced age. From 1795 through to 1800 Cornelis took up the task of running the world-famous porcelain company Sèvres, supplying designs for the manufac177 Canvas, 81 x 65 cm, Amsterdam, Rijksmuseum, inv. no. SK-A-5052; Segal in ‘s-Hertogenbosch 1980-81, p. 198, no. 152.

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ture of these luxury objects until 1808. Later he was engaged as an advisor for the firm. Cornelis van Spaendonck died in Paris in 1839. Just like his brother Gerard he remained unmarried. The work of this artist consists of flower pieces and a few fruit pieces, miniatures, and drawings. He signed his name in the French style Corneille Van Spaendonck. Dated work is known from 1789 through to 1833. Flower pieces by Cornelis van Spaendonck, sometimes with a small bird, may be found in the following museum collections: 1789, in the Musée du Louvre in Paris and the Fitzwilliam Museum in Cambridge (two); 1791, in the Villa Vauban in Luxembourg; 1806 and 1827, in the Musée des Beaux-Arts in Lyon; 1808, in the Musée des Beaux-Arts in Carcasonne; and 1812, in the Museum Smidt van Gelder in Antwerp. Undated works are currently in the Fitzwilliam Museum in Cambridge and the Noordbrabants Museum in ’s-Hertogenbosch. Miniatures are included in the collections of the Fitzwilliam Museum in Cambridge (two), and the Musée des Arts Décoratifs and Musée Cognacq-Jay in Paris. A painting on porcelain is currently in the collection of the Manufacture nationale de Sèvres near Paris.178 Cornelis van Spaendonck, Flowers in a basket (Fig. 9.51) Canvas, oval, 47.6 x 38.1 cm, signed and dated lower left in black with yellow: Corneille van / Spaendonck. 1789. The Fitzwilliam Museum, Cambridge, inv. no. PD 89-1973.179 1 Cabbage Rose 2 Love-in-a-mist 3 Austrian Copper (Briar) 4 Harebell 5 Pot Marigold 6 Mock Orange 7 Bizarde Tulip 8 False Larkspur 9 Hollyhock 10 Great Knapweed 11 Auricula 12 Poppy Anemone 13 Small Morning Glory

Rosa x centifolia Nigella damascena Rosa foetida cv. Bicolor Campanula rotundifolia Calendula officinalis Philadelphus coronarius Tulipa mucronata lutea x T. undulatifolia Consolida ajacis duplex Alcea rosea plena alba Centaurea scabiosa Primula x pubescens violacea Anemone coronaria pseudoplena Convolvulus tricolor

a Gold Wasp B Large Copper Butterfly C Dark Green Fritillary Butterfly d Housefly e Yellow Meadow Ant (2x) f Carrion Beetle g Wood Carabid

Chrysis ignita Lycaena dispar batava Speyeria aglaja Musca domestica Lasius flavus Necrophorus vespilloides Carabus nemoralis

The Dutch subspecies of Large Copper Butterfly is endemic and only survives in a small area between northwest Overijssel and southeast Friesland, but must have been much more common in marshy areas in the Netherlands in the eighteenth century.180 The pendant to this painting displays a crosswise woven basket with flowers laid against a split Pomegranate, set next to a bird’s nest with eggs and a Goldfinch (Carduelis carduelis) (Fig. 9.52).181

178 For the biography and oeuvre of Cornelis (and Gerard) van Spaendonck see Van Boven & Segal 1980 (‘s-Hertogenbosch 1980-81); ‘s-Hertogenbosch 2019 and the Segal Still Life Documentation at the RKD, The Hague. 179 Provenance: collection of Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge), donated to the museum in 1973. Exhibitions & literature: probably (with the pendant) at the Salon du Louvre 1789, nos 669 and 673; Grant 1952, p. 78, no. 123; Segal in ’s-Hertogenbosch 1980-81, pp. 109-110, no. 14; Mitchell in London 1993, pp. 48-49, no. 21B. 180 This identification has been confirmed by butterfly expert Frits Bink in a special study devoted to this species (Bink 1972). 181 Cambridge, The Fitzwilliam Museum, inv. no. PD 90-1973; Segal in ‘s-Hertogenbosch 1980-81, pp. 110-111, no. 15, with identifications. After a design with a somewhat simplified composition and on Sèvres porcelain, see Segal in ‘s-Hertogenbosch 1980-81, pp. 192-193, nos 143 and 143b. A closely related miniature: Segal in ‘s-Hertogenbosch 1980-81, p. 144, no. 66a. Several copies or variants are extant with the false signature G. van Spaendonck; see the Segal Still Life Documentation at the RKD, The Hague.

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Fig. 9.51 Cornelis van Spaendonck, Flowers in a basket, dated 1789, canvas, oval, 47.6 x 38.1 cm, The Fitzwilliam Museum, Cambridge, pendant of Fig. 9.52.

Fig. 9.52 Cornelis van Spaendonck, Flowers in a basket, dated 1789, canvas, oval, 47.6 x 38.1 cm, The Fitzwilliam Museum, Cambridge, pendant of Fig. 9.51.

Willem van Leen

Willem (Wilhemus) van Leen was born in 1753 in Dordrecht. He received instruction there from three masters: Jan Arends (1738-1805), Dirk Kuipers (1733-1796) and Joris Ponse (1723-1783). In 1773 he left for Paris in order to receive further training from Gerard van Spaendonck. In 1789 he returned to Holland and took up residence in Delfshaven near Rotterdam, where he had a number of apprentices. In addition to being an artist, he was also an art dealer and an auctioneer. Willem van Leen died in 1825 in Delfshaven. Van Leen painted and made drawings of flower and fruit pieces, sometimes with a living or a dead bird, also in the form of miniatures, as well as a few hunting still lifes in the style of Jan Weenix (16421719). He also painted several large interior pieces and made two series of flowers consisting of six prints in each set.182 Dated work is known from 1779 through to 1821. Van Leen’s paintings often have more in common with those of Jan van Huysum than those of his master Gerard van Spaendonck, but they are less refined. Remembrances of the time spent under the instruction of Joris Ponse are evident in the ribbed plinths and stone table-tops in his works. Flower pieces by Willem van Leen are presently found in the following public collections: 1789, in the Cultural Heritage Agency of the Netherlands; 1793, in the Villa Vauban in Luxembourg; 1794, in Musée des Beaux-Arts in Quimper; 1795 and 1805, in the Dordrechts Museum; 1797, in the Amsterdam Museum (a work honouring Jan van Huysum); 1803, in the Museum Hoeksche Waard in Heinenoord; 1806, in Museum Boijmans Van Beuningen in Rotterdam, Musée des Beaux-Arts in Bordeaux, the Fitzwilliam Museum in Cambridge, and the Metropolitan Museum in New York (pendants).183 182 Ge-ëtste Bloemen, door W: van Leen. en gecouleurt door J.C. & A. Coebergh, Delfshaven 1801 and 1804. 183 For Van Leen see Scheen 1981, p. 308; Dordrecht 1986, pp. 38-49; Corstens, Jurjens, Spliethoff et al. 2004a; Van Peperstraten-Willekens 2002.

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Willem van Leen, Flowers in a marble vase with a bird’s nest (Fig. 9.53) Canvas, 73 x 60.5 cm, signed and dated lower right in grey: VAN LEEN fecit 1789. and higher up on the plinth in brown: Van Leen ft. Cultural Heritage Agency of the Netherlands, inv. no. NK2151 on loan to the Noordbrabants Museum, ‘s-Hertogenbosch.184 1 Snake’s Head Fritillary 2 Poppy Anemone 3 Love-in-a-mist 4 Dahlia 5 Cabbage Rose 6 White Rose

Fritillaria meleagris Anemone coronaria pseudoplena albo-rosea Nigella damascena semiplena Dahlia variabilis violacea Rosa x centifolia Rosa x alba

Fig. 9.53 Willem van Leen, Flowers in a marble vase with a bird’s nest, dated 1789, canvas, 73 x 60.5 cm, Cultural Heritage Agency of the Netherlands on loan to the Noordbrabants Museum, ‘s-Hertogenbosch.

184 Provenance: Frederik Muller Gallery, Amsterdam; P. de Boer Gallery, Amsterdam; collection G. Paffrath, Düsseldorf. Exhibitions & literature: Segal in Osaka, Tokyo & Sydney 1990, pp. 118, Fig. 71, 247-248, no. 71.

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7 Bladder Campion 8 Forget-me-not 9 Pot Marigold 10 Auricula 11 Peony 12 Musk Rose 13 Tazetta Narcissus 14 Hyacinth 15 Carnation 16 Bizarde Tulip 17 Poppy Anemone 18 Hedge Bedstraw 19 Crown Imperial 20 False Larkspur 21 False Larkspur 22 Poppy Anemone 23 Turban Buttercup 24 Sulphur Rose 25 Auricula 26 Peony 27 Spreading Bell-flower

Silene vulgaris Myosotis palustris Calendula officinalis Primula x pubescens fulva Paeonia officinalis plena alba Rosa moschata plena Narcissus tazetta Hyacinthus orientalis plenus albus Dianthus caryophyllus plenus bicolor Tulipa mucronata lutea x T. undulatifolia Anemone coronaria pseudoplena coerulea Galium mollugo Fritillaria imperialis Consolida ajacis semiplena (coerulea) Consolida ajacis subplena violacea Anemone coronaria pseudoplena salmonea Ranunculus asiaticus subplenus ruber Rosa hemisphaerica Primula x pubescens lavandula Paeonia officinalis plena Campanula patula

a (Dunnock?) Nest and Eggs B Blue Butterfly C Small White Butterfly d Early Bumblebee e Garden Chafer Beetle f Rose Scale g Southern Wood Ant h Caterpillar i Garden Snail

Prunella modularis Lycaenidae spec. Pieris rapae Bombus pratorum Phyllopertha horticola Aulacaspis rosae Formica rufa Lepidoptera spec. Cepaea hortensis

Marble vases are characteristic of Gerard van Spaendonck and his followers. There is an underdrawing of the architectural background and the marble balustrade in black chalk with straight perspective lines. Some species featured in this 1789 painting deserve further research. I have not seen a Dahlia in any other paintings before 1820, but the species had been sighted in Mexico as early as 1575, although it was only given its first illustration in 1651. Exactly when and where this species was imported into Europe (probably Spain) is unknown, but probably not before 1780 and according to the botanical literature after 1790. This work, painted in Paris or in Holland, was therefore possibly the first illustration of the Dahlia since 1651.185 Bladder Campion (Silene vulgaris) and Hedge Bedstraw (Galium mollugo) are species native to the Netherlands.

Christiaan van Pol

Christiaan van Pol was born in 1752 in Berkenrode near Haarlem. He learned to paint in Antwerp. In 1782 he went to Paris where he trained with, and became the friend of, Jan Frans van Dael. Van Pol painted flower and fruit pieces, sometimes with a bird, occasionally in watercolour, as well as miniatures for snuffboxes and bonbonnières. Flower studies on canvas by Van Pol have also been preserved. He made designs for tapestries and worked with Van Dael on decorations for the palaces of Bellevue, Chantilly and Saint-Cloud. Christiaan van Pol exhibited his work in the Salons from 1791 through to 1810. He died in Paris in 1813.186 Dated work is known from 1780 through to 1813. His flower pieces are usually simpler than those of Van Spaendonck and Van Dael. Flower pieces, frequently with fruit, are currently found in the Fitzwilliam Museum in Cambridge (miniatures), the Musée des Beaux-Arts in Chartres, the Musée Fabre in Montpellier, the Musée des Beaux-Arts d’Orleans, and the Philadelphia Museum of Art. 185 The 1575 sighting of the flower by Francisco Hernández de Toledo, personal physician to King Philip II of Spain, is recorded in Rerum Medicarum Novae Hispaniae thesaurus, first published in 1628 without illustration, and thereafter in 1651 with illustration. 186 The most important source for Van Pol is Van Eijnden & van der Willigen 1816-40, II, pp. 388-393. See also Scheen 1981, p. 405 and Faré & Faré 1976, pp. 312-315.

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Christiaan van Pol, Flowers in a French mug (Fig. 9.54) Panel, 32.6 x 24 cm, signed lower right in black with greyish white: Van Pol Private collection.187 1 2 3 4 5

Cabbage Rose Pot Marigold White Rose French Marigold French Rose

A Large Heath Butterfly B Cream-spot Tiger Moth

Rosa x centifolia Calendula officinalis Rosa x alba Tagetes patula Rosa gallica plena Coenonympha tullia Arctia villica

The pendant shows a Cabbage Rose, two Tulips, an Auricula and an Honesty in a simple drinking glass, with a Small Tortoiseshell Butterfly.188

Fig. 9.54 Christiaan van Pol, Flowers in a French mug, panel, 32.6 x 24 cm, private collection. 187 Provenance: Fraisse & Jabot, Tours, 8 October 1995, with pendant; Richard Green Gallery, London, with pendant. Literature: catalogue Richard Green 1996, no. 40, with pendant. 188 Panel, 32.6 x 24 cm, private collection; catalogue Richard Green 1996, no. 40, with pendant.

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Fig. 9.55 Nicolaas Frederik Knip I, Flowers in a marble vase with fruit and a bird’s nest with eggs, dated 1788, panel, 49.5 x 36.7 cm, whereabouts unknown. 726 |

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Nicolaas Frederik Knip I

Nicolaas Frederik Knip I was born in Nijmegen in 1741. In 1772 he settled in Tilburg and in 1787 in ‘s-Hertogenbosch, where he remained until his death in 1808. About 1795 he went blind. Nicolaas Frederik taught his sons to paint – Josephus Augustus (1777-1847), Mattheus Derk (1785-1845) and Frederik Willem (1788-1821) – as well as his daughter, Henriëtte (1783-1842). Initially he painted and designed wallpaper, but later made landscapes, as well as flower and fruit pieces, the flower pieces usually with fruit and sometimes with musical instruments. A flower piece with fruit, musical instruments and books is currently in the Amsterdam Museum. Dated works are known from 1788 through to 1791.189 Nicolaas Frederik Knip I, Flowers in a marble vase with fruit and a bird’s nest with eggs (Fig. 9.55) Panel, 49.5 x 36.7 cm, signed and dated lower right: Fn Knip / 1788 Whereabouts unknown.190 Cabbage Rose Quince blossom Sweet William Lilac Auricula (2 varieties)

Rosa x centifolia Cydonia oblonga Dianthus barbatus Syringa vulgaris Primula x pubescens

On the marble table: Strawberries and Redcurrants, plus a Bird’s Nest with five Eggs

Several other flower pieces by this artist exhibit a very similar French marble vase on a high foot.191

Josephus Augustus Knip

Josephus Augustus Knip was born in Tilburg in 1777. He learned to paint from his father, Nicolaas Frederik Knip I, and just like his father began as a painter and designer of wallpaper. He focused on the same subjects as his father, but additionally painted and made drawings of landscapes and animals. He learned engraving from Joachim Jan Oortman (1777-1818). Starting in 1801, Josephus spent several years in Paris studying with Gerard van Spaendonck. In 1808 he married the Parisian Pauline Rifer de Courcelles (1781-1851), who produced many watercolours of birds for luxury publications in book form, and from whom he was divorced in 1824. From 1809 through to 1812 he was working in Rome and Naples. After returning to the Netherlands, he moved from city to city: Amsterdam, The Hague, Beek (near Nijmegen), and then back to Paris. In 1832 he went blind, just like his father before him. From 1836 on he lived in ‘s-Hertogenbosch and from 1840 in the town of Berlicum nearby, where he died in 1847. Dated flower pieces with fruit are known from 1800 through to 1812. The Museum Boijmans Van Beuningen in Rotterdam has a flower study in its collection. The Amsterdam Museum formerly had in its possession a flower piece, but it was lent out to a technical school and went missing.192

Cornelis Johannes Schaalje

Cornelis Johannes Schaalje (family name Schalie) was born in The Hague in 1748. In 1772 he married Maria Banning in Amsterdam, with whom he had at least two children. In 1789 he became a citizen of Leiden, where he died in 1807. Dated flower pieces are known from between 1790 and 1806 (he was presumably late in developing his interest in this genre of painting). Two overdoor paintings of 1790 are presently in a townhouse in Leiden at Nieuwe Rijn 12, and pendants executed in 1803 are in the Historisches Museum der Pfalz in Speyer (Fig. 9.56).193

189 For further details on the life and oeuvre of Nicolaas Frederik Knip I see Scheen 1981, p. 274 and ‘s-Hertogenbosch 1988. 190 Provenance: Old Master Galleries, Herners Werngraf, London 1970; sales Paris, 9 December 1970, no. 17; Sotheby’s, London, 13 June 1973, no. 45. Exhibition: Tokyo 1969, no. 29. The identification has been made from the black-and-white photographic reproduction. 191 For example: canvas, 72 x 69 cm, Hoogsteder Gallery, The Hague 1975. 192 Unfortunately, the photograph, which I was able to make of it in 1975, can now also no longer be located. For further details on the life and oeuvre of Josephus Augustus Knip see Scheen 1981, p. 274; ‘s-Hertogenbosch 1977 and ‘s-Hertogenbosch 1988. 193 For further details on the life and work of Schaalje see Scheen 1981, p. 452 and the Segal Still Life Documentation in the RKD, The Hague.

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Cornelis Johannes Schaalje, Flower piece with a bird’s nest in a niche (Fig. 9.56) Panel, 49.5 x 37 cm, signed and dated lower right in ochre (on a dark ground): Cn Js Schaalje. f / 1803 (with a double underline below the superscript ‘n’ and ‘s’) Historisches Museum der Pfalz, Speyer, inv. no. HM 33.194 1 2 3 4

Small Morning Glory Provins Rose White Rose Corn Buttercup

Convolvulus tricolor Rosa x provincialis Rosa x alba duplex Ranunculus arvensis

Fig. 9.56 Cornelis Johannes Schaalje, Flower piece with a bird’s nest in a niche, dated 1803, panel, 49.5 x 37 cm, Historisches Museum der Pfalz, Speyer. 194 Provenance: Heydenreich Collection, City of Speyer, with pendant. The pendant, inv. no. HM 34, is also signed and dated. It shows fruit set before a flat marble background, including grapes, a peach, apricots, plums, a pineapple, and a melon, plus a Hollyhock.

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5 French Marigold 6 English Iris 7 Persian Tulip 8 Apple blossom 9 Marguerite 10 False Larkspur 11 Poppy Anemone 12 Pot Marigold 13 Auricula 14 Poppy Anemone 15 Peony

Tagetes patula Iris latifolia Tulipa clusiana Malus sylvestris Leucanthemum vulgare Consolida ajacis Anemone coronaria Calendula officinalis Primula x pubescens rubra Anemone coronaria pseudoplena albo-rosea Paeonia officinalis plena

A Small White Butterfly b Earth Bumblebee c Bird’s Nest with five Eggs

Pieris rapae Bombus terrestris Aves spec.

A solid marble ochre-coloured vase with flowers has been set in the partially visible broad arch of a niche with dark veining. At the base to the right is a bird’s nest made of dried grasses with five eggs. What is striking in this piece is the heavy dark greyish blue shadow (a cloth?) in the foreground at the right. Several flowers, including the Tulip and Peony, appear in almost the exact same position in a flower piece of 1806.195 The influence of Jan van Os can be detected in the work presented here.

Jan Evert Morel I

Jan Evert Morel I was born in Amsterdam in 1769. He was apprenticed to Dirk van der Aa and Jacobus Linthorst, and worked for the firm of Jan Hendrik Troost van Groenendoelen in the design and production of wallpaper, as well as decorative work for another one of his masters, the carriage painter Dirk van Dijl (1742-1814). Morel painted flower pieces in oils and watercolours, also with fruit, and made drawings of landscapes, in addition to portraits. He was a member of the drawing society Kunst zij ons doel (‘Art is our goal’). Jan Evert Morel died in Amsterdam in 1808. Morel included many native species in his flower pieces just like Jan van Huysum and his followers, but he also depicted twigs with catkins and alder cones, which was unique at the time. Morel also painted new exotic plants which had just been imported. Dated work is known from 1800 through to 1806. His later paintings seem to have been influenced by Gerard van Spaendonck, which may be seen in the inclusion of marble and other types of French vases that were à la mode, as well as several Van Spaendonckspecies, such as the China Aster (Callistephus chinensis). A work dated 1800 is currently in the Museum of Fine Arts in Boston; what is probably an early painting is in the Rijksmuseum in Amsterdam; and an undated work is in the collection of Graf von Schönborn at Schloss Weissenstein in Pommersfelden.196 Jan Evert Morel I, Flowers in a marble vase (Fig. 9.57) Panel, 79 x 58.5 cm, signed lower right in brown: J. E. Morel ft / Amsterdam ~ (with a double underline below the superscript ‘t’) Cultural Heritage Agency of the Netherlands, inv. no. B116 on loan to the Rijksmuseum, Amsterdam, inv. no. SK-A-1083.197 1 Baguette Tulip 2 Hyacinth 3 China Aster 4 Small Morning Glory 5 Few-flowered Lily 6 Peony 7 French Rose 8 White Rose 9 False Larkspur 10 Horse Chestnut

Tulipa mucronata x T. undulatifolia Hyacinthus orientalis plenus laxus Callistephus chinensis Convolvulus tricolor Lilium bulbiferum var. croceum Paeonia officinalis plena Rosa gallica semiplena Rosa x alba Consolida ajacis Aesculus hippocastanum

195 Panel, 43 x 33 cm; Sotheby’s, New York, 11 January 1996, no. 170. 196 For further details on the life and oeuvre of Jan Evert Morel I see Van Eijnden & van der Willigen 1816-40, II, pp. 475-476; Scheen 1981, p. 358 and the Segal Still Life Documentation in the RKD, The Hague. 197 Provenance: Cultural Heritage Agency of the Netherlands. Exhibitions & literature: Moes & Van Biema 1909, pp. 162, 226; Scheen 1946, I, p. 213, II, Pl. 170; Segal in Amsterdam 1970, n.p., no. 15, with identifications; Mitchell 1973, pp. 179-180, Fig. 247; Van Thiel 1976, p. 398; Scheen 1981, p. 358, Pl. 52.

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Fig. 9.57 Jan Evert Morel I, Flowers in a marble vase, panel, 79 x 58.5 cm, Cultural Heritage Agency of the Netherlands on loan to the Rijksmuseum, Amsterdam. 730 |

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11 Snowball 12 Austrian Briar 13 Lilac 14 Broom 15 Auricula 16 Auricula 17 Bizarde Tulip 18 Auricula 19 Apple blossom 20 Cockscomb 21 Golden Narcissus 22 Hyacinth 23 Daisy blossom foliage 24 Crown Imperial 25 Opium Poppy 26 Honeysuckle 27 Carnation 28 English Iris 29 Alpine Gentian 30 Meadow Grass

Viburnum opulus cv. Roseum Rosa foetida Syringa vulgaris Cytisus scoparius Primula x pubescens violacea Primula x pubescens rubra Tulipa mucronata x T. undulatifolia Primula x pubescens coerulea Malus sylvestris Celosia cristata Narcissus tazetta subsp. aureus plenus Hyacinthus orientalis plenus Senecio cruentus Fritillaria imperialis Papaver somniferum roseum Lonicera periclymenum Dianthus caryophyllus plenus Iris latifolia Gentiana clusiana Poa pratensis

a Hoverfly b Yellow Meadow Ant (x6) c Earth Bumblebee d Housefly E Poplar Hawk Moth F Large White Butterfly

Syrphidae spec. Lasius flavus Bombus terrestris Musca domestica Laothoe populi Pieris brassicae

Jan Evert Morel I, Exotic flowers (Fig. 9.58) Panel, 73 x 55 cm, signed and dated at the lower centre in red brown: J. E. Morel, fecit. 1805 Private collection.198 1 Blue Passion Flower 2 Violet Ice Plant 3 Cone Flower 4 Powder Puff 5 Sweet Bay Magnolia 6 Bigleaf Hortensia 7 Cockspur Coral Tree 8 Canterbury Bell 9 Iberian Iris 10 Iberian Iris 11 Tree Germander 12 Dark Scabious 13 Propeller Plant 14 Edging Lobelia 15 Indian Shot 16 Amaryllis 17 Crown Daisy 18 Alpine Squill 19 Camellia 20 Ivy Geranium 21 Dog’s Tooth Violet 22 Carrion flower 23 Cypress Vine

Passiflora coerulea Brazil-C. America Mesembrianhemum cf. violaceum S. Africa Rudbeckia laciniata N. America Haemanthus albiflos S. Africa Magnolia cf. virginiana S.E. U.S. Hydrangea macrophylla S.E. Japan Erythrina crusta-galli S. America Campanula medium S. Europe Iris iberica alba S. Europe-W. Asia Iris iberica (coerulea) S. Europe-W. Asia Teucrium fruticans Mediterranean Scabiosa atropurpurea pallida S. Europe Crassula cf. falcata S. Africa Lobelia erinus S. Africa Canna indica S. America Amaryllis belladonna C. Africa Chrysanthemum carinatum Morocco Scilla bifolia Alps Camellia japonica E. Asia Pelargonium peltatum S. Africa Erythronium dens-canis S. Europe-E. Asia Orbea variegata S. Africa Ipomoea quamoclit Trop. America

A B C D e

Parnassius apollo C. Europe-C. Asia Baeotus baeotus Trop. America Dryas iulia Trop. America-S. U.S. Papilio machaon Europe Cerambyx cerdo Europe

Apollo Butterfly Spotted Butterfly Orange Longwing Butterfly Swallowtail Butterfly Great Capricorn Beetle

198 Provenance: Jutheau, Paris, 15 November 1983, no. 27b, with pendant 27a of 1804; John Mitchell & Son Gallery, London 1984; Christie’s, New York, 23 January 1998, no. 44, with pendant.

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Among the flowers represented here are a large number of species that were only imported into botanical gardens in Europe at the end of the eighteenth century, some of which were cultivated. To my knowledge the species nos 2, 4 through to and including 7, 13, 14, 22, as well as A and B do not appear in earlier flower pieces, and nos 1, 3, 11, 15, 17, 19, 20, 23 only rarely. Camellia became very popular in the art and culture of the nineteenth century. The pendant displays forty-four species of plants of which only thirteen species occur in earlier flower pieces (but are usually quite rare), in addition to two butterflies, that are unknown in other flower pieces.199 Such paintings herald a new mode of flower piece with renderings of exotic species, that had often only reached Europe for the first time a short while before. Most painters of exotics, such as Georgius Jacobus Johannes van Os, were born after 1780.

Fig. 9.58 Jan Evert Morel I, Exotic flowers, dated 1805, panel, 73 x 55 cm, private collection. 199 Panel, 73 x 55 cm, dated 1804, Christie’s, New York, 23 January 1998, no. 44, with pendant. For a complete overview see the Segal Still Life Documentation at the RKD, The Hague.

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

Other Painters of the Northern Netherlands This section is devoted to the artists and amateur painters who were born not later than 1780, arranged in alphabetical order, with the further inclusion of artists, who were active in the eighteenth century, in whose work some influence of the tradition can be discerned, even though their work increasingly defines itself by independence from their predecessors. The early nineteenth century was a transitional period when artists, who were still working in the style of the eighteenth century, produced works that reveal the influence of Jan van Huysum, Jan van Os and Gerard van Spaendonck, either directly or indirectly at least to some degree, although this influence might also be more pronounced. Simultaneously, innovations begin to appear, such as the drive to incorporate new exotic species, or to set flowers in what would be considered their natural environment (usually a garden), as well as the first visible signs of the influence of romanticism. Most of the works in this section are known to me only from reproductions or photographic images.

Adrianus Apol

Adrianus Apol was born in 1780 in Breda and died there in 1862. He worked as a varnisher of paintings and dealer in galanteriewaren (knick-knacks), and in addition painted flower and fruit pieces and made drawings. Apol exhibited flower pieces and still lifes in Amsterdam in 1846 and in Zwolle in 1847. A flower piece with fruit is known from the year 1845, a fruit piece with flowers from 1847, and a flower piece from 1849, all of them simple little paintings of a modest size on panel showing flowers in a tumbler, executed fairly quickly, which means that not all of the species are identifiable. Adrianus Apol should not be confused with Johannes Cornelis Apol (1806-1896), who was active in The Hague and also made flower pieces.200 Adrianus Apol, Flowers in a tumbler and grapes (Fig. 9.59) Panel, 22.9 x 28.3 cm, signed and dated at the lower right in light pink: A. Apol 1845 Private collection.201 1 Cabbage Rose 2 White Rose 3 Poppy Anemone 4 Opium Poppy Plus two unidentified species

Rosa centifolia Rosa x alba plena Anemone coronaria Papaver somniferum plenum roseum

5 Blue Grapes 6 White Grapes

Vitis vinifera Vitis vinifera

Fig. 9.59 Adrianus Apol, Flowers in a tumbler and grapes, dated 1845, panel, 22.9 x 28.3 cm, private collection. 200 Scheen 1981, p. 13; Hostyn & Rappard 1995, p. 103. 201 Provenance: Christie’s, Amsterdam, 18 March 1998, no. 201; Simonis & Buunk Gallery, Ede.

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Benedictus Antoni van Assen

Benedictus Antoni van Assen is an artist who moved to England at the end of the eighteenth century. Between 1788 and 1804 he exhibited his work at the Royal Academy in London. Van Assen made drawings and engravings of figure studies.202 In the year of his death, 1817, he made engravings of portraits in London. A flower piece that is also assumed to be from that year is in the Graves Art Gallery in Sheffield. According to English sources, Benedictus is supposedly British and his year of birth is 1767 or 1788, but these records fail to mention any documentary evidence. Benedictus Antoni van Assen, Flowers in a crosswise woven basket (Fig. 9.60) Panel, 39.4 x 30.4 cm, signed and dated lower right in brown: [...] Assen Fecit [...]203 Graves Art Gallery, Sheffield, inv. no. VIS 27.204 1 Mock Orange 2 White Bachelor’s Buttons 3 Cabbage Rose 4 White Cabbage Rose 5 Blue Mountain Anemone 6 Poppy Anemone 7 Carnation 8 French Rose

Philadelpus coronarius Ranunculus aconitifolius var. pleniflorus Rosa x centifolia Rosa centifolia x R. alba Anemone apennina Anemone coronaria pseudoplena albo-miniata Dianthus caryophyllus albescens Rosa gallica semiplena

Fig. 9.60 Benedictus Antoni van Assen, Flowers in a crosswise woven basket, panel, 39.4 x 30.4 cm, Graves Art Gallery, Sheffield. 202 Bénézit 1999, I, p. 508. 203 I was only able to examine the painting in 1979 under poor lighting conditions; the signature is not fully legible. 204 Provenance: gift of J.G. Graves 1929. Literature: mus. cat. Sheffield 1966, p. 7; Bénézit 1999, I, p. 508 (and other editions).

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

Jan Augustini

Jan Augustini was born in 1725 in Roderwolde (near Groningen). He regularly visited The Hague but was mostly active in Haarlem, where he also died in 1773. Augustini was apprenticed to Philip van Dijk (16831753) and later had a number of his own apprentices. In 1748 he married Aaltje Heere. Jan was primarily a painter of wallpaper and large-scale wall decorations for covering entire rooms, for the most part lands capes. Today interiors in a number of locations in the Netherlands, particularly Haarlem and Beverwijk,

Fig. 9.61 Abraham Delfos after Jan Augustini, Aloë americana, engraving, 641 x 427 mm, Universiteitsbibliotheek, Leiden. | 735

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bear witness to his work. He also painted the decorations on a hunting trap (carriage), and painted and made drawings of flowers, one example of which is in the Noord-Hollands Archief in Haarlem, in addition to portraits. Moreover, he was also an art dealer. In 1757 Jan Augustini made a large drawing of a Century Plant (Agave americana) for the cultivator Jacobus Schuurmans Stekhoven in Leiden. Abraham Delfos (1731-1820) produced a print of it (Fig. 9.61).205 Dated work is known up to 1767.206

Pieter Barbiers III

Pieter Barbiers III was born in Amsterdam in 1772, worked in Haarlem, becoming a member of the guild there in 1793, and died in 1837.207 He was the apprentice of Bartholomeus Barbiers (1740-1806), who was also a painter of decorative and landscape works. Pieter Barbiers III also painted landscapes and historical scenes, but in watercolour. His watercolours of flowers, insects, and flower and fruit pieces are known to have consistently been signed with his name P. Barbiers or P: B: F:. He was married to Maria Geertruida Snabilié (1773-1838), a flower and fruit painter (Fig. 9.116). Pieter Barbiers III, Flowers in a basket (Fig. 9.62) Watercolour on paper, 338 x 373 mm, signed lower left in black: P. Barbiers Private collection.208 1 Baguette Tulip 2 Small Morning Glory 3 White Rose 4 Auricula 5 Cabbage Rose 6 Frankfurter Rose Plus four unidentified species

Tulipa mucronata alba x T. undulatifolia Convolvulus tricolor Rosa x alba plena Primula x pubescens albo-coeruleus Rosa x centifolia Rosa turbinata

Fig. 9.62 Pieter Barbiers III, Flowers in a basket, watercolour on paper, 338 x 373 mm, private collection. 205 Universiteitsbibliotheek Leiden, inv. no. P315_2N050. Another example is in the Rijksprentenkabinet in Amsterdam (inv. no. RP-P-OB-85.625). Several impressions are extant of a flowering Aloë in a tub, for example a print by J. (or T.) van Swijnen of 1698 (see Chapter 10). Another example is a large print (ca. 705 x 390 mm) in Paul Amman’s book Hortus Bosianus, dated 1700, with species from the garden of Caspar Bose in Leipzig. The Aloë americana was known in Europe from the year 1602 and cultivated in the botanical garden in Leiden; although it was described by Clusius in 1603, it only flowered for the first time in 1697. 206 For further details on the life and work of Jan Augustini see Scheen 1981, p. 17, Sliggers 1985 and Sliggers in Biesboer & Köhler 2006, p. 365. 207 There were four painters with the name Pieter Barbiers, all of them descended from one Amsterdam family: Pieter Anthonisz Barbiers (1717-1780), Pieter Pietersz Barbiers (1749-1842), Pieter Bartholomeusz Barbiers (1772-1837) and Pieter Bartholomeusz Barbiers (1798-1848). There is yet another Bartholomeus Pietersz Barbiers (1784-1816), who made portraits, as well as paintings and drawings of landscapes. These artists are the cause of much confusion in the literature. About Pieter Barbiers III see Scheen 1981, p. 24 and Sliggers in Biesboer & Köhler 2006, p. 366. 208 Provenance: Piasa, Paris, 8 December 2006, no. 79, as Pieter Anthonisz Barbiers (1717-1780).

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

Wernerd de Beet

Wernerd de Beet was born in 1774 in Renkum near Arnhem and died in 1843 in the town of Wageningen close by. Dated works by him are known from the years 1792, 1798, 1799 and 1828. He was a glassmaker, who also painted and made drawings, probably as an amateur.209 Wernerd de Beet, Flowers in an openwork crosswise woven basket on a marble balustrade (Fig. 9.63) Canvas, 38 x 58 cm, signed and dated lower right: W De Beet 1798 Whereabouts unknown.210 Roses Snowball Auricula Poet’s Narcissus Hyacinth Sunflower Jasmine Foxglove Rose of Sharon Tulip Blotched Monkey Flower Poppy Anemone Plus some other species

Rosa div. spec. Viburnum opulus cv. Roseum Primula x pubescens Narcissus poeticus Hyacinthus orientalis Helianthus annuus Jasminum officinale Digitalis purpurea Hibiscus syriacus Tulipa spec. Mimulus guttatus Anemone coronaria

Fig. 9.63 Wernerd de Beet, Flowers in an openwork crosswise woven basket on a marble balustrade, dated 1798, canvas, 38 x 58 cm, whereabouts unknown.

Daniël van Beke

Daniël van Beke was born in 1669 in Dirksland. In 1695 he was appointed bailiff of Bodegraven, where he was also active as a civil-law notary. Van Beke wrote poetry and learned to paint (as an amateur) from Jacob Campo Weyerman (1677-1749), who lived with the Van Beke family. Besides landscapes, genre pieces and mythological works, he painted flower pieces, fruit pieces and bird still lifes, the majority only known from reports in older sources. These include two flower pieces listed in an Amsterdam auction of 1760. Valerius Röver of Delft, who owned an important collection of paintings and drawings 209 For Wernerd de Beet see the Segal Still Life Documentation in the RKD, The Hague. 210 Provenance: formerly Stedelijk Museum, Zutphen.

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(including eight works by Rembrandt), had works by both Weyerman and Van Beke. Daniël van Beke died in Bodegraven in 1728.211 It is quite possible that references to Daniël may be confused at times with his older brother Leendert van Beke (ca. 1665-1707), from whom a work dated 1689 is known (Fig. 8.66).

Fig. 9.64 Daniël van Beke, Flowers in a bronze vase, dated 1715, canvas, 66 x 48 cm, private collection.

211 For Daniël van Beke’s life and works see further Blankert 1967.

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

Daniël van Beke, Flowers in a bronze vase (Fig. 9.64) Canvas, 66 x 48 cm, signed and dated lower right in dark brown: D. VAN BEKE f · / 1715 Private collection.212 1 Sweet Pea 2 Parrot Tulip 3 Poppy Anemone 4 Poppy Anemone 5 Auricula 6 Cabbage Rose 7 Broom 8 Rosa Mundi 9 Stock 10 Opium Poppy 11 Baguette Tulip 12 Tapered Tulip 13 Snowball 14 Poppy Anemone 15 Hyacinth 16 Auricula 17 Auricula 18 Sweet Pea

Lathyrus odoratus coeruleus Tulipa praecox x T. viridissima tricolor Anemone coronaria pseudoplena albo-purpurea Anemone coronaria pseudoplena indigofera Primula x pubescens coerulea Rosa x centifolia Cytisus scoparius Rosa gallica cv. Versicolor Matthiola incana alba Papaver somniferum rubrum Tulipa mucronata x T. undulatifolia Tulipa armena viridissima Viburnum opulus cv. Roseum Anemone nemorosa pseudoplena miniato-albescens Hyacinthus orientalis pallidus Primula x pubescens badia Primula x pubescens spadicea Lathyrus tuberosus violaceus

A wide bronze vase on a high foot decorated with laurel leaves has been set on a greyish-green marble ledge.

Jacques Estienne Benoist

Jacques Estienne Benoist was born in Amsterdam in 1694. In 1721 he married Maria Elisabeth Sevestre. He died there in 1747. Jacques was the son of the Paris-born painter Estienne Benoist, who purchased citizenship rights in Amsterdam in 1688, and the brother of the Amsterdam painter Pierre Benoist; the latter could even be the creator of the only known painting signed Benoist, namely a flower piece (Fig. 9.65).213 Jacques Estienne Benoist, Flowers in a bronze vase (Fig. 9.65) Canvas (coarse woven), 112 x 74 cm, signed lower right in brown with beige: Benoist Private collection.214 1 Poppy Anemone 2 Spanish Jasmine 3 French Rose 4 Cabbage Rose 5 Opium Poppy 6 Poppy Anemone 7 Poppy Anemone 8 Apple blossom 9 French Marigold 10 Pomegranate blossom 11 African Marigold 12 Tuberose 13 Carnation 14 Carnation 15 Opium Poppy 16 Peony 17 Yellow Tulip hybrid 18 Great Morning Glory 19 Poppy Anemone

Anemone coronaria alba Jasminum grandiflorum Rosa gallica duplex Rosa x centifolia ab R. x provincialis Papaver somniferum pseudoplenum atratum Anemone coronaria pseudoplena albo-rubra Anemone coronaria pseudoplena albescens Malus sylvestris Tagetes patula Punica granatum plena Tagetes erecta Polyanthes tuberosa Dianthus caryophyllus plenus bicolor Dianthus caryophyllus plenus ruber Papaver somniferum plenum fimbriatum Paeonia officinalis plena Tulipa chrysantha x T. clusiana Ipomoea purpurea Anemone coronaria pseudoplena albo-lilacina

212 Provenance: collection of W.R. Rees-Davies; Sotheby’s, London, 25 April 1951, no. 104, and 2 July 1958, no. 81; collection of H.F.B. Foster, Park House, Drumock (Aberdeen), by whose heirs sale Christie’s, London, 18 April 1997, no. 98; Dorotheum, Vienna, 14 October 1997, no. 112, and 10 June 1998, no. 146. Literature: Blankert 1967, pp. 242, 245, Fig 1. 213 Scheltema 1863, p. 68; Thieme & Becker 1907-50, III, pp. 337, 339. 214 Provenance: Glerum, Amsterdam, 10 November 1997, no. 819.

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20 Turban Buttercup 21 Garden Honeysuckle 22 York and Lancaster Rose

Ranunculus asiaticus semiplenus rubrus Lonicera caprifolium Rosa x damascena cv. Versicolor

This work is painted from a worm’s-eye view and was possibly intended as a chimneypiece. The vase, set on a stone slab, is decorated in relief with the water god Poseidon (Neptune) holding a horn of plenty in his right hand, and in his left a pot from which water is gushing out. He gives water for the streaming currents that provide abundance, while two of the god’s many playing putti are seen here with a donkey. The handles of the vase are ornamented with mascarons.

Fig. 9.65 Jacques Estienne Benoist, Flowers in a bronze vase, canvas, 112 x 74 cm, private collection. 740 |

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

Jean Bernard

Jean (or Jan) Bernard lived from 1765 until 1833 in Amsterdam. He trained at the city’s art school, the Stadstekenacademie, and was apprenticed to Christiaan Welmeer (1742-1814). Bernard made drawings of flowers and flower pieces, portraits and studies of cattle. Drawings in black chalk and watercolours of flowers and fruit, as well as other subjects, and seven flower pieces may currently be found in the Rijksprentenkabinet in Amsterdam, several signed JB, J. Bernard or Jean Bernard, and sometimes dated 1816 or 1824. Three flower pieces in oils are listed in an Amsterdam auction of 1796.215 Jean Bernard, Flower piece with a fly on a vase (Fig. 9.66) Black chalk on paper, 337 x 317 mm, signed lower right: Jean Bernard Rijksprentenkabinet, Amsterdam, inv. no. RP-T-1904-395.216 Cabbage Rose Lupine Carnation Pot Marigold Stock Plus some indistinct species

Rosa x centifolia Lupinus polyphyllus Dianthus caryophyllus plenus Calendula officinalis Matthiola incana

Housefly Musca domestica Plus several unidentifiable Ants, a Caterpillar and three Butterflies on the wing

The background shading has been made using hatching. On the table are a sprig of Currants and a sprig of Gooseberries.

Fig. 9.66 Jean Bernard, Flower piece with a fly on a vase, black chalk on paper, 337 x 317 mm, Rijksprentenkabinet, Amsterdam. 215 Sale of Elizabeth Valckenier-Hooft, Amsterdam, 31 August 1796, no. 78 and no. 84 (two items). For Jean Bernard’s life and work see Scheen 1981, p. 38 and the Segal Still Life Documentation in the RKD, The Hague. 216 Provenance: donated by the heirs of J. Bernard van IJsseldijk in 1904.

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Fig. 9.67 Cornelis Bisschop II, Flowers in a garden vase with a putto and a parrot, dated 1719, canvas, 103.5 x 90.3 cm, Museum Smidt van Gelder, Antwerp. 742 |

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

Cornelis Bisschop II

Regarding a Cornelis Bisschop who was active in 1719 we now know nothing except for the existence of two paintings of 1716 with birds, and a single flower piece of 1719. He is possibly from the family of painters named Bisschop from Dordrecht, whose issue includes another son named Cornelis, who was born in Dordrecht in 1630 and died there in 1674. This Cornelis I had eleven children, three of which – Jacob, Gysbert and Abraham, born between 1658 and 1670 – were also painters. A son named Cornelis was baptized in 1667.217 Van der Willigen and Meijer propose that the Cornelis active in 1719 might have been the son of Jacob.218 Cornelis Bisschop II, Flowers in a garden vase with a putto and a parrot (Fig. 9.67) Canvas, 103.5 x 90.3 cm, signed and dated on the foot of the pedestal: Cornelis Bisschop, fecit A° 1719. Museum Smidt van Gelder, Antwerp, inv. no. Sm. 840.219 Roses Poppy Anemone Tulips Foxtail Cone Flower Blunt Tulip Marvel of Peru Trumpet Vine

Rosa div. spec. Anemone coronaria Tulipa div. spec. Amaranthus caudatus Rudbeckia laciniata Tulipa mucronata Mirabilis jalapa Campsis radicans

A large stone garden urn with flowers has been placed on a marble pedestal with three legs decorated with scrolls and an ornamental shell in the middle. To the left is a tree trunk and behind it a building, while to the right we see two marble pillars with trees in the background. A large parrot is perched on the pedestal at the left and to the right is a kneeling winged putto. This composition has a worm’s-eye view and was probably meant as a decorative work, possibly to be displayed as an overdoor painting, or chimneypiece. The flowers appear to be painted with less precision than the rest of the work.

Leendert Brasser

Leendert Brasser was born in 1727 in Maassluis near Rotterdam. From 1754 he worked in Rotterdam as corrector for the society Hierdoor tot Hooger.220 He died in Rotterdam in 1793. Brasser was a decorative painter, who also made etchings, engravings and drawings, and copied works by other artists, including those of Jacob de Wit. He also made engravings after old masters such as Jan van Goyen (1596-1656). A painting of 1767 with flowers in an urn and fruit on a stone ledge is composed from a worm’s-eye view, suggesting it is probably a decorative overdoor painting, or chimneypiece (Fig. 9.68). The flowers have not been painted with precision and the ratios between them are incorrect. There is also a flower piece with a bird’s nest extant from the same year.221 Leendert Brasser, A garden vase with flowers, together with fruit (Fig. 9.68) Canvas, 96.5 x 76.2 cm, signed and dated 1767 Private collection.222 Auricula Poppy Anemone China Aster

Primula x pubescens Anemone coronaria Callistephus chinensis

217 Houbraken 1718-21, II, pp. 220-223. 218 Van der Willigen & Meijer 2003, p. 38; see further Brière-Misme 1952-53. 219 Provenance: C.F. Roos & Co., Amsterdam, 17 November 1908, no. 7; Gallery Strelitski, The Hague; Gallery Ween & Klepman, Amsterdam 1918; collection Pieter Smidt van Gelder; donated to the museum in 1949. Literature: Van den Wijngaert 1951, p. 17; Tillemans 1980, pp. 24-25; Craft-Giepmans 2006, pp. 184-185, no. 89. I have not been able to study the painting in detail. 220 A corrector was a proofreader, who corrected written documents for the society. 221 Canvas, 80 x 61.5 cm; Russell-Cotes Art Gallery, Bournemouth; Sotheby’s, London, 9 February 1966, no. 142; Christie’s, London, 17 May 1968, no. 123. For his life and work see Scheen 1981, p. 69. 222 Provenance: Christie’s, London, 20 July 1973, no. 191.

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Fig. 9.68 Leendert Brasser, A garden vase with flowers, together with fruit, dated 1767, canvas, 96.5 x 76.2 cm, private collection.

Maria van Broyel

A bouquet with flowers by Maria van Broyel is recorded in the Amsterdam auction catalogue of the estate of Johannes de Bosch in 1785; possibly the same item is also mentioned in a sale of 1797.223 Maria van Broyel is an unknown artist or an amateur.

Bruijn

In the collection of the University of Uppsala in Sweden is a flower piece with a bird’s nest signed J.F Bruijn. The signature could also be read: P. or JB and F. or T Bruijn. Artists with these names are all unknown today. Bruijn, Flower piece with a bird’s nest (Fig. 9.69) Panel, 35 x 29 cm, signed to the right on the plinth in dark brown: J.F Bruijn (or P. or JB and F. or T Bruijn) Gustavianum, Uppsala University Museum, Uppsala, inv. no. UU 805.224 1 Blue Grapes 2 Cornelian Cherry 3 French Rose 4 Auricula 5 Ivy-leaved Toadflax

Vitis vinifera Cornus mas Rosa gallica plena Primula x pubescens badia Cymbalaria muralis

223 Amsterdam, 23 May 1785, Konstboek A, p. 9, no. 59; sale Stoopendaal, Van der Schley, Amsterdam, 3 April 1797, Konstboek II, no. 18, from the collection of I. de Boser, without further details. 224 Provenance: bequest of Livijn in 1940. Literature: Heinemann et al. 2001, p. 263.

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6 Paperwhite Narcissus 7 Hyacinth 8 Poppy Anemone 9 Hollyhock 10 Aubretia 11 French Marigold 12 Hollyhock 13 Orange Lily 14 English Iris

Narcissus papyraceus (plenus) Hyacinthus oriental semiplenus Anemone coronaria pseudoplena aurantiaca Alcea rosea plena coerulea Aubretia deltoidea Tagetes patula plena Alcea rosea plena flava Lilium bulbiferum Iris latifolium

a Bird’s Nest with three speckled Eggs

Aves spec.

A terracotta vase with flowers has been set on a marble ledge rendered in ochre with grey and covered on the right by a blue-green cloth.

Fig. 9.69 Bruijn, Flower piece with a bird’s nest, panel, 35 x 29 cm, Gustavianum, Uppsala University Museum, Uppsala. | 745

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Johannes Cornelis de Bruyn

Johannes Cornelis de Bruyn was registered in the guild of Middelburg from 1761 through to 1763. He was active in Utrecht from 1800 to 1810 or later, in Amsterdam from 1816 to 1828, and later again in Utrecht, where he instructed Cornelis Johannes van Hulstijn (1811-1879). There are a number of flower and fruit pieces now known, which are clearly signed J.C. de Bruyn, usually of a modest size and also in the form of pendants.225 We also know of drawings of flowers and an etching after Jan Kobell II (1778-1814).

Fig. 9.70 Johannes Cornelis de Bruyn, Flowers in a stoneware vase, panel, 38.1 x 38.6 cm, private collection.

225 There is a slight confusion in the literature about the dating, because in the second half of the seventeenth century and the first half of the eighteenth century, there were other artists with the same name, or extremely similar ones, such as Johannes, Jacobus or Cornelis de Bruyn. Gerson 1942, p. 243 n. 7; Scheen 1981, p. 79; Van der Willigen & Meijer 2003, p. 56, as J.C. de Bruyn probably c. 1700.

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

Johannes Cornelis de Bruyn, Flowers in a stoneware vase (Fig. 9.70) Panel, 38.1 x 38.6 cm, signed lower right in italic script in brown: J C de Bruyn / fecit Private collection.226 Striped Morning Glory Provins Rose White Rose Golden Narcissus Meadow Grass False Larkspur Pansy Poppy Anemone Black Ant

Ipomoea purpurea var. varia Rosa x provincialis Rosa x alba subplena Narcissus tazetta subsp. aureus Poa pratensis Consolida ajacis Viola tricolor Anemone coronaria Lasius niger

Jan Buiteveld

Jan Buiteveld was born as Jan Durks in Sneek in 1747 but changed his last name to Buiteveld. At the time of his death in Sneek in 1812 he is recorded as being a ‘kunstschilder’ (painter) and ‘huisschilder’ (a decorative painter of interiors, including large-scale painted wall hangings). In 1778 he married Lijsbet Juurds. Buiteveld painted landscapes, country houses, and is known to have produced the following paintings: three flower pieces, a flower swag around a vase of 1780, a chimneypiece of 1786 from the Mennonite rectory of Sneek, that was sold in 1918, and a flower piece of 1787.227 Jan Buiteveld, Flowers in a garden urn with grapes on a pedestal (Fig. 9.71) Canvas, 110.2 x 90.2 cm, signed and dated lower centre in brown-black: J.Buiteveld / 1787 (‘J’ and ‘B’ ligated with a dot in the loop) Private collection.228 1 Opium Poppy 2 China Aster 3 Hollyhock 4 Cabbage Rose 5 China Aster 6 Hollyhock 7 Poppy Anemone 8 False Larkspur 9 Tazetta Narcissus 10 Black Bindweed 11 False Larkspur 12 Maltese Cross 13 Hollyhock 14 French Marigold 15 Peony

Papaver somniferum pseudoplenum rubrum Callistephus chinensis coeruleo-luteus Alcea rosea plena alba Rosa x centifolia Callistephus chinensis albo-purpureus Alcea rosea plena lutea Anemone coronaria pseudoplena albo-coerulea Consolida ajacis Narcissus tazetta Polygonum convolvulus Consolida ajacis pallida Lychnis chalcedonica plena Alcea rosea plena lilacina Tagetes patula Paeonia officinalis plena

A Red Admiral Butterfly b Garden Snail

Vanessa atalanta Cepaea hortensis

A garden urn decorated in relief has been set on a small pedestal with a stem of green grapes and a stem of blue grapes with foliage. This painting from a worm’s-eye view was probably originally intended as a chimneypiece.

226 Provenance: Sotheby’s, New York, 12 January 1989, no. 59, and 21 May 1998, no. 56, as Cornelis-Johannes de Bruyn. 227 For further details on the life and work of Jan Buiteveld see Prins 2001 and Ten Hoeve 2009. 228 Provenance: H. Dik, Amsterdam 1976; private collection, Amsterdam 1977; Christie’s, London, 20 February 1981, no. 112, and 24 February 1984, no. 127; Mme B.-L., her estate in the sale of Paul Renaud, Paris, 28 February 2000; Galerie La Tour Camoufle in Paris, with smaller dimensions (99.5 x 72.5 cm), possibly a replica, but with no differences judging from the photographs.

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Fig. 9.71 Jan Buiteveld, Flowers in a garden urn with grapes on a pedestal, dated 1787, canvas, 110.2 x 90.2 cm, private collection.

P. van Buren

Two flower pieces in watercolour by P. van Buren dated 1759 and 1760 were auctioned in Hilversum in 1944. Possibly these are the work of an amateur painter.229 P. van Buren, Flowers in an ornamental jug on a slab of rock (Fig. 9.72) Watercolour on paper, 360 x 235 mm, signed and dated 1759 or 1760 Private collection.230 229 Nagler 1835-52, II, p. 239; Le Blanc 1854-90, I, p. 546; Obreen 1877-90, VII, p. 62. Cf. Von Wurzbach 1906-11, I, p. 223, as ‘Philipp van Buren, Baron van Vaumarcus, Kunstfreund, Zeichner und Radierer’, active in Bern 1788-1791 and known for a series of 12 etching of animals; Thieme & Becker 1907-50, V, p. 195, as Karl Philipp van Buren, who was born in The Hague in 1759 and died in Bern. This is certainly not the same artist. 230 Provenance: sale Anne J. Olthoff at the Palace Hotel, Hilversum, February 1944, no. 70. Provenance: collection of Lady Wolfenholme 1921; collection of H.D. Willink van Collen, Breukelen.

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Poppy Anemone China Aster Rose of Sharon Sweet Sultan Martagon Lily Lupine Cabbage Rose French Marigold

Anemone coronaria Callistephus chinensis Hibiscus syriacus Amberboa moschata Lilium cf. martagon Lupinus polyphyllus Rosa x centifolia Tagetes patula

Fig. 9.72 P. van Buren, Flowers in an ornamental jug on a slab of rock, dated 1759 or 1760, watercolour on paper, 360 x 235 mm, private collection.

Adriaen Coorte

Little is known about the life of Adriaen Coorte. He was probably born around 1660 in Ijzendijke. He was active in the area of Middelburg. His work consists mainly of small fruit pieces, usually showing just a few pieces of a single kind of fruit, frequently in oils on paper pasted on panel. Only his earliest works, vanitas paintings and bird pieces in the style of Melchior d’Hondecoeter (1636-1695), are somewhat larger. He also painted several little shell pieces, meal still lifes, and just a couple of small-scale flower pieces. Dated work is known from 1683 through to 1707.231

231 Research on Coorte has been conducted by Laurens J. Bol in Bol 1952-53; Dordrecht 1958 and Bol 1977. For further details on the life and oeuvre of Adriaen Coorte see also Segal 1984, pp. 85, 87-92, 204-232; The Hague 2008; De Jong & Plankeel 2015; the Segal Project and the Segal Still Life Documentation in the RKD, The Hague.

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Fig. 9.73 Adriaen Coorte, Flowers in a glass flask and six exotic shells, dated 1697, canvas, 51 x 40 cm, whereabouts unknown.

Adriaen Coorte, Flowers in a glass flask and six exotic shells (Fig. 9.73) Canvas, 51 x 40 cm, signed and dated lower right: Adriaen Coorte 1697 Whereabouts unknown.232 Lily of the Valley Snake’s Head Fritillary Grass Pink

Convallaria majalis Fritillaria meleagris Dianthus plumarius

Crowned Nerite Venus Murex Nerite (?) Giant Helmet Chocolate-spotted Auger Snipe’s Bill Murex

Clithon cf. corona Murex tribulus Nerita spec. Cassis cornuta Terebra subulata Haustellum haustellum

Red Admiral Butterfly

Vanessa atalanta

The bouquet was later filled out, presumably because it was found to be too modest. The flowers were not painted by Adriaen Coorte, or at least not all of them.

Helena Margareta van Dielen

Helena Margareta van Dielen was born in 1774 in Utrecht, where she also married Otto van Romondt in 1791, and died in 1841. She was an amateur painter who made watercolour drawings of flowers and fruit. No work by her is known today.233 232 Provenance: sale Roos & Co., Amsterdam, 18 March 1902, no. 20. Literature: Moes in Thieme & Becker 1907-50, VII, p. 368; Bol 1952-53, pp. 193 n. 1, 216, no. 18, Fig. 17; Bol 1977, pp. 11, 22 n. 61, 42, 50, no. 29, Fig. 17; Segal 1984, p. 91; Meijer 1989, p. 70 n. 2; Sutton 2002, p. 87; Meijer in catalogue Richard Green Gallery, London 2003 under no. 10 n. 7; Buvelot in The Hague 2008, p. 29, no. 32. Identifications were established from studying a black-and-white photograph. 233 Kloek, Peters Sengers & Tobé 1998, p. 137.

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J. van Dieviel

‘Een konstig Bloemstuk, door J. van Dieviel’ (‘An artistic Flower piece, by J. van Dieviel’) was sold at an Amsterdam auction in 1730.234 No artist with that name is known today.

J. van Diren

J. van Diren was a decorative painter from the province of Groningen who is mentioned in a document dated 1722. Possibly he had been apprenticed to Hermannus Collenius (ca. 1650-1721). Van Diren was the master of Jan Abel Wassenbergh I (1689-1750). A slightly out of focus photograph is known of a flower piece signed somewhat illegibly J.V. DIREN in the lower left, which is in a private collection. J. van Diren, Flowers in a basket on a stone table covered with a cloth (Fig. 9.74) Canvas, ca. 70 x 90 cm, signed lower left: J.V. DIREN Private collection.235 1 Cabbage Rose 2 White Rose 3 African Marigold 4 Feverfew 5 Poppy Anemone 6 Opium Poppy 7 Hollyhock 8 Slender Narcissus 9 Garden Nasturtium

Rosa x centifolia Rosa x alba subplena Tagetes erecta Tanacetum parthenium Anemone coronaria pseudoplena Papaver somniferum Alcea rosea plena alba Narcissus elegans Tropaeolum majus

A Small Tortoiseshell Butterfly B Large White Butterfly

Aglais urticae Pieris brassicae

Fig. 9.74 J. van Diren, Flowers in a basket on a stone table covered with a cloth, canvas, ca. 70 x 90 cm, private collection.

This is presumably an overdoor painting. There is a semi-circular basket on a stone table-top, covered on the right with an oriental carpet and a white linen cloth folded and draped over it. There is what is probably an accidental likeness between this work and a painting by Frans van Cuyck de Myerhop (ca. 1640-1689) of 1661 (Fig. 8.144), which is thought to have been influenced by Jean Baptiste Monnoyer. 234 Amsterdam, 16 May 1730, no. 75. Hoet 1752, I, p. 352. 235 Documentation and photograph from the RKD, The Hague.

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Catharina Dubois

Catharina Dubois was the apprentice and spouse of Pieter van Cuyck II (1720-1787) in The Hague, where in 1746 Promenade de Saint Cloud ou la confidence reciproque, a booklet with fifty-one drawings by her was published. She died in The Hague in 1776. Pieter Terwesten (1714-1798) mentions her as an amateur painter of flowers and fruit still lifes, but currently no such works by her are known.236

Johannes Le Francq van Berkhey

Johannes Le Francq van Berkhey was born in Leiden in 1729. His father was the art dealer Evert Le Francq and his mother Maria Berkhey. Johannes adopted the names of both his parents. He originally studied ancient languages and later medicine at Leiden University and graduated with a dissertation on the structure of flowers, Expositio characteristica structurae florum qui dicuntur compositi (Explanation of the characteristic structures of flowers, that is to say the family of Compositae), which was the first study exclusively about that family of plants. Thereafter he studied painting and drawing with four different artists, in turn becoming a master himself, with Noach van der Meer II (1741-1822) mentioned as an apprentice. Johannes devoted his attention to plants and animals and made beautiful watercolour drawings of them, as well as putting together a celebrated collection of drawings and objects related to natural history. He wrote a four-volume work entitled Natuurlyke historie van Holland (1769-1805). In 1773 he was appointed as a lecturer in Natural History at the University of Leiden, but he was dismissed in 1795 on account of conflicts arising from his fanatical political opinions. He was a staunch supporter of the Dutch royal house, the House of Orange. At this time, he was forced to sell his collection to the Spanish Royal Cabinet of Natural History. In 1807 Johannes’s house was destroyed by a gunpowder accident, whereupon he was temporarily given shelter in Huis ten Bosch in The Hague, one of the royal residences. Johannes Le Francq van Berkhey died in 1812 at the house of his daughter in Leiden after a very productive life devoted to several different areas of endeavour, including a great many publications, works of poetry among them. Portions of his literary estate may currently be found in the Regionaal Archief Leiden and the Universiteitsbibliotheek Leiden, as well as in the KB | Nationale bibliotheek in The Hague.237 Two small flower pieces are known by Johannes Le Francq, both of the same size and probably intended as pendants. Initially they were in the possession of the well-known Dutch writer Willem Bilderdijk (1756-1831), but afterwards entered the collection of the literary association Maatschappij der Nederlandse Letterkunde. Johannes Le Francq van Berkhey, Flower piece with an Opium Poppy (Fig. 9.75) Panel, 38 x 30 cm. Maatschappij der Nederlandse Letterkunde, Leiden, inv. no. 28, on loan to the Universiteitsbibliotheek Leiden, Leiden, inv. no. Icones-UB-MNL-2.238 1 Cabbage Rose 2 Snowball 3 Small Morning Glory 4 Horned Poppy 5 Poppy Anemone 6 Columbine 7 Opium Poppy 8 Poet’s Narcissus hybrid 9 Peony

Rosa x centifolia pallida Viburnum opulus cv. Roseum Convolvulus tricolor Glaucium flavum Anemone coronaria albescens Aquilegium vulgare Papaver somniferum rubrum Narcissus poeticus x N. serotinus Paeonia officinalia plena

a Garden Snail

Cepaea hortensis

236 Terwesten 1776, fol. 78; Scheen 1981, p. 55; Kloek, Peters Sengers & Tobé 1998, pp. 132-133. 237 For further information about his life and work see the 1990 dissertation by Arpots. 238 Provenance: on loan since 1876 from Maatschappij der Nederlandse Letterkunde. Exhibitions & Literature: Leiden 1987, no. 28, the pendant no. 27; Dongelmans, Van Oostrom & Van Zonneveld 1995, p. 18.

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Fig. 9.75 Johannes Le Francq van Berkhey, Flower piece with an Opium Poppy, panel, 38 x 30 cm, Universiteitsbibliotheek, Leiden.

A broad brown earthenware vase decorated with the face of a sea monster or whale has been set on the ground out of doors. The pendant shows flowers in a glass vase and is a version after a painting by Willem Grasdorp I (Fig. 8.51).239 The snail in Flower piece with an Opium Poppy is almost identical to one in the work by Willem Grasdorp I, but is absent in Le Francq van Berkhey’s pendant.240

Laurens Gelderblom

Laurens Gelderblom was born in 1745 in Dordrecht, where he was apprenticed to Joris Ponse. He died in 1774, just twenty-nine years old. Gelderblom painted flowers, but no work by him is known today.241 239 The pendant (panel, 38 x 30 cm) is also in the Universiteitsbibliotheek Leiden, inv. no. Icones-UB-MNL-3. 240 It is perhaps more likely that this was done after a smaller version by Grasdorp that surfaced in the previous century at auction. 241 Scheen 1981, p. 162.

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Fig. 9.76 T. van Geyl, Flower piece with fruit and a bird’s nest, canvas, 111 x 88 cm, private collection.

T. van Geyl

In 1931 a large flower piece with grapes, a partially peeled lemon (as in seventeenth-century still lifes) and a bird’s nest was auctioned in The Hague, signed in the lower right: T. Van Geyl. Nothing is known about this artist. T. van Geyl, Flower piece with fruit and a bird’s nest (Fig. 9.76) Canvas, 111 x 88 cm, signed in the lower right: T. Van Geyl Private collection.242 1 Bindweed 2 Small Morning Glory 3 White Rose 4 Provins Rose 5 Bleeding Hearts 6 Irises 7 Crown Imperial 8 Opium Poppy 9 Striped Canary Grass 10 Auricula 11 Baguette Tulips 12 Peony 13 Columbine 14 Fine Pink

Calystegia sepium Convolvulus tricolor Rosa x alba Rosa x provincialis Dicentra spectabilis Iris div. spec. Fritillaria imperialis Papaver somniferum Phalaris arundinacea f. picta Primula x pubescens Tulipa div. Paeonia officinalis Aquilegia vulgaris Dianthus superbus

Notable here are the Bleeding Hearts (Dicentra spectabilis), which I have not seen in any other eighteenth-century paintings. The species, native to Northern China, was first mentioned in a publication in Uppsala in 1765. 242 Provenance: Venduehuis der Notarissen, The Hague, 3 February 1931, no. 97.

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

Cornelis van Glashorst

Cornelis van Glashorst was one of the masters who taught Jacobus de Ruyt (1771-1848). The 1825 Amsterdam auction catalogue of the estate of the collector, painter and engraver Daniël Vrijdag (17651822) lists a flower piece and a fruit piece by Cornelis van Glashorst of Alkmaar, an amateur painter.243 Considering the enormous size of the works (ca. 226.5 x 183 cm) these were probably decorative paintings. We lack any further details about this painter named Glashorst.244

Willem Grasdorp II

This artist, who made a watercolour drawing of a flower piece in 1752, could possibly be the son (or the nephew) of the artist Willem Grasdorp I (1678-1723) (Fig. 8.51). Willem Grasdorp II, Flowers in a baroque vase (Fig. 9.77) Watercolour with body colour on paper, 236 x 191 mm, signed and dated lower right in brown with ochre: W Grasdorp: fecit / 1752. Private collection.245 1 Cabbage Rose 2 Auricula 3 Forget-me-not 4 Opium Poppy (half-filled whorl) 5 Small Morning Glory 6 Pansy 7 Pot Marigold 8 Spiked Speedwell (?) 9 Hollyhock 10 Peony

Rosa x centifolia Primula x pubescens ochraceo-violacea Myosotis palustris rosea Papaver somniferum semiplena undulata Convolvulus tricolor Viola tricolor hortensis Calendula officinalis Veronica spicata Alcea rosea semiplena lutea Paeonia officinalis plena

The shapes of the slightly drooping flowers and foliage harmonize with the curls that decorate the bronze vase.

Fig. 9.77 Willem Grasdorp II, Flowers in a baroque vase, dated 1752, watercolour with body colour on paper, 236 x 191 mm, private collection. 243 Sale De Vries, Roos, Amsterdam, 17 January 1825, no. 11 (two paintings); sale De Vries, Roos, Amsterdam, 11 April 1825, no. 8 (two paintings). 244 Scheen 1981, p. 167. 245 Provenance: Sotheby’s Mak van Waay, Amsterdam, 1 December 1986, no. 121.

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A.R. Griffier

According an auction catalogue of 1969, the signature on a flower piece then being auctioned was read as A.R. Griffier (Fig. 9.78). There is no artist known by this name. He or she could well have been a member of the family Griffier: Jan Griffier I (ca. 1645-1718) and his sons Jan II (1698-ca. 1750) and Robert (16881760) were active as landscape painters. The initials A.R. of the signature might refer to ‘A. Robertsz’. In 2000, the signed flower piece was re-auctioned and possibly wrongly attributed to Robert Griffier on the basis of an incompletely read signature and insufficient knowledge of the provenance of the work. A.R. Grif��er, Flowers in a bombé vase on a pedestal with fruit and more flowers (Fig. 9.78) Canvas, 104 x 104 cm, signed A.R. Griffier. Whereabouts unknown.246 Cabbage Rose Tazetta Narcissus Poppy Anemones Carnations Hyacinth Great Morning Glory Blue Passion Flower Opium Poppy Love-in-a-mist

Rosa x centifolia Narcissus tazetta Anemone coronaria Dianthus caryophyllus Hyacinthus orientalis Ipomoea purpurea Passiflora coerulea Papaver somniferum fimbriatum Nigella damascena

Pomegranate Figs

Punica granatum Ficus carica

Fig. 9.78 A.R. Griffier, Flowers in a bombé vase on a pedestal with fruit and more flowers, canvas, 104 x 104 cm, whereabouts unknown. 246 Provenance: from the collection of Mary R.D. Stout of Ardmore, Pennsylvania; Christie’s, London, 5 December 1969, no. 108; private collection; Christie’s, London, 16 June 2000, no. 45, as Robert Griffier.

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Fig. 9.79 J.E. Haag, Flowers in a glass vase, dated 1759, body colour on vellum, 195 x 183 mm, private collection.

J.E. Haag

A drawing in body colour on vellum showing a somewhat simple flower piece signed in the lower right J.E. Haag / 1759 is probably the work of an amateur painter. Possibly he or she was a member of the family of the German-born painters that included Johan David Christian Haag (1709-1760) and Tethart Philipp Christian Haag (1737-1812), who were active as court painters in The Hague. J.E. Haag, Flowers in a glass vase (Fig. 9.79) Body colour on vellum, 195 x 183 mm, signed and dated lower right: J.E. Haag / 1759 Private collection.247 Carnation Gentian Daffodil Rose Auricula Tulip

Dianthus caryophyllus plenus (?) Gentiana spec. Narcissus pseudonarcissus Rosa spec. Primula x pubescens Tulipa spec.

Six-spot Burnet Moth Magpie Moth

Zygaena filipendulae Abraxas grossulariata

Anna van Hannover

Anna van Hannover was born in London in 1709. In 1734 she married Willem IV, Prince of OrangeNassau, and thereafter became Anna of Orange-Nassau, Princess of Great Britain and Ireland. Anna died in 1759 in The Hague. She was an amateur painter and also made drawings of portraits and flower pieces.248 Several portraits attributed to her are currently in Paleis Het Loo near Apeldoorn. Flower pieces from her hand are not known. However, an embroidered flower piece, dated 1734, was put up for auction in 1807.249

247 Provenance: Sotheby’s, London, 27 January 1988, no. 397. Identifications were established from studying the photograph. 248 Scheen 1981, p. 386; Kloek, Peters Sengers & Tobé 1998, p. 128. 249 Sale Van der Schley De Vries, Amsterdam, 26 October 1807, no. 7.

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Johanna Helena Herolt-Graff

Johanna Helena Graff was born in 1668 in Frankfurt, the eldest daughter of Maria Sibylla Merian, who taught her to draw, and her husband, the painter, draughtsman and engraver Johann Andreas Graff (1637-1710). In 1692 Johanna Helena married the merchant Jacob Hendrik Herolt from Bacharach. In 1711 they went to Suriname, which Johanna Helena’s mother had visited previously, and she too made drawings of flowers, insects and other animals, some of these having been commissioned by Agnes Block (1629-1704). After her mother had become partially paralysed as the result of a stroke and returned to the Netherlands, Johanna Helena helped her in the last years of her life. Sometimes she completed a portion of Merian’s work, and every now and then they both signed their names. After the death of her mother in 1717 she is likely to have made a return visit to Suriname. Johanna Helena died after 1723. Her drawings, primarily of flowers, have become better known in recent years. The Herzog Anton Ulrich-Museum in Braunschweig owns an album with forty-nine numbered watercolours, three of them showing flowers in a little chinoiserie vase. Other similar sheets are known, some of them numbered, with one-hundred-and sixty-four reported as the highest number to date. Works by Johanna Helena may be found in at least seven museums, although until recently a number of them had been attributed to Maria Sibylla Merian.250 Johanna Helena Herolt-Graff, Flowers in a chinoiserie vase (Fig. 9.80) Oil and body colour and black chalk on vellum, 462 x 330 mm, signed lower right in ink: J. Helena Herolt; on the verso N 65. Herzog Anton Ulrich-Museum, Braunschweig, inv. no. Z 6476.251 1 Liverwort 2 Turban Buttercup 3 Liverwort 4 Persian Tulip 5 Love-in-a-mist 6 Crown Imperial 7 Cornflower 8 Hyacinth 9 Peacock Anemone 10 Pot Marigold (?)

Hepatica nobilis rosea Ranunculus asiaticus plenus Hepatica nobilis (coeruleus) Tulipa clusiana Nigella damascena Fritillaria imperialis Centaurea cyanus rosea Hyacinthus orientalis albo-liliacens Anemone pavonina striata Calendula officinalis

a Black Ant (2x)

Lasius niger

The wide-bellied chinoiserie vase is set on a granite-like surface and is decorated with the representation of two figures standing on the shore of a large body of water, with a tree on either side; in the background on the water we can make out figures in four little boats under a sky with a few clouds and a little flock of birds. Herolt’s mother, Maria Sibylla Merian, also painted flower pieces in chinoiserie vases in watercolours.252 This flower piece by Herolt is part of an album which contains an index at the front: ‘REGISTER van Een Bloem Boek Geschildert door Johanna Helena Herolt in Amsterdam 1698’ (‘INDEX of A Flower Book Painted by Johanna Helena Herolt in Amsterdam 1698’). In this index numbers one through to three are listed as ‘Bloem Pot’. The first of these three is a little flower piece in a glass vase. The second is the work above, whilst the third is a flower piece also in a chinoiserie vase.

J.C. Hilst

Pavière mentions a Dutchman named J.C. Hilst, who imitated Jan Davidsz de Heem and painted flowers and fruit.253 I have not encountered this name in any other sources. It may well be that Pavière was mistaken over the nationality of the artist and that he was really referring to the German Johann Kaspar Hild or Hildt (1676-1716), who was painter at the court of the Elector of Trier in Ehrenbreitstein in Koblenz between 1703 and 1716 and also a painter of still lifes.254 250 Segal 1997, p. 84; Amsterdam & Los Angeles 2008. For the oeuvre of Johanna Helena Herolt-Graff see also the Segal Project and the Segal Still Life Documentation in the RKD, The Hague. 251 Provenance: mentioned in the inventory of the Fürstliches Museum in Braunschweig. Literature: Von Heusinger & Wex 1992-97, II, pp. 93-94; Reitsma in Amsterdam & Los Angeles 2008, p. 141, Fig. 105. 252 Segal 1997, p. 74, Fig. 40 from 1680, and Wetengl in Frankfurt & Haarlem 1997-98, pp. 118-120, nos 62 and 63. 253 Pavière 1962-64, II, p. 34. 254 Sander Erkens suggested this to me by correspondence, see the Segal Still Life Documentation in the RKD, The Hague.

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Fig. 9.80 Johanna Helena Herolt-Graff, Flowers in a chinoiserie vase, oil and body colour and black chalk on vellum, 462 x 330 mm, Herzog Anton Ulrich-Museum, Braunschweig.

Hendrik Jacob Hoet

Hendrik Jacob Hoet was born in 1693 in Utrecht, son of the painter Gerard Hoet (1648-1733), who taught him to paint. About 1715 the family moved to The Hague where Hendrik died in 1733. Hendrik Jacob Hoet painted genre pieces and flower and fruit still lifes in the style of Jan van Huysum. A fruit piece survives from the year 1729, however, no flower pieces are now known.255

Pieter Hofman

Pieter Hofman was born in Dordrecht in 1755. He was apprenticed to Joris Ponse and Dirk Kuipers. In 1778 he married Johanna van den Bergh. Hofman’s father had a painting business and Pieter painted decorative pieces for him. After the death of his father in 1804, he took over the business. In 1774 he was a co-founder of the Teekengenootschap Pictura in Dordrecht and was later twice its director. Hofman was chiefly a decorative painter, but he also copied works by Gabriël Metsu and others, and painted genre pieces and still lifes of flowers, fruit and game. One still life is dated 1817, while a flower piece is currently in the Dordrechts Museum. Pieter Hofman died in Dordrecht in 1837.256 Thieme & Becker 1907-50, XVII, p. 69. 255 Van Gool 1750-51, II, p. 422; Immerzeel 1842-43, II, p. 44; Van der Willigen & Meijer 2003, p. 111. 256 For an extended treatment of his life see Erkelens 1987.

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Pieter Hofman, Flower piece with fruit (Fig. 9.81) Canvas, 99.5 x 67.5 cm, signed lower left: P. Hofman f. Dordrechts Museum, Dordrecht, inv. no. DM/850/156.257 A vase on a high foot has been set in a niche and arranged around it are a bird’s nest with eggs, a plum, peaches, apricots, and blue and green grapes. Identifiable botanical species in the vase are Small Morning Glory, Cabbage Rose, Opium Poppy and Hollyhock.

Fig. 9.81 Pieter Hofman, Flower piece with fruit, canvas, 99.5 x 67.5 cm, Dordrechts Museum, Dordrecht.

Elisabeth Georgina van Hoogenhuyzen

Elisabeth Georgina van Hoogenhuyzen was born in The Hague in 1775 and died young in 1794. She was apprenticed to Johannes Christiaan Roedig and drew and painted flower and fruit pieces. Dated work is known from 179[0?] through to 1794, including two flower pieces. Elisabeth Georgina van Hoogenhuyzen, Flower piece and fruit in front of a garden with trees (Fig. 9.82) Panel, 54.6 x 44.8 cm, signed and dated lower right in grey: G E van Hoogenhuyzen / 1792 Private collection.258

257 Provenance: bequest of J.A. Smits van Nieuwerkerk in 1850. Exhibitions & literature: Dordrecht 1984 (without illustration); Schweitzer 1985, p. 18, no. 15; Erkelens 1987, p. 17. 258 Provenance: John Mitchell & Co. Gallery, London 1985-90.

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1 Poppy Anemone 2 Poppy Anemone 3 Small Morning Glory 4 Auricula 5 Pot Marigold 6 White Rose 7 Cabbage Rose 8 Flax 9 African Marigold 10 English Iris 11 Groundsel 12 Auricula 13 Snowball 14 Walnuts 15 Green Grapes 16 Peaches 17 Apricots 18 Dark Blue Grapes

Anemone coronaria pseudoplena lilacina Anemone coronaria pseudoplena albo-rubra Convolvulus tricolor Primula x pubescens aurantiaca Calendula officinalis Rosa x alba subplena Rosa x centifolia Linum usitatissimum Tagetes erecta Iris latifolia Senecio vulgaris Primula x pubescens rufa Viburnum opulus cv. Roseum Juglans regia Vitis vinifera Prunus persica Prunus armeniaca Vitis vinifera

A b c d

Vanessa atalanta Calliphora vomitoria Mus musculus Cepaea hortensis

Red Admiral Butterfly Bluebottle Fly House Mouse Garden Snail

A wide bombé vase with flowers decorated with laurel garlands has been set on a marble balustrade. In the background to the left we see a wall and to the right a garden landscape with cypress trees and oaks. In the foreground on the ledge there are several pieces of fruit and a mouse nibbling a walnut.

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Hendrik Hoogers

Hendrik Hoogers was born in Nijmegen in 1747 where he ran a tannery and also occupied a position on the city council. Hoogers learned to paint from Louis Bernard Coclers (1741-1817) and Johan Bernard Scheffer (1765-1809). He produced works of art out of his sheer love of being creative, rather than as gainful employment. His paintings, drawings and engravings are mostly landscapes and genre pieces, but amongst them are some portraits and still lifes. Hendrik Hoogers died in Nijmegen in 1814.259 Hendrik Hoogers, A bouquet of China Asters and other flowers (Fig. 9.83) Watercolour over pencil on paper, outlined in brown ink, 331 x 275 mm, signed and dated lower left in brown ink: H: Hoogers ad viv: del i773. Museum Het Valkhof, Nijmegen, inv. no. 1993.01.7.260 1 2 3 4 5 6 7

China Aster African Marigold Striped Canary Grass China Aster Peach-leaved Bell-flower China Aster Carnation

Callistephus chinensis violaceo-luteus Tagetes erecta Phalaris arundinacea f. picta Callistephus chinensis roseus Campanula persicifolia Callistephus chinensis albo-luteus Dianthus caryophyllus plenus

Fig. 9.83 Hendrik Hoogers, A bouquet of China Asters and other flowers, dated 1773, watercolour over pencil on paper, 331 x 275 mm, Museum Het Valkhof, Nijmegen. 259 De Jong 1969; Bocholt 1992-93. 260 Provenance: Wolvenkamp Gallery, Utrecht 1973; collection of H. van Leeuwen, Wageningen, no. A 1478; H. Stokking Gallery, Amsterdam 1983; Christie’s, Amsterdam, 24 November 1992, no. 325.

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

G. van Hooren

A flower piece signed G. VAN HOOREN was auctioned in London in 1964. The artist is unknown, but quite likely to have hailed from the Northern Netherlands. G. van Hooren, A jug with flowers and a parrot (Fig. 9.84) Canvas, 80 x 119.5 cm, signed lower left in a light colour: G. VAN HOOREN Private collection.261 1 Carnation 2 Garden Nasturtium 3 Rosa Mundi 4 Provins Rose 5 Tulip 6 Pot Marigold 7 Rose of Sharon 8 German Flag Iris 9 Baguette Tulip 10 Kalanchoe (?) 11 Opium Poppy 12 Parrot Tulip 13 Small Morning Glory 14 Cherry

Dianthus caryophyllus Tropaeolum majus Rosa gallica cv. Versicolor Rosa x provincialis Tulipa spec. Calendula officinalis Hibiscus syriacus Iris germanica Tulipa praecox x T. spec. Kalanchoe spec. Papaver somniferum Tulipa praecox x T. spec. Convolvulus tricolor Prunus cerasus

A Small White Butterfly b Parrot

Pieris spec. Psittacidae spec.

A jug decorated with stylized foliage holds a flower arrangement and has been set on a marble table, which is partially covered by a fringed cloth on the right, whilst above it, in the background, the tasselled pull of a raised curtain is visible on the left. A parrot stands over two cherries to the right of the vase.

Fig. 9.84 G. van Hooren, A jug with flowers and a parrot, canvas, 80 x 119.5 cm, private collection.

261 Provenance: Christie’s, London, 20 March 1964, no. 13.

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Jordanus Hoorn

Jordanus Hoorn was born in 1753 in Amersfoort and initially worked in his father’s cloth business. Hoorn was apprenticed to Gerrit Toorenburgh (1732-1785) and resided in Haarlem from 1772 through to 1795, where he attended the Tekenschool voor Kunstambachten. Back in Amersfoort he was appointed as draughtsman to the city. He died in 1833. Jordanus painted and made drawings, primarily portraits and landscapes, but also copied old masters. He too had several apprentices, including Jan van Ravenswaay (1789-1869). The Museum Flehite in Amersfoort owns many drawings by Jordanus Hoorn, including a flower and fruit festoon and flowers in a tilted basket.

Fig. 9.85 Jordanus Hoorn, Flowers in a tilted basket, watercolour over black chalk on paper, 272 x 210 mm, Museum Flehite, Amersfoort.

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Jordanus Hoorn, Flowers in a tilted basket (Fig. 9.85) Watercolour over black chalk on paper, 272 x 210 mm, signed lower right in black: J: H ft. Museum Flehite, Amersfoort, inv. no. 2014-310.262 1 2 3 4 5 6 7 8 9 10 11

Meadow Cranesbill Cabbage Rose White Rose Grape Hyacinth Pot Marigold Poppy Anemone Poppy Anemone Poet’s Narcissus Cherry blossom Auricula Meadow Buttercup

Geranium pratense Rosa x centifolia Rosa x alba Muscari botryoides Calendula officinalis Anemone coronaria pseudoplena alba Anemone coronaria pseudoplena lilacina Narcissus poeticus Prunus avium plenus Primula x pubescens coerulea Ranunculus acris

This is a quick artistic sketch that could be compared with a watercolour attributed to Gerard van Spaendonck.263

Cornelis Houtman

Cornelis Houtman was born in 1747 in Loenen (between Amsterdam and Utrecht), and died in the nearby town of Maarssen in 1831. Drawings of flower and fruit pieces by him were included in exhibitions in Amsterdam in 1816 and 1820. A flower swag carried by putti in a painted ceiling is dated 1794.264

J.B. Huys

In 1997 two flower pieces were auctioned in London, each signed J.B. Huys and bearing a date. Both works were painted on glass and have the same dimensions, and they were offered as a pair. However, one is dated 1795 and the other 1812. The compositions look similar in terms of the related background niche and the same palette of colours, but the vases are different. The vase in the 1795 painting has a high foot and is decorated with a mascaron between garlands under vertical ribbed ornamentation, while the ribbed vase in the 1812 work is plainer and without a foot. The signature in the 1795 work is more irregular, which makes one suspect that it was added later. The artist – probably an amateur painter – is unknown.

Fig. 9.86 J.B. Huys, Flower piece in a niche, dated 1795, oil on glass, 57 x 45 cm, private collection. 262 Provenance: private collection, Utrecht; bequest to the museum in 2014. Exhibitions: Livestro-Nieuwenhuis in Amersfoort & Haarlem 1983-84, pp. 58-59. Not all the species are readily identifiable. Thanks to Marjan de Man for the image. 263 Segal in Amsterdam 1970, n.p., no. 63. 264 Munnig Schmidt & Lisman 1985, p. 46; Scheen 1981, p. 230 and the Segal Still Life Documentation in the RKD, The Hague.

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J.B. Huys, Flower piece in a niche (Fig. 9.86) Oil on glass, 57 x 45 cm, signed and dated lower left in black: J.B. Huys / 1795 Private collection.265 1 Purple Tulip 2 Cabbage Rose 3 Snowball 4 Poppy Anemone 5 French Rose 6 Opium Poppy 7 Poppy Anemone 8 Tapered Tulip 9 Blunt Tulip 10 Blunt Tulip 11 Tazetta Narcissus 12 Hyacinth 13 African Marigold 14 Small Morning Glory

Tulipa undulatifolia Rosa x centifolia Viburnum opulus cv. Roseum Anemone coronaria lilacina Rosa gallica duplex Papaver somniferum Anemone coronaria Tulipa armena x T. undulatifolia Tulipa mucronata alba x T. undulatifolia Tulipa mucronata lutea x T. undulatifolia Narcissus tazetta Hyacinthus orientalis Tagetes erecta Convolvulus tricolor

a Garden Snail

Cepaea hortensis

The pendant shows some of the same species, but in addition also includes a Madonna Lily (Lilium candidum).

J.F.C. Jacobs

Two overdoor paintings signed J.F.C. Jacobs 1772 are in the Amsterdam Diaconessen orphanage.266 In 1992 an overdoor painting attributed to this artist was auctioned in Amsterdam (Fig. 9.87).267 There are numerous artists with the name Jacobs, although the artist of this work is unknown.

Fig. 9.87 J.F.C. Jacobs (attributed), Flower piece with fruit, a bird cage and a Goldfinch, canvas, 86.5 x 93 cm, private collection. 265 Provenance: Phillips, London, 2 December 1997, no. 151a, with pendant 151b. 266 Scheen 1981, p. 244. 267 Sotheby’s, Amsterdam, 11 November 1992, no. 14. Complete description in the Segal Still Life Documentation in the RKD, The Hague.

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

A. van Jonge

In 1929 a flower piece and a fruit piece with landscapes in the background, which were signed A. van Jonge were auctioned as companion pieces in London.268 According to Van der Willigen and Meijer, the artist may have been Adam Adamsz II, who settled in Amsterdam in 1721, whilst a further candidate, albeit less probable, is Abraham de Jonge, who was entered in the Middelburg guild in 1675 and died there in 1687.269

Reint Albert de Jonge

Reint Albert de Jonge was born in 1780 in Groningen and died in Delfshaven in 1867. A number of watercolours with flowers are known by him, and also several flower pieces. In 1832 he exhibited ‘Een boeket bloemen’ (‘A bouquet of flowers’) in Rotterdam, and in 1999 a work depicting a cluster of Provins Roses and Sulphur Roses placed in a circle and dated 1857 was put up for auction.270 Reint Albert de Jonge is really a nineteenth-century artist, but because the criterion for inclusion in this chapter is a birthdate up to and including 1780 he is mentioned here.

Jan Kelderman

Jan Kelderman was born in Dordrecht in 1741. He was apprenticed to the animal painter Wouter Dam (1726-1786), and he also received some instruction from Joris Ponse and the decorative artist Michiel Versteeg (1756-1843). He himself gave tuition to Abraham Teerlink (1776-1857). Kelderman was police commissioner in Dordrecht and painted such subjects as flowers, fruit and birds for his own pleasure. Jan Kelderman died in Dordrecht in 1820. In his flower pieces he sometimes incorporated a Cockscomb (Celosia), or a bird, just as Joris Ponse had done. A flower piece with fruit and a partridge, as well as the pendant of the flower piece described below – a fruit piece with a partridge – make an interesting comparison to the work of another apprentice of Joris Ponse, Arie Lamme (1748-1801). Jan Kelderman, Flower piece with a Cockscomb at the top (Fig. 9.88) Panel, 95.3 x 71.8 cm, signed lower right in black: Jan Kelderman Private collection.271 1 Cabbage Rose 2 Yellow Cabbage Rose 3 Peony 4 Poppy Anemones 5 Small Morning Glory 6 White Rose 7 Hyacinth 8 Love-in-a-mist 9 Poppy Anemone 10 French Marigold 11 French Marigold 12 Hollyhock 13 Tazetta Narcissus 14 Cockscomb 15 Creeping Bell-flower 16 Opium Poppy 17 Blunt Tulip hybrid 18 English Iris 19 Auricula 20 Blunt Tulip 21 Blunt Tulip 22 Great Morning Glory 23 Opium Poppy Some species are not identifiable

268 269 270 271

Rosa x centifolia Rosa x huysumiana Paeonia officinalis pseudoplena coerulea Anemone coronaria div. Convolvulus tricolor Rosa x alba Hyacinthus orientalis plenus albus Nigella damascena subplena Anemone coronaria pseudoplena albo-rosea Tagetes patula aurantiaca Tagetes patula rubra Alcea rosea coerulea Narcissus tazetta Celosia cristata Campanula rapunculoides Papaver somniferum Tulipa mucronata x T. undulatifolia Iris latifolia Primula x pubescens luteo-violacea Tulipa mucronata f. obtusa albo-violacea Tulipa mucronata f. obtusa rubra Ipomoea purpurea Papaver somniferum plenum fimbriatum

Sale Patrick & Simpson, London, 31 July 1929, no. 115. Van der Willigen & Meijer 2003, p. 118; Scheltema 1863, n.p. Watercolour and graphite on paper, ø 240 mm, Christie’s, Amsterdam, 10 November 1999, no. 110, illustrated. Provenance: collection of Cyril Andrade, London; sale of Mrs William Salomon (American Art Association), New York, 4-7 January 1928, no. 762, plus as pendant a fruit piece with flowers and a patridge; collection of the Countess Sala; Sotheby’s, Parke Bernet, New York, 17 November 1961, nos 196 and 197; Nicholson Galleries collection, New York; Sotheby’s, New York, 14 January 1994, no. 138, with pendant.

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A Small White Butterfly b Bird’s Nest with two Eggs

Pieris brassicae Aves spec.

To the left in the background we see architectural elements with a statue of a watchman in a niche, and to the right trees behind a wall topped with a covered urn. In another flower piece with fruit we also see a Cockscomb, but then in the centre of the bouquet.272

Fig. 9.88 Jan Kelderman, Flower piece with a Cockscomb at the top, panel, 95.3 x 71.8 cm, private collection.

272 Panel, 68.5 x 53.8 cm, Christie’s, London, 17 April 2002, no. 67.

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

Andreas Kinderman

Andreas Kinderman was born in Prague. In 1708 he was working there for the family Colloredo in Opočno Castle. In 1722 Kinderman entered the Confrerie Pictura in The Hague as ‘blomschilder van Pragh’ (‘flower painter from Prague’).273 He later travelled to Rome where he received the nickname Ritter Tulipano (‘Knight of the Tulip’). He painted hunting scenes and luxurious flower pieces. A large, signed work is still in Opočno. In Náchod Castle there are two flower pieces and a fruit still life, and in the Strahov Picture Gallery in Prague another decorative work. A flower piece signed HK 1701 was attributed to Kinderman at a sale in Lille in 1996.274

Pieter Klinkhamer II

A flower piece of 1786 is probably by Pieter Klinkhamer, who was born in Amsterdam in 1742, worked in Hoorn but moved to Alkmaar before 1787, where he became city councillor in 1795-1796. Klinkhamer died in 1798. He was an amateur known for his drawings and etchings. Works by this artist are known from an album of forty-eight chalk and wash drawings included in the sale of the collection of Cornelis Stroo of Alkmaar in 1811.275 Pieter Klinkhamer II, Flowers on a ledge in a niche Watercolour and body colour over sketch lines in black chalk on vellum, 338 x 267 mm, signed and dated lower right in violet-pink with grey: Pr Klinkhamer. Fecit / 1786 Private collection.276 1 Cabbage Rose 2 Small Morning Glory 3 Lavatera 4 Austrian Briar 5 African Marigold 6 Poppy Anemone 7 Pot Marigold

Rosa x centifolia Convolvulus tricolor Lavatera thuringiaca Rosa foetida Tagetes erecta Anemone coronaria plena Calendula officinalis

We know of two forest floor pieces in watercolour with body colour on vellum signed Pr Klinkhamer in the tradition of Otto Marseus van Schrieck, Matthias Withoos and Herman Henstenburgh, but with a character all their own. One of these works is dated 1743 and includes among other things an Opium Poppy and a snake.277 The other work is dated 1756 and includes a Cabbage Rose, shells, a snake, and a Goldfinch in its composition.278 The artist who made these works is possibly the father of the artist of the flower piece of 1786. He could, however, also possibly be one of the three children of Michiel Klinkhamer and Adriana Goes of Hoorn, north of Amsterdam.279

Jan Kraÿ

Jan Kraÿ was born in 1730 in Hoorn and died there in 1806. He was a wood dealer and learned to draw from Anton Henstenburgh (1695-1781), the son of Herman Henstenburgh. Kraÿ was active as an amateur, who made flower and fruit pieces, in which he primarily imitated the work of Herman Henstenburgh. He also made works with individual flowers, insects and birds.280

273 Obreen 1877-90, V, p. 142. 274 Canvas, 110.5 x 88 cm, Mercier, 15 December 1996, no. 134. For further details on the life and oeuvre of Kinderman see Mžyková 2012, pp. 164, 201; Seifertová in Prague 2013-14, p. 28 and the Segal Still Life Documentation in the RKD, The Hague. 275 Hendrik Coster, Alkmaar, 29 July 1811, kunstboek L and O. 276 Provenance: Sotheby’s Mak van Waay, Amsterdam, 20 October 1981, no. 271; Christie’s, Amsterdam, 25 November 1991, no. 178. To date no image of the painting could be found. 277 320 x 239 mm, Cambridge, The Fitzwilliam Museum, inv. no. PD 720-1973, as dated 1793. 278 394 x 322 mm, Christie’s, Amsterdam, 17 March 1990, no. 166a. 279 The family Klinkhamer from Hoorn had contact with the family of Pieter Gallis: Jacob Klinkhamer was married to Johanna Gallis. In addition, two fruit pieces were in the inventory of the widow Johanna Gallis. Also, Jacob van Walscappelle bequeathed a painting of flowers and fruit to Pieter Klinkhamer. These details have been provided by Anne Zaal. 280 Immerzeel 1842-43, II, p. 133; Scheen 1981, p. 289. Individual leaves depicting Tulips and a Kingfisher were included in the inventory of Elsje Kraÿ. These details have been provided by L. Boots. See further the Segal Project and the Segal Still Life Documentation in the RKD, The Hague.

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Jan Kraÿ, Flowers on a stone ledge (Fig. 9.89) Body colour over sketch lines in black chalk on vellum, 270 x 230 mm, signed and dated lower left in black: J. Kraÿ . Fecit . / A° 1760 Private collection.281 1 False Larkspur 2 Sweet Pea 3 Pot Marigold 4 Small Morning Glory 5 Poppy Anemone 6 Garden Nasturtium 7 Cabbage Rose 8 Iberian Fritillary 9 Rose of Sharon 10 Auricula

Consolida ajacis semiplena rosea Lathyrus odoratus Calendula officinalis Convolvulus tricolor Anemone coronaria pseudoplena albo-rosea Tropaeolum majus Rosa x centifolia Fritillaria lusitanica Hibiscus syriacus Primula x pubescens luteo-phloginus

Fig. 9.89 Jan Kraÿ, Flowers on a stone ledge, dated 1760, body colour over sketch lines in black chalk on vellum, 270 x 230 mm, private collection.

281 Provenance: Galerie Berko, Knokke 1996; Douwes Gallery, Amsterdam, with a fruit piece as pendant.

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

11 12 13 14

Alpine Gentian French Marigold Poppy Anemone Clustered Bell-flower

A Small Copper Butterfly

Gentiana clusii Tagetes patula Anemone coronaria pseudoplena (rubra) Campanula glomerata Lycaena phlaeas

Jacob l’Admiral II

Jacob l’Admiral II was born in Amsterdam in 1700. He learned drawing and engraving from his father Jacob l’Admiral I (1665-1727), and later from Jakob Christof Le Blon (1667-1741) in London. He also travelled to France where he was active in Paris in 1726, but then returned to Amsterdam sometime afterwards. He died in Amsterdam in 1770. Jacob l’Admiral II was a gauger, that is an exciseman or customs officer who inspects, weighs, and measures goods to assess their levy, but he also made watercolours and prints of insects and their metamorphoses, as well as of lovely plants, which were published posthumously in 1774 under the title Naauwkeurige waarneemingen omtrent de veranderingen van veele insekten of gekorvene diertjes.282 A 1925 Amsterdam auction records ‘Un vase des tulipes et insectes’ (Fig. 9.90).283

Fig. 9.90 Jacob l’Admiral II, Three Tulips in a decorated vase, body colour on vellum, 388 x 280 mm, whereabouts unknown. 282 With text by M. Houttuyn. A second edition was published as early as in 1774, edited by Johannes Sluyter. 283 Sale of the collection of L.X. Lannoy at R.W.P. de Vries, Amsterdam, 15 May 1925, no. 1180.

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Fig. 9.91 Arie Lamme, Flower piece with birds, dated 1767, canvas, 88.9 x 70.5 cm, private collection.

Arie Lamme

Arie Lamme was born in 1748 in Heerjansdam and was apprenticed to Joris Ponse in Dordrecht. He was principally a painter of decorative works, including wallpaper, and made paintings and drawings of landscapes and marines, plus a bird piece in a park setting, and copies after Aelbert Cuyp (1620-1691). Lamme remained active in Dordrecht his whole life and had several apprentices, including his son Arnoldus (17711856), his daughter Cornelia Scheffer-Lamme (1769-1839), and Johan Hendrik Boshamer (1776-1862). Arie Lamme died in Dordrecht in 1801.284 An exception in his oeuvre is a flower piece of 1767 with fruit in an indistinct vase on a stone block, with a large exotic pheasant and another bird, set before a park landscape. 284 For further details on the life of Arie Lamme see Geest 1959, pp. 13-34 and Scheen 1981, p. 301.

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Arie Lamme, Flower piece with birds (Fig. 9.91) Canvas, 88.9 x 70.5 cm, signed and dated 1767 Private collection.285 Marguerite Cabbage Rose White Rose Snowball Opium Poppy Hollyhock

Leucanthemum vulgare Rosa x centifolia Rosa x alba plena Viburnum opulus cv. Roseum Papaver somniferum (simplex) Alcea rosea plena

Incorporating a pheasant in a flower piece with fruit was also a composition rendered by another apprentice of Joris Ponse, namely Jan Kelderman (see above), in a painting of 1778.286 In the flower piece by Lamme the flowers are painted in a free, somewhat loose style.

J. van Lemmen

A rather roughly painted flower piece signed J. v. Lemmen, was in the possession of the Amsterdam art dealer M. Wolff before 1938. A dark photograph shows a vase on a marble ledge with a large open Tulip in the lower right of the bouquet and a Crown Imperial in the upper right (Fig. 9.92).287

Fig. 9.92 J. van Lemmen, Flower piece, panel, 42 x 32 cm, whereabouts unknown. 285 Provenance: Christie’s, London, 13 July 1979, no. 160. These are the species, which could be identified from a black-andwhite reproduction. 286 Canvas, 94.5 x 71.5 cm, Christie’s, London, 18 April 2014, no. 158. 287 Provenance: Wolff Gallery, Amsterdam, before 1938. Photograph from the RKD, The Hague.

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Fig. 9.93 Hendrick Lofvers, Flowers and fruit on a marble table-top in a niche, dated 180[3?], canvas, 124 x 92 cm, private collection.

Hendrick Lofvers

Hendrick Lofvers was born in 1739 in Groningen, the son of the maritime artist Pieter Lofvers (17121788), who taught him to paint. In 1766 he married Grietje Dauwes Bronsema. Hendrick Lofvers died in 1806. He painted marines, like his father, but also landscapes, portraits and flower pieces, and in addition worked as a varnisher.288 A signed flower piece with seventeen flower species and several kinds of fruit in a niche was in the possession of a Dutch art dealer in 1979.289 A larger chimneypiece with a similar composition is currently in a private collection in the Netherlands (Fig. 9.93). 288 For further details on the life of Lofvers see De Visser 1936 and Scheen 1981, p. 320. 289 Canvas, 78 x 54.5 cm, signed Hlofvers (‘H’ and ‘L’ ligated), with a pendant, with Beets & Fontein Gallery; extensively described in the Segal Still Life Documentation at the RKD, The Hague (a photograph could not be obtained).

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Hendrick Lofvers, Flowers and fruit on a marble table-top in a niche (Fig. 9.93) Canvas, 124 x 92 cm, signed and dated lower right: HLofvers, Fecit 180[3?] Private collection.290 Small Morning Glory Stock Blunt Tulip hybrid Cabbage Rose White Rose Yellow Lupine Creeping Bell-flower Foxglove Lady Tulip Pot Marigold Auricula Opium Poppy

Convolvulus tricolor Matthiola incana Tulipa mucronata x T. undulatifolia Rosa x centifolia Rosa x alba subplena Lupinus luteus Campanula rapunculoides Digitalis purpurea Tulipa stellata Calendula officinalis Primula x pubescens Papaver somniferum pseudoplenum rubrum

The flowers have been arranged in a tall, narrow garden urn decorated in relief with an oval medallion and a laurel wreath. The medallion shows two putti, one holding a mirror up to the other. Set before the vase is a white bowl decorated in blue holding green and blue grapes, peaches, apricots and a twig of cherries. On the table to the left are green and blue plums and to the right a Hollyhock (Alcea rosea pseudoplena ochrea).

Johannes Hermanus van Loon

Johannes Hermanus van Loon was born in Amsterdam about 1733 and died there in 1786. In 1770 he was registered as fine-art painter and member of the Amsterdam Guild of Saint Luke. Van Loon is known as a painter of flowers, fruit and dead birds. He also painted wall coverings for the firm of Jan Hendrik Troost van Groenendoelen.291 The Städel Museum in Frankfurt am Main holds watercolour flower still lifes, bird paintings and landscapes by this artist in its collection. The still life with a monogram now in the Musée des BeauxArts in Bordeaux traditionally attributed to Johannes Hermanus Van Loon is actually a work by the artist Willem van Leen. Johannes Hermanus van Loon, Flowers in a stoneware vase on a marble balustrade (Fig. 9.94) Canvas, 69 x 52.5 cm, signed and dated to the right of lower centre in white with dark brown: J: H: v: Loon . 1778 Private collection.292 1 Small Morning Glory 2 French Rose 3 Stock 4 Stock 5 Garden Nasturtium 6 Sulphur Rose 7 White Rose 8 Cabbage Rose 9 Auricula 10 Honesty 11 Forget-me-not 12 Hyacinth 13 Hyacinth 14 White Marguerite Daisy 15 Opium Poppy

Convolvulus tricolor Rosa gallica Matthiola incana violacea Matthiola incana luteo-alba Tropaeolum majus Rosa hemisphaerica Rosa x alba plena Rosa x centifolia Primula x pubescens ochracea Lunaria annua Myosotis scorpioides Hyacinthus orientalis plenus atrocoeruleus Hyacinthus orientalis plenus albo-purpurescens Argyranthemum frutescens Papaver somniferum rubro-album fimbriatum

290 Part of a decoration scheme. Provenance: unknown. Literature: Botke 1996, p. 16. 291 About the life and oeuvre of Van Loon see Scheen 1981, p. 321 and the Segal Still Life Documentation in the RKD, The Hague. 292 Provenance: sale De Zwaan, Amsterdam, 29 April 1993; Simonis & Buunk Gallery, Ede 1995. Literature: N. Van der Schaaf 1993, pp. 22-23; Segal 1993a, p. 27; Van der Schaaf 1993a, p. 38. The painting is probably identical to a work in the collection Jan Pelkstok that was sold in Amsterdam on 17 December 1792, no. 68 (sale Van der Schley, Ploos van Amstel & Yver), with the pendant no. 67.

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Fig. 9.94 Johannes Hermanus van Loon, Flowers in a stoneware vase on a marble balustrade, dated 1778, canvas, 69 x 52.5 cm, private collection. 776 |

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16 Persian Tulip 17 Campernelle Narcissus 18 Hollyhock 19 Hollyhock 20 Great Periwinkle 21 French Marigold 22 Hollyhock 23 York and Lancaster Rose 24 Auricula 25 Blue Passion Flower

Tulipa clusiana Narcissus x odorus Alcea rosea plena alba Alcea rosea plena lutea Vinca major Tagetes patula Alcea rosea rubiginosa Rosa damascena cv. Versicolor Primula x pubescens atrocoerulea Passiflora coerulea

a Red Admiral Butterfly b Painted Lady Butterfly c Rose Chafer Beetle

Vanessa atalanta Vanessa cardui Cetonia aurata

Fig. 9.94a Sketch of the species in Fig. 9.94.

Abraham Meertens

Abraham Meertens was born in Middelburg in 1747 and died there in 1823. In Middelburg he became a member of the guild in 1770. He was also co-founder of the Drawing Academy there, where he was active as an instructor. Meertens painted and made drawings of landscapes, flower still lifes and birds, and contributed illustrations for Jacobus Ermerins’s publication Eenige Zeeuwsche Oudheden, uit echte stukken opgehelderd en in het licht gebragt, printed in Middelburg between 1780 and 1797. The Rijksprentenkabinet in Amsterdam has fifty-eight designs for room decorations in black chalk and watercolour in its holdings. Several of these have flower swags, flower festoons and flower garlands, whilst one solitary piece shows a flower swag around a large garden urn decorated with putti, accompanied by two birds and a butterfly, which is signed and dated 1780 (Fig. 9.95).293 Apart from Roses, no other species can be identified, because the design is roughly sketched. This also applies to the flowers in the other designs.294 293 Amsterdam, Rijksprentenkabinet, inv. no. RP-T-1913-135. 294 For further details on the life and oeuvre of Meertens see Scheen 1981, pp. 340-341, Fig. 263; Harmanni 1994 and Fock 2004.

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Fig. 9.95 Abraham Meertens, Swag of flowers around a garden urn, dated 1780, ink and black chalk on paper, 202 x 160 mm, Rijksprentenkabinet, Amsterdam.

Agatha van der Mijn

Agatha van der Mijn was born in 1700 in Amsterdam. She was Herman van der Mijn’s (1684-1741) sister, and moved with him to London, settling in the English capital permanently, where she died in around 1777, the year of her last dated work. She painted flower, fruit, and game still lifes. No flower pieces by her are currently known. Willem van Swaanenburg sang her praises when she was only eighteen years old and in 1724 included a poem about her in his poetry collection, Parnas, of de zang-godinnen van een schilder – incidentally a volume regarded as impenetrable in Swaanenburg’s own day. The relevant poem is entitled ‘Mei-zang, Op den 18ste Verjaardag van de Kunst- en Bloem-schilderesse Agatha vander Myn’ (‘Song of Maytime, on the 18th Birthday of the Fine Art and Flower Painter Agatha vander Myn’):

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[...] O Zoete Toveres, Godin der Schilder-bloemen, Sprak hy, ik moet uw kunst ver boven Flora’s Roemen, ‘k Verlaat myn eigen Vrouw, en geef aan u myn hart; Een hart, helaas! te diep in uw penseel verwart [...]295 (‘[...] O Sweet Enchantress, Goddess of painted flowers, Your art I praise far above Flora’s bowers, My own Wife I leave and give you my heart; A heart, alas! too deeply entangled in your art [...]’)

Cornelia van der Mijn

Cornelia van der Mijn was born in 1709, the daugher of Herman van der Mijn. She followed her father to London in 1727 and died there in or after 1772.296 Cornelia painted portraits and flower pieces. Examples of the latter may currently be found in the Rijksmuseum in Amsterdam, and in the Národní Galerie in Prague (attributed to Jan van Huysum). Cornelia van der Mijn, Flowers in a glass vase on a gilt base decorated with leaves (Fig. 9.96) Canvas, 76 x 64 cm, signed and dated lower right in black: Cornelia Van der Mijn 1762 Rijksmuseum, Amsterdam, inv. no. SK-A-3907.297 1 Carnation 2 Purple Tulip 3 Cabbage Rose 4 Snowball 5 White Rose 6 Auricula 7 Small Morning Glory 8 Poppy Anemone 9 Auricula 10 False Larkspur 11 Spanish Iris 12 Sweet Pea 13 Sweet William 14 German Flag Iris 15 Illyrian Gladiolus 16 Opium Poppy 17 Red Valerian 18 Red Tulip 19 False Larkspur 20 Dog Rose 21 Poppy Anemone 22 Peony

Dianthus caryophyllus plenus bicolor Tulipa undulatifolia bicolor Rosa x centifolia Viburnum opulus cv. Roseum Rosa x alba Primula x pubescens indogifera Convolvulus tricolor Anemone coronaria rosea Primula x pubescens luteo-purpurea Consolida ajacis Iris xiphium Lathyrus odoratus Dianthus barbatus Iris germanica Gladiolus illyricus Papaver somniferum Centranthus ruber Tulipa agenensis Consolida ajacis duplex Rosa canina Anemone coronaria pseudoplena coerulea Paeonia officinalis plena

A flower piece of 1715 in the Noordbrabants Museum in ‘s-Hertogenbosch (on loan from the Cultural Heritage Agency of the Netherlands), formerly attributed to Jan van Huysum and then later to Herman van der Mijn, exhibits many similarities to the style and composition of the painting in the Rijksmuseum. In that arrangement too, we see a German Iris at the top of the bouquet and a Carnation hanging down below.298 The signature is indistinct.

295 Van Swaanenburg 1724, pp. 119-121; Kramm 1857-64, IV, p. 1180. 296 Van Swaanenburg 1724, pp. 119-121; Kramm 1857-64, IV, p. 1180. 297 Provenance: private collection, England; Galerie Abels, Cologne 1951-1954; Galerie Curt Benedict, Paris 1956. Exhibitions & literature: Staring 1966-68, p. 182, Fig. 6; Segal in Amsterdam 1970, n.p., no. 16, with identifications; Mitchell 1973, p. 182, Fig. 252; Van Thiel 1976, p. 405. 298 Copper, 65 x 50 cm, Cultural Heritage Agency of the Netherlands, inv. no. NK 1672; see Ter Kuile 1985, pp. 144-145.

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Fig. 9.96 Cornelia van der Mijn, Flowers in a glass vase on a gilt base decorated with leaves, dated 1762, canvas, 76 x 64 cm, Rijksmuseum, Amsterdam. 780 |

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Fig. 9.97 Herman van der Mijn, A glass goblet with a Cabbage Rose on the lid in a niche, dated 1730, canvas, 73.6 x 62.2 cm, Burghley House, Stamford (Lincolnshire).

Herman van der Mijn

Herman (also spelled ‘Heroman’) van der Mijn was born in 1684 in Amsterdam, where he learned to paint from Ernst Stuven. In 1706 Herman married Susanna Bloemendaal. In 1712 he was a member of the Guild of Saint Luke in Antwerp. Van der Mijn’s patrons included many of the royal houses of Europe: between 1713 and 1715 he was in Düsseldorf working for the Elector Palatine Johann Wilhelm; in 1718 he worked in Paris for the Duke of Orléans; in 1721 he was in Brussels; and from 1725 he was in London at the behest of Princess Anne, with interim visits to his homeland to fulfil orders for his patron William IV, Prince of Orange-Nassau, in Apeldoorn and Leeuwarden. Van der Mijn was also in the employ of the eighth Earl of Exeter at Burghley for many years, restoring the paintings in his collection. Herman van der Mijn died in London in 1741. Van der Mijn painted many portraits, mythological and religious scenes, plus the odd flower, fruit and game still life. He taught four of his seven children to paint – Cornelia, George, Gerard and Robert – and one of his other apprentices was Jacoba Maria van Nickelen (ca. 1680-1749). Agatha van der Mijn was his sister. Dated work for Herman is known from 1715 through to 1740. Flower pieces are currently in the collections of the Hamburger Kunsthalle; the Noordbrabants Museum in ‘s-Hertogenbosch, dated 1715 (on loan from the Cultural Heritage Agency of the Netherlands) and the Staatsgalerie im Neuen Schloss Bayreuth.299 Herman van der Mijn, A glass goblet with a Cabbage Rose on the lid in a niche (Fig. 9.97) Canvas, 73.6 x 62.2 cm, signed and dated lower right in dark brown with beige white: H. Vander Mijn. 1730 ./august: 31. Annotated on the silver plate: Un Verre d’Amitié. Burghley House, Stamford (Lincolnshire).300

299 See Staring 1966-68, also for the Van der Mijn family. 300 Provenance: probably received as a gift by the eighth Earl of Exeter, thence by inheritance. Exhibitions & literature: Drakard 1815, p. 63, as Agatha van der Mijn; Staring 1966-68, pp. 236-237, Fig. 10; Mitchell 1973, p. 182, Fig. 253; Washington 1985-86, no. 297; London 1986-87, no. 84; Woldbye in Copenhagen 1990, pp. 127-128, 130, no. 7.

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A Cabbage Rose has been tied with a blue silk ribbon to the knob of the lid of a glass goblet, which is decorated with rubies and filled with red wine. The goblet has been set on a silver salver. Herman van der Mijn replicated the goblet with a Rose on top in paintings incorporating fruit, which he executed in 1733 and 1734.301

J. Mulckenhof

A flower piece by J. Mulckenhof on canvas was auctioned in 1770 in Alkmaar.302 Nothing is known about this artist.

Jacoba Maria van Nickelen

Jacoba Maria van Nickelen (also spelled Nikkelen) was born about 1680 in Haarlem. She was the daughter of Jan van Nickelen (1655/56-1721) who probably taught her the basic foundations of painting. Around 1712 she continued her study with Herman van der Mijn and moved with her father to Düsseldorf, where he became court painter, along with Willem Troost (1684-1752), whom she married in 1714. After the death of Johann Wilhelm Elector Palatine, the couple was actively engaged at various German courts, including Cologne (1716-1728), Duisburg (1728-1731), Essen (1731-ca. 1733) and Cleves (ca. 1733-1735). In 1735 they settled in Haarlem and had eight children. Jacoba painted flower and fruit pieces, also in body colour. A flower piece is listed in the 1939-1940 exhibition catalogue of the Muzeum Narodowe in Warsaw.303 A fruit piece signed with her maiden name is probably from around 1710.304 Jacoba Maria van Nickelen, Flowers and fruit in a rectangular niche (Fig. 9.98) Canvas, 100 x 78 cm, signed on the pedestal in dark brown: J: MARİA TROOST / GEBOOREN / VAN NIKKELEN / INV F. Private collection.305 1 Small Morning Glory 2 Blunt Tulip 3 Madonna Lily 4 French Rose 5 White Rose 6 Blunt Tulip 7 Opium Poppy 8 Golden Narcissus 9 Snowdrop 10 Opium Poppy 11 Crown Imperial 12 Lavatera 13 Snake’s Head Fritillary 14 English Iris 15 Few-flowered Lily 16 Auricula 17 Peony

Convolvulus tricolor Tulipa mucronata f. obtusa bicolor Lilium candidum Rosa gallica plena Rosa x alba Tulipa mucronata f. obtusa albo-rubescens Papapaver somniferum alba-purpureo marginatum Narcissus tazetta subsp. aureus Galanthus nivalis Papaver somniferum albo-lilacinum marginatum Fritillaria imperialis Lavatera thuringiaca Fritillaria meleagris Iris latifolia Lilium bulbiferum var. croceum Primula x pubescens violacea Paeonia officinalis plena

A Small Tortoiseshell Butterfly

Aglais urticae

A broad terracotta urn with a foot filled with Crown Imperial and other flowers has been placed on a block of marble in a niche with a rectangular opening. On the ledge of the niche are melon, white grapes, apricots, peaches, purple grapes, cherries and apples. A light source, from outside of the frame to the left, causes the shadow of the bouquet to fall on the lit right side of the niche. In the upper left is an indistinct butterfly.

301 Canvas, 69 x 56.5 cm, dated 1733, Christie’s, London, 14 April 1989, no. 84; canvas, 68.6 x 56.5 cm, dated 1734, Christie’s, London, 7 July 2010, no. 123. 302 Sale of the estate of Jacoba Domis-Keiser at Alkmaar, 2 June 1766, no. 63; Terwesten 1770, p. 540. 303 Warsaw 1939-40, no. 89. 304 Kloek, Peters Sengers & Tobé 1998, p. 168; Segal in Antwerp & Arnhem 1999-2000, p. 208. 305 Provenance: Sotheby’s, Amsterdam, 22 November 1989, no. 71; Fischer, Lucerne, 16 June 1995, no. 2065; Hampel, Munich, 16 September 2011, no. 240; Dorotheum, Vienna, 21 October 2014, no. 321 (unsold); Bonhams, London, 28 October 2015, no. 224.

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Fig. 9.98 Jacoba Maria van Nickelen, Flowers and fruit in a rectangular niche, canvas, 100 x 78 cm, private collection.

Jacoba Maria van Nickelen, Flowers in a glass vase (Fig. 9.99) Panel, 48.8 x 37 cm. Akademie der bildenden Künste, Vienna, inv. no. GG-895.306 1 2 3 4 5

Cabbage Rose False Larkspur Great Morning Glory White Rose York and Lancaster Rose

Rosa x centifolia Consolida ajacis bicolor Ipomoea purpurea Rosa x alba subplena Rosa x damascena cv. Versicolor

306 Provenance: collection of Count Lamberg-Sprinzenstein; gift to the Akademie. Exhibitions & literature: Schwemminger 1866, p. 51, no. 471; Schwemminger 1873, p. 52, no. 687; Von Lützow 1889, p. 186; Von Frimmel 1899-1901, IV, p. 193; Von Wurzbach 1906-11, II, p. 236; Eigenberger 1927, p. 272, Fig. 187; Vienna 1952-53, no. 19; Münz 1954-55, III, p. 33, no. 46; Pavière 1962-64, I, p. 47, Pl. 52; Vienna 1969, p. 164; Trnek 1992, no. 96.

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6 French Marigold 7 Opium Poppy 8 Sweet Pea 9 Hollyhock

Tagetes patula Papaver somniferum pseudoplenum Lathyrus odoratus duplex Alcea rosea

Flowers in a glass vase differs in style from the painting she signed with the name of her husband above. This unsigned work was formerly in the collection of Count Lamberg-Sprinzenstein, who was director of the Akademie der bildenden Künste in Vienna from 1818 to 1822. In his autograph inventory the work is described as ‘Fiori della Nichelli maniera della Ruysch’. In actual fact, the painting reveals more similarities to the work of Jacoba’s master, Herman van der Mijn, than to the work of Rachel Ruysch. The upper portion of the bouquet is nearly identical to a flower piece by Van der Mijn now in Hamburg, where the composition with a tablecloth to the right is also the same; there are also similarities to Herman’s work in Prague.307 It should also be noted that a similar vase is displayed in the 1762 work by Herman’s daughter, Cornelia van der Mijn, discussed above (Fig. 9.96).

Fig. 9.99 Jacoba Maria van Nickelen, Flowers in a glass vase, panel, 48.8 x 37 cm, Akademie der bildenden Künste, Vienna.

307 See the Segal Still Life Documentation in the RKD, The Hague.

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Jan van Nickelen

Jan van Nickelen was born in Haarlem in 1655 or 1656, where he was probably trained by his father Isaak van Nickelen (1632-1703), who painted church interiors. In 1684 he married Hester van Wiert in Amsterdam. Hester bore him at least two children, who also became painters: Rymer (1690-1740) and Jacoba Maria. In 1688 Jan was recorded in the Haarlem Guild of Saint Luke, but in the list of 1702, he is no longer listed – possibly because he was already residing in Amsterdam.308 In or around 1712 Herman van der Mijn invited him to Düsseldorf, where he became court painter to Johann Wilhelm Elector Palatine until the prince’s death in 1716. Afterwards he was appointed to the court of Count Karl von Hessen in Kassel, where he died in 1721. Jan van Nickelen had wide-ranging interests: in addition to painting landscapes, architectural representations, animals and a single fruit piece, he was also an etcher, merchant, and, according to himself, the inventor of a form of ‘Japans swart en rood verlakken’ (‘Japanese black and red lacquer’). According to Houbraken he painted ‘Bloemen en andere sieraden op dunne zyde, dienende tot Chassenetten voor de glazen, alsook Lakwerk enz.’ (‘Flowers and other decorative objects on thin silk, to serve as Chassinets for in front of glass, as well as Lacquerwork etc.’), but these are no longer known. Chassinets are paintings or designs made for special occasions on translucent silk, or oiled paper. These decorations are then attached to a frame for illumination from behind with a source of light, similar to the manner of a light box, or, alternatively, fitted onto a window, which then produced a splendid play of light filtering through the design.309

Barbara van Nijmegen

Barbara van Nijmegen was born in Rotterdam in 1713, the youngest daughter of Elias van Nijmegen (1667-1755); she died in her native city in 1771. She is recorded as a painter of flower still lifes. No work by her is known today.310

Elias van Nijmegen

Elias van Nijmegen was born in Nijmegen in 1667. He trained at a young age with his father, the sculptor Herbert van Nijmegen (1631/32-1679), which is later to be observed in the statuary in his paintings, and also in the work of his brothers, Gideon and Tobias, who were decorative painters. In 1689 Elias became a member of the Leiden Guild of Saint Luke. In 1701 he was married in Rotterdam, where he became a member of the Guild of Saint Luke and is also the location of his death in 1755. He was a decorative painter who worked in various locations in the Northern Netherlands, including executing a commission for the Stadhouder in Leeuwarden in 1694. He painted primarily Biblical and mythological scenes and also designed wall and ceiling decorations. Later he became the teacher of his son Dionys, his daughter Barbara, and his apprentice Gerard Sanders.311 Elias van Nijmegen, A pair of decoration pieces with putti carrying a basket with flowers (Figs 9.100 and 9.101) Canvas, 156 x 97 cm, signed lower left: E. v. Nijmegen Fc. and 156 x 88 cm Koninklijke Verzamelingen, The Hague, inv. nos SC/0705 and SC/0706.312 Species in both paintings White Rose Cabbage Rose Columbine Blue Passion Flower Forget-me-not Hollyhock Pot Marigold French Marigold African Marigold Marguerite Auriculas

Rosa x alba Rosa x centifolia Aquilegia vulgaris plena Passiflora coerulea Myosotis palustris Alcea rosea Calendula officinalis Tagetes patula Tagetes erecta Leucanthemum vulgare Primula x pubescens

308 According to a notice in the Amsterdamsche Courant of 13 December 1703, he was living on the Anjeliersgracht (now Westerstraat). 309 Houbraken 1718-21, III, p. 266. 310 Van Gool 1750-51, I, p. 264; Kloek, Peters Sengers & Tobé 1998, p. 155. 311 For further details on the life and oeuvre of Elias van Nijmegen see Niemeijer 1969 and Scheen 1981, p. 377. 312 Formerly both works decorated the Dutch royal residence Paleis Soestdijk; Gemar-Koeltzsch 1995, III, p. 743, nos 288/1 and 288/2.

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Figs 9.100 and 9.101 Elias van Nijmegen, A pair of decoration pieces with putti carrying a basket with flowers, 156 x 97 cm and 156 x 88 cm, Koninklijke Verzamelingen, The Hague.

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Garden Nasturtium Blunt Tulip Poppy Anemone Whorled Opium Poppy Illyrian Gladiolus

Tropaeolum majus Tulipa mucronata f. obtusa bicolor Anemone coronaria Papaver somniferum plenum undulatum Gladiolus illyricus

Additional species in Fig. 9.100 Snowball Madonna Lily Turk’s Cap Lily Snake’s Head Fritillary Small Morning Glory Honeysuckle Hyacinth Foxtail

Viburnum opulus cv. Roseum Lilium candidum Lilium chalcedonicum Fritillaria meleagris Convolvulus tricolor Lonicera periclymenum Hyacinthus orientalis Amaranthus caudatus

Additional species in Fig. 9.101 Carnation Sweet Pea Tuberose St Bernard’s Lily Maltese Cross Periwinkle Rose of Sharon

Dianthus caryophyllus Lathyrus odorarus Polyanthus tuberosus Anthericum liliago Lychnis chalcedonica Vinca minor Hibiscus syriacus

These decorative pieces have been executed from a worm’s-eye view. The putti are balancing on an ornamented pedestal displaying a carved medallion in relief with the bust of a woman. The pedestal is set up in a dome. The flowers have been composed in a compact cluster. Coenraet Roepel painted a few somewhat similar compositions with stone carved putti and flowers, possibly inspired by Elias van Nijmegen: for example, a work of 1722 now in Schloss Wilhelmshöhe in Kassel, and a 1735 painting of a fountain with putti and a flower swag in the Historisch Centrum Bergen op Zoom.313

A. van Olst (?)

A flower piece with fruit in the style of Jan van Os is signed and dated A. van Oss 1776, and includes a Red Cockscomb (Celosia cristata) in the lower left, while a pineapple is sticking out of the upper left of the bouquet (Fig. 9.102).314 A related work signed A. Van Ole is dated 1775.315 It shows a Cockscomb in the upper centre of the bouquet with a Hollyhock sticking out above on the right on a practically identical marble balustrade that is rounded on the left, with the identical peaches and grapes in the same style, and in the background to the right a wall and a park landscape. Meijer has attributed both works to Abraham van Strij.316 These attributions strike me as debatable. We are clearly dealing here with an unknown follower of Jan van Os. Another painting, a landscape with cattle signed Al. Van Olst, may or may not be the work of the same artist.317

313 Canvas, 96 x 75 cm, Kassel, Schloss Wilhelmshöhe, inv. no. GK 452; canvas, 182 x 95.5 cm, Bergen op Zoom, Historisch Centrum. 314 Provenance: Mrs Herewyt de Bless; Christie’s, London, 31 March 1939, no. 129, as A. van Oss; Christie’s, New York, 12 January 1996, no. 99, as Jan van Os. 315 Panel, 41 x 31 cm, Christie’s, London, 11 December 1875, no. 79, as A. van Oss; Thomas Agnew & Sons Gallery, London. 316 For the attributions see the database RKDimages. 317 Robinson & Fisher, London, 25 June 1936, no. 30.

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Fig. 9.102 A. van Olst (?), Flower piece with fruit, dated 1776, panel, 67.2 x 48.2 cm, private collection.

M.J. van Olst

A flower piece with fruit signed M.J. van Olst fec was auctioned in London in 1987 (Fig. 9.103). The piece shows some similarities to the abovementioned work signed A. van Oss (Fig. 9.102). Both bouquets are dominated by a diagonally placed Hollyhock, and in the Olst work a Cockscomb (Celosia cristata) has also been inserted into the lower right of the bouquet. The background of the M.J. van Olst painting, however, is a landscape with cypress trees together with another tree to the right, with some architectural elements to the left.

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Fig. 9.103 M.J. van Olst, Flower piece with fruit in front of a landscape with trees, canvas, 59 x 49 cm, private collection.

M.J. van Olst, Flower piece with fruit in front of a landscape with trees (Fig. 9.103) Canvas, 59 x 49 cm, signed lower right in brown: M.J. van Olst fec Private collection.318 1 2 3 4 5 6 7

Hollyhock Hyacinth Pot Marigold Cabbage Rose Dog Rose Hollyhock False Larkspur

Alcea rosea semiplena rufa Hyacinthus orientalis plenus Calendula officinalis Rosa x centifolia Rosa canina Alcea rosea pseudoplena albo-persicina Consolida ajacis subplena rosea

318 Provenance: Christie’s, London, 3 July 1953, no. 29; Leggatt Gallery, London; collection of Captain E.G. Spencer-Churchill M.C., Northwick Park (Gloucestershire), catalogue The Northwick Rescues, 1961, no. 41; his sale, Christie’s, London, 29 October 1965, no. 24; sold to Pollak; Sotheby’s, London, 8 April 1987, no. 22; Richard Green Gallery, London.

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8 Small Morning Glory 9 Opium Poppy 10 Cockscomb 11 Auricula 12 Auricula 13 Maltese Cross

Convolvulus tricolor Papaver somniferum Celosia cristata Primula x pubescens coerulea Primula x pubescens violacea Lychnis chalcedonica plena

On the balustrade 14 Cockscomb 15 Peaches 16 Cherry 17 Blue Grapes

Celosia cristata Prunus persica Prunus cerasus Vitis vinifera

a Window Fly

Scenopinus fenestralis

The abundant bouquet has been set in a (hardly visible) terracotta vase.

Maria Margaretha van Os

Maria Margaretha van Os was born in 1779 in The Hague, the daughter and apprentice of Jan van Os, and she remained in that city until she passed away in 1862. She is really a nineteenth-century artist just like her better-known younger brother, the still life painter Georgius Jacobus Johannes van Os, and also her older brother Pieter Gerardus van Os, who was chiefly a landscape painter. Maria Margaretha painted flower pieces, but mostly in watercolour, sometimes with shells, as well as fruit pieces, plus individual flowers and butterflies, and even several landscapes. Her work was included in many exhibitions between 1814 and 1844. She remained single and was a good friend of Petronella van Woensel, who also painted still lifes. In 1826 she was made an honorary member of the Koninklijke Akademie in Amsterdam. Flower pieces are currently in the Fitzwilliam Museum in Cambridge, the Gemeentemuseum Den Haag in The Hague, and Museum Boijmans Van Beuningen in Rotterdam. Several drawings are in the collection of the Rijksprentenkabinet in Amsterdam, including one of a lovely Auricula.319 Maria Margaretha van Os, Flowers in a tumbler (Fig. 9.104) Watercolour on paper, 297 x 237 mm, signed lower left in ink: M M Van Os. Museum Boijmans Van Beuningen, Rotterdam, inv. no. MMvO 1 (PK).320 1 Small Morning Glory 2 White Rose 3 Poppy Anemone 4 Forget-me-not 5 Fuchsia 6 Large Blanket Flower 7 Wild Mignonette 8 Wood Speedwell (?) 9 Hyacinth 10 Auricula 11 Nightshade 12 Dark Scabious 13 Sulphur Rose 14 Alpine Gentian

Convolvulus tricolor Rosa x alba Anemone coronaria pseudoplena violacea Myosotis palustris Fuchsia magellanica Gaillardia aristata Reseda lutea Veronica cf. montana Hyacinthus orientalis ruber Primula x pubescens luteo-violacea Solanum spec. Scabiosa atropurpurea Rosa hemisphaerica Gentiana clusii

319 Van Loo 2000; in this publication the Auricula is mistakenly referred to as a Small Morning Glory (Van Loo 2000, p. 247, Fig. 3). 320 Provenance: bequest of F.J.O. Boijmans, 1847. Exhibitions & literature: Rotterdam 1960, n.p., no. 72; Scheen 1981, p. 387; Van Loo 2000, p. 247, Fig. 4.

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Fig. 9.104 Maria Margaretha van Os, Flowers in a tumbler, watercolour on paper, 297 x 237 mm, Museum Boijmans Van Beuningen, Rotterdam.

Jacobus Ouwater

Jacobus Ouwater was born in the province of Zeeland in 1699. He resided in The Hague from 1752 to 1754, where he was registered as a member of the Confrerie Pictura. He then moved to Middelburg and died there in 1775. Ouwater painted landscapes and flower pieces. Several of these are mentioned in Hague sources between 1752 and 1766, but today no flower pieces by him are known.321

J. van Pielier

A large flower piece signed J. van Pielier shows a vase decorated with putti holding a flower arrangement including Few-flowered Lily, Madonna Lily, Turk’s Cap Lily and Hollyhocks, with other flowers. In the foreground we see Roses and a Passion Flower, along with a squirrel, several butterflies, and additionally some architectural features in the background.322 A different signed flower piece with an especially fine Tuberose and a Crown Imperial surfaced at a sale in New York in 1999 and was auctioned again in Amsterdam in 2014 (Fig. 9.105). Nothing is known about this artist. 321 Collection Willem Lormier, The Hague, see Hoet 1752, II, p. 435; his sale, 4 July 1763, The Hague, no. 210, see Terwesten 1770, p. 327; collection Van Eversdyck, sale 28 May 1766, The Hague, no. 106, see Terwesten 1770, p. 536. For his life see Pavière 1962-64, II, p. 49 and Scheen 1981, pp. 389-390. 322 Canvas, 127 x 102 cm, sale London, 5 February 1934, no. 231, with an indistinct illustration.

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J. van Pielier, Flower piece with Tuberose and Crown Imperial (Fig. 9.105) Canvas, 88.9 x 68.6 cm, signed lower right in brown: J. van Pielier Private collection.323 Garden Nasturtium Small Morning Glory Cabbage Rose Pot Marigold

Tropaeolum majus Convolvulus tricolor Rosa x centifolia ad R. x provincialis Calendula officinalis

Fig. 9.105 J. van Pielier, Flower piece with Tuberose and Crown Imperial, canvas, 88.9 x 68.6 cm, private collection.

323 Provenance: Sotheby’s, New York, 14 October 1999, no. 159; Christie’s, Amsterdam, 14 May 2014, no. 165. I have not seen this painting.

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French Marigold White Rose Cardinal Flower Corn Flower Auricula Orange blossom Opium Poppy Tuberose Crown Imperial Blunt Tulip hybrid Peony Carnation

Tagetes patula Rosa x alba plena Lobelia cardinalis Centaurea cyanus Primula x pubescens violacea Citrus aurantium Papaver somniferum pseudoplenum miniatum Polyanthes tuberosa Fritillaria imperialis Tulipa mucronata x T. undulatifolia Paeonia officinalis plena Dianthus caryophyllus plenus albescens

A flower arrangement in a terracotta urn decorated with putti has been placed on a marble balustrade before an indistinct garden landscape with a fountain on the right.

Antoni Piera

Antoni Piera was born in 1756 in Amsterdam and died there in 1838. He made paintings and drawings of still lifes and landscapes, as well as wall coverings, and is recorded as the master of still life painter Arnoldus Bloemers (1785-1844).324 A flower piece by him was shown at an exhibition in Amsterdam in 1828 and 1831; and a ‘vase avec fleurs’ (‘vase with flowers’) was included in an auction in Amsterdam in 1927.325

Joris Ponse

Joris Ponse was born in 1723 in Dordrecht, where he was apprenticed to Aert Schouman, who is primarily known for his watercolours of birds and flowers. Ponse was active in Rotterdam around 1777 and also for a while in Amsterdam, but mostly in Dordrecht, where he had a shop and was active producing decorative pieces for interiors. Joris painted combinations of flowers and fruit with dead game. He died in Dordrecht in 1783. Among his apprentices were the still life painters Jan Kelderman, Arie Lamme, Willem van Leen and Abraham van Strij. A flower piece with fruit and a dead hare is currently in the collection of the Dordrechts Museum.326 Joris Ponse, A large Cockscomb in a pot with fruit and a hare (Fig. 9.106) Panel, 99.6 x 76.2 cm, indistinctly signed in monogram on the pedestal to the left of centre below: J P Private collection.327 1 Blue Passion Flower 2 Hollyhock 3 Small Morning Glory 4 Cockscomb

Passiflora coerulea Alcea rosea pseudoplena flava Convolvulus tricolor Celosia cristata

A Hare B Snipe C Pheasant d Snail (2x) e Honeybee

Lepus europaeus Gallinago gallinago Phasianus colchicus Gastropoda spec. Apis mellifera

324 Scheen 1981, p. 401. 325 Amsterdam, Oude Mannen-huis, 1828, no. 346; Amsterdam, Nationale Gerechtshof, 1831, no. 408; canvas, 34.5 x 27 cm, A. Mak, Amsterdam, 31 May 1927, no. 50. 326 Panel, 93.5 x 77 cm, Dordrecht, Dordrechts Museum, inv. no. DM/005/855; see Paarlberg 2005. For Ponse, see also Erkelens 1992. 327 Provenance: sale M. Nieuhoff, Amsterdam, 14 April 1777, no. 163, as Jan Ponse; collection of Maria F.K. Fliermans, New York; Sotheby’s, Parke Bernet, New York, 7 November 1977, no. 169, as Jan Weenix; Christie’s, London, 1 December 1978, no. 136, as Dirck Valkenburg; Sotheby’s, London, 28 March 1979, no. 146, as Dirck Valkenburg; Christie’s, Amsterdam, 7 May 2013, no. 80. My attribution to Joris Ponse dates from 2003, see the Segal Stil Life Documentation in the RKD, The Hague. 794 |

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A variety of objects have been placed on a stone table in front of a wall with an archway giving a view of a garden in the background; among these is a wide terracotta pot with flowers. On the table are green and purple grapes, plums, peaches, white currants and a melon. This work reveals a number of similarities with the abovementioned work in the Dordrechts Museum, including the composition with an architectural background (here more extensive), flowers ascending upwards out of a pile of fruit, and such species as Passion Flower, Hollyhock and Small Morning Glory. We see a similar composition once again in a 1768 still life with some of the same species extending upwards beneath a statue of Mercury, along with a pineapple, which suggests the influence of Jan van Os.328

Fig. 9.106 Joris Ponse, A large Cockscomb in a pot with fruit and a hare, panel, 99.6 x 76.2 cm, private collection.

328 Canvas, 123 x 90.5 cm, private collection. Paarlberg 2005, p. 5.

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Louis François Gerard van der Puyl

Louis François Gerard van der Puyl was born in Utrecht in 1750 and was apprenticed to Hendrik van Velthoven (1728-1770). In 1770 he made a journey to Paris, and from 1785 to 1788 he was active in London. Between 1804 and 1807 he was active in his native city of Utrecht, where he was a teacher in, and director of, the Stads Teeken-Academie, and had Jan Lodewijk Jonxis (1789-1867) as his apprentice. In 1807 he returned to France, where he died in 1824. Van der Puyl was primarily a painter of portraits and, in addition, also painted some flower pieces.329 In 1935 a signed flower piece was in the possession of a London art dealer.330 The work shows flowers in a garden vase set between a tree in front of a mountainous landscape to the left, and flowers on a pedestal to the right, with a large Thistle in the foreground.

Gerrit Rademaker

Between 1716 and 1733 flower pieces were put up for sale in Amsterdam by an artist named Rademaeker, G. Raedemaker and Raademaker.331 These are possibly the work of Gerrit Rademaker, who was born in 1672 and died in Amsterdam in 1711. He had been apprenticed to Jan van Gool, Gerrit Stevensz van Goor, and Cornelia de Rijck. He painted landscapes, historical scenes and architectural pieces. In 1703 Rademaker was in Rome with Pieter Codde (1648-1710), who was Archbishop of Utrecht in 1688 and Archbishop of Sebaste in 1689. In 1704 Rademaker was back in Amsterdam, where he was registered as a citizen of the city at the age of thirty-two. He married Catharina Bloemaert (1670-1731) in that year, whom he had instructed in drawing. Gerrit Rademaker was also the master of Isaak Walraven (16861765). Today no flower pieces by him are known.332

Pieter Recco

Pieter Recco was born in Amsterdam in 1767 and learned to paint from Johan Christoffel Schultz (17491812) and Adriaen de Lelie (1755-1820), as well as at the Teeken-Academie. From 1810 he worked in Bern and from 1813 in Basel, where he died in 1820. He painted portraits and group portraits in oils and watercolours. He also copied old masters. In the Kunstmuseum Bern are works by him with flowers and fruit.333

A. Ree

It is not possible to connect the name of any known artist with a flower piece signed A. Ree, and there is no other work known with such a signature. Possibly this is a work by Anthonij Ree, who was wed in Amsterdam in 1712, with the flower painter Herman van der Mijn as a witness. A. Ree, Flower swag around a ribbed vase (Fig. 9.107) Canvas, 64.8 x 53.3 cm, signed lower right of centre in brown: A. Ree Private collection.334 1 Jasmine (?) 2 Bindweed 3 French Marigold 4 Small Morning Glory 5 Striped Canary Grass 6 Tree Mallow 7 Cabbage Rose 8 Stock (?) 9 Spiked Speedwell (?) 10 False Larkspur

Jasminum officinale Calystegia sepium Tagetes patula Convolvulus tricolor Phalaris arundinacea f. picta Lavatera arborea Rosa x centifolia Matthiola incana alba Veronica spicata Consolida ajacis

329 Scheen 1981, p. 413. 330 Canvas, 63.5 x 101.5 cm, stockroom catalogue F.R. Meatyard, London 1935, no. 3. The RKD photograph is of a very poor quality. 331 Sale of Burgomaster Gerbrand Pancras, Amsterdam, 7 April 1716, no. 30; sale of Jonas Witsen, Amsterdam, 23 March 1717, no. 113; Amsterdam, 21 January 1733, no. 34; Hoet 1752, I, pp. 188, 210, 378. Further, a Tulip and other drawings were in the collection of Agnes Block (see Chapter 8). 332 For further details on the life and oeuvre of Gerrit Rademaker see Dumas 2018. 333 Scheen 1981, p. 419. 334 Provenance: Sotheby’s, London, 8 July 1987, no. 317, as panel; Hoogsteder Gallery, The Hague 1988; Christie’s, London, 3 December 2014, no. 145, unsold. Literature: Buijsen 1996, pp. 82-83, Fig. 5. Species from upper left across to the right, and from lower left across to the right.

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11 Poppy Anemone 12 Stock 13 Cornflower 14 Pot Marigold 15 Hyacinth (?) 16 White Rose 17 Pansy 18 Austrian Briar 19 Love-in-a-mist 20 Golden Coreopsis 21 Crown Daisy 22 Opium Poppy 23 Borage 24 Peony

Anemone coronaria violacea Matthiola incana violacea Centaurea cyanus Calendula officinalis Hyacinthus orientalis Rosa x alba subplena Viola tricolor Rosa foetida Nigella damascena subplena Coreopsis tinctoria Chrysanthemum coronarium Papaver somniferum pseudoplenum fimbriatum Borago officinalis Paeonia officinalis plena

A Painted Lady Butterfly B Small White Butterfly

Vanessa cardui Pieris rapae

Fig. 9.107 A. Ree, Flower swag around a ribbed vase, canvas, 64.8 x 53.3 cm, private collection. | 797

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The painting has been moderately overcleaned and details have been lost, which means that not all the species can be identified with certainty. It was formerly regarded as the work of a Dutch master, initially as someone from Amsterdam, who had been influenced by Elias van den Broeck and Rachel Ruysch – influences which, I must admit, I cannot detect myself. Later it was suggested to be a work from The Hague. What leads one to classify it as a work from Holland are the tablecloth on the stone table and the choice of flowers. The subject – a swag around a vase – is typically Flemish but was in fact adopted by several decorative painters in Holland and possibly also Flemish artists who settled and worked in The Hague.

Annette Reijerman

Annette Reijerman was born in 1773 in Zevenaar. In 1793 she was married to the painter Louis Moritz (1773-1850). From about 1800 to 1802 she was working in Leiden. Reijerman was educated at the Royal Academy of Fine Arts in Amsterdam and painted flower and fruit still lifes in oils and watercolours. In 1822 she became an honorary member of the Academy. Annette Reijerman died in Amsterdam in 1835.335 Her work is in fact typical of the early nineteenth-century continuation of the work of eighteenth-century artists, and is reminiscent of that by Georgius Jacobus Johannes van Os. An 1815 fruit piece with Hollyhocks is now in the collection of the Rijksprentenkabinet in Amsterdam.336 Annette Reijerman, Flower piece with Holly (Fig. 9.108) Canvas, 59.7 x 51.6 cm, signed lower left of centre: A: Rm f Simonis & Buunk Gallery, Ede.337 Provins Rose Small Morning Glory White Narcissus Trumpet Honeysuckle White Rose Auricula Golden Narcissus Lily of the Valley False Larkspur False Larkspur Variegated Holly foliage Corn Poppy Pale Toadflax English Iris Spanish Iris Austrian Copper (Briar) Laurel foliage Auricula Maltese Cross Forget-me-not Blunt Tulip Some other flowers are also present

Rosa x centifolia Convolvulus tricolor Narcissus poeticus subplenus Lonicera sempervirens Rosa x alba subplena Primula x pubescens (coerulea) Narcissus tazetta subsp. aureus Convallaria majalis Consolida ajacis plena (coerulea) Consolida ajacis alba Ilex quadrifolia variegata Papaver rhoeas duplex marginata Linaria repens Iris latifolia Iris xiphium Rosa foetida cv. Bicolor Laurus nobilis Primula x pubescens violacea Lychnis chalcedonica Myosotis cespitosa Tulipa mucronata plena

335 For her life and work see further Baar-de Weerd 2009, pp. 93-95 and Klarenbeek 2012, pp. 135-136. 336 Watercolour, 590 x 469 mm, inv. no. RP-T-FM91; honoured with an award by the Drawing Department of the Dutch association for art and science Felix Meritis; Baar-de Weerd 2009, pp. 93-95, Fig. 18. 337 Provenance: sale Peerleman, Utrecht, 20 December 2011, no. 2225.

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Fig. 9.108 Annette Reijerman, Flower piece with Holly, canvas, 59.7 x 51.6 cm, Simonis & Buunk Gallery, Ede.

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Fig. 9.109 P.A. Robart (I?), Flowers in a ribbed garden urn, dated 1791, canvas, 142 x 84 cm, private collection.

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P.A. Robart I and II

Four signed and dated flower pieces are known for ‘P.A. Robart’, one of them dated 1791, two dated 1810, whilst a further example is marked 1821. The work of 1791 is a flower piece showing a garden urn in a niche, probably intended as a chimneypiece (Fig. 9.109). P.A. Robart (I?), Flowers in a ribbed garden urn (Fig. 9.109) Canvas, 142 x 84 cm, signed and dated lower right in capitals: P.A. Robart 1791 / inv. & fecit 1791 Private collection.338 Great Morning Glory Blue Passion Flower Blunt Tulip hybrid White Rose Poppy Anemone Cabbage Rose Blunt Tulip Snowball Hollyhock

Ipomoea purpurea Passiflora coerulea Tulipa mucronata x T. undulatifolia Rosa x alba plena Anemone coronaria pseudoplena albo-coerulea Rosa x centifolia Tulipa mucronata bicolor Viburnum opulus cv. Roseum Alcea rosea plena albescens

Butterfly (2x) Stag Beetle

Lepidoptera div. spec. Lucanus cervus

P.A. Robart II, Flower piece with a Bullfinch (Fig. 9.110) Watercolour and body colour on paper, 582 x 452 mm, signed and dated lower left in black in a half cursive script: P.A. Robart inv. & Fec: / Filius [...] 1821 The Fitzwilliam Museum, Cambridge, inv. no. PD 901-1973.339 1 Garden Nasturtium 2 White Rose 3 White Rose 4 Small Morning Glory 5 French Marigold 6 Sulphur Rose 7 Cornflower 8 Forget-me-not 9 Carnation 10 Fire Pheasant’s Eye 11 unidentified 12 Auricula 13 Poet’s Narcissus 14 Tuberose 15 Hyacinth 16 Dense-flowered Aster 17 Persian Iris 18 Auricula 19 Pomegranate blossom 20 China Aster 21 Frankfurt Rose 22 Opium Poppy

Tropaeolum majus Rosa x alba plena Rosa x alba semiplena Convolvulus tricolor Tagetes patula Rosa hemisphaerica Centaurea cyanus Myosotis palustris Dianthus caryophyllus plenus Adonis flammea

a Bullfinch with Bird’s Nest b St John’s Wort Leaf Beetle

Pyrrhula pyrrhula Chrysolina varians

Primula x pubescens coerulea Narcissus poeticus plenus Polyanthes tuberosa Hyacinthus orientalis plenus Aster multiflorus Iris persica Primula x pubescens rosescens Punica granatum Callistephus chinensis albus Rosa turbinata Papaver somniferum rubrum

338 Provenance: Sotheby’s, London, 31 October 1990, no. 1. 339 Provenance: collection of Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge).

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The work of 1821 is a large watercolour showing a flower piece in a niche with a rectangular opening. It is signed and dated P.A. Robart inv. & Fec: / Filius [...] 1821. Thus, this is the work of a son with the same name. A couple of signed and dated flower and fruit pieces from 1810, as part of a decoration scheme, are held at a private collection in Delft. Whether they were painted by the son or the father P.A. Robart, could not be determined.340 Furthermore, in the Verwolde House in Laren there are another two flower pieces in watercolour signed P.A. Robart, but these are undated.341

Fig. 9.110 P.A. Robart II, Flower piece with a Bullfinch, dated 1821, watercolour and body colour on paper, 582 x 452 mm, The Fitzwilliam Museum, Cambridge. 340 Canvas, 113.5 x 99 cm and 111 x 79 cm. A signed flower garland is also part of the same decorative scheme. Weve 1996, p. 70. 341 480 x 360 mm and 490 x 355 mm, Laren, Verwolde House, inv. nos GK 03363 and GK 03364; Bierens de Haan in Arnhem & Nijmegen 1990, p. 209.

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R.G. Robart

Of the four or five eighteenth and early nineteenth-century artists with the name Robart who painted flower pieces and possibly were related to each other, two are mentioned in the biographies: R.G. Robart and Willem Robart. R.G. Robart was an artist who painted portraits, flower pieces and fruit pieces. He lived from 1728 to 1786.342 Dated work is known from 1756 to 1772. A flower piece with grapes was auctioned in Munich in 1976.343 A different flower piece was auctioned in 1999 and 2000, and for this latter work a pendant is also known. R.G. Robart, Flower piece in a niche (Fig. 9.111) Panel, 25.5 x 24 cm, signed and dated lower right in brown: RG Robart Private collection.344 1 Cabbage Rose 2 Stock 3 Sweet Pea 4 Fennel foliage 5 Dahlia 6 Cornflower 7 Sulphur Rose 8 Forget-me-not 9 Meadow Grass

Rosa x centifolia Matthiola incana subplena alba Lathyrus odoratus Foeniculum vulgare Dahlia variabilis f. ligulosa rosea Centaurea cyanus Rosa hemisphaerica Myosotis palustris Poa palustris

A Small White Butterfly b Red Longhorn Beetle

Pieris rapae Stictoleptura rubra

Fig. 9.111 R.G. Robart, Flower piece in a niche, panel, 25.5 x 24 cm, private collection. 342 As reported in Koller, Zurich, 15 March 2000, no. 194; see further Scheen 1981, p. 430. 343 Panel, 59 x 45 cm, Hugo Ruef, Munich, 28 June-5 July 1976, no. 1439. 344 Provenance: Glerum, Amsterdam, 8 November 1999, no. 25; Koller, Zurich, 15 March 2000, no. 194.

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Fig. 9.112 R.H. Robart, Flowers in a dark grey vase, canvas, 61 x 42.9 cm, Museum Smidt van Gelder, Antwerp.

R.H. Robart

In the collection of the Museum Smidt van Gelder in Antwerp is a flower piece in a dark grey vase bearing a mascaron and holding twenty-three species of flowers, including Jacobean Lily (Sprekelia formosissima) and a bird, which is signed R.H. Robart. fecit (Fig. 9.112).345

Willem Robart

A painting by Willem Robart described as ‘un vase rempli de fleurs, sur un fond de paysage’ (‘a vase filled with flowers set against a landscape background’) was included in a sale in Paris in 1789, at the same time as a fruit piece with a parakeet, and a game still life with two dogs.346 Willem also made drawings of flowers and painted group portraits. He was active in Haarlem from about 1750. From 1770 to 1786 he was in Augsburg, where he was a member of the Akademie. According to various biographies, he had been apprenticed to Jan van Huysum, which, however, is highly unlikely.347

J. Roepel

A watercolour of a flower piece – signed and dated J. ROEPEL fec. 1718 – is now in the collection of the Fitzwilliam Museum in Cambridge. Whether the artist (probably an amateur) is related to Coenraet Roepel (Fig. 9.23) is unknown. The unusual vase in this work is decorated with shells and curling scrollwork. 345 Canvas, 61 x 42.9 cm, signed lower right in dark brown, inv. no. Sm 927; description in the Segal Still Life Documentation in the RKD, The Hague. 346 Sale of the collection of Louis Bernard Coclers of Liège by the art dealer Le Brun, 9 February 1789; Van Eijnden & van der Willigen 1816-40, II, pp. 119-120. 347 Thieme & Becker 1907-50, XXVIII, p. 411; Scheen 1981, p. 430 and others.

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J. Roepel, Flowers in a decorated vase (Fig. 9.113) Watercolour and body colour on vellum, 205 x 160 mm, signed and dated lower left in black: J. ROEPEL fec. 1718 (the date under the plinth to the right of a stem of Forget-me-not) The Fitzwilliam Museum, Cambridge, inv. no. PD 919-1973.348 1 2 3 4 5 6

Poet’s Narcissus Snowball Poppy Anemone Austrian Briar Cabbage Rose Carnation

Narcissus poeticus Viburnum opulus cv. Roseum Anemone coronaria pseudoplena azurea Rosa foetida Rosa x centifolia Dianthus caryophyllus plenus albo-ruber

Fig. 9.113 J. Roepel, Flowers in a decorated vase, dated 1718, watercolour and body colour on vellum, 205 x 160 mm, The Fitzwilliam Museum, Cambridge.

348 Provenance: collection of Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge).

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7 Rosa Mundi 8 Tapered Tulip hybrid 9 Carnation 10 Red Tulip 11 Great Morning Glory 12 English Iris 13 African Marigold 14 Liverwort 15 Foxtail 16 Tulip 17 Small Morning Glory 18 Corn Poppy 19 Poppy Anemone

Rosa gallica cv. Versicolor Tulipa armena x T. agenensis Dianthus caryophyllus plenus bicolor Tulipa agenensis bicolor Ipomoea purpurea Iris latifolia Tagetes erecta plena Hepatica nobilis Amaranthus caudatus Tulipa spec. Convolvulus tricolor Papaver rhoeas Anemone coronaria pseudoplena

On the marble table-top 4 Austrian Briar 20 Forget-me-not 21 Cabbage Rose

Rosa foetida Myosotis palustris Rosa x centifolia

Gerard Sanders

Gerard Sanders was born in Wesel (Germany, near the border with the Netherlands) in 1702. He was apprenticed to his step-father, Tobias van Nijmegen, with whom he made trips to museums in Düsseldorf to make studies of paintings. He also served an apprenticeship with his uncle and future father-inlaw, Elias van Nijmegen, whom he assisted in making decorative interior paintings. As just mentioned, Sanders married Elias’s daughter Johanna, who was a skilled needleworker. Between 1729 and 1762 he was head of the Rotterdam painters’ guild a number of times. Gerard Sanders died in Rotterdam in 1767. His estate included forty-five paintings by seventeenth-century artists, as well as contemporaries and pieces of his own work.349 Sanders painted portraits, historical pieces, landscapes, flower and fruit pieces, also as part of decorative schemes and in watercolour. Dated flower pieces are known from 1754 to 1766, a number of them reported in eighteenth-century auction sales.350

Fig. 9.114 Gerard Sanders, A posy with Bladder Hibiscus, dated 1759, watercolour on paper, 222 x 170 mm, private collection. 349 Terwesten 1770, pp. 628-631. 350 Van Eijnden & van der Willigen 1816-40, II, pp. 55-57; Scheen 1981, p. 450.

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Gerard Sanders, A posy with Bladder Hibiscus (Fig. 9.114) Watercolour on paper, 222 x 170 mm, signed and dated lower right in greenish-grey ink: GSanders i759 (an arc connecting the ‘G’ with the ‘S’ and the ‘s’ with the ‘i’). Private collection.351 1 Cabbage Rose 2 Spanish Iris 3 Bladder Hibiscus

Rosa x centifolia Iris xiphium Hibiscus trionum

Anna Barbara Schilperoort

Anna Barbara Schilperoort was born in Voorburg, near The Hague, in 1778. She married the Protestant minister Hendrik van Meerten in 1794 and lived with him in Gouda. They had six children together. She is primarily known for her activities in the area of social reform and wrote over one-hundred-and-fifteen books on such subjects as education, care of the poor, and the prison system, in addition to travel publications. After the death of her husband she worked as a teacher. She was an amateur painter of still lifes. An embroidered flower piece was shown at an exhibition in Amsterdam in 1820-1821.352 Anna Barbara Schilperoort died in Gouda in 1853. Today no flower pieces by Schilperoort are known.353

Hendriks Petrus Schindelaar

Hendriks Petrus Schindelaar was born in The Hague in 1735. In 1771 he was registered there in the Confrerie Pictura. The last record of his life dates from 1786. He was a decorative painter and painter of wall coverings, and his subjects included birds, landscapes, and flower and fruit still lifes. An 1823 sale in The Hague mentions a drawing with fruit and flowers by Schindelaar.354 No still lifes are known by him today.355

Johan Joseph Schomper

Johan Joseph Schomper was born in Darmstadt, Germany, in 1776 but lived from about 1791 until his death in 1859 in Amsterdam.356 He painted portraits, landscapes and flower pieces. A flower piece dated 1842 displaying a conical vase on a marble table was in a collection in Miami in 1967.357

W(illem?) Schouten

We know nothing about this artist except that a single flower piece is signed and dated Wm. Schouten. fecit.1776. W(illem?) Schouten, Vase with flowers in a niche and a Jay (Fig. 9.115) Canvas, 163 x 117 cm, signed and dated lower left: Wm. Schouten.fecit.1776 Private collection.358 Damask Rose Auriculas Cabbage Rose White Rose Opium Poppy Pot Marigold China Aster Sunflower Nettle-leaved Bell-flower Blunt Tulips Poppy Anemones 351 352 353 354 355 356 357 358

Rosa x damascena plena Primula x pubescens div. Rosa x centifolia Rosa x alba plena Papaver somniferum plenum rubrum Calendula vulgaris Callistephus chinensis Helianthus annuus Campanula trachelium Tulipa mucronata f. obtusa Anemone coronaria pseudoplena div.

Provenance: Galerie Julius Böhler, Munich 1985. Amsterdam 1820-21, no. 239. For Schilperoort see Van Essen 2016. Sale Schoon & Heymans, The Hague (Bakhuysen), 13 October 1823, no. 177 (and a fruit piece with body colour and watercolour, no. 350). Scheen 1981, p. 461. Scheen 1981, p. 465. 51 x 41 cm, collection of Morris Eisler, Miami Beach (Florida). An unclear photograph is in the RKD, The Hague. Provenance: collection of P. van Berkel, Breda 1947; Sotheby’s, London, 26 June 1974, no. 146; collection of J.D. Schouten, Velp. Identifications were established from studying the photograph.

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Hyacinth Garden Nasturtium

Hyacinthus orientalis plenus albus Tropaeolum majus

On the base of the pedestal right Small Morning Glory Cabbage Rose Poppy Anemone

Convolvulus tricolor Rosa x centifolia Anemone coronaria

The painting, possibly a chimneypiece, shows a garden urn with flowers on a pedestal set in a niche. Ornamentation on the vase includes a round medallion with the head of a woman. The grey stone pedestal is decorated with three putti playing musical instruments. The bird with open beak to the left on the pedestal is a Jay (Garrulus glandarius).

Fig. 9.115 W(illem?) Schouten, Vase with flowers in a niche and a Jay, dated 1776, canvas, 163 x 117 cm, private collection. 808 |

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Maria Geertruida Snabilié

Maria Geertruida Snabilié was born in 1773 in Haarlem. In 1796 she married the painter Pieter Barbiers III (1772-1837) (Fig. 9.62). She died in Haarlem in 1838. Maria Geertruida made studies of flowers and fruit in watercolour, as well as flower pieces and bunches of flowers without a vase. In addition, she copied the work of Jan van Huysum. Her work is represented in the Rijksprentenkabinet in Amsterdam, the Teylers Museum in Haarlem, and the Museum of National History in London. Two daughters, Cecilia Geertruida Barbiers (1809-1850) and Maria Geertruida Barbiers (1801-1879), also made drawings and paintings of flowers, whilst Snabilié’s son, Pieter Barbiers (1798-1848), similary became an artist, but mainly of landscapes.359 Maria Geertruida Snabilié after Jan van Huysum, Flowers in a vase decorated with putti, and a bird’s nest (Fig. 9.116) Watercolour, body colour and black chalk on paper, 449 x 335 mm, annotated lower left: Jan van H. and verso lower left: Mej: Barbiers / geb: Snabelje Teylers Museum, Haarlem, inv. no. Y 077.360 1 Annulated Sowbread 2 Yellow Cabbage Rose 3 Cabbage Rose 4 White Rose 5 Sweet William 6 English Iris 7 Blunt Tulip hybrid 8 Opium Poppy 9 Hollyhock 10 Carnation 11 Thale Cress 12 Small Catchfly 13 Plum

Cyclamen hederifolium Rosa x huysumiana Rosa x centifolia Rosa x alba plena Dianthus barbatus Iris latifolia Tulipa mucronata f. obtusa x T. undulatifolia Papaver somniferum purpureum plenum Alcea rosea plena Dianthus caryophyllus plenus bicolor Arabidopsis thaliana Silene gallica Prunus domestica

A Black-veined White Butterfly b Housefly c Bird’s Nest with three Eggs

Aporia crataegi Musca domestica Aves spec.

A terracotta pot has been set on a marble balustrade. A twig with plums is hanging over the plinth to the left, and to the right on the balustrade we see a bird’s nest holding light-blue eggs, with a single stem of Roses laid over it. A number of well-executed flower pieces signed with the intitials BS, some of them dated 1839, are probably not by Maria Geertruida ‘Barbiers Snabilié’ (Fig. 9.117). These paintings look more like the work of Arnoldus Bloemers, who died in 1844.361

359 Huiskamp provides a well-documented biography in the Digitaal Vrouwenlexicon van Nederland, see Huiskamp 2014. 360 Provenance: before 1854 (inventory). Exhibitions & literature: Scholten 1904, p. 499; Jellema in Haarlem 1987, pp. 54-55, no. 44; Schwartz 2004, p. 407, no. 458. Jan van Huysum: canvas, 47 x 35 cm, Florence, Galleria Palatina, inv. no. 1912 n. 462; Chiarini & Padovani 2003, II, p. 220, no. 352. 361 For other examples see the Segal Still Life Documentation at the RKD, The Hague.

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Fig. 9.116 Maria Geertruida Snabilié after Jan van Huysum, Flowers in a vase decorated with putti, and a bird’s nest, watercolour, body colour and black chalk on paper, 449 x 335 mm, Teylers Museum, Haarlem. 810 |

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Fig. 9.117 Monogrammist BS, Flowers in a terracotta vase, dated 1839, canvas, 61 x 48 cm, private collection.

Monogrammist BS, Flowers in a terracotta vase (Fig. 9.117) Canvas, 61 x 48 cm, signed and dated left of lower centre with calligraphic letters in dark brown: BS.1839. Private collection.362 1 Dahlia 2 Dahlia 3 Turban Buttercup 4 Turban Buttercup 5 Turban Buttercup 6 Columbine 7 German Flag Iris

Dahlia variabilis subplena rubra Dahlia variabilis subplena rosea Ranunculus asiaticus subplenus violaceus Ranunculus asiaticus subplenus (luteus) Ranunculus asiaticus plenus rufus Aquilegia vulgaris asterinus Iris germanica

362 Provenance: Dorotheum, Vienna, 14 September 1976, no. 131; Richard Green Gallery, London. Literature: Fischer in catalogue Richard Green Gallery 1995, no. 13 with (partly incorrect) identifications; Hostyn & Rappard 1995, p. 113.

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8 Water Avens 9 Lilac 10 Sweet Briar 11 Maltese Cross 12 Blotched Monkey Flower 13 New York Aster 14 Opium Poppy 15 Dahlia 16 Sweet Pea 17 Edging Lobelia 18 Peony

Geum rivale Syringa vulgaris Rosa rubiginosa Lychnis chalcedonica Mimulus guttatus Aster novi-belgii Papaver somniferum pallidoroseum Dahlia variabilis atropurpureus Lathyrus odoratus Lobelia erinus Paeonia officinalis plenus

Sonneman

The name Sonneman is only known from a single painting, which was auctioned in 2006. It is possibly the work of a Dutch painter from the end of the eighteenth century.

Fig. 9.118 Sonneman, Flowers in a bronze vase on a stone wall, panel, 78 x 60 cm, private collection. 812 |

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Sonneman, Flowers in a bronze vase on a stone wall (Fig. 9.118) Panel, 78 x 60 cm, signed lower left: Sonneman f Private collection.363 Cabbage Rose French Rose Pot Marigold Tuberose Tapered Tulip Opium Poppy Opium Poppy Yellow Tulip hybrid Turk’s Cap Lily

Rosa x centifolia Rosa gallica Calendula officinalis Polyanthes tuberosa Tulipa armena bicolor Papaver somniferum (simplex) fimbriatum Papaver somniferum (simplex) rubrum fimbriatum Tulipa chrysantha x T. clusiana Lilium chalcedonicum

Red Admiral Butterfly Peacock Butterfly Okinawan Turban Shell (polished) Green Lizard Broad-bodied Chaser

Vanessa atalanta Inachis io Turbo marmoratus Lacerta viridis Libellula depressa

The work displays a bronze vase, with oblong mascarons, filled with flowers, set in the corner of a wall on a grey stone balustrade, with a red cloth to the left, and to the right, a polished Okinawan Turban Shell and a Green Lizard. In the background is a mountainous landscape with architectural elements and a river.

Johannes Sonnenberg

Johannes Sonnenberg was born in Utrecht in 1740. He was apprenticed to Tethart Philipp Christian Haag and his father Johan David Christian Haag, in The Hague, where he became a member of the guild in 1770. From 1781 until 1793 he was active in Leiden, where he worked as a bird taxidermist. In addition, he painted flower and fruit still lifes in oils and watercolours. In 1809 he was awarded the prize fourth class by the Koninklijk Instituut in Amsterdam for a flower piece. An Amsterdam sale of 1811 lists twenty-four watercolours by him, including three small flower pieces, as well as fruit pieces, a bird still life, and depictions of individual flowers, fruit, shells, birds and mammals. One flower piece shows flowers in a glass bottle together with two more flowers in a basket and a bird’s nest with eggs, just as can be seen in many works by Jan van Huysum.364

C. Stoppelaer

Two Amsterdam auctions in 1695 mention flower pieces by a certain ‘Stoppelaer’.365 In addition, a large decorative flower still life depicting two flower baskets and a swag of flowers in a garden signed C. Stoppelaer f 16(.)8 was put up for sale in Amsterdam in 2009. Someone named Charles Stoppelaer was a portrait painter in Dublin from 1703 to 1745, and afterwards in London. It is possible that the flower pieces auctioned in Amsterdam were early works by this artist, although it may also be the case, that we are dealing with a different artist with the name Stoppelaer, who may or may not be related to the artist discussed here. C. Stoppelaer, Two baskets of flowers with a flower swag in between set before a landscape (Fig. 9.119) Canvas, 126.3 x 105.5 cm, signed lower right: C. Stoppelaer f 16.8 Private collection.366 In the left basket Trumpet Vine Cabbage Rose White Rose French Rose Pot Marigold

Campsis radicans Rosa x centifolia Rosa x alba plena Rosa gallica plena Calendula vulgaris

363 Provenance: Sotheby’s, New York, 18 May 2006, no. 205; Hampel, Munich, 8 December 2006, no. 325. I have only seen reproductions of this work. 364 Sale Johannes Schepens, Amsterdam, 21 January 1811, nos 1, 13 and 14, all drawings with the name of the artist as J. (or Johannes) Sonnenberg Gallant, or Johannes Gallant, and without dimensions; see the Hofstede de Grootfiches in the database RKDexcerpts. 365 Amsterdam, 13 April 1695, nos 63 and 64; Amsterdam, 20 April 1695, nos 94 and 95. 366 Provenance: Sotheby’s, Amsterdam, 5 May 2009, no. 79.

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Fig. 9.119 C. Stoppelaer, Two baskets of flowers with a flower swag in between set before a landscape, canvas, 126.3 x 105.5 cm, private collection. 814 |

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Poet’s Narcissus Peony Snowball Auricula

Narcissus poeticus Paeonia officinalis plena Viburnum opulus cv. Roseum Primula x pubescens

In the swag Peony Tulips Poppy Anemones Forget-me-not Poppy Anemones White Rose Pot Marigold Tuberose

Paeonia officinalis plena Tulipa div. spec. Anemone coronaria div. Myosotis palustris Anemone coronaria div. Rosa x alba plena Calendula officinalis Polyanthes tuberosa

In the upper basket White Rose French Rose Cabbage Rose Tulips Sunflower Peony Snowball Poet’s Narcissus

Rosa x alba plena Rosa gallica plena Rosa x centifolia Tulipa div. spec. Helianthus annuus Paeonia officinalis plena Viburnum opulus cv. Roseum Narcissus poeticus

The work auctioned in 2009 is very large. A basket filled with flowers is set to the left out of doors. To the right is a pedestal decorated with putti and a ram’s head on which a reed basket has been set and with a flower swag draped over it and hanging down on either side. In the upper right is a statue of a male figure, and to the left of the upper basket we look through a triumphal arch to a view of Rome in the background, with the pyramid of Cestius set against a glowing evening sky.

Abraham van Strij

Abraham van Strij was born in Dordrecht in 1753, where he trained and worked in the painting business of his father Leendert van Strij (1728-1798), who was a decorative painter. Later he was apprenticed to Joris Ponse. Abraham produced many different types of painting, including decorative pieces and wall coverings, drawings and etchings of portraits, genre pieces, landscapes, birds, and flower and fruit pieces. He was a member, and later director of, the Dordrecht drawing society Teekengenootschap Pictura, and had many apprentices. He died in Dordrecht in 1826. Flower pieces by him are known for the years 1775 and 1776. The Dordrechts Museum has in its collection a still life with fruit, flowers, a little dog and a bowl of goldfish.367 The influences of Jan van Huysum and Jan van Os are clearly visible in his still lifes.368 Abraham van Strij, Flower piece with Crown Imperial (Fig. 9.120) Panel, 62.8 x 47.3 cm, signed and dated lower right in black: A. Van Strij 1776 Private collection.369 1 Cabbage Rose 2 Auricula 3 Auricula 4 White Rose 5 Madonna Lily 6 French Marigold 7 Hyacinth 8 Silver Ragwort foliage 9 Golden Narcissus 10 Primrose 11 Opium Poppy 12 Crown Imperial

Rosa x centifolia Primula x pubescens coeruleus Primula x pubescens azureus Rosa x alba semiplena Lilium candidum Tagetes patula plena Hyacinthus orientalis plenus Senecio cineraria Narsissus tazetta subsp. aureus Primula vulgaris alba Papaver somniferum plenum Fritillaria imperialis

367 Panel, 92.4 x 72 cm, Dordrecht, Dordrechts Museum, inv. no. DM/871/330. 368 For further details on the life and oeuvre of Abraham van Strij see Dordrecht 1956; Erkelens 1976; Dordrecht & Enschede 2000 and Sybesma 2009. 369 Provenance: Moatti Fine Arts, Paris 2003-2004, with a flower piece as pendant.

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13 Opium Poppy 14 Hollyhock 15 African Marigold 16 Auricula 17 Small Morning Glory

Papaver somniferum plenum rubrum Alcea rosea lutea Tagetes erecta Primula x pubescens lutea Convolvulus tricolor

a b c D

Musca domestica Aves spec. Cepaea hortensis Lycaena phlaeas

Housefly (2x) Bird’s Nest with five Eggs Garden Snail Small Copper Butterfly

A stoneware vase decorated with figures and mascarons has been set on a marble table-top rendered in shades of grey and light beige. To the left behind the bouquet is a marble wall, and to the right in the background we have a view of a park with an oak tree, surrounded by a low marble wall with figures in relief, and on the balustrade a lidded garden urn.

Fig. 9.120 Abraham van Strij, Flower piece with Crown Imperial, dated 1776, panel, 62.8 x 47.3 cm, private collection. 816 |

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Albartus Otto Swalue

Albartus Otto Swalue was born in 1683 in Leeuwarden, where he was active as a decorative painter and a painter of wall coverings; he died in 1767 or 1768.370 Swalue painted flower pieces. Albartus Otto Swalue, Flower piece on a decorated pedestal in an ornamental frame (Fig. 9.121) Canvas, 111 x 107 cm, signed on the foot of the vase in greyish black: A. O Swalue Private collection.371 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Austrian Copper (Briar) Opium Poppy Provins Rose Snowball French Marigold Striped Canary Grass Foxtail Love-in-a-mist Canterbury Bell Variegated Chrysanthemum Pot Marigold Daffodils Dark Mullein Peach-leaved Bell-flower Foxglove Opium Poppy Poppy Anemone White Rose Peony Garden Nasturtium

Rosa foetida cv. Bicolor Papaver somniferum miniatum Rosa x provincialis Viburnum opulus cv. Roseum Tagetes patula Phalaris arundinacea f. picta Amaranthus caudatus Nigella damascena semiplena Campanula medium Chrysanthemum carinatum Calendula officinalis Narcissus pseudonarcissus Verbascum nigrum Campanula persicifolia Digitalis purpurea Papaver somniferum (lilacinum) Anemone coronaria pseudoplena Rosa x alba Paeonia officinalis Tropaeolum majus

Fig. 9.121 Albartus Otto Swalue, Flower piece on a decorated pedestal in an ornamental frame, canvas, 111 x 107 cm, private collection. 370 Scheen 1981, p. 507. 371 Provenance: Glerum, Amsterdam, 10 November 1997, no. 818; EVE E.U.R.L., Paris, 8 December 2008, no. 52; Massol, Paris, 8 June 2012, no. 5; Yann Le Mouel, Paris, 20 February 2013, no. 1, as attributed to Pieter Hardimé.

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Fig. 9.122 Frans Jurjens Swart, Flower piece with fruit, a telescope and a bird, dated 1782, canvas, 98.5 x 70.5 cm, Poptaslot (Heringastate), Marsum.

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

Frans Jurjens Swart

Frans Jurjens Swart was born in Leeuwarden in 1752 where he was active as a decorative painter and a painter of wall coverings. Willem Bartel van der Kooi (1768-1836) was his apprentice. Swart died in 1839.372 In Poptaslot (Heringastate) in Marsum (near Leeuwarden) is a chimneypiece showing an arrangement of flowers signed F Swart 1782. Another chimneypiece dated 1783 is in a house in Franeker, at Zilverstraat 49.373 Frans Jurjens Swart, Flower piece with fruit, a telescope and a bird (Fig. 9.122) Canvas, 98.5 x 70.5 cm, signed and dated to the left on the pedestal in black: F Swart 1782 Poptaslot (Heringastate), Marsum.374 1 Poppy Anemone 2 Cabbage Rose 3 Small Morning Glory 4 Snowball 5 Pear blossom 6 Hollyhock 7 Auricula 8 Blunt Tulip hybrid 9 Opium Poppy 10 Pot Marigold 11 Green Grapes 12 Crown Imperial 13 Green Grapes 14 Peaches

Anemone coronaria pseudoplena albo-coerulea Rosa x centifolia Convolvulus tricolor Viburnum opulus cv. Roseum Pyrus communis duplex Alcea rosea plena alba Primula x pubescens albo-lutea Tulipa mucronata x T. undulatifolia Papaver somniferum miniatum Calendula officinalis Vitis vinifera Fritillaria imperalis Vitis vinifera Prunus persica

A Red Admiral Butterfly b Common Redstart

Vanessa atalanta Phoenicurus phoenicurus

A tall garden urn, wound around with a swag of flowers and fruit, has been set in a niche decorated with laurel wreaths, leafy vines and feathers. The pedestal has been decorated with garlands, and on it have been laid some fruit and a telescope, which a bird has alighted on. Our attention is drawn here to the curves of the flower stems extending up and to the right – the Tulip, Hollyhock, Opium Poppy – and particularly the arc of the Crown Imperial curling up from below.

Johan Wilhelm Tengeler

Johan Wilhelm Tengeler was born in 1744 in Marl near Cologne, but at a young age he was already active in The Hague. In 1772 he became engaged to J.C. Marcus. In 1780 he was a member of the Confrerie Pictura and in 1782 received the first silver medal. He was a decorative painter who painted landscapes, flower pieces and flower wreaths – two allegorical scenes from the year 1773 are encircled with flowers. Dated work is known from 1771 through to 1788. Johan Tengeler died in 1815.375 A painting dated 1770, ‘een Fles met bloemen op een marmere Tafel’ (‘a glass Flask with flowers on a marble table’), was auctioned in The Hague in 1809.376 Another ‘Bouquet de fleurs dans un vase’ (‘Bouquet of flowers in a vase’), dated 1771, was put up for sale in Amsterdam in 1925.377 A flower piece with a fan-shaped bouquet, a bird’s nest and a frog was in the hands of an Amsterdam art dealer before World War II (Fig. 9.123).

372 373 374 375 376 377

Scheen 1981, p. 507. Frederiks & Haslinghuis 1930, p. 96. Literature: Weissman 1912, p. 61; Frederiks & Haslinghuis 1930, p. 253. About Johan Wilhelm Tengeler see Harmanni 2018, pp. 12, 20. Van der Aa & Ten Dall, The Hague, 25 & 26 June 1809, no. 154. Canvas, 82 x 67 cm, A. Mak, Amsterdam, 1 December 1925, no. 90.

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Johan Wilhelm Tengeler, Flower piece with a bird’s nest and a frog (Fig. 9.123) Panel, 82 x 67 cm, signed. Whereabouts unknown.378 Roses Hyacinth Foxglove Auricula Hollyhock Opium Poppy Tulips (3x) Bachelor’s Buttons

Rosa div. spec. Hyacinthus orientalis plenus Digitalis pupurea Primula x pubescens Alcea rosea Papaver somniferum Tulipa div. spec. Ranunculus acris plenus

Fig. 9.123 Johan Wilhelm Tengeler, Flower piece with a bird’s nest and a frog, panel, 82 x 67 cm, whereabouts unknown.

378 Provenance: Doyne, London; Ehrich Gallery, New York 1923; Christie’s, London, 26 February 1926, no. 151, as dated 1771; M. Wolff Gallery, Amsterdam, before 1938.

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C H A P TE R 9 | TH E EIGHT EENT H C ENT URY (C A . 1700- 1800)

Pieter Terwesten

Pieter Terwesten was born in 1714 in The Hague. He was the son of Mattheus Terwesten. He was apprenticed to his father and later also received instruction from Coenraet Roepel, whose influence can be detected in his work. From 1762 to 1796 he was secretary of the Confrerie Pictura in The Hague, and in 1785 its director. At the same time he also fulfilled the office of secretary of the Drawing Academy from 1764 to 1796. In 1770 he prepared the sequence to Hoet’s Catalogus of Naamlyst van schilderyen of 1752.379 He painted portraits, allegorical scenes, and flower and fruit pieces, as well as decorations for interiors. Pieter Terwesten died in 1798.380 Pieter Terwesten, Flower piece with fruit in a niche (Fig. 9.124) Canvas, 78.7 x 63.5 cm, signed and dated lower left in brown: Pieter Terwesten fecit 1744. Private collection.381 1 Peony 2 Small Morning Glory 3 White Rose 4 Opium Poppy 5 Creeping Bell-flower 6 African Marigold

Paeonia officinalis plena Convolvulus tricolor Rosa x alba Papaver somniferum Campanula rapunculoides Tagetes erecta

Fig. 9.124 Pieter Terwesten, Flower piece with fruit in a niche, dated 1744, canvas, 78.7 x 63.5 cm, private collection. 379 Terwesten 1770. 380 Scheen 1981, p. 517. 381 Provenance: Christie’s, London, 23 April 1982, no. 69.

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7 Auricula 8 English Stonecrop 9 Purple Tulip 10 Red Tulip 11 Poppy Anemone 12 False Larkspur 13 German Flag Iris 14 Hollyhock 15 Cornflower 16 Cornpoppy 17 Provins Rose 18 Blue and White Grapes 19 Mulberries 20 Apricots 21 Peaches 22 Melon

Primula x pubescens violacea Sedum anglicum Tulipa undulatifolia Tulipa agenensis Anemone coronaria pseudoplena Consolida ajacis rosea Iris germanica Alcea rosea pseudoplena Centaurea cyanus Papaver rhoeas plenum Rosa x provincialis Vitis vinifera Morus Prunus armeniaca Prunus persica Cucumis melo

Recently two flower pieces by Pieter Terwesten were offered for sale in London. From the reproductions it is evident that one of them has at least ten of the same flower species as in Flower piece with fruit in a niche, some of them identical and even positioned in an identical place in the bouquet, and in a similar vase.382

Abraham Teixeira de Mattos

Abraham Teixeira de Mattos was one of Johannes Christiaan Roedig’s apprentices in The Hague and was probably born around 1755. He was still living in 1818, which is corroborated by correspondence between him and Roedig’s son. Abraham painted flower and fruit pieces. Dated work is known from 1777 through to 1791. His paintings were clearly influenced by Jan van Os given the curved table-tops, the pineapples, and species such as Crisp Mallow foliage (Malva verticillata var. crispa). A painting with flowers, fruit and a mouse, signed and dated A. Teixeira / 1777, is currently in the collection of the Amsterdam Museum.383 A painting of 1780 shows flowers in a tightly woven basket with fruit on a curved ledge in front of a niche.384 Abraham Teixeira de Mattos, Flower piece with apricots and a bird’s nest (Fig. 9.125) Panel, 54.2 x 43.8 cm, signed and dated on the foot of the vase in ochre-brown with beige: A. Teixeira / 1779 Private collection.385 1 Cabbage Rose 2 Small Morning Glory 3 Carnation 4 Pot Marigold 5 Rose of Sharon 6 African Marigold 7 Sharp Aster 8 Corn Poppy 9 Holly with berries 10 Auricula 11 Apricots

Rosa x centifolia Convolvulus tricolor Dianthus caryophyllus bicolor Calendula officinalis Hibiscus syriacus Tagetes erecta plena Aster sedifolius Papaver rhoeas Ilex aquifolium Primula x pubescens umbrina Prunus armeniaca

a Bird’s Nest with six Eggs b Caterpillar

Aves spec. Lepidoptera spec.

A terracotta vase decorated with an oval medallion containing a head crowned with a laurel wreath (a Roman emperor?) has been set on a marble balustrade before a background of trees.

382 383 384 385

Canvas, 54.8 x 46.6 cm, Bonhams, London, 6 April 2017, no. 28. Panel, 51 x 42 cm, Amsterdam, Amsterdam Museum, inv. no. A 503. Canvas, 75.5 x 63.5 cm, Wildenstein & Co. Gallery; Philadelphia 1963, p. 134. Provenance: Bonhams, London, 31 October 2007, no. 144; Bonhams, London, 23 April 2008, no. 213; Dorotheum, Vienna, 14 December 2010, no. 284; AAG, Amsterdam, 9 May 2011, no. 7; Bonhams, London, 29 April 2015, no. 237.

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Fig. 9.125 Abraham Teixeira de Mattos, Flowerpiece with apricots and a bird’s nest, dated 1779, panel, 54.2 x 43.6 cm, private collection. | 823

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Fig. 9.126 Johannes Teyler, A flower pot on a white stone pedestal in a landscape, coloured engraving in a watercolour, 400 x 280 mm, Museum Het Valkhof, Nijmegen. 824 |

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Johannes Teyler

Johannes Teyler (1648-ca. 1709) was primarily known for his new method of colouring prints and will be extensively treated in Chapter 10. Some of his works are an unusual combination of watercolour painting and printing. In one particular work he made an offset print of one of his flower pieces (Fig. 10.46) into a watercolour drawing of a landscape (Fig. 9.126).386 The white stone pedestal is decorated with a lion’s mascaron below a large swag, with scrolls to the left and right.

Jan Hendrik Troost van Groenendoelen

Jan Hendrik Troost van Groenendoelen was born around 1722, but it is unknown where. He was the nephew of the painter Cornelis Troost. In 1754 he married Meesje Maria Schutter in Werkhoven, near Utrecht. In that same year he set up a wallpaper manufacturing business in Amsterdam, where he had many employees and numerous apprentices, including Pieter van Loo, Jan Evert Morel I, Johannes Hermanus van Loon, among others. Jan Hendrik was a decorative artist and also painted landscapes, portraits, chinoiserie scenes and flower pieces. In 1761 he became citizen and member of the Amsterdam guild. After the death of his wife he remarried in 1777, this time to Maria Winsser, who continued to run the wallpaper manufacturing business after her husband passed away in 1794.387 Jan Hendrik Troost van Groenendoelen, Flower piece with fruit in front of a landscape (Fig. 9.127) Canvas, 138 x 104 cm, signed and dated lower right in grey: [ J]H [TRO]Ost v G[...]N[...] F / 1757 (partially overcleaned) Private collection.388 1 Opium Poppy 2 Provins Rose 3 Purple Tulip (4x) 4 Madonna Lily 5 Sulphur Rose 6 Hyacinth 7 Auricula 8 Peony 9 Poppy Anemone 10 Hollyhock 11 Poet’s Narcissus 12 Hollyhock 13 Sunflower 14 Hollyhock 15 Carnation 16 African Marigold 17 Large Blanket Flower 18 Poppy Anemone 19 False Larkspur 20 Hollyhock

Papaver somniferum roseum fimbriatum Rosa x provincialis Tulipa undulatifolia Lilium candidum Rosa hemisphaerica Hyacinthus orientalis semiplenus Primula x pubescens lilacina Paeonia officinalis plena alba Anemone coronaria pseudoplena purpurescens Alcea rosea pseudoplena sulphurea Narcissus poeticus Alcea rosea pseudoplena Helianthus annuus Alcea rosea azurea Dianthus caryophyllus bicolor Tagetes erecta Gaillardia aristata Anemone coronaria alba Consolida ajacis Alcea rosea pseudoplena umbrina

The background shows a lightly coloured indistinct landscape with trees. The flowers and the fruit are also rendered in light colours. The vase is partially obscured by an impressive display of fruit including melon, plums, peaches, apricots, white currants, blackberries, green and blue grapes, medlars, as well as corn, which have been heaped around its base.

386 Nijmegen, Museum Het Valkhof, inv. no. 1947.1. Exhibitions: Nijmegen 1961, p. 37, no. 15, Fig. IV. For the engraving see Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1955-286. Fuhring 2004, III, p. 280, no. 12218. Some of the colours of the flowers have been altered, for example a pinkish-red Rose in the engraving is replaced by a yellow Rose in the work in Nijmegen. 387 For more on the wallpaper manufacturing business of Jan Hendrik Troost van Groenendoelen see Dudok van Heel 1972. 388 Provenance: Galerie Xaver Scheidwimmer, Munich 1992.

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Fig. 9.127 Jan Hendrik Troost van Groenendoelen, Flower piece with fruit in front of a landscape, dated 1757, canvas, 138 x 104 cm, private collection.

Adriana Verbruggen

Adriana Verbruggen was born in The Hague in 1707. She was apprenticed to Johannes Verkolje II (16831755) and Johannes Vollevens II (1685-1759), and copied the works of Rachel Ruysch, Coenraet Roepel, and Mattheus Terwesten. Adriana Verbruggen died in The Hague in 1791. The following were auctioned in 1740: a ‘bloemstukje door Verbrugge van syn beste tyd’ (‘flower piece by Verbrugge, from his (sic) best period’) with a pendant fruit piece and, at the same sale, a pendant to a fruit piece, quite possibly a flower piece, and three fruit pieces by Adriana Verbrugge, or Verbruggen, are also listed.389 The inventory 389 Sale Guerin, The Hague, 13 September 1740, nos 30-33, and the fruit pieces nos 24, 34 and 95. Sizes are rarely mentioned, although on one rare occasion a fruit piece is said to have the dimensions 25 x 20 thumbs (ca. 65.5 x 52.5 cm). In the excerpts in the RKD database the name Adriana Verbruggen occurs 279 times, some with more than a single work. These

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of the art collector Adriaan Leonard van Heteren in The Hague in 1752 lists ‘een hengles mandje met bloemen en fruiten, door A. Verbrugge’ (‘a handled basket with flowers and fruit, by A. Verbrugge’).390

Verhoek

A sale in The Hague in 1737 mentions ‘een Bloempot in Waterverf, door Verhoek’ (‘a Flowerpot in Watercolour, by Verhoek’).391 Only the brothers Pieter (1633-1702) and Gijsbert (1644-1690) are known with this name, but they were painters of equestrian pieces and landscapes, and therefore probably not eligible candidates.

The Van der Vinne Family

In the seventeenth and eighteenth centuries a family of artists in Haarlem named Van der Vinne could boast no less than ten members who were actively engaged in art, and today work by this family is still known. Vincent Laurensz I (1628-1702), the progenitor of at least three generations of painters and draughtsmen, painted, among other things, vanitas still lifes. Of his descendants the majority of them painted flowers in watercolour or gouache, some also in oil paint. It is not easy to tell their work apart, even when we are dealing with signed works, because they shared first names: there were two artists named Laurens, three named Vincent, and three named Jan. Furthermore, it seems that brothers sometimes worked together on the same commission for drawings of flowers. Moreover, the work of one and the same artist can vary significantly in the different periods of his life, or for different commissions.392 The Van der Vinne family was made up of the following genealogically linked artists: I. Vincent Laurensz I (1628-1702), the artistic forerunner of the Van der Vinne family: vanitas still lifes, portraits, genre paintings, harbour scenes. II.1. Laurens Vincentsz (1658-1729), son of Vincent Laurensz I: flower pieces in oils, plants, city views and prints. II.2. Jan Vincentsz (1663-1721), son of Vincent Laurensz I: landscapes, horses, hunting pieces, city views, interior scenes. II.3. Izaak Vincentsz (1665-1740), son of Vincent Laurensz I: city views, flowers and prints. III.1. Vincent Laurensz II (1686-1742), son of Laurens: flowers, animals and prints. III.2. Jacob Laurensz (1688-1737), son of Laurens: genre paintings and prints. III.3. Jan Laurensz (1699-1753), son of Laurens: landscapes, flowers. IV.1. Laurens Jacobsz (1712-1742), son of Jacob: landscapes, cattle pieces, flowers, birds. IV.2. Joris Jacobsz (1715-1769), son of Jacob and later the grandfather of Vincent van der Vinne van Lee (early nineteenth century). IV.3. Jan Jansz (1734-1805), son of Jan Laurensz: landscapes, portraits, flowers and prints. IV.4. Vincent Jansz (1736-1811), son of Jan Laurensz: flower and fruit pieces in oils, flowers, landscapes and designs for tapestry. Many watercolours of flowers were carried out by these family members as commissions from botanical cultivators, who wanted samples to show to potential clients. In 1996 a series of forty-nine Hyacinths by the brothers Vincent Laurensz II and Jan Laurensz were put up for auction, which were clearly part of the same commissioned work. The names of the flowers given at the top of each leaf are in the same hand, possibly that of the cultivator.393

390 391 392

393

are mostly the works of one of the following three (Flemish) painters: Gaspar Peeter Verbruggen I (1635-1681) and II (16641730), and Balthasar Hyacinth Verbruggen (1680-before 1774), but the first names are frequently not listed. For a biography of Adriana Verbruggen see Ellens 2014. Hoet 1752, II, p. 461. Sale of Samuel van Huls, burgomaster of The Hague, 3 September 1737, no. 206; Hoet 1752, I, p. 494. For the Van der Vinne family see Sliggers & Goudriaan 1987. I have donated dozens of watercolours, several of them signed, by various members of the Van der Vinne family to the Rijksprentenkabinet in Amsterdam, accompanied by provenances and identifications. These may be important in comparing and differentiating the work of individual family members. 420/480-280/300 mm, Sotheby’s, Amsterdam, 12 November 1996, no. 135. For a description of the album see the Segal Still Life Documentation in the RKD, The Hague.

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Fig. 9.128 Vincent Laurensz van der Vinne II, Flower piece with Passion Flowers and other flowers in a niche, canvas, 155 x 100 cm, Rechtbank NoordHolland, Haarlem.

Vincent Laurensz van der Vinne II

Vincent Laurensz van der Vinne II was born in Haarlem in 1686, the grandson of Vincent Laurensz I. He married Maria van Wyckhuyzen and entered the guild in 1716.394 Vincent Laurensz II was a decorative painter of flower pieces, animals, and made prints. He died in Haarlem in 1742. Traditionally an overdoor painting in the Rechtbank Noord-Holland (Jansstraat 81) in Haarlem depicting Passion Flowers and other flowers in a niche (Fig. 9.128) signed lower right Vincent vander Vinne has been attributed to Vincent Laurensz van der Vinne I, but that does not match up well with what is known of his work today.395 Likewise, notwithstanding the appearance of the ‘Vincent’ forename in the signature of this painting, it cannot be attributed to Vincent Jansz van der Vinne.396

394 Bredius 1915-22, VI, p. 2221. 395 Kurtz & Blauw 1951, p. 43; Sliggers 1985, p. 338. 396 Meijer attributes the work to Vincent Jansz van der Vinne (1736-1811) in the database RKDimages. 828 |

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Laurens Jacobsz van der Vinne

Laurens Jacobsz van der Vinne was born in Haarlem in 1712. He settled in Leiden in 1735, where he married and was registered in the Album Studiosorum. In 1736 he became a member of the Leiden Drawing Academy. He painted landscapes with cattle and made many watercolours of plants and birds. Laurens Jacobsz worked on commission for Adriaan van Royen, professor of botany and medicine in Leiden and from 1730 the director of the botanical garden. Laurens Jacobsz van der Vinne died in 1742. Laurens Jacobsz van der Vinne, Plants from the Cape in front of a tropical landscape (Fig. 9.129) Canvas, 95 x 68 cm, signed and dated lower right in light grey on a grey stone: Lau. / Vi. 1736 Rijksmuseum Boerhaave, Leiden, inv. no. P02657.397 In the lower foreground 1 Prickly Pear 2 Powder Puff 3 Pagoda Flower 4 Passion Flower 5 Sugarbush 6 Dog-strangling Vine 7 Gasteria 8 Amaryllis

Opuntia spec. (Cactaceae) Haemanthus coccineus (Amaryllidaceae) Mimetes lyrigera (Proteaceae) Passiflora spec. (Passifloraceae) Protea repens (Proteaceae) Cynanchum spec. (Asclepiadaceae) Gasteria spec. (Liliaceae) Amaryllis belladonna (Amaryllidaceae)

In the middle 9 Honey Protea 10 Yellow Leucospermum 11 Stained Pelargonium 12 Maiden-hair Fern

Protea mellifera (Proteaceae) Leucospermum conocarpodendron (Proteaceae) Pelargonium inquinans (Geraniaceae) Adiantum spec. (Polypodiaceae)

At the top 13 Ice Plant 14 Zantedeschia 15 Jacobean Lily

Mesembryanthemum spec. (Aizoaceae) Zantedeschia aethiopica (Araceae) Sprekelia formosissima (Amarylidaceae)

In the upper left 16 Cypress Vine 17 Pleomele 18 Dragon Tree 19 Aloe

Ipomoea quamoclit (Convolvulaceae) Pleomele spec. (Agavaceae) Dracaena spec. (Agavaceae) Aloe spec. (Agavaceae)

The species look as if they have been planted on a little hill. We also see several mushrooms, a lizard, a snake and five butterflies, which reveal some influence from artists such as Otto Marseus van Schrieck. This picture was quite likely to have been painted at the request of Adriaan van Royen, by making use of the following works: four drawings of the Proteaceae by Jan Hartog, a drawing of the Sprekelia (no. 15 here), signed and dated Laurens van der Vinne Pinxit 1736, plus thirteen other watercolours by the same artist, some of them dated 1736 and 1737. These watercolours are currently in the collections of the Universiteitsbibliotheek in Leiden. Jan Hartog was a gardener in the botanical garden in Cape Town and his drawings are reproduced in Herman Boerhaave’s Index alter Plantarum. A large painting in the same style, attributed to Jan van Huysum and bearing his name, shows various Cacti and other exotic plants, including a pineapple, Aloe and Passion Flower, was auctioned in Berlin in 1911.398 An arched painting, composed from a worm’s-eye view and showing a bouquet in a garden urn on a pedestal set on a balustrade against a neutral background, has been signed and dated L. VD: Vinne / 1742.399 397 Provenance: probably from the collection of Adriaan van Royen. Exhibitions & literature: Van Ooststroom 1946, pp. 120121; Martin 1948; Karsten 1951, pp. 165-166; Van Ooststroom 1951; The Hague 1966, p. 70; Leiden 1979, p. 3; Schwartz 1990, p. 26, Fig. IV; Segal in Osaka, Tokyo & Sydney 1990, pp. 46-47, Fig. 24, 70 n. 84; Blunt & Stearn 1994, pp. 132, 134, Fig. 37. The identifications according to Van Ooststroom 1946, p. 121. The family classification is added in parentheses after the species name. Most species are from South Africa, particularly those of the Proteaceae family. One of these was used earlier in the Herman Boerhaave’s Index alter Plantarum (1720), a catalogue of plants in the Hortus Botanicus in Leiden, and later by Johann Weinmann in his Phytanthoza iconographia (1745). Ipomoea quamoclit is tropical; Sprekelia, Opuntia and Aloe are from Central America. Nos 1, 8, 14, 15 and 16 are found in other flower pieces from the Northern and Southern Low Countries. The other species have not been included in the list of species in Appendix I. 398 Canvas, 220 x 150 cm, Lepke, Berlin, 4 April 1911, no. 137. 399 Canvas, 116.8 x 94 cm, Christie’s, London, 25 October 1974, no. 126.

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Fig. 9.129 Laurens Jacobsz van der Vinne, Plants from the Cape in front of a tropical landscape, dated 1736, canvas, 95 x 68 cm, Rijksmuseum Boerhaave, Leiden. 830 |

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Laurens Vincentsz van der Vinne

Laurens Vincentsz van der Vinne was born in 1658 in Haarlem. He learned to paint from Nicolaes Berchem (1621/22-1683) and from his father Vincent Laurensz van der Vinne I. In 1685 he was admitted to the Guild of Saint Luke and in that same year he became engaged to Lysbeth Jacob Boekaart. Laurens Vincentsz van der Vinne died in 1729. He made paintings and drawings of marines, city views, architecture, flower pieces and flowers, but mostly made drawings of landscapes and individual flowers for horticulturalists, as well as exotic plants for Philips de Flines. Two flower pieces of 1721 are now known, which perhaps exhibit some influence of Jan van Huysum’s earliest works, but more particularly follow in the traditions of the seventeenth century.

Fig. 9.130 Laurens Vincentsz van der Vinne, Flower piece with Sunflowers in a niche, dated 1721, canvas, 109.5 x 100 cm, private collection.

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Laurens Vincentsz van der Vinne, Flower piece with Sunflowers in a niche (Fig. 9.130) Canvas, 109.5 x 100 cm, signed and dated lower centre in white: Laurens van dr Vinne A°: 1721. Private collection.400 1 Bindweed 2 Peony 3 Turban Buttercup 4 Poppy Anemone 5 Cabbage Rose 6 Small Morning Glory 7 Sunflower 8 Purple Tulip 9 French Marigold 10 Corn Poppy 11 Poppy Anemone 12 Poppy Anemone

Calystegia sepium Paeonia officinalis plena Ranunculus asiatius subplenus albus Anemone coronaria pseudoplena Rosa x centifolia Convolvulus tricolor Helianthus annuus Tulipa undulatifolia Tagetes patula Papaver rhoeas albomarginata Anemone coronaria pseudoplena lilacina Anemone coronaria pseudoplena (rubra)

A B C d

Pieris brassicae Aglais urticae Arctia caja Bombus terrestris

Large White Butterfly Small Tortoiseshell Butterfly Garden Tiger Moth Earth Bumblebee (2x)

Vincent Jansz van der Vinne

Vincent Jansz van der Vinne was born in Haarlem 1736. He was apprenticed to his father Jan Laurensz van der Vinne. He became a member of the Guild of Saint Luke in 1754 and died in 1811. Vincent Jansz painted landscapes, sometimes with cattle, and flower pieces, and also made drawings of flowers for horticulturalists, as well as designs for tapestry. For some time, he was curator of the Teylers Museum in Haarlem. The Frans Hals Museum in that same city has a flower piece (Fig. 9.131) and fruit piece as pendants in their collection, and the Teylers Fundatiehuis in Haarlem has a flower piece with fruit, a book of music and a flute as a chimneypiece.401 Another overmantel painting with flowers in a sculpted vase, with fruit and a Hoopoe bird is dated 1776.402 A third chimneypiece, also from 1776, shows a flower piece with a squirrel.403 Vincent Jansz van der Vinne, Flowers on a ledge (Fig. 9.131) Panel, 34.5 x 26.8 cm, signed lower right in lilac grey: V. vandr Vinne Frans Hals Museum, Haarlem, inv. no. os-1-761.404 1 Ragwort 2 China Aster 3 Stock 4 False Larkspur 5 False Larkspur 6 Garden Nasturtium 7 Opium Poppy 8 Cabbage Rose 9 Pot Marigold 10 False Larkspur 11 Poet’s Narcissus

Senecio jacobaea Callistephus chinensis Matthiola incana plena alba Consolida ajacis (coerulea) Consolida ajacis alba Tropaeolum majus Papaver somniferum Rosa x centifolia Calendula officinalis Cotydalis solida atrata Narcissus poeticus

The flowers have been piled close together with the Opium Poppy looking down on them, as it were. 400 Provenance: St. Elisabeth Gasthuis, Haarlem; Christie’s, Amsterdam, 14 December 2010, no. 208. Exhibitions & literature: Overvoorde & Haslinghuis 1921, p. 144; Segal in Amsterdam 1970, n.p., no. 39, with identifications; Gemar-Koeltzsch 1995, III, p. 1051, no. 415/2, erroneously as Vincent Laurensz van der Vinne and dated 1712, but described p. 1054 under Laurens Vincentsz van der Vinne. 401 Canvas, 194 x 95 cm, signed lower right V. van der Vinne, Haarlem, Teylers Fundatiehuis. 402 Canvas, 225 x 160 cm, private collection. 403 Canvas, 282 x 200 cm, private collection. 404 Provenance: gift of S.F. van Delden, Haarlem 1943. Literature: Scheen 1969-70, II, p. 515; Scheen 1981, p. 551; Sliggers in Biesboer & Köhler 2006, pp. 377-378; Biesboer & Köhler 2006, p. 635, no. 485. The pendant (fruit piece): inv. no. os-1-762; Biesboer & Köhler 2006, p. 635, no. 486.

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Fig. 9.131 Vincent Jansz van der Vinne, Flowers on a ledge, panel, 34.5 x 26.8 cm, Frans Hals Museum, Haarlem.

Carel Borchart Voet

Carel Borchart Voet was born in Zwolle in 1671. From 1689 to 1699 he was in the service of Hans Willem Bentinck, a favourite of King William III and later the Earl of Portland, with whom he travelled to England. For this patron he painted a series of twelve baskets with flowers and fruit along with views of the country house Zorgvliet, which since 1675 belonged to Bentinck, but had formerly been the estate of Jacob Cats, who served as a pensionary, that is to say, as an official of the legislature.405 From 1692 to 1699 Voet was a member of the Confrerie Pictura in The Hague. He resided in Dordrecht from 1702 until his death in 1743. He painted flower pieces and other still lifes, and made watercolours of flowers and insects. A flower piece dated 1736 is currently in the collection of the Historisch Centrum Overijssel in Zwolle. 405 Immerzeel 1842-43, III, p. 203.

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Fig. 9.132 Carel Borchart Voet, Flowers in a glass vase on a gilt foot, dated 1736, canvas, 45.5 x 31.5 cm, Historisch Centrum Overijssel, Zwolle. 834 |

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Carel Borchart Voet, Flowers in a glass vase on a gilt foot (Fig. 9.132) Canvas, 45.5 x 31.5 cm, signed and dated lower right in black: C.B. Voet. 1736. Historisch Centrum Overijssel, Zwolle.406 1 Auricula 2 Cabbage Rose 3 Poppy Anemone 4 Turban Buttercup 5 Poppy Anemone 6 Meadow Cranesbill 7 Poppy Anemone 8 Stock 9 Corn Poppy 10 English Iris 11 Bachelor’s Buttons 12 Peony

Primula x pubescens ochracea Rosa x centifolia Anemone coronaria pseudoplena alba Ranunculus asiaticus subplenus albus Anemone coronaria pseudoplena albo-rosea Geranium pratense Anemone coronaria pseudoplena albo-violescens Matthiola incana plena alba Papaver rhoeas subplena albo-marginata Iris latifolia Ranunculus acris plenus Paeonia officinalis plena

A Garden Tiger Moth B Red Admiral Butterfly

Arctia caja Vanessa atalanta

Jacobus Vonk

Jacobus Vonk was active in Middelburg and died there in 1773. His name is usually spelled ‘Vonck’ in the art-historical literature, but he always signed Vonk.407 He was a painter of decorative works and wall coverings, particularly depictions of exotic and native birds in garden settings. He also painted flower swags around garden urns accompanied by living birds, sometimes with vanitas elements, of which we know of two pairs in a series of four from the year 1760 (Fig. 9.133). Dated work is known from 1756 through to 1771. According to Immerzeel, Vonk was influenced by the style of the younger Aert Schouman in Dordrecht, but his work exhibits a different, much broader manner of painting.408 His flowers can usually be identified, but not in all cases. Jacobus Vonk, Flower swag around a garden urn and a basket of fruit, with a Peregrine (Fig. 9.133) Canvas, 85.1 x 68.5 cm, signed and dated lower right: JS Vonk fecit 1760 The Fitzwilliam Museum, Cambridge, inv. no. PD 53-1975.409 1 Small Morning Glory 2 Cabbage Rose 3 Opium Poppy 4 Auricula 5 White Rose 6 Musk Mallow 7 Hyacinth 8 Sweet Pea 9 Hollyhock 10 Ivy 11 Green Grapes 12 Blue Grapes 13 Pear

Convolvulus tricolor Rosa x centifolia Papaver somniferum plenum miniatum Primula x pubescens Rosa x alba Malva moschata Hyacinthus orientalis Lathyrus odoratus Alcea rosea alba Hedera helix Vitis vinifera Vitis vinifera Pyrus communis

a Peregrine Falcon B Peacock Butterfly

Falco peregrinus Inachis io

406 407 408 409

Provenance: Stedelijk Museum Zwolle 1885-2017. Literature: Gemar-Koeltzsch 1995, III, p. 1056, no. 418/1. For example in Van der Willigen & Meijer 2003, pp. 209-210. Immerzeel 1842-43, III, p. 205. Provenance: Levine & Mosley Gallery, London; sold with pendant in 1947 to Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge); in 1973 legated to the museum as part of his bequest. Literature: Grant 1952, p. 81, no. 140, with the pendant no. 139.

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Fig. 9.133 Jacobus Vonk, Flower swag around a garden urn and a basket of fruit, with a Peregrine, dated 1760, canvas, 85.1 x 68.5 cm, The Fitzwilliam Museum, Cambridge. 836 |

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A flower swag has been loosely looped about a garden urn with a handle. At the foot of the urn is a tilted basket with some fruit, while more fruit is piled on the table-top; to the right a Peregrine Falcon is perched on a small branch. Other species in this work include some kind of Rose, another butterfly and a fly. The work assumed to be the pendant shows flowers with a Jay.410

Alexander Vos

Alexander Vos was registered in the Haarlem Guild of Saint Luke in 1728 and was last documented in 1744. He was married to Elisabeth Kittenstein. Vos is primarily known for his watercolours of Hyacinths and Tulips for a Haarlem botanist and horticulturalist, and he may have made pictures of other flowers as well. A flower piece dated 1729 was auctioned in 1980 in Amsterdam, while the watercolours are mentioned in eighteenth-century sales, as is a work of 1734.411 Alexander Vos, Flowers in an earthenware vase Panel, 45.5 x 36.5 cm, signed and dated lower left in brown: Alexander Vos 1729 Private collection.412 1 Small Morning Glory 2 Poppy Anemone 3 Capax Plenus full Narcissus 4 Snowball 5 Cabbage Rose 6 Hyacinth 7 Hollyhock 8 Auricula 9 Rape 10 Poppy Anemone

Convolvulus tricolor Anemone coronaria pseudoplena alba Narcissus pseudonarcissus cv. Capax Plenus Viburnum opulus cv. Roseum Rosa x centifolia Hyacinthus orientalis Alcea rosea lutea Anemone coronaria pseudoplena (rubra) Brassica napus Anemone coronaria pseudoplena coerulea

A rotund dark-grey earthenware vase on a foot has been set in a niche. The front of the niche shows a bas-relief with ten men and women and two children, including a woman nursing a child.

Jan Abel Wassenbergh I

Jan Abel Wassenbergh I was born into a well-to-do family in Groningen in 1689. Initially he studied language and literature at university, but he gave that up in order to develop his abilities as an artist and painter. He was apprenticed to J. van Diren. In 1706 he was registered in the Groningen guild. After his marriage in 1712 he settled in Rotterdam, where he received further instruction from Adriaen van der Werff (1659-1722) in the period 1712-1713/14. Back in Groningen he was active as a decorative and portrait painter, as well as an art dealer. Jan Abel Wassenbergh I died in 1750. Three of his seven children also painted: Jan Abel II (1724-1772), Johannes (1716-1763), and Elisabeth Geertruida (1729-1781), who also made embroideries of flowers and fruit.413 Little remains of Jan Abel Wassenbergh I’s decorative works. The Groninger Museum has an overdoor painting in its collection, originally from the Feithhuis, a flower piece with Roses, Poppy Anemone, Snowball and other flowers in a garden urn on a pedestal, accompanied by two winged putti above and to the right, under a sky with a few clouds and trees to the left in the background (Fig. 9.134).414

410 Canvas, 85.1 x 68.5 cm, dated 1760, Cambridge, The Fitzwilliam Museum, inv. no. PD 52-1975. 411 Jan van der Vinne, Haarlem, 13 May 1754, nos 59 and 61. Another flower piece by Alexander Vos was sold in Amsterdam in 1816 (23 July 1816, no. 53). 412 Sotheby’s Mak van Waay, Amsterdam, 8 December 1980, no. 347. Currently an image of the painting is unavailable. However, a sketch of the painting can be found in the Segal Still Life Documentation in the RKD, The Hague. 413 For more on the life and oeuvre of the Wassenbergh family see Roekel & Van der Werff 2006, pp. 70-172. 414 Groningen, Groninger Museum, inv. no. 1273; Leeuwarden & ‘s-Hertogenbosch 1978, p. 19. The painting is in rather poor condition.

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Fig. 9.134 Jan Abel Wassenbergh I, Flower piece with putti, canvas, 142 x 127 cm, Groninger Museum, Groningen.

Jacob Campo Weyerman

Jacob Campo Weyerman was born in Breda in 1677. He was apprenticed to Ferdinand van Kessel (1648ca. 1696) in Breda, Thomas van der Wilt (1659-1733) in Delft, and Simon Hardimé (1672-1734) in Antwerp. Campo Weyerman worked in many locations in the Netherlands, Belgium, France, Italy, Switzerland, Germany and England; he primarily painted flower pieces. He wrote a great compilation of artist biographies, De Levens-Beschryvingen der Nederlandsche Konst-schilders en Konst-Schilderessen – the first three volumes published in 1729 and the fourth posthumously – which include anecdotes, that often have to be taken with a grain of salt. He is further known for his literary output, of which satirical and even libellous tracts make up an important part, which also sometimes landed him in gaol. In fact, he ended up dying in gaol in The Hague in 1747. He frequently signed his work Campovivo. Known flower pieces may be found in the collection of the Rijksmuseum in Amsterdam; the Fitzwilliam Museum in Cambridge; the Staatliche Kunsthalle in Karlsruhe; and an unsigned work is now in the Museum Wilhelmshöhe in Kassel. Flower pieces and a few fruit pieces are listed in records of at least thirty-five auctions and inventories from 1712 onwards.415

415 My manuscript with a survey containing all the known sources, along with identifications for all the known works, is in the Segal Still Life Documentation at the RKD, The Hague.

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Jacob Campo Weyerman, Flower piece with Passion Flower (Fig. 9.135) Panel, 52 x 41 cm, signed lower right in blackish grey: JWeyermans. (‘J’ and ‘W’ ligated, loops below the ‘W’ and ‘y’) Rijksmuseum, Amsterdam, inv. no. SK-A-1302.416 1 2 3 4 5

Blue Passion Flower Auricula White Rose York and Lancaster Rose Small Morning Glory

Passiflora coerulea Primula x pubescens miniata Rosa x alba subplena Rosa x damascena cv. Versicolor Convolvulus tricolor

Fig. 9.135 Jacob Campo Weyerman, Flower piece with Passion Flower, panel, 52 x 41 cm, Rijksmuseum, Amsterdam. 416 Provenance: gift of Victor de Stuers, The Hague 1886; on loan to the Noordbrabants Museum in ‘s-Hertogenbosch 19992005. Exhibitions & literature: Von Wurzbach 1906-11, II, p. 877; Warner 1928 (Segal ed. 1975), no. 113a; Segal in Amsterdam 1970, n.p., no. 42, with identifications; Mitchell 1973, p. 259, Fig. 381; Van Thiel 1976, p. 93; Broos 1990, p. 256.

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6 Apple blossom 7 Pomegranate blossom 8 Jasmine 9 Orange blossom foliage 10 Provins Rose 11 Auricula 12 French Marigold 13 Cherry blossom

Malus sylvestris Punica granatum plena Jasminum officinale Citrus aurantium Rosa x centifolia Primula x pubescens coerulea Tagetes patula Prunus avium plenum

A.D. Wit

A flower piece signed with the name A.D. Wit and indistinctly dated 17[..] was auctioned in New York in 1926 (Fig. 9.136).417 In the painting we see an urn set on a marble balustrade holding a Madonna Lily and other flowers. Beneath this, fruit has been piled on the ledge, in the midst of which is a bird’s nest with eggs and a parent bird. The background gives a glimpse of a garden landscape, with an urn to the right on a pedestal. This composition betrays the influence of Jan van Huysum. Fig. 9.136 A.D. Wit, Flower piece on a balustrade, canvas, 76.2 x 61.6 cm, whereabouts unknown.

Adrianus van Wÿck

Flower pieces by Adrianus van Wÿck are known for 1718 and 1733.418 The 1718 painting is signed A. v: Wÿck p. 1718 and shows flowers set on a pedestal in a garden urn, decorated with a motif, which evokes the metaphor homo bulla est (‘man is but a bubble’), in this instance through the representation of a putto blowing bubbles.419 The 1733 painting shows flowers in a bronze vase.

417 Canvas, 76.2 x 61.6 cm, Sotheby’s, New York, 8 January 1926, no. 90. 418 According to Van der Willigen & Meijer these are the work of an artist from the Southern Netherlands. Van der Willigen & Meijer 2003, p. 218. 419 Canvas, 84.4 x 69.2 cm, Christie’s, London, 29 October 1993, no. 34.

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Fig. 9.137 Adrianus van Wÿck, Flowers in a bronze vase, dated 1733, canvas, 64.7 x 53.3 cm, private collection.

Adrianus van Wÿck, Flowers in a bronze vase (Fig. 9.137) Canvas, 64.7 x 53.3 cm, signed and dated left of lower centre in dark brown: Adrianus van Wÿck .p. 1733 Private collection.420 1 Small Morning Glory 2 Forget-me-not 3 Opium Poppy 4 Cabbage Rose 5 White Rose 6 Forget-me-not 7 Snowball 8 Opium Poppy 9 Primrose Peerless 10 Pot Marigold 11 Stock 12 African Marigold 13 Blunt Tulip (2x) 14 Opium Poppy 15 Red Tulip hybrid 16 York and Lancaster Rose

Convolvulus tricolor Myosotis palustris Papaver somniferum pseudoplenum fimbriatum roseum Rosa x centifolia Rosa x alba Myosotis palustris alba Viburnum opulus cv. Roseum Papaver somniferum plenum miniatum Narcissus x medioluteus Calendula officinalis Matthiola incana subplena rosea Tagetes erecta Tulipa mucronata bicolor Papaver somniferum semiplenum fimbriatum miniatum Tulipa agenensis x T. purpurea Rosa x damascena cv. Versicolor

The bouquet has a squarish shape and fills a large portion of the image area. The flowers have been loosely arranged and extend out from a compact centre made up of Roses and a Snowball. Small Morning Glory twines its way along the ledge at the foot of the vase. The dominant colours are tones ranging from white to red. In 2015 a flower piece was auctioned at Christie’s in Amsterdam as Elias van den Broeck, but with the signature [...] van Wijck f. lower right in black.421 The picture is marred by surface dirt and greatly in need 420 Provenance: Christie’s, South Kensington, 12 July 2002, no. 117. 421 Canvas, 71.4 x 58.3 cm, Christie’s, Amsterdam, 23 June 2015, no. 78. The painting was unsold.

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of a cleaning, from which it will perhaps emerge that the signature has been painted over. The style of the flowers deviates from that in the work described above. It is true that several flowers in this painting look similar to those in the work of Elias van den Broeck, and the colours of the flowers between tones of white and red also correspond with the work of this artist. The composition is quite different, however, both in the shape of the bouquet, the type of vase (terracotta with a seated naked woman with flowing robe), as well as the other decorated pottery in the background.

Gerard Joseph Xavery

Gerard Joseph Xavery was born in 1700 into an artistic family in Antwerp. His father Albert (1664-1728) and his brother Jan Baptist (1697-1742) were sculptors. Gerard Joseph and his brother moved to Holland and worked in Amsterdam and The Hague, where Gerard was a member of the Confrerie Pictura in 1742. He made etchings and in addition painted portraits, game pieces and flower pieces. He also trained his nephew Franciscus Xaverius (1740-after 1788). The last trace of him is a portrait dated 1747. An auction of 1792 included a ‘fraai Bloemstuk, door G.J. Xaveri, in vergulde lijst’ (‘lovely Flower piece, by G.J. Xaveri, in a gilt frame’).422

Jacob Xavery

Jacob Xavery was born in 1736 in The Hague, the son of sculptor Jan Baptist Xavery. He worked in Amsterdam in Jan Hendrik Troost van Groenendoelen’s wallpaper manufacturing business and for the collector Gerret Braamcamp. He also spent some time in Breda and in Paris, but died in Amsterdam in around 1779. Jacob Xavery made paintings and drawings for wall coverings, miniatures, and executed flower and fruit still lifes and portraits. His work is mentioned many times in eighteenth and nineteenthcentury sales and inventories. Dated flower pieces are known from 1754 to 1774. A flower piece of 1771 is currently in the Wallraf-Richartz-Museum in Cologne, and a few watercolours of flower pieces are in the Albertina in Vienna. Jacob Xavery was a follower of Jan van Huysum. In actual fact, he tried to sell his Jan van Huysum influenced work for a relatively low price to Karoline Luise von Hessen-Darmstadt (1723-1783), herself an accomplished amateur artist. His style, however, is considerably broader than that of Jan van Huysum, with few nuances and with excessively curling stems, petals and foliage. Jacob Xavery, Flowers in a broad decorated vase (Fig. 9.138) Canvas, 59.4 x 46 cm, signed and dated in brown: Jacob Xaverÿ Fecit A° 1772 Private collection.423 1 Opium Poppy 2 French Rose 3 Stock 4 Purple Tulip 5 Small Morning Glory 6 Tazetta Narcissus 7 False Larkspur 8 Sulphur Rose 9 Hyacinth 10 Hollyhock 11 Carnation 12 Danube Tulip hybrid 13 Damask Rose 14 Poppy Anemone 15 Poppy Anemone 16 Meadow Grass

Papaver somniferum plenum purpureum Rosa gallica plena Matthiola incana plena alba Tulipa undulatifolia Convolvulus tricolor Narcissus tazetta Consolida ajacis Rosa hemisphaerica Hyacinthus orientalis plenus pallidus Alcea rosea plena lilacina Dianthus caryophyllus plenus bicolor Tulipa hungarica x T. undulatifolia Rosa x damascena plena Anemone coronaria pseudoplena coerulea Anemone coronaria pseudoplena (rubra) Poa pratensis

A Red Admiral Butterfly Vanessa atalanta B Blue Butterfly Lycaenidae spec. Plus another unidentifiable butterfly

422 Cornelis Hofstede de Groot fiches, RKD, The Hague, no. 0351, card no. 1656015 in the database RKDexcerpts. I was unable to track down any further details. 423 Provenance: Galerie Artcurial, Paris; Tajan, Paris, 30 March 1998, no. 13; Galerie De Voldère, Paris; Mercier & Cie, Lille, 26 March 2000, no. 282; Rafael Valls Gallery, London 2000; Servarts, Brussels, 20 November 2001, no. 284.

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Fig. 9.138 Jacob Xavery, Flowers in a broad decorated vase, dated 1772, canvas, 59.4 x 46 cm, private collection.

Joost Zeeman

Joost Zeeman was born about 1776 in Harlingen and died in Workum in 1845. Although he was probably an amateur painter and draughtsman, he was the teacher of Douwe de Hoop (1800-1830). Several watercolours of flower pieces are known by him.424 Joost Zeeman, Flower piece with fruit (Fig. 9.139) Body colour on paper, 660 x 510 mm, signed lower right in dark brown: I.Z 182[?] Private collection.425

424 Scheen 1981, p. 602. 425 Sotheby’s, New York, 13 January 1993, no. 58. I have not seen the original painting.

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1 2 3 4 5 6 7 8 9 10 11

Poppy Anemone White Rose Night-blooming Cereus Striated Catchfly False Larkspur Peony Opium Poppy Turban Buttercup Auricula York and Lancaster Rose Sulphur Rose

Anemone coronaria pseudoplena alba Rosa alba duplex Selenicereus grandiflorus Silene conica Consolida ajacis Paeonia officinalis subplena alba Papaver somniferum pseudoplenum miniatum Ranunculus asiaticus subplenus Primula x pubescens albo-purpureus Rosa x damascena cv. Versicolor Rosa hemisphaerica

On the marble balustrade around the vase we see a fig, walnut, plum, white and blue grapes, as well as a yellow Sulphur Rose (Rosa hemisphaerica).

Fig. 9.139 Joost Zeeman, Flower piece with fruit, dated 182[?], body colour on paper, 660 x 510 mm, private collection 844 |

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Artists of the Southern Netherlands Artists following in the Footsteps of Jan van Huysum and Gerard van Spaendonck Pieter Faes

Pieter Faes was born in 1750 in Meer. He trained at the Academy in Antwerp. In 1791 he became dean of the Guild of Saint Luke. He painted flower and fruit still lifes as well as working as a decorative painter. Faes exhibited flower pieces from 1789 through to 1813 as a member of the Antwerp Konstmaetschappy. Dated work is known from 1779 to 1798. The works he painted for the Castle in Laeken were transported to Vienna at the behest of Maria Christina of Austria. Pieter Faes died in Antwerp in 1814. His compositions are characterized by a paucity of foliage, a limited number of flower species, and plain undecorated vases. While it is indisputable that Faes was a follower of Jan van Huysum, his brushstroke is broader – as is the case with many Flemish painters – consisting of narrow, thin strokes in related colours. Flower pieces by Pieter Faes are present in the following public collections: 1779, in the Museum voor Schone Kunsten in Ghent; 1781, in the Metropolitan Museum in New York; 1783 and 1793, with fruit, in the Stedelijk Museum Wuyts-Van Campen en Baron Caroly in Lier; 1788, in Rijksmuseum Twenthe in Enschede; 1790, in the Fitzwilliam Museum in Cambridge; 1791, in the Koninklijke Musea voor Schone Kunsten van België in Brussels; 1792, with fruit, in the collection of the Museum Smidt van Gelder in Antwerp; 1794, in the Groeningemuseum in Bruges; 1795 and 1796, in the Bowes Museum in Barnard Castle; and undated flower pieces are in the Musée des Beaux-Arts in Dunkerque, the Abdijmuseum in Geraardsbergen, and the Taxandriamuseum in Turnhout.426 Pieter Faes, Flowers in a glass vase (Fig. 9.140) Panel, 44.5 x 34.9 cm, signed and dated lower right in brown: P. Faes i780 Private collection.427 1 Small Morning Glory 2 Cabbage Rose 3 Hyacinth 4 Nipple-wort 5 Hyacinth 6 Bizarde Tulip 7 Corn Chamomile 8 Baguette Tulip 9 Hyacinth 10 Narcissus ‘Van Sion’ 11 Scented Vernal Grass 12 Meadow Saxifrage 13 Opium Poppy 14 Auricula

Convolvulus tricolor albo-coerulea Rosa x centifolia Hyacinthus orientalis plenus albus Lapsana communis Hyacinthus orientalis plenus (coeruleus) Tulipa mucronata variegata Anthemis arvensis Tulipa mucronata variegata Hyacinthus orientalis plenus atratus Narcissus pseudonarcissus cv. Van Sion Anthoxanthum odoratum Saxifraga granulata Papaver somniferum plenum phloginum Primula x pubescens rufa

a Blue Blow Fly

Calliphora erythrocephala

The transparent green glass vase and clearly visible flower stems form a superb intermediate space linking the background – both the darker left half of the painting and the lighter right half with its trees – to the Rose foliage in the bouquet.

426 For Faes see Brussels 1985-86, pp. 272-275 and Hostyn 1992. 427 Provenance: Johnny Van Haeften Gallery, London; Sotheby’s, New York, 19 May 1994, no. 128; collection of Meyer Padwa; Sotheby’s, New York, 8 July 2005, no. 114. Literature: Segal in catalogue Johnny Van Haeften Gallery 1992, no. 12, with identifications.

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Fig. 9.140 Pieter Faes, Flowers in a glass vase, dated 1780, panel, 44.5 x 34.9 cm, private collection.

J.B. Faes

According to an auction catalogue, a flower piece with a bird’s nest signed J.B. Faes fc was put up for sale in Berlin in 1930. Before 1938 a larger work by J.B. Faes showing flowers in a squarish vase was in the possession of an Antwerp gallery.428 Nothing is known about the artist J.B. (Jan Baptist?) Faes, possibly he was a relative of Pieter Faes. J.B. Faes, Flowers in a decorated stone vase, with architectural elements and trees in the background (Fig. 9.141) Canvas, 66 x 52 cm, signed lower right: J.B. Faes fc (according to the catalogue) Whereabouts unknown.429 428 Canvas, 86 x 69 cm, S. Hartveld Gallery, Antwerp. 429 Provenance: collection of B. Svenonius, Stockholm; collection of H. Renner; Wertheim, Berlin, 30 April 1930, no. 35. Exhibitions: Lund 1927-28, no. 62. Identifications were made from the reproduction.

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Fig. 9.141 J.B. Faes, Flowers in a decorated stone vase, with architectural elements and trees in the background, canvas, 66 x 52 cm, whereabouts unknown.

Roses Opium Poppy Hollyhock Auricula Peony Snowball

Rosa div. spec. Papaver somniferum Alcea rosea Primula x pubescens Paeonia officinalis Viburnum opulus cv. Roseum

Jan Frans Eliaerts

Jan Frans Eliaerts was born in 1761 in Deurne and trained at the Academy in Antwerp. Early on he left for Paris, where he became an instructor at the Maison d’éducation de la Légion d’honneur in SaintDenis, close to Paris, and a French citizen. He painted flower and fruit pieces, also as miniatures and snuffboxes, and genre representations in flower-filled décors, as well as designing tapestries. He exhibited at the Salon du Louvre from 1810 to 1848. Dated flower pieces are known between 1790 and 1838. At an advanced age Jan Frans Eliaerts returned to Antwerp, where he died in 1848. His works display | 847

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Fig. 9.142 Jan Frans Eliaerts, Flower piece with fruit, dated 1790, canvas, 64 x 52 cm, private collection. 848 |

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the influence of both Jan van Huysum and Gerard van Spaendonck. Flower pieces are presently in the collections of the Koninklijk Museum voor Schone Kunsten in Antwerp; the Fitzwilliam Museum in Cambridge; the Museum voor Schone Kunsten in Ghent (with fruit); and the Stedelijk Museum WuytsVan Campen en Baron Caroly in Lier. Particularly remarkable is a painting of 1829 that shows nothing but Roses in front of a garden urn.430 Jan Frans Eliaerts, Flower piece with fruit (Fig. 9.142) Canvas, 64 x 52 cm, signed and dated lower right in reddish brown: J Eliaerts ft A= 1790 Private collection.431 1 Small Morning Glory 2 Sulphur Rose 3 Wood Groundsel 4 White Rose 5 Yellow Chamomile 6 Poppy Anemone 7 Pot Marigold 8 Lilac 9 Blunt Tulip 10 Pale Iris hybrid 11 Baguette Tulip 12 Bachelor’s Buttons 13 Tazetta Narcissus 14 Lily of the Valley 15 Dark Scabious 16 French Rose 17 Auricula

Convolvulus tricolor Rosa hemisphaerica Senecio sylvaticus Rosa x alba subplena Anthemis tinctoria Anemone coronaria pseudoplena lilacina Calendula officinalis Syringa vulgaris Tulipa mucronata bicolor Iris pallida x I. albicans Tulipa mucronata variegata Ranunculus acris plenus Narcissus tazetta Convallaria majalis Scabiosa atropurpurea Rosa gallica Primula x pubescens croceus

On the stone table-top in front of the ochre stoneware vase we also see blue grapes and peaches.

Georg Frederik Ziesel

Georg Frederik Ziesel was born in Hoogstraten in 1756. In 1770 he went to Antwerp and in 1780 he married there. Afterwards he left for Paris, where he remained for quite a long time. He was a close friend of Pieter Faes. Georges Ziesel died in Antwerp in 1809. He painted flower and fruit still lifes, frequently in pairs, and in a number of cases these are reverse glass paintings, where the picture is painted onto glass for viewing from the other side. He also made miniatures in watercolour. Dated flower pieces – sometimes including a bird’s nest – are known from 1784 to 1786. Flower pieces are currently found in the Koninklijk Museum voor Schone Kunsten in Antwerp (with a bunch of grapes); the Fitzwilliam Museum in Cambridge (a miniature); Museum Boijmans Van Beuningen in Rotterdam; plus an attributed flower piece is in the Uffizi in Florence.432 Georg Frederik Ziesel, Flowers in a glass flask (Fig. 9.143) Oil reverse-painted glass, 39.5 x 31.5 cm, signed and dated lower left in grey: G f Ziesel f 1784 Private collection.433 1 Sulphur Rose 2 Great Morning Glory 3 Pear blossom 4 Provins Rose 5 Opium Poppy 6 Hyacinth 7 Auricula 8 Auricula 9 Turban Buttercup 10 Turban Buttercup

Rosa hemisphaerica Ipomoea purpurea Pyrus communis Rosa x provincialis Papaver somniferum lavandulinum Hyacinthus orientalis plenus Primula x pubescens violaceus Primula x pubescens coerulea Ranunculus asiaticus lilacinus Ranunculus asiaticus umbrinus

430 Panel, 40 x 37 cm, Dorotheum, Vienna, 24 April 2007, no. 126. For Eliaerts see Brussels 1985-86, p. 277. 431 Provenance: John Mitchell & Son Gallery, London 1975; Christie’s, New York, 11 December 1987, no. 62; Arader Gallery, New York; Sotheby’s, New York, 29 January 2010, no. 779. 432 For Ziesel see Brussels 1985-86, p. 275 and Hostyn 1992a. 433 Provenance: Sotheby’s, London, 9 December 1987, no. 101, with pendant.

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a

Blue Blow Fly

Calliphora erythrocephala

A much larger painting in the Koninklijk Museum voor Schone Kunsten in Antwerp with a similar diagonal flower arrangement also includes Pear blossom, a Hyacinth, and a very similar spherical Auricula in the same place in the bouquet. This work has a bowl of goldfish in the right background, as seen in the work of Jan van Os, and a bird’s nest with eggs in the style of Jan van Huysum.434 Fig. 9.143 Georg Frederik Ziesel, Flowers in glass flask, dated 1784, oil reverse-painted glass, 39.5 x 31.5 cm, private collection.

Jan Frans van Dael

Jan Frans van Dael was born in Antwerp in 1764. At the age of twelve he began his study of architecture at the Academy in Antwerp, where he won the first prize for his designs in both 1784 and 1785. In 1786 he moved to Paris, where he worked for Louis Stanislas Xavier, later King Louis XVIII, and his spouse Marie Joséphine of Savoy, receiving from them commissions for paintings for the castles of Saint-Cloud, Bellevue and Chantilly. After first concentrating his energies on paintings of interiors, portraits and religious subjects, he then turned his attention to executing flower and fruit still lifes in oils, watercolour and black chalk, probably under the influence of his friend Christiaan van Pol and on the advice of Gerard van Spaendonck, who became his master in Paris. From 1793 Van Dael exhibited in the Salons du Louvre. In that same year he received an atelier in the Louvre too, where the other artists already in residence were Gerard van Spaendonck and Pierre-Joseph Redouté, and where his subsequent patrons included Napoleon Bonaparte, his spouse Joséphine de Beauharnais, and King Charles X. In 1806 he moved to an atelier at the Sorbonne. Jan Frans van Dael also made designs for Sèvres porcelain. Furthermore, he acquired a collection of still life paintings by such masters as Jan Davidsz de Heem, Abraham Mignon, Rachel Ruysch, Jan van Huysum and contemporaries. He had at least ten apprenti434 Panel, 91.2 x 75 cm, Antwerp, Koninklijk Museum voor Schone Kunsten, inv. no. 514; Van Hout in Antwerp 2015-16, pp. 188189, no. 37.

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ces, including Henriëtte Knip and Christiaan van Pol. In 1825 he was honoured with the Légion d’honneur. Jan Frans van Dael died in Paris in 1840.435 Jan Frans van Dael signed and dated his works in a variety of different ways, for example as vandael, Vandael, van dael, Van dael, VAN DAEL, VD, VD (ligated), IVD (‘VD’ ligated), V.D., I.VD (‘VD’ ligated), with the year added on the same line or underneath, and sometimes according to the new calendar of the French Revolution (from 1791). Flower pieces by Jan Frans van Dael are currently in the following museum collections: the Koninklijk Museum voor Schone Kunsten in Antwerp; the Groeningemuseum in Bruges; the Fitzwilliam Museum in Cambridge, dated 1817, plus a number of miniatures; the Musée National du Château de Fontainebleau near Paris; the Uffizi in Florence; the Palais des Beaux-Arts in Lille; the Villa Vauban in Luxembourg; the Musée des Beaux-Arts in Lyon; the Musée des Beaux-Arts d’Orleans; the Musée du Louvre in Paris; and the Musée des Beaux-Arts in Rouen. Jan Frans van Dael, Flower piece with Pineapple and other fruit (Fig. 9.144) Canvas, 87 x 68 cm, signed and dated lower centre in brown and pinkish grey: Vandael 1792 (‘V’ and ‘d’ connected with a loop) Private collection.436 1 Cabbage Rose 2 Red Campion 3 Marguerite 4 Rose of Sharon 5 White Rose 6 China Aster 7 Hyacinth 8 Opium Poppy 9 Pot Marigold 10 Foxglove 11 Carnation 12 Lilac 13 Hollyhock 14 Large Blanket Flower 15 Opium Poppy 16 Silver Ragwort 17 Blue Daisy 18 Sainfoin 19 Poppy Anemone 20 Auricula 21 Small Blanket Flower 22 Peony 23 Tufted Forget-me-not 24 Spanish Jasmine 25 Pineapple 26 Green and Blue Grapes 27 Peaches

Rosa x centifolia Silene dioica alba Leucanthemum vulgare Hibiscus syriacus Rosa x alba subplena Callistephus chinensis Hyacinthus orientalis plenus albus Papaver somniferum plenum rubrum Calendula officinalis Digitalis pupurea Dianthus caryophyllus plenus bicolor Syringa vulgaris Alcea rosea pseudoplena sulphurea Gaillardia aristata Papaver somniferum plenum violaceum Senecio cineraria Felicia amelloides Onobrychis viciifolia Anemone coronaria pseudoplena Primula x pubescens coerulea Gaillardia pulchella Paeonia officinalis subplena alba Myosotis cespitosa Jasminum grandiflorum Ananas sativus Vitis vinifera Prunus persica

A Red Admiral Butterfly b 7-spot Ladybird c Blue Blow Fly

Vanessa atalanta Coccinella septempunctata Calliphora erythrocephala

435 An extended discussion of Van Dael’s life and work can be found in Lossky 1967, see also Faré & Faré 1976, pp. 309-313. 436 Provenance: collection of ‘E. M.’, Paris 1951; Galerie Jean-Max Tassel, Paris 1992; Sotheby’s, New York, 30 January 2019, no. 70. Literature: Hostyn & Rappard 1995, pp. 10, 157.

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Fig. 9.144 Jan Frans van Dael, Flower piece with Pineapple and other fruit, dated 1792, canvas, 87 x 68 cm, private collection. 852 |

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Fig. 9.145 J.B. van Dael, Flowers in a cut vase, dated 1812, canvas, 46 x 38.5 cm, private collection.

J.B. van Dael

A painting of 1812 by a certain J.B. (Jean-Baptiste?) van Dael was put up for auction in Monaco in 1989. Possibly he was related to Jan Frans van Dael. J.B. van Dael, Flowers in a cut vase (Fig. 9.145) Canvas, 46 x 38.5 cm, signed and dated lower right in dark brown: JB. Van dael . 1812 (the ‘J’ in the ‘B’) Private collection.437 1 2 3 4

Cabbage Rose Tassel Flower Texas Star Jonquil Pot Marigold

Rosa x centifolia Emilia sagittata Narcissus x intermedius Calendula officinalis

437 Provenance: Sotheby’s, Monaco, 2 December 1989, no. 358, with scheme and identifications by Segal (not mentioned).

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5 Primrose Peerless 6 Tazetta Narcissus 7 White Mountain Saxifrage 8 Creeping Bell-flower 9 Spanish Jasmine 10 Baguette Tulip 11 Opium Poppy 12 Baguette Tulip 13 Baguette Tulip 14 Forget-me-not 15 Auricula 16 Perfumed Passion Flower 17 Auricula

Narcissus x medioluteus Narcissus tazetta Saxifraga paniculata Campanula rapunculoides Jasminum grandiflorum Tulipa mucronata obtusa rosea x T. undulatifolia Papaver somniferum Tulipa mucronata obtusa albescens Tulipa mucronata obtusa x T. undulatifolia Myosotis palustris Primula x pubescens violacea atrata Passiflora alata Primula x pubescens albo-violacea

A Chinese Character Moth b Housefly

Cilix glaucata Musca domestica

Jean Baptiste Berré

Jean Baptiste Berré was born in Antwerp in 1777. He studied at the Academy under the tutelage of Willem Jacob Herreyns and Balthasar Paul Ommeganck (1755-1826), a painter of portraits and animals. From 1802 he exhibited at the salons in Antwerp and Ghent, and from 1804 regularly in Paris, where he settled permanently in 1808. Initially he painted religious subjects and flower pieces. From 1822 to 1838 he lived in the Jardin des Plantes, a zoological garden, where he painted animals and made sculptures of them cast in bronze; he also painted landscapes. Having become seriously ill, Jean Baptiste returned to Antwerp in 1838, where he died in that same year. In 1839 his estate was auctioned in Paris. A flower piece with fruit dated 1802 is currently in the collection of the Stichting Edwina van Heek at the country house Singraven in Denekamp, the Netherlands, near the German border. Other dated flower pieces are known for the years 1797, 1798, 1799 and 1804 (the latter with a fishbowl), most of them small works containing a limited number of botanical species displayed in a French vase. An undated painting shows a vase of flowers and a painter’s palette with brushes set against a background showing a mountainous landscape.438 Berré’s work was influenced by Gerard van Spaendonck from his time in Paris, as well as by the works of Jan van Os.439 Jean Baptiste Berré, Flowers in a blue marble vase on a brown marble ledge (Fig. 9.146) Panel, 64.5 x 48 cm, signed and dated lower right: J Berre f. 1798 Private collection.440 Meadow Grass Rock Aster Rosa Mundi Cabbage Rose Rose of Sharon White Rose Jacob’s Ladder Pot Marigold Opium Poppy Hollyhock Lavatera Stemless Gentian Timothy’s Grass Persian Tulip Rose of Sharon Turban Buttercup Peony

Poa pratensis Aster alpinus Rosa gallica cv. Versicolor Rosa x centifolia Hibiscus syriacus (albus) Rosa x alba semiplena Polemonium caeruleum album Calendula officinalis Papaver somniferum plenum roseum Alcea rosea pseudoplena Lavatera thuringiaca Gentiana acaulis Phleum pratense Tulipa clusiana Hibiscus syriacus coeruleus Ranunculus asiaticus plenus roseus Paeonia officinalis plena

438 Hostyn & Rappard 1995, p. 119. 439 Nyns in Brussels 1985-86, p. 280. 440 Provenance: Sotheby’s, London, 24 March 1971, no. 66; Richard Green Gallery, London 1971; Paul Brandt, Amsterdam, 22 May 1973, no. 1; Sotheby’s, London, 10 December 1975, no. 29. Literature: Mitchell 1973, p. 49, Fig. 62. I have not seen the original painting; the identifications are incomplete.

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Wall Butterfly Blue-tailed Damselfly Small Housefly Garden Snail

Lasiommata megera Ischnura elegans Fannia cannicularis Cepaea hortensis

The dominant use of pink gives the painting a particular atmosphere.

Fig. 9.146 Jean Baptiste Berré, Flowers in a blue marble vase on a brown marble ledge, dated 1798, panel, 64.5 x 48 cm, private collection.

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Fig. 9.147 Michel Joseph Speeckaert, Flowers in a tumbler, dated 1811, panel, 32 x 26 cm, The Fitzwilliam Museum, Cambridge.

Michel Joseph Speeckaert

Michel Joseph Speeckaert was born in Leuven in 1748. We lack biographical information regarding the period of his life from 1803 to 1824 when he was living and working in Brussels. In 1824 he moved to Mechelen, but in 1835 returned to Brussels, where he died in 1838. There are several simple works from 1768 – Tulips in a jug decorated with flowers set in a niche – and from the years 1769 and 1787. Today around twenty works are known by Michel Joseph Speeckaert: flower and fruit still lifes – the fruit still lifes sometimes with dead birds – and bird still lifes, sometimes only a bird’s nest with a mouse. In addition to the early dated works just mentioned, there are further dated paintings from the period 1800 to 1831. From 1808 to 1835 he participated in the salons of Ghent, Brussels, Antwerp and Douai. In 1832 he received the first prize for a flower piece from the Salon in Ghent. Flower pieces are currently in the collection of the Fitzwilliam Museum in Cambridge, dated 1811, and in the Bowes Museum at Barnard Castle.441 441 Populaire in Brussels 1985-86, p. 271.

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Michel Joseph Speeckaert, Flowers in a tumbler (Fig. 9.147) Panel, 32 x 26 cm, signed and dated to the right above the marble ledge in grey: MJ Speeckaert / 1811 The Fitzwilliam Museum, Cambridge, inv. no. PD 61-1974.442 In a ribbed tumbler on a sharp-edged marble ledge we see eight colour combinations of Carnation (Dianthus caryophyllus) plus a few Cornflowers (Centaurea cyanus).

M. van Spaey

There is a flower piece with a bird’s nest from a private collection, which is signed M. van Spaey. An artist named Martinus Spey was born in Antwerp in 1777. From 1809 to 1814 he was in Paris, and in 1812 he exhibited his work at the Salon in Ghent. The last record of his life dates from 1818. Spey painted and made drawings of portraits, and, according to Van Eijnden and Van der Willigen, also flower pieces and game pieces.443 Martinus Spey may perhaps be the artist of the present flower piece. M. van Spaey, Flower piece with bird’s nest (Fig. 9.148) Canvas (coarse, ca. 10 threads per cm), 76.5 x 65.5 cm, signed lower right in dark brown: M. van Spaey Private collection.444 1 Wheat 2 Auricula 3 Poppy Anemone 4 Golden Narcissus 5 Poppy Anemone 6 Cabbage Rose 7 White Rose 8 Yellow Jasmine 9 Lilac 10 Carnation 11 Opium Poppy 12 German Flag Iris 13 Bizarde Tulip 14 Snowball 15 Primrose Peerless 16 China Aster 17 Hollyhock 18 White Rose 19 Sulphur Rose 20 Pot Marigold 21 Auricula 22 Hyacinth 23 Hyacinth

Triticum aestivum Primula x pubescens rubra Anemone coronaria pseudoplena (rubra) Narcissus tazetta subsp. aureus Anemone coronaria pseudoplena violacea Rosa x centifolia Rosa x alba plena Jasminum fruticans Syringa vulgaris Dianthus caryophyllus plenus Papaver somniferum plenum roseum Iris germanica Tulipa mucronata x T. undulatifolia Viburnum opulus cv. Roseum Narcissus x medioluteus Callistephus chinensis Alcea rosea plena citrina Rosa x alba subplena Rosa hemisphaerica Helianthus annuus Primula x pubescens violacea Hyacinthus orientalis plenus (coeruleus) Hyacinthus orientalis plenus albus

442 Provenance: P. de Boer Gallery, Amsterdam; collection Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge), bequeathed to the museum in 1974. Exhibitions & literature: Amsterdam 1935, p. 18, no. 121; Grant 1952, p. 78, no. 125, Pl. 60. 443 Van Eijnden & van der Willigen 1816-40, III, p. 215. 444 Provenance: Sotheby’s, New York, 11 January 1996, no. 250, and 3 October 1996, no. 196; Sotheby’s, London, 4 December 1997, no. 230; Sotheby’s, London, 27 April 2006, no. 109. Not all species are readily identifiable.

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Fig. 9.148 M. van Spaey, Flower piece with bird’s nest, canvas, 76.5 x 65.5 cm, private collection.

Pierre Joseph Thys

Pierre Joseph Thys was born in Lier in 1749. He was an apprentice of the flower painter Koeck at the Antwerp Academy, and continued his training in Paris with Gerard van Spaendonck.445 In 1780 he was living in Brussels. On commission to Maria Christina of Austria, Thys painted decorative flower pieces for the Orangerie of the Castle in Laeken, which were confiscated by the French in 1792. Pierre Joseph Thys died in 1823.446

445 The flower painter Koeck is mentioned many times as an instructor at the Academy in Antwerp. Perhaps he can, or should be associated with the painter Franciscus Coeck who became a master painter in 1751, and about whom (to my knowledge) we possess no further information. 446 Bergmann 1873, p. 352.

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Philips Jacob Peeters

Philips Jacob Peeters was born about 1766 in Antwerp, and in 1786-1787 he was a student at the Antwerp Academy. In 1789 he exhibited at the Salon in Antwerp. Philips painted flower and fruit pieces. His last known work is dated 1797. Philips Jacob Peeters, Flowers in a tumbler (Fig. 9.149) Panel, 41 x 30.2 cm, signed and dated 1797 Private collection.447 1 2 3 4

Cabbage Rose Pansy White Rose Hyacinth

Rosa x centifolia Viola tricolor var. hortensis Rosa x alba plena Hyacinthus orientalis plenus badius

Fig. 9.149 Philips Jacob Peeters, Flowers in a tumbler, dated 1797, panel, 41 x 30.2 cm, private collection.

447 Provenance: Phillips, London, 11 December 1990, no. 130.

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5 Primrose Peerless 6 Stock 7 Damask Rose 8 Tufted Forget-me-not 9 Meadow Grass 10 Auricula

Narcissus x medioluteus Matthiola incana plena violacea Rosa x damascena Myosotis cespitosa Poa pratensis Primula x pubescens coerulea

a Blue Blow Fly

Calliphora erythrocephala

Pieter Joseph Sauvage

Pieter Joseph Sauvage was born in Tournai in 1744. He was an apprentice of the grisaille painter Martinus Josephus Geeraerts (1707-1791) in Antwerp and Gerard van Spaendonck in Paris. Sauvage made decorative grisailles, and other paintings for Château de Compiègne, and painted mythological and allegorical representations, as well as trompe l’oeil still lifes and miniatures. Between 1774 and 1808 he exhibited in Paris, while working for King Louis XVI and the Princes of the Condé. He was a member of the Académie de Saint-Luc and the Académie royale de peinture et de sculpture, where he instructed Willem van Leen and Pierre Joseph Petit (1752-1825). From 1808 to 1818 he was an instructor at the Academy in Tournai. Pieter Joseph Sauvage died in 1818.448 Currently we know of two pairs of flower pieces by him.449 Pieter Joseph Sauvage, Flower piece on a cloth (Fig. 9.150) Watercolour and body colour on paper, 213 x 209 mm, signed lower left in black with initials: P J S The Fitzwilliam Museum, Cambridge, inv. no. PD 923-1973.450 1 Cabbage Rose 2 Hyacinth 3 Hyacinth 4 Forget-me-not 5 Rosa Mundi 6 Harebell 7 Great Morning Glory 8 Peony 9 Columbine 10 Auricula 11 Golden Narcissus

Rosa x centifolia Hyacinthus orientalis plenus Hyacinthus orientalis plenus albus Myosotis palustris Rosa gallica cv. Versicolor Campanula rotundifolia Ipomoea purpurea Paeonia officinalis plena Aquilegia vulgaris Primula x pubescens lilacina Narcissus tazetta subsp. aureus

The pendant has a similar composition but in a straw hat lying somewhat askew.451 Both compositions clearly reveal the influence of Gerard van Spaendonck, who executed similar paintings.452

C.G. Sauvage

C.G. Sauvage was Pieter Joseph Sauvage’s son. He lived and worked in Tournai, where he died in 1817, one year before his father. Dated work is known from 1795 to 1817, consisting of flower pieces and insects in watercolour and body colour. A flower piece of 1811 is in the Musée des Beaux-Arts in Tournai. In that year he also exhibited in the Salon in Brussels.

448 For his biography see Populaire in Brussels 1985-86, pp. 266-267. 449 For the oeuvre of Pieter Joseph Sauvage see the Segal Still Life Documentation in the RKD, The Hague. 450 Provenance: collection Henry Rogers Broughton, 2nd Lord Fairhaven, Anglesey Abbey (near Cambridge), bequeathed to the museum in 1973. 451 Watercolour and body colour on paper, 215 x 214 mm, Cambridge, The Fitzwilliam Museum, inv. no. PD 924-1973. 452 Segal in ‘s-Hertogenbosch 1980-81, p. 209, nos 258-10 and 258-11; see also p. 216, no. 320. For the collaboration of Van Spaendonck and Sauvage see p. 200, nos 177-178. Sauvage collaborated with Cornelis van Spaendonck on a gouache in the Musée des Beaux-Arts in Angers.

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Fig. 9.150 Pieter Joseph Sauvage, Flower piece on a cloth, watercolour and body colour on paper, 213 x 209 mm, The Fitzwilliam Museum, Cambridge.

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C.G. Sauvage, Flowers in a brown vase (Fig. 9.151) Canvas, 61 x 52 cm, signed and dated lower centre in black: C.G. Sauvage 1811 Musée des Beaux-Arts, Tournai, inv. no. 1971/546.453 Cabbage Rose Hyacinth Turban Buttercup Honesty Tulips (2x) Peony Grapes

Rosa x centifolia Hyacinthus orientalis Ranunculus asiaticus Lunaria annua Tulipa div. spec. Paeonia officinalis plena Vitis vinifera

Red Admiral Butterfly

Vanessa atalanta

Fig. 9.151 C.G. Sauvage, Flowers in a brown vase, dated 1811, canvas, 61 x 52 cm, Musée des Beaux-Arts, Tournai. 453 Provenance: unknown. Exhibitions & literature: probably at the Salon in Brussels in 1811; Tournai 1909; Dosière in Roberts-Jones & De Wilde 1995, II, p. 877; Hostyn & Rappard 1995, p. 346. Identifications were established from studying the reproduction.

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Artists following in the Footsteps of Gaspar Peeter Verbruggen II Gaspar Peeter Verbruggen II (1664-1730) was discussed in the previous chapter (Fig. 8.142). His more decorative paintings, which display certain similarities to the Italian works of Abraham Brueghel, were an inspiration leading diverse other artists to imitate his style.

Balthasar Hyacinth Verbruggen

Balthasar Hyacinth Verbruggen was born in 1680, the son of Gaspar Peeter Verbruggen I (1635-1681) and, therefore, half-brother to the older Gaspar Peeter Verbruggen II, who taught him to paint starting in 1691. In 1694 Balthasar was enrolled in the Antwerp Guild of Saint Luke as a master painter, in recognition of the merits of his half-brother, who was dean of the guild. In 1695, at the age of fifteen, an illness prompted him to write his last will in which he left everything to his mother. However, his recovery from this illness is witnessed by many documents.454 In 1722 he married Isabella Adriaenssens, who died quite

Fig. 9.152 Balthasar Hyacinth Verbruggen, A flower swag around a terracotta urn with lid, canvas, 118.6 x 100.8 cm, private collection.

454 Van Hemeldonck 2007, no. S 1920.

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quickly, leading him to remarry in 1724. His second wife was Susanna Maria van Afvijn. In 1772, this wife (now a widow) made up her last will. In 1758 Balthasar painted a coat of arms for a funeral. He painted and applied gilding to coaches and other objects, and also painted several religious works, in addition to one known flower still life. Balthasar Hyacinth Verbruggen, A flower swag around a terracotta urn with lid (Fig. 9.152) Canvas, 118.6 x 100.8 cm, signed on the left leg of the vase in dark brown: B.J. Verbruggen Private collection.455 1 African Marigold 2 Opium Poppy 3 Cardinal Flower 4 Pomegranate blossom 5 Blunt Tulip 6 Poppy Anemone 7 Cockscomb 8 Peony 9 Orange blossom and fruit 10 Honeysuckle 11 Summer Snowflake 12 Sunflower 13 Cherry blossom 14 Snowball 15 Hyacinth 16 White Rose 17 Cherry blossom 18 Bachelor’s Buttons 19 Alpine Clematis 20 Poppy Anemone 21 Great Morning Glory 22 Yellow Jasmine 23 Dense-flowered Aster

Tagetes erecta Papaver somniferum plenum rubrum Lobelia cardinalis Punica granatum plenum Tulipa mucronata bicolor Anemone coronaria pseudoplena Celosia cristata Paeonia officinalis plena Citrus aurantium Lonicera periclymenum Leucojum aestivum Helianthus annuus Prunus cerasus semiplena Viburnum opulus cv. Roseum Hyacinthus orientalis albus Rosa x alba subplena Prunus cerasus Ranunculus acris var. multiplex Clematis alpina Anemone coronaria pseudoplena albo-rosea Ipomoea purpurea Jasminum fruticans Aster cf. multiflorus

A flower swag has been draped around a garden urn with three scrolled legs decorated in relief and placed before a landscape with trees. The swag is wound around the vase in a counter-clockwise fashion starting in the upper left around behind and then across the bottom in front.

H. Berck

According to the records of the Antwerp Guild of Saint Luke, in 1665 an artist named Hendrick Bergh was apprenticed to Huibrecht Sporckmans (1619-1690).456 However it is uncertain whether this Hendrick was the artist who executed two flower pieces in the Staatliches Museum Schwerin signed HBerck: fec:, decorative works in the style of Gaspar Peeter Verbruggen II, but in a composition that shows some similarities to the work of his half-brother Balthasar Hyacinth Verbruggen, on account of the similar pedestal with scrollwork holding the bronze vase. These works were probably painted around 1700.457 H. Berck, Flowers in an ornamental bronze vase on a stone block on a pedestal (Fig. 9.153) Canvas, 41.7 x 33 cm, signed in greyish green on the stone block to the left: HBerck: fec: (the ‘H’ is connected with a stroke to the ‘B’, and could also be read as a ‘J’ or as ‘JH’) Staatliches Museum Schwerin, Schwerin, inv. no. G 2331.458 1 Small Morning Glory 2 Austrian Briar 3 African Marigold

Convolvulus tricolor Rosa foetida Tagetes erecta

455 Provenance: Sotheby’s, London, 3 July 1997, no. 241. 456 Rombouts & Van Lerius 1864-76, II, p. 366. 457 Van der Willigen & Meijer 2003, p. 35 under ‘H... or J... Berck or Bern’, also report that a work signed J.M. van Berck was included in a Paris sale in 1872, but without any mention of the subject. 458 Provenance: from Schloss Neustadt, Neustadt-Glewe 1852; from 1945 until 1961 in the Zentrales Kunstgutlager in Celle. Exhibitions & literature: exhibited in Muzeum Okregowe, Torun 1983; Von Berswordt-Wallrabe in Schwerin 2000, pp. 2223, 111-112, nos 12 and 13. The pendant (similarly signed): canvas, 41.7 x 33 cm, Schwerin, Staatliches Museum Schwerin, inv. no. G 2334.

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4 5 6 7 8 9 10 11 12 13 14 15 16

Cabbage Rose French Rose hybrid White Rose Provins Rose Opium Poppy Burning Bush Pale Iris Orange Lily Harebell Opium Poppy Poppy Anemone Austrian Copper (Briar) Opium Poppy

A Small White Butterfly (2x) B Small Tortoiseshell Butterfly

Rosa x centifolia ad R. x provincialis Rosa gallica x alba Rosa x alba plena Rosa x provincialis ad Rosa gallica cv. Batava Papaver somniferum pseudoplenum roseum Dictamnus albus var. ruber Iris pallida Lilium bulbiferum Campanula rotundifolia Papaver somniferum pseudoplenum fimbriatum rubrum Anemone coronaria aurantiaca Rosa foetida cv. Bicolor Papaver somniferum plenum albo-miniatum Pieris rapae Aglais urticae

A relatively small bronze vase has been placed on a pedestal with scrollwork legs, decorated in the front with an oval medallion. The vertical bouquet hangs down heavily on the left and loops across the front of the pedestal.

Fig. 9.153 H. Berck, Flowers in an ornamental bronze vase on a stone block on a pedestal, canvas, 41.7 x 33 cm, Staatliches Museum Schwerin, Schwerin. | 865

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Jacobus Seldenslach

Jacobus Seldenslach was born in Breda in 1652. In 1680 he entered in the Antwerp Guild of Saint Luke as apprentice to Gaspar Peeter Verbruggen I, where he also became a citizen in 1681. In 1682 he married the well-to-do widow Joanna Catharina Pauwels. Jacobus Seldenslach died in Antwerp in 1735 without ever being registered as a master painter. Two vanitas still lifes of 1680 by him are known, as are two cartouches with flowers of 1682, a 1704 flower piece, as well as a fruit piece with flowers. Five cartouches are listed in his last will of 1732.459 Jacobus Seldenslach, Flowers in a decorated bronze vase (Fig. 9.154) Canvas, dimensions unknown, signed and dated lower right in a looped monogram in grey: JS 1704 Private collection.460 Brush Anemone Cockscomb Hyacinths Poppy Anemones Tulips Opium Poppy Hollyhock Carnations Cherry blossom

Anemone x fulgens virescens Celosia cristata Hyacinthus orientalis div. Anemone coronaria pseudoplena Tulipa div. Papaver somniferum plenum miniatum Alcea rosea pseudoplena Dianthus caryophyllus plenus div. Prunus avium plenum

Fig. 9.154 Jacobus Seldenslach, Flowers in a decorated bronze vase, dated 1704, canvas, dimensions unknown, private collection. 459 For his life and work see Hairs 1985, I, p. 420, II, p. 46 and the Segal Still Life Documentation in the RKD, The Hague. 460 Provenance: unknown. Photographs together with correspondence with Christie’s, London, 18 February 1992, see the Segal Still Life Documentation in the RKD, The Hague.

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Jan Baptist Bosschaert

Jan Baptist Bosschaert was born in 1667 in Antwerp, the son of the otherwise unknown painter and baker Jan Baptist Bosschaert I. In 1685 he was apprenticed to Jean Baptist de Crepu (ca. 1640-1689) and in 1692 he was entered as a master painter in the Antwerp Guild of Saint Luke. Pieter Casteels (16841749) was his apprentice in 1701 for a period of four years, with room and board.461 Jan Baptist Bosschaert died in 1746 in Antwerp. He painted flower pieces, although strictly speaking, these usually tended to be flower swags around garden urns with putti, or in combination with the goddess Flora, as well as cartouches. Weyerman refers to him as N. Bosschaert, which has since then given rise to a fictional Nicolaes Bosschaert in both the art trade and the literature, along with misreadings or falsifications of the initial of the first name, as Van den Branden already noted in 1883.462 Dated work is known from 1694 to 1730. Notable in his paintings is the way in which the petaloid stamens of full or double flowers, such as Poppy Anemones and Opium Poppies, are frequently represented, almost as if they are forked. The tips of the petals of Roses are frequently heightened with impasto. The foliage has been given a subordinate place and the blooms are often hanging on thin bent stems. Flower pieces may currently be found in the following public collections: the Walters Art Museum in Baltimore; the Koninklijke Musea voor Schone Kunsten van België in Brussels (unsigned); the Museu Nacional de Arte Antiga in Lisbon (pendants dated 1713); and the Muzeum Kolekcji im. Jana Pawla II in Warsaw. Works attributed to Jan Baptist Bosschaert are in the museums of Darmstadt and Lier.463 Jan Baptist Bosschaert, A flower swag around a lavishly decorated garden vase (Fig. 9.155) Canvas, 118 x 96.5 cm, signed and dated lower left in brown: JBosschaert f / 1709 (‘JB’ ligated, the date small within the lowest loop of the ‘f’) Private collection.464 1 Carnation 2 Persian Tulip 3 Opium Poppy 4 Provins Rose 5 Austrian Briar 6 Cherry blossom 7 Poppy Anemone 8 Lilac 9 Turk’s Cap Lily 10 African Marigold 11 Poppy Anemone 12 Turban Buttercup 13 Carnation 14 Parrot Tulip 15 Small Morning Glory 16 Auricula 17 Poppy Anemone 18 Cardinal Flower 19 Blunt Tulip 20 Snowball 21 False Larkspur 22 Poppy Anemone 23 Opium Poppy 24 Batavian Rose 25 Pomegranate blossom 26 York and Lancaster Rose 27 Forget-me-not

Dianthus caryophyllus plenus bicolor Tulipa clusiana Papaver somniferum plenum fimbriatum rubrum Rosa x provincialis Rosa foetida Prunus cerasus plenus Anemone coronaria pseudoplena Syringa vulgaris alba Lilium chalcedonicum Tagetes erecta Anemone coronaria pseudoplena albo-rosea Ranunculus asiaticus plenus miniatus Dianthus caryophyllus plenus albo-purpurescens Tulipa praecox x T. agenensis Convolvulus tricolor Primula x pubescens aurantiaca Anemone coronaria pseudoplena coerulea Lobelia cardinalis Tulipa mucronata bicolor Viburnum opulus cv. Roseum Consolida ajacis Anemone coronaria pseudoplena albo-rubra Papaver somniferum plenum fimbriatum albo-rubrum Rosa gallica cv. Batava Punica granatum plena Rosa damascena cv. Versicolor Myosotis palustris

461 Van Hemeldonck 2007, no. S 1133, and Van Hemeldonck 2008, no. 1279. 462 Weyerman 1729-69, III, pp. 339-341. Van den Branden 1883, p. 1150. See also Von Wurzbach 1906-11, I, p. 153. 463 For an incomplete overview of the works of Jan Baptist Bosschaert (including those of ‘N. Bosschaert’), see Hairs 1985, I, pp. 413-415, II, pp. 8-9; see also Weber-Woelk 1988. 464 Provenance: Galleria Caretto, Turin 1975; Galerie Fischer, Lucerne 1987; Sotheby’s, London, 6 December 1989, no. 186; Buffetaud-Godeau-Chambre-de Nicolay, Paris, 13 October 2003, no. 23. Literature: Weber-Woelk 1988, p. 17, Fig. 1; Segal in Osaka, Tokyo & Sydney 1990, p. 17, Fig. 4.

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Fig. 9.155 Jan Baptist Bosschaert, A flower swag around a lavishly decorated garden vase, dated 1709, canvas, 118 x 96.5 cm, private collection.

J.(F.?) van der Beken

Two flower pieces in a German private collection that clearly form a pair are signed J. vander. Beken. f. (the ‘J’ with a small crossbar, possibly as an ‘F’; Fig. 9.156a). These are Flemish works, large decorative pieces, that seem to have been inspired by the work of Jan Baptiste Monnoyer. The initials may perhaps refer to the given names Jan Frans. Both paintings show an openwork basket with flowers on a balustrade, with fruit, set before a garden in the background and a curtain to one side behind a column – in one work on the left, in the other on the right. The background of one painting displays a statue of a woman on the left (possibly Flora), the other shows a row of cypress trees on the right and a garden urn on a pedestal, with a parrot leaning towards the flowers. Based on a different reading of the initial as an ‘I’ these paintings have been attributed to the portrait painter Ignatius van der Beken (1689-1774).465 To my knowledge there are no other flower pieces signed with the name Van der Beken.466 465 Van der Willigen & Meijer 2003, p. 34. 466 Cf. the information and images in the Segal Still Life Documentation in the RKD, The Hague.

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J.(F.?) van der Beken, Flowers in a basket with a statue in the background (Fig. 9.156) Canvas, 80 x 120 cm, signed below to the right of the centre: J. vander. Beken. f. (‘J’ with a small crossbar, possibly as an ‘F’) Private collection.467 Cabbage Rose Auriculas Small Morning Glory Tulips Poppy Anemones Opium Poppy Foxtail African Marigold English Iris Peaches Grapes

Rosa x centifolia Primula x pubescens Convolvulus tricolor Tulipa div. spec. Anemone coronaria pseudoplena Papaver somniferum subplenum fimbriatum Amaranthus caudatus Tagetes erecta Iris latifolia Prunus persica Vitis vinifera

Fig. 9.156 J.(F.?) van der Beken, Flowers in a basket with a statue in the background, canvas, 80 x 120 cm, private collection.

Fig. 9.156a Signature of J.(F.?) van der Beken.

467 Identifications were established from studying a black-and-white photograph.

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Jan Baptist Morel

Jan Baptist Morel was born in Antwerp in 1662. About 1674 he was apprenticed to Nicolaes van Verendael (1640-1691). Morel married Maria Lomboy around 1689, who died in 1696. Afterwards he moved to Brussels, where he was admitted to the guild in 1699; while living there he worked for the governor Clemens van Beyeren. About 1712 he was back in Antwerp with his second wife, but eventually returned to Brussels after many years in 1729, where he died in 1732. Jan Baptist Morel painted primarily flower still lifes, a few fruit still lifes, much of it decorative work and often in pairs as pendants. Frequently these are depictions of swags around vases lavishly decorated with bacchants, nymphs or putti. The flowers are sometimes painted in a stylized manner, which renders them vague, or unidentifiable. His Opium Poppies, in particular, are often heavily fringed, and we frequently see small clusters of flowers with drooping tops. Jan Baptist signed Jb morel. fe (‘J’ and ‘b’

Fig. 9.157 Jan Baptist Morel, Flowers in a wide-mouthed vase with grapes, dated 1719, canvas, 75 x 58 cm, private collection. 870 |

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ligated, the ‘b’ with loops). Dated work is known from 1719 to 1725. Weyerman refered to this artist as N. Morel, which led to incorrect listings in later biographies as Nicolaes Morel.468 There are other Flemish flower painters known about with the name Morel: for example, Jean Pierre (1702-1764) of Liège, Jean René of Liège, Jean Baptiste (active 1743-1754), and a certain H. Morell (Fig. 9.158). Probably too many works have been attributed to the Jan Baptist Morel discussed here.469 Jan Baptist Morel, Flowers in a wide-mouthed vase with grapes (Fig. 9.157) Canvas, 75 x 58 cm, signed and dated 1719 (according to the catalogue) Private collection.470 Cabbage Rose Opium Poppy Purple Tulips (some open) Poppy Anemone Primrose Peerless Hyacinths Small Morning Glory Auricula

Rosa x centifolia Papaver somniferum pseudoplenum fimbriatum rubrum Tulipa undulatifolia Anemone coronaria pseudoplena albo-purpurea Narcissus x medioluteus Hyacinthus orientalis plenus Convolvulus tricolor Primula x pubescens badius

Green Grapes

Vitis vinifera

H. Morell

There are a number of flower still lifes known that are clearly signed H. Morell or Hs Morell. One of these is a work dated 1749, hence after the death of Jan Baptist Morel in 1732. The signature, brushstroke and compositions differ considerably from each other. Hs might indicate the name Hans or Johannes. The works include vertical bouquets in a somewhat simple vase – no swags around garden urns, but many in a horizontal format with one or several flower arrangements in a garden with a fountain. Nothing is known about this artist. H. Morell, Flowers below a fountain with a putto ornament (Fig. 9.158) Canvas, 88.9 x 112.4 cm, signed and dated lower right in greenish-grey on a grey stone: Hs Morell / 1749 (with a loop between the signature and date) Private collection.471 1 Cabbage Rose 2 Poppy Anemone 3 Poppy Anemone 4 Poppy Anemone 5 False Larkspur 6 Snowball 7 Auricula 8 Forget-me-not 9 Persian Tulip 10 Purple Tulip 11 Hyacinth 12 Hollyhock 13 African Marigold 14 Foxtail 15 Opium Poppy 16 Small Morning Glory 17 Peaches

Rosa x centifolia Anemone coronaria pseudoplena lutea Anemone coronaria pseudoplena albo-coerulea Anemone coronaria pseudoplena albo-rosea Consolida ajacis semiplena Viburnum opulus cv. Roseum Primula x pubescens rubella Myosotis palustris Tulipa clusiana duplex Tulipa undulatifolia Hyacinthus orientalis duplex Alcea rosea pseudoplena albo-miniata Tagetes erecta Amaranthus caudatus Papaver somniferum subplenum miniatum Convolvulus tricolor Prunus persica

a Scarlet Macaw

Ara macao

468 469 470 471

Weyerman 1729-69, III, pp. 237-239. For his life and work see Hairs 1985, I, pp. 420-421. Provenance: Galerie Lehnert, Cologne Antique Fair 1981. Identifications were made from the photograph. Provenance: Christie’s, London, 12 April 1984, no. 112; Christie’s, London, 17 July 1986, no. 143; Christie’s, London, 13 March 1987, no. 51.

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Fig. 9.158 H. Morell, Flowers below a fountain with a putto ornament, dated 1749, canvas, 88.9 x 112.4 cm, private collection.

A similar, perhaps related composition shows a fountain in the form of a putto seated on a dolphin blowing a shell in the midst of a pool surrounded by three bouquets.472 Helbig informs us that the six members of the Morel family of painters from Liège produced decorative pictures and flower pieces.473 Their works are still sometimes confused with each other.

Jean René Morel

About a flower painter named Jean René Morel, another painter from Liège, who died in 1739, we know practically nothing.474

Jean Baptiste Morel II

Jean Baptiste Morel II, who died about 1754, painted flowers and made designs for tapestries. A work of 1743 in the Château de Modave in the vicinity of Liège is possibly from his hand.475 472 Canvas, 102 x 130 cm, Sotheby’s, London, 5 April 1995, no. 100, as Jan Baptist Morel, attributed by me to H. Morell. Other signed works: 71 x 91 cm pendants at Spinks & Sons Gallery, London 1931; 83.8 x 126.9 cm, Christie’s, London, 31 October 1975, no. 38; 90 x 112 cm, Christie’s, London, 17 April 1936, no. 68, and Bukowski, Stockholm, 30 November 1994, no. 354. Cf. also work by Jan Baptist Bosschaert, e.g. dated works from 1696 and 1702, plus other works attributed to him. Further research is a desideratum; see the Segal Still Life Documentation in the RKD, The Hague. 473 Helbig 1903, pp. 423-424. 474 Helbig 1903, p. 423. 475 Helbig 1903, pp. 423-424.

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Jean Pierre Morel

Jean Pierre Morel was born in Liège in 1702 and died there in 1764. He was married to Catherine Dumoulin.476 In 1954 a flower piece with an Opium Poppy at the top signed J.P. Morel fec. was auctioned in Cologne. Jean Pierre Morel, Flowers in a pear-shaped glass vase (Fig. 9.159) Canvas, 61 x 51 cm, signed lower right: J.P. Morel fec. Whereabouts unknown.477 Poppy Anemone Hyacinth Corydalis Opium Poppy

Anemone coronaria Hyacinthus orientalis Corydalis Papaver somniferum

Fig. 9.159 Jean Pierre Morel, Flowers in a pear-shaped glass vase, canvas, 61 x 51 cm, whereabouts unknown. 476 Helbig 1903, p. 423. 477 Provenance: Kunsthaus am Museum, Cologne, 29 June 1984, no. 966. Identifications were made from a poor reproduction.

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Jacob Melchior van Herck

Jacob Melchior van Herck was born around 1677 in Antwerp. He was the apprentice and half-brother of Gaspar Peeter Verbruggen II, and he also trained with Cornelis Moniaert. In 1691 he was entered in the Antwerp Guild of Saint Luke as an apprentice, in 1694 as a master, and in 1720 and 1735 he was dean of the guild. Jacob Melchior van Herck copied the work of Gaspar Peeter Verbruggen as well as painting his own flower and fruit still lifes, also with putti. The last record relating to his life is dated 1735. Sometimes he signed J.M. van Erck or j.m. van erck. Jacob Melchior van Herck, Flowers in a ribbed earthenware vase on a balustrade with fruit (Fig. 9.160) Canvas, 79.9 x 103.9 cm, signed lower left in dark grey: j.m. van erck Private collection.478 Spanish Jasmine Cabbage Rose Yellow Tasselflower Poppy Anemone Yellow Jasmine Blunt Tulip Yellow Fritillary

Fig. 9.160 Jacob Melchior van Herck, Flowers in a ribbed earthenware vase on a balustrade with fruit, canvas, 79.9 x 103.9 cm, private collection.

Jasminum grandiflorum Rosa x centifolia Emilia sagittata Anemone coronaria pseudoplena Jasminum fruticans Tulipa mucronata f. obtusa bicolor Fritillaria latifolia

478 Provenance: Christie’s, Amsterdam, 14 May 2002, no. 57.

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Austrian Briar Forget-me-not Peach-leaved Bell-flower Maltese Cross Cherry blossom Crown Imperial Sweet-scented Salomon’s Seal Rose of Sharon Poppy Anemone French Marigold Foxtail African Marigold Purple Tulip

Rosa foetida Myosotis palustris Campanula persicifolia Lychnis chalcedonica Prunus avium subplenus Fritillaria meleagris Polygonatum odoratum Hibiscus syriacus Anemone coronaria pseudoplena Tagetes patula plena Amaranthus caudatus Tagetes erecta Tulipa undulatifolia bicolor

In the foreground Auricula Peony Figs Green Grapes Pears

Primula x pubescens rubra Paeonia officinalis plena Ficus Vitis vinifera Pyrus

Coclers family

The six members of the Coclers family of decorative and flower painters from Liège are first extensively discussed in Helbig, with names given in short form.479 Three of them are explained below: Johannes Baptista Petrus (1696-1772), Jean George Christian (1715-1751) and Henri Joseph Léonard Eugène (17511827).

Johannes Baptista Petrus Coclers

In Maastricht a son was born to Philippe Coclers (ca. 1663-1721) first marriage in 1696 named Johannes Baptista Petrus, the first of several decorative painters in this family, who also painted flower still lifes. The family moved to Liège in 1702. Johannes originally learned to paint from his father. In 1713 he travelled to Rome, where he settled from 1726 to 1729, and became a member of the Accademia di San Luca. In this southern European city, he married and also recevied further training; here too he collaborated with the painter Giovanni Niccolò Servandoni (1695-1766). During his return journey he stayed for a significant time in Marseille, where in 1731 his wife and several children succumbed to the plague. Back in Liège he remarried in 1637. Johannes Baptista Petrus was court painter by appointment to a succession of prince-bishops, while also carrying out a commission for the city hall of Maastricht in the same period. One of his apprentices was Léonard Defrance (1735-1805). Johannes Baptista Petrus Coclers died in Liège in 1772. Johannes signed J.B. Coclers. He painted portraits, mythological and religious subjects, and flower pieces. A flower piece dated 1758 is currently in the collection of La Boverie in Liège. Johannes Baptista Petrus Coclers, Flower swag around a garden urn on a pedestal (Fig. 9.161) Canvas (coarse), 135 x 87.5 cm, signed and dated lower centre: J.B. Coclers / A° 1758. La Boverie, Liège, inv. no. Mx 2478.480 Madonna Lily Opium Poppy (2 varieties) African Marigold Auriculas Tulips Foxtail Poppy Anemone Small Morning Glory Austrian Briar Provins Rose Snowball

Lilium candidum Papaver somniferum subplenum div. Tagetes ereca Primula x pubescens Tulipa div. Amaranthus caudatus Anemone coronaria pseudoplena div. Convolvulus tricolor Rosa foetida Rosa x provincialis Viburnum opulus cv. Roseum

479 Helbig 1903, pp. 385-395. For this family see also Timmers 1940. 480 Provenance: unknown. Literature: Philippe 1955, pp. 35-37, no. 43, Fig. VI. The description is incomplete, because the research had to be carried out under unfavourable conditions.

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Fig. 9.161 Johannes Baptista Petrus Coclers, Flower swag around a garden urn on a pedestal, dated 1758, canvas, 135 x 87.5 cm, La Boverie, Liège.

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Stock (3 varieties) Daffodil Honeysuckle White Rose Hyacinth

Matthiola incana plena div. Narcissus pseudonarcissus Lonicera periclymenum Rosa x alba semiplena Hyacinthus orientalis

Red Admiral Butterfly

Vanessa atalanta

The pedestal has a waterspout in the form of a man’s head from whose mouth water pours into a small shell-shaped basin, which is similarly carved as an integral decorative element of the stand. Two dead partridges are lying next to the vase on top of this elaborate pedestal. The painting is a typical chimneypiece.

Jean George Christian Coclers

Jean George Christian Coclers was born in 1715. He was a child of Christian Coclers from his second marriage, Christian being a son of patriarch Philippe Coclers’ second marriage. Nothing is known about the work of father Christian who died in Liège in 1737, and a work of 1735 signed Christian / Coclers is usually attributed to the son, which is probably correct considering that he signed his work C. Coclers. In 1743 he was appointed official painter to the town of Liège, participated in city council, and was a customs official. Jean George Christian Coclers died in Liège in 1751. He was a painter of ornamental works, including flowers, fruit and birds. Two decorative pieces of 1750 are currently in the Liège courthouse. The flower piece of 1735, mentioned in passing above, is an arched chimneypiece with two dead pheasants.481 Several other works are exectued in the same style: for example, flowers in a basket of 1740; similar themed paintings from 1747 and 1748, both with birds; and an undated piece with flowers in a basket signed C. Coclers. An unsigned work in the Noordbrabants Museum in ‘s-Hertogenbosch is also painted in a similar manner. A pair of paintings of 1743, also with fruit, differs from the preceding works on account of its clearer and more definite use of line. Jean George Christian Coclers, Flowers in a basket (Fig. 9.162) Canvas, 96.2 x 72.8 cm, signed and dated lower left in brown with beige: C Coclers f / 1743 Private collection.482 1 Foxtail Amaranthus caudatus 2 Garden Nasturtium Tropaeolum majus 3 Auricula Primula x pubescens 4 Cabbage Rose Rosa x centifolia 5 Poppy Anemone Anemone coronaria pseudoplena albo-rosea 6 Poppy Anemone Anemone coronaria pseudoplena rubra 7 Poppy Anemone Anemone coronaria pseudoplena albo-violacea 8 Rose of Sharon Hibiscus syriacus 9 Small Morning Glory Convolvulus tricolor 10 Auricula Primula x pubescens grandiflora rosea 11 Love-in-a-mist Nigella damascena plena atrata 12 Poppy Anemone Anemone coronaria semiplena aurantiaca 13 Opium Poppy Papaver somniferum subplenum albo-miniatum 14 Hollyhock Alcea rosea plena rubra 15 False Larkspur Consolida ajacis subplena 16 Poppy Anemone Anemone coronaria pseudoplena albo-coerulea 17 Gold Rain Laburnum anagyroides 18 Poppy Anemone Anemone coronaria pseudoplena lutea 19 Purple Tulip hybrid Tulipa undulatifolia x T. armena 20 Hollyhock Alcea rosea plena alba 21 Pomegranate blossom Punica granatum plenum 22 Hyacinth Hyacinthus orientalis 23 Orange blossom Citrus aurantium In the foreground: a twig of Foxtail, Figs, a burst Melon, Peaches (one cut open), Blue and pale-Violet Grapes and Pears. 481 Canvas, 92.5 x 45.5 cm, dated 1735, Sotheby’s, London, 3 July 1996, no. 234. 482 Provenance (with pendant): collection of Kurt Esperdsson, Stockholm 1951; Bukowski, Stockholm, 24 November 1993, no. 258; Christie’s, London, 8 July 1994, no. 122; Galerie La Mésangerie, Liège 1999.

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Fig. 9.162 Jean George Christian Coclers, Flowers in a basket, dated 1743, canvas, 96.2 x 72.8 cm, private collection.

The picture has been painted from a worm’s-eye view. In the foreground, to the left, is a fragment of a fluted column, whilst to the right, we see a young tree. The pendant, with signature and date on the left, mirrors the layout of its companion piece, but with significant modifications. The work shows a basket with flowers and in the foreground fruit with a burst fig and a melon, plus a fragment of a ruin carved with a flower relief.

Henri Joseph Léonard Eugène Coclers

Henri Joseph Léonard Eugène was the son of Johannes Baptista Petrus Coclers. He was born in Liège in 1751 and died there in 1827. Henri painted flowers, fruit and game in the style of his uncle Jean George Christian Coclers, and his work could often pass as that of his uncle, although it is not nearly as strong. He signed Joseph Coclers. I know of no flower piece that can with certainty be said to be by him. However, 878 |

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I accept the possibility that a painting offered for sale in 1999 showing a small basket of flowers and bearing the signature C. Coclers, which has been tampered with, may well be by this same artist.483

Jean Dieudonné Deneux

From 1749 Jean Dieudonné Deneux was apprenticed to Jean George Christian Coclers in Liège, where he died in 1786. He was a decorative painter of flowers and animals in particular. I once saw a signed and unclearly dated flower piece from his hand that was with an art dealer in Ghent, but I did not have the opportunity to make a description of it and likewise have no photograph.

Carolus Bigée

Carolus Bigée was a flower painter from Mechelen about whom we know little more than that he married Catherine Le Febure and remarried in 1739, taking as his second wife Jeanne-Marie Cleynaerts. In 1758 and 1764 flower pieces by him were auctioned in Brussels.484 He is documented in an account record from the town of Mechelen for painting and retouching six paintings in a suite at the city hall, and the last record relating to him is from 1779. In the twentieth century a few of his flower pieces turned up at auction, and one of his signed flower pieces is in the Muzeum Narodowe in Warsaw. Bigée was a decorative painter of flower pieces in large vases and signed occasionally with Carolus as his first name, although he is reported in the literature as Charles Bigée. In his work we often see leaves spread out in a fan-like shape. His brushstroke is very loose. Neeffs (1876) writes: ‘Ça couleur est pauvre et sèche’.485 Carolus Bigée, A bronze vase with flowers and a Kingfisher on a balustrade in front of a garden (Fig. 9.163) Canvas, 78 x 46 cm, arched, signed lower right in dark brown: C. Bigée F. Muzeum Narodowe, Warsaw, inv. no. M.Ob.848.486 1 Dog Rose 2 Austrian Briar 3 Opium Poppy 4 Auricula 5 Great Morning Glory 6 Cabbage Rose 7 Poppy Anemone 8 Poppy Anemone 9 unidentified (yellow raceme) 10 Snowball 11 Auricula 12 Jonquil 13 Pomegranate blossom 14 Small Morning Glory 15 Stock 16 Purple Tulip hybrid 17 Carnation 18 Carnation 19 African Marigold 20 Opium Poppy 21 Fire Tulip hybrid 22 Tazetta Narcissus 23 Pot Marigold 24 Liverwort 25 Chinese Rose

Rosa canina Rosa foetida Papaver somniferum pseudoplenum rubrum Primula x pubescens ochreus Ipomoea purpurea Rosa x centifolia Anemone coronaria pseudoplena roseo-alba Anemone coronaria pseudoplena lilacino-alba

a Kingfisher

Alcedo atthis

483 484 485 486

Viburnum opulus cv. Roseum Primula x pubescens Narcissus jonquilla Punica granatum plenum Convolvulus tricolor Mattthiola incana plena ochrea Tulipa undulatifolia x T. spec. Dianthus caryophyllus plenus albo-purpurescens Dianthus caryophyllus bicolor Tagetes erecta Papaver somniferum pseudoplenum albo-rubrum Tulipa praecox x T. undulatifolia Narcissus tazetta Calendula officinalis Hepatica nobilis Hibiscus roseo-chinensis

Canvas, 23.1 x 28.4 cm, Sotheby’s, London, 7 July 1999, no. 409. Martin Robyns, Brussels, 22 May 1758, nos 116, 221 and 222; Nic. Grimberchs, Brussels, 29 February 1764, no. 55. Neeffs 1876, I, p. 392. Provenance: unknown. Literature: Neeffs 1876, I, p. 392; Hairs 1985, I, p. 421, II, p. 5; Chudzikowski & Bialostocki 1967, I, p. 42, no. 88.

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Fig. 9.163 Carolus Bigée, A bronze vase with flowers and a Kingfisher on a balustrade in front of a garden, canvas, 78 x 46 cm, Muzeum Narodowe, Warsaw.

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Arnold Smitsen

Arnold Smitsen was born in Liège in 1687 and died there in 1744.487 He was a painter of decorative works, who primarily painted hunting still lifes and, in addition, also executed religious subjects and a single trompe l’oeil bird still life in 1714. The Prince-Bishop’s Palace (Palais des Princes-Evêques) in Liège has a Smitsen painting showing a flower swag around a pedestal with three dogs in a garden setting.488

P. Blom

A flower piece signed and dated P[…] Blom f 1705 turned up in 1966 at the gallery of an art dealer in Antwerp. The work shows a carved putto on a block of stone in the centre foreground with a toppled urn to the left. In the background, to the left, is a vague mountainous landscape in the distance and, in the above right, there is a fountain with a sculpted head of a man. P. Blom, Flower bouquet set in a landscape with sculpture (Fig. 9.164) Canvas, 137 x 107 cm, signed on the pedestal: P[…] Blom f 1705 Whereabouts unknown.489 Opium Poppy Sweet Sultan Poppy Anemone Cabbage Rose Tazetta Narcissus African Marigold Great Morning Glory

Papaver somniferum Centaurea lilacina Anemone coronaria Rosa x centifolia Narcissus tazetta Tagetes erecta Ipomoea purpurea

Fig. 9.164 P. Blom, Flower bouquet set in a landscape with sculpture, dated 1705, canvas, 137 x 107 cm, whereabouts unknown. 487 Helbig 1903, p. 420. 488 Merch in Roberts-Jones & De Wilde 1995, II, pp. 909-910. 489 Provenance: Jan van Herck Gallery, Antwerp 1966.

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Tulips Maltese Cross Carnation Hollyhock Spanish Jasmine Rose of Sharon Sunflower Hyacinth

Tulipa div. spec. Lychnis chalcedonica plena Dianthus caryophyllus Alcea rosea Jasminum grandiflorum Hibiscus syriacus Helianthus annuus Hyacinthus orientalis

The composition of the bouquet and the background is somewhat similar to the work of Carel de Vogelaer (1653-1695).

Pieter Casteels III

Pieter Casteels III was born in 1684 in Antwerp, the son of Pieter Casteels II (ca. 1650-before 1701) and Elisabeth Bosschaert. In 1701 his uncle and guardian Andreas Bosschaert apprenticed him for a period of four years to Jan Baptist Bosschaert, with room and board.490 In 1708 Pieter made a trip with his brotherin-law Peter Tillemans (ca. 1684-after 1694) to England, where he remained until 1711. Back in Antwerp he was entered in the Guild of Saint Luke as a master painter in 1712. About 1717 or later (some sources say 1730) he returned to England for good, where he worked as a painter of decorative pictures. He died in Richmond (Greater London) in 1749. Casteels painted many flower pieces, frequently with a garden or landscape in the background, sometimes also with fruit, birds, or a monkey, and he also made game still lifes and portraits. Dated work is known from 1702 to 1736 and, according to some sources, also for the year 1748. In 1726 he made a series of twelve birds; in 1730 a series of twelve flower pieces for the twelve months of the year; and in 1732 a series of twelve fruit pieces. The original paintings of the series of flower pieces still exist today and are currently in a private collection and last appeared on the art market at Christie’s in New York during 2005.491 Each series was issued as a set of hand-coloured copper engravings (Fig. 10.9). The prints were made at the behest of the British horticulturalist and author Robert Furber, and at the bottom of each leaf is a list with the names of the plants. Pieter Casteels III’s signature is usually in a graceful cursive PCaSTeels F (‘P’ and ‘C’ ligated, a long ‘S’ and ‘T’ linked by a loop, the date very small within a loop of the ‘F’ below), or some variation. This signature differs from that of Pieter Frans Casteels (ca. 1675-after 1697), whose work is often assumed to be that of Pieter III. We can differentiate roughly three periods of development in Pieter Casteels III’s oeuvre. His early Antwerp period seems to have been influenced by Jean Baptiste Monnoyer and is characterized by wide baskets or vases, pedestals or other garden ornaments – usually more finely decorated than the work of his contemporaries Gaspar Peeter Verbruggen II and Pieter Eyckens – and an exaggerated display of flowers hanging down from the bouquet, as well as extending out to the sides, or corners of the frame. Later his brushstroke is freer, like that of Verbruggen, and in due course it became increasingly draughtsmanlike, with more sharply delineated flowers and French vases, and with the addition of further executed details in the background. Butterflies and other insects are mostly absent. Many paintings have a horizontal format, partially determined by the supplementary work and the landscape backgrounds. A pair of flower pieces with fruit and birds is currently in the Bowes Museum in Barnard Castle and another pair is in the Grand Peterhof Palace, near Saint Petersburg. A great many works are in private collections.492 Pieter Casteels III, Flowers in a broad terracotta pot on a decorated stone block (Fig. 9.165) Canvas, 78.7 x 82.5 cm, signed and dated lower left on a stone in black: PCasteels F. / 1709 Private collection.493 Small Morning Glory Garden Nasturtium Cabbage Rose and other Roses

Convolvulus tricolor Tropaeolum majus plenum Rosa x centifolia

490 Van Hemeldonck 2007, no. S 1211. 491 Canvas, 76.2 x 63.5 cm, Christie’s, New York, 25 May 2005, no. 11. 492 For the life and work of Pieter Casteels III see Hairs 1985, I, pp. 417, 420, II, p. 19 and the Segal Still Life Documentation in the RKD, The Hague. 493 Provenance: Christie’s, New York, 26 January 2005, no. 14. Literature: Segal in Delft & Houston 2006-07, pp. 33, 35, Fig. 3.7. I have not been able to study the original painting.

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Auriculas Opium Poppy Candle Larkspur African Marigold Poppy Anemone Cherry blossom

Primula x pubescens violacea, rufa, ochra Papaver somniferum Delphinium elatum duplex pallidum Tagetes erecta Anemone coronaria pseudoplena div. Prunus cerasus plena

In the foreground Orange blossom

Citrus aurantium

A wide-mouthed terracotta flowerpot, decorated in relief with shells and the head of a child, has been set on a fragment of a frieze carved in relief with Roman soldiers and a commander. The frieze is resting on a stone plateau with a few other stones lying nearby. On the right is a view through an archway to a background with trees.

Fig. 9.165 Pieter Casteels III, Flowers in a broad terracotta pot on a decorated stone block, dated 1709, canvas, 78.7 x 82.5 cm, private collection.

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Pieter Casteels III, Flowers in a French vase (Fig. 9.166) Canvas, 73.7 x 61 cm, signed and dated lower right in black: P. Casteels F~ / 1733 Private collection.494 1 2 3 4 5 6 7 8

Hyacinth Auricula French Marigold Hyacinth Poppy Anemone Poppy Anemone Lilac Hyacinth

Hyacinthus orientalis plenus (coeruleus) Primula x pubescens pupurea Tagetes patula Hyacinthus orientalis plenus pallidus Anemone coronaria pseudoplena albo-rosea Anemone coronaria pseudoplena albo-coerulea Syringa vulgaris Hyacinthus orientalis plenus bicolor

Fig. 9.166 Pieter Casteels III, Flowers in a French vase, dated 1733, canvas, 73.7 x 61 cm, private collection. 494 Provenance: Phillips, London, 8 December 1987, no. 45; Newhouse Galleries, New York 1988; Sotheby’s, New York, 2 June 1989, no. 80; Sotheby’s, New York, 20 May 1993, no. 129; Sotheby’s, New York, 19 May 1994, no. 192; collection of Peter A. Paanakker; Sotheby’s, New York, 25 May 2000, no. 51.

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9 Turban Buttercup 10 Hyacinth 11 Blunt Tulip 12 Globeflower 13 London Pride 14 Crown Imperial 15 Purple Tulip 16 Fire Tulip 17 Hyacinth 18 Stock 19 Dyer’s Greenweed 20 Peony 21 Tapered Tulip hybrid 22 Golden Narcissus 23 Poppy Anemone 24 Poppy Anemone 25 Poppy Anemone 26 Poet’s Narcissus 27 Yellow Restharrow 28 Auricula

Ranunculus asiaticus plenus aurantiacus Hyacinthus orientalis semiplenus albus Tulipa mucronata Trollius europaeus Saxifraga umbrosa Fritillaria imperialis Tulipa undulatifolia Tulipa praecox Hyacinthus orientalis subplenus albus Matthiola incana plena purpureo-viridis Genista tinctoria Paeonia officinalis plena Tulipa armena x T. undulatifolia Narcissus tazetta subsp. aureus Anemone coronaria subplena miniata Anemone coronaria subplena rosea Anemone coronaria plena rubra Narcissus poeticus plenus Ononis natrix Primula x pubescens magenta

On the ledge 29 Golden Crocus 30 Hyacinth 31 English Iris

Crocus flavus Hyacinthus orientalis plenus albo-rosescens Iris latifolia

A broad French glass vase with a gilt mount on three claw feet has been set on a stone balustrade seen against a neutral dark background. What is especially remarkable here is the number of full or double flowers, the Hyacinths in particular. The painting was executed during what is known as the Hyacinth Mania, when such flowers were all the rage and worth their weight in gold. Anemones and Auriculas were also very popular at the same time. Casteels painted similar-looking vases in other works of the same period.

Pieter Frans Casteels

Pieter Frans Casteels was born about 1675 in Antwerp. In 1690 he was entered in the Guild of Saint Luke as apprentice to Gaspar Peeter Verbruggen II, and in 1697 he was registered as a master. Nothing more is known regarding his life. His output was actually considerably high and suggests that he was indeed active for a number of years after this date. His work differs to a high degree from that Pieter Casteels III, and is stylistically more closely related to his master Verbruggen, but broader and with fewer details. His signature is also plainer, the ‘P’ and ‘F’ linked with a simple loop. Two cartouches with flowers now in the Saint-Salvator Cathedral in Bruges are dated 1694. He painted primarily flower pieces, frequently set on a massive pedestal, and also a number of flower swags around a vase. A pair of flower pieces from his hand is currently in the National Museum in Budapest and another flower piece is in the St. Annen-Museum in Lübeck – all of them, until recently, as by Pieter Casteels III, as is also the case in the literature.495 Pieter Frans Casteels, Swag of flowers around a garden vase and fruit in front (Fig. 9.167) Canvas, 102.2 x 130.7 cm, signed in the right foreground on a stone block: P f Casteels fe Private collection.496 1 African Marigold 2 Mallow 3 Great Morning Glory 4 Opium Poppy 5 Jasmine 6 Cabbage Rose 7 Poppy Anemone

Tagetes erecta Malva spec. Ipomoea purpurea Papaver somnifeum pseudoplenum fimbriatum miniatum Jasminum officinale Rosa x centifolia Anemone coronaria pseudoplena albo-miniata

495 Van der Willigen & Meijer 2003, p. 61. For the pair in Budapest, see Ember 2011, pp. 48-51, nos 11 and 12. For his work see also Hairs 1985, I, p. 417, II, p. 19 and the Segal Still Life Documentation in the RKD, The Hague. 496 Provenance: Christie’s, London, 5 April 1979, no. 68, and 15 February 1980, no. 129, both with pendant.

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Fig. 9.167 Pieter Frans Casteels, Swag of flowers around a garden vase and fruit in front, canvas, 102.2 x 130.7 cm, private collection.

8 Austrian Briar 9 White Rose 10 Maltese Cross 11 Stock 12 Opium Poppy 13 Rose of Sharon 14 Poppy Anemone 15 Snowball 16 Auricula 17 Blunt Tulip 18 Opium Poppy 19 Hollyhock

Rosa foetida Rosa x alba plena Lychnis chalcedonica Matthiola incana plena Papaver somniferum plenum album Hibiscus syriacus Anemone coronaria pseudoplena lilacina Viburnum opulus cv. Roseum Primula x pubescens lutea Tulipa mucronata Papaver somniferum (lilacinum) Alcea rosea rubra

In the foreground 20 Scotch Thistle 21 Pomegranates 22 Melon 23 Figs

Onopordon acanthias Punica granatum Cucumis melo Ficus

In the background, to the left, is a wooden cross, whilst on the extreme right, we see a tree and a fluted column.

Simon Hardimé

Simon Hardimé was born in Antwerp in 1672. In 1685 he was apprenticed to Jean Baptist de Crepu and in 1688 was registered as master in the Guild of Saint Luke. He and his younger brother Pieter (1677-1748) moved to The Hague in 1697, where Pieter and Jacob Campo Weyerman served apprenticeships with him. Hardimé made decorative paintings for the city hall in The Hague, and a chimneypiece for Queen Mary’s cabinet in Breda Castle. Around 1700 he left for London, where he remained until his death in 1737. Simon Hardimé painted primarily flower pieces, including those in his decorative works. Dated paintings are known from 1691 to 1725. Simon’s later work clearly exhibits the influence of Jean Baptiste Monnoyer, which has meant that a number of these works have been attributed to Monnoyer. Several other works that are attributed to Simon are probably the work of his brother Pieter. Flower pieces are currently in the collections of the Neue Palais in Potsdam, dated 1694; in the Musée des Beaux-Arts in Bordeaux (two); and in the Fitzwilliam Museum in Cambridge.497

497 For the life and work of Simon Hardimé see Hairs 1985, I, p. 416, II, p. 26 and the Segal Still Life Documentation in the RKD, The Hague.

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Simon Hardimé, Flower piece in front of a hilly landscape (Fig. 9.168) Canvas, 48 x 40 cm, signed and dated lower right in brown: S. Hardime / 1725 Private collection.498 1 Great Morning Glory 2 Great Morning Glory 3 Persian Tulip 4 Poppy Anemone 5 Stock 6 Cabbage Rose 7 Frankfurt Rose 8 White Rose 9 Opium Poppy

Ipomoea purpurea Ipomoea purpurea alba Tulipa clusiana Anemone coronaria pseudoplena albo-miniata Matthiola incana plena Rosa x centifolia Rosa turbinata Rosa x alba Papaver somniferum plenum (lilacinum)

Fig. 9.168 Simon Hardimé, Flower piece in front of a hilly landscape, dated 1725, canvas, 48 x 40 cm, private collection. 498 Provenance: Am Neumarkt, Zurich, 30 April 1970, no. 46; Fischer, Lucerne, 7 November 1985, no. 1576 and 3 June 1986, no. 882.

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10 Small Morning Glory 11 Parrot Tulip 12 Opium Poppy 13 African Marigold 14 Hollyhock 15 Opium Poppy

Convolvulus tricolor Tulipa praecox x T. agenensis Papaver somniferum album Tagetes erecta Alcea rosea Papaver somniferum plenum miniatum

On the pedestal 16 Pot Marigold 17 Poppy Anemone 18 Cabbage Rose 19 African Marigold

Calendula officinalis Anemone coronaria Rosa x centifolia Tagetes erecta

Pieter Hardimé

Pieter Hardimé was born in 1677 in Antwerp. In 1697 he moved with his brother and master Simon to The Hague, where in 1700 he was entered in the Confrerie Pictura. Pieter was primarily a decorative painter of flower pieces, and he collaborated a great deal with Mattheus Terwesten. Together they decorated a number of houses in and around The Hague. Pieter painted a work with exotic plants, including a Cereus cactus for Johann Ernst von Schmettau, who gave it as a gift to King Frederick of Prussia.499 Pieter Hardimé died in 1748 in The Hague. Characteristics of Pieter’s work are the curled edges of his wavy foliage with pronounced veining in relief, and his frequent choice of striped flowers. His use of colour deviates from that of his brother Simon, inasmuch as he employed more blue tones, and his bouquets show a less strict arrangement. Dated work is known from 1691 to 1728. The Rijksmuseum in Amsterdam has a series of four overdoor paintings in its collection, at least two of them executed in collaboration with Mattheus Terwesten, who painted the busts of Flora and Diana depicted in them.500 Pieter Hardimé, Flower piece with Crown Imperial (Fig. 9.169) Canvas, 64 x 51 cm, signed lower right on the niche wall in grey: P Hardime Private collection.501 1 Garden Nasturtium 2 Carnic Cinquefoil 3 Cabbage Rose 4 Forget-me-not 5 Auricula 6 Stemless Gentian 7 Poppy Anemone 8 Southern Daisy 9 Tazetta Narcissus 10 Poppy Anemone 11 Gentian Diana 12 Red Tulip 13 Crown Imperial 14 Bachelor’s Buttons 15 Martagon Lily 16 German Flag Iris 17 Auricula 18 French Marigold 19 Alpine Squill 20 Poppy Anemone

Tropaeolum majus Potentilla carniolica Rosa x centifolia Myosotis palustris Primula x pubescens lateritia Gentiana acaulis Anemone coronaria pseudoplena Bellis sylvestris lilacinus Narcissus tazetta Anemone coronaria pseudoplena albo-lilacina Campanula pyramidalis Tulipa agenensis bicolor Fritillaria imperialis Ranunculus acris var. multiplex Lilium martagon Iris germanica Primula x pubescens purpureus Tagetes patula pallida Scilla bifolia Anemone coronaria pseudoplena albo-rosea

The pendant shows a similar composition in an identical vase, with a Madonna Lily, Foxtail and Orange blossom, and a Small Morning Glory trailing down.502 499 According to Johan van Gool in his Nieuwe Schouburg, see De Vries 1990, p. 185. 500 Amsterdam, Rijksmuseum, inv. nos SK-A-2732-35. For the life and work of Pieter Hardimé see Hairs 1985, I, pp. 416-417, II, p. 26 and the Segal Still Life Documentation in the RKD, The Hague. 501 Provenance: Galerie Lingenauber, Düsseldorf 1989; Christie’s, New York, 31 May 1989, no. 61, with pendant. 502 Canvas, 63.5 x 50.8 cm, Kohn, Marc-Arthur, Paris, 12 June 1996, no. 25, without pendant. A version in nearly the same dimensions (canvas, 64.5 x 51 cm) in an almost identical vase, but decorated with a mascaron, shows a replication of a large portion, including the Madonna Lily, Foxtail and Orange blossom; Sotheby’s, New York, 14 October 1998, no. 26.

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Fig. 9.169 Pieter Hardimé, Flower piece with Crown Imperial, canvas, 64 x 51 cm, private collection. | 889

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Other Painters of the Southern Netherlands J. Balen

At an auction in London in 1938 a painting of a little basket of flowers was offered for sale, which was said to be signed and dated J BALEN fecit 1739, although no dimensions were given. Judging by the reproduction, it is a work of moderate quality. Nothing further is known about the artist. J. Balen, Flowers in a basket (Fig. 9.170) Canvas, dimensions unknown, signed and dated lower right in grey (?): J BALEN fecit 1739 Whereabouts unknown.503 Peony Epimedium Love-in-a-mist Madonna Lily Snapdragon Woody Nightshade (flowers and fruit) False Larkspur Flax (fruit) Sunflower Harebell English Iris

Paeonia officinalis Epimedium alpinum Nigella damascena Lilium candidum Antirrhinum majus Solanum dulcamara Consolida ajacis Linum usitatissimum Helianthus annuus Campanula rotundifolia Iris latifolia

Peacock Butterfly

Inachis io

Fig. 9.170 J. Balen, Flowers in a basket, dated 1739, canvas, dimensions and whereabouts unknown.

J. Van Bernard

The RKD has a small out-of-focus photograph with two details from a flower piece, which includes a wide terracotta vase decorated with playing putti and is signed J. Van Bernard fecit. 503 Provenance: Robinson, London, 10 March 1938, no. 81.

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J. Van Bernard, A luxurious bouquet in a wide terracotta vase decorated with playing putti (Fig. 9.171) Canvas, ca. 60 x 59 cm, signed: J. Van Bernard fecit (the final ‘d’ making an arc to the left ending over the last letters) Private collection. White Rose Carnation Auriculas Summer Snowflake French Rose Tulips Hyacinth Hollyhock Tazetta Narcissus With a Frog and some insects

Rosa x alba plena Dianthus caryophyllus bicolor Primula x pubescens Leucojum aestivum Rosa gallica plena Tulipa div. spec. Hyacinthus orientalis Alcea rosea Narcissus tazetta

Jan Baptist Bouttats

Very little is known about the life of Jan Baptist Bouttats, but he was probably born in Antwerp around 1680. He became a member of the Antwerp Guild of Saint Luke in 1706. Bouttats is known mostly for his landscapes and marines, which he painted in England, an excellent example being his painting entitled The Arrival of Charles II at The Hague, 15 May 1660 in the National Maritime Museum in Greenwich (London), which is dated 1738.504 Two flower pieces dated 1721 (Figs 9.172 and 9.173) and a further example from 1728 are known.505

Fig. 9.171 J. Van Bernard, A luxurious bouquet in a wide terracotta vase decorated with playing putti, canvas, ca. 60 x 59 cm, private collection. 504 Canvas, 68.3 x 89.7 cm, Greenwich (London), National Maritime Museum, inv. no. BHC0282. 505 Canvas, 61 x 101.5 cm, dated 1728, Sotheby’s, London, 21 October 1964, no. 79; it includes a Passion Flower in the arrangement.

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Fig. 9.172 Jan Baptist Bouttats, Flowers in a white and blue decorated bowl, dated 1721, canvas, 56 x 101.5 cm, private collection.

Fig. 9.173 Jan Baptist Bouttats, Flowers in a basket, dated 1721, canvas, 56 x 110 cm, private collection. 892 |

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Jan Baptist Bouttats, Flowers in a white and blue decorated bowl (Fig. 9.172) Canvas, 56 x 110.5 cm, signed and dated in the lower right in brown: JB.Bouttats.1721. (‘JB’ ligated) Private collection.506 Poppy Anemone Poppy Anemone Garden Honeysuckle French Marigold Poppy Anemone Gladiolus Poppy Anemone Blunt Tulip Lilac Poet’s Narcissus

Anemone coronaria alba Anemone coronaria pseudoplena albo-ochrea Lonicera caprifolium Tagetes patula plena Anemone coronaria pseudoplena albo-coerulea Gladiolus spec. Anemone coronaria pseudoplena albo-rosea Tulipa mucronata f. obtusa Syringa vulgaris coerulea Narcissus poeticus

Jan Baptist Bouttats, Flowers in a basket (Fig. 9.173) Canvas, 56 x 110 cm, signed in the lower left: JB.Bouttats.1721 Private collection.507 Pot Marigold Tuberose African Marigold Cabbage Rose Daffodil Peony Orange Lily Hyacinth Poet’s Narcissus Damask Rose Poppy Anemone Tazetta Narcissus Garden Nasturtium

Calendula officinalis Polyanthes tuberosa Tagetes erecta Rosa x centifolia Narcissus pseudonarcissus Paeonia officinalis plena Lilium bulbiferum Hyacinthus orientalis Narcissus poeticus Rosa x damascena Anemone coronaria Narcissus tazetta Tropaeolum majus

The signatures in this work and in the preceding Flowers in a white and blue decorated bowl are very similar, but there are small differences. In the paintings themselves there are strong similarities in the composition, but fairly large differences in the facture, that is to say, the execution or handling of the brushwork. The difference in quality may possibly be accounted for in relation to the end purpose of the paintings, where they were to be displayed, and their intended audience.

M. van Buiten

A flower piece signed M. Van BUITEN, showing some peaches and grapes in the right foreground, was auctioned in Paris in 1990. According to the sale catalogue, the artist was active in Flanders in the eighteenth century. M. van Buiten, Flower piece with an Opium Poppy at the top and fruit (Fig. 9.174) Canvas, 116.5 x 89 cm, signed lower left: M. Van BUITEN Private collection.508 Cabbage Rose White Rose Tulips Poppy Anemone Opium Poppy Peaches Grapes

Rosa x centifolia Rosa x alba Tulipa div. spec. Anemone coronaria Papaver somniferum Prunus persica Vitis vinifera

Small White Butterfly

Pieris rapae

506 Provenance: Dorotheum, Vienna, 12 October 2011, no. 691. 507 Provenance: Mercier & Cie, Lille, 23 April 2017, no. 293. 508 Provenance: Ader, Picard & Tajan, Paris, 23 April 1990, no. 28.

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Fig. 9.174 M. van Buiten, Flower piece with an Opium Poppy at the top and fruit, canvas, 116.5 x 89 cm, private collection.

Petrus Gerardus Philippus Colin

In 2013 a painting of a flower piece by Petrus Gerardus Philippus Colin, painted on glass in reverse, was put up for sale in Zurich, clearly signed on the left P.G.P. Colin. This artist was born in 1741 in Antwerp and entered the Guild of Saint Luke in 1766. Several landscapes and city views by him, or attributed to him, are now known. Two flower pieces are listed in an Amsterdam sale of 1821.509 Possibly he knew Georg Frederik Ziesel, who was fifteen years his junior and also made reverse glass paintings. Petrus Gerardus Philippus Colin, Flowers in a marble bowl on a foot and a bird’s nest with eggs (Fig. 9.175) Oil reverse-painted glass, 55.2 x 43 cm, signed lower left in black: P.G.P. Colin Private collection.510 1 Poppy Anemone 2 Hound’s Tongue 3 Hollyhock 4 Hollyhock 5 Creeping Bell-flower 6 Blunt Tulip 7 Wallflower

Anemone coronaria pseudoplena coeruleo-alba Cynoglossum officinale Alcea rosea duplex Alcea rosea pallida Campanula rapunculoides Tulipa mucronata x undulatifolia Erysimum cheiri

509 Sale of Guttenbron at De Vries & Roos, Amsterdam, 30 April 1821, no. 35. 510 Provenance: Koller, Zurich, 22 March 2013, no. 3109.

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8 False Larkspur 9 Hyacinth 10 Hyacinth 11 Cabbage Rose 12 Golden Narcissus 13 Carnation 14 Chickweed

Consolida ajacis duplex rosea Hyacinthus orientalis plena albensis Hyacinthus orientalis plena pallida Rosa x centifolia Narcissus tazetta subsp. aureus Dianthus caryophyllus plenus pallidus Stellaria holostea

a Cockchafer Beetle b Bird’s Nest with five speckled Eggs

Melolontha melolontha Aves spec.

There is some unidentifiable variety of grass and a feather in the bouquet as well.

Fig. 9.175 Petrus Gerardus Philippus Colin, Flowers in a marble bowl on a foot and a bird’s nest with eggs, oil reverse-painted glass, 55.2 x 43 cm, private collection. | 895

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Marie Diffiori

Two flower pieces by Marie Diffiori – ‘bloempotten op spiegels’ (‘flowerpots on mirrors’) – are listed on the 20 November 1740 in the Antwerp estate of Simon Balthasar de Neuf, as numbers 109 and 110.511 Perhaps this artist can be identified with the painter Mario Nuzzi (1603-1673), who used the name Mario de’ Fiori.

Guillaume Dominique Jacques Doncre

Guillaume Dominique Jacques Doncre was born in Zegerscappel in 1743. From 1763 to 1770 he worked in Saint-Omer. Afterwards he moved to Arras, where he entered the guild in 1772 and died in 1820. Doncre mostly painted portraits, but also genre pieces, religious subjects, trompe l’oeil still lifes, and a few flower pieces.512 The museum in Arras has two small flower pieces in its collection, one of 1785 and the other of 1802. Guillaume Dominique Jacques Doncre, Flower piece in a wooden niche (Fig. 9.176) Canvas, 39 x 29 cm, signed and dated lower centre in brown and greyish white: D. DONCRE PINXIT.1785. Musée des Beaux-Arts, Arras, inv. no. 984.2.513 1 Poet’s Narcissus 2 Pansy 3 Lilac 4 Field Mustard 5 Stock 6 Stock

Narcissus poeticus Viola tricolor Syringa vulgaris Brassica rapa Matthiola incana plenum album Matthiola incana semiplena (lilacina)

Fig. 9.176 Guillaume Dominique Jacques Doncre, Flower piece in a wooden niche, dated 1785, canvas, 39 x 29 cm, Musée des Beaux-Arts, Arras. 511 Van Hemeldonck 2007, no. S 1294. 512 Faré & Faré 1976, pp. 329-330. About the life and work of Doncre see Arras 1989. 513 Provenance: H.E. d’Audretsch, The Hague; collection of Paul Brandt Sr 1970; sales Paul Brandt, Amsterdam, 17 May 1983, no. 39, and 13 July 1983, no. 75.

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7 8 9

Persian Tulip Red Tulip Tapered Tulip

Tulipa clusiana Tulipa agenensis Tulipa armena

a

Cockchafer Beetle

Melolontha melolontha

The flowers have been placed in a green glass vase with gilt mount and foot on an octagonal pedestal. In this painting we see a masterful representation of light: initially the little panes of the studio window are mirrored on the left side of the glass vase; this reflection is then somewhat enlarged on the right, as the refracted light passes through the water inside the vase; and finally this filtered light appears larger again, as if projected onto the right wall of the wooden niche.

Johann(es) van Dorne

A flower piece signed and dated Johann. Van Dorne 1812 was in the possession of an English art dealer in 1973. Thieme and Becker suggest that the name ‘Johann’ was falsely used by another artist, Martin van Dorne (1736-1808).514 But the few works that we know by Martin are completely different, and Johann(es) is also documented, in addition to the 1812 dating of this painting, in Leuven in 1818, after Martin’s death. Possibly these two were brothers. Johann(es) van Dorne, Flowers in a high white jug on a stone table (Fig. 9.177) Canvas, 68.5 x 57 cm, signed and dated in the lower centre on the plinth: Johann. Van Dorne 1812 Whereabouts unknown.515 Pansy Lavatera Small Morning Glory Stock

Viola tricolor Lavatera thuringiaca Convolvulus tricolor Matthiola incana plena alba

Fig. 9.177 Johann(es) van Dorne, Flowers in a high white jug on a stone table, dated 1812, canvas, 68.5 x 57 cm, whereabouts unknown. 514 Thieme & Becker 1907-50, IX, p. 479. 515 Gallery Lasson, London, sale catalogue 1973, no. 11.

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Opium Poppy Sweet Rocket Monk’s Hood Nasturtium Honeysuckle French Marigold

Papaver somniferum Hesperis matronalis Aconitum napellus Tropaeolum majus Lonicera periclymenum Tagetes patula

On the marble ledge Pelargonium Cabbage Rose Variegated Iris

Pelargonium zonale Rosa x centifolia Iris variegata

Red Admiral Butterfly

Vanessa atalanta

This is a work that deviates quite a bit from traditional eighteenth and nineteenth-century flower pieces, particularly in the depiction of a tall elegant white jug and the quantity of flowers spread out in the foreground. The choice of the flowers themselves, on the other hand, is rather traditional.

Martin van Dorne

Martin van Dorne was born in 1736 in Leuven and lived until 1808. Several flower pieces by him are extant, including a 1784 painting with a fruit piece as pendant, plus a pair of flower pieces of 1803, as well as decorative flower garlands of 1770 and 1771. Another flower piece with fruit is currently found in the M-Museum Leuven.

Fig. 9.178 Martin van Dorne, High openwork basket with flowers, dated 1803, canvas, 53.3 x 43 cm, private collection. 898 |

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Martin van Dorne, High openwork basket with flowers (Fig. 9.178) Canvas, 53.3 x 43 cm, signed and dated lower left: M. Van Dorne F 1803 Private collection.516 1 Cabbage Rose 2 Small Morning Glory 3 Persian Fritillary 4 Pompone Lily 5 Herb Robert 6 Baguette Tulip 7 Opium Poppy 8 Auricula

Rosa x centifolia Convolvulus tricolor Fritillaria persica Lilium pomponium Geranium robertianum Tulipa mucronata x T. undulatifolia Papaver somniferum (simplex) Primula x pubescens

On the ledge to the left White Currants

Ribes rubrum album

The flower piece presented here is quite different from his other known work. The pendant is a flower piece with different botanical species arranged in a glass vase on a foot.517

Jan Baptist Govaerts

Jan Baptist Govaerts was born in 1700 or 1701 in Antwerp. In 1713 he was listed as an apprentice to Alexander van Bredael (1663-1720) in the Antwerp Guild of Saint Luke. From 1740 on he worked as court painter in Mainz, where he died in 1745 or 1746. Jan Baptist Govaerts painted mythological scenes, genre, kitchen, and game pieces, in addition to flower and fruit pieces. A characteristic of his work is the inclusion of species with contrasting colours, in particular those with different coloured centres, including Narcissi and Auriculas, which occur in several varieties. Partially due to this variation, a number of unsigned works, or works with different signatures, have been attributed to Jan Baptist Govaerts. Jan Baptist Govaerts, Flower piece with a Swallowtail Butterfly and a bird’s nest (Fig. 9.179) Panel, 51.5 x 39.5 cm, signed and dated 1741 Private collection.518 Auriculas (4 colour variants) Narcissus (2 species) Tulips Hyacinths Apple blossom Forget-me-nots

Primula x pubescens div. Narcissus spec. Tulipa div. spec. Hyacinthus orientalis div. Malus sylvestris Myosotis palustris

Swallowtail Butterfly Dragonfly Garden Snail

Papilio machaon Odonata spec. Cepaea hortensis

516 Provenance: Bonhams, London, 20 April 2005, no. 23, as Johann von Dorne. 517 Canvas, 53.3 x 43.2 cm, Horta, Brussels, 9 October 2017, no. 225. 518 Provenance: collection of Dorothea S. Kaiser; Sotheby’s, Parke Bernet, New York, 14 March 1980, no. 57, as Johan Baptist Govaerts; Galerie Hainpark, Bamberg 1980.

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Fig. 9.179 Jan Baptist Govaerts, Flower piece with a Swallowtail Butterfly and a bird’s nest, dated 1741, panel, 51.5 x 39.5 cm, private collection.

Jan Josef Horemans II

Jan Josef Horemans II was born in 1714 in Antwerp, son of Jan Horemans I (1682-1759), who was also the artist who trained him. Jan Josef II was a member of the Antwerp Akademie voor Schone Kunsten, while in 1767 he became a member of the guild, and dean in 1768 and 1776. In 1788 he was one of the founders of the Antwerp Konstmaetschappy. Jan Josef Horemans died in Antwerp in 1792. He painted genre pieces, harbour scenes, equestrian pieces, portraits, a few kitchen still lifes, and was predominantly an artist of decorative works. He is also believed by some to have painted two flower pieces as pendants, which show flowers in an openwork basket, rather broadly painted. Disconcertingly these two pieces, however, have a different signature and seem to have been executed at a later date.519

Margarita van Horne

Two flower pieces by Margarita van Horne are listed in the 1793 Antwerp estate inventory of Carolus N.J. Bosschaert.520 Nothing is known about this artist.

519 Canvas, 64 x 76 cm, Germann, Zurich, 17 May 1983, nos 527 and 528. 520 Van Hemeldonck 2007, no. S 1475.

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Fig. 9.180 J.F. van der Hulst, Flowers in a bombé earthenware vase, dated 1753, canvas, 37.5 x 34 cm, whereabouts unknown.

J.F. van der Hulst

An unrefined flower piece signed and dated JF van der Hulst 1753 was put up for auction in Cologne in 1995. Nothing is known about this artist, but he may in fact have originated from the Southern Netherlands. J.F. van der Hulst, Flowers in a bombé earthenware vase (Fig. 9.180) Canvas, 37.5 x 34 cm, signed and dated lower right in black: JF van der Hulst 1753 Whereabouts unknown.521 Cabbage Rose Poppy Anemone Poppy Anemone Poppy Anemone Snowball White Rose Forget-me-not

Rosa x centifolia Anemone coronaria alba Anemone coronaria pseudoplenea albo-rosea Anemone coronaria pseudoplena albo-crocea Viburnum opulus cv. Roseum Rosa x alba Myosotis palustris

521 Provenance: Lempertz, Cologne, 15 November 1995, no. 1281.

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Wallflower Carnation Tulip

Erysimum cheiri Dianthus caryophyllus Tulipa cf. clusiana

To the right of the vase is a Poppy Anemone (Anemone coronaria rubra duplex) and an unidentifiable butterfly, quite possibly an imaginative addition, rather than an accurate portrayal of an actual insect.

Paul Joseph de Kock

Paul Joseph de Kock was born in 1724 in Bruges and died there in 1801. Before World War II, a flower piece in a glass vase was listed in the 1932 museum catalogue of the Suermondt-Ludwig-Museum in Aachen as the work of Paul Joseph de Kock, but the painting has since then been lost.522 The attribution seems to have been based on the fragmentary signature J. Ko[...]. In the catalogue of missing works issued by the museum in 2008-2009, the painting is attributed to Jan van Kessel I (1626-1679), but this is unfounded.523 Philip van Kouwenbergh (1671-1729) also seems an unlikely candidate.

Cornelis Lens

Cornelis Lens was born in 1713 in Tilff, son of the stonemason Corneille Lens (1670-1758). In 1730 or later he moved to Antwerp, where in 1738 he married Magdalena Slaets. The couple had eleven children together, two of whom likewise became painters, namely Andries Cornelis Lens (1739-1822) and Jan Jacob Lens (1746-1814). Cornelis Lens became a member of the Antwerp Guild of Saint Luke, and in 1749 its dean. He died in Antwerp in 1770. Lens painted primarily large flower and fruit still lifes and is believed to have also produced decorative garlands around the main subjects of paintings by other artists. Always on the lookout for work opportunities he was not restricted to easel painting and decorated carriages and was also active as a gilder. A work dated 1739 is extant, and a chimneypiece of 1756 showing flowers and fruit is now in the M-Museum in Leuven.524 He signed his work with his first name in full Cornelis, and possibly Corneille in his early period, as well as with a C. A portrait of Marie Catharine de Villegas de Borsbeke, that may be surrounded by flowers by him, has been signed A et C LENS / Antverpia 1761, and was perhaps executed in collaboration with his son Andries.525 Immerzeel refers to Cornelis’s son Andries as a flower painter, which may be incorrect, for he painted mythological and religious subjects, and possibly some portraits.526 Cornelis Lens, Flower swag around an urn with fruit (Fig. 9.181) Canvas, 88 x 68 cm, signed on the pedestal to the left: C. Lens Private collection.527 Poppy Anemones Anemone coronaria div. Tulips Tulipa div. Turban Buttercups Ranunculus asiaticus div. Auriculas Primula x pubescens div. Snowball Viburnum opulus cv. Roseum African Marigold Tagetes erecta China Aster Callistephus chinensis Austrian Briar Rosa foetida Cabbage Rose Rosa x centifolia Opium Poppy Papaver somniferum Hyacinth Hyacinthus orientalis White Rose Rosa x alba In the foreground: a Plum, a Peach and Grapes

A larger work showing the same urn also displays a similar composition.528 522 Panel, 24.5 x 19 cm, Aachen, Suermondt-Ludwig-Museum, inv. no. GK 254; Berndt 1892, p. 33, no. 224 and mus. cat. Aachen 1932, p. 87. 523 Aachen 2008-09, pp. 139-140, no. 59. 524 Illustrated in Roberts-Jones & De Wilde 1995, II, p. 637. 525 Canvas, 104 x 81 cm, Mechelen, Church of Our Lady of Hanswijk. 526 Immerzeel 1842-43, II, p. 169. 527 Provenance: Audap-Picard-Solanet & Associés, Paris, 30 March 1998, no. 32; Beaussant Lefèvre, Paris, 9 July 1998, no. 95. Identifications were made using the reproduction. 528 Canvas, 148 x 146.7 cm, Sotheby’s, New York, 8 January 1998, no. 118.

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Fig. 9.181 Cornelis Lens, Flower swag around an urn with fruit, canvas, 88 x 68 cm, private collection.

Jan Frans Jozef Mertens

Jan Frans Jozef Mertens was an Antwerp portrait painter for whom there are also a few flower pieces and fruit pieces attributed to him still remaining. He was dean of the guild in 1787. Mertens painted genre pieces and scenes of musical companies, but was also engaged as a decorative painter and a bookbinder. There is documentary evidence relating to him for the years 1760 to 1790. A flower arrangement associated with Mertens is dated 1775. A vase with flowers and a bird’s nest was auctioned in Antwerp in 1814.529

529 J.F. de Vinck de Wesel, Antwerp, 16 August 1814, no. 252.

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Jan Frans Jozef Mertens, Flowers in a garden vase in a niche (Fig. 9.182) Canvas, 68.6 x 49.6 cm, signed lower left in grey with white: J.F.J. Mertens Private collection.530 1 Small Morning Glory 2 Cabbage Rose 3 Pansy 4 Poppy Anemone 5 Sweet Pea 6 Danube Tulip hybrid

Convolvulus tricolor Rosa x centifolia Viola tricolor Anemone coronaria pseudoplena Lathyrus odorata albo-rosea Tulipa hungarica x T. undulatifolia

Fig. 9.182 Jan Frans Jozef Mertens, Flowers in a garden vase in a niche, canvas, 68.6 x 49.6 cm, private collection.

530 Provenance: Christie’s, London, 4 July 1997, no. 287.

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7 8 9 10 11 12 13 14 15 16 17 18 19 20

York and Lancaster Rose Poppy Anemone Cornflower Golden Narcissus Blunt Tulip Columbine Wheat Opium Poppy Alpine Clematis Few-flowered Lily Damask Rose Sweet Pea Auricula Blackberry

A Small Tortoiseshell Butterfly b 7-spot Ladybird c Housefly

Rosa x damascena cv. Versicolor Anemone coronaria pseudoplena violacea Centaurea cyanus Narcissus tazetta subsp. aurea Tulipa mucronata bicolor Aquilegia vulgaris albescens Triticum aestivum Papaver somniferum Clematis alpina Lilium bulbiferum var. croceum Rosa x damascena plena Lathyrus odorata lilacina Primula x pubescens rubescens Rubus fruticosus coll. Aglais urticae Coccinella septempunctata Musca domestica

The vase is decorated with the ancient Greek mythological woodland deity Silenus and bacchants.

Henri Albert Imbert des Motelettes

Henri Albert Imbert des Motelettes was born in Bruges in 1764 and lived until 1837. He had been apprenticed in Paris to Jan Anton Garemijn (1712-1799). Henri Albert painted genre pieces, landscapes, portraits, flowers and fruit, and copied old masters. His flower pieces currently remain untraceable.

Antoine Plateau

Antoine Plateau was born in 1759 in Tournai. From 1774 to 1785 he was a student at the Royal Academy in Antwerp and afterwards went to Paris to gain further training from Gerard van Spaendonck. Plateau provided the interior decoration of the Castle of Laeken, as well as the Stadhouderskamer at the Dutch Parliament buildings Het Binnenhof in The Hague. Antoine Plateau died in 1815. A miniature flower piece is currently in the collection of the Musée des Beaux-Arts in Tournai (Fig. 9.183).531

Fig. 9.183 Antoine Plateau, Flowers in a basket, body colour on ivory, ø 7.5 cm, Musée des Beaux-Arts, Tournai. 531 Tournai, Musée des Beaux-Arts, inv. no. 1971/505. Pion & Pion-Leblanc 1971, p. 76. | 905

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Van der Putte

Parthey reports a Blumenstück, that is to say a flower piece, on canvas in the Wallraf-Richartz-Museum in Cologne, signed Van der Put.532 Furthermore, there is a large signed flower piece Van der Putte, probably from around 1700, with a bronze or silver-gilt pot decorated with four figures, currently in the collection of the Musée de l’Hôtel Sandelin in Saint-Omer. Nothing is known about this artist. It may be that these paintings are in actual fact by the similar sounding artist Isaak van der Put (1618-after 1638).533 Van der Putte, Flowers in a silver-gilt pot decorated with four figures (Fig. 9.184) Canvas, 98.2 x 67.2 cm, signed lower right: Van der Putte Musée de l’Hôtel Sandelin, Saint-Omer, inv. no. 182 CM.534 1 Spanish Jasmine 2 Forget-me-not 3 Purple Tulip 4 Poppy Anemone 5 Star of Bethlehem 6 Poppy Anemone 7 Poppy Anemone 8 Golden Narcissus 9 Poppy Anemone

Jasminum grandiflorum Myosotis palustris Tulipa undulatifolia bicolor Anemone coronaria semiplena Ornithogalum umbellatum Anemone coronaria pseudoplena alba Anemone coronaria pseudoplena albo-coerulescens Narcissus tazetta subsp. aurea Anemone coronaria pseudoplena albo-rosea

Fig. 9.184 Van der Putte, Flowers in a silver-gilt pot decorated with four figures, canvas, 98.2 x 67.2 cm, Musée de l’Hôtel Sandelin, Saint-Omer. 532 Parthey 1863-64, II, p. 205, no. 1. 533 About Isaak van der Put see Chapter 8. 534 Provenance: acquired in 1849. Literature: mus. cat. Saint-Omer 1981, p. 82, no. 252.

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10 11 12 13 14 15 16 17 18 19

Hyacinth Star Anemone Poppy Anemone Crown Imperial Poppy Anemone Lady Tulip hybrid Persian Tulip Poppy Anemone Perennial Alkanet York and Lancaster Rose

A Red Admiral Butterfly

Hyacinthus orientalis Anemone hortensis Anemone coronaria pseudoplena coerulea Fritillaria imperialis Anemone coronaria pseudoplena miniato-atrata Tulipa stellata x T. clusiana Tulipa clusiana Anemone coronaria pseudoplena roseo-alba Pentaglottis sempervirens Rosa x damascena cv. Versicolor Vanessa atalanta

Antoine Ferdinand Redouté

Antoine Ferdinand Redouté was born in 1756 in Saint-Hubert, the son and apprentice of the decorative painter Charles Joseph Redouté (1715-1776). In 1777 he went to Paris, where his famous brother PierreJoseph had preceded him, and there developed into a succesful decorator of palaces in Compiègne and Malmaison, as well as a set designer for the stage. Antoine Ferdinand died in 1809 in Paris. A small flower piece is now in the Musée Tavet-Delacour in Pontoise. Antoine Ferdinand Redouté, A spray of flowers (Fig. 9.185) Watercolour and body colour with pencil sketch lines, oval, 322 x 240 mm. Musée Tavet-Delacour, Pontoise, inv. no. D.1899.47.30.535 Buttercup Cabbage Rose (English) Bluebell

Ranunculus acris Rosa x centifolia Hyacinthoides non-scripta

Purple Emperor Butterfly

Apatura iris

In 1920 a flower piece signed and dated P.J. Redouté 1821 was auctioned as by Antoine Ferdinand Redouté, presumably because there was doubt concerning the attribution to Pierre-Joseph Redouté.536

Fig. 9.185 Antoine Ferdinand Redouté, A spray of flowers, watercolour and body colour with pencil sketch lines, oval, 322 x 240 mm, Musée Tavet-Delacour, Pontoise. 535 Provenance: donated to the museum by Freundlich. Literature: Thieme & Becker 1907-50, XXVIII, p. 77. 536 Watercolour, 285 x 220 mm, Vienna, 8 December 1920, no. 11, with an indistinct illustration that shows Roses.

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Pierre-Joseph Redouté

Pierre-Joseph Redouté was born in 1759 in Saint-Hubert. Following his apprenticeship in Liège, he travelled through the Netherlands and Flanders, and afterwards to Paris, where he settled and remained until his death in 1840. In Paris he served an apprenticeship under Gerard van Spaendonck and his work was supported by the magistrate and botanist Charles Louis L’Héritier de Brutelle (1746-1800), who sent him to England to make drawings of plants. Redouté was extremely successful and became the court artist appointed to Marie Antoinette, for whom he painted plants from the gardens of the Petit Trianon. In 1792 he became draughtsman of the Académie des sciences. In 1805 he was appointed ‘peintre de fleurs de l’impératrice Joséphine’ by the Bonapartes, while also following Gerard van Spaendonck as draughtsman of plants for the Vélins du Roy. Later he was employed as tutor at court to the princesses of the House of Orléans, and many others, and was also given the position of Professeur d’iconographie at the Jardin des Plantes. Pierre-Joseph Redouté is primarily known for his watercolours of plants, which run

Fig. 9.186 Pierre-Joseph Redouté, A posy of Narcissuses, dated 1824, body colour with pencil sketch lines on vellum, 322 x 240 mm, private collection. 908 |

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to more than two-thousand-one-hundred, some of them now in the Musée des Beaux-Arts et d’Archéologie in Besançon. He is also famous for several outstanding publications, particularly those depicting Rose and Lily species. After 1820 he devoted himself to watercolours of small posies and also made some simple flower pieces. These works are now in several public collections, including the museums of Compiègne, Dieppe, Montpellier and Narbonne in France. A flower piece painted in 1839, showing only white Cabbage Rose and Orange blossom in a glass beaker with a sprig of Poppy Anemone in the foreground, is currently in the Musée de Groesbeeck de Croix in Namur.537 In addition there are a few large paintings of flower pieces in oils now known in which the influence of Jan van Huysum can be clearly discerned, but, even more prominently, the influence of Gerard van Spaendonck.538 Pierre-Joseph Redouté exhibited numerous times at the salons at the Louvre between 1796 and 1841. Pierre-Joseph Redouté, A posy of Narcissuses (Fig. 9.186) Body colour with pencil sketch lines on vellum, 322 x 240 mm, signed and dated lower right in pencil: P.J. Redouté 1824. Private collection.539 1 Poet’s Narcissus 2 Golden Narcissus 3 Daffodil 4 Poet’s Narcissus

Narcissus poeticus Narcissus tazetta subsp. aureus Narcissus pseudonarcissus Narcissus poeticus subplenus

A Red Underwing Butterfly

Catocala nupta

Jean Baptiste De Roy

Jean Baptiste De Roy (1759-1839) is mostly known for his landscapes with animals. He attended the Académie Royale des Beaux-Arts in Brussels and afterwards travelled to the Netherlands to study old masters. His landscapes with animals show the influence of Paulus Potter (1625-1654). Drawings of plants in the style of Gerard van Spaendonck and Pierre-Joseph Redouté may currently be found in the Österreichische Nationalbibliothek in Vienna. A flower piece of 1793 was auctioned in Amsterdam in 1996. Jean Baptiste De Roy, Flower piece from a worm’s-eye view (Fig. 9.187) Canvas, oval, 53.6 x 48 cm, signed and dated lower centre in brown: JB De Roy 1793 (on foliage) Private collection.540 1 Cabbage Rose 2 Poppy Anemone 3 Carnation 4 White Rose 5 Cherry blossom 6 Opium Poppy 7 Cherry blossom 8 Tapered Tulip hybrid 9 Spring Gentian 10 Auricula 11 Great Morning Glory

Rosa x centifolia Anemone coronaria pseudoplena albo-rosea Dianthus caryophyllus plenus Rosa x alba subplena Prunus avium Papaver somniferum pseudoplenum salmoneum Prunus avium plenum Tulipa armena x T. stapfii Gentiana verna Primula x pubescens indigofera Ipomoea purpurea

The brushwork in this painting is somewhat broadly done.

537 Hostyn & Rappard 1995, p. 314. 538 For example, a work of 1793, canvas, 61.6 x 50.8 cm, Christie’s, London, 10 April 1996, no. 233; and a canvas dated an. 4 (=1795), 99.1 x 80 cm, Sotheby’s, New York, 25 January 2007, no. 101. Descriptions are in the Segal Still Life Documentation at the RKD, The Hague. See also Liège 1950. 539 Provenance: Christie’s, New York, 25 January 2005, no. 151. 540 Provenance: Sotheby’s, Amsterdam, 6 May 1996, no. 43.

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Fig. 9.187 Jean Baptiste De Roy, Flower piece from a worm’s-eye view, dated 1793, canvas, oval, 53.6 x 48 cm, private collection.

Maria E.J. Schepers

Two flower pieces assumed to be pendants dated 1791 remain, which are known by Maria Schepers, who was active in Antwerp. She also painted fruit pieces. We lack biographical data for this artist. Maria E.J. Schepers, Flowers in a tumbler (Fig. 9.188) Canvas, 36.5 x 31 cm, signed and dated lower right in black: Maria E.J. Schepers 1791. Private collection.541 1 2 3 4 5 6 7 8 9 10 11

Cabbage Rose Auricula Forget-me-not Bindweed Golden Narcissus Opium Poppy Blunt Tulip hybrid Pansy False Larkspur Pot Marigold Poppy Anemone

Rosa x centifolia Primula x pubescens coerulea Myosotis palustris Calystegia sepium Narcissus tazetta subsp. aurea Papaver somniferum plenum rubrum Tulipa mucronata x T. undulatifolia Viola tricolor var. hortensis Consolida ajacis Calendula officinalis Anemone coronaria plena

a

Housefly

Musca domestica

Pieter Snijers

Pieter Snijers was born in Antwerp in 1681 into an upper-class family. In 1694 he was apprenticed to Alexander van Bredael. In 1705 Pieter was registered as a master in the Brussels guild of painters, goldbeaters and stained-glass makers, and in 1707 in the Antwerp Guild of Saint Luke. His nephew Petrus 541 Provenance: collection Mr & Mrs Albert Beveridge; Richard Green Gallery, London 1987; Sotheby’s, New York, 3 June 1988, no. 130, with pendant. Literature: Hostyn & Rappard 1995, p. 347. 910 |

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Fig. 9.188 Maria E.J. Schepers, Flowers in a tumbler, dated 1791, canvas, 36.5 x 31 cm, private collection.

Johannes Snijers (1696-1757) was apprenticed to him in Antwerp, where Pieter married in 1725, taking Maria Catharina van Boven as his wife. Around 1729 he lived for a while in England, where he painted portraits. Upon his return to Antwerp he became an instructor at the Royal Academy from 1741 on. Pieter Snijers died in 1752 leaving a substantial collection of paintings as part of his estate. He painted genre pieces, allegorical representations, including one of the twelve months, and a variety of still lifes, several flower pieces among them, mostly in compositions combined with fruit, vegetables, or other objects. His brushwork is somewhat broad, with fine little lines for the stamens and typical heightening of the vein structure in the foliage, which is frequently crinkly. He tends to use bright but harmonious colours. Often there is a sense of dynamic movement in his compositions. Dated work is known from 1715 to 1750.542

542 For his life and work see Hairs 1985, I, p. 421, II, p. 48 and the Segal Still Life Documentation in the RKD, The Hague.

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Pieter Snijers, Flowers in a glass vase (Fig. 9.189) Panel, 28.6 x 25 cm, signed lower centre in brown with beige: P. Snijers. F Private collection.543 1 Snowball 2 Poppy Anemone 3 Poppy Anemone 4 Poppy Anemone 5 Danube Tulip 6 Sharp Tulip 7 Tazetta Narcissus 8 Peacock Anemone 9 Columbine 10 Ivy foliage

Viburnum opulus cv. Roseum Anemone coronaria pseudoplena albo-rubra Anemone coronaria pseudoplena albo-indigofera Anemone coronaria pseudoplena albo-rosea Tulipa hungarica x T. undulatifolia Tulipa mucronata Narcissus tazetta Anemone pavonina Aquilegia vulgaris violacea Hedera helix

A Red Admiral Butterfly b Garden Bumblebee c Cockchafer Beetle

Vanessa atalanta Bombus hortensis Melolontha melolontha

Fig. 9.189 Pieter Snijers, Flowers in a glass vase, panel, 28.6 x 25 cm, private collection. 543 Provenance: collection of Mrs T.W.H. Ward, Hampstead, London; Phillips, London, 10 April 1990, no. 63, and 6 March 1993, no. 118; Christie’s, London, 7 December 2007, no. 123. Literature: Warner 1928 (Segal ed. 1975), pp. 196-197, no. 93c.

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Franciscus Tan

The inventory of the estate of Anna Isabella van den Berghe in Antwerp of 1754 reports three flower pieces and a painting with grapes by Franciscus Tan.544 Nothing further is known about this artist.

Peter Tillemans

Peter Tillemans was born in circa 1684 in Antwerp. In 1708 he travelled to London with his brother-inlaw Pieter Casteels III. In 1711 he was one of the co-founders of Kneller’s Academy. His patrons included the Duke of Devonshire, the Earl of Derby, William 4th Lord Byron, and Lord Radnor. He was a prolific painter and draughtsman, who produced landscapes, animal pieces, hunting parties, battle scenes and portraits, as may be inferred from many English auctions, but he also made several still lifes, a few flower pieces among them.545 In addition he also imitated and copied Dutch, French and Italian masters. Tillemans had a number of apprentices, including the famous painter of conversation pieces Arthur Devis (1712-1787) and Josef Frans Nollekens (1702-1748), who, amongst other compositions, painted gallant companies. Peter Tillemans died in Norton, Suffolk, in 1734.546 Peter Tillemans, Flowers in a basket (Fig. 9.190) Canvas, 72.4 x 91.5 cm, signed lower right in brown: P Tillemans f Private collection.547 1 Rosa Mundi 2 White Rose 3 Cabbage Rose hybrid 4 African Marigold 5 Sharp Aster 6 Lilac 7 Chrysanthemum

Rosa gallica cv. Versicolor Rosa x alba plena Rosa x centifolia x R. x damascena Tagetes erecta Aster sedifolius Syringa vulgaris Chrysanthemum morifolium subplenum album

Fig. 9.190 Peter Tillemans, Flowers in a basket, canvas, 72.4 x 91.5 cm, private collection. 544 545 546 547

Van Hemeldonck 2007, no. S 1874. Including ‘A Flower-piece with a Parrot’, Hobbs, London, 9 May 1763, no. 70. For his life and works see Raines 1980. Provenance: Bonhams, London, 9 July 2003, no. 27, as J. Tillemans.

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8 Poppy Anemone 9 Poppy Anemone 10 Turban Buttercup 11 Poppy Anemone 12 Sweet Briar 13 French Marigold 14 Hyacinth 15 Hawthorn 16 Auricula 17 Snowball 18 Forget-me-not 19 Poppy Anemone 20 Opium Poppy 21 Poet’s Narcissus 22 French Rose 23 Poppy Anemone

Anemone coronaria pseudoplena albo-coerulea Anemone coronaria pseudoplena virido-miniata Ranunculus asiaticus subplenus rubra Anemone coronaria pseudoplena rubro-alba Rosa rubiginosa Tagetes patula Hyacinthus orientalis Crataegus monogyna Primula x pubescens rubra Viburnum opulus cv. Roseum Myosotis palustris Anemone coronaria pseudoplena ochra Papaver somniferum albescens Narcissus poeticus Rosa gallica semiplena Anemone coronaria pseudoplena albo-violacea

Dominique Joseph Vanderburch

Dominique Joseph Vanderburch was born in Lille in 1722. In 1749 he settled in Montpellier, where he became a member of the Academy and married Jeanne Reboul in that same year. Vanderburch painted landscapes and game pieces, and it is also supposed that he painted a flower piece.548 Vanderburch died in Montpellier in 1785.

S. Vermeirsch

A painting of a flower piece signed in the upper right of the panel S. Vermeirsch was put up for auction in Brussels in 1929.

Fig. 9.191 S. Vermeirsch, Luxurious bouquet in a vase on a high foot, canvas, 81 x 64 cm, whereabouts unknown.

548 Thieme & Becker 1907-50, XXXIV, p. 93. See the Segal Still Life Documentation in the RKD, The Hague.

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S. Vermeirsch, Luxurious bouquet in a vase on a high foot (Fig. 9.191) Canvas, 81 x 64 cm, signed above the foliage: S. Vermeirsch Whereabouts unknown.549 Wheat Small Morning Glory Fuchsia Cabbage Rose Garden Nasturtium Turk’s Cap Lily Pansy Orange blossom Poet’s Narcissus Opium Poppy Poppy Anemone Madonna Lily Hyacinth Snake’s Head Fritillary Snowball

Triticum aestivum Convolvulus tricolor Fuchsia magellanica Rosa x centifolia Tropaeolum majus Lilium chalcedonicum Viola tricolor Citrus aurantium Narcissus poeticus Papaver somniferum Anemone coronaria Lilium candidum Hyacinthus orientalis Fritillaria meleagris Viburnum opulus cv. Roseum

The vase in this painting has been filled with a closely compact bouquet. To the left, in the foreground, we see a half-peeled lemon with the peel hanging down and in the centre three stalks of Wheat while, to the right, there are grapes and peaches. In the upper right, perched on a flower, is a Goldfinch (Carduelis carduelis).

Hendrik van Waterschoot

Hendrik van Waterschoot was a native of Antwerp who is documented in Munich from 1720 as court painter to the Bavarian princes; he died there in 1748. Van Waterschoot painted landscapes, village scenes, equestrian pieces and portraits; one fruit still life is also known. He is reported as being a flower painter as well.550 Hendrik van Waterschoot signed his works in various ways, sometimes with the monogram H.v.W.

Karl Wuchters

Karl Wuchters was born around 1689 in Antwerp. In 1700 he apprenticed himself to Caspar Jacob van Opstal (1654-1717). In 1714 he was entered as a master in the Guild of Saint Luke, where he held the office of dean three times between 1735 and 1742. Wuchters painted historical scenes, as well as being a flower painter, art dealer, and captain of the local citizen militia. His last dated record is from 1752.551

549 Brussels, 18 March 1929, no. 28. 550 Thieme & Becker 1907-50, XXXV, p. 184. 551 Balkema 1844, p. 345, as Charles Vuchters.

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Detail Fig. 10.33 916 |

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C H A PT ER 10 | T HE FLOWER PIEC E A S PRINT

CHAPTER 10

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10 The Flower Piece as Print

As already established in the earlier chapters, vases of flowers first appear in European works of art in the religious paintings of the fourteenth century. They only become a recognizable genre as independent flower pieces starting at the end of the sixteenth century, although in the preceding years there were a number of forerunners. After 1590 the traditional flower piece arose as a category of art in the form of drawings (in various media and techniques), paintings in oils, and prints. Artists from the Northern and Southern Netherlands were initially the avant-garde as far as prints of flower pieces are concerned, but at the end of the seventeenth century the French became the front runners, with the Franco-Flemish artist Jean Baptiste Monnoyer (1636-1699) leading the way. The scope of Monnoyer’s influence was broad, as his prints had a significant impact on still lifes in oils, which even inspired the greatest masters in that medium, including Jan van Huysum (1682-1749). Until the end of the eighteenth century we are mostly dealing with copper engravings, less often with etchings or some kind of combination of the two. In the eighteenth century tonal engravings in mezzotint develop, which could also be printed in multiple colours. These were followed around 1800 by the lithograph, as well as the technique of stipple engraving.1 Much has been written about paintings and drawings of flower pieces from the end of the sixteenth century, and also about plants and flowers in book illustrations and print series, but up to now there has been no survey of the flower pieces that appeared as prints using various graphic techniques. This chapter on Dutch and Flemish flower pieces in the form of prints makes no claims to completeness, but with examples of some well-known images together with a number of fortuitous chance finds accumulated over a scholarly lifetime, it presents an overview of this most interesting area of research. What is presented here focuses for the most part on Dutch and Flemish printmakers of flower pieces up to 1800 and forms part of a larger project dedicated to increasing our understanding of flowers in print culture from all European countries up to the year 1900.2 This chapter should, therefore, be understood as work in progress requiring further research. Nevertheless, having demonstrated the significance of flower pieces in the preceding chapters, it seems appropriate at this point to mention how this art genre was popularized through prints and not least of all, because this acts as a bridge to the following chapter on florilegia.

Replication, Loss and Dispersion: Challenges for the Researcher of Prints

Florilegia and more generally prints of flower pieces bring with them some important conceptual challenges and raise questions, which are tricky to answer. For example, it is known that illustrated books on flowers were, and continue to be, occasionally broken up by dealers and the plates sold and collected individually. Where this occurs, there are interesting points for the art historian to consider, inasmuch as in the stated example an illustration has become a print as a piece of decoration on a wall, which suggests different uses and audiences through time. Furthermore, the existence of consumers implies markets, which in turn hints at an historically specific and changing infrastructure of street sellers, dealers, auctions and shops. The prints are not just evidence of commercial activity, but are artistic products, which would not exist without skilled artisans, artists, engravers and publishers – all involved and interconnected in the business of creating prints. Unravelling these interwoven relationships is made all the more difficult by concerns over the many editions sometimes made, judgements about the quality of the types of paper used, anxieties over the status of prints in relation to the ‘original’ paintings, or indeed other prints. Some of these important reflections will be touched on below along with a choice selection of case studies of particular prints and examples of key people involved in the making of prints of flower pieces. The names of the designer, printmaker and/or publisher are often reported on the print accompan1 2

The term ‘engraving’ is also generally understood to include all these techniques, but technically it refers to prints made using copper, steel or wood. S. Segal & K. Alen, Prints of flower still lifes and florilegia (16th, 17th and 18th centuries), forthcoming. This chapter only mentions in passing a few of the numerous steel engravings, lithographs, and copper engravings that were produced outside the Netherlands and Belgium after works of Dutch and Flemish artists such as Jan van Huysum and the Van Spaendonck brothers.

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ied by such inscriptions as inventor, invenit or pinxit, and sculpsit and excudit, frequently in abbreviated form. This can often lead to some confusion, because in many cases two or even all three of the individuals involved are one and the same person. Also, it depends on the modern scholar’s point of view as to whose name is listed first in the literature: for an art historian the designer logically comes first as the creator of the image; while an historian, archivist, or librarian is more likely to privilege the names of the printmakers, or publishers. When conducting searches in the literature it is, therefore, necessary to keep an eye out for the name of the designer, as well as that of the printmaker and the publisher, which have sometimes been mixed up, or confused, and are in any case by no means always clear. Printmakers or engravers had a large scope for contributing to the design: they could simplify or elaborate the image, make it smaller or larger, engrave it in various ways using a variety of techniques, working quickly and hastily, or carefully and precisely with a great deal of patience, thus demonstrating high quality craftsmanship and dexterity. Often the original artist is not even named and, when we are dealing with copies, the engraver’s name is also often lacking. Engraved copies may be printed for years from the original plate – in our case usually copperplate – from which at a later time, however, the names may have been removed, or replaced. Added to this is the fact that many prints were made after works by, or borrowed motifs from, earlier artists. Jean Baptiste Monnoyer, for example, had an associate named Jacques Vauquer (1621-1686), a French draughtsman and engraver, who made printed impressions of much of his work – but Vauquer was an accomplished follower, and sometimes his own work has been taken as Monnoyer’s. Early engravings of flower pieces are rare, and for a number of them we know of only one existing impression, while for others we may have only a few. Even though prints that were found interesting began to be copied quite early on and continued to be popular – there are eighteenth-century copies of engraved flower pieces that were first printed a century earlier – impressions of these copies too are often quite rare. Sometimes flower pieces were produced in a numbered series of prints, but the series has not always survived in its entirety. Missing numbers tell us that certain pictures may have disappeared forever, although we can hope that some day an impression will surface. Occasionally an impression of an unknown print comes to light. Engravings are essentially fragile and made even more so through use, including the way they are displayed, examined, handled, or copied as models for the applied arts or interior decoration. In addition, it is sometimes the case that the larger the print the more fragile it is. How many items have been lost over the course of time is impossible to gauge. Researchers have constantly to be aware of the technical processes and different states in printmaking. Prints were frequently modelled on drawings, whether watercolours, or rough sketches in chalk, or pencil. However, oil paintings might also directly serve the purpose of models, especially in the eighteenth century. The French painter and engraver Antoine Chazal (1793-1854), for example, would first make a drawing after a painting by Jan van Huysum or Gerard van Spaendonck (1746-1822), before incising the pictorial representation. The engraver transfers the original work – drawing, painting, or possibly sketch – onto the copperplate, which produces a representation in mirror image when printed. When a copy is engraved after an original print this most often results in a reverse image: a reverse of a reverse, thus a right-way replication of the original work, but it also often results in a print that is of far lower quality. In these copies too, any number of things may have been changed, or altered. Prints of the same image sometimes exist in multiple ‘states’ which can be identified as a sequence by means of inscriptions on the plate: the first state is then frequently a print without text or numbering, or in the case of the title plate of a series, it might be incomplete in some way, for example, by missing some text, or lacking references to the designer, engraver or publisher. Another challenge that presents itself to the researcher is that in the past many engravings or series have been given very concise descriptions in the literature and auction catalogues. To compound matters, these written records are all too often provided without illustrations. The stated measurements do not always provide a proper indication either, because it is often unclear whether the measurements have been taken of the plate (image) of the engraving, or of the entire sheet, remembering here that the margins have often been trimmed, for example, in order to put the print into an album with other prints. A further predicament and obstacle for the study of prints is that in order to examine original engravings at first hand, a great deal of travel needs to be undertaken, since they are currently widely dispersed in various collections around the world.3 3

Fortunately, the situation has improved tremendously on account of various publications, such as the Hollstein and the New Hollstein series, plus the digitalization projects of many museums. However, print collections and libraries often demand excessive fees for reproductions, and ask more if the works have not yet been photographed, or properly photographed, or if they are in poor condition.

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The Uses of Prints

Prints in themselves were a cheap method of decorating walls for those who could not afford to buy paintings and they could potentially be made more decorative through the addition of watercolour paints. At the other end of the spectrum, prints quickly became a professional and aesthetic object seen as a collector’s item, creating a market in high-end works.4 In addition, engravings served as sources of inspiration for still life painters. This influence is very clearly discernible in the steadily increasing production of flower pieces that suddenly gave rise to a whole new tradition at the beginning of the seventeenth century. Furthermore, prints served as patterns for the applied arts, particularly for embroidery and furniture making. Pattern books (or series of prints that served as patterns) had been issued much earlier than the first prints of flower pieces. Nearly two hundred pattern books for embroidery, lacework and tapestry weaving are known from the sixteenth and right through to the end of the eighteenth centuries. The largest number of these works were produced in Germany: more than a hundred of such publications in the aforementioned time frame; the oldest German example, Furm oder Modelbüchlein, was published around 1523 in Augsburg by Johann Schönsperger (ca. 1480-1543), a publisher who was also active as a cloth printer. The first Italian pattern books followed in 1527, while thirty such works were published in France between 1574 and 1800. Many of these pattern books, although certainly not all of them, have images of flowers, however only a few of these can be considered examples of flower or fruit pieces, and when they can be classified as such, they are somewhat stylized and are typically rather simple and loosely structured. When dealing with flower pieces in embroidery, tapestry weaving and intarsia work (inlaid wood) for furniture, ordinary prints of flower pieces would more likely have been used as designs, as opposed to these little pattern books. This is certainly the case for flower pieces that were rendered on cabinets and other furniture in France and the Dutch Republic from the end of the seventeenth century, for which designs by Jean Baptiste Monnoyer and others served as visual models for copying. In addition, a large number of ornamental designs were published specifically to assist with decorative designs for other arts, including gold- and silversmithing. Ornamental flower prints were also used later for inspiration by decorators of porcelain objects throughout Europe, once the secret of how to make the fine ceramic material was discovered at Meissen in the early eighteenth century and manufactories had been established across Europe. Some of these prints exclusively depict flowers, as is the case with Adriaen Collaert’s (ca. 1560-1618) Florilegium (Fig. 11.3). Most of the early printed designs, however, particularly in the sixteenth century, show separate flowers, or flower and fruit swags, garlands or festoons, now and then in intricate patterns and interlaced arabesque design motifs. In these ornamental prints we do see flower and fruit pieces included as details, but almost never as independent compositions. Sometimes there are prints which approach compositions of still lifes, such as those by Pierre Ranson (1736-1786) in France.5 These images cover the whole range of possible gradations – from pure fantasies to true-to-nature representations, from loosely rendered to highly detailed, from simple compositions to fine artistic inventions. Much that was already written in the second chapter on the symbolism of flowers in painting is equally relevant to the earliest flower pieces in print. Early prints could often carry a message related to the transience of life, or a moral message about leading a virtuous life in order to attain immortality. In some cases the message was stated in an accompanying epigraph. This in no way precludes the possibility that representations of individual flowers in prints, or their associated offshoots in the applied arts, could be of quite specific significance to audiences of the past. Indeed, the prints under discussion here have had a complex history and reception, which is tricky to untangle. Most importantly we do not know for certain what the views of past audiences were on most of these flower prints and floral designs, or their occasional wider application in the decorative arts. It could well be that for some they merely had an ornamental function and existed purely to embellish and to generally enhance the attractiveness of a room, or object. For others, concerns over sensory satisfaction may well have gone hand in hand with attention to the meaning of both individual flowers and compositions as a whole. This uncertainty surrounding the possible meanings of prints of flowers to their viewers in the past is one of the factors that continues to make them intriguing and keeps them fresh for audiences today.6

4 5 6

On the art market we sometimes see hand-coloured engravings, but not infrequently the colours were added at a much later date and, in such cases, the connoisseur shows a preference for uncoloured prints. For the work of Ranson see Clouzot 1918. For more on the symbolism of flowers see Chapter 2.

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Early Prints of Flower Pieces

Precursors of the dedicated flower piece print are found in early woodcuts from the last quarter of the fifteenth century, where we sometimes see little flower vases incorporated into a more complex image, but never as independent representations. Detailed religious or allegorical engravings sometimes also included flower arrangements in containers. A relevant example of such an engraving as a forerunner to the printed independent flower piece is the print Odoratus or Smell in which a vase of Carnation, Columbine, Lily, Marigold, Roses, Rose Campion and others allegorically representing that particular human Sense, accompanies the goddess Flora (Fig. 10.1). This picture was part of a series depicting the Five Senses by Cornelis Cort (ca. 1533-ca. 1578) after Frans Floris I (1519/20-1570), as published by Hiëronymus Cock (ca. 1518-1570) in Antwerp in 1561.7 In 1592 Jacob Hoefnagel (1573-1632/33) made engravings after his father’s miniatures and published them in his book Archetypa Studiaque patris Georgii Hoefnagelii. In one of these images we see a little vase of flowers surrounded by other flowers, fruit and small creatures (Fig. 10.2).8 At approximately the same time that these engravings were published in book form by Jacob Hoefnagel, the earliest prints of flower pieces as independent compositions begin to appear. The Antwerp artist Adriaen Collaert was the first to create a flower piece in a print and included this work in his Florilegium published around 1590 (Fig. 10.15).9 In this compilation we find a small (178 x 129 mm) flower piece that was possibly influenced by a watercolour study by Ludger tom Ring II (1522-1584) executed around 1560.10 The bouquet is symmetrically composed and the flowers are somewhat stylized, but it is quite easy to identify the Rose, Pot Marigold, Daffodil, Rose Campion and Columbine.

Fig. 10.1 Cornelis Cort after Frans Floris I, Odoratus, engraving, 209 x 268 mm, Amsterdam, Rijksprentenkabinet. 7

8 9 10

Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1950-337. There is a great deal of literature about this print, with details about the collections, editions and copies, including, for example: Sellink 2000, III, pp. 110, no. 208, 115, Fig. 208/1 and Wouk 2011, II, pp. 113-114, no. 119, 117, Fig. 119/1. Related images clearly inspired by the work of Frans Floris with allegorical figures in reverse were made by Adriaen Collaert (ca. 1560-1618) after Maerten de Vos (1532-1603), published by Eduard van Hoeswinckel (died 1583) in Antwerp. Hoefnagel 1592, II.6 ‘Vna hirvndo non facit ver.’. Paris, Fondation Custodia, inv. no. PL-1(20). Segal 2001, p. 31. Segal in Amsterdam & ‘s-Hertogenbosch 1982, p. 73, no. 5; about Collaert’s Florilegium see Chapter 11. Possibly an engraving once existed of this study, a likelihood made all the more tenable by the existence of several copies of it from about 1600. Segal 1996a, I, p. 132, II, pp. 410-411, no. 86, with extensive bibliography on the Florilegium. The main similarities include the central, horizontal Rose and the Rosebud on the side (Rosa spec.), as well as the Columbine (Aquilegia vulgaris) and Rose Campion (Lychnis coronaria).

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Fig. 10.2 Jacob Hoefnagel after Joris Hoefnagel, Vna hirvndo non facit ver from Archetypa Studiaque, 1592, engraving, Fondation Custodia, Paris.

The flowers do not appear in the other plates of the Florilegium, whose entire contents were intended to serve as models for the applied arts and for the most part are copies after the woodcuts in a herbal by Matthias de l’Obel (1538-1616), known as Lobelius, of 1581, only in reverse. Adriaen Collaert had made drawings of flowers in a pot as early as 1584 as preparatory studies for a decorative border to be added to prints of a landscape by Hans Bol (1534-1593) (Fig. 10.13). After the earliest small flower piece by Adriaen Collaert, the next in sequence are two printed flower pieces dated 1599. The first is a vanitas flower piece made by Jacob Matham (1571-1631) after the design by Carel van Mander (1548-1606) (Figs 2.6 and 10.23).11 In general in the seventeenth century the image of a flower, or a grouping of flowers, immediately invoked the metaphorical meaning of the transience of life, an idea that receives its ultimate expression in this fairly large flower piece. The second printed flower piece dated 1599 is an engraving made by the Flemish-born printmaker Hendrick Hondius I (1573-1650) after a work by the Netherlandish painter Elias Verhulst (ca. 1575-1601) published in The Hague (Fig. 10.3).12 The work by Hondius is the largest early engraving of a flower piece that we know of, and at 615 x 406 mm (plate), one of the largest engravings ever executed. In this work we see a very large bouquet in a vase set before an open niche with a vista in the background: on the left a mountainous landscape, a port city and a bay with ships, and on the right a meadow with sheep. The bouquet is close and compact and contains approximately forty identifiable floral species, of which the Crown Imperial at the top is perhaps the most striking. Some critique could be offered regarding the verisimilitude of the representation of the flowers, such as that the ratios between the species are not accurate and many of the flowers have stems that are impossibly long. In addition, the vase is too narrow and small for a bouquet of this size. These things do not detract in the slightest, however, from the aesthetic pleasure of the viewer. The image is enlivened by an African Grey Parrot and a Great Spotted Woodpecker, a tortoise, a lizard, a snake, a spider and a number of insects, including a grasshopper, a butterfly and a caterpillar. The baroque vase is decorated with female figures and garlands of fruit, carrots and tubers.13 11 12 13

See Chapter 2. Copenhagen, Statens Museum for Kunst, inv. no. KKSgb5447. Orenstein 1994, p. 179, no. 242. Small compositions of fruit, carrots and tubers were being engraved at this time by the German Johann Sibmacher (1561-

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Fig. 10.3 Hendrick Hondius I after Elias Verhulst, Flower piece with African Grey Parrot and Great Spotted Woodpecker, dated 1599, engraving, 615 x 406 mm, Statens Museum for Kunst, Copenhagen.

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Fig. 10.4 Pieter van der Keere after Jacob Savery, Flower piece with parrot and peacock, engraving, 580 x 405 mm (cropped), The Metropolitan Museum of Art, New York. | 925

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The engraving by Hondius after Verhulst is important as a prototype of what would develop as the traditional style of flower painting in the seventeenth century – both in the symmetrical fan-shaped form of the bouquet and in the ‘supplements’, all kinds of insects and other creatures. In addition, the open archway setting with a landscape in the background in this print comes a full twenty years in advance of paintings with such a background created by Ambrosius Bosschaert I (1573-1621) (Fig. 6.16). Furthermore, it should be noted that flower pieces with two birds are now predominantly known from the first quarter of the seventeenth century, a large painting by Roelandt Savery (1576-1639) of 1624 being the most notable example (Fig. 6.13), but these animal motifs already appeared in the printed flower piece by Hondius in 1599.14 Two other important engravings from the beginning of the seventeenth century are flower pieces after Jacob Savery (ca. 1566-1603). One is a work by Pieter van der Keere (1571-1646) published in Amsterdam (Fig. 10.4).15 In this print we see a compact bouquet standing tall in a baroque vase resting on the backs of frogs. A parrot is perched on the left side of the vase and a peacock on the right. The other engraving was issued by Assuerus van Londerseel (1572-1635) in Rotterdam and is engraved by his brother-in-law Nicolaes de Bruyn (1571-1656) (Fig. 10.33). The engraving by De Bruyn is one of the largest prints of a flower piece now known, measuring 585 x 401 mm.16 In the bouquet there are approximately thirty-five identifiable species of flowers accompanied by twelve kinds of insects and two spiders.17 Several species depicted are identical to those in the engraving issued by Pieter van der Keere, for example the prominent Madonna Lily. The vase now rests on three dolphins instead of three frogs and is decorated with female figures with a cloven tail instead of mascarons in relief. There is an African Grey Parrot on one side of the vase, and a Sparrowhawk on the other. The birds are similar to examples in Collaert’s Avium Vivae Icones, which might have served as model for Savery or De Bruyn. A heavily damaged drawing in the Nationalmuseum in Stockholm, is strongly connected with the engraving (Fig. 10.5).18 It shows an almost identical representation, with several small differences, for example, a caterpillar and snail lower right, and more spiders and other insects. It seems to be a study after the engraving, as opposed to an original design for the print. To these seminal earliest engravings of flower pieces a work in a small format by Johan (le) Mer (active ca. 1592-1609), issued in 1609 by Claes Jansz Visscher (1587-1652) in Amsterdam, may also be added.19 Of this print only one example is known, now in the collection of the Museum Boijmans Van Beuningen in Rotterdam (Fig. 10.6).20 The bouquet has a large Tulip at the top. As a matter of fact, Claes Jansz Visscher published various copies of flower pieces, some of them dated 1609, 1616 and 1635, including a series probably published before 1615 (Figs 10.16 and 10.19).21

The Later Tradition of Printed Flower Pieces

After an initial wave of originality there followed a period of copies made in Amsterdam and elsewhere. It would take at least half a century before another phase with the right conditions could occur, bringing with it something new to the printed flower piece, this time, however, not in the Netherlands, but mainly in France and Germany.22 In the Netherlands in the last quarter of the seventeenth century the artist and engraver Johannes Teyler (1648-ca. 1709), who invented and obtained a patent for a printing 1611), who is mostly known for his books of heraldic devices. We will not pursue the multiplicity of symbolic interpretations here. The symbolism of flower still lifes and their attributes is treated by Segal in Osaka, Tokyo & Sydney 1990, pp. 23-40, with references to other literature. See also Chapter 2 and Chapter 6. 15 New York, The Metropolitan Museum of Art, inv. no. 49.95.2318. Keyes in Hollstein et al., XXIII, 1980, p. 211, no. 7. Segal in Cologne & Utrecht 1985/86, pp. 55-56, Fig. 1. 16 Amsterdam, Rijksprentenkabinet, inv. no. RP-P-2004-553. 17 The birds, insects and spiders in the engraving may be traced back to an album with plants and insects by Nicolaes de Bruyn, published in 1594 by Assuerus van Londerseel. See Chapter 11. 18 Stockholm, Nationalmuseum, inv. no. NMB 1702. 19 Johan (le) Mer was a native of Tournai in Flanders and registered as a citizen of Amsterdam in 1592. About his life and work almost nothing is known. It is uncertain whether he only supplied the designs, or whether he actually produced them. Obreen 1877-90, II, p. 274; Scheltema 1885, p. 98. According to Nagler, an engraver named Johann Mer lived with Hieronymus Wiericx in Antwerp in 1620. This information is incomplete or incorrect, since Wiericx died in 1619. Nagler 1858-79, III, p. 1101. 20 Rotterdam, Museum Boijmans Van Beuningen, inv. no. BdH 19612 (PK). Nagler mentions an edition by Abraham Goos (1589-before 1643) published in Amsterdam in 1609, but it is uncertain whether this shows the same image. Nagler 185879, III, pp. 1100-1101, no. 2858. In Hairs erroneously as ‘Imper (monogrammiste?) (circa 1600)’ and Abraham Goes. Hairs 1985, II, p. 33. 21 These were all attributed to Adriaen Collaert, but in fact these are designs by three different artists, the other two being Jacob Savery and Elias Verhulst. Segal in Osaka, Tokyo & Sydney 1990, pp. 167-169, nos 19A-C. 22 Segal & Alen, forthcoming. 14

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Fig. 10.5 Anonymous, Study of flowerpiece with African Grey Parrot and Sparrow, black chalk, watercolour and gouache, 650 x 430 mm, Nationalmuseum, Stockholm.

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Fig. 10.6 Johan (le) Mer, Flowers in a glass vase, dated 1609, engraving, 217 x 189 mm, Museum Boijmans Van Beuningen, Rotterdam. 928 |

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technique using coloured ink and not just black ink, was one of the first to experiment in the production of coloured prints. He engraved the plates for flower pieces from his own designs. His prints clearly reflect the changing attitudes to the flower piece at the end of the seventeenth century, with more feeling of depth, bent stems and hanging blooms, and foliage serving a decorative function. Teyler’s work – which was clearly influenced by Jean Baptiste Monnoyer – appeared in small print runs (Fig. 10.7).23 In imitation of Nicolas Robert (1614-1685), Jean Baptiste Monnoyer and Maria Sibylla Merian (16471717), little posies of flowers without a vase but tied together with a ribbon were engraved by artists from the Low Countries at the end of the seventeenth century and in the eighteenth century. Examples of series of such images are seen in flower pieces by Justus Danckerts I (1635-1701), engraved after French artists – including a series after Nicolas Guillaume Delafleur (ca. 1608-1663) (Fig. 10.8).24 The eighteenth century brings us prints from Dutch and Flemish designs that were published in 23 24

Fig. 10.7 Johannes Teyler after Jean Baptiste Monnoyer or Jacques Vauquer, Sunflowers and other flowers in a bronze vase, etching, inked à la poupée in brown, blue, red, orange and green, 304 x 242 mm, Rijksprentenkabinet, Amsterdam.

Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1903-A-24087. Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1964-178.

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Fig. 10.8 Justus Danckerts I after Nicolas Guillaume Delafleur, Spray of flowers, from the series Novae Florum Icones, etching, 182 x 139 mm, Rijksprentenkabinet, Amsterdam.

England or France, or else catering for the demand for pictures of flowers. For example, the English engraver Henry Fletcher, who flourished between 1710 and 1750, made the series of twelve flower pieces representing the twelve months entitled The Twelve Months of Flowers (Fig. 10.9), engraved and published in London in 1730-1731, as well as the corresponding series of 1732 The Twelve Months of Fruits, both after paintings by the Antwerp artist Pieter Casteels III (1684-1749).25 The paintings of the twelve flower pieces are currently in a private collection and last appeared on the art market at Christie’s in New York during 2005.26 The prints of both series have been provided with a list of the names of the species and varieties of flowers or fruit respectively, which are numbered unobtrusively and in the case of the flowers amounts to more than four-hundred different species. These series were coloured by hand. Indeed, these are highly significant series of engravings, as they were made for publications by the then famous British horticulturalist Robert Furber (1674-1756) and are commonly regarded as England’s first ever fully illustrated nursery catalogue advertising plants and seeds. The flower series was also re-engraved on a much smaller scale, although with considerably less attention to detail, and used as illustrations in 1732 with accompanying text in The Flower-garden display’d.27 The flower series must have been quite 25

26 27

Brussels, KBR, inv. no. F-2016-3, gift of Sam Segal, 2016. In March the vase is decorated with Hera and Zeus in a triumphal chariot with two eagles and a putto behind. The list contains thirty-four flowers: 1 Royal Widow Auricula in the lower left, the centre flower is 4 High Admiral Anemone, and at the top 22 Palto Auriflame Tulip, 21 Queen of France Narciss and 18 The checker’d Fritillaria, on the balustrade 33 The Velvet Iris, 34 Jerusalem Conslip, 8 The lesser black Hellebore and 9 Danae Auricula. For a detailed overview of the series, see Segal & Alen, forthcoming. For Pieter Casteels III as a flower painter see Chapter 9. Canvas, 76.2 x 63.5 cm, Christie’s, New York, 25 May 2005, no. 11. Furber 1732 (2nd ed. 1734), with smaller engravings by James Smith, who was active in the mid eighteenth century, and accompanied by a text authored by the botanist and gardener Richard Bradley (1688-1732). A second edition appeared in 1734 with supplements to the text.

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Fig. 10.9 Henry Fletcher after Pieter Casteels, March from the series The Twelve Months of Flowers, etching and engraving, 421 x 316 mm, KBR, Brussels. | 931

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popular: it was plagiarized by at least half a dozen separate publishers in the mid eighteenth century; and it certainly also inspired Jacob van Huysum (1688-1740), the botanical artist from the Northern Netherlands, to paint his very own series of flower paintings representing the twelve months of the year, now in the Fitzwilliam Museum in Cambridge (Fig. 9.17).28 Also in Britain, Richard Earlom (1743-1822) executed two mezzotints published during 1778 (the flower piece) and 1781 (the fruit piece) in a large format (Fig. 10.10) after two paintings of 1722 (Fig. 9.13) and 1723 by Jan van Huysum, the older brother of the aforementioned Jacob, which at the time were in the collection housed at Houghton Hall in Norfolk, the home of the first ever Prime Minister of Great Britain Robert Walpole (1676-1745), but are now in the State Hermitage Museum in Saint Petersburg.29

Fig. 10.10 Richard Earlom after Jan van Huysum, Flowers in a terracotta vase before a landscape with a statue, mezzotint, 622 x 477 mm, Rijksprentenkabinet, Amsterdam. 28 29

Grant 1950, with reproductions of all the works. Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1892-A-17632 (the flower piece) and RP-P-1892-A-17633 (the fruit piece). Hollstein in Hollstein et al. 1953, IX, p. 174, nos. 6-9 (1-2), with fruit piece. For the paintings see Chapter 9.

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Various states and diverse copies of these prints are extant, which were originally intended as part of a catalogue documenting the art collection at Houghton Hall. In the Northern Netherlands, Cornelis Ploos van Amstel (1726-1798) also made engravings of two works by Jan van Huysum, a flower piece (Figs 9.45 and 10.61) and a fruit piece, both of 1735, whilst his apprentice Bernardus Schreuder (active 1767-1780) made engravings (Figs 10.11 and 10.62) after drawings by that same artist, that are now in the Musée du Louvre in Paris and the Metropolitan Museum in New York.30 It is through such engravings that the genre of flower painting could reach a wider audience than that of oil paintings alone, both in the Netherlands and further afield and the reputation of specific artists disseminated. Pieter Schenk I (1660-1711) is a good example here of cross-cultural currents, as he was a German-born cartographer,

Fig. 10.11 Bernardus Schreuder after Jan van Huysum, Flower piece with a curtain in a niche, etching, rocked plate and aquatint, 204 x 156 mm, Rijksprentenkabinet, Amsterdam.

30

Amsterdam, Rijksprentenkabinet, inv. nos. RP-P-1959-481 (Fig. 10.61), RP-P-OB-59.105 (Fig. 10.11) and RP-P-OB-66.182 (Fig. 10.62).

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who along with his son similarly named Pieter Schenk II (1693-1775), divided their time between their workshop in Amsterdam and shop in Leipzig. Also of relevance here is that the elder Pieter Schenk participated to a small degree in popularizing flower pieces with his engravings using multi-colour printing of, for example, work by Jean Baptiste Monnoyer using Teyler’s colour printing process alluded to above, which was also adopted by the Amsterdam publisher Carel Allard (1648-1709) (Fig. 10.56).31 A very late engraved eighteenth-century flower piece featured on the title page of a book published in 1794 in Amsterdam (Fig. 10.64).32

Influences on – and from – Foreign Art

The earliest engravings of flower pieces in the Low Countries originated in the Southern Netherlands, even when these were printed in the Dutch Republic. The most important artists, as well as a number of engravers, came from the Southern Netherlands when Spanish domination drove the Protestants away. This early Flemish-Dutch graphic art tradition of flower pieces caught on in other countries, where in the eighteenth century these prints were not only copied by foreign artists, but ‘original’ engravings too were made after paintings by artists from the Northern and Southern Netherlands, particularly in England. Artists from the Low Countries also went to work in England, such as Pieter Casteels III, mentioned earlier, while in the second half of the eighteenth century a number of artists were active in France, such as the Van Spaendonck brothers. Vice versa, foreign engravings – particularly from France – were republished in Holland and Flanders, and developments in the art of printmaking elsewhere brought new impulses to the art of the Low Countries. In Frankfurt and Cologne engravings of flower pieces were published that were primarily derivative of the works of artists from the Southern Netherlands, such as Jacob Kempener (active 1586-1650) and Jacob Savery. The work of artists from the Low Countries also appeared in the florilegia published in Frankfurt. After the death of Johann Theodor de Bry in 1623, his son-in-law Matthäus Merian I (15931650) published a new edition of his Florilegium in 1626 and a revised edition in 1641. In the newer of the mentioned publications the artist included copies of engravings from De florum cultura by the Italian botanist Giovanni Battista Ferrari (1584-1655), originally published in Rome in 1633, which admirably exemplifies the cross-cultural artistic currents focused on in this sub-section.33 Ferrari’s publication included forty-five copperplate engravings, including six illustrations of vases with flowers by the Florentine artist Anna Maria Vaiana (active 1623-1650). In the second half of the seventeenth century, Nuremberg overtook Frankfurt as the foremost centre for publishing. Nuremberg already had an established tradition in the area of producing illustrated books and prints for use in the applied arts. As early as 1612 a flower piece by Georg Gärtner (1577-1654) appeared as a print.34 In Nuremberg, too, Paul (1608-1666) and his daughter Rosina Helena Fürst (1642-1709) made a series of engravings to serve as patterns for needlework and other crafts. These were often copies, for example, after Collaert’s Florilegium. The publications of Johann Sibmacher (1561-1611) were quite likely to have been an inspiration for these compositions.35 The pattern books by Fürst, both father and daughter, would have been known by Maria Sibylla Merian, who may have imitated the concept in her own three ‘Neue Blumenbucher’ published in Nuremberg between 1675 and 1680. It should be pointed out here, that Rosina’s sister, the artist Magdalena Fürst (1652-1717), is known to have received some tuition in painting from Maria Sibylla Merian, once more exemplifying the close-knit social and professional networks which existed within the overlapping spheres of art, science, and publishing, which we have witnessed time and again throughout this study.36 Amongst Merian’s work we find not only two small flower pieces, one in a basket (Fig. 10.42) and the other in a vase (Fig. 10.43), but also posies of flowers tied together with a ribbon. A few of these prints have been based on the work of the Frenchman Nicolas Robert, mentioned earlier. Maria Sibylla Merian’s work in turn inspired other artists right through to the nineteenth century. At the beginning of the eighteenth century these were primarily female followers in Nuremberg, such as the artist and engraver Susanna Maria von Sandrart (1658-1716), Amalia Pachelbel (1688-1723) and

31 32 33 34 35

Coburg, Kunstsammlungen der Veste Coburg, inv. no. XIII,233,8d. Amsterdam, Allard Pierson, Universiteit van Amsterdam, inv. no. OM 63-1075. See Chapter 11. Barker 1994, pp. 18-19. In 1597 Sibmacher had published a pattern book for needlework and in 1599 a book for use as templates for Nuremberg goldsmiths, amongst others. In 1601 he issued another pattern book for which Rudolf II granted him exclusive rights, and within three years four reprints had been issued. Little has survived of these works. 36 Kruse 2007, pp. 327-328.

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Margaretha Helm (1659-1742).37 Diverse Nuremberg print series were published or re-issued by Johann Christoph (1661-1726) and his brother Christoph Weigel (1654-1725) in the first quarter of the eighteenth century, for example those of Fürst and Adriaen Collaert. In many cases the names of the original artists and engravers were not recorded. In France too early engravers of flower pieces, such as Jean Le Clerc (ca. 1560-ca. 1624), were copyists who reproduced the work of Dutch, Flemish, as well as German artists. In 1628 a fascinating book about a Wunderkammer, that is to say, cabinet of curiosities, was published in Poitiers by two apothecaries and collectors, a father and son, namely Jacques (active 1570-1620) and Paul Contant (ca. 1562-1629) entitled Les Oeuvres. The book is a published record of the rarities exhibited in the Contants’ collection, including the flowers and plants to be found in their garden. Les Oeuvres contains a flower piece, for which it appears Paul Contant made the original drawing, which was then possibly engraved by the artist Pierre Demoges (active 1612-1635), who made further illustrative engravings for the book. The folding plate depicts a somewhat square bouquet consisting of almost sixty botanical specimens in a wide bronze dish resting on the backs of three lions, a design which is somewhat reminiscent of the work of Jacob Savery, although the style is completely different.38 The floral abundance represented in the engraving by the numbered flowers and plants is not merely an overview of species in the collection, but it is also intended to evoke a sense of wonder. It is perhaps arguably more of a botanical illustration, or study, with its many flowers compiled on a single plate, rather than an artistically composed bouquet and as such, may display an influence of early Florentine scientific illustration, as in the work of Girolamo Pini (active 1610-1620).39 When it comes to engraved flower pieces in vases or baskets Jean Baptiste Monnoyer is without a doubt the leading figure of the seventeenth century. He was employed to produce designs with fruit and flowers for both the Beauvais and the Gobelins tapestry workshops, but tapestry makers elsewhere, including Soho in London, sought inspiration from his engravings into the eighteenth century, which testifies to the broad influence of his work, to its wide appeal and its actual use beyond the printed page. During his lifetime Jean Baptiste Monnoyer received numerous commissions from the French and English nobility and aristocracy and of particular relevance here, these included many fruit and flower chimneypieces and overdoor paintings. Approximately twenty-five series of engravings are now known by Monnoyer, which include flower pieces, posies, festoons, garlands and wreaths. A number of these series are made up of just a few engravings. Most of the engravings are rare to find individually, and this is even more true regarding complete series. Monnoyer’s flowers – in relatively open bouquets – bend or hang down aesthetically in different directions, or trail along the plinth, which is usually a narrow balustrade. The vases, decorated in the typical French style, have often been given an elegant but unrealistically small foot (Fig. 10.12).40 In addition, many prints show flower baskets in both horizontal and vertical shapes. In art history Monnoyer is traditionally known for his oil paintings, which brought various important innovations and had a tremendous influence on flower painting in the eighteenth century. It was the circulation of his prints, however, that guaranteed a French decorative influence on the arts of the Low Countries in this period. In general, we can assume that, as far as engravings are concerned, the art of the Northern and Southern Netherlands was inventive, both in subject matter and in technique, while remaining rooted in religious and moral themes. Although a generalization, German art, on the other hand, was systematic in carrying out and fostering various types of subject matter, including those for series of designs for use in, for example, embroidery, or recording and disseminating the results of scientific research. In relation to this last point we might think of those carefully observed botanical and entomological illustrations by the naturalist Maria Sibylla Merian, or indeed the series of topographical prints published by her father Matthäus Merian I. It can also be observed in relation to the production and making of prints, that British art at this point in time displayed a profound interest in refining the techniques of mezzotint and multi-colour engraving, which it excelled at, while simultaneously demonstrating an intellectual orientation. The French art of printmaking was first and foremost decorative, which is intended to 37 For these Nuremberg’s artists see Ludwig 1998, pp. 92-94; a print with a portrait of Maria Sibylla Merian by Margaretha Helm, published in 1785, is encircled by a flower wreath designed by Merian herself, but then in reverse. 38 This plate may originally have been intended as a series of four to represent the Seasons, because although I am only familiar with a single impression taken from a reproduction, this shows, under the triangular base below the lion supports, a ram (Aries), a bull (Taurus) and twins (Gemini), the astrological symbols of Spring. 39 Similar studies – but without the vase – we also see in the work of Girolamo Pini from about 1615. See, for example, Tomasi 1997, pp. 63-66. 40 Amsterdam, Rijksprentenkabinet, inv. no. RP-P-2011-65-6.

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Fig. 10.12 Jean Baptiste Monnoyer, Flowers in a vase from the series Livres de Plusieurs Vaze de Fleurs faicts d’apres le Naturel, etching, 487 x 372 mm, Rijksprentenkabinet, Amsterdam.

be understood in a positive way here, as opposed to being a pejorative term to imply superficiality, and this appealing decorative quality is something that is not only evident in the works of Monnoyer, but also in the great number of series of ornamental patterns published for the applied arts.

Dutch and Flemish Printmakers of Flower Pieces up to 1800

The overview below is arranged by printmaker as chronologically as possible. The designer and/or publisher of a print will always be mentioned, whenever known. From time to time more than one printmaker, or publisher executed an identical or slightly modified design. In such cases, printmakers are not always treated separately, but are mentioned under the entry of the original printmaker. When used as reference material for artists, printmakers, and/or publishers these entries should, therefore, be used strictly in conjunction with the index, in order to pinpoint the precise information sought after. As in 936 |

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the previous chapters, the aim was to provide at least one illustration of a work by each printmaker and, if necessary, to furnish it with determinations and relevant contextual information. As explained earlier, this is not a complete overview of all known flower pieces in print. The chapter is limited with few exceptions to Dutch and Flemish printmakers of flower pieces up to 1800.41

Adriaen Collaert

Adriaen Collaert was born in Antwerp around 1560. He is documented in 1580 as a master’s son in the Antwerp Guild of Saint Luke. In 1586 he married Justa Galle, the daughter of Philips Galle (1537-1612), who was the publisher for whom he carried out much work and possibly his teacher. Collaert also published independently, as well as with Eduard van Hoeswinckel (died 1583) and his wife Anna de Jode (1553-1603), Hans van Luyck (ca. 1518-after 1580) and Jan Moretus (1543-1610). Collaert died in Antwerp in 1618. Adriaen Collaert made designs and engravings of various subjects, including religious images, after contemporary artists. Furthermore he made ornamental borders with flowers and animals for other artists’ works, such as a print of 1584 which, although very simple, is in fact the earliest example of an engraving of a pot with a flowering plant (Figs 10.13 and 10.14). For the first real engraving of a true flower piece we have to look in Collaert’s Florilegium (Figs 10.15 and 11.2), a pattern book with flowers that should probably be dated circa 1590. Adriaen Collaert also made print series of animals, in particular of birds and fish. His compositions were often copied and imitated, for example by Claes Jansz Visscher after 1610 and in the eighteenth century by Joshua (1704-1765) and Reinier II (1729-1793) Ottens.42 Adriaen Collaert, Flowerpot with a Reed Orchid in an ornamental border around a landscape with the sacrifice of Isaac by Hans Bol - Pen and brown wash, 145 x 210 mm, signed and dated in the centre below in the main image: HBol 1584 (Fig. 10.13) The Art Institute of Chicago, Chicago, inv. no. 2001.322.43 - Engraving, 139 x 207 mm, signed below in the ornamental border Eduar. ab Hoeswinkel excud. Ant. / Iohan. bol inventor (Fig. 10.14) Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1892-A-17534.44 An example is given here of a preparatory study (Fig. 10.13) for an engraving (Fig. 10.14). The engraving is the reverse of a study from a series of twenty-four landscapes with Biblical, mythological, and hunting scenes engraved by Adriaen Collaert after designs by Hans Bol (1534-1593), which was published by Eduard van Hoeswinckel and his wife Anna de Jode. The main image shows a landscape with the sacrifice of Isaac (Genesis 22:10). This scene has been given a border containing flowers and animals. Within the border, on both the left and the right, is a monkey with a flowerpot on its head containing a Reed Orchid (Dactylorhiza praetermissa), formerly a common Orchid species in swampy areas of the Low Countries. A second print from the series shows a flowerpot with a Lupine on either side and in the main image a mountainous landscape with Judah and Tamar (Genesis 38:16-18).45 A third print shows Jacob lying asleep under a tree dreaming that the angels are going up and down a ladder, descending from heaven and returning to God (Genesis 28:12). In the frame in the centre above and below is a turtle amidst Roses, a Peony, Pansies and a double Carnation, with a few insects.46 A fourth print has borders with a Lily on the left and Tulips to the right. In the central image we see the pilgrims on the way to Emmaus accompanied by Christ on the right (Luke 24:13-19).47

41 42 43 44 45 46 47

Segal & Alen are publishing an overview of the flower still lifes in print from the Netherlands, Belgium, Germany, Austria, France, England and Italy with full descriptions, editions, provenance and literature. For further details on the life and work of Adriaen Collaert see Diels & Leesberg 2005-06. Restricted gift of Dorothy Harza in memory of Laura Harza to the Art Institute of Chicago; Mielke & Hautekeete 2015, I, p. 153, no. 127. Diels & Leesberg 2005-06, II, p. 241, no. 449, 248, Fig. 449/1; Mielke & Hautekeete 2015, I, p. 153, no. 127. See, for example, the engraving in Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1892-A-17538 (142 x 209 mm); Diels & Leesberg 2005-06, II, pp. 242, no. 453, 250, Fig. 453/1. See, for example, the engraving in Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1892-A-17537 (142 x 209 mm); Diels & Leesberg 2005-06, II, pp. 242, no. 452, 249, Fig. 452/1. See, for example, the engraving in Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1892-A-17549 (141 x 208 mm); Diels & Leesberg 2005-06, II, pp. 245, no. 464, 255, Fig. 464/1.

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Fig. 10.13 Adriaen Collaert, Flowerpot with a Reed Orchid in an ornamental border around a landscape with the sacrifice of Isaac by Hans Bol, pen and brown wash, 145 x 210 mm, dated 1584, The Art Institute of Chicago, Chicago.

Fig. 10.14 Adriaen Collaert, Flowerpot with a Reed Orchid in an ornamental border around a landscape with the sacrifice of Isaac by Hans Bol, engraving, 139 x 207 mm, Rijksprentenkabinet, Amsterdam.

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Fig. 10.15 Adriaen Collaert, Flowers in a decorated vase, with dropped petals, from the Florilegium, engraving, 178 x 129 mm, Rijksprentenkabinet, Amsterdam. | 939

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Adriaen Collaert, Flowers in a decorated vase, with dropped petals, from the Florilegium (Fig. 10.15) Engraving, 178 x 129 mm, in the lower left the number 3 Rijksprentenkabinet, Amsterdam, inv. no RP-P-BI-5992.48 The earliest print of an independent flower piece, as already mentioned, is contained in Adriaen Collaert’s Florilegium published by his father-in-law Philips Galle around 1590 in Antwerp. In a pear-shaped vase decorated with mascarons between delicate swags the following species can be identified by comparing coloured flowers to paintings and drawings that have been influenced by Collaert: Lily of the Valley Austrian Briar Carnation Periwinkle Silverweed foliage Saxifrage Strawberry Goosefoot Daffodil Forget-me-not Creeping Bell-flower Rose Campion Columbine Frankfurt Roses Pot Marigold Persian Fritillary

Convallaria majalis Rosa foetida Dianthus caryophyllus Vinca minor Potentilla anserina Saxifraga spec. Chenopodium foliosum Narcissus pseudonarcissus Myosotis palustris Campanula rapunculoides Lychnis coronaria Aquilegia vulgaris Rosa turbinata Calendula officinalis Fritillaria persica

Fig. 10.16 Claes Jansz Visscher after Adriaen Collaert, Flower piece with a bird of paradise and a parrot, engraving, 186 x 134 mm, Rijksprentenkabinet, Amsterdam. 48

Segal 1996a, I, pp. 131-132, II, pp. 410-411, no. 86. Diels & Leesberg 2005-06, VI, pp. 245, no. 1564, 249, Fig. 1564/1. For Collaert’s Florilegium, see Chapter 11 and Diels & Leesberg 2005-06, VI, pp. 244-254.

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Fig. 10.17 Anonymous after Adriaen Collaert, Flowers in a decorated vase, with dropped petals, a small vase and a small jug, engraving, 121 x 91 mm, Rijksprentenkabinet, Amsterdam.

On the ledge are a few fallen petals. The foreground has been horizontally shaded. The shadow on the left with cross-hatching indicates a light-source from the right. The reverse is usually the case in paintings and drawings, which leads one to suspect that the engraving was made after a drawing. Such designs have usually not been preserved. The vase with its tiny foot does not look very stable, and it remains questionable whether such vases ever actually existed. These may be compared with Hoefnagel’s ornamental vases (Figs 5.14-17). Based on Collaert’s Flowers in a decorated vase, with dropped petals, Claes Jansz Visscher published Flower piece with a bird of paradise and a parrot (Fig. 10.16), number four from a series of six flower pieces, with the additions of a bird of paradise, a parrot, a bird in flight passing a tree trunk, a butterfly, a warble fly, a dragonfly, a grasshopper and Clover and Plantain.49 Another version, in reverse and partially hand-coloured, shows alterations to the decorations on the vase, plus the addition of a small vase with two handles on the left and a small jug on the right, in a different style, without inscriptions (Fig. 10.17). The anonymous print is in a collector’s album with, among other things, a series of the Four Seasons, some of which bear the inscription: Weduwe Knobbaert excudit, with the same watermark: a double eagle with a large crown. The widow of Knobbaert can be identified with Maria de Man, who, after the death of Jan Knobbaert in 1637, continued the printing business.50 49

50

Amsterdam, Rijksprentenkabinet, inv. no. RP-P-2013-1-62, gift of Sam Segal with two other engravings from the series. Segal in Osaka, Tokyo & Sydney 1990, pp. 167-169, no. 19B. A reversed version was published by Hans Jacobs. Here the table-top has been replaced by a little hill, with a tree trunk and a parrot on the left and the right; in the upper left is a dragonfly. Some flowers have been replaced by double Carnations and others. The parrots are copied from Adriaen Collaert’s Avium Vivae Icones, II, no. 1. Pieper 1979, pp. 328, 330, no. 174. Amsterdam, Rijksprentenkabinet, RP-P-2004-330-50. The album was possibly compiled in Antwerp between 1635 and 1660. Diels & Leesberg 2005-06, VI, p. 245 under no. 1564. Duverger 1984-2002, III, p. 223.

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Adriaen Collaert, Flower piece with Irises at the top (Fig. 10.18) Engraving, 285 x 186 mm, in the lower left: Adrian. Collaert Sculp. / Phls Galle excud. Museum Boijmans Van Beuningen, Rotterdam, inv. no. BdH 13118 di (PK).51 Apothecary’s Rose Pansy Pot Marigold Cornflower Rose Campion False Larkspur German Flag Carnation Rampion

Rosa gallica cv. Officinalis Viola tricolor Calendula officinalis Centaurea cyanus Lychnis coronaria Consolida ajacis Iris germanica Dianthus caryophyllus Campanula rapunculus

The pear-shaped vase with its tiny foot is decorated with seraphim, ornamental flowers and mascarons between garlands adorning the neck. On the table we see fallen petals and a Rose leaf. If this print is the original version, it must have been issued in, or before 1611, as a similar version exists in reverse, which bears that particular date and was published by Hendrick Hondius I.52 Another version was published

Fig. 10.18 Adriaen Collaert, Flower piece with Irises at the top, engraving, 285 x 186 mm, Museum Boijmans Van Beuningen, Rotterdam. 51 52

Diels & Leesberg 2005-06, VI, pp. 256-256, no. 1586, Fig. 1586. Schaeps suggests that the engraver was Simon Frisius (ca. 1570-ca. 1628/29). Schaeps 1994, p. 261.

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Fig. 10.19 Claes Jansz Visscher after Adriaen Collaert, Flower piece with Irises at the top, with a mountain landscape, engraving, 188 x 133 mm, Rijksprentenkabinet, Amsterdam.

by Claes Jansz Visscher (Fig. 10.19).53 Additions include a brick archway with a vista of a mountainous landscape in the background, a structure on a hill on the left, and the thick hairs on the stems of the Roses, in addition to some other alterations.54

Crispyn de Passe I

Crispyn de Passe I was born in Arnemuiden near Middelburg around 1564. He made drawings, engravings, and was the publisher of approximately 14,000 prints and print series covering a tremendous number of subjects. Crispyn was a Mennonite. About 1580 he settled in Antwerp, attracted by the wealth of experience, that the graphic artists there had to offer, but had to flee in 1588 when the Spanish took over and banned all forms of the Christian religion apart from Catholicism. Via Aachen he made his way to Cologne where he settled in 1589 and it is there, that he started a publishing house specializing in prints with his wife, Magdalena de Bock (active ca. 1591-1635). In 1611 he again had to flee for religious reasons and settled this time in Utrecht. He also collaborated with Johannes Woutneel (ca. 1550-ca. 1608) in London. Crispyn I was the father of Crispyn II (ca. 1594-1670), Simon (ca. 1595-1647) (Fig. 2.7), Willem (1598-ca. 1637) and Magdalena (1600-1638), all of whom he trained in the profession. Crispyn de Passe I died in Utrecht in 1637.55 53 54

55

Amsterdam, Rijksprentenkabinet, inv. no. inv. no RP-P-2013-1-61, gift of Sam Segal with two other engravings from the series. Segal in Osaka, Tokyo & Sydney 1990, pp. 167-169, no. 19C. Michael Snyders (ca. 1586-ca. 1672), Jean le Clerc (ca. 1560-ca. 1624) and another anonymous printmaker published copies after the Visscher print in Antwerp and Paris. Hairs 1985, I, p. 27. It is possible that there is some confusion by Hairs about engravings by Collaert and/or Kempener published by Le Clerc; De Jong & de Groot 1988, pp. 54, 64; Schatborn in Amsterdam 1994a, p. 10 and Cottino in Turin 2000, p. 87, Fig. 1. For further details on the life and work of Crispyn de Passe I and his family, see Franken 1881, Veldman 2001, Veldman 2006.

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Fig. 10.20 Crispyn de Passe I, Ornamental border around Ver Veneris after Maerten de Vos, engraving, 197 x 217 mm, KBR, Brussels.

Crispyn de Passe I, Ornamental border around Ver Veneris after Maerten de Vos (Fig. 10.20) Engraving, 197 x 217 mm, in the lower left Martin de Vos inventor, in the lower right Cr. de Pass f. et excudit; whilst in the lower right of the ornamental border is the number I KBR, Brussels, inv. no. S.IV 12600.56 In the upper left of the main image are three small symbols of the Zodiac representing Aries, Taurus, and Gemini, in turn referring to the Spring months, which are placed under the words VER VENERI S (‘Springtime of Venus’/ ‘Revere Spring’). Under the image are two columns each with two lines of text that together read: Cum viridi rident vernantes gramine campi, Et pictis pascunt horti oculos oculis; Alma Venus colitur; Venerem genus omne animantum, Sentit: amat blando tempore blanda coli. (‘When the fresh green beckons from the grass of the fields, And animals put out to graze feast their eyes on the buds of painted flowers, It is time to worship all-nurturing Venus, all Venus’ living creatures Can feel it: she loves to be honoured with caresses at this charming time.’)

56

Boon & Verbeek in Hollstein et al. 1964, XV, p. 199, no. 560; Schuckman in Hollstein et al. 1996, XLIV, pp. 282-283, no. 1420(1423); XLVI, p. 210, Fig. 1420.

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And below we find a dedication to Joris Hoefnagel (1542-1600): Ornatissimo solertissimoque viro Georgio Hueffnagello Belgæ, amicitiæ et observantiæ ergo Crispianus Passæus sculptor dedic. consecratque. (‘To the most excellent and ingenious George Hoefnagel of Belgium, in friendship and respect, dedicated by Crispin de Passe, engraver.’) The central image after Maerten de Vos (1532-1603) shows Venus sitting against a tree in the foreground, her hair adorned with a wreath of flowers and holding in her raised left hand a bunch of flowers, while with her right hand she caresses a crying Cupid who has been stung by a bee. There is a moral here that pleasure is frequently accompanied by pain. On the left we see three beehives in the garden of a country house with human figures in the background. On the right we see a tree trunk and a baroque vase holding a bouquet that includes Roses, Peonies and Carnations. The border also displays two similar baroque vases with three handles visible. The left one has been filled with German Iris and Snake’s Head Fritillary, accompanied by insects including a beetle and a bee, while a sprig of Lily of the Valley lies strewn at its foot; the right vase has been filled with a Tulip, Columbine and other flowers, accompanied by a butterfly and a dragonfly, with a caterpillar creeping along the ground beneath. Above and below the border horizontal flower swags are displayed with Roses, Marigolds, Carnations, Columbine, Daffodils, Tulips and other flowers. The paintings of the allegories of the Four Seasons by Maerten de Vos were formerly in the Palazzo Colonna in Rome.57 The story of Cupid and Venus depicted here is based loosely on The Honey Stealer of Eidyllion, or Idyll 19, which previously used to be attributed to Theocritus of Syracuse (ca. 300 BCE), but is today regarded as an anonymous story, which has been reworked many times in Western art and literature. The prints themselves were probably executed in the last decades of the sixteenth century. The idea of placing vases on either side of the image in a border was possibly inspired by Adriaen Collaert (Fig. 10.14). Nicolaes de Bruyn engraved copies of the series in reverse, without epigraphs and with some small changes, such as a ladybird instead of a caterpillar.58

Hendrick Hondius I

Hendrick Hondius I was born in Duffel in 1573, and registered in the Guild of Saint Luke in The Hague in 1597. He made drawings of landscapes and portraits, and in addition was active as an engraver, publisher and theorist of aesthetics. He died in The Hague in 1650, having also worked in other locations in the Low Countries and abroad.59 Hendrick Hondius I after Elias Verhulst, Flower piece with African Grey Parrot and Great Spotted Woodpecker (Fig. 10.3) Engraving, 615 x 406 mm, in the lower left: Helias.Verhulst;Inventor, below right of centre: Henr. hondius. scalp.et.excudit.hage, and in the lower right: 1599 Statens Museum for Kunst, Copenhagen, inv. no. KKSgb5447.60 In 1599 Hendrick Hondius I produced and published the Flower piece with African Grey Parrot and Great Spotted Woodpecker in The Hague after a work by Elias Verhulst. Elias Verhulst was born around 1575 in Mechelen. In 1589 he married Kathelijne Doudaer of Antwerp in Delft. In 1598 Arnoldus Buchelius visited him in Delft and saw paintings there with many flowers.61 The bouquet contains thirty-six different botanical species. In addition to the Crown Imperial (Fritillaria imperialis), we also see a Martagon Lily (Lilium martagon) in the top of the bouquet above a Peony (Paeonia officinalis) and a German Iris (Iris germanica). The bronze vase, decorated with female figures and garlands of carrots and tubers, has been set under an open archway that looks out on the left over a bay with a city and a harbour, and on the right over a hilly landscape with sheep. On a branch to the left an African Grey Parrot (Psittacus erithacus) is perched, and to the right a Great Spotted 57 58 59 60 61

Safarik 1996, II, p. 639, no. 213. 167 x 207 mm, Göttweig Abbey, Furth bei Göttweig. For Hondius as an engraver and publisher, see Orenstein 1994 and 1996. Hollstein in Hollstein et al. 1953, IX, p. 87, no. 24; Orenstein 1994, p. 179, no. 242; Segal 2002, pp. 58, 62, Fig. 4; Van der Waals 2006, p. 150, no. 227. Hoogewerff & Van Regteren Altena 1923, p. 177 n. 1; see Chapter 6.

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Woodpecker (Picoides major); we also see a snail, a lizard and a large caterpillar. In the foreground we can further identify a tortoise, a spider and a grasshopper, left of centre a spider in a web, a bumblebee on the Iris in the upper left and in the upper right a butterfly. Directly and indirectly the flower piece of Hondius after Verhulst with the Crown Imperial and two birds inspired Dutch, French and English printmakers up to the twentieth century. In the seventeenth century, Claes Jansz Visscher published several variations of it. For example, there is an early version with a Partridge at the bottom left and an African Grey Parrot at the bottom right, a butterfly in the upper right corner and a bumblebee in the upper left corner, along with flowers in a vase decorated with mascarons and garlands on four satyrs. There is also a further simplified adaption of it dated 1616 (Fig. 10.21).62 A much larger (358 x 258 mm) version was published by Visscher in Amsterdam in 1635 with various addions, for example two butterflies in the upper left and right, a grasshopper and a spider in a web in the lower left, and a bee in the centre right (Fig. 10.22).63 At the top around the Crown Imperial there is the inscription: Alle vleesch is hooij – (Mensch) draacht geen roem, / en u heerlijcheijt – is als een bloem, Esaie 40 (‘All flesh is grass, and all the goodliness thereof is as the Flower of the field, Isaiah 40’).64

Fig. 10.21 Claes Janz Visscher after Hendrick Hondius I after Elias Verhulst, Flower piece with a Partridge and an African Grey Parrot, dated 1616, engraving, 247 x 140 mm, Universiteitsbibliotheek, Wageningen. 62

63 64

The early print with a Partridge and an African Grey Parrot is part of the series published by Claes Jansz Visscher, see Amsterdam, Rijksprentenkabinet, inv. no. inv. no RP-P-2013-1-60, gift of Sam Segal with two other engravings from the series. Segal in Osaka, Tokyo & Sydney 1990, pp. 167-169, no. 19A. The 1616 version by Visscher can be found in Wageningen, Universiteitsbibliotheek, inv. no. R340B15-08, fol. 68. Braunschweig, Herzog Anton Ulrich-Museum, inv. no. CJVisscher-Verlag AB 3.159a. Renger in Vienna & Essen 2002, pp. 143, 145, Fig. 6, no. 30; Van der Waals in Rotterdam 2006, p. 13, Fig. 5. Isaiah 40:6-8. This passage is often alluded to in texts that address the theme of transience, see Chapter 2.

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The different versions of Visscher, after Hondius and Verhulst, served as models for prints published by Jean Le Clerc in 1615 in Paris and by Abraham de Coninck (1586/88-after 1619) in Amsterdam.65 In addition, a related image of a vase with flowers is included in late editions dated 1633 and 1636 of The Herball or Generall Historie of Plantes (orginally published in 1597) by the English botanist John Gerard. Finally, in the nineteenth century, (penny) prints based on the works of Visscher were still being published in Amsterdam by the widow of Hendrik Rijnders and in Rotterdam by Wijsmuller and Theodorus Johannes Wijnhoven-Hendriksen.66

Fig. 10.22 Claes Janz Visscher after Hendrick Hondius I after Elias Verhulst, Flower piece with a Partridge and an African Grey Parrot, dated 1635, engraving, 358 x 258 mm, Herzog Anton Ulrich-Museum, Braunschweig. 65 66

Segal in Osaka, Tokyo & Sydney 1990, pp. 167-168 under no. 19A. Van Veen 1976, p. 106 under no. 84.

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Jacob Matham

Jacob Matham was born in Haarlem in 1571. He was a draughtsman, engraver and publisher. Matham served an apprenticeship with his stepfather Hendrick Goltzius (1558-1617) and made many engravings of portraits and other subjects after Dutch and Italian artists. Matham died in Haarlem in 1631.67 Jacob Matham after Carel van Mander, Flower piece with vanitas motifs (Figs 2.6 and 10.23 (detail)) Engraving, 392 x 308 mm, in the lower left: KVMandre.Inventor. (‘KVM’ in monogram), in the lower right: JMaetham.sculptor.et.excud. (‘JM’ in monogram), and in the lower centre: Anno.1599 Rijksprentenkabinet, Amsterdam, inv. no. RP-P-OB-6580.68 Flower piece with vanitas motifs is one of the earliest vanitas flower pieces. It was designed by Carel van Mander and engraved in 1599 by Jacob Matham. Carel van Mander was born in 1548 in Meulebeke near Kortrijk. In 1582 he fled the Southern Netherlands for religious reasons and an outbreak of plague and settled in Haarlem. He painted and made drawings primarily of religious and mythological subjects. In addition, he was the author of a number of works, including the important Schilder-boeck, a massive compilation of biographies of artists from the Northern and Southern Netherlands first printed in 1604. In that same year he moved to Amsterdam, where he died in 1606.

Fig. 10.23 Detail of Fig. 2.6. 67 68

For Matham as an engraver and publisher see Widerkehr & Leeflang 2007-08. Amsterdam, Rijksprentenkabinet, inv. no. RP-P-OB-6580; Widerkehr & Leeflang 2007-08, II, pp. 47-48, no. 164, Fig. 164.

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In the centre of the engraving is a bouquet of flowers in a tall vase, which is placed on a deep ledge before two arches. These openings frame a mountainous landscape with some sparse figures and buildings. On the left there is a putto holding up a text, and on the opposite side of the vase is a skeleton sitting up in a sarcophagus similarly holding aloft a text, as well as an arrow. Additionally on display on the windowsill is a weaver’s shuttle, an hourglass, and a censer. To add to the overall gloomy sense of foreboding there is also a skull and a gory severed hand, whilst the shadow on the wall of a figure, who is not present, is an eerie touch. The symbolic items included in the picture along with the texts all point to the composition’s melancholy underlying concepts of transience and death.69 Portions of this engraving, such as the putto and the figure of Death on the coffin, were copied by Claes Jansz Visscher about 1620 in a print on the stages of human life.70

Johann Theodor de Bry

Johann Theodor de Bry was born in Strasbourg in 1561, the son of the engraver Theodor de Bry (15281598), although the family later moved to Frankfurt. Johann Theodor’s daughter Maria Magdalena was married there to the renowned engraver and publisher Matthäus Merian I. Johann Theodor designed and made engravings of diverse subjects, including the Florilegium novum of 1611 (Figs 11.15 and 11.16). He died in 1623.71 Johann Theodor de Bry after Jacob Kempener, Polyptoton de Flore (Figs 10.24-29) Engraving, 300 x 220/223 mm, inscribed on the left: Iacobus Kempener (or Kempe:, Kempenerio) pinxit (or pix., in., pinx.) and on the right: Io: Theodor de brij sculpsit (or scalp:, scalp., scalps) Rijksprentenkabinet, Amsterdam, inv. nos RP-P-2004-317 to 322.72 Johann Theodor de Bry engraved a series of flower pieces after Jacob Kempener entitled Polyptoton de Flore. Little is known about Kempener. He was born in Brussels and from 1586 active in Frankfurt. The Polyptoton de Flore series consists of six symmetrical flower pieces numbered 1 to 6 in the lower left and shows squarish bouquets in vases with a little foot decorated with a variety of grotesques, set on a table-top, whose sides have been drawn at an exaggerated angle to the vanishing point. Towards the bottom of each plate there is a text in a banderole, or scroll, and above these there are inscriptions on the table-top (1), or else along its edge (2-6). The bouquets are supplemented by small creatures. The engravings have all been given a very fine decorative printed ‘frame’. Every engraving is accompanied by a Latin text, the first with a title in a combination of Greek and Latin: ΠΟΛΥΠΤΩΤΟΝ DE FLORE. Polyptoton is often translated to refer to the diversity and variety in form of flowers. Strictly speaking, however, the word polyptoton in the title refers to the stylistic repetition of the same root word and here each of the lines of text below the flower pieces begins with the word flos (flower) in the six grammatical cases from nominative to ablative. The series is also innovative in another way: when we lay out the six numbered sheets in the right order next to each other a perspectival connection between them emerges. The table-tops in 1 and 6 are triangular, receding sharply towards a mid-point in the background; 2 and 5 exhibit a longer and thinner trapezium; and 3 and 4 a shorter and thicker trapezium. As a result, when the prints are laid out in order next to each other the series forms an optical whole.73 The texts have already been given in Chapter 2 but are repeated here for ease of reference.

69 This engraving is extensively discussed in Chapter 2 in the subsection on vanitas. 70 See, for example, Amsterdam, Rijksprentenkabinet, inv. no. RP-OB-200.790. Many later copies of this engraving are extant. Widerkehr & Leeflang 2007-08, II, p. 47. 71 Johann Theodor de Bry, strictly speaking, does not sit easily alongside the other Flemish printmakers of flower pieces. Be that as it may the early date and exceptional iconography of the series dealt with here, in addition to his interconnectedness (and that of his family) with Flemish and Dutch artists, printmakers and publishers, means that he needs to be included in the canon. About Johann Theodor de Bry and the Florilegium novum see Chapter 11. 72 Hollstein in Hollstein et al. 1951, IV, p. 43, nos 451-456; Hollstein in Hollstein et al. 1953, IX, p. 234; Segal 1997, p. 69. 73 This unity was first observed by Ger Luijten, then head of the Rijksprentenkabinet in Amsterdam.

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Figs 10.24-29 Johann Theodor de Bry after Jacob Kempener, Polyptoton de Flore, engraving, 300 x 220/223 mm, Rijksprentenkabinet, Amsterdam.

No. 1 (Fig. 10.24) ΠΟΛΥΠΤΩΤΟΝ DE FLORE / FLOS speculum vitæ modo vernat et interit aura (‘The Flower is a mirror of life that blooms a moment then withers with the wind’) Poppy Anemone Columbine Sweet Rocket Lady’s Slipper (2x) Tulips (3x)

Anemone coronaria Aquilegia vulgaris plena Hesperis matronalis Cypripedium calceolus Tulipa div. spec.

Around the bouquet we see a Honeybee (Apis mellifera), a Hoverfly (Syrphidae spec.) and an Ichneumon Fly (Ichneumonidae spec.). The upper portion of the vase is decorated with a winged figure with two curled tails, the lower portion with a mascaron. No. 2 (Fig. 10.25) FLORIS imago fugax rapidi nos admonet ævi (‘The quickly changing image of the Flower reminds us of eternity’) Star Anemone Carnation French Rose Horned Poppy Brueghel Nasturtium False Larkspur Daylily

Anemone hortensis Dianthus caryophyllus Rosa gallica Glaucium flavum Tropaeolum brueghelianum Consolida ajacis Hemerocallis spec.

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The vase is decorated with a fruit garland below the head of a little cherub, which has a ribbon entwined above it, whilst two handles are shaped as winged nymphs. To the left and right of the vase there is a moth and another insect. No. 3 (Fig. 10.26) FLORI par iuvenis tener est crescentibus annis (‘The tenderness of youth in the increasing years is like the tenderness of a Flower’) Pot Marigold Nettle-leaved Bell-flower Crown Anemone French Rose Lavender Rosemary White Lily Dog’s Tooth Violet Pansy

Calendula officinalis plena Campanula trachelium Anemone x fulgens Rosa gallica Lavandula angustifolia Rosmarinus officinalis Lilium candidum Erythronium dens-canae Viola tricolor

The vase has two cheeks like snail shells finishing in mascarons on either side, with a little line of fishes strung up in the centre below, and snails under the mascarons. Around the bouquet there is a Greenbottle Fly (Lucilia caesar) and an Ichneumon Fly (Ichneumonidae spec.). In the upper right there is a caterpillar (Lepidoptera spec.).

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No. 4 (Fig. 10.27) FLOREM si ostendet feret ipso tempore fructum (‘If it displays the Flower, it bears the fruit at that same time’) Poppy Anemone Liverwort Sweet Briar Snake’s Head Fritillary Spanish Iris Winter Aconite

Anemone coronaria & plena Hepatica nobilis Rosa rubiginosa Fritillaria meleagris Iris xiphium Eranthis hyemalis

To the right there is a spider (Araneae spec.) on a thread and to the left a Hoverfly (Syrphidae spec.). The vase is decorated with the head of a woman and other ornaments, its handles have the shape of goat’s head mascarons. No. 5 (Fig. 10.28) O FLOS sic Vernans iuvenili ætate pudorem (‘O Flower, let modesty bloom in the Spring of your youth’) Oxlip Marguerite French Marigold Alpine Clematis Foxglove Apothecary’s Rose Plus some other species

Primula elatior Leucanthemum vulgare Tagetes patula Clematis alpina Digitalis purpurea Rosa gallica cv. Officinalis

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Below there is a Garden Snail (Cepaea hortensis) and a House Fly (Musca domestica). The vase is decorated with a grotesque face in its centre, whilst lionesque mascarons appear on its left and right. No. 6 (Fig. 10.29) A FLORE accipias honeste Vivere discas (‘You can learn to live virtuously by understanding the Flower’) Sweet Rocket Periwinkle Star Anemone Crocus Lily of the Valley Turk’s-cap Lily English Iris Peacock Anemone Plus some other species

Hesperis matronalis Vinca minor Anemone hortensis plena Crocus spec. Convallaria majalis Lilium chalcedonicum Iris latifolia Anemone pavonina

A Diadem Spider (Araneus diadematus) hangs on a thread, along with a Lesser Housefly (Fannia canicularis) and an Ichneumon Fly (Ichneumonidae spec.). The vase is decorated with lion mascarons on either side of an ox-head and has snake-shaped handles. Since Hans Volmer (1927) the literature has dated the Polyptoton de Flore series as from 1604, based on the series in reverse given this date by the engraver and publisher Johann Bussemacher (active 15801613) in Cologne (Fig. 10.30).74 According to Hairs the Bussemacher series is the original since there are shadows on the right, while in De Bry’s Amsterdam series the shadows are on the left, as is usually the

Fig. 10.30 Johann Bussemacher after Jacob Kempener, Polyptoton de Flore, engraving, 287 x 228 mm, KBR, Brussels.

74

Volmer in Thieme & Becker 1907-50, XX, p. 142. Brussels, KBR, inv. no. S.I 20395.

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Fig. 10.31 Cornelis de Beer after Jacob Kempener, Flower piece with two birds, engraving, 209 x 205 mm, Biblioteca Nacional, Madrid.

case in flower pieces painted in oils.75 However, the Polyptoton de Flore engravings of Johann Theodor de Bry may well have been created originally before 1600, quite possibly in the 1590s. The paper used for the series in the Rijksprentenkabinet, with a watermark showing a snake twisted around a staff with a three-leafed clover at the top above a shield with a cross, was probably produced at the end of the sixteenth century.76 Moreover, the Amsterdam series came from a collector’s album, compiled with engravings exclusively from the last decade of the sixteenth century. Other series of the Polyptoton de Flore were produced and published, whether or not in reverse and/or with additions. These include those by Johannes Sadeler (1550-ca. 1600) in Venice, Jean le Clerc in Paris in 1615, Jean Messager (ca. 1570-1649) and Jean Picquet (ca. 1600-ca. 1650) in Paris after 1620, Cornelis de Beer (ca. 1585-1651) in Madrid, and those by other anonymous printmakers and publishers. In the reversed copy of no. 4 by Cornelis de Beer two birds are added, possibly a Sky Lark (Alauda arvensis) and a Song Thrush (Turdus philomelos), plus an insect (Fig. 10.31).77 The bird on the left has been copied from Collaert’s Avium Vivae Icones.78

Pieter van der Keere

Pieter van der Keere was born in Ghent in 1571. In order to escape the religious persecution of Protestants, in 1584 he moved to London with his parents, where he was apprenticed to the Flemish engraver and important cartographer Jodocus Hondius (1563-1612), who also became his brother-in-law after Hondius 75 76 77 78

Hairs 1985, I, p. 27. Cf. Heawood 1950, no. 3768 from Schieland 1592 and no. 3768 from Nuremberg 1598; Briquet 1977, II, no. 5513 and nos 55165517. Madrid, Biblioteca Nacional, inv. no. 12927. Carrete Parrondo et al. 1987, p. 321; London 1995, pp. 80, 149 and Cherry 1999, pp. 160, 301-303, Fig. 234. Collaert, Avium Vivae Icones, II, no. 9, as Sicophante.

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married his sister, Colette van der Keere. It was with Hondius too, that Pieter settled in Amsterdam in 1593, where he died in 1646. Van der Keere was, in addition to being a publisher and engraver, primarily active as a cartographer.79 Pieter van der Keere after Jacob Savery, Flower piece with parrot and peacock (Fig. 10.4) Engraving, 580 x 405 mm (cropped), in the lower left: J. Savery.Invent., in the lower right: P. Kærius.excu. The Metropolitan Museum of Art, New York, inv. no. 49.95.2318.80 The bouquet with Irises and Tulips at the top above a Madonna Lily also contains Roses, Carnations and other flowers, placed in a bronze vase decorated with lion mascarons and festoons of carrots and tubers set on the backs of three (visible) frogs. On a perch to the left is a macaw and to the right a peacock, whose head has been drawn after Adriaen Collaert’s Avium Vivae Icones.81 This flower piece was published by Pieter van der Keere in Amsterdam after Jacob Savery. Savery was registered as a citizen of Amsterdam in 1591. There are no painted flower pieces by Jacob Savery extant today, although they are listed in an auction of 1612 and an inventory of 1637.82 In either Cologne or Paris, Jacques Honervogt (active 1608-1634) published a version in reverse with many changes (Fig. 10.32).83 The bouquet, containing twenty-four plant species, is complete (in Van der Keere’s version there is a little piece of the top missing). The birds are lacking, but possibly did not appear in the original design of Savery, as they could have been added by the engraver. Several details are also different, especially at the top, although this could also be a simplified copy.

Fig. 10.32 Jacques Honervogt after Jacob Savery, Flowers in a frog-vase, engraving, 494 x 347 mm, private collection. 79 80 81 82 83

For more on Hondius and Van der Keere as cartographers see Schilder 2007. Keyes in Hollstein et al. 1980, XXIII, p. 211, no. 7; Segal 1985-86, pp. 55-56, Fig. 1. Collaert, Avium Vivae Icones, I, no. 3. About Jacob Savery see Chapter 6. Segal 1985-86, pp. 55-56, Fig. 2. Only a single example is known, now in a private collection.

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Nicolaes de Bruyn

Nicolaes de Bruyn served an apprenticeship with his uncle Abraham de Bruyn (ca. 1539-1587) and became a member of the Antwerp Guild of Saint Luke in 1601. Nicolaes made images on religious and allegorical themes, and designs with animals both of his own invention and after other artists. He also designed and engraved ornamental prints. Nicolaes de Bruyn married Susanna van Londerseel, daughter of Johannes van Londerseel (1578-before 1625) and sister of Assuerus van Londerseel, and settled in Rotterdam about 1617. He died in 1656.84 Nicolaes de Bruyn after Jacob Savery, Flowers in a dolphin-vase (Fig. 10.33) Engraving, 585 x 401 mm, in the lower left: N de Bruÿn fecit; in the lower right: Assuuerus Londerselius excudit Rijksprentenkabinet, Amsterdam, inv. no. RP-P-2004-553.85 Flowers in dolphin-vase was executed by Nicolaes de Bruyn and published by his brother-in-law Assuerus van Londerseel, probably after a design of Jacob Savery. Savery’s name is not mentioned on the print, but we know that Nicolaes de Bruyn made engravings after a number of works by Jacob Savery. In addition, there are many similarities between this composition and that of the preceding engraving, Flower piece with parrot and peacock (Fig. 10.4), which is indisputably designed by Jacob Savery. The inclusion of a large number of insects and the two birds should remind us of the later flower pieces of Jacob’s younger brother Roelandt, such as those executed in 1624 (Fig. 6.13). French Rose Cowslip Cornflower Madonna Lily Corn Poppy Corn Marigold Columbine Jonquil Foxglove Harebell Martagon Lily Snake’s Head Fritillary German Iris Corn Cockle Few-flowered Lily Periwinkle Bladder Campion Forget-me-not Yellow Flag Iris Poet’s Narcissus Carnation Spanish Jasmine Rosemary sprig Maiden Pink Daffodil Plus some other species

Rosa gallica subplena Primula veris # Centaurea cyanus and f. pauciflora # Lilium candidum Papaver rhoeas and f. fimbriatum # Glebionis segetum # Aquilegia vulgaris simplex, plena, et stellata # Narcissus jonquilla Digitalis purpurea # Campanula rotundifolia # Lilium martagon Fritillaria meleagris # Iris germanica Agrostemma githago # Lilium bulbiferum var. croceum # Vinca minor # Silene vulgaris # Myosotis palustris # Iris pseudacorus # Narcissus poeticus Dianthus caryophyllus plenus Jasminum grandiflorum # Rosmarinus officinalis Dianthus deltoides # Narcissus pseudonarcissus

African Grey Parrot Sparrowhawk Dragonfly Black-veined White Butterfly Marsh Fritillary Butterfly Butterfly Spider Diadem Spider Great Green Bush Cricket Plus some more insects

Psittacus erithacus Accipiter nisus Odonata spec. Aporia craraegi Euphrydryas aurinia Lepidoptera spec. Araneae spec. Araneus diadematus Tettigonia viridissima

84 For further details on the life and work of Nicolaes de Bruyn see Baines 2014. 85 Baines 2014, II, pp. 291, no. 390, 292, Fig. 390/1.

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Fig. 10.33 Nicolaes de Bruyn after Jacob Savery, Flowers in a dolphin-vase, engraving, 585 x 401 mm, Rijksprentenkabinet, Amsterdam.

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Fig. 10.34 Print room of Claes Jansz Visscher, Tulipanne, no. 3 from Novae Florum Icones, 257 x 175 mm, Antiquariaat Junk, Amsterdam.

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The species marked # are native; their inclusion is considerably greater, than is often found in painted flower pieces. The Marsh Fritillary Butterfly (Euphrydryas aurinia) has become a rare species in the Low Countries, but used to be quite common in wet unfertilized ‘blue-grass land’, where their caterpillars fed on Brown Knapweed (Centaurea jacea). As already mentioned, there is a heavily damaged drawing in the Nationalmuseum in Stockholm in black chalk with watercolour and bodycolour, which possibly was a study after the engraving (Fig. 10.5).86 Other editions were published by Francoys van Beusecom (active 1642-1665) and Claesz Jansz Visscher in Amsterdam.

Claes Jansz Visscher, Nicolaes Visscher II and Nicolaes Visscher III

Three seventeenth-century printmakers and publishers in Amsterdam are named Nicolaes Visscher. Claes Jansz Visscher was born about 1587 in Amsterdam and died there in 1652. He was initially active as a copiest of maps, and later as a printmaker and publisher. Claes Jansz had a son named Nicolaes Visscher (1618-1679), sometimes reported as Nicolaes I or Nicolaes II, who was primarily active as a copiest of maps and city views. In turn, this Nicolaes had a son and successor, who was engaged in a similar line of work and was likewise named Nicolaes Visscher (1649-1702).87 It is quite possible that one or more series attributed to Claes (or Nicolaes) Jansz Visscher are from the hand of his son or perhaps even his grandson. Claes Jansz Visscher published four (rare) series of flower pieces and festoons of flowers and fruit, including one after Adriaen Collaert (Figs 10.16 and 10.19), Elias Verhulst and Jacob Savery (probably before 1615), another after Giovanni Battista Rosso, and two by his own hand, one dated 1640, next to other flower pieces of Johan (le) Mer in 1609 (Fig. 10.6) and Elias Verhulst in 1616 (Fig. 10.21) and 1635 (Fig. 10.22). Other engravers, like Pieter Schenk, worked after Claes Jansz Visscher. In or about 1650, the Novae Florum Icones, a series of sixteen copper engravings, was published in Amsterdam in the print room of Claes Jansz Visscher, probably after the design of Nicolaes Visscher II.88 In this series of extremely rare prints, most plates show a few separate flowers, four show little bunches with no tie and only one shows a posy tied with a ribbon (Fig. 10.34).89 The latter is entitled Tulipanne and consists of Kurdistan Tulip hybrid (Tulipa stapfii), white Snake’s Head Fritillary (Fritillaria meleagris alba) and full Nonesuch Daffodil (Narcissus incomparabilis plenus). Copies in reverse of the Novae Florum Icones were published in 1662 in Hamburg by Jeremias Falck (ca. 1610-1677), and by Frederik de Wit (1630-1706) in Amsterdam in that same year. The latter edition contains twelve of the sixteen plates by Visscher and at least one of the examples has four plates by a further artist. The execution is less subtle than Visscher’s.

Cornelis Kick

Cornelis Kick (1634-1681) painted flower pieces, fruit pieces and sumptuous still lifes (Figs 8.18 and 8.19).90 He also made drawings and illustrations for the Nederlantze hesperides, a book by the botanist Johannes Commelin (1629-1692) about citrus fruits and their cultivation in the Netherlands. This particular book was published in Amsterdam in 1676 and includes, amongst the illustrations of hothouses and fruit (some in cross section showing the thicknesses of rind on the different varieties), two engravings of a sprig of flowers in a wide glass vase with a punt or kick to its base, which is a concave bottom adding strength to the container (Fig. 10.35).

86 Stockholm, Nationalmuseum, inv. no. NMB 1702. 87 About the Visscher family see Leeflang 2014. 88 Schuckman in Hollstein et al. 1991, XXXVIII, p. 286, nos 89-104; Segal in catalogue Antiquariaat Junk Amsterdam 290 (2011), pp. 75-80, with a list of the different editions and information contained in publications. The title Novae Florum Icones was also used by Justus Danckerts and his sons for a series with different contents. 89 Amsterdam, Antiquariaat Junk, no. 8474. 90 For a more expanded biography see Chapter 8. The book re-issued in 1684 and in more recent years.

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Fig. 10.35 Cornelis Kick, Oranye Bloeyzel from Nederlantze hesperides, RKD, The Hague.

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Jan van Somer

Jan van Somer was a Dutch painter and printmaker who was born in Amsterdam in around 1645 and died sometime after 1699. Little is known about Van Somer’s life. Portraits, genre images, religious, mythological and allegorical subjects are known by him in print form. He also made a flower piece that was published by Jacques Le Moine de L’Espine (active 1679-1696). Jan van Somer, Flowers in a glass vase (Fig. 10.36) Mezzotint, 250 x 193 mm, in the lower left: I. van Somer fecit., and in the lower right: de Lespine exc. Cum Privilegio Ordin Hollandiæ et West Frisiæ. Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1909-174.91

Fig. 10.36 Jan van Somer, Flowers in a glass vase, mezzotint, 250 x 193 mm, Rijksprentenkabinet, Amsterdam.

91

De Hoop Scheffer & Keyes in Hollstein et al. 1983, XXVII, p. 140, no. 127.

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Poppy Anemone Snowball Trumpet Vine Provins Rose Small Morning Glory Honesty Opium Poppy foliage

Anemone coronaria Viburnum opulus cv. Roseum Campsis radicans plena Rosa x provincialis Convolvulus tricolor Lunaria annua Papaver somniferum

In a glass vase with a punt or kick, that is to say an indentation to its base, we can see the indistinct reflections of a workshop window. The vase has been set to the left on a balustrade, whilst the edge of the plain straight plinth is chipped in a few places. The shadow falls on the right with an open spot showing light penetrating through the vase. The background is dark on the left and lighter in the lower right. The composition is characteristic of the style of seventeenth-century prints and was probably made in the last quarter of that period. The execution is reminiscent of mezzotint prints by Pieter Schenk.

Gerard van Keulen

Gerard van Keulen (1678-1726) is best remembered as an official maker of maps for the Dutch East India Company. He was active in Amsterdam as an engraver, cartographer and publisher of prints.92 Gerard van Keulen after Jean Baptiste Monnoyer, Openwork basket with a Hollyhock and other flowers (Fig. 10.37) Etching, 368 x 483 mm, in the right just above the plinth: I. Babtiste jnv. Gerard van Keulen Excudit cum Privilegio. Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1904-234a.93 Garden Nasturtium Pot Marigold Spanish Jasmine

Tropaeolum majus Calendula officinalis Jasminum grandiflorum

Fig. 10.37 Gerard van Keulen after Jean Baptiste Monnoyer, Openwork basket with a Hollyhock and other flowers, etching, 368 x 483 mm, Rijksprentenkabinet, Amsterdam 92 93

About Gerard van Keulen and his printing business see De Vries, Persson & Vermeulen 2005. Fuhring 2004, III, p. 280, no. 12215.

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Turk’s Cap Lily Hollyhock Columbine Cherry blossom Cherry blossom Peony

Lilium chalcedonicum Alcea rosea pseudoplena Aquilegium vulgare Prunus cerasus (simplex) Prunus cerasus plenus Paeonia officinalis plena

One of Van Keulen’s prints known today is this work after Monnoyer from a series of four entitled Livres de plusieurs paniers de fleurs, with an openwork basket set to the right on a balustrade, one edge of which is decorated with ornamentation below the plinth.94 In a later edition the horizontal shading of the balustrade has been removed.95

Pieter van den Berge II

Pieter van den Berge II was born in 1659, the son of a publisher in Amsterdam with the same name. Pieter II followed in his father’s footsteps, but it is not entirely clear which publications are his and which are his predecessor’s. Pieter II made drawings of portraits, interiors and other subjects, but these are primarily known as prints. Further, his allegorical images are known, some of them after the work of the Dutch artist Gerard de Lairesse (1641-1711). From 1689 to 1692 he resided in Hamburg. Pieter van den Berge II died in 1737.96 An etching showing the same basket and flowers after Jean Baptiste Monnoyer as mentioned in the previous section on Van Keulen is in the Staatliches Museum in Schwerin (Fig. 10.38).97 This work by Van den Berge is possibly closer to the original than that of Van Keulen; it appears to make use of an identical engraving and changes the name in the same place in the right just above the plinth: I.Babtist jnv: P.v.d.Berge fec. et excudit cum Privilegio.

Fig. 10.38 Pieter van den Berge II after Jean Baptiste Monnoyer, Openwork basket with a Hollyhock and other flowers, etching, 373 x 478mm, Staatliches Museum Schwerin, Schwerin. 94 95 96 97

For the series of Monnoyer, see the album in the Rijksprentenkabinet in Amsterdam, inv. nos RP-P-2011-65-10 through to 13. Robert-Dumesnil 1835-71, III, nos 29-32. About the life and work of Van den Berge II see Stijnman 2017, III, pp. 83-99. Schwerin, Staatliches Museum Schwerin, inv. no. 5938 Gr. Jürss & Hegner 1998, p. 36, Fig. 14.

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Pieter Mortier

Pieter Mortier (1661-1711) was born in Leiden and was active from the year 1685 in Amsterdam as a publisher and seller of books and prints. He also held a special licence giving him a quasi-monopoly on the distribution in the Netherlands of maps and atlases, which were produced by French publishers. His son Cornelis (1699-1783) carried on the family business from 1721 with his partner Johannes Covens (1697-1774), which went on to become one of the most important cartographic publishers of the eighteenth century. An enormous number of copper plates are recorded in the 1720 inventory of the estate of Mortier’s widow Amalia ’s-Gravesande, including ‘Dertien kopere platen Bloempotten, die bequamelijck op olyphants papier konnen gedruckt worden’ (‘Thirteen copper plates of flowerpots that can be skillfully printed on elephant paper’).98 The thirteen copper plates were auctioned in August 1721, together with 239 ‘afsels’ (black and white prints) and 39 ‘afgesette’ (hand-coloured prints) of flowerpots.99 Many of Mortier’s prints were made after Jean Baptiste Monnoyer’s series Livres de plusieurs vaze de fleurs faicts d’après le naturel and Livres de plusieurs paniers de fleurs. Pieter Mortier, Vase with Sunflower, Snake’s Head Fritillary, and other flowers (Fig. 10.39) Etching, 573 x 493 mm, in lower right very small: P. Mortier exc: Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1951-552.100

Fig. 10.39 Pieter Mortier, Vase with Sunflower, Snake’s Head Fritillary, and other flowers, etching, 573 x 493 mm, Rijksprentenkabinet, Amsterdam. 98 Van Egmond 2009, Appendix V, p. 80. 99 Van Egmond 2009, Appendix VII, p. 100. I would like to thank Bert Schepers and Ger Luijten for their kind assistance. 100 Fuhring 2004, III, pp. 279-280, no. 12213; Van der Waals in Rotterdam 2006, p. 151, no. 231.

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Garden Honeysuckle Poppy Anemone Sunflower Snake’s Head Fritillary Hyacinth Daffodil Full Campernelle Narcissus Auricula

Lonicera caprifolium Anemone coronaria pseudoplena div. Helianthus annuus Fritillaria meleagris Hyacinthus orientalis Narcissus pseudonarcissus duplex Narcissus x odorus plenus Primula x pubescens

Pieter Mortier after Jean Baptiste Monnoyer, Openwork basket with flowers (Fig. 10.40) Etching and engraving, 491 x 425 mm, in the left below on the plateau: A Amsterdam Chez P. Mortier, and in the lower right: 8 Cooper Hewitt, Smithsonian Design Museum, New York, inv. no. 1938-58-865.101 An openwork basket has been set on a plateau; it holds French Roses (Rosa gallica div.), Poppy Anemones (Anemone coronaria pseudoplena div.), Columbine (Aquilegium vulgare), Blunt Tulips (Tulipa mucronata), Stock (Matthiola incana), and other flowers. At the left above is a moth in flight, at the right above a butterfly, and at the right on the plateau a caterpillar is creeping along.

Fig. 10.40 Pieter Mortier after Jean Baptiste Monnoyer, Openwork basket with flowers, etching and engraving, 491 x 425 mm, Cooper Hewitt, Smithsonian Design Museum, New York.

101 Drawings, Prints, and Graphic Design department, gift of Norvin Hewitt Green.

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Anonymous, Flower piece with four Tulips (Fig. 10.41) Etching and engraving, 591 x 497 mm, in the lower left inscribed: Gedrukt by / WILH. ENGELB. KONING. / Op de Agterb. Wal tot Amsterdam / Met Privilegie vande Ed. Gr. M. H. Staaten van Holl en West-Vriesland Rijksprentenkabinet, Amsterdam, inv. no. RP-P-OB-76.938. Spanish Jasmine Carnation Cabbage Rose Auricula Blunt Tulip (4x) Poppy Anemone False Larkspur Opium Poppy Rosa Mundi

Jasminum grandiflorum Dianthus caryophyllus plenus Rosa x centifolia Primula x pubescens Tulipa mucronata div. Anemone coronaria pseudoplena Consolida ajacis Papaver somniferum plenum Rosa gallica cv. Versicolor

Fig. 10.41 Anonymous, Flower piece with four Tulips, etching and engraving, 591 x 497 mm, Rijksprentenkabinet, Amsterdam.

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The bouquet has been placed in a vase similar to that in one of the flower pieces by Mortier, however, decorated with a garland and acanthus leaves on a foot and set on a stone slab.102 Flower piece with four Tulips was published by Wilhelmus Engelbartus Koning (1688-after 1732) in Amsterdam. No name of a designer or printmaker is mentioned on the print.

Maria Sibylla Merian

There are more details about Maria Sibylla Merian’s life and work in Chapter 8, but below is an introduction to her engravings of flowers. A number of these were published between 1675 and 1680 in three editions of flower books with twelve prints each by her husband Johann Andreas Graff (1637-1701) in Nuremberg. The first two publications were re-printed in the 1680 edition of Das Neue Blumenbuch.103 All these series are extremely rare today, in total approximately ten examples are known, some of them coloured by the artist herself, others uncoloured. Most examples of the series are incomplete. Individual impressions, as well as later imitations, can be found in various collections. In 1999 I discovered a set of prints that was unknown until that time. This coloured print series was auctioned by Christie’s in London in 2000.104 The plates of this edition are in reverse in relation to the other regular print editions and, therefore, have the same orientation as the original designs, the whereabouts of which are currently unknown, as they may well no longer exist.

Fig. 10.42 Maria Sibylla Merian, Basket with flowers from Das Neue Blumenbuch, III, no. 2, 1680, engraving, handcoloured, 315 x 190 mm, Eutiner Landesbibliothek, Eutin.

102 See, for example, Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1971-1. 103 Facsimile publications are also available of Maria Sibylla Merian’s books see, for example, Deckert 1966, Bürger & Heilmeyer 1999 and Luber 2019. 104 Christie’s, London, 22 March 2000, no. 71. I composed an extensive and detailed report about this series, including a survey of all the known examples with interpretations of each plate’s meaning, a description of the watermarks, and full identifications. This report was intended to form the basis of a facsimile edition with commentary, but it never saw publication. The report has been added to the Segal Project and can be found in the Segal Still Life Documentation at the RKD, The Hague.

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These prints were originally intended as patterns for needlework and other applied arts. The 1675 publication has several engravings reworked after Nicolas Robert. Most of the colouring was added at a later date, post-dating the hand-colouring executed by Merian and her daughters; in the eighteenth-century examples these colours can also vary significantly (not to mention in later hand-coloured prints from the series). The engravings from the flower books were reprinted in a 1730 publication and later editions. In the art trade these have frequently been cut so that we are more likely to encounter them as single impressions. Maria Sibylla Merian, Basket with flowers from Das Neue Blumenbuch, III, no. 2 (Fig. 10.42) Engraving, hand-coloured, 315 x 190 mm, in the lower right the number 2Eutiner Landesbibliothek, Eutin, inv. no. S 150.105 Borage Rosa Mundi Poet’s Narcissus English Iris Pot Marigold Poppy Anemone Blunt Tulip hybrid Carnation Austrian Copper (Briar) Austrian Briar

Borago officinalis Rosa gallica cv. Versicolor Narcissus poeticus plenus Iris latifolia Calendula officinalis Anemone coronaria pseudoplena Tulipa mucronata x T. undulatifolia Dianthus caryophyllus plenus bicolor Rosa foetida cv. Bicolor Rosa foetida

Maria Sibylla Merian, Flowers in a vase decorated with Cranes from Das Neue Blumenbuch, III, no. 3 (Fig. 10.43) Engraving, hand-coloured, 315 x 190 mm, in the lower right the number 3Eutiner Landesbibliothek, Eutin, inv. no. S 150.106 Opium Poppy Pansy Annulated Sowbread Poppy Anemone Turk’s Cap Lily Meadow Saffron Pyrenean Turk’s Cap Lily Columbine Tapered Tulip hybrid Small Morning Glory Autumn Pheasant’s Eye Austrian Copper (Briar)

Papaver somniferum fimbriatum Viola tricolor Cyclamen hederifolium Anemone coronaria Lilium chalcedonicum Colchicum autumnale Lilium pyrenaicum Aquilegia vulgaris Tulipa armena x T. mucronata Convolvulus tricolor Adonis annua Rosa foetida cv. Bicolor

Ruddy Darter Mayfly 7-spot Ladybird Stag Beetle

Sympetrum sanguineum Ephemeridae spec. Coccinella septempunctata Lucanus cervus

The Stag Beetle is found in the work of Maria Sibylla Merian’s step-father Jacob Marrel (1613/14-1681) (Fig. 7.17), which is likely to have influenced her own work.

105 Luber 2019, pp. 62-63. I would like to thank Katharina Schmidt-Loske for her kind assistance. 106 Blunt & Stearn 1994, pp. 142-146; Segal 1997, pp. 74-75, Fig. 40; Luber 2019, pp. 64-65.

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Fig. 10.43 Maria Sibylla Merian, Flowers in a vase decorated with Cranes from Das Neue Blumenbuch, III, no. 3, 1680, engraving, hand-coloured, 315 x 190 mm, Eutiner Landesbibliothek, Eutin.

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J. Waterloos

Not a great deal is known about J. Waterloos, although he is documented between 1684 and 1694 as an engraver and publisher in Amsterdam.107 Waterloos engraved at least three flower pieces, and another is attributed to him. It is possible that a few of them belong to a series in mezzotint with a black background. J. Waterloos, A vase with flowers (Fig. 10.44) Mezzotint, heightened with watercolour and eggshell varnish, 306 x 254 mm, in the lower left in black ink: I. Waterloos fecit et Excudit. Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1888-A-13414.108 Poppy Anemone Carnation Cabbage Rose Pot Marigold Tulips Small Morning Glory Nonesuch Daffodil Martagon Lily Plus other botanical species

Anemone coronaria Dianthus caryophyllus Rosa x centifolia Calendula officinalis Tulipa div. spec. Convolvulus tricolor Narcissus x incomparabilis Lilium cf. martagon

White Satin Butterfly Housefly Spider

Leucoma salicis Musca domestica Araneae spec.

The flowers have been arranged in an ornamented bronze vase on a foot made up of gilt acanthus leaves. Some of the colours look unnatural and were possibly added at a later date.

Fig. 10.44 J. Waterloos, A vase with flowers, mezzotint, heightened with watercolour and eggshell varnish, 306 x 254 mm, Rijksprentenkabinet, Amsterdam. 107 For Waterloos see Schuckman, Van Schaik-Scheers & De Scheemaker in Hollstein et al. 1998, LI, pp. 91-98. 108 Schuckman, Van Schaik-Scheers & De Scheemaker in Hollstein et al. 1998, LI, p. 95, no. 3; Van der Waals in Rotterdam 2006, p. 141, no. 229.

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Johannes Teyler

Johannes Teyler was born in 1648 in Nijmegen. He attended the Latin grammar school and the University of Nijmegen (Kwartierlijke Academie van Nijmegen); he later studied mathematics at Leiden University. In 1670 he returned to Nijmegen, where he became Professor of Mathematics and Philosophy, but in 1680 the department was shut down due to a lack of students and continuing financial problems. Prior to this, in 1676, Teyler had been appointed by the Elector of Brandenburg as an expert in fortifications to provide technical assistance for the Siege of Stettin and the island of Rügen in 1678. In the meantime, he devoted himself to the fine arts as an amateur. Around the year 1679 he embarked on travels to Italy, Egypt and Constantinople. In Rome he became a member of the Bentvueghels, the society of Flemish and Dutch artists in Rome, where he received the nickname Speculatie. After his return to Nijmegen, Teyler founded an educational institution dedicated to drawing and the graphic arts, and he developed a method of printing in colour using a single plate, making it possible for him to print on linen, producing ‘little paintings’. Later he lived in Amsterdam and Rijswijk. The entire inventory of his personal effects was auctioned in Rotterdam in 1698. At around that time he left the Dutch Republic for the court in Berlin. Teyler died around 1709. He produced more than six-hundred prints of mythological scenes, landscapes, city views, military subjects, jugs and vases, flowers and flower pieces, fruit, birds and other animals, many of them copied from older prints.109 The Rijksprentenkabinet in Amsterdam has a beautiful collection of flower pieces and several other flower still lifes by Teyler, in addition to prints of single flowers and other subjects.110 Two more albums are currently in the British Museum in London and the Library of Congress in Washington.111 Other albums have been taken apart or lost. Nearly all Teyler’s works were executed as etching and copper engraving inked à la poupée (a technique in which ink is applied to the copper plate in several different places using a doll-shaped bundle of fabric, which yields multi-colour prints right from the press) to achieve the simultaneous application of three to six – or sometimes even more – colours, frequently in several tonal gradations. In addition the prints seem occasionally to have been embellished even further by hand with the application of watercolours. Teyler invented such a technique, although he was a military engineer and not an artist or engraver by profession. He financed his own workshop and hired engravers to work for him. The plates were printed by a master printer and often display refined colour nuances in the final product. As already mentioned at the start of this chapter, printing à la poupée using Teyler’s colour process was adopted by the engravers and cartographers Pieter Schenk and Carel Allard, as well as other artist printmakers, including the Dutch publisher and mapmaker Gerard Valck (1651/521726). Many of Teyler’s flower pieces, usually arranged in glass vases, are attributed erroneously to Jacques Vauquer.112 In fact they were engraved after Jacques Vauquer’s Livres de fleurs par Vauquer published by François de Poilly (1623-1693) in Paris using numbered plates.113 Teyler’s prints are usually in reverse in relation to the original Vauquer prints, and his execution is usually less refined, which means that sometimes certain flowers are difficult to identify; straight stems are sometimes reproduced as bent; and the colours of the flowers do not always correspond to their natural colours, something that also holds true for butterflies and (in other prints) birds, where it is not uncommon that a portion, or all of the colouring, is fanciful. This makes identification of species difficult, or impossible in some cases and, therefore, cautious guesswork is required. It would seem that the printer did not always work from coloured examples. The larger engravings have usually been made after designs or paintings by Jean Baptiste Monnoyer. Portions of the images are shaded with cross-hatching, more 109 Some of the material that follows resulted from a fruitful exchange of scholarly information between myself and Ad Stijnman, and I want to express my thanks for permission to use a number of descriptions from his book about Teyler (Stijnman 2017). About Teyler see also Chapter 9. 110 The prints in Amsterdam date from ca. 1690, or a bit later, and have been taken as the work of Jean Baptiste Monnoyer, an idea maintained by Fuhring in his survey of ornamental prints. Fuhring 2004, III, pp. 280-282. 111 London, British Museum, inv. nos 1871.1209.5003-5187; Washington, Library of Congress, Lessing J. Rosenwald collection, 1448, Verscheyde Soorte Van Miniatuur. 112 The attribution of Teyler’s prints to Vauquer is partially based on a description by Dunthorne in 1938. Dunthorne 1938, p. 258, no. 317. Moreover, the numbering coincides with that of the prints to be found in the Livres de Fleurs by the famous Dutch engraver, publisher and map seller Justus Danckerts (1635-1701), which may well predate the similar work by Vauquer. 113 Dunthorne 1938, p. 258, no. 317; Bridson & White 1990, p. 49, no. C154. Livres de fleurs par Vauquer, with a title and nine plates numbered 2-10. Most of the bouquets in glass vases belong to this series. The designs are presumably by Vauquer himself. There is another issue of this series with framed prints and an extra plate; several plates were also printed by Danckerts along with plates from a different series.

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roughly rendered than in Monnoyer’s prints. The watermark is usually a variation on the countermark of the letters ‘IV’, indicting the initials of the paper maker Jean Villedary (1668-1758).114 Johannes Teyler after Jacques Vauquer, Pomegranate blossom and other flowers in a glass vase (Fig. 10.45) Etching, inked à la poupée in black, red, light-brown and dark-brown, 224 x 155 mm Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1903-A-24080.115 Spanish Jasmine Pomegranate blossom Bachelor’s Buttons African Marigold Pomegranate blossom

Jasminum grandiflorum Punica granatum plenum roseum Ranunculus acris plenus Tagetes erecta Punica granatum plenum roseum

Johannes Teyler after Jean Baptiste Monnoyer or Jacques Vauquer, Sunflowers and other flowers in a bronze vase (Fig. 10.7) Etching, inked à la poupée in brown, blue, red, orange and green, 304 x 242 mm Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1903-A-24087.116 Dwarf Nasturtium Tropaeolum minus Carnations Dianthus caryophyllus plenus Sunflower Helianthus annuus Poppy Anemone Anemone coronaria pseudoplena rosea Poppy Anemone Anemone coronaria pseudoplena alba Dense-flowering Mullein Verbascum densiflorum False Larkspur Consolida ajacis alba Canterbury Bells Campanula medium Stock Matthola incana duplex Spanish Jasmine Jasminum grandiflorum French Rose Rosa cf. gallica semiplena Dwarf Nasturtium (to the right on the plateau)

Johannes Teyler after Jacques Vauquer, Flower piece with Roses on a tile (Fig. 10.46) Etching and engraving, inked à la poupée in black, brown, red, brownish-red, ochre, plus handcolouring, 170 x 115 mm Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1955-286.117 Yellow [?] Cabbage Rose French Rose Hyacinth Stock Bachelor’s Buttons Canterbury Bells Carnation Sweet Sultan Plus other flowers

Rosa x huysumiana Rosa gallica plena et subplena Hyacinthus orientalis Matthiola incana Ranunculus acris plenus Campanula medium Dianthus caryophyllus plenus Amberboa moschata

The reverse image in watercolour shows the flowers in a vase set on an ornamental pedestal in a landscape (Fig. 9.126).

114 115 116 117

For further details on the life, work and technique of Teyler see Stijnman 2017, I, pp. xi, xxv-lxxi, 5-200, II, pp. 5-275. Fuhring 2004, III, p. 282, no. 12224, as after Monnoyer. Stijnman 2017, II, p. 223, no. 397. Furing 2004, III, pp. 280-281, no. 12219, illustrated p. 281 (erroneously as no. 12228). Stijnman 2017, II, p. 218, no. 392. Fuhring 2004, III, p. 280, no. 12218, as after Monnoyer; Stijnman 2017, II, p. 212, no. 386. This flower piece is included in an Album of prints in colour from Johannes Teyler’s company currently in the Rijksprentenkabinet in Amsterdam. This album contains one-hundred-and-thirty-five plates spread over eighty leaves. The prints cover many different subjects. In addition to flower pieces in vases and baskets, there are also several flower wreaths, in addition to single flowers and combinations with animals or figures.

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Fig. 10.45 Johannes Teyler after Jacques Vauquer, Pomegranate blossom and other flowers in a glass vase, etching, inked à la poupée in black, red, light-brown and dark-brown, 224 x 155 mm, Rijksprentenkabinet, Amsterdam.

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Fig. 10.46 Johannes Teyler after Jacques Vauquer, Flower piece with Roses on a tile, etching and engraving, inked à la poupée in black, brown, red, brownish-red, ochre, plus handcolouring, 170 x 115 mm, Rijksprentenkabinet, Amsterdam.

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Johannes Teyler, Flower swag around a tall vase on a pedestal (Fig. 10.47) Etching, inked à la poupée in black, brown, green, orange, purple, red and brownish-red, plus handcolouring, 462 x 332 mm Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1955-290.118 From the top Carnation Persian Tulip Opium Poppy French Rose Turk’s Cap Lily Austrian Briar

Dianthus caryophyllus plenus Tulipa clusiana tricolor Papaver somniferum roseum (simplex) Rosa gallica plena Lilium chalcedonicum Rosa foetida

In the middle Jasmine Yellow Tulip French Rose Poppy Anemone Yellow Chamomile Opium Poppy

Jasminum officinale Tulipa chrysantha Rosa gallica Anemone coronaria pseudoplena div. Anthemis tinctoria Papaver somniferum plenum violaceum

Fig. 10.47 Johannes Teyler, Flower swag around a tall vase on a pedestal, etching, inked à la poupée in black, brown, green, orange, purple, red and brownish-red, plus handcolouring, 462 x 332 mm, Rijksprentenkabinet, Amsterdam. 118 Fuhring 2004, III, p. 376, Alba 13; Stijnman 2017, II, p. 204, no. 378. This flower swag is included in an Album of prints in colour from Johannes Teyler’s company currently in the Rijksprentenkabinet in Amsterdam. About the album see note 117.

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Opium Poppy Carnation Sunflower Sulphur Rose Spreading Bell-flower Tapered Tulip White Rose

Papaver somniferum simplex roseum Dianthus caryophyllus plenus Helianthus annuus Rosa hemisphaerica Campanula patula Tulipa armena Rosa x alba

Below Persian Tulip Opium Poppy French Rose Sulphur Rose

Tulipa clusiana tricolor Papaver somniferum simplex lilacinum Rosa gallica plena Rosa hemisphaerica

Flying on the right Swallowtail Butterfly

Papilio machaon

Gerard Valck

Gerard Valck was born in 1651 or 1652 in Amsterdam and died in 1726 and has already been mentioned above in relation to Teyler. He was married to Maria Bloteling. Valck made engravings including mezzotints, and published copies after various artists, as well as many portraits and diverse series of prints. His sister Agatha was married to his colleague and fellow printmaker Pieter Schenk I and their daughter Maria Schenk married her cousin Leonard Valck, a son of Gerard, which illustrates the close-knit nature of such artistic and publishing families.119

Fig. 10.48 Gerard Valck, Flower piece with a Hollyhock and other flowers in a vase on a balustrade, mezzotint, 204 x 137 mm, Rijksprentenkabinet, Amsterdam. 119 For the oeuvre of Gerard Valck see Luijten in Hollstein et al. 1987, XXXI, pp. 215-292 and Stijnman 2017, IV, pp. 5-116.

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Gerard Valck, Flower piece with a Hollyhock and other flowers in a vase on a balustrade (Fig. 10.48) Mezzotint, 204 x 137 mm, in the lower left: G. Valck ex., and in the lower right: Cum Privilegio Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1911-158.120 Garden Nasturtium Great Morning Glory Hollyhock French Rose Cornflower African Marigold Trumpet Vine False Larkspur Carnation Plus other flowers

Tropaeolum majus Ipomoea purpurea Alcea rosea Rosa gallica semiplena Centaurea cyanus Tagetes erecta Campsis radicans Consolida ajacis Dianthus caryophyllus plenus

Butterfly

Lepidoptera spec.

The bouquet is borrowed from Vauquer, or indirectly indebted to Teyler, but arranged in a different vase.121

Pieter Schenk I and his sons Pieter II & Leonard

Pieter Schenk I was born in Elberfeld in Germany in 1660. He is known for his activities as a draughtsman, engraver and publisher in Amsterdam, but he visited Leipzig every year from 1700 on. Pieter Schenk I was married to Agatha Valck, Gerard Valck’s sister. He died in 1711. Schenk mostly copied portraits, topographical works and genre pieces, plus a few still lifes. He made engravings of flower pieces, also in mezzotint and using colour-printing techiques, and in addition copied work by Jean Baptiste Monnoyer and others. Besides flower pieces, he made engravings of other types of still lifes and a series with vases. The flowers have not always been represented with the necessary precision.122 His sons Pieter II and Leonard (1696-1767) carried on their father’s work. Pieter II made many portraits, while Leonard concentrated on architecture and topography. The work of Pieter II cannot always be easily differentiated from the work of his father. Only a single flower piece by Leonard is known, which was published by Pieter II (Fig. 10.51). Pieter Schenk I after Jean Baptiste Monnoyer, Flowers in a wide glass vase on a small foot, with Roses and Jasmine (Fig. 10.49) Mezzotint and engraving, 257 x 183 mm, in the lower centre: SCHENKS Bloempot vreest geen kou, geen hagel-buy noch wind, / Die all uw schoon gebloempte, ô Lent, so ras verslind; in the lower left (small): J. Baptiste Monnoyer pinxit., in the lower left (small): L VD SMIDS. M.D. Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1950-328.123 White Rose Rosa Mundi Spanish Jasmine Red Campion Poppy Anemone Cabbage Rose

Rosa x alba Rosa x damascena cv. Versicolor Jasminum grandiflorum Lychnis dioica Anemone coronaria pseudoplena Rosa x centifolia

Pieter Schenk I engraved Flowers in a wide glass vase on a small foot, with Roses and Jasmine after an example by Jean Bapiste Monnoyer. The poem (‘Schenk’s Flowerpot fears no cold, hail, wind or shower, / That all your blooms, O Spring, so quickly devour’) was written by Ludolph Smids (1649-1720), a physician and poet perhaps best remembered as the author of the Schatkamer der Nederlandsche Oudheden, published in Amsterdam in 1711, an illustrated book about castles and ruins.

120 121 122 123

Luijten in Hollstein et al. 1987, XXXI, p. 289, no. 235. Cf. Amsterdam, Rijksprentenkabinet, inv. no. RP-P-1955-288. For further details on the life and work of Pieter Schenk I see Hollstein et al. 1981, XXV and Stijnman 2017, III, pp. 123-409. Keyes in Hollstein et al. 1981, XXV, p. 109, no. 477.

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Fig. 10.49 Pieter Schenk I after Jean Baptiste Monnoyer, Flowers in a wide glass vase on a small foot, with Roses and Jasmine, mezzotint and engraving, 257 x 183 mm, Rijksprentenkabinet, Amsterdam.

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Fig. 10.50 Pieter Schenk I, Flowers in an openwork basket to the right on a table with a cloth, mezzotint and engraving, 247 x 184 mm, Rijksprentenkabinet, Amsterdam.

Pieter Schenk I, Flowers in an openwork basket to the right on a table with a cloth (Fig. 10.50). Mezzotint and engraving, 247 x 184 mm, inscribed under the image area: Sæpé ego digestos volui numerare colores, Nec potui; numero copia maior erat. Ovid. 5 East. (‘Oft did I wish to count the colours in the beds, but could not; the number was past counting. Ovid, Fasti, V, 213-214’) in the lower left: P. Schenck fec. et exc. Amstelæd., and in the lower right: cum Privil. ord. Holland., below the table-top double ornamental edging in egg-and-dart motif. Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1906-3604.124 Poppy Anemone French Rose Tapered Tulip Cabbage Rose Trumpet Vine Auricula

Anemone coronaria pseudoplena Rosa gallica Tulipa armena bicolor Rosa x centifolia Campsis radicans Primula x pubescens

124 Keyes in Hollstein et al. 1981, XXV, p. 109, no. 479.

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Fig. 10.51 Leonard Schenk, Flower piece with five butterflies, etching and engraving, 545 x 439 mm, Rijksprentenkabinet, Amsterdam.

Leonard Schenk, Flower piece with five butterflies (Fig. 10.51) Etching and engraving, 545 x 439 mm, in the lower left in reverse: Pet: Schenk Exc: Amstet: [sic] Cum Pri[vil] (paper damaged), in the lower right in reverse: Leon: Schenk Fecit. Rijksprentenkabinet, Amsterdam, inv. no. RP-P-OB-76.937. Frankfort Rose (?) Turk’s Cap Lily Opium Poppy Tuberose Small Daffodil Orange blossom French Rose Carnation Garden Nasturtium Great Morning Glory Butterflies (5x)

Rosa turbinata Lilium chalcedonicum Papaver somniferum plenum fimbriatum Polyanthes tuberosa Narcissus minor Citrus aurantium Rosa gallica duplex Dianthus caryophyllus plenus Tropaeolum majus Ipomoea purpurea Lepidoptera div. spec.

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Jacobus Coelemans

Jacobus Coelemans was an engraver who primarily copied works by Italian, French and Dutch masters. He was born in 1654 in Antwerp, served an apprenticeship under Frederik Bouttats, and in 1690 went to Aix-en-Provence, where he died in 1732. Jacobus Coelemans, A pair of flower pieces after Italian Masters (Figs 10.52 and 10.53) Mezzotint, 238 x 188 mm / 239 x 187 mm, inscribed below: Un Vase de fleurs d’apres le tableau de M: A: Caravage et gravé par Jac: Coelemans. / Gal. d’Aguilles. / 38. and Un Vaze de fleurs paint par Mario dy fioré, grave par Jac Coelemans. / Gal. d’Aguilles / 39. The British Museum, London, inv. nos 1588,0609.730 and 1588,0609.731.

Figs 10.52 and 10.53 Jacobus Coelemans, A pair of flower pieces after Italian Masters, mezzotint, 238 x 188 mm / 239 x 187 mm, The British Museum, London.

One print includes a reference to a painting by Caravaggio (1571-1610), the other to a flower piece by Mario Nuzzi (1603-1673), who used the name Mario de’ Fiori. The association of the flower piece here with an unknown work by Caravaggio is tantalizing, but it is quite possibly apocryphal. The pair is part of Recueil d’estampes d’après les tableaux des peintres les plus célèbres d’Italie, des Pays-Bas et de France, qui sont à Aix dans le cabinet de M. Boyer d’Aguilles [...], a series of 118 plates commissioned by Jean Baptiste Boyer d’Aguilles (1645-1709) and engraved by Jacobus Coelemans and Sébastien Barras (1653-1703).125 The set was published and described by Pierre-Jean Mariette in 1744, but there might have been an earlier edition published in 1709. Almost half of the plates by Coelemans are dated between 1696 and 1708.

Justus Danckerts I and his sons Theodorus, Cornelis II and Justus II

Justus Danckerts I was born in 1635 into an Amsterdam family of engravers and cartographers, his father being Cornelis I (1604-1656). In 1662 he married Elisabeth Vorstermans. He was a publisher from around 1662 to 1692, and died in 1701. His sons Theodorus (1660-1717), Cornelis II (1664-1717), and Justus II (16681692) all became engravers and printmakers and worked with their father.126 125 Boyer d’Aguilles 1744. 126 For more on Justus Danckerts I, his family and the production of prints in Amsterdam see Van der Veen 2011.

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Justus Danckerts I, Flowers in a glass vase, nos 2 and 5 from Livres de Fleurs (Figs 10.54 and 10.55) Engravings, ca. 195 x 154 mm Antiquariaat Junk, Amsterdam, no. 6478.127

Fig. 10.54 Justus I Danckerts, Flowers in a glass vase, no. 2 from Livres de Fleurs, engraving, ca. 195 x 154 mm, Antiquariaat Junk, Amsterdam. Fig. 10.55 Justus I Danckerts, Flowers in a glass vase, no. 5 from Livres de Fleurs, engraving, ca. 195 x 154 mm, Antiquariaat Junk, Amsterdam.

The Livres de Fleurs consists of a title-plate and nine framed engravings showing bouquets of flowers in vases. Plate no. 2 shows a round glass bottle holding Poppy Anemone (Anemone coronaria), Auricula (Primula x pubescens), Poet’s Narcissus (Narcissus poeticus), German Flag Iris (Iris germanica) and a Rose (Rosa spec.), with three flowers laid beside it, including an Auricula and a Poppy Anemone (Fig. 10.54). Engraving no. 5 depicts a wide glass bottle holding Roses (Rosa div.), curled Lily (Lilium spec.), Bachelor’s Buttons (Ranunculus acris plenus), Carnation (Dianthus caryophyllus), plus other flowers in the bouquet, whilst beside it have been laid a Carnation and Rose (Fig. 10.55). There is another version previously mentioned under the sub-section on Johannes Teyler above by Jacques Vauquer, although it is uncertain precisely which came first. Livre de Fleurs were the initial words given to a number of titles of series produced by Vauquer. It is conceivable, however, that the Danckerts’ series is made up of a selection out of those by Vauquer, especially given the word Livres in the title. Justus Danckerts I after Nicolas Guillaume Delafleur, Spray of flowers, from the series Novae Florum Icones (Fig. 10.8) Etching, 182 x 139 mm Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1964-178.128 Persian Sowbread Tazetta Narcissus Persian Tulip

Cyclamen persicum Narcissus tazetta Tulipa clusiana

127 Danckerts’ publication and that of Vauquer are very rare. About the series see sales catalogue 287 Antiquariaat Junk, Amsterdam 2009, no. 52. 128 Fuhring 2004, III, p. 277, no. 12200.

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This is a series of twelve unnumbered little bunches of flowers tied with a ribbon and six plates with separate flowers. Danckerts used a 1638 series of flower posies and single flowers by the Frenchman Nicolas Guillaume Delafleur as the model for this series. Later Louis Renard II (ca. 1679-1746) published the series Novae Florum Icones in Amsterdam with engravings by Cornelis Danckerts II.129

Carel Allard

Carel Allard was born in 1648 in Amsterdam, the son of the printmaker and publisher Hugo Allard (ca. 1625-1684). Carel was an engraver and from 1668 also a publisher, particularly of maps and portraits. In 1673 he married Lucia van Dooreslaer and in 1683 Cornelia van Buren. His last known work dates from 1706. Carel Allard died in Amsterdam in 1709.130 Carel Allard, Flowers in a bronze vase (Fig. 10.56) Engraving and etching, 597 x 488 mm (trimmed above), in the lower right: EX FORMIS / CAROLI ALLARD. / Amstelo-Batavi / cum Privilegio Ordinum Hollandiæ, et Westfrisiæ. Kunstsammlungen der Veste Coburg, Coburg, inv. no. XIII,233,8d.

Fig. 10.56 Carel Allard, Flowers in a bronze vase, engraving and etching, 597 x 488 mm (trimmed above), Kunstsammlungen der Veste Coburg, Coburg.

129 Bridson & White 1990, p. 43, no. C63. 130 For further details on the life and work of Allard see Stijnman 2017, III, pp. 5-82.

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Poppy Anemone Great Morning Glory Rosa Mundi Carnation Snake’s Head Fritillary Crown Anemone Persian Fritillary Hyacinth Tapered Tulip Orange Lily Carnation Hyacinth Opium Poppy Hyacinth Poppy Anemone Provins Rose

Anemone coronaria plena Ipomoea purpurea Rosa gallica cv. Versicolor Dianthus caryophyllus subplenus Fritillaria meleagris Anemone x fulgens Fritillaria persica Hyacinthus orientalis pauciflorus Tulipa armena Lilium bulbiferum Dianthus caryophyllus plenus Hyacinthus orientalis Papaver somniferum plenum fimbriatum Hyacinthus orientalus pallidus Anemone coronaria bicolor Rosa x provincialis

Magpie Moth

Abraxas grossulariata

Six engraved and etched prints currently in the collection of Veste Coburg in Germany have been executed in roughly the same size, 600 x 520 mm, and can perhaps be seen as a series. They have all been printed by Carel Allard, whose name is inscribed clearly in capital letters the same way on each print, but accompanied in each instance with different descriptions in ornamental letters. At least a couple of these prints are copies after Monnoyer or after portions of one of his prints, although the butterflies are absent in his works.131 The print served as the design for a tableau made from tiles by Pieter Jansz Aalmis (ca. 1649-1707) in the tile factory De Bloempot in Rotterdam, where several such tableaux consisting of 6 x 5 tiles were installed in the seventeenth century. One example was removed from the factory in 1918 and reconstructed in the Museum Rotterdam (Fig. 10.57).132 The print shows the reverse of the image to be seen in the tableau.

Fig. 10.57 Pieter Jansz Aalmis, Flowers in a bronze vase, 78.5 x 65.5 cm, tile tableau, Museum Rotterdam, Rotterdam. 131

At the time of writing the material regarding Monnoyer needed for a complete comparative analysis had not yet been compiled. According to the documentation from Veste Coburg, the prints were engraved after images by Jan van Huysum, but this is very unlikely. Furthermore, they are said to have been engraved by Justus Danckerts or Cornelis Danckerts II, however no indications for this have been found, although Justus Danckerts did copy work by Monnoyer. 132 Rotterdam, Museum Rotterdam, inv. no. 5004. Other examples of this tableau are currently in John Knox House in Edinburgh and Augustusburg Castle in Brühl. About Dutch floral tiles in the seventeenth century see Schaap 1994.

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Abraham Munting

The Dutch physician and botanist Abraham Munting was born in 1626 in Groningen, the son of Henricus Munting (1583-1658), who had a renowned botanical garden. Abraham studied at the Rijkshogeschool in Groningen and at the Universities of Franeker, Utrecht and Leiden. He travelled to France in 1649 and returned in 1651. After the death of his father in 1658, Abraham took over supervision of the botanical garden, which he transformed into one of the most splendid in the Netherlands at that time. From 1655 he was Extraordinaris Professor of Botany at the Rijkshogeschool. Munting died in 1683.133 In 1672 Munting published Waare Oeffening der Planten [...] which contained forty engraved illustrations, of which a second edition appeared in 1682. The posthumous edition of 1696 had a new title beginning Naauwkeurige beschryving der Aardgewassen [...], and was published in Leiden by Pieter van der Aa I (1682-1730) and in Utrecht by François Halma (1674-1699). This third edition was a greatly expanded version and contained two-hundred-and-forty-three etched and engraved plates of plants (some in garden urns) with texts. In this publication the plants are depicted against a landscape background, occasionally with the addition of other types of embellishment, for example little figures (Fig. 10.58).134 A Latin edition Phytographia Curiosa – exhibens Arborum, Fructicum, Herbarum & Florum Icones [...] was published by the Dutch botanist, apothecary and horticulturalist Frans Kiggelaer (1648-1722) in Amsterdam and Leiden in 1702, with a re-issue in Amsterdam during 1713. The text of De koninglycke hovenier aanwyzende de middelen om boomen, bloemen en kruyden te zaayen, planten, aen queeken en voort teelen, a 1676 publication about garden cultivation, was for the most part borrowed – often literally – from Munting, while the illustrations were taken from other sources, including De Passe’s Hortus Floridus.135

Fig. 10.58 Abraham Munting, Aloe ferox in a decorated garden urn on a wall before a mountainous landscape, with two figures on the left behind the wall, engraving, 370 x 240 mm, private collection. 133 For more details see Vanderjagt 2014. 134 Collection W.H. van Riemsdijk in Stiens; from a particularly beautiful hand-coloured example of Munting. A manuscript with drawings is in the collection of the University of Chicago Library, inv. no. CrMs260. 135 Cause 1676.

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Fig. 10.59 F. van Swijnen, Aloë americana, engraving, hand-coloured, 500 x 328 mm, Erfgoed Leiden en Omstreken, Leiden.

F. van Swijnen

Nothing is known about F. van Swijnen. An engraver with the name T. or F. van Swynen, according to Kramm, created ‘several fairly well-engraved botanical subjects’.136 Possibly he was related to the Amsterdam draughtsman and mezzotint engraver Evert van Sweinen (active 1686-1710). F. van Swijnen, Aloë americana (Fig. 10.59) Engraving, hand-coloured, 500 x 328 mm, in the lower right: F: Van Swijnen. fec. Erfgoed Leiden en Omstreken, Leiden, inv. no. PV13600.137 The text reads ALOË AMERICANA / Heeft gebloeid in des Universiteits / Kruyd-Hof tot Leiden. Anno 1698 ~ (‘ALOË AMERICANA / Has bloomed in the University / Botanical Garden of Leiden. Anno 1698 ~’). The Aloë americana was known in Europe from the year 1602 and cultivated in the botanical garden in Leiden; although it was described by Clusius in 1603, it only flowered for the first time in 1697. The impressions currently known of the Aloë americana, which according to botanical nomenclature should actually be called Agave americana, are all from a date later than 1698. A painting attributed to Matthias Withoos (1627-1703) showing an American Agave in a tub set in a garden was put up for 136 Kramm 1857-64, p. 1600. 137 Hoftijzer 2009, pp. 86-87.

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auction in 1996 in London.138 In 1757 Jan Augustini (1725-1773) made a large drawing of a Century Plant for the cultivator Jacobus Schuurmans Stekhoven in Leiden. Abraham Delfos (1731-1820) produced a print of it (Fig. 9.61).139

Barent Velthuysen

Barent Velthuysen was born around 1641 in Amsterdam where he was active as a silversmith and an engraver. He married three times, with Barentje de Leeuw in 1666, with Elisabet Hoppesak in 1684 and with Johanna de Liefde in 1686. He died in 1715. Barent Velthuysen, Flowers in a decorated metal vase on a foot (Fig. 10.60) Mezzotint, 250 x 180 mm, in the lower right in cursive: B: Velthuijsen Excudit. Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1903-A-23702. 1 2 3 4 5 6 7

Rue Hyacinth Poppy Anemone Provins Rose Honesty Tazetta Narcissus Blunt Tulip

Ruta graveolens Hyacinthus orientalis div. Anemone coronaria div. Rosa x provincialis Lunaria annua Narcissus tazetta Tulipa mucronata

Fig. 10.60 Barent Velthuysen, Flowers in a decorated metal vase on a foot, mezzotint, 250 x 180 mm, Rijksprentenkabinet, Amsterdam. 138 Canvas, 155 x 113 cm, Phillips, London, 10 December 1996, no. 59. Marijke C. de Kinkelder (database RKDimages) later attributed it to Jan Blom (ca. 1622-1685) but that would only be correct if the idea of blossoming plants were already known before 1685. 139 At the same time also Bernardus Mourik (active 1734-1791) produced a print of the Agave americana (180 x 120 mm, Leiden, Erfgoed Leiden en Omstreken, inv. no. PV13751). Another example is a large print (ca. 705 x 390 mm) in Paul Amman’s book Hortus Bosianus, dated 1700, with species from the garden of Caspar Bose in Leipzig.

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Fig. 10.61 Cornelis Ploos van Amstel after Jan van Huysum, Flowers in a decorated terracotta vase, coloured etching, 248 x 169 mm, Rijksprentenkabinet, Amsterdam.

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The spherical vase in this print from the first half of the eighteenth century has been decorated with acanthus leaves, as has the bell-shaped foot on which it stands. The vase has been set to the right on a narrow table or balustrade. The technique used here is similar to that used in Pieter Schenk’s mezzotints.

Cornelis Ploos van Amstel and Oswald Wijnen

Jan van Huysum did not make his own prints, but engravers in Holland and abroad made many prints after his works, usually paintings in oils, but sometimes watercolours too. Among those printmakers from Holland were Cornelis Ploos van Amstel (1726-1798) and Oswald Wijnen (1739-1790), whose lives and works were already discussed in Chapter 9. Cornelis Ploos van Amstel after Jan van Huysum, Flowers in a decorated terracotta vase (Fig. 10.61) Coloured etching, 248 x 169 mm, on the left: Jan van Huijsum fecit 1735, and on the verso: Klad proef Geoffreerd 1778 aan mijne waarde vriend Martinet / Ploos v Amstel JC fecit 1778 in aqua forti Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1959-481.140 In 1777 Cornelis Ploos van Amstel made etchings of a flower piece (Fig. 9.45) and a fruit piece after Jan van Huysum’s drawings in watercolour which he had purchased in 1776 from the collection of M. Neyman, and which were hand coloured under his direction by Oswald Wijnen, and sometimes by Elizabeth van Woensel. The original drawings of 1735 by Jan van Huysum may currently be found in the Fitzwilliam Museum in Cambridge.141 This early state (Fig. 10.61) is partially coloured and shows, among other flowers, Roses (Rosa div.), Irises (Iris div.) and an Opium Poppy (Papaver somniferum) at the top, in a terracotta vase decorated with putti, set on a marble slab. These and many other etchings by Ploos van Amstel were published in a facsimile edition in two volumes by Christiaan Josi in 1821 in Amsterdam and London in a print run of just one-hundred examples.142

Bernardus Schreuder

Bernardus Schreuder’s date and place of birth are unknown. He was apprenticed to Jacob Maurer (17371780) in Utrecht and from 1767 to 1778 he was employed by Cornelis Ploos van Amstel. Schreuder made engravings and etchings after old masters. He died in Hoorn in 1780.143 Bernardus Schreuder after Jan van Huysum, Flower piece with a curtain in a niche (Fig. 10.62) Etching, rocked plate, 204 x 156 mm Rijksprentenkabinet, Amsterdam, inv. no. RP-P-OB-66.182.144 Flower piece with a curtain in a niche was made by Bernardus Schreuder in Ploos van Amstel’s workshop after a pen and ink drawing by Jan van Huysum in Ploos van Amstel’s collection.145 Compared to the second state of the print (Fig. 10.11), the first state displays no characteristics associated with the aquatint etching process.146

140 Laurentius, Niemeijer & Ploos van Amstel 1980, pp. 283-284, no. 66; Segal in Delft & Houston 2006-07, pp. 250, 358 n. 5 under F32. 141 The flower piece: watercolour and body colour on paper, 482 x 336 mm, Cambridge, The Fitzwilliam Museum, inv. no. PD 78-1975; the fruit piece: watercolour and body colour on paper, 492 x 340 mm, Cambridge, The Fitzwilliam Museum, inv. no. PD 62-1975; Segal in Delft & Houston 2006-07, p. 250, Fig. F32.1. 142 Josi 1821. 143 Scheen 1981, p. 470. 144 Van Huffel 1921, p. 57, no. 65; Hollstein in Hollstein etc. 1973, IX, p. 174, no. (13)27-28. 145 The drawing is in the collection of the Louvre: 210 x 160 mm, Paris, Musée du Louvre, inv. no. RF 671; White 1964, p. 20, no. 105. The pendant shows a fruit piece after a drawing by Van Huysum now in the Metropolitan Museum of Art (203 x 158 mm, New York, The Metropolitan Museum of Art, inv. no. 49.65). Amsterdam, Rijksprentenkabinet, inv. no. RP-P1882-A-5700. Van Huffel 1921, p. 57, no. 66. 146 Amsterdam, Rijksprentenkabinet, inv. no. RP-P-OB-59.105. For the second state of the fruit piece see Amsterdam, Rijksprentenkabinet, inv. no. RP-P-OB 59.106.

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Fig. 10.62 Bernardus Schreuder after Jan van Huysum, Flower piece with a curtain in a niche, etching, rocked plate, 204 x 156 mm, Rijksprentenkabinet, Amsterdam. 990 |

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Hendrik Schwegman

Hendrik Schwegman was born in 1761 in Haarlem. He was apprenticed to Pieter van Loo (1735-1784) and made paintings, drawings and engravings in aquatint of flowers and still lifes, as well as a few landscapes. He died in Haarlem in 1816.147 Hendrik Schwegman after Jan van Huysum, Flowers in a decorated terracotta vase (Fig. 10.63) Etching, rocked plate and aquatint, 188 x 144 mm, printed in blue-grey, with a separate oval frame in blue-grey, outside the oval very small in lower left: J. van Huysem [sic], del., and in the lower right: Hk. Schwegman. sculps. Rijksprentenkabinet, Amsterdam, inv. no. RP-P-1994-191. Schwegman produced an oval print with a few alterations after Jan van Huysum’s watercolour of 1735, now in the Fitzwilliam Museum in Cambridge.148

Fig. 10.63 Hendrik Schwegman after Jan van Huysum, Flowers in a decorated terracotta vase, etching, rocked plate and aquatint, 188 x 144 mm, Rijksprentenkabinet, Amsterdam. 147 Scheen 1981, p. 349. 148 Watercolour and body colour on paper, 482 x 336 mm, Cambridge, The Fitzwilliam Museum, inv. no. PD 78-1975; Segal in Delft & Houston 2006-07, p. 250, Fig. F32.1.

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Hendrik Le�fert Mijling

Hendrik Leffert Mijling was born in 1757 in Amsterdam and remained active there until 1801 when he moved to Groningen, where he died in 1821. He was a print artist who was primarily known for his book illustrations.149 Hendrik Le�fert Mijling after Paulus Theodorus van Brussel, Nederlandsch bloemwerk (Fig. 10.64) Engraving, ca. 165 x 137 mm, in the lower left: P. T. v Brussel, ad viv. delin., and in the lower right: H.L. Myling, sculp. Allard Pierson, Universiteit van Amsterdam, Amsterdam, inv. no. OM 63-1075.150

Fig. 10.64 Hendrik Leffert Mijling after Paulus Theodorus van Brussel, Nederlandsch bloemwerk, engraving, ca. 165 x 137 mm, Allard Pierson, Universiteit van Amsterdam, Amsterdam. 149 Scheen 1981, p. 508. 150 Bridson & White 1990, p. 63, no. C359.

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For the title-page of Nederlandsch bloemwerk. Door een Gezelschap Geleerden (‘Dutch Flower Arrangements. By a Society of Scholars’) Hendrik Leffert Mijling produced a flower piece after Paulus Theodorus van Brussel (1754-1795).151 It is unknown who the Geleerden or scholars were that wrote the text. The book was published in 1794 by Jan Barend Elwe in Amsterdam and contains one-hundredand-forty-seven prints of flowers, originally produced in nine installments. Further, on every plate there are a number of flowers after various older works, such as by Nicolas Robert. Only the title-print is an original composition.

Noach van der Meer II

Noach van der Meer II was a publisher and printmaker, who was born in Leiden in 1741 and died in Amsterdam in 1822. He shared the name of his father, Noach van der Meer I (1714-1769), who similarly made engravings and etchings of various subjects, but was less well known than his son.152

Fig. 10.65 Noach van der Meer II after Rachel Ruysch, Single flowers on a balustrade, etching, 224 x 202 mm, KBR, Brussels. 151 For Paulus Theodorus van Brussel as a flower painter see Chapter 9. 152 Scheen 1981, p. 340.

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Noach van der Meer II after Rachel Ruysch, Single flowers on a balustrade (Fig. 10.65) Etching, 224 x 202 mm, in the lower left: Rachel Ruisch Pinx., in lower right: Vandermeer Sculp., in the lower centre a shield with a radiant sun and fleur-de-lis KBR, Brussels, inv. no. S.II 151446.153 The engraving of Noach van der Meer II is based on an oil painting of Rachel Ruysch (1664-1750) in the Norton Simon Museum in Pasadena, California.154 The print of the flower piece was used in the second volume of Jean-Baptist-Pierre Le Brun’s Galerie des Peintres Flamands, Hollandais et Allemands of 1792. It bears the text Tiré du Cabinet de M.r le Brun. / d’apres le Tableau original hauteur 16 pouc. ½ larg. 13 pouc. ½ / a paris chez Chereau et Joubert rue de Mathurins aux deux Pilliers d’Or.155 The bouquet contains Roses (Rosa div.), Snapdragon (Antirrhinum majus) and other flowers on a marble balustrade, with a Red Admiral Butterfly (Vanessa atalanta) and a grasshopper.

Anthonie van den Bos

Anthonie van den Bos, also given as ‘Bosch’ in the biographical literature, signed using both spellings. He was born in Nijmegen in 1763, but later he moved to Amsterdam, where he was a student at the Stadstekenacademie and is also the place where he died in 1838. Van den Bos worked for the wallpaper manufacturing firm owned by Jan Hendrik Troost van Groenendoelen (ca. 1722-1794) and was a member of the drawing society Kunst zij ons doel (‘Art is our goal’). He also gave drawing lessons. He made paintings and drawings of landscapes, city views and genre subjects, copied Dutch masters of the seventeenth and eighteenth centuries, and made etchings.156 In fact, he made prints of several flower pieces and other still lifes that are not mentioned in the literature. Anthonie van den Bos, Flower piece with a Crown Imperial and two butterflies (Fig. 10.66) Etching and aquatint, coloured à la poupée, on brown prepared paper, 605 x 495 mm Rijksprentenkabinet, Amsterdam, inv. no. RP-P-OB-67.517.157 Cabbage Rose Sand Cat’s Tail Hyacinth Poppy Anemone White Rose Sea Aster Opium Poppy Hyacinth Hyacinth Opium Poppy Snowball Poppy Anemone Crown Imperial Cockscomb Small Morning Glory Peony Poppy Anemone Auricula African Marigold French Marigold

Rosa x centifolia Phleum arenarium Hyacinthus orientalis plenus albus virido-striatus Anemone coronaria albo-lilacina Rosa x alba plena Aster tripolium Papaver somniferum pseudoplenum asterinum Hyacinthus orientalis (coeruleus)plenus Hyacinthus orientalis plenus albus Papaver somniferum plenum (lilacinum) Viburnum opulus cv. Roseum Anemone coronaria pseudoplena lilacina Fritillaria imperialis Celosia cristata albo-viridis Convolvulus tricolor Paeonia officinalis plena Anemone coronaria pseudoplena violacea Primula x pubescens pallidolilacina Tagetes erecta Tagetes patula

Pale Clouded Yellow Butterfly ♀ Small White Butterfly

Colias hyale Pieris rapae

153 Von Wurzbach 1906-11, II, p. 527. 154 Canvas, 37.5 x 29.2 cm, Pasadena, Norton Simon Museum, inv. no. F.1972.43.1.P. Segal in Amsterdam 1970, n.p., no. 29. Rachel Ruysch’s life and work have already been treated in Chapter 9. 155 Le Brun 1792-96, II, following p. 106. 156 Scheen 1981, p. 63. 157 The same print with more muted colours: 593 x 477 mm, Amsterdam, Rijksprentenkabinet, inv. no. RP-P-OB-67.518; a black-and-white etching: 605 x 475 mm, Amsterdam, Rijksprentenkabinet, inv. no. RP-P-OB-67.519 and an etching and aquatint: 598 x 478 mm, Amsterdam, Rijksprentenkabinet, inv. no. RP-P-OB-67.516.

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A vase decorated with putti has been set on a grey and white balustrade, cut in clean simple lines against an indistinct background of trees under a sky with some clouds. The foliage is uncoloured or partially coloured with green-grey. A butterfly is in flight above to the left and another resting on the plinth to the right. The flowers are coloured à la poupée, a technique for making prints with different coloured inks as discussed previously above.

Fig. 10.66 Anthonie van den Bos, Flower piece with a Crown Imperial and two butterflies, etching and aquatint, coloured à la poupée, 605 x 495 mm, Rijksprentenkabinet, Amsterdam.

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Detail Fig. 11.24 996 |

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CHAPTER 11

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11 About Florilegia1

What is a Florilegium?

When wandering through a field filled with beautiful flowers one can easily experience the urge to gather the loveliest for a bouquet. Such a bouquet is a florilegium, literally a choice or selection of flowers, as can be understood from the roots of the term. The Latin noun flos means blossom or flower, but also expresses the idea of something perfected, hence figuratively its crown or glory, that might be used to describe, for example, someone’s prime or heyday – although flos is also a term, which can be applied to the flowery or elaborate use of language. The verb lego, or legere, means choosing or selecting, as well as gathering. The word florilegium can, therefore, be thought of as conveying the notion of a selection of flowers, or in different contexts possibly other living things, objects, or qualities, at their peak. Lego also means reading and the word florilegium has a specialized meaning in literary tradition as it refers to a collection of the best works of literature, as in an anthology. Interestingly for our purposes here the original Greek word anthologia (ἀνθολογία), from which the Latin derives, literally means ‘flower gathering’ as it is a compound word formed from the terms anthos, meaning flower and logia, signifying collecting. In the world of antiquarian flower books, the word florilegium received its own meaning, or rather meanings. The common denominator between the different meanings is that they all refer to books with illustrations of beautiful flowers – whether an album of drawings (usually watercolours) or a series of prints. Florilegia were produced in the Northern and Southern Netherlands, France, Germany and England, in particular over a period of only a few decades at the end of the sixteenth and beginning of the seventeenth centuries.2 From the earliest beginnings of the printing press, books with flower illustrations were already being produced, but these were herbals, which primarily contained flowers that had a use in daily life – edible plants, plants for clothing and shelter, and most importantly medicinal plants – but not particularly ornamental flowers. Both the text and the illustrations, which were usually woodcuts, were assiduously and repeatedly copied from predecessors. For example, approximately five-hundred of the seven-hundred-and-fifteen illustrations in the Cruijdeboeck, the famous and enormously influential herbal of 1554 by the Flemish botanist Dodonaeus (1517/18-1585), were copied from an earlier herbal by the German botanist and physician Leonhart Fuchs (1501-1566) published in 1542, despite the title’s claim that the plants depicted were ‘natuerlick naer dat leven conterfeytsel daer by ghestelt’ (‘naturally counterfeited from life’).3 Such borrowings, or plagiarisms, were the order of the day, and in the florilegia too, in addition to original work, we encounter many copies, likewise without any reference to sources. In the period after the florilegia, books began to appear with texts about the care and cultivation of flowers, as well as flower books that treated different botanical species that were being grown in botanical gardens, not in the first instance because they were beautiful, but in order to satisfy scientific interest and curiosity about the multiplicity of natural forms. The production of very fine plates depicting plant species that were new to Europe at the time reached a highpoint in the eighteenth and early nineteenth centuries; these were the forerunners of more scientific studies of botanical families and species. Florilegia in the antiquarian sense of the word, then, are usually books with botanical illustrations of chiefly ornamental flowers and plants, as opposed to the utilitarian and medicinal species focused upon in herbals, most frequently done as copper engravings, but sometimes also as etchings. They originally served a variety of purposes: sometimes as model books for the applied arts; as scientific visual records of exotic and rare specimens introduced from far-flung countries around the world and, hence, unfamiliar to European audiences and associated, therefore, with travel and voyages of discovery; following on from 1 2 3

This chapter is a revised version of an earlier publication, see Segal 2001. All references to the published series of prints mentioned in this chapter are included in the bibliography of this book. Florilegium is also the title of a literary flower book by Ulrich Völler von Gellhausen of 1616 that contains descriptions of plants and their medicinal qualities. Swan 1995, pp. 363, 365-366 n. 57-58.

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this last point, such works could be ecologically concerned with the careful observations of flowers in relation to quite specific habitats; as objects of prestige displaying records of flowers from a specific garden or country estate; as catalogues serving horticulturalists, who traded commercially in flower bulbs and plants; or as picture books for liefhebbers, collectors and connoisseurs and those with their own gardens. Florilegia tended to serve the needs of a quite different readership than herbals, which were primarily intended for practitioners of the medicinal arts and for intellectuals. The copper engravings in these works are usually larger, more refined and naturalistic in contrast to the woodcuts that fill the pages of herbals. Their arrival is closely connected with the rise of the ornamental garden in Europe, a new phenomenon that arose following the medicinal herbal gardens of the Middle Ages and scientific botanical gardens from the mid-sixteenth century. We can assume that such works appealed primarily to the nobility. Florilegia came into existence in the same period that saw the first beginnings of the tradition of the flower piece in painting and in identical locations. The aesthetic value of these books was of considerable significance. The accompanying texts, which, when they were included at all in florilegia, were reduced to short descriptions and of much less importance than those in the herbals, from which they often borrowed their information. Florilegia were not always published in book form, but in many instances as a series of separate prints that could be bound as an album, or not, according to the wishes of the buyer. These series were frequently supplemented later with new prints. They were sold both coloured and uncoloured, or they could have a wash of paint applied directly after purchase, or at some later point in time (sometimes many years later). There was of course, at the time, no sharp division between florilegia and herbals, pattern-books with flowers and plants, gardening books, botanical books and other kinds of flower books. In addition, a large number of prints of animals (with the inclusion of birds and insects), plants, flowers and fruit are known from the same period that florilegia were flourishing. One of the most famous in this category is the series Archetypa Studiaque patris Georgii Hoefnagelii, published in 1592 in Frankfurt. The Archetypa shows a combination of plants and creatures, engraved by Jacob Hoefnagel (1573-1632/33) after drawings by his father Joris (1542-1600) and incorporates both sacred and profane texts from a variety of sources (Figs 2.1-3, 2.27 and 10.2).4 The number of publications that with certainty fall into the category florilegium according to the criteria set out here is restricted to a few dozen at most for the late sixteenth and early seventeenth centuries. There are, of course, later editions, that more or less satisfy these criteria. The examples that follow are a selection from the literature on this theme, as well as a personal choice. Due to the profusion of sources here, it is impossible to be entirely comprehensive, but the examples selected give a good overview.

Charles Jourdain

In 1555 a little flower book appeared that was a kind of cross between a herbal and a florilegium entitled Le blason des fleurs, with twenty-six charming, somewhat simple woodcuts of flowers, fruit and a few living creatures (Fig. 11.1). Of the first edition (re-issues followed in 1580 and 1581) there is currently but one copy extant in a private collection. The only known example is printed on vellum with flowers hand-coloured by the artist, Charles Jourdain, set against a gold background. It is a small book, 68 x 48 mm, printed by Jean Bridier and dedicated to Marguerite de Valois (1523-1574), the daughter of King Francis I and the sister of his successor, King Henri II of France. At some point Marguerite presented this copy as a gift to her private physician.5 The illustrations include Roses, Columbine, Madonna Lily, Daisy, and Strawberry, species that served a symbolic function in the Christian art of the period.

Adriaen Collaert, Crispyn de Passe I and Jacques le Moyne

The first time that we encounter the word florilegium used in the title of a series of prints is in a publication by Adriaen Collaert (ca. 1560-1618) from approximately 1590. The title plate shows the coat of arms of the De Medici family, encircled by a flower wreath and accompanied by three ornamental vases with flowers on a pediment; it is inscribed below with a six-line text praising art for approaching nature (Fig. 11.2).6 In the left vase we see Apothecary’s Rose (Rosa gallica cv. Officinalis), Pot Marigold (Calendula 4 5 6

See Chapter 2. According to the catalogue description given by the Librairie Thomas-Scheler in Paris 1999. Amsterdam, Rijksprentenkabinet, inv. no. RP-P-BI-5990. Van Gelder 1936, p. 81, cites a further text that illustrates the function of the florilegium: ‘pictoribus, sculptoribus [...] mire utilis et necessarius’ (‘for painters, engravers [...] wonderfully useful and necessary’); this text is also cited by Nissen 1951 (1966), I, p. 68, possibly after Van Gelder and from an edition unknown to me; cf. Hairs 1955, p. 149 n. 39. The contents of the florilegium are extensively discussed in Diels & Leesberg 2005-06, VI, pp. 244-254, nos 1562-1585, with illustrations of all the plates.

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Fig. 11.1 Charles Jourdain, Rose from Le blason des fleurs, woodcut, 68 x 48 mm, private collection.

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Fig. 11.2 Adriaen Collaert, Title page from the Florilegium, engraving, 181 x 128 mm, Amsterdam, Rijksprentenkabinet.

officinalis), single Carnation (Dianthus caryophyllus simplex) and Madonna Lily ((Lilium candidum); in the right vase are German Flag (Iris germanica) and Orange Lily (Lilium bulbiferum); and in the centre vase Lily of the Valley (Convallaria majalis), Borage (Borago officinalis) and Cornflower (Centaurea cyanus). The plate that follows the title, engraved by Collaert after a design by Philips Galle (1537-1612), shows Christ appearing to a woman in a flower garden holding a bouquet of flowers in his hand, with flowers strewn at the feet of both figures (Fig. 2.4). Below the text from the Song of Songs is a quotation exhibiting some poetic licence, which reads in translation as follows: ‘I am the Flower of the field and a lily of the valleys. As the lily among thorns so is my love among the daughters. I went to my garden, my sister and bride, I have gathered myrrh with my spices’.7 The bride in this print should not necessarily be taken as being Mary Magdalene to whom Christ appears as bridegroom, as is generally assumed in the literature.8 Rather, in the Christian tradition the bride in the Song of Songs was most often interpreted allegorically as Ecclesia, the Church, with whom Christ was symbolically married, and also as the Virgin Mary, the mother of Christ.9 The plate with this symbolic-cum-allegorical text sets the tone for the entire album. The third plate is a flower piece, the earliest known example of a print with a vase of flowers as the only subject (Fig. 10.15). This print seems to be partially based on a watercolour attributed to Ludger tom Ring II (1522-1584), which could have been created around 1560.10 Next in sequence are the plates numbered four to twenty-four with loose, individual flowers in each one, done in a style that shows they were clearly intended as patterns for goldsmiths, silversmiths, as embroidery patterns for 7 8 9 10

In the King James translation, combining different verses: ‘I am the rose of Sharon, and the lily of the valleys. As the lily among thorns, so is my love among the daughters.’ (2.1-2) ‘[...] I am come into my garden, my sister, my spouse: I have gathered my myrrh with my spice [...]’ (5.1). For Adriaen Collaert’s Florilegium see also Chapter 10. Following John 20:11-18. Segal in Osaka, Tokyo & Sydney 1990, pp. 25-26. Segal 1996a, I, p. 132, II, pp. 410-411, no. 86, with extensive bibliography on the Florilegium.

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Fig. 11.3 Adriaen Collaert, Lilies and other flowers, plate six from the Florilegium, engraving, 177 x 125 mm, Amsterdam, Rijksprentenkabinet.

needleworkers and other practitioners of the applied arts. No textual inscriptions have been added to these plates. The flowers are more or less stylized and a number of little flowers strewn among the larger ones are unidentifiable. In these images we find representations of various kinds of Roses, Carnations, Pot Marigold, Daisies, Lilies, Irises, Columbine, and others, that are familiar to us from the religious paintings of the fifteenth and sixteenth centuries, but we also encounter species that had been newly imported at the time, such as Tulips, Crown Imperial, Sunflower, and pineapple, and species that were deemed suitable for decorative purposes, such as Thistles and a few wild Orchids. Plate six is given here as an example with nine different species, including five Lilies (Fig. 11.3).11 In relation to the dating of Collaert’s Florilegium around 1590, help is provided by an edition of a series of illustrations featuring flowers and birds by the Flemish engraver Nicolaes de Bruyn (1571-1656), published in 1594 by Assuerus van Londerseel (1572-1635) in Antwerp. In this publication we find a number of elements borrowed from Collaert: for example, two flower vases from the title plate and a number of flowers from the Florilegium itself.12 Pattern books with prints of ornaments had in fact been produced earlier, but in terms of books specially dedicated to flowers, this is the oldest example. Such works were also produced later, in the seventeenth and eighteenth centuries, predominantly in France and Germany, with Nuremberg as an important centre.13 A second flower series by Adriaen Collaert, in the same form and style as the Florilegium but in an oblong format has as a title plate a print after Philips Galle, without a text, showing the goddess Flora seated amidst vases of flowers (Fig. 11.4), followed by twelve plates that depict flowers in the same

11 12 13

Amsterdam, Rijksprentenkabinet, inv. no. RP-P-BI-5995. De Jong & de Groot 1988, p. 41, no. 41. See Chapter 10.

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Fig. 11.4 Adriaen Collaert, Title page from Florae Deae, engraving, 130 x 179 mm, private collection.

manner as the Florilegium, but now arranged in a horizontal format, lying down on its side instead of standing vertically, with fewer large flowers, but with supplementary work: butterflies and other insects, a mouse, a bird, a frog and a lizard. Only two original copies of this series are known to me, although there are now extant a few other examples of later editions in reverse from the publisher and engraver Justus Sadeler (ca. 1583-ca. 1620) in Antwerp and the geographer, engraver and publisher Jean le Clerc (ca. 1560-ca. 1624) in Paris at the beginning of the seventeenth century, as well as an edition from the early eighteenth century from the publisher and engraver Christoph Weigel (1654-1725) in Nuremberg (Fig. 11.5).14 These later copies are rare too. The editions by Sadeler and Le Clerc have the same text on the title plate: the title FLORAE DEAE inter patrios et exoticos flores sedentis artificiosa delineatio variorum florum subsequente effigie as the header, although in Le Clerc’s edition his name is included in the title; whilst below the picture there is a twelve-line text about the goddess Flora.15 Quite remarkable in this second work is the relatively large number of flowers that also occur in the strewn borders of sixteenth-century manuscripts, particularly Books of Hours, such as Borage, Strawberry (flower and fruit), Lavender, Stock, Wallflower, Pot Marigold, Daisy, Pea and Periwinkle. Note, however, that more 14 15

Amsterdam, Amsterdam Museum, inv. no. inv. no. KB 1022. The series was first mentioned by Segal in Amsterdam & ‘s-Hertogenbosch 1982, p. 11 n. 16 and in Amsterdam & Braunschweig 1983, pp. 36, 99 no. h, where there is a description of the original edition. Examples of the Sadeler edition are currently in the collection of the Kunstbibliothek in Berlin and the Victoria and Albert Museum in London (for the latter I would like thank Ms Anneke Bakker). An example of the Weigel edition is in a Samelband of the Backer Foundation, now in the Amsterdam Museum. Sadeler published flowers from the Florilegium, together with birds from a different series by Collaert, in another series, of which I have seen two examples, one in the same Samelband in the Victoria and Albert Museum. Sadeler also published a re-issue of the Florilegium with unnumbered plates. The title Florae Deae is also used for the original series by Collaert that lacks a title text.

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‘modern’ exotic cultivars of the time, such as Tulips, are also included in the series. There is considerable uncertainty about whether the same artist created the designs for both series since they differ in style; it is also unknown whether Adriaen Collaert was himself the artist who designed the plates with separate flowers in either of the series. The Florae Deae shows certain resemblance to a series of prints by the publisher and engraver Crispyn de Passe I (ca. 1564-1637), the title page of which bears the words Cognoscite Lilia Agri Qvomodo Crescant, Non Laborant [...] (hereafter shortened to the Lilia series), a citation from the Sermon on the Mount: ‘Consider the Lilies of the field, how they grow; they toil not, neither do they spin: And yet I say unto you, That even Solomon in all his glory was not arrayed like one of these’ (Fig. 11.6).16 This series of engravings is generally known as the Altera Pars (the second part or continuation) and is usually (but not always) bound in as the last section of the Hortus Floridus, published in 1614 by Crispyn I and engraved largely by his son Crispyn de Passe II (ca. 1594-1670). Until recently this Altera Pars was thought to be a work by the son, that is Crispyn de Passe II, but in actual fact, it is a re-print of an earlier series of prints dated to around 1600 and 1604 and, therefore, it raises numerous questions based on the critical examination of these early printed sources, which will be explored more fully presently. It must be stressed, however, that the history of this particular section of the book is tricky to untangle and resolve with absolute certainty, as none of the surviving editions of the Hortus Floridus are entirely alike. A good, complete original edition of the Lilia is extant, in the same album as the original edition of the Florae Deae without title text, along with the Florilegium by Collaert. I first described this complete edition in 1982 and attributed it to Crispyn de Passe I.17 The attribution is shared by Ilja Veldman and 16 17

Fig. 11.5 Christoph Weigel after Adriaen Collaert, Rose, Carnations and other flowers, from Florae Deae, engraving, 132 x 178 mm, Amsterdam Museum, Amsterdam.

Matthew 6:28-29. London, The British Museum, inv. no. 1952,0117.14.171. Segal in Amsterdam & ‘s-Hertogenbosch 1982, pp. 10, 74; cf. Segal in Amsterdam & Braunschweig 1983, pp. 39, 101; Segal in

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Fig. 11.6 Crispyn de Passe I, Title page from the Lilia series, engraving, 130 x 203 mm, The British Museum, London.

was independently arrived at by Anthony Griffiths in 1998, who assumes there was an earlier edition when he writes: ‘No copy of the first, pre-1614, edition has yet been identified, and it is not known when it was first published, the most likely period is 1603-5’.18 The series is made up of sixty-one plates showing a total of one-hundred-and-twenty plants in the same oblong format as the series by Collaert; typically individual plates depict two plants, each with its own number, plus the name of the species in Latin, French, English and German, and sometimes also in Italian, depending on which copy is consulted. These are primarily illustrations of useful, medicinal plants, but more aesthetically pleasing than those in most herbals, and includes a great many pictures of fruit-bearing trees, as well as a number of sixteenth-century ornamental flowers (Fig. 11.7).19 The use of the term florilegium for this original edition might, therefore, be considered something of a misnomer, although it must be remembered that later editions are usually part of the Hortus Floridus, an extensive collection of over one-hundred-and-seventy illustrations of flowers, including numerous bulbous plants. A surprising feature in some of the plates is the decorative inclusion of playful rinceaux, that is to say entirely stylized, ornamental motifs based loosely on the sinuous forms of plants with trailing tendrils. There are also other additional types of supplementary work: a variety of birds, butterflies and other insects (some on the wing), as well as snails, little rabbits, a mouse, one illustration incorporates an almost surreal representation of figures wrestling in the background, and very occasionally small landscape elements have been included to add visual interest to the compositions. The same copper plates were used to print the engravings of the Altera Pars. Prints from the original edition can be differentiated from the Altera Pars by the lack of a text on the verso, in addition they are printed on different German-made paper with an eagle water-

18

19

Osaka, Tokyo & Sydney 1990, pp. 165-166. Griffiths in London 1998, p. 134. I would like to thank Professor Ilja Veldman for her critical reading of the manuscript and several important comments. For her study of De Passe see Veldman 2001. Various arguments weigh against the attribution to Crispyn II, such as clear differences in style, the extreme youth at which Crispyn II (who, according to Veldman, was probably born in 1594) would have engraved the plates, and the reduced quality of the cut lines in comparison to the Lilia series, what later became the Altera Pars of the Hortus Floridus, quite possibly due to the copper plates becoming worn from use. London, The British Museum, inv. no. 1952,0117.14.186.

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mark, and they consist of darker impressions having been taken from less worn copper plates, with lines that often show through on the verso.20 The similarities to Collaert’s original edition of the Florae Deae (the one mentioned earlier as lacking text on the title page) are revealed in the number of plants in reverse this series exhibits, taken from De Passe’s series Lilia. In most cases they are only fragments from the image by De Passe and sometimes they are less clearly represented.21 As a result the Florae Deae series by Collaert must have been created after the De Passe’s prints.22 There is another work that exhibits resemblance to the Lilia series and the work I allude to as Collaert’s Florae Deae, namely a work published in London in 1586 entitled La Clef des Champs, pour trouver plusieurs Animaux, tant Bestes qu’Oyseaux, avec plusieurs Fleurs & Fruitz. In the introduction, La Clef des Champs is recommended as a pattern book for engravers, jewellers, lace-makers, weavers and other artists and, in that regard, it is closely related to Collaert’s Florae Deae and Florilegium. This handbook contains small woodcut illustrations for identifying plants and animals in the field (Fig. 11.8), which could also be used as a pattern book for artists and craftsmen.23 La Clef des Champs was created by the French-born artist and explorer Jacques le Moyne (ca. 1533-1588), also known as De Morgues, who remains especially noteworthy today for his records of Native Americans and the early exploration of North America based on his experiences on a French Huguenot expedition to Florida. This La Clef des Champs, too, is a very rare item.24 It was also produced in an oblong format. La Clef des Champs in-

Fig. 11.7 Crispyn de Passe I, Plums and Carnations from the Lilia series, engraving, 130 x 203 mm, The British Museum, London.

20 I have encountered an incomplete example of a somewhat later impression of the Lilia on paper with a different watermark in a private collection, as well as a further defective copy of the first edition. The British Museum in London also possesses an imperfect example of the first edition, an album with prints by the De Passes pasted in, most of them trimmed to the platemark. In addition to the title plate Cognoscite [...], 88 of the 120 plants are present (inv. no 1952,0117.14.171-215). 21 For example, Borage: in De Passe, fol. 79, the specific characteristics of the flower can easily be discerned, which is not the case in Collaert, fol. 1. 22 However, most of Collaert’s flowers here are not copies after De Passe: some have been copied from other works, for example Roses from a herbal by Lobelius (1538-1616), published in 1581 in Antwerp, which therefore forms a terminus post quem. 23 Upperville (Virginia), Oak Spring Garden Foundation, inv. no. RB0876, fol. 35r. 24 Two incomplete examples are in the British Museum in London, and one complete copy is in the Oak Spring Garden

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Fig. 11.8 Jacques le Moyne, French Marigold and Borage from La Clef des Champs, woodcut, 75/76 x 63 mm, Oak Spring Garden Foundation, Upperville, Virginia.

cludes, after a few pages of text, twenty-four plates with forty-eight animals and twenty-four plates with forty-eight flowers or fruit, consistently two to a plate as in the Lilia series.25 The names of the plants are given in Latin, French and English, and for the animals there is the addition of German. At first glance the plants look as though they were copied from the Lilia series. The illustrations in La Clef des Champs are charming but quite simple, and furthermore only show details from the images in what at a later date became better known as the Altera Pars. According to Hulton, who understands the Altera Pars to be a work of Crispyn de Passe II and regards it as inferior to the work of Le Moyne, the similarities must go back to a common source, in his view watercolours by Le Moyne from before 1581.26 Hulton describes a number of watercolours that have been attributed to Le Moyne, including two large series of flowers and plants, one now in the Victoria and Albert Museum and the other in the British Museum. In my opinion these series are from different hands, and the other drawings presented by Hulton are also not convincingly by the same artist.27 The series in the British Museum (Fig. 11.9) shows the most similarities to the prints in the La Clef des Champs and those grouped together in the Lilia, some of them corresponding rather more to the latter.28 This British Museum series is prefaced with a sonnet in calligraphic script signed with the name and date Iaques le Moinne, dit de Morgues. Peintre. 1585. If these

25 26

27 28

Foundation, Upperville, Virginia; see Hulton et al. 1977, I, pp. 186-200, II, Pls 64-90; Tomasi 1997, pp. 32-34, no. 6. William Stearn’s identifications of the plants in Hulton, I, pp. 58-59, are incomplete, lacking, for example, Musk Rose (Rosa moschata), Sweet Briar (Rosa rubiginosa), Olive (Olea sativa) and Apricot (Prunus armeniaca), as well as providing erroneous information, for example, False Larkspur (Consolida ajacis) instead of Field Larkspur (C. regalis), English Iris (Iris latifolia) instead of Spanish Iris (Iris xiphium). The connection between La Clef des Champs and the Altera Pars was already remarked upon by Hatton in 1909, pp. 9, 81. The reason for this date is a print by the Flemish engraver Abraham de Bruyn (ca. 1539-1587) in the Omnium pene Europae, Asiae, Aphricae, Americae gentium habitus, which was published in that same year in Antwerp. In the border around a title that reads: Exhibemvs [...] De Cleedinghen Des Paus, Cardinael, Biscoppen [...], we find thirteen little flowers and fruits, details in reverse of images like those presented in the Lilia series of Crispyn de Passe I. Illustrated in Hulton 1977, II, p. 139. Likewise, a series of sixty watercolours in the Oak Spring Garden Foundation, Upperville, Virginia, attributed to Le Moyne is certainly from a later French hand. Tomasi 1997, pp. 23-29, no. 4. London, The British Museum, inv. no. 1962,0714.1.20. In particular Lilia nos 38, 72 and 103.

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are really original drawings by Le Moyne made before 1581 they would have formed, as Hulton believes, the originals, directly for Crispyn de Passe and indirectly for Adriaen Collaert. De Passe did indeed make compositions for prints after material that he received from England. According to Hulton, the best renderings of other plants in the Altera Pars and some prints in the rest of the Hortus Floridus by Crispyn II could also be understood as made after unknown models by Jacques le Moyne.29 That watercolours by Le Moyne were available when De Passe’s Lilia series was created cannot be ruled out, but remains hypothetical; that they had anything to do with the prints made by Crispyn II is extremely improbable. If drawings by Jacques Le Moyne had in fact served as models for the work of Crispyn de Passe I, it must be noted that the drawings would have had to have been more detailed than the simple representations in La Clef des Champs leads one to suspect. For these images to function as the basis of De Passe’s prints they would have had to be significantly improved. In actual fact, it does seem as though De Passe I frequently based his work on earlier sources, but was able to artistically surpass them.30 The prints that have not been borrowed from Le Moyne, or at least those that do not show similarities with his La Clef des Champs, are, for the most part, arguably more refined, particularly from a botanical point of view. It is unlikely that De Passe observed and drew these plants himself at first hand. If drawings by Le Moyne did not serve as models for De Passe, he possibly used work by his wife, Magdalena de Bock (active ca. 1591-1635), who hailed from an artistic family. Magdalena was a niece of the multi-talented Flemish artist Maerten de Vos (1532-1603), by virtue of his wife’s family, and made many drawings as preparatory drawings for her husband’s prints.31 The Lilia series were quite possibly published simultaneously in London and Cologne. The title page states that it was published by Crispiam Passaei and Joannis Waldnelij, Latinate versions of the names Crispyn de Passe I and Johannes Woutneel (ca. 1550-ca. 1608). Woutneel moved from Flanders to England

29 30 31

Hulton 1977, II, pp. 81-81. According to a communication from Ilja Veldman. Griffiths in London 1998, p. 40.

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Fig. 11.9 Borage and Scarlet Tiger Moth, drawing, watercolour and body colour, 212 x 147 mm, The British Museum, London.

in the 1570s and was active there as a bookseller from that time until his death.32 While Woutneel was in London he kept in touch with De Passe, who was working in Cologne from 1589 to 1611. Among other things, De Passe made three engraved portraits of Queen Elizabeth I for Woutneel. Woutneel was responsible for the dissemination of the English names of the plants in England. Probably De Passe retained the copper plates and sent a portion of the print series to Woutneel, having been supplied with texts by the engraver Matthias Quad (1557-1613) in Cologne.33 It should be mentioned that not all the names accompanying the engravings of plants were correct, as would have been known at the time.34 32 33 34

Woutneel was probably also in contact with Le Moyne; he had a neighbour in Blackfriars who was a Protestant refugee from France. Veldman 2001, p. 82. No. 3 is not Lilac but Elder, no. 68 is not Spignel but Garden Angelica, no. 88 is not Wall Rue but (Common) Rue.

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The work of Crispyn de Passe I had a considerable influence on later florilegia. In 1609 a book by the Flemish scientist, physician and naturalist Anselmus Boëtius de Boodt (1550-1632) was published, namely the first edition of his Florum herbarum ac fructuum selectiorum icones et vires [...] in Frankfurt. A large number of the images are reprints from the Lilia series, complete with the plant numbers. Perhaps the same plates were used for this edition.35 The inspiration of Crispyn de Passe I’s work can also be discerned in a later florilegium published in 1616 in Douai by Jean Franeau, Jardin d’hyver, ou Cabinet des fleurs [...], that has the images in reverse. The English botanist John Parkinson (1567-1650) made free use of illustrations by Crispyn I in his 1629 Paradisi in Sole – Paradisus Terrestris [...], which although containing original illustrations, also includes copies from De Passe, amongst others. Other English engravers too copied freely from De Passe’s work, most notably the English engraver John Payne (16071647) in his Flora – flowers fruicts beastes birds and flies exactly drawne, with their true colours lively described of 1620 and its later reissue from 1630, albeit with the new title Animalium, quadrupedum, avium, florum, fructuum, muscarum et vermium omnis generis verae delineationis in aes incisae, in which the larger number of the flower plates are copies after De Passe. In the case of John Payne this influence and reliance on De Passe’s work is perhaps less surprising given the fact that he is believed to have learned the art and craft of engraving from Crispyn de Passe I’s sons, Simon and Willem, both of whom lived and worked for part of their lives in London, where they had moved to as Anabaptist exiles. The English engraver Francis Delaram (ca. 1590-ca. 1627), who may have been of Flemish descent, matches Payne with such kinds of borrowings in his publication similarly from approximately 1620, namely A Booke of Flowers Fruicts Beastes Birds and Flies exactly drawne, to which his publisher, the notable and prominent George Humble (active 1603-1640), added two more sets of flower plates, the second by a certain William Simpson and the third anonymous, but all predominantly based on De Passe’s Lilia series, what also later became the Altera Pars of the Hortus Floridus. There are also later expanded editions of both Payne’s and Delaram’s work. Finally, the botanist John Hill (ca. 1714-1775) borrowed portions of De Passe, and others, for his 1757 publication, Eden – or, a Compleat Body of Gardening.36

Crispyn de Passe II

The work of Crispyn de Passe II forms a continuation of late sixteenth and early seventeenth-century print series; it is the last in the sequence of the great florilegia. Two decades after the work of his father was published, Crispyn II finished the engravings for his Hortus Floridus (Fig. 11.10).37 This work, printed by his father in Utrecht and Arnhem in 1614, was in the same format as the print series by Crispyn I, Collaert, Sadeler and many other engravers. It looks as though the young Crispyn made his drawings of plants directly from life. The series followed the latest fashion of the day in painting and printmaking, one particularly popular in Antwerp, namely a division of the material according to the Four Seasons. Just one year earlier, the botanist and apothecary Basilius Besler (1561-1629) in Germany had also reflected the Four Seasons in his sumptuous and extravagant Hortus Eystettensis [...], a publication discussed further below. The Hortus Floridus is regarded by many as one of the most beautiful flower books ever published, and in my judgement, too, it is a highpoint in the history of flower illustration.38 The images are far more true to life than anything that had appeared as a botanical print previously, or for many years thereafter. These botanical prints were created with an impressive sense of aesthetic composition, and with a great deal of attention to the arrangement of elements and other spatial aspects. Crispyn II’s little landscapes depict the plants from a low perspective so the viewer gains the impression that one could actually enter the garden where the plants are displayed. Sometimes we encounter witty details, for example a dead mole lying on its back near an African Marigold, which was regarded as a poisonous plant on account of its unpleasant odour; in another engraving a mouse is nibbling a bulb. Plate four from the Spring section with two kinds of Nonesuch Narcissus (Narcissus x incomparabilis) is given here as an example (Fig. 11.11).39 It is, however, no simple task to write a comprehensive description of the entire print series, because of the extremely complex nature of the book’s printing history and how it was variously put together. In order to understand and accept this, the following considerations are critical and are factors that, in some of the more general points, are applicable to other florilegia as well:40 35 36 37 38 39 40

De Boodt 1609. I am only familiar with the 1640 edition. About De Boodt see Maselis, Balis & Marijnissen 1989. Cf. Savage 1923, p. 206. Upperville (Virginia), Oak Spring Garden Foundation, inv. no. RB1171. Griffiths in London 1998, p. 134: ‘the most ambitious botanical work of the seventeenth century’. Upperville (Virginia), Oak Spring Garden Foundation, inv. no. RB1171. It is highly possible that on a number of points the variation is even greater than stated here. Some of these consider-

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Fig. 11.10 Crispyn de Passe II, Title page from the Hortus Floridus, engraving, 183 x 270 mm, Oak Spring Garden Foundation, Upperville, Virginia.

– De Passe probably published the Hortus Floridus not in book form, but as one or more series of loose prints. Indeed, there are Latin, Dutch, French and English editions with different title pages and texts, although the prints of the flowers are the same. The original publication is the Latin edition, the Hortus Floridus, followed by the Dutch edition, Den Blomhof, and a French edition, Jardin de Fleurs, and finally in 1615 an English edition, A Garden of Flowers, was printed.41 – Perhaps symptomatic of the complex printing history of the Hortus Floridus and the different printers involved, a number of illustrations in the Spring and Summer sections have been issued in two, or sometimes three, different states, which primarily diverge from each other in the addition of supplements including, for example, small animals, or insects. – The reverse of each engraving may be printed with the text relating to the facing illustration in one of the four languages, or they can be simply left blank. – There are two types of the general title page and different versions in the four languages, for the Latin editions with the added year of publication 1614, 1616, 1617, or without a date, whilst the English edition dates from 1615. The finest title page pays homage to two of botany’s greats by showing head and shoulder portraits of Dodonaeus and Carolus Clusius (1526-1609) between the sun god Apollo and the moon goddess Diana (Fig. 11.10).42 – There are two somewhat different versions of the Latin introduction. – The Spring and Summer sections each have one print with a representation of a garden inspired

41 42

ations are found in Savage 1923, but expressed rather less comprehensively. Savage, however, presents a more extensive, but also not entirely complete description of the different states of each print. For the printing history of the Hortus Floridus and Altera Pars, and an overview of the contents of each edition, see Veldman 2001, pp. 205-212. Upperville (Virginia), Oak Spring Garden Foundation, inv. no. RB1171.

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– – –

–

–

43

by the idealized garden designs of the Dutch architect, engineer and painter Hans Vredeman de Vries (1525/26-1609), thinking here specifically of the engravings in his publication Hortorum viridariorumque elegantes et multiplices formae [...], which exerted a great deal of influence on garden design in seventeenth-century Northern Europe and the Netherlands in particular (Figs 1.7 and 1.8). The plates are numbered, and from the signatures it is evident that in several instances the brothers Simon (ca. 1595-1647) and Willem de Passe (1598-ca. 1637) also collaborated on this series. Usually we see one or two species per plate, occasionally three or four, with the names in one or more language, including Latin, Italian, German, Dutch and sometimes English, but rarely all five together. The basis of a complete edition consists of a general title page with an introduction in Latin, Dutch, French or English, plus a title page for each of the four sections followed by forty-one plates for Spring, nineteen for Summer, twenty-five for Autumn, and twelve (with a ‘d’ before or after every number) for Winter. Tulips were later added to the Spring section accompanied by the names of the cultivators (Fig. 11.12), the illustration numbers forty-three to fifty-four, some dated 1615, plus an extended treatment about cultivation and the care of Tulips appear in two versions.43 There is actually a Tulip plate with the number forty-two, but that is an alteration of number fifty-two. The numbers fifty-three and fifty-four were quite likely added in 1616 since they are the most rare. Number twenty was added to the Summer section, and two prints were added to the Autumn section. Any of the following may be placed after the general title: a list with the names of the liefhebbers and a refereyn, a two-page introduction and dedicatory verses. A later supplement may be included, which is an extensive discussion of the colouring of the flowers in Dutch, French or English.

Fig. 11.11 Crispyn de Passe II, Narcissus from the Spring section of the Hortus Floridus, engraving, 168 x 261 mm, Oak Spring Garden Foundation, Upperville, Virginia.

Upperville (Virginia), Oak Spring Garden Foundation, inv. no. RB1171. See Segal 1994, p. 11, Fig. 5, for another example.

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Fig. 11.12 Crispyn de Passe II, Two Tulips (no. 45) from the Spring supplement section of the Hortus Floridus, engraving, 273 x 185 mm, Oak Spring Garden Foundation, Upperville, Virginia.

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– The Four Seasons each have their own title page, which exist in multiple versions, and an index of the plates with the names of the plants, in some cases on the verso of the title page. – Further supplements are the engravings of a garden, of which there are two versions. At times only one of these is included, at other times both, and occasionally one has been placed at the beginning of each Season. – The French and English editions both open with an acrostic, that is to say a kind of puzzle, which here refers to how the first letter of each line read vertically form the anagram CRISPIANVANDEPASSEIUNIOR. In the English edition, each of the four parts has been prefaced with a quatrain. – Yet another supplement is an engraving of the goddess Flora with a cornucopia, a much used symbol of plenty, here consisting of a horn filled with flowers, along with an epigram, sometimes left blank on the verso and from time to time printed on the recto of the contents of Summer or Autumn. – The Altera Pars by father Crispyn may or may not have been added to the four parts. If added, then it was usually the new edition accompanied by texts. The inclusion of the Altera Pars might also, however, consist of plates completely or partially without text and could in addition be an earlier edition of the series. – Loose impressions could easily be left out of a series (for whatever reason), or be lost, or could also indeed be added. It even occurs that duplicates are found in a single album. The loose impressions could serve as decoration, as models for ornamentation, or as templates for other people to copy as, for example, in the design of tiles. Indeed, sometimes we find impressions that have been perforated with tiny needle holes around the outlines of the flowers, which indicates they could at times have been used in the mode of a stencil; although engravings used in this type of way as models were easily irreparably ruined or destroyed. The prints in this series might also have served as examples of plants that a garden owner or liefhebber could order from a horticulturalist. – Taken altogether, there are quite a large number of poems in praise of Crispyn II by various authors in the different editions.44 Seldom do we find all these supplements present at the same time. Some supplements are rare, such as the Tulips numbered forty-two to fifty-four in Spring and the instructions for colouring. In conclusion, the precise configuration and content of the surviving books can vary a great deal from copy to copy.

Pierre Vallet, Johann Theodor de Bry and Emanuel Sweert

As early as 1601 the French botanical artist, engraver, and designer of embroidery Pierre Vallet (ca. 1575ca. 1650) made a series of prints that was ahead of its time, with twenty-five plates depicting twenty-four bouquets of flowers. As a result, Vallet received the commission for a series of engravings depicting flowers from a garden belonging to Maria de’ Medici, the second wife of King Henri IV of France. It was published in Paris in 1608 as Le jardin du roy très chrestien Henry IV, Roy de France et de Navare, dédié à la Royne. The accompanying text had been written in 1603 by the French hortulanus (chief gardener) Jean Robin (1550-1629). Vallet, who must have made the original drawings and engravings, is referred to as ‘brodeur ordinaire Du Roy’ (‘Embroiderer to the King’). The first edition of Le jardin has seventy-three unnumbered engravings and etchings in large folio format, usually with several flowers on a plate, and supplied with a short description in Latin (Fig. 11.13). The title page shows full-length portraits of both Clusius and Lobelius (1538-1616), each holding a bunch of flowers in their hands, standing respectively to the left and right of an archway leading to an enclosed formal garden (Fig. 11.14). In 1623 an edition of Vallet’s book appeared with ninety-five numbered prints and eighteen plates with instructions on colouring the flowers and directions for embroidery.45 Additional print runs followed in 1638 and 1662, with an undated edition around 1665. In these re-issues the name of the then reigning monarch has been incorporated in the title. Complete and well-preserved examples of all editions are very rare, partially due to the type of paper used, which has a tendency to turn brown quickly. The images are very fine and the composition on the plate is at times quite artistic. Some plates are enlivened by the addition of a butterfly or other insects. This florilegium exerted a tremendous and immediate influence on one of the best-known of the florilegia, the Florilegium novum by the engraver and publisher Johann Theodor de Bry (1561-1623), published in Oppenheim near Frankfurt am Main in 1611 and 1612, and moreover in44 See Veldman 2001, pp. 205-212, for an overview. 45 According to Bridson and White in a copy in the U.S. National Agricultural Library. Bridson & White 1990, p. 42, no. C61.

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Fig. 11.13 Pierre Vallet, Turk’s-cap Lily and Sowbread from Le jardin du roy, engraving, 336 x 225 mm, private collection.

directly influenced a number of other works, of which in the first place Emanuel Sweert’s (1552-ca. 1612) Florilegium must be mentioned, as was published in Frankfurt in 1612. Johann Theodor de Bry was the son of the bookseller, publisher, artist and engraver Theodor de Bry (1528-1598), who moved from Liège to Frankfurt for personal reasons of conscience. Johann Theodor’s daughter Maria Magdalena married the Swiss-born engraver Matthäus Merian I (1593-1650), who, after the death of his father-in-law in 1623, took over his publishing house in 1624 and moved it from Oppenheim to Frankfurt, going on to become one of the world’s most famous engravers and publishers in the second quarter of the seventeenth century. Moreover, of relevance to the overarching theme of this book as a whole is the fact that one of Merian’s many children, by his second wife (not Johann Theodor’s daughter), grew up to become the now celebrated artist and natural historian Maria Sibylla Merian (1647-1717); which gives us in turn further little insights into the interconnectedness of the individuals involved in science, art and publishing at that time and the importance of such networks.46 There are currently a few copies of Johann Theodor’s Florilegium novum extant with a date of publication of 1611, plus unnumbered plates varying from thirty-five to fifty-three (not counting duplicates). Presumably we are dealing here with a test print that was gradually expanded. The number of plates is 46

See Chapters 8 and 9.

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Fig. 11.14 Pierre Vallet, Title page from Le jardin du roy, engraving, 336 x 225 mm, private collection.

not consistent between copies and editions, partially on account of additions made to the book in the ensuing years, which I will explain further presently. The title page contains both a Latin title, Florilegium novum [...], as well as a German title, New Blumenbuch [...] (Fig. 11.15). After the title page and various preliminary texts, there follows a sequence of plates with flowers numbered one to fifty-four. These are supplemented with a fifty-fifth plate, a section entitled Amplificatio Sive Dilatatio Florilegii [...] – Erweiterung oder Vortpflanzung des newlich angefangenen, schon vermehrten Blumbuchs [...] 1613, and with numbered illustrations up to number seventy-eight, plus further unnumbered plates, which are in fact numbered in later editions and even re-numbered.47 The example given here is of plate fifty-nine with a Susan’s Iris (Iris susiana), which we have previously encountered in a few flower pieces by Jan Brueghel I and others (Fig. 11.16). It is safe to assume that in 1613 there also followed two extra plates (unnumbered and seventy-nine, later as seventy-nine and eighty), followed by yet another augmentation headed Augmentatio uberior florilegii [...] – Fernere Vermehrung des Blumbuchs [...] 1614, with numbered plates to one-hundred-and-nine.48 47 48

The numbers 79 to 86 were re-numbered as 80, 81, 84-87, 83 and 82, while a previously unnumbered plate 79 was inserted. The plates eighty-five and eighty-six (later eighty-three and eighty-two) are double-size prints, as is the undated supplement numbered one-hundred-and-ten, which is a double-size print, whose numbering was later changed, as were a number of other plates belonging to a new expanded edition of 1618 that begins with plate one-hundred-and-eleven and runs to one-

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Fig. 11.15 Johann Theodor de Bry, Title page from the Florilegium novum, Rijksprentenkabinet, Amsterdam.

In some of the early added printed material it is possible to detect the influence of the publication by Basilius Besler of 1613, as alluded to fleetingly above and in more detail in the next sub-section, as well as that by Crispyn de Passe of 1614. After the death of Johann Theodor de Bry in 1623, a new edition of his Florilegium was published in 1626 with all one-hundred-and-forty-one plates by his son-in-law Merian in Frankfurt as the Anthologia Magna [...]; and in 1641 Merian published a revised edition as Florilegium renovatum et auctum [...], with a double-sized impression of a garden added to the title page, and thirty-two numbered plates of garden designs, flower vases, flowers and fruit, prefaced by the initial Florilegium plates numbered one to one-hundred-and-forty-one (with number fifty twice to give a total of one-hundred-and-forty-two plates).49 After this new edition of 1641, there also followed a few new prints: in 1644 number one-hundred-and-forty-two, a double-sized sheet, and in 1647 number one-hundred-and-forty-three. Finally, another much later edition should be mentioned, the Anthologia Meriana, published in Frankfurt in 1776 with one-hundred-and-fifteen prints. The remarks about Vallet’s ‘incomplete’ albums applies in even stronger tones to De Bry: it is a matter of interpretation what one regards as the meaning of the term ‘complete’. A florilegium of 1612 with more impressions than the numbers one to fifty-four is actually

49

hundred-and forty-one, with one-hundred-and-fifteen (dated 1618) and one-hundred-and-twenty-three as double-sized impressions. Plate number fifty was also issued with different images. The complex ordering of the contents can only be clearly presented with a list of the flowers represented, which I have compiled based on the descriptions of several examples. See the Segal Still Life Documentation in the RKD, The Hague, for a detailed overview. The series with garden designs was adopted from De florum cultura by the Italian botanist Giovanni Battista Ferrari (15841655), a book that was published in Rome in 1633.

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Fig. 11.16 Johann Theodor de Bry, Susan’s Iris (no. 59) from the Florilegium novum, Rijksprentenkabinet, Amsterdam.

over-complete, or, on the other hand, only complete if all one-hundred-and-forty-one prints are present. Other engravers, too, borrowed from De Bry’s Florilegium: these are then copies that are two or even three times removed when they are borrowings from De Bry based on borrowings from Vallet. Such is the case, for example, with a series of small prints published in Paris in 1645 by the French engraver Nicolas Cochin (1610-1686) entitled Livre nouveau de fleurs tres-util pour l’art d’orfevrerie, et autres. This edition contains flowers in reverse after Friderico Barbette’s Florilegium novum of 1641, which were mirror-image copies after De Bry, which were mirror-image copies after Vallet. The flowers in Cochin were later reproduced in yet other publications.50 De Bry’s flowers were more extensively copied in Sigmund Froberg’s Blumen- und Insekten-Buch, published in Nuremberg at the beginning of the eighteenth century, and in Viridarium reformatum [...], published in Frankfurt in 1719 by Michael Bernhard Valentini, as well as others. An interesting sequel to De Bry can be seen in the two-part Florilegium by Emanuel Sweert, also published in 1612 in Frankfurt, with sixty-seven engravings in the first part and forty-three in the second. Upon closer examination, one gets the impression that this was some kind of manoeuvre for gaining the lead in competition with De Bry. Sweert’s work was presumably produced in haste because it fails to attain the same high level of quality as De Bry’s. This applies even more to the second part. The publication was intended not only as a picture book for liefhebbers, but also as a trade catalogue for ordering 50 Segal 1994, pp. 78, 81.

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or buying bulbs and plants in Frankfurt or Amsterdam (Fig. 11.17 and 11.18).51 Sweert in fact died in the year it was published. The Florilegium by Sweert became a popular publication, with re-prints issued in 1614-15, 1620, 1631, 1641, 1647 and 1655.

Fig. 11.17 Emanuel Sweert, Tulips from the Florilegium, Bibliothèque nationale de France, Paris. 51

Paris, Bibliothèque nationale de France, inv. no. FOL-S-505.

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Fig. 11.18 Emanuel Sweert, Anemones from the Florilegium, Bibliothèque nationale de France, Paris.

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Basilius Besler

One of the most well-known florilegia is the Hortus Eystettensis [...] compiled by the botanist and apothecary Basilius Besler, a book briefly alluded to earlier above, which was published in Eichstätt near Nuremberg in 1613 (Fig. 11.19).52 The Hortus Eystettensis contains images of flowers and plants from the garden of prince-bishop Johann Konrad von Gemmingen (1561-1612) in Eichstätt and whilst being a record immortalizing this specific garden, it also celebrates the beauty and variety of God’s creation. The bishop designed his garden with the help of the scholar, physician and botanist Joachim Camerarius (1534-1598), and after his death with advice from Besler from Nuremberg. Unlike the Hortus Floridus, no alterations or supplements were published for this work. Over time individual engravings from the Hortus Eystettensis have often been sold separately after being carefully removed from the books and are frequently framed and used as wall decorations. A relatively large number of examples – including a

Fig. 11.19 Basilius Besler, Tulips from the Hortus Eystettensis, engraving, 540 x 415 mm, private collection. 52 Christie’s, London, 13 July 2016, no. 173.

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number with the original colouring – have been preserved.53 The work could be bought coloured when it first appeared for five-hundred guilders, a substantial sum at the time, and uncoloured in the first instance for thirty-five guilders, but later this increased to forty-eight guilders. What one notices immediately is the tremendous scope and scale of the prints: three-hundred-and sixty-seven plates measuring circa 55 x 43 cm (there are extremely slight variations in the dimensions from copy to copy) with approximately seven-hundred-and-fifty species of flowers and plants, often with three plants per page, which therefore required very large copper plates for printing. The visual appeal of this publication has resulted in a great deal being written about this book.54 In various ways it fits well in the tradition of the florilegia as created by artists of the Southern Netherlands and their family members – De Passe, Collaert and De Bry. An army of artists and engravers were needed to produce this mammoth work. Among those commissioned to work on this publishing venture, which took sixteen years to complete, were Heinrich Ulrich (1572-1625), Peter Isselburgh (ca. 1580-after 1630; possibly an apprentice of Crispyn de Passe I), Frederich van Hulsen (ca. 1580-1660; perhaps a student of Johann Theodor de Bry) and Servatius Raven. The Hortus Eystettensis is divided into sections according to the Four Seasons. There are two re-prints which made use of the original copper plates, one from 1640 and the other after 1713. Incidentally, some of the original drawings for the plates are in the library of the University of Erlangen, whilst more than three-hundred-and-twenty of the actual copper plates used to produce the Hortus Eystettensis were rediscovered during the 1990s hidden away and forgotten in the archives of the Albertina Museum in Vienna. In the twentieth century a few re-prints were issued, some of them in facsimile. Of these, the edition by Gérard Aymonim has been published in French, English and German with colour reproductions.55 This edition is also of interest for the identifications of all the plants, although unfortunately the number of incorrect identifications is considerable. Presently there are many botanical specialists who know the wild flora today, and there are horticulturalists who know current garden and house plants, but there are few specialists who are well informed about ornamental plants and their varieties in previous centuries, something that demands extensive research and experience. Neither art historians, nor those with an interest in the history of botany seem to be troubled about this. Even for very ambitious and prestigious publications of ancient manuscripts in facsimile editions the publishers have sometimes not gone any further than consulting local amateurs for their identifications.56

Other Florilegia and Flower Books from the Late Sixteenth and Early Seventeenth Centuries

For the editions that can be classified as florilegia we have to make a distinction between original works and those that should be treated as imitations of the works discussed. In the second group we can place Jean Franeau’s Jardin d’hyver, ou Cabinet des fleurs [...] of 1616, while Nicolas Cochin’s Livre nouveau de fleurs [...] of 1645 is unoriginal with regard to the individual flowers, but is novel in terms of the compositions, with artistic arrangement of the flowers drawn from diverse sources and with little landscapes underneath, prefiguring the classical period. Another publication that eludes the definition of florilegium is a series of twelve prints with flowers arranged in little posies and provided with plant names, some of them tied together with a ribbon, designed by the painter and printmaker Nicolas Guillaume Delafleur (ca. 1608-1663) from Lorraine and published in Paris in 1638. These seem to dovetail with several prints in Giovanni Battista Ferrari’s (1584-1655) De florum cultura, published in 1633 in Rome and reprinted in the Merian edition of De Bry’s Florilegium published in 1641. The prints by ‘Nicolavs Gvillelmvs A Florae Lotharingvs’, as he is named on the title page, were copied in many later published flower books, even as late as the 1794 publication Nederlandsch bloemwerk.57 The French also produced a number of aesthetically pleasing flower books that are more or less in keeping with the make-up of the florilegia. In the work Livre de fleurs, ou sont representés touttes sortes 53 Differentiating older from newer colouring is largely a question of experience, particularly in recognizing various shades and their intensity or faded quality. Old colourings, especially green, frequently show through on the verso of the sheet. 54 For example, Barker 1994. 55 Aymonim 1987. 56 For example, a 1991 facsimile edition of a Book of Hours with illuminations by the Netherlandish artist Simon Bening (ca. 1483-1561) from the Bayerische Staatsbibliothek. Also a 1992 facsimile edition of a manuscript, in which Joris Hoefnagel (1542-1600) illustrated the calligraphic texts of the Hungarian Georg Bocskay (1510-1575) held at the J. Paul Getty Museum in Los Angeles, contains many erroneous identifications starting with the very first reproduction. In a 1999 facsimile edition of Maria Sibylla Merian’s (1647-1717) Neue Blumenbuch half the identifications are incorrect or incomplete, while the text also fails to exhibit any knowledge of the scholarly literature. These examples could be multiplied. 57 A few bibliographies list a series of twenty-five prints of flower posies by Pierre Vallet of 1601, cf. Bridson & White 1990, p. 39, no. C44.

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de tulippes, narcisses, iris, et plusieurs autres fleurs avec diversités d’oiseaux, mouches, et papillons, le tout fait apres le naturel [...] published in Paris in 1620, François L’Anglois (1589-1647), revealed himself as independent to a great degree from the Flemish tradition, but not entirely so. The combination of flowers with birds and insects is reminiscent of Johann Hogenberg’s Quadrupedum ac volatilium published in 1594 in Cologne and others, and the low perspective recalls that used by the younger De Passe, as does a Tulip supported by an iron ring. In the tradition of Vallet is Theatrum florae by the French painter, engraver and illustrator of natural history Daniel Rabel (1578-1637) of 1622 (Fig. 11.20).58 This work was pu-

Fig. 11.20 Daniel Rabel, Clematis and Swallowtail from the Theatrum florae, engraving, Bibliothèque nationale de France, Paris. 58

Paris, Bibliothèque nationale de France, inv. no. FOL-S-509.

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blished anonymously in Paris and seemed to have been quite a success given the re-issues that appeared in 1627, 1632 and 1633. The name Rabel was only mentioned in the last re-prints, but is also confirmed by the existence of original watercolours in the Bibliothèque national de France (Fig. 11.21).59 Rabel was commissioned by Gaston, Duke of Orléans (1608-1660), a younger brother of King Louis XIII. Gaston himself also had an ornamental garden in Blois. Rabel was the first artist to receive the commission to produce watercolours of plants in the famous Vélins du Roi, also known as the Collection des Vélins, a remarkable record consisting of thousands of botanical paintings in watercolour or gouache on vellum,

Fig. 11.21 Daniel Rabel, Crown Imperial and Peacock, watercolour drawing, 370 x 255 mm, Bibliothèque nationale de France, Paris. 59

Paris, Bibliothèque nationale de France, inv. no. RESERVE PET FOL-JA-19.

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Fig. 11.22 Pieter van Kouwenhoorn, Tulips: a Duck, a Lack, Tapered Tulip and a May Tulip, watercolour on paper, 450 x 310 mm, RHS Lindley Collections, London.

which is now in the Muséum national d’histoire naturelle in Paris. Later contributions were made to this pictorial archive extending into the nineteenth century by artists including the French engraver Nicolas Robert (1614-1685), Gerard van Spaendonck (1746-1822) and Pierre-Joseph Redouté (1759-1840).60 Rabel created a new trend by enclosing his illustrations of plants on the page with a frame of double-lines and filling the space between these with gold colour, a custom that persisted in French flower illustration well into the twentieth century. His plants are sometimes accompanied by butterflies and insects in dimensions that accord with the flowers, in contrast to the way they had been rendered previously. This can also be seen in the work of Nicolas Robert and Maria Sibylla Merian, who was initially influenced by Robert. Robert’s extraordinarily fine flower books are well in keeping with Rabel’s work. The earliest by Robert are a combination of Rabel’s Theatrum florae and the posies of flowers by Nicolas Guillaume Delafleur, of which the first appeared in 1640 in Rome, Fiori diversi novamente posti in luce [...], with twenty-five plates. Another work by Robert of the same kind is the Variae ac multiformes flo60 For more on both the latter mentioned see Chapter 9.

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rum species [...], which appeared in various editions in Paris, Bologna and Rome. Robert’s later works are of a more botanical nature, with illustrations of species that are more likely to be found in a botanical garden rather than an ornamental one. Nevertheless, they are among the most beautiful plant drawings ever made. Not a florilegium, but nonetheless of great importance for a different aspect of the spiritual life of the time, was an emblem book by Joachim Camerarius, who was mentioned earlier in relation to Besler and the garden at Eichstätt. Symbolorum et Emblematum [...] was divided into four parts, each part comprising one-hundred emblems related to one of the Four Elements: Earth, Water, Fire or Air. In this period an emblem was a combination of a printed image, a motto and an explanatory text. The first part of Camerarius’s book dealing with the Earth shows each illustrated plant set against a landscape background, all enclosed and framed within an engraved, embellished circle and was published in 1590 in Nuremberg. The illustrations depict for the most part species that are more or less generally known, including many trees, but also a significant number of ornamental plants, which had only been known for a few decades, such as the Tulip and the Crown Imperial (Figs 2.9, 2.12, 2.16 and 2.19). The illustrations lack precision but are artistically done. The accompanying texts provide insights into the thinking behind symbols and emblems at that time, which also exerted a certain influence on daily life and, therefore, gives us today a key or framework to help understand the cultural-historical background to the imagery.61

Manuscripts

The term florilegium is currently also used to designate later assemblages of flower and plant drawings (usually watercolours) which have been collected in an album. Albums by artists such as Daniel Rabel (Fig. 11.21) and Nicolas Robert have been preserved, as well as several dozen by Dutch and German artists, including Pieter van Kouwenhoorn (1599-1654; Fig. 11.22), François de Geest (ca. 1635-before/ in 1682) (Figs 11.23 and 11.24), and Johann Jakob Walther (1604-1676/77).62 In fairly recent years lovely Tulip books and flower albums in both public and private collections have been attributed to Balthasar van der Ast (1593/94-1657; Fig. 7.8) (Fondation Custodia, Paris), Pieter Holsteyn II (ca. 1614-1673) (RHS Lindley Collections, London), François de Geest (Biblioteca Nazionale Centrale di Roma, Rome; Groninger Museum, Groningen and Oak Spring Garden Foundation, Upperville, Virginia), Hans Simon Holtzbecker (ca. 1615-1671) (Oak Spring Garden Foundation, Upperville, Virginia; Kupferstichkabinett, Berlin and Staats- und Universitätsbibliothek, Hamburg), Johanna Helena Herolt-Graff (1668-after 1723) (Herzog Anton Ulrich-Museum, Braunschweig; Fig. 9.80) and Johann Christoph Seyfried. Some of these artists are scarcely known. The albums by Holtzbecker have been traditionally attributed to Maria Sibylla Merian, including those in the Statens Museum for Kunst in Copenhagen. It was proposed a hundred and fifty years ago that these albums were the work of Holtzbecker.63 Additional proof for the attribution of various albums to Holtzbecker, a very good artist from Hamburg, I found in a little known, signed album in the British Museum.64 There are many albums by artists whose names we do not – or do not yet – know.65 Research into albums is not always straightforward because there continues to be little in the way of photographic material available. In the future, (digital) art history, archival research and botanical research need to go hand in hand to reconstruct the genesis and involvement of artist(s) in drawing albums and print series such as florilegia.

61 See Chapter 2. 62 For Pieter van Kouwenhoorn see Blunt 1950, p. 123 and Fig. 13 across from p. 118, a Yellow Flag Iris (Iris pseudacorus), and for drawings with Tulips see Segal in Lisse 1992, p. 7; Segal 1993, p. 18; Segal 1994, p. 79 and Pavord 1999, p. 156. London, RHS Lindley Collections, inv. no. 38968-1001. A lovely large folio facsimile of the 1668 album by François de Geest has been published, with identifications of over five-hundred species and varieties; see Segal 2011 (English ed. 2012). For the album in the Oak Spring Garden Foundation in Upperville, Virginia (inv. no. M-351), see Wheelock in Washington 1999, p. 57, Figs 48-49 and Tomasi 1997, pp. 84-87, no. 20. 63 The attribution is repeated in De Cuveland 1989. For the albums of Holtzbecker in Copenhagen see Paquin 2013; Kolind Poulsen 2014 and the Segal Still Life Documentation in the RKD, The Hague. 64 London, The British Museum, inv. no. 1888,1211.1.1-74. My report on the research carried out on what is referred to as the Moller Florilegium, which was purchased by the city of Hamburg, along with the argumentation, attributions and identifications, was not mentioned in the extensive description accompanying the sale by Christie’s in London on 17 March 1999, no. 39. About the Moller Florilegium see Segal 1999 and Roth 2007. In the interim I have discovered a document concerning the entire contents of an as yet unknown album by Holtzbecker; see the Segal Still Life Documentation in the RKD, The Hague. 65 See, for example, the Tulip book in the collection of Jan Six, Amsterdam.

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Fig. 11.23 François de Geest, Tulips from Jardin de Rares et curieux Fleurs, drawing, 293 x 212 mm, Oak Spring Garden Foundation, Upperville, Virginia

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Fig. 11.24 François de Geest, Snake’s Head Fritillary, Pansy and Periwinkle from Jardin de Rares et curieux Fleurs, drawing, 293 x 212 mm, Oak Spring Garden Foundation, Upperville, Virginia.

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CHAPTER 12

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12 Botanical and Zoological Aspects in Art

Historically, plants and animals were primarily depicted for their beauty, as symbols (many carrying a religious meaning), as recognition of their use, or to satisfy a kind of scientific curiosity about the myriad forms found in nature. Animals had been represented in cave paintings from approximately fifteen-thousand years BCE, plants from the ancient periods of Egyptian and Greek civilization. In painting we see plants first in Chinese art from the eleventh-century CE on, and in European art from the thirteenth-century CE. In the European Renaissance, representations of flowers created to satisfy botanical and horticultural interests were immediately followed by representations of ornamentals, that is to say plants cultivated for their beauty as opposed to their ‘use’ value, for gardens, which were followed in turn by the blossoming of the painted flower piece in fine art. In terms of the traditional flower piece, we have to look for the initial, somewhat uncertain beginnings in the last decades of the sixteenth century. It must be reiterated here, that until the middle of the nineteenth century, the intention behind these works was not to render a naturalistic image of a bouquet, but in practically every instance these images aimed at an aesthetic result, making use of botanical species that flowered at different times of the year. The bouquets, therefore, were ‘composed’ or ‘arranged’ on the canvas or other support using separate, individual flowers. If flowers were painted directly from nature then these were probably primarily in the form of studies: drawings with notations about colours, also possibly rendered in watercolours or related techniques. An artist could also execute a complete work with the aid of fresh flowers at certain times of the year according to a plan or a design. Only in rare instances did painters make use of printed sources, such as herbals, flower books, or other forms of graphic arts, although these were used a great deal as models in the applied arts. An artist could also loosely repeat, or more exactly replicate his or her own work, or copy the work of other artists, for example family members, or other masters. In the earlier artistic representations, when artists frequently had not, or only rarely, observed the flowers themselves at first hand, the plants were often represented in a stylized way, particularly in the applied arts, as in church decorations and the borders of Books of Hours. Furthermore, when they were painted as living flowers, one observes a great deal of variation in the degree of accuracy involved, depending on the talent, skills and intention of the artist: whether the artist wanted to represent a flower with a high degree of accuracy and detail, in a botanically reliable and aesthetically controlled way; or if, on the other hand, the aim was a more artistic ‘flower’, tending perhaps towards the abstract. This degree of ‘accuracy’, or precision, might also vary depending on the personal development of the artist over the course of his or her lifetime, and the continually developing technical advances subsequently taken up in practice.1

The History of Flowers in Science and Art

According to the existing scholarly literature, the interest in plants as a source of food, as medicine, and as materials for building dwellings or shelter, or the fabrication of other utilitarian objects, goes back to Antiquity, something that is borne out by existing manuscripts dating back through the Middle Ages to Greek Antiquity. In the Middle Ages can be added another interest: the use of flowers to adorn the altars of churches, but for this purpose the species that were cultivated in church and monastic cloister gardens were limited in number and can generally be counted on the fingers of little more than two hands. In Europe the number of available floral varieties began to change only in the sixteenth century. Stemming initially from a more specific interest in botany, plants from all over Europe, and gradually from increasingly distant parts, were collected and described, with the results initially compiled in herbals, sometimes as records of actual botanical gardens and, from the middle of the sixteenth century, to boost and publicize the developments in the nascent and rapidly developing horticultural sector.2 With the exclusion of cultivated Tulips and Carnations from Turkey and Persia (today Iran), these flowers were initially for the most part botanical species, that is, plants collected directly from their natural ha1 2

See Chapters 3 and 4. See Chapter 1.

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bitat. But almost immediately new kinds of flowers came into being that were mutations of these species, such as double and full varieties, or new species emerged during cultivation, such as hybrids, which gave rise to a greater diversity in floral shape, colour and colour pattern. A corollary, or consequence, of all this was a peculiar interest in monstrosities: malformations that might be the result of spontaneous mutation, sudden inherited trait-changes, or viruses.3 At the time, there was a tremendous interest in this new wealth and variety of plant forms. Finally, a constantly changing taste in flower fashion can be observed unfolding over these centuries, which has been incorporated into the discussion of the development of the flower piece in each of the different periods.4

The Systematic Organization of the Plant Kingdom and Names Used in this Study

Today approximately four-hundred-thousand plant species are known to exist. This total, however, is highly dependent on what one understands by the word species. From a taxonomic standpoint, modern botanists are divided into ‘lumpers’, who prefer classifying species together in large units under one name despite their variability, and ‘splitters’, who regard every identifiable variant as a different, nameable species with regard to taxonomy. Roughly speaking, one can say that a species is a category that unites those forms which consistently exhibit a large number of similarities in their structure and are capable of natural reproduction together via normal sexual pathways to bring forth spores or seeds. However, there are also species which display a fairly large degree of variability that also cross relatively easily with related species, with resulting offspring that are fertile (although usually to a lesser degree), as well as ‘complex’ species that are largely similar, but sterile when crossed, all of which are sometimes sub-classified in hundreds of microspecies, as is done for example with Dandelions and Blackberries. There are also clusters of closely related species that are ‘modern’, which means that species development is actually still going on, as with certain groups of related plants. In the dominant botanical classification system, species are organized within a genus (genera in the plural), and, moving up the scale, these genera combine to form families, each with shared characteristics, families in turn combine to form orders, and orders combine to form classes. Plants naturally have one or more names in every vernacular language, but in terms of scientific nomenclature, the Latin genus and an epitheton (or epithet) are used by botanists all over the world. Hence the Latin name of the Poppy Anemone is Anemone coronaria its meaning with associations to ‘wind’ and ‘a crown’, while the genus Anemone also includes other species. The genus can be female, male or neuter, which is often, but not always, revealed in the Latin ending of the name, as in -a, -us, or -um, the specific species epithet usually, but not invariably, have the same ending. For trees, for example, the agreement is that they are female, even when the genus name ends in the masculine -us, as in Fagus sylvatica for the Beech. The higher levels of classification, too, have fixed endings: for a botanical family this is -aceae, for the order it is -ales, and for class -opsida. The classification nomenclature of plants and animals is not permanently fixed. In the modern period, the accepted scientific name of any species is determined at internationally held congresses and to ensure the widest possible commercial and scientific application any resulting modifications to botanical names are published, for example, in the International Code of Nomenclature for Cultivated Plants, amongst others. Furthermore, the botanical name of a species may have been changed for sound scientific reasons in the course of time, either because older ‘valid’ descriptions and names have been found, or because the arrangement of the species have been altered, meaning that what was regarded as an individual species has been divided into other species, or conversely that what were regarded as different species have been combined into one single species. During the extended period of my preparations for this work a number of botanical names have been altered, and it may well be that I have not always found the most recent name-change in the published floras. Where the representation of a species in a painting has not been completely clear, I have occasionally used the name of the species that comes closest in visual terms, or the name of one that was relatively common in the period. For hybrids we are dealing with two species (or sometimes more) and in that case the most readily identifiable is mentioned first. A species may be divided into a number of sub-species, consistently showing overlapping traits yet distinct from each other, usually for geographical or ecological reasons, which when brought together may cross with each other. Forma or form is the term used for classifying hybrids based on the most consistent botanical shape of a deviating group of plant species – deviating, for example, in colour or growth pattern, or by having a typical colour pattern due to a virus, for 3 4

See Chapter 4. See Chapters 6 (ca. 1600-1620), 7 (ca. 1620-1650), 8 (ca. 1650-1700) and 9 (ca. 1700-1800).

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example variegated leaves. When these hybrids are cultivated forms, they are designated as a cultivar. A monstrosity is a strongly deviating sub-species, usually a rare and infertile form, for example with many flowers on a single stem, where there would normally be just a single bloom, or at least fewer of them. For any orderly classification involving the distinguishing, ordering, and naming of types of objects or ideas within a subject field a variety of standard concepts must be firmly established and accepted, even though each criterion may well have its advantages and disadvantages. Throughout the history of the systematic, scientific classification of plants and animals according to their presumed natural relationships, there have often been taxonomical changes to allow for new discoveries and ways of classifying things, not only relating to the organization and scope of the categories, but also to do with the basic foundations of the system. Hence, with the publication in 1753 of Species Plantarum, the Swedish botanist Carolus Linnaeus, which is the Latinized form of Carl von Linné (1707-1778), devised and established the binomial nomenclature principle of scientific botanical classification, that was based largely on the number of flower parts, such as stamens, and the fruiting principles of any particular plant; later there was more dependence on external characteristics as the basis of differentiation; while subsequently still the increasing knowledge of phylum – or phyla in the plural – was taken into account, by which the various evolutionary lines of presumably common descent are used as a means for classification into categories of plants, although the term division can be used in botany as an equivalent. The system commonly in use up until very recently is one that has remained fairly constant throughout the nineteenth and twentieth centuries; it has been used to compile the species list in the appendix. However, a new trend has arisen based on research into related characteristics in plant DNA, which also changes the order of the categories in the system of classification. In this way, for example, the range of species included in the family Liliaceae has been altered. Such research is currently still in progress, and some modern floras have completely gone over to this organizational system. In addition, as a result of this re-organization, the scientific names of species have also sometimes been moved and sorted under a different genus.5

Flower Classification and Flower Pieces

Appendix 1 contains an extensive list of the species which have been identified in Dutch and Flemish flower pieces, as well as in other paintings and prints up to and including the eighteenth century. The list is intended as an aid for comparing the Latin, English and Dutch names of species, and for scholars who are interested in furthering this research. The identifications are also included in the descriptions with the images deposited in the Segal Still Life Documentation at the RKD in The Hague. In addition, new identification lists have been compiled and filed with images of genera that have also been incorporated into the current study, something which demanded a great deal of time and effort. Moreover, these have been expanded with supplementary details that are not usually found in the literature, such as the original distribution of species in their native habitat; the earliest known mention of particular exotic plants into Europe in publications, or when they were imported; and the flowering period. All this information has been compiled from both horticultural sources and the botanical literature, with the addition of, among other things, lithographs of botanical works from the nineteenth century. Occasionally I have followed my own interpretation because I hoped by doing so to provide more clarification about the different types of flowers (see further discussion of significant species below). I have, therefore, categorized closely related forms of the Persian Tulip (Tulipa clusiana), Lady Tulip (Tulipa stellata) and Yellow Tulip (Tulipa chrysantha) as separate species, even though in the modern literature they are frequently seen as sub-species of the Persian Tulip and often do cross with it. For a number of species, no Dutch name is given in the literature, but I have attempted to provide a Dutch name for most of them. Further, a few new species or forms have been listed which are clearly distinguishable in the paintings but unknown in the literature, such as the Brueghel Nasturtium (Tropaeolum brueghelianum) and the Yellow Cabbage Rose (Rosa x huysumiana).6 Naturally on occasion I have received some help from my colleagues in other fields, but experience reveals that botanists are seldom informed about the diverse forms of cultivars, while horticulturalists are infrequently acquainted with older varieties. Floriculturists, that is those specializing in the cultivation 5

6

I will not be following this course of change, not only because I have been conversant with the commonly known system for too long and thus not in a position to abandon it, but also because I expect that most readers are not yet conversant with the very latest botanical developments and literature. Readers should be aware that, for the time being, one must take into account the fact that re-arrangements and re-classifications in the system will be found on the Internet, depending on who supplied the description (and that person’s age). I have made one exception: I have only gone along with dividing the order Asparagales from the order Liliales, and thereby separating the families Aspagaceae and Agavaceae from the Liliaceae, because several well-known modern floras have adopted this change. For a complete list of plants see Appendix 1. For the literature most frequently consulted for identifications see Appendix 1.

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of ornamental and flowering plants, can also sometimes have erroneous ideas about what constitutes an old variety, because most of those designated as ‘old’ are, at the earliest, nineteenth-century forms, since at that time many new species were imported and used for hybridization with older species, such as Tea Roses. Moreover, in that period there was an increased understanding of how to create ‘stronger’ plants, with relatively long flowering periods and greater resistance to disease, and also preferably with limited fertility so that certain forms could be maintained with economic exclusivity. Old paintings and drawings from the sixteenth, seventeenth and eighteenth centuries contain a veritable wealth of botanical information, that has the potential to make a tremendous contribution to the history of horticulture, but maybe even to the history of biology. However, this insight has not yet been widely acknowledged and applied among academics and practitioners of relevant disciplines. In order to arrive at the identifications of many floral species, particularly when looking for hybrids and other cultivated forms, one still needs to go back to the old herbals and flower books such as florilegia, in addition to consulting modern books of botanical classification. Some modern overviews of cultivated plants do supply knowledge on the earliest publications bearing information about species.7 On the other hand, in the most pretentious modern books about the cultivation of ornamentals, which offer a huge number of cultivars accompanied by magnificent illustrations, one often looks in vain for a clear description of the botanical origins of species, and many floral forms that appear in older works of art seem to be totally unknown to these authors. Furthermore, errors arise when modern varieties have been given the names of older ones, that are in no way related to their older forms, or alternatively, are incorrectly associated with them – as is particularly the case with Tulips and Roses.8 Below are some extended notes on the identification and classification of floral species significant for this study.

Tulips

Identifying Tulips in paintings is a complex undertaking fraught with perils. Here I was faced with the dilemma of making an exception and either refraining from identifying Tulips botanically, or endeavouring to come as close as possible to their possible origins. I opted for the latter course of action, but I must confess, only succeeded in these identifications to my own satisfaction after a great deal of trial and error. For this special flower alone, an overview from one possible botanical perspective is given below of the types most commonly encountered, which runs the risk, that specialists may not always support my classifications. When in the identifications a single species is named, it is not necessarily an indication that we are dealing with a pure botanical species, but rather it references either a possible parent of diverse varieties within a single species, or a hybrid, quite likely a cross with a related species. Moreover, a significant number of differences between Tulip cultivars were caused by a virus, which resulted in making the floral descendants biologically weaker.9 For this reason, tricky and contentious though this is, the classifications for Tulip species are intended here as contributions towards the correct identification and labelling of these flowers notwithstanding the fact that, on account of new studies, some identifications differ from those I have given in earlier publications or reports and due to the multiplicity of synonyms and common names in circulation, as well as changing taxonomy. Although more recently attempts were proposed to reclassify Tulips, traditionally the genus can be roughly divided into two main groups, ERIOSTEMONES and TULIPA, the second being further divided into three different sub-groups with two or more species each: Clusiana, Armena and Agenensis. For each of these sub-groups, the species which appear with relative frequency in painted flower pieces are listed below. Within each group the botanical species are often challenging to differentiate and, by extension, this too is the case for the most common hybrids. These hybrids, at least in the second main group called TULIPA, are most common within that individual sub-group, but not limited to it. Other important distinguishing traits, such as the form and colour of the stamens and the heart of the flower, or the shape of the leaves, usually cannot properly be observed in flower pieces. In hybrids, furthermore, the stamens and fruiting principle have often not reached the stage of complete development. As a cautionary note, it should be pointed out, that in the list of the following species, the descriptions and classifications offered are often not completely the same as, or in agreement with, the images given by various printed and online secondary sources. 7 8 9

Such as the works by Boom. As, for example, in the botanical encyclopedias of the British Royal Horticultural Society: Brickel 2010; Rico 2011 and Quest-Ritson 2011. My classifications may differ from these, which does not mean that I am right, but that further investigation could prove quite useful. See Chapter 7.

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ERIOSTEMONES The first large category of Tulips. Small narrow Tulips with a characteristically slender base. They usually have petals tapering to a point. These are delicate plants primarily in evidence in the earliest flower pieces. May Tulip, Tulipa australis: yellow, with streaks of pink and Carmen red, probably the stock of the Wood Tulip; originally native to Asia Minor, now naturalized in Southern Europe. Wood Tulip, Tulipa sylvestris: yellow, the outer petals with a greenish tinge, the inner petals frequently with a slight orange tinge, and having a sturdier shape than the preceding (with double the number of chromosomes); also native to Asia Minor and naturalized in Western Europe. TULIPA The second large category of Tulips, with a rounded base and sturdier shape. Clusiana Relatively narrow Tulips with outer petals that are either blunt or tapered and inner petals that are wide and blunt, the foliage narrow and lanceolate. Persian Tulip, Tulipa clusiana: base colour white, but heavily streaked with purple or pink, petals often with a white edge, possibly the base-form of the species in this main group; native to Iran and Iraq, naturalized in Southern Europe. Lady Tulip, Tulipa stellata: white, usually coloured pink or red; native to Afghanistan and the Punjab. Armena Larger Tulips, red or yellow, also white, inner and outer petals usually approximately the same size, leaves usually with a wavy edge. Tapered Tulip, Tulipa armena: bright red, also yellow, white or multi-coloured, many varieties, petals usually tapered or oval with a little point, the tip frequently curled; native range from the SouthEastern Balkans to Central Asia. This is the most common species and the base stock for the hybrids. Sharp Tulip, Tulipa mucronata: with petals that are approximately twice as long as they are wide, the inner and outer petals approximately the same size, the foliage straight (not wavy); native to Western Turkey and the islands of the Aegean Sea. Possibly a form of the previous species. The term mucronata (Latin mucro, point) refers to a little point at the top edge of the blunt petal. For some strange reason, Tulips with blunt petals are rarely mentioned or depicted in the modern botanical literature, although they appear with great regularity in flower still lifes to 1800. Sometimes these Tulips are listed as a form of Tulipa gesneriana, an old name for diverse varieties of Tulips, primarily those that are seen as related to the Tapered Tulip.10 Perhaps this name refers to a related species which has otherwise not come to my attention from a study of the sources. I assume that it is a related form of the Blunt Tulip (Tulipa mucronata f. obtusa), or alternatively of the Tapered Tulip (Tulipa armena). Blunt Tulip, Tulipa mucronata f. obtusa: possibly a microspecies within the Sharp Tulip category (Tulipa obtusa nov. spec.), which forms the stock of diverse complex Tulips like the Baguette and Bizarde. In the identifications this is simply given as Tulipa mucronata. The forms with purple or blue tones are usually listed as crosses with the Purple Tulip (Tulipa undulatifolia) but are possibly another new microspecies, even though the petals frequently approach an inverted egg-shape; it may also be that the petals of the Purple Tulip are not necessarily tapered.

10

Boom 1975, II, p. 349; Grey-Wilson & Mathew 1981, p. 46.

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Kurdistan Tulip, Tulipa stapfii: matte red and greenish at the edges, wide egg-shaped oval; native to Kurdistan. Danube Tulip, Tulipa hungarica: yellow, with outer petals up to three times as long as wide, ending in a little point, with wide leaves, the edges arched and blunt; native to Hungary and Romania. Needle Tulip, Tulipa acuminata: petals at least four times as long as they are wide, long and tapering to point, tips usually curled, originally yellow with a red central stripe; cultivated in Turkey since the seventeenth century. Purple Tulip, Tulipa undulatifolia: purple or pinkish-purple, with tapered petals, nearly black at the base, inverted egg-shape, foliage markedly wavy and often with red edges; native to Greece and the Caucasus. Agenensis Relatively sturdy Tulips, vermilion, Carmen red or purple, broad foliage not usually wavy. Red Tulip, Tulipa agenensis: petals vermilion, Carmen red or brick red, approximately three times as long as wide, oval, tapered, and often with curled tips, foliage green and lanceolate; native to Asia Minor. Fire Tulip, Tulipa praecox: petals vermilion with a greenish yellow central stripe, approximately twice as long as wide, the inner petals narrower, often sterile, foliage bluish green; native to Asia Minor. The Fire Tulip commonly forms the stock of the complex Parrot Tulips. Tulipa complex Complex Tulips are hybrids having more than two parent plants which have been contaminated with a virus.11 In the past they were given the following names: Baguette Tulips: red or purple sharply contrasting with white, usually quite big, round and with blunt petals, primarily appearing in eighteenth-century paintings. Bizarde Tulips: red or purple against a yellow background and commonly also with other colours, primarily appearing in eighteenth-century paintings. Marquetrine Tulips: multi-coloured, late-blooming Tulips, including the Flemish Tulip. Parrot Tulips: mutations having strongly fringed or serrated petals with flame colouring, mostly in yellow and red but also commonly green-coloured. Additionally the following forms have been differentiated: Couleuren: single-coloured Tulips. Mostly stock for other Tulips; botanical species or forms directly descended from them. Gheboorden: single-coloured with a lighter white or yellow edge, divided into three sub-types: Ducken: red with a yellow edge, small, early bloomer. Lacken: pink or purple with a wide white edge. Bransons: red with a wide yellow edge. Rozen: red or pink tones on a white base colour. Violetten: purple or lilac tones on a white base colour. Paragonen: colour changes that were regarded as improvements or enhancements. Agathen: small low forms, usually bi-coloured, sometimes multi-coloured.

11

The so-called Rembrandt Tulip has nothing to do with Rembrandt but rather was a name invented in the nineteenth century for a group of hybrids.

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Narcissuses

Narcissuses have erect linear leaves and showy yellow, orange, or white, or bicoloured flowers with six radiating petals at the base plus a cup-shaped corona, which may be like a short and squat crown, or else elongated into a trumpet, that can often be of a different colour from the petals. The many cultivated forms of Narcissus can be differentiated. There are a few main types: the single flowering Daffodil, the most common species of which is the Wild Daffodil (Narcissus pseudonarcissus subsp. pseudonarcissus); the single Poet’s Narcissus (Narcissus poeticus); the Hoop Petticoat Narcissus (Narcissus bulbocodium); Angel’s Tears (Narcissus triandrus), with a half-length added calyx and blown-back petals; and the Raceme Narcissuses, with a short crown and usually two to four blooms in an umbel per stem (although there may be just one or sometimes up to ten), includes the Tazetta Narcissus (Narcissus tazetta subsp. tazetta), which is amongst the tallest of the Narcissuses, the Jonquil (Narcissus jonquilla), which is smaller than typical Daffodils and has a much shortened corona, and the Paper-white Narcissus (Narcissus papyraceus), which typically has several strongly-scented white flowers at the top of every stem. There are also many hybrid varieties of Narcissus.

Irises

As with Narcissuses, there are many species and hybrids of Iris. Not all hybrids have been described in the botanical literature, but several can be deduced with a high degree of probability from the flower pieces themselves. The most common species is the German Flag Iris (Iris germanica), which propagates by rhizome and is classified with the Bearded Irises along with related species. The only native species, the Yellow Flag Iris (Iris pseudacorus) belongs to the beardless group, also with rhizomatous propagation. Among the bulb varieties we find the English Iris (Iris latifolia), which incidentally is also a rhizomatic propagator, and the Spanish Iris (Iris xiphium). A fairly common cultivar, that has not hitherto been identified, which is presumably a cross between the blue Spanish Iris (Iris xiphium) and the yellow Portuguese Iris (Iris lusitanica), I have called Iberian Iris (Iris x iberica). Related to the Irises is the so-called Snake’s Head Iris (Hermodactylus tuberosus).

Opium Poppy

The Opium Poppy (Papaver somniferum) is native to the area around the Mediterranean. The botanical species has pretty single violet-coloured blooms, but in flower pieces we usually see the full vermilion variety. As far back as the Stone Age this species was being cultivated for its seeds. Later it was celebrated for the milky latex exuded by the skin of the fruit, from which, when dried, opium can be extracted. This species was also often chosen for flower pieces because of its rough-edged blue-green foliage.

Auricula

The Garden Auricula (Primula x pubescens) is a cross of two Alpine species, the yellow Alpine Auricula (Primula auricula) and the Viscous Primrose (Primula hirsuta). This hybrid is by far the Primula most frequently seen in flower pieces; the three native species, on the other hand, only appear in early works of art. The Garden Auricula was already being cultivated in Europe as early as 1570. There are many colours and shapes, some with colours in three, four or even five rings, and it was particularly popular in the eighteenth century. In England its popularity is unabated today, with special clubs for Primula enthusiasts.

Garden Nasturtium

In the seventeenth century the most frequently occurring species of Garden Nasturtium was the Dwarf Nasturtium (Tropaeolum minus), while the now much more popular and well-known large Garden Nasturtium (Tropaeolum majus) only arrived in Europe from tropical South America at the end of the seventeenth century. But the species depicted most often in early seventeenth-century flower pieces is not mentioned in the botanical literature; it looks like the Dwarf Nasturtium but differs in the following: foliage without a protruding vein at the top of the leaf; petals that are blunt or have a little thorn-like point; a hairy calyx with a coloured spot on the corolla; and with an only slightly bent spur/limb instead of a strongly bent one.12 I have called this species the Brueghel Nasturtium (Tropaeolum brueghelianum). The native plant should be searched for in Peru or that area of the world. The Garden Nasturtium, which in Dutch is called Oost-Indische kers (‘East Indian Cherry’) does not come from the East Indies but from South America. 12

The calyx of a petal is the narrow part at the base, the corolla the larger part, usually flattened, and the spur/limb is a tapered extension.

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Forget-me-not

The native (Water) Forget-me-not (Myosotis palustris), with relatively large flowers in a little cluster, is a most commonly painted flower. It was being cultivated as early as 1561. The species should not be confused with the Southern-European Dropmore (Anchusa azurea) or with the Navelwort (Omphalodes verna), which has the misleading name in Dutch Amerikaans vergeet-mij-nietje (‘American Forget-menot’). These two plants were cultivated in Europe from 1597 and 1581 respectively.

Roses

Roses are the flowers most frequently depicted, but the species are difficult to identify due to the large number of cultivars for which the distinguishing characteristics – such as the shape and arrangement of the thorns and the calyx leaves – are rarely made clearly visible. This is even more problematic when dealing with the many double and full forms, which are frequently hybrids. An added problem with identifying hybrids is that their depiction followed changes in fashion, which particularly affected Gallica Roses, a variety derived from the French Rose (Rosa gallica). There is documentary evidence that Roses were already being cultivated in the ancient Mesopotamian civilization at Ur approximately 1,650 BCE. In ancient Greek and Roman literature we find details about the cultivation of Roses, and much praise for their beauty; for example, Sappho calls the Rose the Queen of the Flowers, and Pliny adds, that this Queen of Flowers is an ornament to grace any garden, ‘Regina Florum, ornamentum hortorum’. Today between one hundred to two hundred botanical species and about twenty-thousand horticultural varieties have been identified. Traditionally Roses were particularly popular in France, partially due to a thriving perfume industry, as well as their medicinal uses. In addition to intentional hybrids, crosses can occur by means of chromosome doubling in an inherited pattern, which makes parts of the plant larger and more numerous. There are a significant number of cultivars of the French Rose and, because of hybridization among these forms, or with other species, even more cultivars have arisen. The most important types of Roses in flower pieces can be identified based on the fashion in flowers of the period: the Apothecary’s Rose (Rosa gallica cv. Officinalis) from Antiquity through the first quarter of the seventeenth century; thereafter in sequence the Batavian Rose (Rosa gallica cv. Batava), starting around the second quarter of the seventeenth century; the Provins Rose (Rosa x provincialis), from around the second half of the seventeenth century; the Cabbage Rose (Rosa x centifolia), starting in the eighteenth century; from which emerged the Yellow Cabbage Rose (Rosa x huysumiana); and the Moss Rose (Rosa x centifolia cv. Muscosa) in the early nineteenth century. I traced this development in a schematic diagram based on morphological characteristics, with the French Rose as the primary basis, whilst the Musk Rose (Rosa moschata), the Dog Rose (Rosa canina), the Sweet Briar (Rosa rubiginosa) and the Austrian Briar (Rosa foetida) formed the next underlying points of departure for the study.13

Animal Classification and Flower Pieces

Animals function as supplementary work in flower pieces. As with the flowers and plants, a list of animal species has been included as an appendix to this study; moreover, notes about identifications and images with references to the literature are filed in the Segal Still Life Documentation at the RKD in The Hague. I have had to call on the help of specialists for assistance with the identification of animals, and, in addition to my own books, have often been required to make use of a library.14 This fact merely illustrates the multifaceted nature of Dutch and Flemish flower pieces and how intently they need to be observed, whilst being mindful of any specialist knowledge required to do them justice. In this chapter we have touched upon the botanical and zoological aspects of flower pieces, which is of key importance for a full appreciation of these paintings by viewers at any point in time. During the course of the preceding chapters it became clear just how complex the historical background to these flower paintings is. An astonishing number of artists engaged in the business of painting flower pieces and their commercial dissemination and popularization in print form. Indeed, the quantity of their output alone merits pause for thought. When contextualized the flower pieces reveal themselves to be careful constructs, which can inform us today about many things beyond any concerns relating to their use, display and artistic excellence per se. For example, they can be understood as valuable records documenting the tastes of past societies and the changing state of botanical and entomological knowledge, amongst other things, at a time when increased travel and global trade perhaps even challenged 13 14

Segal in ‘s-Hertogenbosch 1980-81, pp. 90-95. For the most frequently consulted literature see Appendix 2.

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established perceptions, including religious conventions, whilst simultaneously celebrating the manifold wonders of God’s Creation. In these, and other ways, flower paintings attracted viewers in the past and continue to engage and connect with new audiences today, but this area of research is by no means exhausted. There is still plenty of work to be done on flower pieces and with this in mind it is hoped that this study, together with the Segal Still Life Documentation at the RKD in The Hague, can inspire, give impetus and act as a springboard to further studies of these most engaging works of art.

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Appendix 1 FLORA

This list deals with all flower and plant species in still lifes and other paintings, prints and drawings before 1900 that I have encountered during the course of my career. A separate list of fruits, vegetables and trees can be found in the Segal Project and Segal Still Life Documentation in the RKD in The Hague. When identifying the species in a flower piece I used a fixed order. In flower pieces with a vase I start clockwise from the lower left underside and in following rays again to a point in the vertical centre. When describing loose flowers, garlands and festoons I tend to describe them from left to right. The method is similar for shells, insects and other animals outside the bouquet. Garlands around vases and festoons can also be identified from top to bottom. The list of plant names shows the Latin names, the English names and the Dutch names. There are several reasons for the inclusion of the Dutch names. Firstly, the original text of this book was written in Dutch including, of course, all those names of plants, flowers and animals. Secondly, I could not find English names for a number of plants and when this occurred, in the first instance, I used Dutch names. Finally, names often show indications for qualities, relations or origins. Sometimes the names of plants can indicate their use, such as whether they are edible, or if they are named in honour of some individual, as the names of many plant collectors and hunters are immortalized through botanical names. Appendix 1 ends with a glossary of botanical terms to assist with identification and a select bibliography of botanical literature. The following classification relates to spore plants and seed plants:1 MAIN DIVISION DIVISION SUBDIVISION Class ORDER Family Genus Species subspecies (subsp.) variety (var.) form (f.) Cultivar (cv.) The two main divisions are the spore plants (Cryptogamae) and the seed plants (Phanerogamae), which reproduce in different ways. The most known spore plants are the mosses, ferns and mushrooms, which are rather exceptional in flower pieces, but do appear in other types of still life painting. Mosses are flowerless plants lacking proper roots and are made up of simple leaf-like structures just one cell thick. Mosses grow closely together and reproduce by releasing spores from stalked capsules. Ferns, like mosses, are flowerless plants, but in contrast they have a more developed vascular system for transporting nutrition and water and have elaborate leafy fronds, which on fertile fronds have sporangia on their reverses for the production of spores. The opposite of these Cryptogamae with hidden sexual organs 1

About the classification system, see also Chapter 12.

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are the Phanerogamae, the division of plants, which comprises all the seed plants with visible sexual organs. Amongst all the seed plants, of greatest interest to us here, are the flowering ones of the class Angiospermae, that produce seeds enclosed in an ovary, which in time becomes a seed-box, or fruit, or capsule, that can split open when ripe to release the seeds, or alternatively these may be dispersed by animals, or strewn by the wind having been released through pores in the wall of the container bearing those seeds - amongst other seed dispersal methods. These form the greatest, most diverse and numerous group of flowering land plants, which are of the utmost importance to humanity. It is perhaps unsurprising and apt, therefore, that these are the flowers, which are of central concern to flower pieces, which strive to capture their beauty and variety. Indeed, it is only the scent of flowers, which artists have difficulty in capturing in their work, although sometimes the presence of insects can suggest a sense of smell is also at work and an intrinsic part of the magic of flowers. The scientific name of a species is written in italics using binomial nomenclature, which is a combination of two terms, the first identifying the genus and the second the species, for example, Salix alba for the White Willow, one of the Willow species. Another specification may follow: a subspecies (a distinct variant of the species), a variety (distinguishes slight variations), or a form (also distinguishes minor variations). All three infraspecific names are written again in italics. Cultivated forms start with a capital. Often some deviant characteristic features have been added to the scientific name, for example a different colour combination, or a divergent number of the petals of a flower: simplex = singular for the number of petals, to discriminate from duplex duplex = twofold semiplena = half full subplena = nearly full (usually with still visible stigma or stamen) plena = full pseudoplena = pseudofilled ligulosa = exclusive ray flowers tubulosa or fistulosa = exclusive tubeflowers Non-singular forms are in garden culture often called ‘double’ (not duplex). Such forms are not all included in the list below, but quite often elaborated for species or forms, that show up regularly. Simplified names have been used for some species that are used in garden culture under a simplified name, for example, Forget-me-not, instead of the Water Forget-me-not (Myosotis palustris). The extension is then placed between round brackets. Sometimes the botanical name given is short, for example, as a tree, instead of a fruit, as in Hazel, as opposed to Hazelnut. In this instance the annotation is placed between square brackets. In Dutch botanical literature, the names of families and genera are often translated into Dutch, in English books this is less common. Here often the scientific, Latin names are mentioned without their English equivalents. Sometimes a work of art or a poor image of it, does not make it possible to identify the species. For species of related genera, s.l. (sensu lato, in the broad sense) is added to the Latin name, for example, Centauries s.l. for Knapweeds of the genera Centaurea, Amberboa and Leuzea. In the case of different forms of a certain species, the Latin name is supplemented with div. If we are dealing with different species or forms of the same genus, such as occasionally with Roses and Tulips, div. spec. is added. Sometimes we are dealing with species that are sub-classified in hundreds of ‘micro-species’ by specialists. Here, the species are identified as ‘collective’ (coll.), as in Dandelion (Taraxacum officinale coll.) and Blackberry (Rubus fruticosus coll.).

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A PPEND IX 1 | FLORA

Flower and Plant Species in Still Lifes and other Paintings, Prints and Drawings CRYPTOGAMAE2

Cryptogams

Sporenplanten

FUNGI incl. LICHENES3

Fungi Lichens

Zwammen, schimmels Korstmossen

Lecanora div. spec.

Crustacean Lichens

Schotelkorst

BASIDIOMYCOTA

Mushrooms

Steeltjeszwammen

Agaricomycetes

Mushrooms

Paddenstoelen

AGARICALES

Gilled Mushrooms

Plaatjeszwammen

Amanitaceae

Amanita Family

Amanieten

Amanita muscaria Amanita phalloides Amanita pantherina

Fly Agaric Death Cap Panther Cap

Vliegenzwam Groene knolamaniet Pantheramaniet

Physalacriaceae

Physalacria Family

Honingzwamfamilie

Armellaria mellea

Honey Mushroom

Honingzwam

Marasmiaceae

Marasmia Family

Marasmiafamilie

Marasmia rotula

Pinwheel

Wieltje

Mycaenaceae

Mycaena Family

Mycaenafamilie

Mycaena galericulata

Common Bonnet

Helmmycaena

Russulaceae

Russula Family

Russula’s

Russula emetica

Vomiting Russula

Braakrussula

Agaricaceae

Agarics

Championfamilie

Agaricus campestris Coprinus comatus Coprinus micaeus

Field Mushroom Shaggy Ink Cap Glistening Ink Cap

Weidechampignon Geschubde inktzwam Glimmende inktzwam

Lepiota Lepiota echinata

Dapperlings Finely-scaled Dapperling

Parasolzwammen Fijnschubbige parasolzwam

2

3

The Cryptogamae are organisms with spores, but are not recognized formally as a natural group within the plant kingdom. The mosses and ferns show a distant relationship with the seed plants, but the Fungi in their broadest sense, including Lichens, seem completely apart from ‘real’ plants. Fungi include Mushrooms, Moulds, Yeasts and other organisms. A Lichen has no true leaves, stems, or roots and is a composite organism that arises from an Alga and a Fungus living symbiotically in close association. Nowadays Algae are tricky to classify and are included as Protista, or unicellular organisms. The classification of Fungi is changing. At the moment the classification of many species is unclear, or not defined at all. Many species are ‘incertae sedis’, meaning of uncertain placement. Here the Fungi are classified according to the current classification, which is also different from a few decades ago, with much lower groups being promoted to higher ones. The Basidiomycota, for example, previously were a class, but are now a division.

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Strophariaceae

Stropharia Family

Strophariafamilie

Hypholoma fasciculare

Sulphur Tuft

Zwavelkopje

Nidulariaceae

Bird’s Nests

Nestzwammen

Cyathus olla

Pale Bird’s Nest

Bleke nestzwam

CANTHARELLALES

Chantarelles

Cantharellen

Cantharellaceae

Chantarelles

Cantharellen

Cantharellus cibarius

Chantarelle

Cantharel (Hanekam)

BOLETALES

Boletes et al.

Boleten e.a.

Boletaceae

Boletes

Boleten

Boletus edulis Boletus badius

Cep (Edible Bolete) Bay Bolete

Eekhoorntjesbrood Kastanjeboleet

Sclerodermataceae

Earth Balls

Bovisten

Scleroderma citrina

Common Earth Ball

Aardappelbovist

Phallomycetidae

Phallomycetids

Stinkzwammen

PHALLALES

Stinkhorns et al.

Stinkzwammen e.a.

Phallaceae

Stinkhorn Family

Stinkzwammen

Phallus impudicus

Great Stinkhorn

Grote stinkzwam

GEASTRALES

Earth Stars

Aardsterren

Geastraceae

Earth Stars Family

Aardsterren

Geastrum triplex

Collared Earth Star

Gekraagde aardster

ASCOMYCOTA

Sac Fungi

Zakjeszwammen

Pezizomycetes

Morels, Truffles et al.

Morieljes, Truffels e.a.

PEZIZALES

Morels et al.

Morieljes e.a.

Morchellaceae

Morels

Morieljes

Morchella esculenta

Morel

Morielje

Pyronemataceae

Pyronema Family

Pyronemafamilie

Melastiza chateri

Orange Cup

Gewoon korthaarschijfje

Leuconoromycetes

Lichens

Korstmossen

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LEUCONORALES Cladoniaceae

Cup Lichens

Rendiermossen, bekermossen, heidestaartjes

Cladonia fimbriata Cladonia coccifera Cladonia furcata

Beaker Moss Red Pixie Cup Furkated Cladonia

(Kopjes-)bekermos Rood bekermos Gevorkt heidestaartje

Candelariaceae

Candelaria Family

Candelariafamilie

Candelariella vitellina

Coarse Yellow Crust

Grove geelkorst

Teloschistaceae

Teloschista Family

Xanthoriafamilie

Xanthoria parietina

Great Yolk Moss

Groot dooiermos

MUSCI

Mosses

Mossen

Brachythecium rutabulum

Thick-headed Moss

Dikkopmos

PTERIDOPHYTA

Pteridophytes

Vaatcryptogamen

Filicopsida

Ferns

Varens

Ophioglossaceae

Adder’s Tongue Family

Addertongfamilie

Ophioglossum vulgatum

Adder’s Tongue

Addertong

Adiantaceae

Maidenhair-fern Family

Venushaarfamilie

Adiantum capillus-veneris

Maidenhair-fern

Venushaar

Pteridaceae

Bracken Family

Adelaarsvarenfamilie

Pteridium aquilinum

Bracken

Adelaarsvaren

Aspleniaceae

Spleenwort Family

Streepvarenfamilie

Asplenium scolopendrium Asplenium ruta-muraria Asplenium trichomanes

Heart’s Tongue-fern Wall-rue Maidenhair Spleenwort

Tongvaren Muurvaren Steenbreekvaren

Dryopteridaceae

Kidney-fern Family

Niervarenfamilie

Dryopteris filix-mas

Male Fern

Mannetjesvaren

Polypodiaceae

Polypody Family

Eikvarenfamilie

Polypodium vulgare

Polypody

Eikvaren

PHANEROGAMAE

Seed Plants

Zaadplanten

SPERMATOPHYTA

Spermatophytes

Zaadplanten

TELOSCHISTALES

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GYMNOSPERMAE

Gymnosperms

Naaktzadigen

Coniferopsida

Conifers

Coniferen

Pinaceae

Pine Family

Dennenfamilie

Pinus Pinus sylvestris Pinus pinea

Pine Scots Pine Stone Pine

Den Grove den Parasolden

Abies Abies alba

Fir Fir

Zilverspar (Gewone) Zilverspar

Cupressaceae

Cypress Family

Cipresfamilie

Cupressus Cupressus sempervirens

Cypress Cypress

Cipres Cipres

Taxaceae

Yew Family

Taxusfamilie

Taxus baccata

Yew

Taxus

ANGIOSPERMAE

Flowering Plants

Bloemplanten

Dicotyledones

Dicotyledons

Tweezaadlobbigen

Salicaceae

Willow Family

Wilgenfamilie

Salix Salix purpurea Salix triandra Salix pentandra Salix alba Salix caprea Salix viminalis

Willow Purple Willow Almond Willow Bay Willow White Willow Great Sallow Common Osier

Wilg Bittere wilg Amandelwilg Laurierwilg Schietwilg Boswilg Katwilg

Populus Populus tremula Populus alba Populus nigra Populus canescens

Poplar Aspen White Poplar Black Poplar Grey Poplar

Populier Ratelpopulier Witte abeel Zwarte populier Grauwe abeel

Juglandaceae

Walnut Family

Okkernootfamilie

Juglans Juglans regia

Walnut Walnut

Walnoot Okkernoot (Walnoot)

Betulaceae

Birch Family

Berkenfamilie

Betula Betula pendula

Birch Silver Birch

Berk Ruwe berk

SALICALES

JUGLANDALES

FAGALES

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Alnus Alnus glutinosa

Alder Alder

Els Zwarte els

Corylaceae

Hazel Family

Hazelaarfamilie

Corylus Corylus avellana Corylus maxima

Hazel Hazel [Nut] Filbert [Nut]

Hazelaar Hazelaar; Hazelnoot Lambertsnoot

Fagaceae

Fagaceae Family

Napjesdragersfamilie

Castanea Castanea sativa

Chestnut Chestnut

Kastanje Tamme kastanje

Fagus Fagus sylvatica

Beech Beech

Beuk Beuk

Quercus Quercus robur Quercus petraea

Oak (Pedunculate) Oak Sessile Oak

Eik Zomereik Wintereik

Ulmaceae

Elm Family

Iepenfamilie

Ulmus Ulmus campestris Ulmus minor Ulmus x hollandica

Elm Elm English Elm Dutch Elm

Iep Iep Gladde iep (Hollandse) iep

Moraceae

Mulberry Family

Moerbeifamilie

Morus Morus nigra Morus alba

Mulberry Black Mulberry White Mulberry

Moerbei Zwarte moerbei Witte moerbei

Ficus Ficus carica

Fig Fig

Vijg Vijg

Cannabaceae

Hemp Family

Hennepfamilie

Humulus Humulus lupulus

Hop Hop

Hop Hop

Cannabis Cannabis sativa

Hemp Hemp

Hennep Hennep

Urticaceae

Nettle Family

Brandnetelfamilie

Urtica Urtica dioica Urtica urens

Nettle Stinging Nettle Small Nettle

Brandnetel Grote brandnetel Kleine brandnetel

Parietaria Parietaria judaica Parietaria orientalis

Pellitory Wall Pellitory Dense-foliated Pellitory

Glaskruid Klein glaskruid Dichtbladig glaskruid

URTICALES

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SANTALALES Viscaceae

Mistletoe Family

Vogellijmfamilie

Viscum Viscum album

Mistletoe Mistletoe

Vogellijm Maretak

Aristolochiaceae

Birthwort Family

Pijpbloemfamilie

Asarum Asarum europaeum

Asarum Asarabacca

Mansoor Mansoor

Aristolochia Aristolochia clematitis

Birthwort Birthwort

Pijpbloem Pijpbloem

Rafflesiaceae

Rafflesia Family

Rafflesiafamilie

Rafflesia Rafflesia spec.

Rafflesia Rafflesia

Rafflesia Rafflesia

Polygonaceae

Polygonum Family

Duizendknoopfamilie

Polygonum Polygonum bistorta Polygonum persicaria Polygonum aviculare Polygonum convolvulus

Polygonum Snakeweed Redshank (Common) Knotgrass Black Bindweed

Duizendknoop Adderwortel Perzikkruid Varkensgras Zwaluwtong

Fagopyrum Fagopyrum esculentum

Buckwheat Buckwheat

Boekweit Boekweit

Rumex Rumex acetosa Rumex acetosella Rumex obtusifolius Rumex patientia Rumex sanguineus Rumex crispus

Sorrel (Common) Sorrel Sheep’s Sorrel Broad-leaved Dock Patience Dock Red-veined Dock Curled Dock

Zuring Veldzuring Schapenzuring Ridderzuring Spinaziezuring Bloedzuring Krulzuring

Oxyria Oxyria digyna

Oxyria Mountain Sorrel

Oxyria Alpenzuring

Chenopodiaceae

Goosefoot Family

Ganzenvoetfamilie

Beta Beta vulgaris - subsp. cicla

Beet Beet Swiss chard

Biet Biet Snijbiet

ARISTOLOCHIALES

POLYGONALES

CARYOPHYLLALES (Centrospermae)

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Chenopodium Chenopodium rubrum Chenopodium foliosum

Goosefoot Red Goosefoot Strawberry Goosefoot

Ganzenvoet Rode ganzenvoet Aardbeispinazie

Atriplex Atriplex hortensis Atriplex patula

Orache Family Orache Common Orache

Melde Tuinmelde Uitstaande melde

Amaranthaceae

Amaranthus Family

Amarantenfamilie

Amaranthus Amaranthus caudatus Amaranthus tricolor Amaranthus paniculatus Amaranthus lividus

Amaranthus Foxtail St. Joseph’s Coat Marvel Bronze Green Amaranth

Amarant Kattenstaartamarant Klaroen Olifantsamarant Groene kattenstaart

Gomphrena Gomphrena globosa

Globe Amaranth Globe Amaranth

Kogelamarant Kogelamarant

Celosia Celosia argentea plumosa Celosia cristata

Cockscomb Plume Cockscomb Cockscomb

Hanenkam Pluimhanenkam Hanenkam

Nyctaginaceae

Four O’Clock Family

Nyctaginafamilie

Mirabilis Mirabilis jalapa

Mirabilis Marvel of Peru

Nachtschone Nachtschone

Phytolaccaceae

Pokeweed Family

Karmozijnbesfamilie

Phytolacca Phytolacca esculenta Phytolacca americana

Pokeweed Pokeweed American Pokeweed

Karmozijnbes (Oosterse) Karmozijnbes Amerikaanse karmozijnbes

Aizoaceae

Ice Plant Family

IJskruidfamilie

Mesembryanthemum Mesembryanthemum crystallinum Mesembryanthemum felinum Mesembryanthemum violaceum

Mesembryanthemum Ice Plant Dentate Ice Plant Violet Ice Plant

IJsbloem IJskruid Getand ijskruid Paars ijskruid

Lampranthus Lampranthus spec.

Lampranthus Yellow Ice Plant

Lampranthus Gele ijsbloem

Sesuvium Sesuvium portulacastrum

Sesuvium Sea Purslane

Sesuvium Zeepostelein

Cactaceae

Cacti

Cactusfamilie

Echinocactus

Echinocactus

Echinocactus

Aporocactus flagelliformis

Rat’s Tail Cactus

Slangencactus

Epiphyllum

Epiphyllum

Lidcactus

Selenicereus Selenicereus grandiflorus

Selenicactus Night-blooming Cereus

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Zygocactus

Zygocactus

Zygocactus

Opuntia Opuntia ficus-indica

Opuntia Prickly Pear

Vijgcactus Vijgcactus

Caryophyllaceae

Pink Family

Anjerfamilie

Illecebrum Illecebrum verticillatum

Knot-grass Knot-grass

Grondster Grondster

Stellaria Stellaria holostea

Chickweed Chickweed

Muur Grote muur

Cerastium Cerastium arvense Cerastium fontanum

Mouse-ears Field Mouse-ear Common Mouse-ear

Hoornbloem Akkerhoornbloem Gewone hoornbloem

Sagina Sagina nodosa

Pearlwort Knotted Pearlwort

Vetmuur Sierlijke vetmuur

Spergularia Spergularia rubra

Spurrey Red Spurrey

Schijnspurrie Rode schijnspurrie

Lychnis Lychnis chalcedonica - plena Lychnis coronaria Lychnis coeli-rosa Lychnis flos-jovis Lychnis flos-cuculi Lychnis viscaria - alba

Lychnis Maltese Cross (full) Rose Campion Rose of Heaven Flower of Jove Ragged Robin Red Catchfly White Catchfly

Koekoeksbloem Brandende liefde (gevuld) Prikneus Hemelroosje Jupiterbloem (Echte) Koekoeksbloem Rode pekanjer Witte pekanjer

Agrostemma Agrostemma githago

Agrostemma Corn Cockle

Bolderik Bolderik

Silene Silene gallica - var. quinquevulnera Silene dioica Silene latifolia subsp. alba Silene maritima Silene nutans Silene vulgaris Silene conica Silene armeria

Catchfly Small Catchfly Blotched Catchfly Red Campion White Campion Sea Campion Nodding Catchfly Bladder Campion Striated Catchfly Sweet-William Catchfly

Silene Franse silene Gevlekte silene Dagkoekoeksbloem Avondkoekoeksbloem Zeesilene Nachtsilene Blaassilene Kegelsilene Pekbloem

Cucubalus Cucubalus baccifer

Cucubalus Berry Catchfly

Besanjelier Besanjelier

Saponaria Saponaria officinalis

Soapwort Soapwort

Zeepkruid Zeepkruid

Vaccaria Vaccaria hispanica

Vaccaria Cow Soapwort

Koekruid Koekruid

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Petrorhagia Petrorhagia saxifraga Petrorhagia prolifera

Petrorhagia Tunic Saxifrage Proliferous Pink

Mantelanjer Kleine mantelanjer Slanke mantelanjer

Dianthus Dianthus superbus Dianthus arenarius Dianthus plumarius Dianthus deltoides Dianthus carthusianorum Dianthus barbatus Dianthus armeria Dianthus caryophyllus (simplex) - duplex - semiplenus - subplenus - plenus - albus - bicolor - luteus

Pink Fine Pink Sand Pink Grass Pink Maiden Pink Carthusian Pink Sweet William Deptfort Pink Carnation (double) (half full) (nearly full) (full) (white) (two-colour) (yellow)

Anjer Prachtanjer Zandanjer Grasanjer Steenanjer Karthuizer anjer Duizendschoon Ruige anjer Tuinanjer (tweevoudig) (half gevuld) (bijna gevuld) (gevuld) (wit) (tweekleurig) (geel)

Ranunculaceae

Ranunculus Family

Ranonkelfamilie

Helleborus Helleborus viridis Helleborus foetidus Helleborus niger - subsp. macranthus

Hellebore Green Hellebore Stinking Hellebore Christmas Rose White Christmas Rose

Nieskruid Wrangwortel Stinkend nieskruid Kerstroos Witte kerstroos

Eranthis Eranthis hyemalis

Eranthis Winter Aconite

Winterakoniet Winterakoniet

Nigella Nigella sativa Nigella damascena - duplex - semiplena - subplena - plena - alba Nigella cretica

Nigella Nigella Love-in-a-mist (double) (half full) (nearly full) (full) (white) Cretian Fennel Flower

Nigella Nigella Juffertje-in-het-groen (tweevoudig) (half gevuld) (bijna gevuld) (gevuld) (wit) Kretenzer nigella

Trollius Trollius europaeus

Trollius Globe Flower

Trollius Trollius

Caltha Caltha palustris - plena

Caltha Kingcup, Marsh Marigold (full)

Dotterbloem Dotterbloem (gevuld)

Aconitum Aconitum vulparia Aconitum anthora Aconitum variegatum Aconitum paniculatum Aconitum napellus

Monk’s Hood Yellow Wolf’s Bane Helmet Flower Variegated Monk’s Hood Paniculated Monk’s Hood Monk’s Hood

Monnikskap Gele monnikskap Bleekgele monnikskap Bonte monnikskap Vertakte monnikskap Blauwe monnikskap

RANUNCULALES

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- cv. Album - cv. Roseum

(white) (pink)

(wit) (roze)

Delphinium Delphinium elatum Delphinium grandiflorum

Larkspur (Delphinium) Candle Larkspur Large-flowering Larkspur

Ridderspoor Alpenridderspoor Grootbloemige ridderspoor

Consolida Consolida regalis - alba Consolida ajacis (= C. ambigua) - duplex - cv. Imperiale (= plena) - alba Consolida orientale (simplex) - plena - rubra - rosea - alba

Larkspur (Consolida) Field Larkspur

Ridderspoor Wilde ridderspoor

False Larkspur (double) (full) (white) Eastern Larkspur (full) (red) (pink) (white)

Valse ridderspoor (tweevoudig) (gevuld) (wit) Kortsporige ridderspoor (gevuld) (rood) (roze) (wit)

Anemone Anemone apennina Anemone nemorosa Anemone sylvestris Anemone pavonina Anemone hortensis Anemone coronaria (simplex) - pseudoplena - atrato-annulata Anemone x fulgens - virescens Anemone palmata

Anemone Blue Mountain Anemone Wood Anemone Snowdrop Anemone Peacock Anemone Star Anemone Poppy Anemone (pseudofull) dark-ringed Poppy Anemone Crown Anemone Brush Anemone Yellow Anemone

Anemoon Blauwe anemoon Bosanemoon Grote anemoon Pronkanemoon Steranemoon Tuinanemoon (pseudogevuld) Kringanemoon Kroonanemoon Borstelanemoon Gele anemoon

Hepatica Hepatica nobilis (simplex) - cv. Plena - cv. Alba - cv. Rosea - violacea

Liverwort Liverwort (full) (white) (pink) (violet)

Leverbloempje Leverbloempje (gevuld) (wit) (roze) (paars)

Pulsatilla Pulsatilla vulgaris Pulsatilla vernalis

Pasque Flower Pasque Flower Spring Pasque Flower

Wildemanskruid Wildemanskruid Lenteanemoon

Clematis Clematis alpina Clematis integrifolia Clematis viticella Clematis recta (simplex) - cv. Plena Clematis flammula Clematis vitalba

Clematis Alpine Clematis Solitary Clematis Italian Clematis Erect Clematis (full) Fragrant Clematis Traveller’s Joy

Clematis Alpenclematis Enkelbloemige clematis Italiaanse clematis Stijve clematis (gevuld) Welriekende bosrank Bosrank

Adonis Adonis vernalis - plena Adonis flammea

Pheasant’s Eye Yellow Adonis (full) Fire Pheasant’s Eye

Adonis Voorjaarsadonis (gevuld) Kooltje vuur

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Adonis aestivalis - var. citrina Adonis annua

Summer Pheasant’s Eye Yellow Summer Adonis Autumn Pheasant’s Eye

Zomeradonis Gele zomeradonis Najaarsadonis

Ranunculus Ranunculus ficaria subsp. bulbifer Ranunculus lingua Ranunculus flammula Ranunculus sceleratus Ranunculus arvensis Ranunculus bulbosus - var. pleniflorus Ranunculus repens Ranunculus auricomus coll. Ranunculus phtora Ranunculus acris (simplex) - var. multiplex Ranunculus aconitifolius - var. pleniflorus Ranunculus platanifolius Ranunculus asiaticus - plenus - cv. Africanus - cv. Persicus - cv. Scoticus - perfloratus Ranunculus peltatus

Buttercup Lesser Celandine Great Spearwort Lesser Spearwort Celery-leaved Crowfoot Corn Buttercup Bulbous Buttercup (full) Creeping Buttercup Goldilocks Phtora Buttercup (Common) Meadow Buttercup Bachelor’s Buttons Fair Maids of France White Bachelor’s Buttons Large White Buttercup Turban Buttercup full Turban Buttercup Turkish Buttercup Persian Buttercup Scottish Buttercup (perflorated) Water Crowfoot

Boterbloem Speenkruid Grote boterbloem Egelboterbloem Blaartrekkende boterbloem Akkerboterloem Knolboterbloem (gevuld) Kruipende boterbloem Gulden boterbloem Phtora boterbloem Scherpe boterbloem Gouden knoopjes Witte boterbloem Witte knoopjes Grote witte boterbloem Ranonkel Gevulde ranonkel Turkse ranonkel Perzische ranonkel Schotse ranonkel (doorgroeid) Grote waterranonkel

Aquilegia Aquilegia vulgaris (simplex) - duplex - plena - alba - bicolor - cv. Stellata - cv. Stellata alba Aquilegia atrata Aquilegia canadensis

Columbine Columbine (double) (full) (white) (two-colour) Star Columbine (white regular) Dark Columbine Red Columbine

Akelei Akelei (dubbel) (gevuld) (wit) (tweekleurig) Sterakelei (wit regelmatig) Donkere akelei Canadese akelei

Thalictrum Thalictrum aquilegifolium Thalictrum flavum

Rue Greater Meadow Rue Common Meadow Rue

Ruit Akeleiruit Poelruit

Paeoniaceae

Peony Family

Pioenfamilie

Paeonia Paeonia officinalis (simplex) - cv. Lobata - var. flore-plena - cv. Alba plena - cv. Superba plena - cv. Mutabilis plena - cv. Anemonaeflora - cv. Anemonaerosea - subsp. humilis Paeonia lactiflora Paeonia mascula

Peony Peony lobed Peony full Peony white full Peony giant Peony salmon Peony anemony Peony pink Peony soft Peony Chinese Peony Coralline Peony

Pioen Pioen Gelobde pioen Boerenpioen Witte pioen Reuzenpioen Zalmpioen Anemoonpioen Roze pioen Zachte pioen Chinese pioen Mannetjespioen | 1055

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Paeonia peregrina Paeonia suffruticosa

Red Peony Tree Peony

Rode pioen Boompioen

Berberidaceae

Berberis Family

Berberisfamilie

Epimedium Epimedium alpinum

Epimedium Barrenwort

Elfenbloem Elfenbloem

Berberis Berberis vulgaris

Berberis Barberry

Berberis Zuurbes

Mahonia Mahonia vulgaris

Mahonia Mahonia

Mahonia Mahonia

Magnoliaceae

Magnolia Family

Tulpenboomfamilie

Magnolia Magnolia grandiflora Magnolia virginiana

Magnolia Evergreen Umbrella Tree Sweetbay Magnolia

Magnolia Wintergroene beverbloem Moerasmagnolia

Liriodendron Liriodendron tulipifera

Liriodendron Tulip Tree

Tulpenboom Tulpenboom

Myrtaceae

Myrtle Family

Mirtefamilie

Myrtus Myrtus communis

Myrtle Myrtle

Mirte Mirte

Annonaceae

Custard Apple Family

Zuurzakfamilie

Annona Annona squamosa Annona muricata

Annona Sugar Apple Custard Apple

Annona Kaneelappel Zuurzak

Myristicaceae

Myristica Family

Myristicafamilie

Myristica fragrans

Nutmeg; Mace

Nootmuskaat; Foelie

Lauraceae

Laurel Family

Laurierfamilie

Laurus Laurus nobilis

Laurel Laurel

Laurier Laurier

Cinnamomum Cinnamomum zeylanicum Cinnamomum aromaticum

Cinnamimum Cinnamom; Camphor Ceylon Cinnamon

Kaneel Kaneel; Kamfer Chinese kaneel

Calycanthaceae

Calycanthus Family

Calycanthusfamilie

Calycanthus Calycanthus floridus

Spice Bush Spice Bush

Specerijstruik Meloenboompje

MAGNOLIALES

MYRTALES

LAURALES

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PAPAVERALES (Rhoeadales p.p.) Papaveraceae

Poppy Family

Papaverfamilie

Papaver Papaver somniferum (simplex) - fimbriatum - duplex (undulatum) - semiplenum (undulatum) - pseudoplenum - plenum - rubrum - miniatum - album Papaver rhoeas Papaver dubium Papaver orientale

Poppy Opium Poppy (whorled) double (whorled) (half full) (worled) (pseudofull) (full) (red) (vermilion) (white) Corn Poppy Long smooth-headed Poppy Oriental Poppy

Klaproos Slaapbol Krulpapaver Dubbele (Krulpapaver) Halfgevulde (Krulpapaver) (pseudogevuld) (gevuld) (rood) (vermiljoen) (wit) Grote klaproos Bleke klaproos Oosterse papaver

Meconopsis Meconopsis cambrica

Meconopsis Welsh Poppy

Meconopsis Schijnpapaver

Argemone Argemone mexicana

Prickly Poppy Mexican prickly Poppy

Stekelpapaver Stekelpapaver

Glaucium Glaucium flavum

Glaucium Horned Poppy

Hoornpapaver Gele hoornpapaver

Chelidonium Chelidonium majus

Chelidonium Greater Celandine

Gouwe Stinkende gouwe

Hypecoum Hypecoum procumbens

Hypecoum Hypecoum

Hypecoum Hypecoum

Dicentra Dicentra spectabilis

Bleedinghearts Bleedinghearts

Gebroken hartjes Gebroken hartjes

Fumariaceae

Fumitory Family

Duivenkervelfamilie

Corydalis Corydalis solida Corydalis cava Corydalis claviculata

Corydalis Purple Fumitory Hollow Root Fumitory Climbing Corydalis

Helmbloem Vingerhelmbloem Holwortel Rankende helmbloem

Fumaria Fumaria officinalis subsp. wirtgenii Fumaria capreolata Fumaria parviflora

Fumaria Fumitory Small Fumitory White Fumitory Fineleaf Fumitory

Duivenkervel (Gewone) Duivenkervel Kleine duivenkervel Rankende duivenkervel Kleinbloemige duivenkervel

Capparidaceae

Capers Family

Kappertjesfamilie

Capparis Capparis spinosa

Capers Capers

Kappertjes Kappertjes

CAPPARALES (Rhoeadales p.p.)

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Cleome Cleome viscosa

Spiderflower Asian Spiderflower

Cleome Cleome viscosa

Brassicaceae (Cruciferae)

Cruciferae

Kruisbloemenfamilie

Alliaria Alliaria petiolata

Alliaria Garlic Mustard

Alliaria Look-zonder-look

Arabidopsis Arabidopsis thaliana

Arabidopsis Thale Cress

Arabidopsis Zandraket

Isatis Isatis tinctoria

Isatis Woad

Wede Wede

Sisymbrium Sisymbrium officinale

Sisymbrium Hedge Mustard

Raket (Gewone) Raket

Bunias Bunias erucago

Rocket Corn Rocket

Hardvrucht Kleine raket

Erysimum Erysimum cheiri - grandiflora Erysimum cheiranthoides

Erysimum Wallflower (large-flowering) Treacle Mustard

Steenraket Muurbloem (grootbloemig) Steenraket

Matthiola Matthiola incana - grandiflora - plena - alba - rosea

Matthiola Stock (large flowering) (full) (white) (pink)

Violier Violier (grootbloemig) (gevuld) (wit) (roze)

Hesperis Hesperis matronalis - plena candida

Hesperis Sweet Rocket (full white)

Hesperis Damastbloem (gevuld wit)

Rorippa Rorippa nasturtium-aquaticum

Rorippa Watercress

Waterkers Witte waterkers

Cardamine Cardamine pratensis Cardamine pentaphyllos Cardamine hirsuta

Cardamine Cuckoo Flower Finger Tootworth Hairy Bitter Cress

Veldkers Pinksterbloem Vaste pinksterbloem Kleine veldkers

Arabis Arabis hirsuta subsp. sagittata

Rock-Cress Arrow-leaved Wall Cress

Scheefkelk Pijlscheefkelk

Lunaria Lunaria annua

Lunaria Honesty

Judaspenning (Tuin-)Judaspenning

Petrocallis Petrocallis pyrenaica

Petrocallis Whitlow-grass

Petrocallis Petrocallis

Alyssum Alyssum alyssoides Alyssum saxatile

Alyssum Hoary Alyssum Yellow Alyssum

Schildzaad Bleek schildzaad Rotsschildzaad

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Cochlearia Cochlearia officinalis

Scurvy Grass Common Scurvy Grass

Lepelblad Echt lepelblad

Capsella Capsella bursa-pastoris

Capsella Shepherd’s Purse

Herderstasje (Gewoon) Herderstasje

Biscutella Biscutella laevigata

Biscutella Bucklar Mustard

Brilkruid Brilkruid

Iberis Iberis sempervirens Iberis amara Iberis umbellata

Candytuft Candytuft Bitter Candytuft Umbelled Candytuft

Scheefbloem Scheefbloem Bittere scheefkelk Schermscheefbloem

Lepidium Lepidium campestre Lepidium sativum Lepidium ruderale

Lepidium Field Pepperwort Garden Cress Narrow-leaved Pepperwort

Kruidkers Veldkruidkers Tuinkers Steenkruidkers

Coronopus Coronopus squamatus

Swineweed Wart Cress

Varkenskers Grote varkenskers

Diplotaxis Diplotaxis tenuifolia

Wall Mustard Narrow-leaved Wall Mustard

Zandkool Grote zandkool

Brassica Brassica nigra Brassica napus Brassica rapa Brassica oleracea - var. capitata f. alba f. rubra - var. acephala f. laciniata f. plumacea - var. botrytis - var. gongylodes

Brassica Black Mustard Rape Field Mustard, Turnip Cabbage, many forms, incl. Head Cabbage White Cabbage Red Cabbage Curly Kale Curly Kale Ornamental Kale Cauliflower Turnip Cabbage

Kool Zwarte mosterd Koolzaad Raapzaad, Meiknol Kool, veel vormen, o.a. Sluitkool Witte kool Rode kool Krulkool Boerenkool Sierkool Bloemkool Koolrabi

Sinapis Sinapis alba

Sinapis White Mustard

Mosterd Witte mosterd

Cakile Cakile maritima

Cakile Sea Rocket

Zeeraket Zeeraket

Raphanus Raphanus sativus subsp. sativus - subsp. niger - var. albus

Raphanus Radish Black Garden Radish White Garden Radish

Radijs Radijs Rammenas Rettich

Resedaceae

Reseda Family

Resedafamilie

Reseda Reseda lutea Reseda luteola Reseda odorata

Reseda Wild Mignonette Dyer’s Greenweed Mignonette

Reseda Wilde reseda Wouw Welriekende reseda

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ROSALES Crassulaceae

Orphine Family

Vetplantenfamilie

Sempervivum Sempervivum tectorum

Sempervivum Houseleek

Huislook (Donderblad) Huislook

Sedum Sedum telephium Sedum album Sedum anglicum Sedum reflexum Sedum acre

Stonecrop Orpine White Stonecrop English Stonecrop Reflexed Stonecrop Wall Pepper

Vetkruid Hemelsleutel Wit vetkruid Vetkruid Tripmadam Muurpeper

Crassula Crassula scabra Crassula falcata

Crassula Rough Crassula Propeller Plant

Crassula Ruige crassula Propellerplant

Kalanchoe Kalanchoe spec.

Kalanchoe Kalanchoe

Kalanchoë Kalanchoë

Saxifragaceae

Saxifraga Family

Steenbreekfamilie

Saxifraga Saxifraga rosacea Saxifraga cotyledon Saxifraga aizoon Saxifraga granulata - plena Saxifraga stellaris Saxifraga rotundifolia Saxifraga geum Saxifraga umbrosa Saxifraga paniculata

Saxifrage Irish Saxifrage Dotted Saxifrage White Mountain Saxifrage Meadow Saxifrage (full) Starry Saxifrage Round-leaved Saxifrage None-so-pretty London Pride White Mountain Saxifrage

Steenbreek Roosjessteenbreek Gestippelde steenbreek Bergsteenbreek Knolsteenbreek Haarlems klokkenspel Sterresteenbreek Rondbladige steenbreek Schildersverdriet Schaduwsteenbreek Trossteenbreek

Bergenia Bergenia cordifolia

Bergenia Elephant-leaved Saxifrage

Bergenia Schoenlappersplant

Hydrangeaceae

Hydrangea Family

Hortensiafamilie

Hydrangea Hydrangea macrophylla

Hortensia Bigleaf Hortensia

Hortensia Grootbladige hortensia

Philadelphus Philadelphus coronarius

Philadelphus Mock Orange

Boerenjasmijn Welriekende boerenjasmijn

Grossulariaceae

Currant Family

Bessenfamilie

Ribes Ribes rubrum - album Ribes nigrum Ribes uva-crispa

Ribes Redcurrant White Currant Blackcurrant Gooseberry

Ribes Rode aalbes Witte aalbes Zwarte bes Kruisbes

Protaceae

Protea Family

Proteafamilie

Protea repens

Sugarbush

Suikerbos

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Protea mellifera Honey Protea Mimetes lyrigera Pagoda Flower Leucospermum conocarpodendon Yellow Leucospermum

Honing protea Pagodebloem Gele leucospermum

Rosaceae

Rose Family

Rozenfamilie

Spiraea Spiraea salicifolia

Spiraea Willowleaf Meadowsweet

Struikspirea Theeboompje

Filipendula Filipendula ulmaria Filipendula vulgaris

Filipendula Meadow Sweet Dropwort

Spirea Moerasspirea Knolspirea

Rubus Rubus idaeus Rubus odoratus Rubus fruticosus coll. Rubus caesius

Rubus Raspberry Purple-flowering Raspberry Blackberry Dewberry

Braam Framboos Roodbloeiende framboos Braam Dauwbraam

Rosa Rosa majalis Rosa rubiginosa Rosa canina Rosa foetida - cv. Bicolor Rosa hemisphaerica Rosa multiflora Rosa moschata Rosa sempervirens Rosa x alba (simplex) - duplex - semiplena - subplena - plena Rosa gallica (simplex) - duplex - semiplena - subplena - plena - cv. Officinalis - cv. Batava - cv. Versicolor - cv. Tuscany - perflorata Rosa x damascena (simplex) - duplex - cv. Versicolor Rosa x provincialis Rosa x centifolia - cv. Muscosa Rosa x huysumiana Rosa turbinata x R. foetida

Rose Cinnamon Rose Sweet Briar Dog Rose Austrian Briar Austrian Copper (Briar) Sulphur Rose Multiflora Rose Musk Rose Evergreen Rose White Rose (double) (half full) (nearly full) (full) French Rose (double) (half full) (nearly full) (full) Apothecary’s Rose Batavian Rose Rosa Mundi Tuscan Rose (perflowered) Damask Rose (double) York and Lancaster Rose Provins Rose Cabbage Rose Moss Rose Yellow Cabbage Rose Frankfurt Rose Frankfurt Rose hybrid

Roos Kaneelroos Egelantier Hondsroos Gele roos Capucijnerroos Globeroos Veelbloemige roos [Trosroos] Muskusroos Wintergroene roos Witte roos (tweevoudig) (half gevuld) (bijna gevuld) (gevuld) Franse roos (tweevoudig) (half gevuld) (bijna gevuld) (gevuld) Apothekersroos Bataafse roos Rosa Mundi Toscaanse roos (doorgroeid) Damascenerroos (tweevoudig) York-en-Lancasterroos Provenceroos Koolroos Mosroos Gele koolroos Frankfurter roos Frankfurterroos kruising

Agrimonia Agrimonia eupatoria

Agrimony (Common) Agrimony

Agrimonie (Gewone) Agrimonie

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Sanguisorba Sanguisorba officinalis Sanguisorba minor

Burnet Great Burnet Salad Burnet

Pimpernel Grote pimpernel Kleine pimpernel

Geum Geum urbanum Geum rivale Geum x intermedium - duplex

Avens Wood Avens Water Avens Bastard Avens (double)

Nagelkruid Geel nagelkruid Knikkend nagelkruid Bastaardnagelkruid (dubbel)

Potentilla Potentilla anserina Potentilla reptans Potentilla intermedia

Potentilla Silverweed Creeping Quinquefoil Intermediate Quinquefoil

Ganzerik Zilverschoon Vijfvingerkruid Middelste ganzerik

Alchemilla Alchemilla vulgaris s.l.

Lady’s Mantle Lady’s Mantle

Vrouwenmantel Vrouwenmantel

Fragaria Fragaria vesca Fragaria moschata Fragaria x ananassa

Strawberry Wild Strawberry (Hautbois) Strawberry (Garden) Strawberry

Aardbei Bosaardbei Grote bosaardbei (Tuin-)Aardbei

Cydonia Cydonia oblonga

Quince Quince/blossom

Kweepeer Kweepeer/Kweebloesem

Pyrus Pyrus communis

Pear Pear/blossom

Peer Peer/Perenbloesem

Malus Malus sylvestris Malus x domestica

Apple Apple/blossom Apple

Appel Appel/Appelbloesem Appel

Sorbus Sorbus aucuparia Sorbus domestica

Sorbus Rowan Service Berry

Lijsterbes (Wilde) Lijsterbes Peervormige lijsterbes

Mespilus Mespilus germanica

Medlar Medlar

Mespilus Mispel

Crataegus Crataegus laevigata Crataegus monogyna

Hawthorn Two-styled Hawthorn Hawthorn

Meidoorn Tweestijlige meidoorn (Eenstijlige) Meidoorn

Prunus Prunus padus Prunus cerasus - semiplena - plena - cv. Persiciflora - cv. Austera - cv. Caproniana - cv. Semperflorens - cv. Austera x avium Prunus avium - plena - var. juliana

Prunus Bird Cherry (Sour) Cherry (half full) (full) pink Cherry blossom Morello Glass Cherry All Saints Cherry May Cherry Gean (full) Julian Cherry

Prunus Vogelkers Zure kers (half gevuld) (gevuld) Roze kersenbloesem Morel Glaskers Allerheiligenkers Meikers Zoete kers, Kriek (gevuld) Julianakers

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- var. duracina Prunus spinosa Prunus cerasifera Prunus domestica - subsp. domestica - subsp. oeconomica - subsp. italica - var. ovoidea - subsp. insititia - cv. Syriaca Prunus pumila Prunus dulcis - plena Prunus armeniaca Prunus persica - cv. Dianthiflora - var. nucipersica Prunus mahaleb Prunus tenella

(White) Heart Cherry Sloe, Blackthorn Cherry Plum Plum Plum Damson Greengage Egg Plum Bullace Yellow Bullace Dwarf Cherry Almond (blossom) (full) Apricot Peach (pink-like) Nectarine St Lucie Cherry Dwarf Almond

Knapkers Sleedoorn Kerspruim Pruim Pruim Kwets Reine Claude Eierpruim Kroosjespruim, Mirabelpruim Gele mirabel Zandkers Amandel (bloesem) (gevuld) Abrikoos Perzik (anjerachtig) Nectarine Weichselboom Dwergamandel

Fabaceae (Leguminosae)

Papilionaceae

Vlinderbloemigen

Cercis Cercis siliquastrum

Cercis Judas Tree

Cercis Johannesbroodboom

Sophora Sophora japonica

Sophora Japanese Pagoda Tree

Sophora Japanse pagodeboom

Laburnum Laburnum anagyroides

Laburnum Golden Rain

Laburnum Goudenregen

Glycyrrhiza Glycyrrhiza glabra

Liquorice Liquorice

Zoethout Zoethout

Cytisus Cytisus scoparius

Brooms Broom

Cytisus Brem

Genista Genista pilosa Genista tinctoria

Genista Hairy Greenweed Dyer’s Greenweed

Heidebrem Kruipbrem Verfbrem

Spartium Spartium junceum

Spanish Broom Spanish Broom

Bezemstruik Bezemstruik

Lupinus Lupinus angustifolius Lupinus luteus Lupinus polyphyllus - bicolor

Lupine Blue Lupine Yellow Lupine Lupine (two-colour)

Lupine Blauwe lupine Gele lupine (Vaste) Lupine (tweekleurig)

Robinia Robinia pseudoacacia

Robinia False Acacia

Robinia Robinia

Galega Galega officinalis

Galega Goat’s Rue

Geitenruit Geitenruit

FABALES

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Mimosa Mimosa pudica

Mimosa Sensitive Plant

Mimosa Kruidje-roer-mij-niet

Wisteria Wisteria sinensis

Wisteria Chinese Wisteria

Wisteria Blauwe regen

Colutea Colutea arborescens

Colutea Bladder Senna

Blazenstruik (Europese) Blazenstruik

Astragalus Astragalus alpinus

Milk Vetch Alpine Milk Vetch

Astragalus Alpiene melkwikke

Phaseolus Phaseolus coccineus Phaseolus vulgaris

Bean Scarlet Runner Bean French Bean

Boon Pronkboon Boon

Clitoria Clitoria ternatea

Butterfly Pea Butterfly Pea

Vlindererwt Vlindererwt

Mucuna Mucuna urens

Mucuna Ox-eye Bean

Mucuna Krassi-boon-ki

Vicia Vicia faba Vicia cracca Vicia sativa

Vetch Broad Bean Tufted Vetch Common Vetch

Wikke Tuinboon Vogelwikke Voederwikke

Lathyrus Lathyrus vernus Lathyrus palustris Lathyrus nissolia Lathyrus pratensis Lathyrus tuberosus Lathyrus latifolius Lathyrus sylvestris Lathyrus articulatus Lathyrus odoratus Lathyrus hirsutus

Lathyrus Spring Lathyrus Marsh Pea Grass Vetchling Yellow Meadow Vetchling Tuberous Vetchling Everlasting Pea Wild Pea Jointed-podded Lathyrus Sweet Pea Hairy Vetchling

Lathyrus Vroege lathyrus Moeraslathyrus Graslathyrus Veldlathyrus Aardaker Brede lathyrus Boslathyrus Rood-witte lathyrus Pronkerwt Ruige lathyrus

Ononis Ononis spinosa Ononis natrix

Restharrow Prickly Restharrow Yellow Restharrow

Stalkruid Kattendoorn Geel stalkruid

Pisum Pisum sativum

Pea Pea

Erwt Erwt, Suikererwt Peultjes, Kapucijner

Melilotus Melilotus alba Melilotus altissima Melilotus officinalis Melilotus italicus

Melilot White Melilot Yellow Melilot Ribbed Melilot Italian Melilot

Honingklaver Witte honingklaver Goudgele honingklaver Citroengele honingklaver Italiaanse honingklaver

Coronilla Coronilla varia

Coronilla Crown Vetch

Kroonkruid (Bont) Kroonkruid

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Hedysarum Hedysarum coronarium

Hedysarum Cock’s Head

Hedysarum Rode hanekop

Onobrychis Onobrychis viciifolia

Onobrychis Sainfoin

Onobrychis Esparcette

Medicago Medicago polymorpha

Medick Toothed Medick

Rupsklaver Ruige rupsklaver

Trifolium Trifolium repens Trifolium incarnatum Trifolium rubens Trifolium pratense

Clover White Clover Crimson Clover Red Feather Clover Red Clover

Klaver Witte klaver Inkarnaatklaver Purperen klaver Rode klaver

Trigonella Trigonella caerulea

Trigonella Blue Sweet Clover

Hoornklaver Zevengetijdenklaver

Lotus Lotus corniculatus - subsp. tenuis Lotus jacobaeus

Bird’s-foot Trefoil Bird’s-foot Trefoil Narrow-leaved Bird’s-foot Trefoil Hanging Bird’s-foot Trefoil

Rolklaver Rolklaver Smalle rolklaver Hangklaver

Tetragonolobus Tetragonolobus purpureus

Tetragonolobus Winged Pea

Hauwklaver Asperge-erwt

Anthyllis Anthyllis vulneraria

Silver Bush Kidney Vetch

Anthyllis Wondklaver

Scorpiurus Scorpiurus muricatus var. subvillosus

Scopiurus Scopiurus

Rupskruid Rupskruid

Muellera Muellera frutescens

Muellera Mangle humo

Muellera Kralenplant

Inga Inga vera Inga edulis Inga ingoides

Inga River koko Icecream Bean Rainflower Inga

Inga Rivierboontjes Zoete boontjes Regenbloem Inga

Erythrina Erythrina crista-galli Erythrina fusca Erythrina glauca

Coral Tree Cockspur Coral Tree Purpre Coral Tree Coral Bean Tree

(Hanekam-)Koraalboom Koraalboom Palisadenboom Gestreepte koraalboom

Caesalpinia Caesalpinia pulcherrima

Caesalpinia Peacock Flower

Caesalpinia Pauwenbloem

Cassia Cassia occidentalis Cassia ligustrina Cassia marilandica

Cassia Coffee Senna Priver Cassia Wild Senna

Cassia Koffiesenna Ligustersenna Wilde senna

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GERANIALES Oxalidaceae

Sorrel Family

Klaverzuringfamilie

Oxalis fontana

Upright Yellow Sorrel

Stijve klaverzuring

Geraniaceae

Cranesbill Family

Ooievaarsbekfamilie

Geranium Geranium robertianum Geranium sanguineum Geranium versicolor Geranium tuberosum Geranium phaeum Geranium pratense - album - bicolor Geranium sylvaticum Geranium columbinum Geranium alceoides Geranium molle

Cranesbill Herb Robert Blood-red Cranesbill Streaked Cranesbill Tuberose Cranesbill Dusky Cranesbill Meadow Cranesbill (white) (two-colour) Wood Cranesbill Dove’s-foot Cranesbill Mallow-foliated Cranesbill Soft Cranesbill

Ooievaarsbek Robertskruid Bloedooievaarsbek Gestreepte ooievaarsbek Knolooievaarsbek Donkere ooievaarsbek Beemdooievaarsbek (wit) (tweekleurig) Bosooievaarsbek Fijne ooievaarsbek Mauvebladige geranium Zachte ooievaarsbek

Erodium Erodium cicutarium Erodium chium Erodium moschatum Erodium gruinum Erodium chamaedryoides

Storksbill (Common) Storksbill Threelobed Storkbill Musky Storksbill Long-beaked Storksbill Striped Storksbill

Reigersbek (Gewone) Reigersbek Drielobbige reigersbek Muskusreigersbek Grote reigersbek Gestreepte reigersbek

Pelargonium Pelargonium zonale Pelargonium inquinans Pelargonium papilionaceum Pelargonium cucullatum Pelargonium peltatum Pelargonium echinatum Pelargonium tetragonum

Pelargonium Pelargonium Stained Pelargonium South African Tree Heather Hooded Pelargonium Ivy Geranium Sweetheart Geranium Angular-stalked Geranium

Pelargonium (Kamer-)Geranium Gevlekte geranium Vlindergeranium Mutsgeranium Hanggeranium Gestekelde pelargonium Vierkantig gestengelde pelargonium

Linaceae

Flax Family

Vlasfamilie

Linum Linum usitatissimum Linum narbonense Linum flavum

Flax Flax Narbonne Flax Golden Flax

Vlas Vlas Frans vlas Geel vlas

Tropaeolaceae

Tropaeolum Family

Klimkersfamilie

Tropaeolum Tropaeolum peregrinum Tropaeolum majus (simplex) - plenum Tropaeolum minus Tropaeolum brueghelianum

Tropaeolum Canary Creeper Garden Nasturtium (full) Dwarf Nasturtium Brueghel Nasturtium

Oost-Indische kers Kanariekers Oost-Indische kers (gevuld) Perukers Brueghelkers

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EUPHORBIALES Euphorbiaceae

Spurge gamily

Wolfsmelkfamilie

Ricinus Ricinus communis

Ricinus Castor Oil Plant

Ricinus Wonderolieboom

Euphorbia Euphorbia cyparissias Euphorbia peplus Euphorbia helioscopia Euphorbia characias

Spurge Cypress Spurge Petty Spurge Sun Spurge Large Mediterranean Spurge

Wolfsmelk Cypreswolfsmelk Tuinwolfsmelk Kroontjeskruid Grote wolfsmelk

Jatropha Jatropha gossypifolia

Jatropha Bellyache Bush

Jatropha Buikpijnplant

Manihot Manihot esculenta Manihot dulcis

Manihot Cassava Sweet Cassava

Manihot Cassave; Maniok Zoete cassave

Phyllanthus Phyllanthus spec.

Leafflower Leafflower

Bladerbloem Bladerbloem

Caperonia Caperonia palustris

Caperonia Texasweed

Caperonia Caperonia

Mercurialis Mercurialis annua

Mercury Annual Mercury

Bingelkruid Tuinbingelkruid

Buxaceae

Box Family

Buxusfamilie

Buxus sempervirens

Boxwood

Palmboompje

Polygalaceae

Milkwort Family

Vleugeltjesbloemfamilie

Polygala Polygala vulgaris

Milkwort Common Milkwort

Vleugeltjesbloem Gewone vleugeltjesbloem

Malpighiaceae

Malpighia Family

Malpighiafamilie

Malpighia Malpighia punicifolia

Malpighia Barbados Cherry

Malpighia West-Indische kers

Rutaceae

Rue Family

Ruitfamilie

Ruta Ruta graveolens

Rue (Common) Rue

Ruit Wijnruit

Dictamnus Dictamnus albus

Dictamnus Burning Bush

Vuurwerkplant Vuurwerkplant

BUXALES

POLYGALALES

RUTALES

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- var. ruber

(red)

(rood)

Citrus Citrus medica - var. sarcodactylis - var. amara Citrus limon Citrus aurantifolia Citrus grandis Citrus maxima Citrus aurantium - cv. Pomum Adami Citrus sinensis

Citrus Citron Fingered Citron Bergamot Lemon Lime Pummelo Pamplemousse Seville Orange/Orange blossom Adam’s Apple (Sweet) Orange

Citrus Sukade Vingersukade Bergamot Citroen Limoen Pummelo Pompelmoes Oranjeappel/Appelbloesem Adamsappel Sinaasappel

Burseraceae

Bursera Family

Bursera familie

Bursera Bursera simaruba

Bursera Gumbo limbo

Bursera Gummi guttaeboom

Anacardiaceae

Pistachio Family

Pruikenboomfamilie

Pistacia Pistacia vera

Pistachio Pistachio Nut

Pistache Pistache noot

Spondias Spondias mombin

Spondias Hog Plum

Spondias Gele mombinpruim

Anacardia Anacardium occidentale

Anacardia Cashew

Anacardia Cashew

Sapindaceae

Soapberry Family

Zeepboomfamilie

Aesculus hippocastanum

Horse Chestnut

Paardenkastanje

Balsaminaceae4

Balsam Family

Balsemienfamilie

Impatiens Impatiens glandulifera Impatiens balsamina Impatiens noli-tangere

Balsam Indian Balsam Garden Balsam Wild Balsam

Springzaad Reuzenbalsemien Balsemien Groot springzaad

Aquifoliaceae

Holly Family

Hulstfamilie

Ilex Ilex aquifolium

Holly Holly

Ilex Hulst

Celastraceae

Spindle Family

Kardinaalsmutsfamilie

Evonymus Evonymus europaeus

Spindle Spindle

Kardinaalsmuts (Wilde) Kardinaalsmuts

SAPINDALES

CELASTRALES

4

Also classified under Geraniales or Ericales.

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RHAMNALES Vitaceae

Vine Family

Wijnstokfamilie

Vitis Vitis vinifera

Vine Vine; Grape

Wijnstok (Wijnstok) Druif

Tiliaceae

Lime Family

Lindefamilie

Tilia Tilia platyphyllos Tilia cordata

Lime Broad-leaved Lime Lime

Linde Grootbladige linde Winterlinde

Malvaceae

Mallow Family

Kaasjeskruidfamilie

Malva Malva alcea Malva sylvestris Malva moschata Malva pusilla Malva verticillata var. crispa

Mallow Five-lobed Mallow Common Mallow Musk Mallow Small Mallow Crisp Mallow

Kaasjeskruid Vijfdelig kaasjeskruid Groot kaasjeskruid Muskuskaasjeskruid Klein kaasjeskruid Dessertbladen

Lavatera Lavatera trimestris Lavatera olbia Lavatera thuringiaca Lavatera arborea

Lavatera Annual Lavatera Tree Lavatera (Perennial) Lavatera Tree Mallow

Lavatera Grootbloemige lavatera Struiklavatera Lavatera Boomlavatera

Althaea Althaea officinalis

Althaea Marsh Mallow

Althaea Heemst

Alcea Alcea rosea (simplex) - duplex - plena - alba - lutea - rubra - purpurea

Hollyhock (Common) Hollyhock (double) full Hollyhock (white) (yellow) (red) (purple)

Stokroos Stokroos (tweevoudig) Dubbele stokroos (wit) (geel) (rood) (purper)

Modiola Modiola caroliniana

Modiola Bristly Mallow

Modiola Borstelig kaasjeskruid

Abutilon Abutilon theophrasti Abutilon crispus

Abutilon Abutilon Sweet Malva

Abutilon Abutilon Kroezige abutilon

Gossypium Gossypium herbaceum Gossypium barbadense

Gossypium (Levant) Cotton Pima Cotton

Katoen Katoen Amerikaanse katoen

Hibiscus Hibiscus trionum Hibiscus syriacus - cv. Coelestis

Hibiscus Flower-of-an-hour Rose of Sharon Blue Hibiscus

Hibiscus Drie-urenbloem Althaeastruik Blauwe althaeastruik

MALVALES

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Hibiscus rosa-sinensis Hibiscus sabdariffa Hibiscus mutabilis

Rose Mallow Roselle Cotton Rose

Chinese roos Roselle Katoenroos

Theobroma Theobroma cacao

Theobroma Cacao Tree

Theobroma Cacaoboom

Abelmoschus Abelmoschus moschatus

Abelmoschus Muskmallow

Abelmoschus Muskuszaad

Meliaceae

Mahogany Family

Mahoniefamilie

Melianthus comosus

Tufted Honeyflower

Gekuifde honingbloem

Bixaceae

Annatto Family

Orleaanboomfamilie

Bixa Bixa orellana

Bixa Lipstick Tree

Orleaanboom Orleaanboom

Thymelaeaceae

Thymelaea Family

Peperboompjesfamilie

Daphne Daphne mezereum Daphne laureola Daphne cneorum

Daphne Mezereon Spurge Laurel Garland Flower

Peperboompje (Rood) Peperboompje Daphne Peperstruik

Theaceae

Tea Family

Theefamilie

Camellia Camellia japonica

Camellia Camellia

Camellia Camellia

Clusiaceae (Guttiferae)

Clusia Family

Hertshooifamilie

Hypericum Hypericum hirsutum Hypericum calycinum Hypericum androsaemum Hypericum hircinum Hypericum dubium Hypericum humifusum Hypericum perforatum Hypericum maculatum Hypericum canariense

Hypericum Hairy St John’s Wort Rose of Sharon Tutsan Stinking Tutsan Angular St John’s Wort Creeping St John’s Wort Perforate St John’s Wort Imperforate St John’s Wort Canarian St John’s Wort

Hertshooi Ruig hertshooi Wintergroen hertshooi Mansbloed Bokkekruid Kantig hertshooi Liggend hertshooi Sint-Janskruid Gevlekt hertshooi Canarisch hertshooi

Violaceae

Violet Family

Viooltjesfamilie

Viola Viola tricolor - cv. Hortensis

Violet Pansy Pansy

Viooltje Driekleurig viooltje Tuinviooltje

THYMELEALES

THEALES

GUTTIFERALES

VIOLALES

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Viola lutea subsp. calaminaria Viola arvensis Viola riviniana Viola biflora Viola odorata - alba

Zinc Violet Field Pansy Common Violet Yellow Wood Violet Sweet Violet (white)

Zinkviooltje Akkerviooltje (Bleeksporig) Bosviooltje Geel alpenviooltje Maarts viooltje (wit)

Passifloraceae

Passion Flower Family

Passiebloemfamilie

Passiflora Passiflora coerulea Passiflora incarnata Passiflora edulis Passiflora laurifolia Passiflora cuprea Passiflora serratifolia Passiflora foetida Passiflora alata Passiflora sprucei

Passion Flower Blue Passion Flower Purple Passion Flower Purple Granadilla Laurel-folliated Passion Flower Red Passion Flower Serrated Passion Flower Stinking Passion Flower Perfumed Passion Flower Spruce Passion Flower

Passiebloem Blauwe passiebloem Wilde passiebloem Passievrucht Laurierbladige passiebloem Koperkleurige passiebloem Gezaagdbladige passiebloem Stinkende passiebloem Gevleugelde passiebloem Sprucei passiebloem

Loasaceae

Loasa Family

Loasa familie

Gronovia Gronovia scandens

Gronovia Climbing Gronovia

Gronovia Klimgronovia

Caricaceae

Carica Family

Carica familie

Carica Carica papaya

Carica Papaya

Carica Papaja

Cistaceae

Cistus Family

Cistusfamilie

Helianthemum Helianthemum nummularium Helianthemum origanifolium

Rockrose Common Rockrose Marjoram-leaved Rockrose

Zonneroosje Geel zonneroosje Marjolijnbladig zonneroosje

Cistus Cistus albidus Cistus ladanifer Cistus x purpureus

Cistus Grey-leaved Cistus Gum Cistus Purple Rockrose

Cistus Grijsbladige cistus Kleverige cistus Purperen cistus

Cucurbitaceae

Cucurbit Family

Komkommerfamilie

Ecballium Ecballium elaterium

Ecballium Squirting Cucumber

Springkomkommer Springkomkommer

Bryonia Bryonia cretica subsp. dioica

Bryonia White Bryony

Bryonia Heggenrank

Citrullus Citrullus lanatus Citrullus colocynthis

Citrullus Water Melon Bitter Cucumber

Citrullus Watermeloen Kolokwint

CUCURBITALES

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Lagenaria Lagenaria siceraria Lagenaria vulgaris

Gourd Bottle Gourd Trumpet Gourd

Lagenaria Fleskalebas Kalebas

Trichosanthes Trichosanthes cucumerina

Trichosanthes Snake Gourd

Trichosanthes Slangenpompoen

Cucumis Cucumis sativus Cucumis anguria Cucumis melo - var. reticulata

Cucumis Cucumber Gherkin Melon Netted-, Grooved Melon

Pittenkruid Komkommer Augurk Meloen Netmeloen, Ribmeloen

Cucurbita Cucurbita ficifolia Cucurbita pepo Cucurbita maxima - cv. Turbaniformis

Pumpkin Striped Marrow Marrow Pumpkin Turban Pumpkin

Pompoen Gestreepte pompoen Pompoen, Kalebas Reuzenkalebas Tulbandkalebas

Cactaceae

Cacti

Cactusfamilie

Opuntia Opuntia ficus-indica

Opuntia Prickly Pear

Opuntia Opuntia

Heliocereus Heliocereus speciosus

Heliocereus Sun Cactus

Zonnecactus Zonnecactus

Lythraceae

Lythrum Family

Kattenstaartfamilie

Lythrum Lythrum salicaria

Loosestrife Purple Loosestrife

Kattenstaart Grote kattenstaart

Onagraceae

Willowherb Family

Teunisbloemfamilie

Circaea Circaea lutetiana

Enchanter’s Nightshades Enchanter’s Nightshade

Heksenkruid Groot heksenkruid

Oenothera Oenothera parviflora Oenothera biennis

Oenothera Small Evening Primrose Evening Primrose

Teunisbloem Kleine teunisbloem Middelste teunisbloem

Chamerion Chamerion angustifolium

Willowherb Rose Bay

Chamerion Wilgenroosje

Epilobium Epilobium hirsutum Epilobium palustre

Willow Herbs Great Willow Herb Bog Willow Herb

Basterdwederik Harig wilgenroosje Moerasbasterdwederik

Ludwigia Ludwigia octavalvis

Ludwigia Primrose Willow

Ludwigia Primulawilg

Fuchsia Fuchsia magellanica

Fuchsia Fuchsia

Fuchsia Fuchsia

CACTALES

MYRTALES

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Myrtaceae

Myrtle Family

Mirtefamilie

Eugenia Eugenia uniflora

Eugenia Surinam Cherry

Eugenia Surinaamse kers

Psidium Psidium guineense

Psidium Brazilian Guava

Psidium Guave

Syzyium Syzygium aromaticum

Syzyium Cloves

Kruidnagel Kruidnagel

Punicaceae

Pomegranate Family

Granaatfamile

Punica Punica granatum - plena

Pomegranate Pomegranate/blossom (full)

Granaatappel Granaatappel/bloesem (gevuld)

Cornaceae

Cornus Family

Kornoeljefamilie

Cornus Cornus mas Cornus alba

Cornus Cornelian Cherry Red-barked Dogwood

Kornoelje Gele kornoelje Witte kornoelje

Araliaceae

Ivy Family

Klimopfamilie

Hedera Hedera helix

Ivy Ivy

Hedera Klimop

Apiaceae (Umbelliferae)

Umbelliferae

Schermbloemenfamilie

Eryngium Eryngium campestre Eryngium maritimum Eryngium alpinum

Eryngo Field Eryngo Sea Holly Alpine Eryngo

Kruisdistel (Echte) Kruisdistel Blauwe zeedistel Alpenkruisdistel

Astrantia Astrantia major

Astrantia Astrantia

Astrantia Astrantia

Chaerophyllum Chaerophyllum bulbosum

Chervil Chervil

Ribzaad (Knolribzaad) Selderijknol

Anthriscus Anthriscus sylvestris Anthriscus cerefolium

Anthriscus Cow Parsley Garden Chervil

Kervel Fluitenkruid (Echte) Kervel

Torilis Torilis nodosa Torilis arvensis Torilis japonica

Hedge Parsley Knotted Hedge Parsley Hedge Parsley Japanese Hedge Parsley

Doornzaad Knopig doornzaad Akkerdoornzaad Heggendoornzaad

Aegopodium Aegopodium podagraria

Aegopodium Goutweed

Aegopodium Zevenblad

CORNALES

UMBELLALES (Umbelliflorae)

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Aethusa Aethusa cynapium

Fool’s Parsley Fool’s Parsley

Aethusa Hondspeterselie

Foeniculum Foeniculum vulgare

Fennel Fennel

Venkel Venkel

Anethum Anethum graveolens

Anethum Dill

Anethum Dille

Bupleurum Bupleurum tenuissimum

Hare’s Ear Slender Hare

Goudscherm Fijn goudscherm

Apium Apium graveolens

Apium Celery

Moerasscherm Selderij

Carum Carum carvi

Caraway Caraway

Karwij Karwij

Petroselinum Petroselinum crispum

Petroselinum Parsley

Peterselie (Tuin)peterselie

Peucedanum Peucedanum palustre

Hog’s Fennel Milk Parsley

Varkenskervel Melkeppe

Pastinaca Pastinaca sativa

Parsnip Parsnip

Pastinaak Pastinaak

Daucus Daucus carota

Daucus Carrot

Daucus Peen

Ericaceae

Heather Family

Heidefamilie

Erica Erica tetralix

Erica Cross-leaved Heath

Dophei (Gewone) Dophei

Calluna Calluna vulgaris

Calluna Ling

Calluna Struikhei

Vaccinium Vaccinium myrtillus

Vaccinium Bilberry

Bosbes Blauwe bosbes

Rhododendron Rhododendron ponticum

Rhododendron Rhododendron

Rhododendron Rhododendron

Andromeda Andromeda polifolia

Andromeda Marsh Andromeda

Andromeda Lavendelhei

Kalmia Kalmia angustifolia Kalmia latifolia

Kalmia Sheep Laurel Mountain Laurel

Lepelblad Smalbladig lepelblad Breedbladig lepelblad

Arbutus Arbutus unedo

Arbutus Strawberry Tree, Arbutus

Arbutus Aardbeiboom

ERICALES

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Styracaceae

Styrax Family

Styraxboomachtigen

Halesia Halesia carolina

Silverbell Common Silverbell

Sneeuwklokjesboom Sneeuwklokjesboom

Primulaceae

Primula Family

Sleutelbloemfamilie

Primula Primula vulgaris Primula veris Primula elatior Primula farinosa Primula auricula Primula hirsuta Primula x pubescens Primula x hortensis

Primula Primrose Cowslip Oxlip Bird’s Eye Primrose Alpine Auricula Viscous Primrose (Garden) Auricula Long-leaved Auricula

Sleutelbloem Stengelloze sleutelbloem Gulden sleutelbloem Slanke sleutelbloem Gepoederde sleutelbloem Aurikel Kleverige sleutelbloem Tuinaurikel Langblad tuinaurikel

Cortusa Cortusa matthioli

Cortusa Alpine Bells

Cortusa Geluksklokje

Cyclamen Cyclamen europaeum Cyclamen hederifolium - album Cyclamen purpurascens Cyclamen repandum Cyclamen persicum Cyclamen coum

Sowbread Ivy-leaved Sowbread Annulated Sowbread White Sowbread Alpine Sowbread Dotless Sowbread Persian Sowbread Integer Sowbread

Varkensbrood Europese cyclaam Geringde cyclamen Witte cyclamen Alpencyclamen Ongevlekte cyclamen Perzische cyclamen Gaafrandige cyclamen

Dodecatheon Dodecatheon meadia

Dodecatheon American Cowslip

Twaalfgodenkruid Twaalfgodenkruid

Lysimachia Lysimachia nummularia Lysimachia thyrsiflora Lysimachia vulgaris Lysimachia punctata

Lysimachia Creeping Jenny Tufted Loosestrife Yellow Loosestrife Dotted Loosestrife

Wederik Penningkruid Moeraswederik Grote wederik Puntwederik

Anagallis Anagallis arvensis - subsp. arvensis - subsp. coerulea

Anagallis Pimpernel Scarlet Pimpernel Blue Pimpernel

Guichelheil Guichelheil Rood guichelheil Blauw guichelheil

Plumbaginaceae

Plumbago Family

Strandkruidfamilie

Armeria Armeria maritima

Armeria Thrift

Armeria Engels gras

Olive Family

Olijffamilie

PRIMULALES

PLUMBAGINALES

OLEALES Oleaceae

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Syringa Syringa vulgaris Syringa caerulea Syringa laciniata

Lilac Lilac Blue Lilac Lobe-leaved Lilac

Sering Sering Blauwe sering Gelobdbladige sering

Jasminum Jasminum nudiflorum Jasminum officinale Jasminum grandiflorum Jasminum fruticans

Jasmine Winter Jasmine (Common) Jasmine Spanish Jasmine Yellow Jasmine

Jasmijn Winterjasmijn Jasmijn Grote jasmijn Gele jasmijn

Olea Olea europaea

Olive Olive

Olijf Olijf

Fraxinus Fraxinus ornus

Ash Manna Ash

Es Pluimes

Gentianaceae

Gentian Family

Gentiaanfamilie

Centaurium Centaurium erythraea

Centaury (Common) Centaury

Duizendguldenkruid (Echt) Duizendguldenkruid

Gentiana Gentiana clusii Gentiana acaulis Gentiana verna Gentiana asclepiadea Gentiana pneumonanthe Gentiana pyramidalis

Gentian Alpine Gentian Stemless Gentian Spring Gentian Willow Gentian Marsh Gentian Gentian Diana

Gentiaan Alpengentiaan Stengelloze gentiaan Voorjaarsgentiaan Zijdeplantgentiaan Klokjesgentiaan Klokjesbloem

Swertia Swertia perennis

Swertia Felwort

Swertia Poelgentiaan

Apocynaceae

Dogbane Family

Maagdenpalmfamilie

Nerium Nerium oleander

Nerium Oleander

Nerium Oleander

Plumeria Plumeria rubra

Plumeria Frangipani

Plumeria Tempelboom

Vinca Vinca minor Vinca major

Periwinkle (Lesser) Periwinkle Great Periwinkle

Maagdenpalm Kleine maagdenpalm Grote maagdenpalm

Catharanthus Catharanthus roseus

Catharanthus Cape Periwinkle

Catharanthus Madagascar maagdenpalm

Apocynum Apocynum androsaemifolium

Dogbane Spreading Dogbane

Apocynum Kruipende apocynum

Orbea Orbea variegata

Carrion Flowers Carrion Cactus

Stapelia Aasbloem

Cynanchum

Dog-strangling Vine

Hondenwurger

GENTIANALES

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Asclepiadaceae

Asclepias Family

Zijdeplantfamilie

Vincetoxicum Vincetoxicum hirundinaria Vincetoxicum nigrum

Swallow-wort Swallow-wort Dark Swallow-wort

Engbloem Witte engbloem Zwarte engbloem

Asclepias Asclepias syriaca Asclepias curassavica

Asclepias Silk Plant Tropical Milkwees

Zijdeplant Zijdeplant Frederiksbloem

Stapelia

Stapelia

Stapelia

Rubiaceae

Rubia Family

Sterbladigenfamilie

Galium Galium odoratum Galium verum Galium mollugo Galium saxatile

Bedstraw Sweet Woodruff Lady’s Bedstraw Hedge Bedstraw Heath Bedstraw

Walstro Lievevrouwebedstro Geel walstro Glad walstro Liggend walstro

Rubia Rubia tinctorum

Rubia Madder

Rubia Meekrap

Duroia Duroia eripila

Duroia Marmelade Box Tree

Duroia Marmeldoos

Genipa Genipa americana

Genip Trees Genip

Genipa Genipapo

Polemoniaceae

Polemonium Family

Vlambloemfamilie

Polemonium Polemonium caeruleum

Polemonium Jacob’s Ladder

Polemonium Jacobsladder

Phlox Phlox carolina

Phlox Carolina Phlox

Vlambloem Phlox carolina

Convolvulaceae

Bindweed Family

Windefamilie

Calystegia Calystegia sepium Calystegia silvatica

Calystegia Bindweed Great Bindweed

Dubbelkelkwinde Haagwinde Gestreepte winde

Convolvulus Convolvulus arvensis Convolvulus tricolor

Bindweed Lesser Bindweed Small Morning Glory

Winde Akkerwinde Dagschone

Ipomoea Ipomoea quamoclit Ipomoea coccinea Ipomoea purpurea - var. varia Ipomoea tricolor

Ipomoea Cypress Vine Scarlet Morning Glory Great Morning Glory Striped Morning Glory Heavenly Blue

Klimmende winde Pronkwinde Scharlakenwinde Dagbloem Gestreepte dagbloem Blauwe winde

RUBIALES

POLEMONIALES (Tubiflorae)

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Ipomoea nil Ipomoea batatas Ipomoea alba

Purple Morning Glory Sweet Potato Moonflower

Purperwinde Zoete aardappel Maanbloem

Boraginaceae

Forget-me-not Family

Ruwbladigenfamilie

Heliotropium Heliotropium europaeum

Heliotrope Heliotrope

Heliotroop Heliotroop

Cerinthe Cerinthe major

Honeywort Great Honeywort

Cerinthe Grote wasbloem

Lithospermum Gromwell Lithospermum purpurocaeruleum Blue Gromwell

Parelzaad Blauw parelzaad

Echium Echium vulgare Echium creticum

Echium Viper’s Bugloss Spanish Bugloss

Echium Slangenkruid Spaans slangenkruid

Pulmonaria Pulmonaria officinalis Pulmonaria montana

Pulmonaria Lung-wort Narrow-leaved Lungwort

Longkruid (Gevlekt) Longkruid Smal longkruid

Symphytum Symphytum officinale

Comfrey Comfrey

Smeerwortel Smeerwortel

Anchusa Anchusa officinalis Anchusa azurea Anchusa arvensis

Anchusa Alkanet Dropmore Lesser Bugloss

Ossentong (Gewone) Ossentong Italiaanse ossentong Kromhals

Pentaglottis Pentaglottis sempervirens

Pentaglottis Perennial Alkanet

Pentaglottis Overblijvende ossentong

Borago Borago officinalis

Borage Borage

Borago Bernagie

Myosotis Myosotis palustris Myosotis cespitosa Myosotis sylvatica Myosotis arvensis

Forget-me-not (Water) Forget-me-not Tufted Forget-me-not Wood Forget-me-not Field Pansy

Vergeet-mij-nietje (Moeras-)Vergeet-mij-nietje Zompvergeet-mij-nietje Bosvergeet-mij-nietje Akkervergeet-mij-nietje

Omphalodes Omphalodes verna

Omphalodes Navelwort

Omphalodes Amerikaans vergeet-mij-nietje

Mertensia Mertensia virginica

Mertensia Mertensia

Mertensia Mertensia

Cynoglosum Cynoglossum officinale

Cynoglossum Hound’s Tongue

Hondstong (Veld-)Hondstong

Solanaceae5

Nightshade Family

Nachtschadefamilie

5

Also classified under Lamiales.

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Lycium Lycium barbarum

Lycium Box Thorn

Boksdoorn Boksdoorn

Atropa Atropa bella-donna

Atropa Deadly Nightshade

Atropa Wolfskers

Hyoscyamus Hyoscyamus niger Hyoscyamus albus

Henbane Henbane White Henbane

Hyoscyamus Bilzekruid Wit bilzekruid

Physalis Physalis alkekengi

Physalis Chinese Lantern

Physalis Lampionplant

Capsicum Capsicum annuum Capsicum frutescens

Capsicum Sweet Pepper Red Pepper, Chilli

Spaanse peper Paprika Rode peper

Solanum Solanum nigrum Solanum pseudocapsicum Solanum capsicastrum Solanum dulcamara Solanum melongena Solanum lycopersicum Solanum mammosum Solanum stramonifolium Solanum bahamense

Nightshade Black Nightshade Jerusalem Cherry Winter Cherry Woody Nightshade Aubergine Tomato Nipple fruit Coconilla Canker Berry

Nachtschade Zwarte nachtschade Kersnachtschade Appeltje-der-liefde Bitterzoet Aubergine Tomaat Sodomsappel Coconilla Amerikaanse nachtschade

Mandragora Mandragora officinarum

Mandragora (Spring) Mandrake

Mandragora Mandragora

Datura Datura stramonium Datura metel - cv. Fastuosa Datura wrightii

Datura Thorn-apple Metel full Metel Sacred Thorn-apple

Doornappel Doornappel Metel Dubbele metel Heilige doornappel

Nicotiana Nicotiana rustica Nicotiana tabacum

Tobacco Small Tobacco Tobacco

Tabak Boerentabak Tabak

Schizanthus Schizanthus pinnatus Schizanthus wisetonensis

Schizanthus Butterfly Flower Angel Wings

Schizanthus Armeluisorchidee Splitbloem

Verbenaceae

Vervains

IJzerhardfamilie

Verbena Verbena officinalis Verbena rigida

Vervain Vervain Slender Vervain

IJzerhard IJzerhard Stijve ijzerhard

LAMIALES

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Phrymaceae

Lopseed Family

Phrymaceae

Rehmannia elata

Chinese Foxglove

Chinees vingerhoedskruid

Vitex Vitex agnus-castus

Vitex Chasteberry

Vitex Monnikenpeper

Labiatae

Labiatae

Lipbloemenfamilie

Ajuga Ajuga reptans Ajuga pyramidalis

Ajuga Bugle Piramidal Bugle

Zenegroen Kruipend zenegroen Piramidezenegroen

Teucrium Teucrium fruticans Teucrium chamaedrys

Gamander Tree Gamander Wall Gamander

Gamander Gamander Echte gamander

Scutellaria Scutellaria galericulata Scutellaria columnae Scutellaria orientalis

Skullcap Scullcap Raceme Scullcap Eastern Skullcap

Glidkruid Blauw glidkruid Trosglidkruid Houtig glidkruid

Galeopsis Galeopsis speciosa

Hemp-nettle Large-flowered Hemp-nettle

Hennepnetel Dauwnetel

Melittis Melittis melissophyllum

Melittis Bastard Balm

Melittis Bijenblad

Lamium Lamium album Lamium maculatum Lamium purpureum

Dead-nettle White Dead-nettle Spotted Dead-nettle Purple Dead-nettle

Dovenetel Witte dovenetel Gevlekte dovenetel Paarse dovenetel

Galeobdolon Galeobdolon luteum

Galeobdolon Yellow Archangel

Galeobdolon Gele dovenetel

Stachys Stachys officinalis Stachys palustris

Stachys Betony Marsh Woundwort

Andoorn Betonie Moerasandoorn

Phlomis Phlomis viscosa Phlomis fruticosa Phlomis lychnitis

Phlomis Sticky Jerusalem Sage Jerusalem Sage Lamwick Plant

Brandkruid Kleverig brandkruid Brandkruid Wollekruid

Nepeta Nepeta cataria

Cat Mint Cat Mint

Kattenkruid Kattenkruid

Glechoma Glechoma hederacea

Glechoma Ground Ivy

Glechoma Hondsdraf

Monarda Monarda didyma

Monarda Oswego Tea

Bergamotplant Bergamot

Prunella Prunella vulgaris Prunella caroliniana

Prunella Self-heal Carolina Prunella

Brunel (Gewone) Brunel Carolina brunel

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Calamintha Calamintha grandiflora

Calamint Showy Calamint

Steentijm Fraaie steentijm

Satureja Satureja acinos Satureja calamintha Satureja hortensis Satureja vulgaris

Savory Basil Thyme Lesser Calamint Savory Cushion Calamint

Bonenkruid Kleine steentijm Wild kattenkruid Bonenkruid Borstelkrans

Melissa Melissa officinalis

Melissa Balm

Melisse Citroenmelisse

Hyssopus Hyssopus officinalis

Hyssop Hyssop

Hyssop Hyssop

Origanum Origanum vulgare

Origanum Marjoram

Marjolein (Wilde) Marjolein

Thymus Thymus vulgaris Thymus pulegioides

Thyme (Common Wild) Thyme Large (Wild) Thyme

Tijm (Echte) Tijm Grote tijm

Mentha Mentha aquatica Mentha spicata

Mint Water Mint Spear Mint

Munt Watermunt Aarmunt

Rosmarinus Rosmarinus officinalis

Rosemary Rosemary

Rozemarijn Rozemarijn

Lavandula Lavandula stoechas Lavandula angustifolia

Lavender French Lavender (Common) Lavender

Lavendel Kuiflavendel Lavendel

Salvia Salvia officinalis Salvia pratensis Salvia sclarea Salvia coccinea

Salvia Sage Meadow Clary Clary Red Sage

Salie (Echte) Salie Veldsalie Scharlei Rode salie

Dracocephalum Dracocephalum ruyschiana Dracocephalum austriacum Dracocephalum moldavicum

Dracocephalum Dragonhead Pontic Dragonhead Moldavian Balm

Drakenkop Drakenkop Pontische drakenkop Turkse drakenkop

Scrophulariaceae

Figwort Family

Helmkruidfamilie

Gratiola Gratiola officinalis

Gratiola Hedge Hyssop

Gratiola Genadekruid

Mimulus Mimulus guttatus

Monkey Flower Blotched Monkey Flower

Maskerbloem Gele maskerbloem

Verbascum Verbascum blattaria Verbascum thapsus

Mullein Moth Mullein (Common) Mullein

Toorts Mottenkruid Koningskaars

SCROPHULARIALES

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Verbascum densiflorum Verbascum phoeniceum Verbascum nigrum Verbascum lychnitis

Dense-flowering Mullein Purple Mullein Dark Mullein White Mullein

Stalkaars Paarse toorts Zwarte toorts Witte toorts

Antirrhinum Antirrhinum majus

Antirrhinum Snapdragon

Leeuwenbek Leeuwenbek

Misopates Misopates orontium

Misopates Weasel’s Snout

Misopates Akkerleeuwenbek

Chaenorhinum Chaenorhinum minus

Small Snapdragon Small Toadflax

Gierleeuwenbek Kleine leeuwenbek

Linaria Linaria repens Linaria aeruginosa Linaria vulgaris Linaria purpurea Linaria tristis Linaria bipartita

Toadflax Pale Toadflax Spanish Toadflax (Common) Toadflax Purple Toadflax Melancholy Toadflax Maroccan Toadflax

Vlasleeuwenbek Gestreepte leeuwenbek Spaanse leeuwenbek Vlas(bekje)leeuwenbek Purpere leeuwenbek Sombere leeuwenbek Marokkaanse leeuwenbek

Cymbalaria Cymbalaria muralis

Cymbalaria Ivy-leaved Toadflax

Muurleeuwenbek Muurleeuwenbek

Nemesia Nemesia strumosa

Nemesia Snowdrop

Nemesia Nemesia

Veronica Veronica spicata Veronica longifolia Veronica beccabunga Veronica catenata Veronica officinalis Veronica chamaedrys Veronica teucrium Veronica persica Veronica montana

Speedwell Spiked Speedwell Long Speedwell Brooklime Pink Water Speedwell Common Speedwell Germander Speedwell Creeping Speedwell Persian Speedwell Wood Speedwell

Ereprijs Aarereprijs Lange ereprijs Beekpunge Rode waterereprijs Mannetjesereprijs Gewone ereprijs Brede ereprijs Grote ereprijs Bosereprijs

Digitalis Digitalis purpurea Digitalis lutea

Foxglove (Common) Foxglove Yellow Foxglove

Vingerhoedskruid (Gewoon) Vingerhoedskruid Geel vingerhoedskruid

Orobanchaceae

Broomrape

Bremraapfamilie

Melampyrum Melampyrum pratense Melampyrum arvense

Cow-wheat Common Cow-wheat Field Cow-wheat

Zwartkoren Hengel Wilde weit

Rhinanthus Rhinanthus alectorolophus Rhinanthus angustifolius

Hayrattle Hairy Hayrattle (Great) Hayrattle

Ratelaar Harige ratelaar (Grote) Ratelaar

Lathraea Lathraea clandestina

Lathraea Lathraea

Schubwortel (Pracht-)Schubwortel

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Gesneriaceae

Gesneria Family

Gesneriafamilie

Ramonda Ramonda myconi

Ramonda Ramonda

Ramonda Ramonda

Bignoniaceae

Trumpet Creeper Family

Trompetboomfamilie

Catalpa Catalpa bignonioides

Catalpa Southern Catalpa

Trompetboom Trompetboom

Campsis Campsis radicans

Trumpet Vine Trumpet Vine

Trompetbloem Trompetbloem

Acanthaceae

Acanthus Family

Acanthusfamilie

Acanthus Acanthus mollis Acanthus spinosus

Acanthus Bear’s Breech Spiny Bear’s Breech

Acanthus Acanthus Stekelacanthus

Pachystachys Pachystachys coccinea

Pachystachys Cardinal’s Guard

Pachystachys Kardinaalswacht

Martyniaceae

Martinia Family

Martinia familie

Proboscidea Proboscidea jussieui

Proboscidea Devil’s Claw

Proboscidea Duivelsklauw

Plantaginaceae

Plantain Family

Weegbreefamilie

Plantago Plantago major Plantago lanceolata

Plantain Great Plantain Ribwort Plantain

Weegbree Grote weegbree Smalle weegbree

Hebe Hebe speciosa

Hebe Showy Hebe

Struikveronica Fraaie hebe

Caprifoliaceae

Honeysuckle Family

Kamperfoeliefamilie

Sambucus Sambucus nigra Sambucus racemosa

Elder Elder Red-berried Elder

Vlier (Gewone) Vlier Trosvlier

Viburnum Viburnum opulus - cv. Roseum Viburnum tinus

Viburnum Guelder Rose Snowball Winter Snowball

Sneeuwbal Gelderse roos Sneeuwbal Wintersneeuwbal

Lonicera Lonicera periclymenum Lonicera caprifolium Lonicera sempervirens

Honeysuckle Honeysuckle Garden Honeysuckle Trumpet Honeysuckle

Kamperfoelie Wilde kamperfoelie Tuinkamperfoelie Pijpkamperfoelie

PLANTAGINALES

DIPSACALES

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Valerianaceae

Valerian Family

Valeriaanfamilie

Valeriana Valeriana officinalis Valeriana phu Valeriana tripteris

Valerian Valerian Garden Valerian Three-leaved Valerian

Valeriaan (Echte) Valeriaan Tuinvaleriaan Drieslippige valeriaan

Centranthus Centranthus ruber

Centranthus Red Valerian

Spoorbloem (Rode) Spoorbloem

Nardostachys Nardostachys jatamansi

Nard Muskroot

Nardus Narduskruid

Dipsacaceae

Teasel Family

Kaardebolfamilie

Dipsacus Dipsacus fullonum Dipsacus pilosus

Teasel Common Teasel Small Teasel

Kaardebol Grote kaardebol Kleine kaardebol

Succisa Succisa pratensis

Succisa Devil’s Bit Scabious

Succisa Blauwe knoop

Scabiosa Scabiosa columbaria Scabiosa atropurpurea Scabiosa columbaria x S. atropurpurea

Scabious (Small) Scabious Dark Scabious

Duifkruid Duifkruid Donker duifkruid

Scabious hybrid

Duifkruid kruising

Campanulaceae

Bell-flower Family

Klokjesfamilie

Campanula Campanula glomerata Campanula rotundifolia Campanula patula Campanula rapunculus Campanula rapunculoides Campanula persicifolia - alba Campanula pyramidalis - alba Campanula trachelium Campanula medium

Bell-flower Clustered Bell-flower Harebell Spreading Bell-flower Rampion Creeping Bell-flower Peach-leaved Bell-flower (white) Chimney Bell-flower (white) Nettle-leaved Bell-flower Canterbury Bell

Klokje Kluwenklokje Grasklokje Weideklokje Rapunzelklokje Akkerklokje Prachtklokje (wit) Klokjesbloem (wit) Ruig klokje Mariëtteklokje

Legousia Legousia speculum-veneris Legousia castellana

Legousia Venus’ Looking-Glass Spanish Venus’ Looking-Glass

Spiegelklokje Spiegelklokje Spaans spiegelklokje

CAMPANULALES

Phyteuma Rampion Phyteuma spicatum subsp. nigrum Spiked Rampion

Rapunzel Zwart(blauw)e rapunzel

Lobelia Lobelia erinus Lobelia cardinalis

Lobelia Hanglobelia Rode lobelia

Lobelia Edging Lobelia Cardinal Flower

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ASTERALES Asteraceae (Compositae)

Compositae

Composietenfamilie

Eupatorium Eupatorium cannabinum

Eupatorium Hemp Agrimony

Eupatorium Koninginnekruid

Solidago Solidago virgaurea

Solidago Golden Rod

Guldenroede (Echte) Guldenroede

Bellis Bellis sylvestris Bellis perennis - var. hortensis - var. ligulosa

Bellis Southern Daisy Daisy Garden Daisy (full)

Bellis Grote Madelief Madeliefje Tuinmadeliefje (gevuld)

Felicia Felicia amelloides

Felicia Blue Daisy

Felicia Blauw madeliefje

Callistephus Callistephus chinensis

Callistephus China Aster

Zomeraster Chinese aster

Aster Aster alpinus Aster linosyris Aster novi-belgii Aster novae-anglicae Aster amellus Aster sedifolius Aster grandiflorus Aster tripolium Aster multiflorus

Aster Rock Aster Goldlilocks Aster New York Aster New England Aster Italian Aster Sharp aster Virginia Aster Sea Aster Dense-flowered Aster

Aster Alpenaster Goudaster Nieuw-Nederlandse aster Nieuw-Engelandse aster Bergaster Scherpe aster Virginia aster Zulte Trosaster

Gnaphalium Gnaphalium norvegicum Gnaphalium uliginosum Gnaphalium luteo-album

Cudweed Highland Cudweed Marsh Cudweed Jersey Cudweed

Droogbloem Noorse droogbloem Moerasdroogbloem Bleekgele droogbloem

Helichrysum Helichrysum arenarium Helichrysum foetidum Helichrysum stoechas

Strawflower Strawflower Stinking Strawflower Aromatic Strawflower

Strobloem Strobloem Stinkende strobloem Welriekende strobloem

Inula Inula helenium Inula oculus-christi

Inula Elecampane Heary Fleabane

Alant Griekse alant Oog-van-Christus

Pulicaria Pulicaria dysenterica

Fleabane Fleabane

Vlooienkruid Heelblaadjes

Bidens Bidens tripartita

Bidens Bur Marigold

Tandzaad (Veerdelig) Tandzaad

Coreopsis Coreopsis tinctoria Coreopsis lanceolata

Coreopsis Golden Coreopsis Lanceleaf Tickseed

Luizenbloem Coreopsis Meisjesogen

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Dahlia Dahlia coccinea Dahlia variabilis - f. ligulosa

Dahlia Scarlet Dahlia Dahlia (full)

Dahlia Scharlaken dahlia Dahlia (gevuld)

Helianthus Helianthus annuus Helianthus tuberosus

Sunflower Sunflower Jerusalem Artichoke

Zonnebloem Zonnebloem Aardpeer

Heliopsis Heliopsis helianthoides

Heliopsis Oxeye

Heliopsis Zonneoog

Helenium Helenium autumnale

Helenium Helenium

Helenium Helenium

Gaillardia Gaillardia aristata Gaillardia pulchella

Blanket Flower Large Blanket Flower Small Blanket Flower

Kokardebloem Grote kokardebloem Kleine kokardebloem

Xanthium Xanthium orientale

Cocklebur Bank Cocklebur

Stekelnoot Oeverstekelnoot

Tagetes Tagetes patula (simplex) - plena - plena nana Tagetes erecta (simplex) - ligulosa

Tagetes French Marigold (full) (striped) African Marigold (full)

Tagetes Klein afrikaantje (gevuld) (gestreept) Groot afrikaantje (gevuld)

Santolina Santolina chamaecyparissus

Santolina Lavender Cotton

Heiligenbloem Cypressenkruid

Anthemis Anthemis tinctoria Anthemis arvensis

Anthemis Yellow Chamomile Corn Chamomile

Schijfkamille Gele kamille Valse kamille

Achillea Achillea ptarmica Achillea millefolium Achillea nobilis Achillea ageratum

Achillea Sneezewort Yarrow Hairy Yarrow Yellow Yarrow

Duizendblad Wilde bertram (Gewoon) Duizendblad Behaard duizendblad Geel duizendblad

Chamaemelum Chamaemelum nobile

Chamomile Chamomile

Roomse kamille Roomse kamille

Matricaria Matricaria chamomilla - semiplena

Mayweeds Scented Mayweed (half full) Mayweed

Kamille (Echte) Kamille (halfgevulde)

Tripleurospermum Tripleurospermum maritimum - var. ligulosum

Sea Mayweeds Scentless Mayweed Bridal Gown

Klierkamille Reukeloze kamille Bruidskleed

Pyrethrum Pyrethrum coccineum

Pyrethrum Pyrethrum

Pyrethrum Pyrethrum

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Chrysanthemum Chrysanthemum morifolium Chrysanthemum corymbosum Chrysanthemum indicum

Chrysanthemum Chrysanthemum Multiflowered Chrysanthemum Winter Aster

Chrysanthemum (Tuin)chrysant Troschrysant Grote margriet

Argyranthemum Argyranthemum frutescens

Marguerite Daisies White Marguerite Daisy

Struikmargriet Witte struikmargriet

Glebionis Glebionis segetum - cv. Grandiflorum Glebionis coronarium - var. discolor - var. ligulosum Glebionis carinatum

Glebionis Corn Marigold Garden Corn Marigold Crown Daisy (full) Ray Daisy Tricoloured Daisy

Ganzenbloem Gele ganzenbloem Tuinganzenbloem Gekroonde ganzenbloem (gevuld) Lintchrysant Bonte ganzenbloem

Coleostephus Coleostephus myconis

Coleostephus Yellow Daisy

Coleostephus Gele margriet

Tanacetum Tanacetum vulgare Tanacetum parthenium - plenum

Tanacetum Tansy Feverfew (full)

Wormkruid Boerenwormkruid Moederkruid (gevuld)

Leucanthemum Leucanthemum vulgare Leucanthemum maximum

Leucanthemum Marguerite Great Marguerite

Leucanthemum Margriet Reuzenmargriet

Artemisia Artemisia abrotanum Artemisia laxa Artemisia absinthium

Wormwood Southernwood Loosely Wormwood Wormwood

Alsem Citroenkruid Ijle alsem Absintalsem

Doronicum Doronicum pardalianches

Doronicum Leopard’s Bane

Voorjaarszonnebloem Hartbladzonnebloem

Rudbeckia Rudbeckia laciniata Rudbeckia purpurea

Cone Flower Cone Flower Hedgehog Cone Flower

Rudbeckia Slipbladige rudbeckia Rode zonnehoed

Senecio Senecio vulgaris Senecio jacobaea Senecio cruentus Senecio cineraria Senecio vernalis Senecio sylvaticus

Senecio Groundsel Ragwort Daisy Blossom Silver Ragwort Spring Ragwort Wood Groundsel

Kruiskruid Klein kruiskruid Jakobskruiskruid Cineraria Zilverkruiskruid Oostelijk kruiskruid Boskruiskruid

Emilia Emilia sagittata var. aurantiaca - cv. Plena

Emilia Yellow Tasselflower (orange) (full)

Emilia Emilia (oranje) (gevuld)

Calendula Calendula officinalis Calendula arvensis

Marigold Pot Marigold Field Marigold

Goudsbloem Goudsbloem Akkergoudsbloem

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Carlina Carlina vulgaris

Carline Thistle Carline Thistle

Carlina Driedistel

Zinnia Zinnia elegans

Zinnia Zinnia

Zinnia Zinnia

Echinops Echinops sphaerocephalum Echinops bannaticus

Echinops Glandular Globe Thistle Blue Globe Thistle

Kogeldistel Kogeldistel Blauwe kogeldistel

Arctium Arctium lappa Arctium pubens

Burdock Great Burdock Common Burdock

Klit Grote klit Middelste klit

Cnicus Cnicus benedictus

Blessed Thistle Blessed Thistle

Gezegende distel Gezegende distel

Carduus Carduus tenuiflorus Carduus nutans Carduus crispus

Carduus Slender-flowered Thistle Nodding Thistle Welted Thistle

Distel Tengere distel Knikkende distel Kruldistel

Cirsium Cirsium vulgare Cirsium dissectum Cirsium arvense

Cirsium Spear Thistle Meadow Thistle Creeping Thistle

Vederdistel Speerdistel Spaanse ruiter Akkerdistel

Onopordum Onopordum acanthium

Onopordum Scottish Thistle

Onopordum Wegdistel

Cynara Cynara cardunculus Cynara scolymus

Cynara Cardoon Artichoke

Cynara Kardoen Artisjok

Silybum Silybum marianum

Silybum Milk Thistle

Silybum Mariadistel

Xeranthemum Xeranthemum annuum

Immortelle Immortelle

Papierbloem Papierbloem

Crupina Crupina vulgaris

Crupina Crupina

Crupina Crupina

Centaurea Centaurea aspera Centaurea calcitrapa Centaurea muricata - lilacina Centaurea cyanus - alba Centaurea scabiosa Centaurea jacea Centaurea montana

Centaurea Rough Star Thistle Star Thistle Prickly Star Thistle Lilac Sweet Sultan Cornflower (white) Great Knapweed Brown Knapweed Mountain Cornflower

Centaurie Ruige sterdistel Kalketrip Ster der woestijn Lila centaurie Korenbloem (wit) Grote centaurie Knoopkruid Bergcentaurie

Amberboa Amberboa moschata Amberboa imperialis

Sweet Sultan Sweet Sultan Imperial Sultan

Muskuscentaurie Muskuscentaurie Keizerskorenbloem

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Leuzea Leuzea centauroides

Leuzea Purple Sultan

Leuzea Purperen centaurie

Carthamus Carthamus tinctorius Carthamus lanatus

Safflower Safflower Woolly Safflower

Saffloer Saffloer Wollige saffloer

Scolymus Scolymus hispanicus

Golden Thistle Spanish Golden Thistle

Gouddistel Spaanse gouddistel

Catananche Catananche caerulea

Catananche Blue Cupidone

Blauwe strobloem Blauwe strobloem

Cichorium Cichorium intybus Cichorium endivia

Cichorium Chicory Endive

Cichorei Cichorei Andijvie

Hypochoeris Hypochoeris radicata

Cat’s-ear Common Cat’s-ear

Biggenkruid (Gewoon) Biggenkruid

Tolpis Tolpis barbata

Tolpis Tolpis

Tolpis Tolpis

Leontodon Leontodon autumnalis Leontodon saxatilis

Hawkbit Smooth Hawkbit Hawkbit

Leeuwentand Vertakte leeuwentand (Kleine) Leeuwentand

Scorzonera Scorzonera hispanica

Scorzonera Scorzonera

Schorseneer (Grote) Schorseneer

Tragopogon Tragopogon pratensis Tragopogon porrifolius

Tragopogon Goat’s Beard Salsify

Morgenster Gele morgenster Paarse morgenster

Sonchus Sonchus oleraceus

Sowthistle (Common) Sowthistle

Melkdistel (Gewone) Melkdistel

Lactuca Lactuca sativa Lactuca serriola

Lettuce Lettuce Prickly Lettuce

Sla Sla Kompassla

Mycelis Mycelis muralis

Wall Lettuce Wall Lettuce

Muursla Muursla

Taraxacum Taraxacum officinale coll. Taraxacum palustre coll.

Dandelion Dandelion Marsh Dandelion

Paardenbloem Paardenbloem Moeraspaardenbloem

Lapsana Lapsana communis

Lapsana Nipple-wort

Lapsana Akkerkool

Crepis Crepis rubra

Hawk’s Beard Pink Hawk’s Beard

Streepzaad Roze streepzaad

Hieracium Hieracium pilosella Hieracium aurantiacum

Hawkweed Mouse-ear Hawkweed Orange Hawkweed

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Euryops Euryops pectinatus

Euryops Bush Daisy

Euryops Zuid-Afrikaanse margriet

Hippia Hippia frutescens

Hippia Bush Tansy

Hippia Zuid-Afrikaans wormkruid

Milleria Milleria quinqueflora

Milleria Five-flowered Milleria

Milleria Vijfbloemige milleria

Monocotyledones

Monocotyledons

Eenzaadlobbigen

Pontederiaceae

Pontederia Family

Pontederiafamilie

Eichhornia Eichhornia crassipes

Eichhornia Water Hyacinth

Waterhyacint Waterhyacint

Liliaceae6

Lily Family

Leliefamilie

Gasteria Gasteria verrucosa

Gasteria Deer Tongue Gasteria

Gasteria Hertstong aloë

Asphodelus Asphodelus albus Asphodelus fistulosus

Asphodel White Asphodel Onionweed

Asphodelus Witte affodil Kleine witte affodil

Asphodeline Asphodeline lutea

Asphodeline Yellow Asphodel

Asphodeline Gele affodil

Hemerocallis Hemerocallis lilioasphodelus Hemerocallis fulva

Daylily Yellow Daylily Orange Daylily

Daglelie Gele daglelie Oranje daglelie

Veratrum Veratrum album

Veratrum White Hellebore

Nieskruid Witte nieswortel

Colchicum Colchicum autumnale - cv. Plenum Colchicum byzantinum Colchicum variegatum Colchicum neapolitanum Colchicum neapolitanum plenum Colchicum bulbocodium

Colchicum Meadow Saffron (full) Byzantine Colchicum Tender Colchicum Moreflowerd Colchicum Moreflowerd Colchicum Spring Bulbocodium

Tijloos Herfsttijloos (gevuld) Droogbloeier Tere tijloos Meerbloemige tijloos Meerbloemige tijloos Rode krokus

Erythronium Erythronium dens-canis - cv. Candidum

Erythronium Dog’s Tooth Violet (white)

Hondstand Hondstand (wit)

Gagea Gagea lutea

Gagea Yellow Star of Bethlehem

Geelster Bosgeelster

LILIALES (Liliiflorae)

6

Nowadays a family of Asparagaceae exists, but the number of genera and species included in this family is still under discussion. For example, the Agavaceae may or may not be included. The species usually included in the Asparagaceae are listed below.

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Tulipa Tulipa sylvestris Tulipa australis Tulipa clusiana - x T. stellata - x T. chrysantha Tulipa stellata - x T. clusiana - x T. chrysantha Tulipa chrysantha - x T. clusiana - x T. stellata Tulipa acuminata Tulipa armena - x T. stapfii - x T. mucronata - x T. hungarica - x T. undulatifolia - x T. agenensis - x T. praecox Tulipa stapfii Tulipa mucronata f. obtusa Tulipa hungarica - x undulatifolia Tulipa undulatifolia Tulipa agenensis - x T. armena - x T. praecox Tulipa praecox - x T. armena - x T. agenensis Tulipa viridissima monstr. Tulipa complex ‘Baguette’ Tulipa complex ‘Bizarde’ Tulipa complex ‘Marquetrine’ Tulipa complex ‘Marquetrine’ Tulipa complex ‘Psittacus’

Tulip Wood Tulip May Tulip Persian Tulip Persian Tulip hybrid Persian Tulip hybrid Lady Tulip Lady Tulip hybrid Lady Tulip hybrid Yellow Tulip Yellow Tulip hybrid Yellow Tulip hybrid Needle Tulip Tapered Tulip Tapered Tulip hybrid Tapered Tulip hybrid Tapered Tulip hybrid Tapered Tulip hybrid Tapered Tulip hybrid Tapered Tulip hybrid Kurdistan Tulip Sharp Tulip Blunt Tulip Danube Tulip Danube Tulip hybrid Purple Tulip Red Tulip Red Tulip hybrid Red Tulip hybrid Fire Tulip Fire Tulip hybrid Fire Tulip hybrid Green Tulip Baguette Tulip Bizarde Tulip Marquetrine Tulip Flemish Tulip ‘Marquetrine’ Parrot Tulip

Tulp Bostulp Meitulp Perzische tulp Perzische tulp kruising Perzische tulp kruising Stertulp Stertulp kruising Stertulp kruising Gele tulp Gele tulp kruising Gele tulp kruising Naaldtulp Spitse tulp Spitse tulp kruising Spitse tulp kruising Spitse tulp kruising Spitse tulp kruising Spitse tulp kruising Spitse tulp kruising Koerdistanse tulp Scherpe tulp Stompe tulp Donautulp Donautulp kruising Purperen tulp Rode tulp Rode tulp kruising Rode tulp kruising Vuurtulp Vuurtulp kruising Vuurtulp kruising Groene tulp Baguette tulp Bizarde tulp Marquetrine tulp Vlaamse tulp ‘Marquetrine’ Parkiettulp = Papegaaitulp

Fritillaria Fritillaria imperialis - cv. Lutea - cv. Duplex Fritillaria meleagris - alba Fritillaria lusitanica Fritillaria rhodocanakis Fritillaria latifolia Fritillaria aurea Fritillaria persica Fritillaria pyrenaica Fritillaria crassifolia

Fritillary Crown Imperial Yellow Crown Imperial (perflorated) Snake’s Head Fritillary (white) Iberian Fritillary Hydra Fritillary Yellow Fritillary Golden Fritillary Persian Fritillary Pyrenean Fritillary Yellowgreen Fritillary

Kievitsbloem Keizerskroon Gele keizerskroon (doorgroeid) Kievitsbloem (wit) Iberische kievitsbloem Hydra kievitsbloem Gele kievitsbloem Gulden kievitsbloem Perzische kievitsbloem Pyrenese kievitsbloem Groengele kievitsbloem

Lilium Lilium philadelphicum Lilium candidum Lilium bulbiferum

Lily Glade Lily Madonna Lily Orange Lily

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- var. croceum - var. aurantiacum Lilium martagon - cv. Album - var. cattaniae Lilium pyrenaicum Lilium chalcedonicum Lilium pomponium Lilium superbum Lilium canadense Lilium longiflorum

Few-flowered Lily Saffron Lily Martagon Lily (white) Maroon Martagon Lily Pyrenean Turk’s-cap Lily Turk’s-cap Lily Pompone Lily American Tiger Lily Canadian Lily Greater White Lily

Roggelelie Saffraanlelie Martagonlelie (wit) Rode martagonlelie Gele krullelie Turkse lelie Pomponlelie Amerikaanse krullelie Canadese lelie Aziatische lelie

Gloriosa Gloriosa superba

Gloriosa Gloriosa

Gloriosa Gloriosa

Allium Allium cepa Allium escalonium Allium schoenoprasum Allium spaerocephalum Allium ursinum Allium moly Allium ampeloprasum

Leek Onion Shallot Chives Round-headed Leek Ramsons Yellow Onion Wild Leek

Look Ui Sjalot Bieslook Globelook Daslook Goudlook Oerprei

Trillium Trillium erectum

Trillium Wake Robin

Drieblad Drieblad

Asparagaceae7

Asparagus Family

Aspergefamilie

Anthericum Anthericum liliago - cv. Majus Anthericum ramosum

Anthericum St Bernard’s Lily Great St Bernard’s Lily Lesser St Bernard’s Lily

Graslelie Graslelie Grote graslelie Kleine graslelie

Paradisea Paradisea liliastrum

St Bruno’s Lily St Bruno’s Lily

Sint-Bernardlelie Paradijslelie

Ornithogalum Ornithogalum arabicum Ornithogalum umbellatum

Ornithogalum White Ornithogalum Star of Bethlehem

Ornithogalum nutans Ornithogalum pyramidale Ornithogalum narbonense

Nodding Ornithogalum Pyramid Ornithogalum Southern Star of Bethlehem

Vogelmelk Witte vogelmelk (Gewone) Vogelmelk; Ster van Bethlehem Knikkende vogelmelk Piramidevogelmelk Zuidelijke vogelmelk

Scilla Scilla bifolia Scilla sibirica Scilla peruviana Scilla hyacinthoides Scilla lilio-hyacinthus

Squill Alpine Squill Siberian Squill Peru Squill Hyacinth Squill Pyrenean Squill

Sterhyacint Vroege hyacint Oosterse sterhyacint Peruaanse hyacint Pluimhyacint Pyrenese sterhyacint

7

Nowadays this family belongs to the order of the Asparagales. The order has only recently been recognized in classification systems. The Asparagales order includes the Amaryllidaceae, Iridaceae and Orchidaceae, and other families.

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Hyacinthoides Hyacinthoides non-scripta - cv. Alba - cv. Rosea Hyacinthoides hispanica Hyacinthoides italica

Bluebell (English) Bluebell (white) (pink) Spanish Bluebell Italian Bluebell

Hyacintoides Wilde hyacint (wit) (roze) Spaanse hyacint Italiaanse hyacint

Hyacinthus Hyacinthus orientalis - plenus - alba

Hyacinth Hyacinth (full) (white)

Hyacint Hyacint (gevuld) (wit)

Brimeura Brimeura amethystina

Brimeura Brimeura

Brimeura Amethist hyacint

Muscari Muscari comosum Muscari moschatum Muscari botryoides - cv. Album Muscari neglectum Muscari macrocarpum

Grape Hyacinth Tassel Grape Hyacinth Musk Grape Hyacinth Blue Grape Hyacinth White Grape Hyacinth Common Grape Hyacinth Yellow Grape Hyacinth

Druifhyacint Kuifhyacint Muskushyacint Blauwe druifjes Witte druifjes Lavendel druifjes Gele druifjes

Asparagus Asparagus officinalis - subsp. prostratus

Asparagus Asparagus Wild Asparagus

Asperge Asperge Liggende asperge

Convallaria Convallaria majalis

Convallaria Lily of the Valley

Convallaria Lelietje-van-dalen

Polygonatum Polygonatum odoratum Polygonatum multiflorum

Polygonatum Sweet-scented Salomon’s Seal (Common) Salomon’s Seal

Salomonszegel Welriekende salomonszegel (Gewone) Salomonszegel

Ruscus Ruscus aculeatus

Ruscus Butcher’s Broom

Ruscus Muizendoorn

Agavaceae

Agave Family

Agavefamilie

Polyanthes Polyanthes tuberosa

Tuberose Tuberose

Tuberoos Tuberoos

Agave Agave americana

Agave Century Plant

Agave Honderjarige aloë

Aloe Aloe succotrina

Aloe Fynbos Aloe

Aloë Kaapse aloë

Yucca Yucca filamentosa

Yucca Yucca

Yucca Yucca

Dracaena Dracaena marginata

Dragon Tree Narrow-leaved Dragon Tree

Drakenboom Drakenbloedboom

Pleomele

Pleomele

Pleomele

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Amaryllidaceae

Amaryllis Family

Narcissenfamilie

Amaryllis Amaryllis bella-donna

Amaryllis Amaryllis

Amaryllis Amaryllis

Hippeastrum Hippeastrum vittatum Hippeastrum puniceum

Hippeastrum Striped Amaryllis Barbados Lily

Hippeastrum Gestreepte amaryllis Barbados amaryllis

Sprekelia Sprekelia formosissima

Jacobean Lily Jacobean Lily

Sint-Jacobslelie Sint-Jacobslelie

Sternbergia Sternbergia lutea

Sternbergia Sternbergia

Sternbergia Sternbergia

Leucojum Leucojum vernum Leucojum aestivum

Leucojum Spring Snowflake Summer Snowflake

Narcisklokje Lenteklokje Zomerklokje

Galanthus Galanthus nivalis

Galanthus (Common) Snowdrop

Sneeuwklokje Sneeuwklokje

Narcissus Narcissus requienii Narcissus jonquilla Narcissus x odorus - plenus - var. rugulosus Narcissus x intermedius Narcissus x tenuior Narcissus minor - subsp. moschatus Narcissus pusillus Narcissus rupicola Narcissus calcicola Narcissus tazetta subsp. tazetta Narcissus tazetta plenus Narcissus tazetta subsp. aureus Narcissus tazetta subsp. italicus Narcissus papyraceus Narcissus x dubius Narcissus poeticus Narcissus radiiflorus Narcissus exertus Narcissus serotinus Narcissus elegans Narcissus x medioluteus Narcissus x incomparabilis Narcissus poeticus x N. moschatus Narcissus bulbocodium Narcissus cantabricus Narcissus cyclamineus Narcissus triandrus - var. albus - var. pulchellus - var. concolor Narcissus calathinus

Narcissus Rush-leaved Narcissus (Common) Jonquil Campernelle Narcissus Full Campernelle Narcissus Large Campernelle Narcissus Texas Star Jonquil Silver Jonquil Small Daffodil Small Musk Daffodil Tiny Narcissus Rock Narcissus Portuguese Narcissus Tazetta Narcissus Raceme Narcissus Golden Narcissus Pale Tazetta Narcissus Paper-white Narcissus White Narcissus Poet’s Narcissus Pheasant’s-eye Narcissus Flat Narcissus Autumn Narcissus Slender Narcissus Primrose Peerless Nonesuch Daffodil White Musk Narcissus Hoop Petticoat Narcissus White Hoop Petticoat Narcissus Cyclamen-flowered Narcissus Angel’s Tears White Angel’s Tears Bright Yellow Angel’s Tears Sulphur Yellow Angel’s Tears Reflected Daffodil

Narcis Biesbladige narcis Jonquille Kampernel Dubbele kampernel Grote kampernel Texas ster jonquille Zilveren jonquille Kleine narcis Kleine muskusnarcis Tedere narcis Rotsnarcis Portugese narcis Tazetnarcis Trosnarcis Gouden narcis Bleke tazetnarcis Papiernarcis Witte narcis Witte narcis Stralende narcis Vlakke narcis Herfstnarcis Slanke narcis Weergaloze narcis Sternarcis Witte muskusnarcis Hoepelroknarcis Witte hoepelroknarcis Cyclamennarcis Engelentranen Witte engelentranen Heldergele engelentranen Zwavelgele engelentranen Grote engelentranen

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Narcissus pseudonarcissus - subsp. pseudonarcissus - var. alba - cv. Van Sion - cv. Capax Plenus - subsp. pallidiflorus - subsp. nobilis Narcissus bicolor Narcissus moschatus Narcissus asturiensis Narcissus longispathus Narcissus nanus

Daffodil Wild Daffodil White Daffodil Narcissus ‘Van Sion’ Capax Plenus full Narcissus Pale Daffodil Spanish Mountain Daffodil Twocoloured Daffodil Musk Daffodil Dwarf Narcissus Andalusian Daffodil Tender Narcissus

Trompetnarcis Wilde narcis Witte trompetnarcis Van Sion dubbele narcis Capax Plenus dubbele narcis Bleke trompetnarcis Spaanse bergnarcis Tweekleurige trompetnarcis Muskusnarcis Dwergnarcis Andalusische trompetnarcis Tedere narcis

Pancratium Pancratium maritimum Pancratium illyricum

Sea Lily Sea Daffodil Illyrian Sea Lily

Zeenarcis Zeenarcis Illyrische zeenarcis

Hymenocallis Hymenocallis caribaea

Spider Lilies Caribbean Spider Lily

Spinlelie Caribische spinlelie

Iridaceae

Iris Family

Lissenfamilie

Hermodactylus Hermodactylus tuberosus

Hermodactylus Snake’s Head Iris

Hermodactylus Vingerknol

Iris Iris susiana Iris pseudacorus Iris spuria Iris foetidissima Iris sibirica Iris graminea Iris pumila Iris pseudopumila Iris x binata Iris lutescens subsp. lutescens Iris lutescens subsp. subbiflora Iris pallida Iris germanica Iris x lurida Iris x florentina [I pall x albic] Iris x sambucina [I germ x pall] Iris x plicata Iris x squalens [I pall x varieg] Iris albicans Iris aphylla Iris variegata Iris persica Iris juncea Iris latifolia Iris xiphium Iris lusitanica Iris x iberica [I xiphium x lusitanica]

Iris Susan’s Iris Yellow Flag Iris Beardless Flag Gladdon Siberian Flag Grass Iris Dwarf Iris Sicilian Iris Dwarf Iris hybrid Small Iris Dark Iris Pale Iris German Flag Iris German Flag Iris hybrid Florentine Iris Elder Iris Pleated Iris Pale Iris hybrid White Flag Leafless Iris Variegated Iris Persian Iris Golden Iris English Iris Spanish Iris Portuguese Iris Iberian Iris

Lis Rouwiris Gele lis Baardloze lis Stinkende lis Siberische lis Graslis Dwerglis Siciliaanse lis Dwerglis kruising Kleine lis Donkere lis Bleke lis Duitse lis Duitse lis kruising Florentijnse lis Daklis Geplooide lis Bleke lis kruising Witte lis Bladloze lis Bonte lis Perzische lis Goudiris Engelse lis Spaanse lis Portugese lis Iberische lis

Gynandriris Gynandriris sisyrinchium

Gynandriris Barbary Nut

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Ixia Ixia speciosa

Ixia African Cornlily

Ixia Ixia

Crocus Crocus longiflorus Crocus nudiflorus Crocus sativus Crocus flavus [= C. aureus] - var. luteus Crocus angustifolius Crocus flavus x C. angustifolius Crocus serotinus Crocus x stellaris Crocus x stellaris var. pallidus Crocus vernus - subsp. albiflorus - var. neapolitanum Crocus biflorus Crocus versicolor - var. picturatus Crocus niveus

Crocus Elongated Crocus Naked-flowering Crocus Saffron Crocus Golden Crocus Dutch Yellow Crocus Cloth of Gold Crocus Curl Crocus Autumn Crocus Yellow Crocus Pale Crocus Spring Crocus White Spring Crocus Great Spring Crocus Scottish Crocus Veined Crocus White Crocus White Autumn Crocus

Krokus Verlengde krokus Naaktbloeiende krokus Saffraankrokus Goudgele krokus Hollandse gele krokus Goudlakense krokus Krulkrokus Herfstkrokus Gele krokus Bleke krokus Bonte krokus Lentekrokus Grote krokus Schotse krokus Zilverlakense krokus Witte krokus Witte herfstkrokus

Ferraria Ferraria schaeferi

Ferraria Brown-spotted Ferraria

Ferraria Bruingevlekte ferraria

Tigridia Tigridia pavonia

Tigridia Tiger Flower

Tijgerbloem Tijgerbloem

Gladiolus Gladiolus italicus Gladiolus imbricatus Gladiolus illyricus Gladiolus byzantinus Gladiolus gracilis

Gladiolus Cornflag Imbricate Gladiolus Illyrian Gladiolus Byzantine Gladiolus South African Gladiolus

Gladiool Veldgladiool Overlappende gladiool Illyrische gladiool Byzantijnse gladiool Kaapgladiool

Haemanthus Haemanthus albiflos

Powder Puff Powder Puff

Poederkwast Poederkwast

Commelinaceae

Commelina Family

Commelinafamilie

Tradescantia Tradescantia virginiana

Tradescantia Virginian Spiderwort

Tradescantia Eendagsbloem

JUNCALES

Rushes

Russen

Juncaceae

Rushes Family

Russenfamilie

Juncus Juncus conglomeratus

Rushes Common Rush

Russen Biezenknoppen

COMMELINALES

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POALES (Graminales) Poaceae (Graminaceae)

Gramineae

Grassenfamilie

Poa Poa pratensis Poa annua

Meadow Grass Meadow Grass Annual Meadow Grass

Beemdgras Veldbeemdgras Straatgras

Coix Coix lacryma-jobi

Coix Job’s Tears

Jobstranen Jobstranen

Dactylis Dactylis glomerata

Dactylis Cocksfoot

Kropaar Kropaar

Briza Briza maxima

Quaking Grass Large Quaking Grass

Trilgras Groot trilgras

Triticum Triticum aestivum

Wheat Wheat

Tarwe Tarwe

Secale Secale cereale

Rye Rye

Rogge Rogge

Avena Avena sativa

Avena Oat

Haver Haver

Anthoxanthum Anthoxanthum odoratum

Vernal Grass Scented Vernal Grass

Reukgras (Gewoon) Reukgras

Holcus Holcus lanatus

Holcus Yorkshire Fog

Witbol Gestreepte witbol

Agrostis Agrostis stolonifera

Bent Creeping Bent

Struisgras Fioringras

Calamagrostis Calamagrostis epigeios

Small-reed Wood Small-reed

Struisriet Duinriet

Phleum Phleum pratense Phleum arenarium

Phleum Timothy’s Grass Sand Cat’s-tail

Doddegras Timoteegras Zanddoddegras

Alopecurus Alopecurus geniculatus

Foxtail Marsh Foxtail

Vossenstaart Geknikte vossenstaart

Phalaris Phalaris arundinacea - f. picta Phalaris canariensis

Phalaris Reed Canary Grass Striped Canary Grass Canary Grass

Kanariegras Rietgras Gestreept rietgras Kanarie(zaad)gras

Phragmites Phragmites australis

Reed Reed

Riet Riet

Echinochloa Echinochloa crus-galli

Barnyard Grasses Barnyard Grass

Hanenpoot Hanenpoot

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Digitaria Digitaria ischaemum

Finger Grass Smooth Finger Grass

Vingergras Glad vingergras

Setaria Setaria viridis

Bristle Grasses Bristle Grass

Naaldaar Groene naaldaar

Zea Zea mays

Maize Maize, Corn

Zea Mais

Palmaceae

Palms

Palmenfamilie

Chamaerops Chamaerops humilis

Chamaerops Dwarf Fan Palm

Chamaerops Dwergpalm

Phoenix Phoenix dactylifera

Datepalm Date(palm)

Dadelpalm Dadel(palm)

Araceae

Arum Family

Aronskelkfamilie

Zantedeschia Zantedeschia aethiopica

Zantedeschia Zantedeschia

Zantedeschia Zantedeschia

Acorus Acorus calamus

Acorus Sweet Flag

Kalmoes Kalmoes

Arum Arum maculatum Arum italicum

Arum Lords and Ladies Large Cuckoopint

Aronskelk Gevlekte aronskelk Italiaanse aronskelk

Colocasia Colocasia esculenta

Colocasia Elephant’s Ear

Colocasia Taro

Dracunculus Dracunculus vulgaris

Dragon Arum Dragon Arum

Drakenwortel Drakenwortel

Arisaema Arisaema triphyllum

Arisaema Threefoil Arum

Arisaema Driebladige aronskelk

Caladium Caladium bicolor

Caladium Elephant Ear

Caladium Caladium

Lemnaceae

Duckweeds

Eendekroosfamilie

Lemna Lemna minor

Duckweed Lesser Duckweed

Eendekroos Klein kroos

Spirodela Spirodela polyrhiza

Spirodela Great Duckweed

Spirodela Veelwortelig kroos

Sparganiaceae

Bur Reeds

Egelskopfamilie

Sparganium Sparganium erectum

Bur Reed Branched Bur Reed

Egelskop Grote egelskop

AREALES

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PANDANALES Typhaceae

Bulrush Family

Lisdoddefamilie

Typha Typha latifolia

Bulrush Bulrush

Lisdodde Grote lisdodde

Cyperaceae

Sedges

Cypergrassenfamilie

Carex Carex pseudocyperus

Sedge Cyperus Sedge

Zegge (Hoge) Cyperzegge

Bromeliaceae

Bromelia Family

Bromeliafamilie

Ananas sativus

Pineapple

Ananas

Cannaceae

Canna Family

Cannafamilie

Canna Canna indica

Canna Indian Shot

Bloemriet Bloemriet

Heliconiaceae

Heliconia Family

Heliconiafamilie

Heliconia Heliconia acuminata Heliconia psittacorum

Heliconia Acuminate Heliconia Parakeet Flower

Heliconia Naaldheliconia Papegaaiensnavel

Orchidaceae

Orchids

Orchideeënfamilie

Cypripedium Cypripedium calceolus

Cypripedium Lady’s Slipper

Vrouwenschoentje Vrouwenschoentje

Dactylorhiza Dactylorhiza praetermissa - var. junialis Dactylorhiza incarnata Dactylorhiza maculata

Dactylorhiza Reed Orchid Spotted Reed Orchid Incarnate Orchid Spotted Orchid

Handekenskruid Rietorchis Gevlekte rietorchis Vleeskleurig orchis Gevlekte orchis

Ophrys Ophrys apifera Ophrys insectifera Ophrys fuciflora Ophrys scolopax

Ophrys Bee Orchid Fly Orchid Late Spider Orchid Woodstock Orchid

Spiegelorchis Bijenorchis Vliegenorchis Spinnenorchis Sniporchis

Vanilla

Vanilla

Vanille

CYPERALES

BROMELIALES

ZINGIBERALES

ORCHIDALES (Microspermae)

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Glossary of Botanical Terms Colours Purple violaceus violet purpureus purple (turning red) lilacinus lilac indigoticus indigo asterinus aster-coloured lavandulus lavender-coloured violescens, etc. turning violet Blue coeruleus blue caelestis; azureus sky-blue cyaneus Prussian blue venetus Venice-blue amethysteus amethyst indigoticus indigo caesius; lavandulus lavender-coloured coerulescens turning blue lighter blue indigo purple violet ↑ azureus amethysteus lilacinus asterinus coeruleus lavandulus malvaceus lilacinus ↓ cyaneus indigoticus purpureus violaceus darker atrocoeruleus atropurpureus atroviolaceus Green viridis green venetus Venice-blue chloroleucus greenish white glaucus dull green porraceus; prasinus leek-green olivaceus olive-green flavovirens; chlorinus yellow-green virescens turning green Yellow luteus deep yellow luteolus; flavus pale yellow sulphureus sulphur-coloured citrinus; citreus lemon-coloured croceus saffron-coloured (with a bit of red) fulvus dull yellow (tawny) ochraceus ochre vitellinus yolk of egg melleus honey-coloured aureus golden yellow chrysanthus golden luridus smoky yellow; dirty brown

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stramineus straw-coloured lividus greyish brown; clouded yellow lutescens, etc. turning yellow Orange aurantiacus orange calendulinus marigold orange cinnamomeus cinnamon-brown miniatus vermilion armeniacus apricot-coloured umbrinus amber pink pink orange yellow yellowgreen ↑ roseus persinicus croceus luteolus sulphureus flavus ↓ ruber miniatus aurantiacus luteus viridiflavus red sanguineus badius umbrinus citrinus herbaceus Red ruber red phoeniceus phoeniceous sanguineus sanguine cardinalis cardinal red papaverinus poppy-red puniceus carmine coccineus pure carmine scarlatinus scarlet (vermilion with a bit of violet) magentus magenta (red purple) flammeus flame-coloured lateritius brick-coloured rubiginosus rusty ferrugineus rust-coloured rufus brown-red palemoneus shrimp-red rubellus reddish rhodo- rosy red rubescens turning red Pink roseus rosy persicinus peach-coloured phloginus phlox-coloured carneus; incarnatus flesh-coloured malvinius mauve salmoneus salmon-pink rosescens turning pink pink → yellow roseus persinicus croceus roseus incarnates salmoneus stramineus

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Brown brunneus brown cinnamomeus bright brown castaneus; spadiceus hazel badius chestnut-coloured fuscus dark brown fulvus tawny; yellowish brown fuscus sombre brown luridus dirt brown White, Grey and Black albus; leucanthus white niveus snow-white candidus pure white lacteus milk-white eburneus ivory-white albidus whitish ochroleucus ochre-white argenteus silver canus greyish white griseus pearl-grey cinereus ash-grey ardesiacus clay-coloured dealbatus powdery white niger black albescens turning white nigrescens turning blackish Related to colours hyalinus hyaline fulgens bright lucidus shining; clear impolitus matt pallidus pale bicolor twocoloured diversicolor multicoloured variegatus variegated vivido-; claro- vivid; bright pallido- light atro- dark per- deep Pattern marginatus; margo- edged limbatus boarded striatus striped punctatus dotted guttatus spotted maculatus blotched

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infra- below intra- inside extra- outside inter- between Structure simplex simple duplex twofold semiplenus half double (visible stamens) subplenus nearly double plenus double (without stamens) pseudoplenus pseudodouble (with staminodia) laciniatus laciniate fimbriatus fimbriate monstruosus monstruous obtusus blunt acutus sharp cuspidatus cuspidate mucronatus mucronate aristatus aristate -oides resemblance Size parviflorus; nanus small (flowers) pusillus; minor small (flowers) minimus minute minitissimus most minute grandiflorus; major great magnus big; large maximus greatest Inflorescence laxiflorus loose densiflorus dense pauciflorus few flowering floribundus rich flowering multiflorus abundant flowering Additional Features latus broad angustus narrow mollis soft scaber rough; hairy aculeatus prickly alatus winged venatus veined dentatus toothed perfloratus perflorate perfoliatus perfoliate | 1103

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Select Bibliography

Quest-Ritson, C. & B., RHS Encyclopedia of Roses, London 2011.

Boom, B.K., Flora der cultuurgewassen van Nederland, vol. 1, Nederlandse dendrologie [...], 12th ed., Wageningen 1982; vol. 2, Flora der gekweekte, kruidachtige gewassen [...], 3rd ed., Wageningen 1975; vol. 3, Flora van kamer- en kasplanten [...], Wageningen 1968.

Raphelengius, F., Plantarum seu stirpium icones ordine historiae stirpium Remberti Dodonaei, manuscript, University of Leiden (BPL 948), Leiden 1618-1643.

Brickel, C. (ed.), RHS Encyclopedia of Plants and Flowers, 5th ed., London 2010.

Redouté, P.J., Les Roses, Paris 1817-1824.

Clapham, A.R., T.G. Tutin & E.F. Warburg, Flora of the British Isles, 2nd ed., New York 1962. Clusius, C., Rariorum Plantarum Historia, Antwerp 1601. Commelin, J., Catalogus Plantarum Horti Medici Amstelodamensis pars prior, Amsterdam 1689. Commelin, J., Horti Medici Amstelodamensis Rariorum Plantarum Descriptio et Icones, Pars Prima, Amsterdam 1697; Pars Altera, Amsterdam 1701.

Redouté, P.J., Les Liliacées, 8 vols, Paris 1802-1816.

Rico, G. (ed.), RHS Encyclopedia of Perennials, London 2011. Schmeil, O., J. Fitschen & W. Raub, Flora von Deutschland […], Heidelberg 1954. Stace, C., New Flora of the Britsh Isles, Cambridge 2009. Tutin, T.G. et al., Flora Europaea, 5 vols, Cambridge 1964-1983. Walters, S.M. et al., The European Garden Flora – A manual for the identification of plants cultivated in Europe, both out-of-doors and under glass, 6 vols, Cambridge etc. 1986-2000.

Dodonaeus (R. Dodoens), Cruydt-Boeck [...], Antwerp 1644. Fournier, P., Les quatre flores de la France […], Paris 1946. Fuchs, L., New Kreüterbuch […], Basel 1543. Grey-Wilson, C. & B. Mathew, Bulbs – The bulbous plants of Europe and their allies, London 1981. Grey-Wilson, C., Mediterranean Wild Flowers, Jersey 1993. Hegi, G., Illustrierte Flora von Mittel-Europa, 7 vols, Munich 19061931. Heukels, H. & S.J. van Ooststroom, Flora van Nederland, 16th ed., Groningen 1970. Heywood, V.H., Flowering Plants of the World, London 1979. Keble Martin, W., The Concise British Flora in Colour, London 1965. Makins, F.K., Herbaceous Garden Flora […], London 1957. van der Meijden, R. et al., Heukels’ Flora van Nederland, 21st rev. ed., Groningen 1990. Linnaeus (von Linné), C., Species Plantarum […], 2 vols, Stockholm 1753. Lobelius (Matthias de l’Obel) [attributed], Plantarum seu stirpium Icones, 2 parts in 1 vol., Antwerp 1581. Pizzetti, I. & H. Cocker, Flowers – A Guide for your Garden, 2 vols, New York 1968. 1104 |

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Appendix 2 ANIMALIA

Here is part of a large list that I have compiled with the help of Katharina Schmidt-Loske, which includes all the animals that have been found in still life paintings and drawings of the seventeenth and eighteenth centuries.1 The animal kingdom is made up of many taxonomic units, or phyla, and each phylum is organized further into classes, orders, families, genera and species and amendments can take place at any point along this classification system. As with plants, international scientific biological names are usually in Latin using binomial nomenclature, where the first part with a capitalized initial letter describes the animal’s genus followed by an uncapitalized specific name identifying its species. Today the classification follows the rank-based scientific classification originally popularized by Linnaeus. The classification, or systematic grouping of animals within the animal kingdom into categories according to similarities and evolutionary relationships is subject to change. For example, some groups and even species are currently grouped together, that were previously not considered to be related, whilst other categories and species are divided and regrouped in the wake of the latest scientific research. Therefore, the species names used in the select bibliography below or in other classification literature are not always the current scientific accepted species names. For that reason, website databases concentrating on taxonomy were chosen for different animal groups (e.g. marine organisms, insects, birds, mammals). These websites are continuously updated by taxonomists. Nevertheless, classification literature is useful to determine species based on morphological characteristics and further information about the species biology. For the current scientific status of a name the websites mentioned earlier should be consulted.2 The animal list below shows Latin names, English names and Dutch names, followed by the distribution area, although the latter is given only for the Molluscs. In a number of cases no official Dutch and/ or English name is known, but a new name could be derived from the scientific, or an existing Western name, or by referring to the special features of the animal, which might include its appearance, habitat, or idiosyncrasies. This appears to be impossible to do in the case of certain groups, however, especially for the insects of which more than a million species are known, the majority of them beetles. The distribution area could not be determined for all species either. In the future it would be useful to indicate when a species was described for the first time in the literature and to supplement this information with its first appearance in a dated work of art. The list is followed by a select bibliography on animals.

1 2

The full list is included in the Segal Still Life Documentation at the RKD, The Hague. In addition to Katharina SchmidtLoske, Kees Roselaar provided a great deal of help relating to the identification of birds, Henny Coomans and Robert G. Moolenbeek for shells and Wim Hogenes for insects. For marine species WoRMS-World Register of Marine Species was used (http://www.marinespecies.org). In some cases the Worldwide Mollusk Species Data Base WMSDB website was visited (http://www.bagniliggia.it/WMSD/Lindex_aaa. htm). For terrestrial Mollusks the following website was visited: http://www.weichtiere.at/index.html. Some visited websites for insects: GBIF—the Global Biodiversity Information Facility (https://www.gbif.org), Butterflies and Moths of the World Generic Names and their Type-species (https://www.nhm.ac.uk/our-science/data/butmoth/search/) and Illustrated Lists of American Butterflies (North and South America) 28-VIII-2017 (http://www.butterfliesofamerica. com/L/Neotropical.htm).

Detail Fig. 8.134 | 1107

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Notation of the terms for the classification: SUB-KINGDOM SUPERPHYLUM PHYLUM SUBPHYLUM SUPERCLASS CLASS SUBCLASS Superorder Order Suborder Superfamily Family Subfamily Genus Species subspecies (subsp.) variety (var.) form (f.) Cultivar (cv.)

Animal Species in Still Life Paintings and Drawings ANNELIDA

Ringed Worms

Ringwormen

CLITELLATA

Annelid Worms

Gelede wormen

Ophistopora

Terrestrial Earthworms

Terrestrische regenwormen

Lumbriculidae Lumbricus terrestris

Earthworms Common Earthworm

Regenwormen (Gewone) Regenworm

MOLLUSCA3

Molluscs

Weekdieren

BIVALVIA

Bivalves

Schelpdieren

Arcidae Arca noae Arca ventricosa Trisidos tortuosa

Ark Clams Noah’s Ark Shell Ventricose Ark Shell Propeller Ark Shell

Arkschelpen Noach’s arkschelp Gezwollen arkschelp Grote propellerarkschelp

Med. W.Pac. Ind.-Pac.

Limidae Lima lima vulgaris

File Clams File Clam

Vijlschelpen Gestekelde vijlschelp

Car.

Ostreidae Ostrea edulis Lopha cristagalli Dendostrea frons Hyotissa hyotis Saccostrea cucullata

European Flat Oyster Cockscomb Oyster Frond Oyster Giant Honeycomb Oyster Hooded Oyster

Oesters Europes platte oester Hanekamoester Gefronste oester Zwarte honingraatoester Mangroveoester

N.Atl.- Med. Ind.-W.Pac. Car. S.Atl.-Ind.-Pac. Trop.

3

This list includes shells to be found in more complex still life pieces, which might display fruit and shells in addition to the flowers.

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Spondylidae Spondylus sinensis Spondylus americanus

Thorny Oysters Chinese Thorny Oyster American Thorny Oyster

Stekeloesters Chinese stekeloester Caribische stekeloester

E.Pac. Car.

Anomiidae Anomia achaeus

Saddle Oysters Saddle Oyster

Zadeloesters Zadeloester

Philipp.

Pectinidae Pecten maximus Pecten jacobaeus Aequipecten opercularis Decatopecten radula Decatopecten plica Gloripallium pallium Laevichlamys squamosa Nodipecten nodosus

Scallops Great Scallop Pilgrim’s Scallop Queen Scallop Flatribbed Scallop Fold Scallop Royal Cloal Scallop Scaled Scallop Lion’s Paw Pearl

Mantels Grote mantelschelp Kleine mantelschelp Wijde mantel Vlakgeribde mantelschelp Geplooide mantel Geklede koningsmantel Geschubde mantelschelp Leeuwenpoot mantelschelp

N.Atl. Atl.- Med. Eur. W.Pac. Ind.-W.Pac. Pac. Trop.Pac. Car.

Malleidae Malleus malleus Vulsella vulsella

Hammer Oysters Black Hammer Oyster Vulsella Sponge Finger

Hameroesters Zwarte hameroester Sponsvingeroester

Car. Ind.-Pac.

Pteriidae Pteria crocea Pteria avicular Pinctada margaritifera Isognomon isognomon

Wing Oysters Pteria Winged Oyster Avicular Winged Oyster Black-lip Pearl Oyster Pacific Toothed Oyster

Vleugeloesters Pteria vleugeloester Avicular vleugeloester Zwartlippareloester Pacifische boomoester

Philipp. E.Pac. E.Pac. S.Ind.-Pac.

Pinnidae Pinna muricata Atrina vexillum Atrina pectinata Streptopinna saccata

Pen Shells Prickly Pen Shell Wide Pen Shell Comb Pen Shell Streptopinna

Steekmossels Grofgeschubde steekmossel Brede steekmossel Puntzak steekmossel Streptopinna

Ind.-Pac. Ind.-W.Pac. Ind.-W.Pac. W.Pac.

Mytilidae Mytilus edulis Modiolus philippinarum Brachiodontes modiolus Modiolus vagina Septifer bilocularis Lithophaga teres

Mussels Blue Mussel Philippine Horse Mussel Yellow Mussel Vagina Horse Mussel Box Mussel Slender Date Mussel

Mosselen Gewone mossel Filipijnse paardenmossel Paardenzadel Vagina paardenmossel Grofgeruite doosjesmossel Slanke dadelmossel

Pholadidae Pholas dactylus Martesia striata

Piddocks (Common) Piddock Angel Wing

Boormosselen Boormossel Engelenvleugel

Eur.-Med. Cosmopol.

Cardiidae Acanthocardia echinatum Cardium costatum Cerastoderma edule Hippopus hippopus Corculum cardissa Vasticardium flavum Trachycardium isocardium Fragum unedo Fragum fragrum Fulvia aperta Lunulicardia hemicardium

Cockles Prickly Cockle Costate Cockle Edible Cockle Horse Shoe Angel Heart Shell Yellow Heart Shell Even Pricklecockle Pacific Strawberry Cockle White Strawberry Cockle Open Heart Shell Half Heart Shell

Kokkels (Gestekelde) Hartschelp Geribde hartschelp Kokkel Berenpootschelp Echte hartschelp Gele hartschelp Gelijke hartschelp Vierkante hartschelp Witte aardbeischelp Open hartschelp Halfhartschelp

W.Afr. Eur.-Med. Ind.-W.Pac. Ind.-W.Pac. Pac. Car. Ind.-W.Pac. Trop.Pac. W.Pac. W.Pac.

Cosmopol. Ind.-W.Pac. Ind.-Pac. Ind.-Pac.

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Acanthocardia tuberculata Tridacna squamosa Tridacna maxima

Tuberculate Cockle Europa Fluted Giant Clam Blue Maxima Clam

Geknobbelde hartschelp Doopvontschelp Lichtblauwe doopvontschelp

Ind.-Pac. W.Pac.

Chamidae Chama lazarus

Jewel Boxes Jewel Box

Juwelendoosoesters Lazarusklap

Ind.-Pac.

Lucinidae Codakia punctata Codakia tigerina Fimbria soverbii

Lucines Punctate Lucine Tiger Lucine Striped Fimbria

Cirkelschelpen Puntige rondschelp Tijgercirkelschelp Gestreepte mandcirkelschelp

Ind-W.Pac. Ind.-Pac. Ind.-W.Pac.

Placunidae Placuna ephippium

Windowpane Oysters Saddle Oyster

Vensteroesters Paardenzadel

Car.

Mactridae Mactra stultorum Mactromeris polynyma

Trough Shells Rayed Trough Shell Large Trough Shell

Strandschelpen Grote strandschelp Grote pacifische strandschelp

Pharidae Ensis ensis Ensis siliqua

Jackknife Clams Sword Razor Pod Razor Shell

Messcheden Kleine zwaardschede Groot tafelmesheft

NW.Eur. Eur.-Med.

Solenidae Solen marginatus

Razor Shells Grooves Razor Shell

Mesheften Mesheft

N.Eur.-Mar.

Donacidae Donax scortum

Wedge Shells Leather Donax

Zaagjes Toegespitst zaagje

Ind.-Pac.

Tellinidae Cyclotellina remies Quadrans gargadia

Tellins Remies Tellin Gagardia Tellin

Platschelpen Remies platschelp Gagardia platschelp

W.Pac.

Cyrenidae Geloina coaxans

Basket Clams Croacking Mangrove Shell

Korfschelpen Kwakende mangroveschelp

Ind.-W.Pac.

Veneridae Circe scripta Hysteroconcha dione Lioconcha castrensis Cryptonema producta Anomalodiscus squamosus Tapes literatus Sunetta sunetta Sunetta concinna Periglypta puerpera Gafrarium pectinatum Meretrix lusoria Callista chione

Venerids Script Venus Elegant Venus Camp Pitar Venus Chinese Venus Squamose Venus Large Tapestry Shell False Sunetta Truncate Sunetta Purple Venus Tumid Venus Oriental Calm Pavia Venus

Venusschelpen Zigzag venusschelp Kamvenusschelp Tentenkampvenusschelp Chinese venusschelp Geschubde venusschelp Grote tapijtschelp Oneigenlijke Sunetta Afgeknotte Sunetta Purpere venusschelp Gezwollen venusschelp Pokerchipvenusschelp Mediterrane lakvenusschelp

Ind.-W.Pac. Car. Ind.-W.Pac. NW.Pac. W.Pac. Ind.-Pac. Ind.Oc. Malay. W.Pac. Ind.-Pac. Ind.-W.Pac. Eur.

Glossidae Glossus humanus

Heart Shells Ox Heart Clam

Ossenhartschelpen Mensenhart

Eur.-Med.

Myidae Mya arenaria

Softshell Clams Softshell Clam

Strandgapers (Grote) Strandgaper

N.Atl.

Eur.-Med. W.Pac.

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Teredinidae Kuphus polythalamius

Shipworms Kuphus Shipworm

Paalwormen Kuphus paalworm

Penicillidae Verpa penis

Watering Shells Watering Pot Shell

Gieterschelpen Gladde gieterschelp

GASTROPODA

Shells, Slug, Snails

Slakken

PROSOBRANCHIA

Prosobranchids

Voorkieuwigen

Haliotidae Haliotis tuberculata Haliotis asinina Haliotis varia Haliotis glabra

Abalones Abalone Donkey’s ear Abalone Variable Abalone Glistening Abalone

Zeeoren Zeeoor Ezelsoor Veranderlijke zeeoor Gladde zeeoor

NE.Atl.-Med. SE.As. W.Pac. W.Pac.

Patellidae Patella vulgata

Limpets Common Limpet

Schaalhorens Schaalhoren

N.Atl.

Nacellidae Cellana testudinaria

Limpets Tortoise Shell

Ribschotelhorens Schildpadschelp

W.Pac.

Lottiidae Patelloida saccharina

True Limpets Sugar Limpet

Schotelhorens Suikerschotelhoren

Ind.-Pac.

Fissurellidae Scutus unguis

Keyhole Limpets Shield Slug

Gathorens Schildslak

Ind.-W.Pac.

Trochidae Monodonta turbinata Monodonta labio Trochus niloticus Cittarium pica Stomatella planulata Stomatella auricula

Top Shells Top Shell Lipped Periwinkle Giant Top Shell Magpie Shell Flattened Stomatella Variable Stomatella

Tolhorens Schaakbordtolhoren Gelipde tolhoren Grote tolhoren Westindische tolhoren Vlakke wangoor Veranderlijke wangoor

Med.-Mar. Ind.Oc. Ind.Oc. Car. W.Pac. W.Pac.

Littorinidae Littorina littorea Littoraria scabra

Periwinkles Winkle Mangrove Periwinkle

Alikruiken Alikruik Pyramide wenteltrap

N.Atl. Ind.-W.Pac.

Turbinidae Turbo marmoratus Turbo sarmaticus Turbo bruneus Turbo setosus Turbo petholatus Turbo reevei Turbo chrysostomus Turbo argyrostomus Bolma rugosa Phasianella solida

Turban Snails Okinawan Turban African Turban Brown Pacific Turban Bristly Turban Gobelin Turban Reeve’s Turban Gold-mouthed Turban Silver-mouthed Turban Rough Star Shell Phasianella

Veldhoren Slangeveldhoren Afrikaanse turbo Bruine turbo Stekelturbo Kattenoog turbo Reeves kattenoog turbo Goudmond turbo Zilvermond turbo Europese tulband Phasianella

Neritidae Nerita polita Nerita chamaeleon Nerita exuvia Nerita textilis

Nerites Polished Nerite Chameleon Nerite Snake-skin Nerite Textile Nerite

Nerieten Gladde neriet Kameleonneriet Slangenhuidneriet Textielneriet

Ind.-Pac.

Ind.-Austr. S.Afr. Ind.Oc. Philipp. Philipp. Ind.-W.Pac. Ind.-Pac. Med.-Azores Ind.-Pac. Ind.-Pac. Ind.-Pac. Ind.Oc. W.Ind.Oc. | 1111

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Nerita undata Nerita albicilla Neritina pulligera Clithon corona Septaria porcellana

Waved Nerite Black-and-White Nerite Brown Puppa Nerite Crowned Nerite Porcelain Snail

Gegolfde neriet Zwart-witte neriet Bruine popneriet Gekroonde neriet Porseleinslak

Ind.-Pac. Ind.Oc. W.Pac. S.As. Pac.

Neritopsidae Neritopsis radula

Neritopsids Horned Nerite

Neritopsiden Geweislak

Ind.-Pac.

Naticidae Natica stellata Natica vitellus Natica fasciata

Moon Snail Starry Moon Snail Calf Moon Snail Banded Chestnut Moon Snail

Naticarius onca Polinices albumen Polinices mammilla Tanea lineata

China Moon Snail Oval Moon Snail Banded Moon Snail Lined Moon Snail

Sinum haliotoideum

Abalonoid Moon Snail

Tepelhorens Goudgele wolktepelhoren Kalfjestepelhoren Gebandeerde kastanjetepelhoren Witte tijgertepelhoren Platte koepeltepelhoren Gebandeerde tepelhoren Schuingestreepte tepelhoren Zeeoortepelhoren

Turridae Turris spectabilis Turris babylonia Turricula javana Pusionella nifat

Turrids Bestshell Babylon Turrid Java Turrid Pusionella

Trapgevels Fraaie trapgevel Babylonische trapgevel Javaanse trapgevel Pusionella

Ind.Oc. Ind.-W.Pac. Ind. W.Afr.

Raphitomidae Thatcheria mirabilis

Screw Shells Japanese Wonder Shell

Boorhorens Wonderbare boor

Japan

Epitoniidae Epitonium clathrus Epitonium scalare Gyroscala lamellosa Epitonium pyramidale

Wentletraps (Common) Wentletrap Precious Wentletrap Obscure Wentletrap Pyramid Wentletrap

Wenteltrappen (Gewone) Wenteltrap Edele wenteltrap Vage wenteltrap Piramide wenteltrap

Atl.-Med. Ind.Oc. Ind.-Pac. Ind.-W.Pac.

Turritellidae Turritella terebra Turritella communis Vermicularia spirata

Tower Shells Screw Turret Tower Shell West Indian Worm Snail

Penhorens Schroefhoren (Gewone) Penhoren Westindische wormslak

Ind.Oc. Eur.-Med. Car.

Siliquariidae Tenagodus anguinus

Worm Shells Squamous Worm Shell

Slitkokerhorens Grofgestekelde slitkokerhoren

W.Pac.

Thiaridae Melanoides torulosa Thiara amarula

Freshwater Tower Shells Dark Tower Shell Thiara

Zoetwaterspitshorens Donkere spitshoren Thiara

Pac. S.Pac.

Pachychilidae Faunus ater

Pachychilids Black Faunus

Pachychilidae Zwarte zoetwaterspitshoren

Ind.-Pac.

Hemisinidae Pachymelania aurita

Hemisinidae Knobbed Tower Shell

Hemisinidae Geknobbelde spitshoren

W.Afr.

Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.Oc.

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Potamididae Pirenella cingulata Terebralia palustris Terebralia sulcata

Horn Shells Girdled Horn Shell Mud Creeper Ribbed Clusterwink

Modderspitshorens Geringde spitshoren Modderkruiper Gegroefde modderspitshoren

Cerithiidae Rhinoclavis fasciata Rhinoclavis vertagus Pseudovertagus aluco Cerithium nodulosum

Ceriths Banded Vertagus Obelisk Vertagus Aluco Vertagus Giant-knobbed Cerith

Spitshorens Gebandeerde spitshoren Melkwitte spitshoren Inktvlekspitshoren Reuzenspitshoren

Ind.-Pac. Ind.-Pac. Ind.-Pac. Ind.-Pac.

Seraphsidae Terebellum terebellum

Seraph Snails Little Auger

Seraphsidae Lanspunthoren

Ind.-W.Pac.

Strombidae Lobatus gigas Strombus pugilis

True Conches Pink Conch Fighting Conch

Strombus alatus Dolomena minima Lobatus gallus Lentigo lentiginosus

Florida Fighting Conch Small Conch Roostertail Conch Silver Conch

Gibberulus gibberulus Canarium labiatum Canarium mutabile

Hump-back Conch Plicate Conch Mutable Conch

Magistrombus succinctus

Amber-coloured Conch

Tridentatus dentatus Labiostrombus epidromus Laevistrombus canarium Euprotomus aurisdianae Conomurex luhuanus Sinostrombus latissimus

Samar Conch Swan Conch Dog Conch Diana Conch Red-mouthed Conch Broad Conch

Lambis lambis Lambis crocata Harpago chiragra Lambis truncata sebae Lambis millepeda Lambis scorpius

Spider Conch Orange Spider Conch Chiragra Spider Conch Seba’s Spider Conch Millipede Conch Scorpion Conch

Vleugelslakken Grote kroonslak Westindische vechtschelp Florida vechtschelp Kleine vleugelhoren Hanestaartschelp Zilvergrijze vleugelhoren Gebochelde vleugelhoren Tweelippige vleugelhoren Veranderlijke vleugelhoren Amberkleurige vleugelhoren Getande vleugelhoren Zwanenvleugelhoren Kanarievleugelhoren Diana vleugelhoren Rode mondkegelslak Drieknobbelige vleugelhoren Roze schorpioenhoren Oranje spinschelp Harpagoschelp Seba’s schorpioenhoren Veelvingerige schorpioenhoren Echte schorpioenhoren

Columbariidae Columbarium pagoda

Pagoda Shell Pagoda Shell

Pagodeslakken Pagodeslak

Japan

Columbellidae Columbella rustica

Dove Snails Rustic Dovesnail

Duifslakken Boertje

Car.?

Hipponicidae Cheilea equestris

Hoof Snails False Cup-and-Saucer

Paardenhoefhorens Geplooide paardenhoefhoren

Car.-Ind.-Pac.

Vermetidae Ceraesignum maximum Serpulorbis grandis

Worm Snails Tree Worm Snail Tree Worm Spirobranchus

Kokerwormslakken Boomkokerwormslak Boomworm spirobranchus

W.Pac W.Pac.

Trop.-Ind.-Pac. Ind.-W.Pac. Ind.-Pac.

Car. Car. W.Pac. Car. Ind.-W.Pac. W.Pac. Ind.Oc. Ind.-W.Pac. S.Ind.-S.Lan. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.Oc. Ind.-W.Pac. Red S.-Ind. Ind.-W.Pac. Ind.-Pac.

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Vermicularia lumbricalis Thylaeodus semisurrectus Vermetus protectus Vermetus rumphii

Earthworm Snail Half-upright Worm Snail Streched Worm Snail Rumphius’ Worm Snail

Regenwormslak Half opstaande kokerwormslak Uitgestrekte kokerwormslak Rumphius’ kokerwormslak

Cypraeidae Cypraea pantherina Cypraea tigris Leporicypraea mappa Chelycypraea testudinaria Arestorides argus Mauritia mauritiana Monetaria caputserpentis Erronea onyx Talparia talpa Lyncina carneola Lyncina vitellus Mauritia arabica Lyncina lynx Ovatipsa chinensis Erronea caurica Naria erosa Naria helvola Monetaria moneta Monetaria annulus Erronea errones Talastolida teres Luria isabella Mauritia scurra Nucleolaria nucleus Pustularia cicercula Pustularia globulus Palmadusta asellus Naria eburnea Cypraea lacteus Bistolida kieneri Bistolida hirundo Mauritia grayana Mauritia histrio Muracypraea mus

Cowries Panther Cowry Tiger Cowry Map Cowry Turtle Cowry Eyed Cowry Humpback Cowry Snakehead Cowry Onyx Cowry Mole Cowry Carnelian Cowry Deer Cowry Arabian Cowry Lynx Cowry Chinese Cowry Caurica Cowry Gnawed Cowry Honey Cowry Money Cowry Gold Ring Cowry Wandering Cowry Tapering Cowry Isabel Cowry Jester Cowry Nucleus Cowry Chick Pea Cowry Globular Cowry Asellus Cowry Ivory White Cowry Measled Cowry Depriester’s Cowry Swallow Cowry South Arabian Cowry Minstrel Cowry Mouse Cowry

Kauri’s Panterkauri Tijgerkauri Landkaartkauri Schildpadkauri Argusoogkauri Bochelkauri Slangenkopkauri Onyxkauri Molkauri Vleeskleurige kauri Hertenkauri Arabisch schriftkauri Lynxkauri Chinese kauri Grofgetande kauri Zijvlekkauri Honingkauri Geldkauri Ringkauri Zwerfkauri Ronde kauri Isabella kauri Harlekijnkauri Pitkauri Kikkererwtkauri Gouden snavelkauri Ezeltjeskauri Ivoorwitte kauri Melkwitte kauri Depriesters kauri Zwaluwkauri Zuid-Arabische kauri Toneelspelerkauri Muiskauri

Red S. Ind.-C.Pac. Ind.-Pac. Ind.-Pac. Ind.-Pac. Ind.-Pac. Ind.-Pac. Ind.-W.Pac. Ind.-Pac. Pac. Ind.-Pac. Ind.Oc. Ind.-Pac. Ind.-Pac. Ind.-W.Pac. Ind.-Pac. Ind.-W.Pac. Ind.-Pac. Ind.-Pac. Ind.-W.Pac. Ind.-Pac. Ind.Oc. Ind.-Pac. Ind.-Pac. Ind.-Pac. Ind.-Pac. Ind.-W.Pac. Pac. Ind.-Pac. Ind.-Pac. Ind.-Pac. Red S.-Pers. Ind.Oc. Car.

Ovulidae Ovula ovum Calpurnus verrucosus

False Cowries Egg Cowry Warty Egg Shell

Eislakken Grote eierkauri Ruitvormige pseudokauri

Ind.-W.Pac. Ind.-Pac.

Triviidae Trivirostra oryza

Trivias Rice Trivia

Trivia’s Rijstkorrel Trivia

W.Pac.

Cassidae Cassis cornuta Cassis flammea Cassis tessellata Phalium areola Phalium glaucum Semicassis bisulcatum Phalium bandatum Phalium flammiferum

Helmets Giant Helmet Flame Helmet Tessellated Helmet Checkered Bonnet Grey Bonnet Japanese Bonnet Banded Bonnet Striped Bonnet

Helmslakken Grote helmslak Vlamhelmslak Mozaïek helmslak Geblokte muts Grijze helmslak Japanse helmslak Gebandeerde helmslak Zebrahelmslak

Ind.Oc. Car. W.Ind.Oc. Ind.-W.Pac. Ind.-Pac. Ind.-Pac. Ind.-Pac.

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Phalium exaratum Semicassis saburon Casmaria erinaceus Casmaria ponderosa Galeodea echinophora

Furrowed Bonnet Spotted Bonnet Smooth Bonnet Heavy Bonnet Spiny Bonnet

Gegroefde helmslak Gevlekte helmslak Gladde helmslak Zware helmslak Gestekelde muts

Ind.Oc. E.Med.-W.Afr. Ind.-Pac. Ind.Oc. Med.W.Eur.

Personidae Distorsio anus

Distorsio’s (Common) Distorsio

Stoorhorens (Gewone) Stoorhoren

Ind.-W.Pac.

Ficidae Ficus ficus

Fig Shells Underlined Fig Shell

Vijghorens Peerhoren

Ind.-W.Pac.

Tonnidae Tonna galea Tonna tessellata Tonna perdix Tonna canaliculata Malea pomum

Tun Shells Giant Tun Global Tun Partridge Tun Canaliculated Tun Apple Grinning Tun

Tonhorens Tonslak Ronde tonhoren Patrijs tonhoren Ronde uitonhoren Kleine grijnzende tonhoren

Cosmopol. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-Pac.

Charoniidae Charonia tritonis Charonia lampas

Tritons Triton’s Trumpet Trumpet Shell

Tritonshorens Gewone tritonshoren Tritonshoren

Ind.Oc. Med.

Cymatiidae Monoplex pileare Gutturnium muricinum Lotoria lotoria

Cymatiidae Hairy Triton Short-neck Triton Dark-spotted Triton

Ranularia pyrum Argobuccinum pustulosum

Light-brown Triton Swollen Triton

Cymatiidae Harige tritonshoren Knobbelige tritonshoren Donkergevlekte tritonshoren Lichtbruine tritonshoren Gezwollen tritonshoren

Ranelliidae Ranella olearium

Ranelliidae Wandering Triton

Ranelliidae Gekielde noordhoren

Med.-W.Atl.

Bursidae Tutufa bubo Tutufa rubeta Bufonaria rana

Frog Shells Giant Frog Shell Ruddy Frog Shell Elegant Frog Shell

Kikkerschelpen Grote kikkerschelp Getande kikkerschelp Gewone kikkerschelp

Ind.-W.Pac Ind.-W.Pac. Ind.-W.Pac.

Muricidae Murex tenuispina Murex pecten Murex trapa Murex tribulus Murex ternispina Chicoreus brunneus Siratus motacilla Chicoreus ramosus Haustellum haustellum Phyllonotus pomum Hexaplex trunculus Hexaplex cichoreum Bolinus brandaris Bolinus cornutus Drupa rubusidaeus Drupa ricinus

Murex Snails Spiny Woodcock Venus Murex Rarespined Murex Venus Murex Black-spined Murex Burnt Murex Rockshell Giant Murex Snipe’s Bill Murex Apple Murex Banded Dye Murex Endive Murex Spinous Murex African Murex Raspberry Drupe Prickly Drupe

Stekelhorens Egelhoren Venuskam Kortstekelige murex Venuskam Zwartgestekelde murex Gebrande murex Rotsstekelhoren Reuzenstekelhoren Snipsnavel murex Appelmurex Gestekelde purperslak Andijviestekelhoren Brandhoren Afrikaanse stekelhoren Frambooskleurige tandpurperslak Goudgerande tandpurperslak

Car.-Ind-Pac. Car.-Ind.Oc. Ind.Pac. Ind.Oc. SW.Pac.

Ind.-Pac. Ind.-W.Pac. C.Ind.Oc. Ind.Oc. Ind.-W.Pac. Ind.-W.Pac. Ind.-Pac. Ind.Oc. Car. Med. Ind.Oc.-W.Pac. Med.-W.Afr. NW.Afr. Ind.-W.Pac. Ind.-W.Pac.

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Chicoreus axicornis Homalocantha scorpio Plicopurpura patula Purpura persica Rapa rapa Nucella lapillus Semiricinula muricina Tylothais aculeata Neorapana tuberculata Volema alouina

Antlers Murex Scorpion Murex Caribbean Purple Shell Persian Purple Shell Rape Shell Dog Whelk Short-spined Purple Snail Thorned Purple Snail Horned Purple Snail Amber Purple Snail

Hertengeweistekelhoren Schorpioenstekelhoren Caribische purperslak Grootmondpurperslak Raapvormige koraalhoren Atlantische purperslak Kortstekelige purperslak Gedoornde purpersak Gehoornde purperslak Amberen purperslak

Ind.-Pac. E.Ind.-W.Pac. Car. Ind.-W.Pac. W.Pac-Med. N.Atl.

Fasciolariidae Pleuroploca trapezium Filifusus filamentosa Fusinus colus Polygona infundibulum Fasciolaria tulipa Fusinus spec.

Horse Conches et al. Trapezium Horse Conch Filamentous Horse Conch Distaff Spindle Latyrus Funnel Conch Tulip Snail Spindle Snail

Paardewulken e.a. Trapezium paardewulk Spiraalpaardewulk Langgerekte kanaalhoren Latyrus kanaalhoren Tulpslak Fusinus

Nassaridae Nassarius arcularia Nassarius pullus Nassarius glans Nassarius papillosus Phos senticosus

Nassa Mud Snails Brown-spotted Nassa Snail Ribbed Dog Whelk Glans Nassa Snail Papillose Nassa Snail Spiny Phos

Fuikhorens Bruingevlekte fuikhoren Geribde fuikhoren Gestreepte fuikhoren Papillen fuikhoren Stekeltjeswulk

Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-Pac

Columbellidae Amphissa columbiana

Dove Shells Columbian Amphissa

Duifschelpen Columbiaanse Amphissa

W.Pac.

Buccinidae Buccinum undatum

Whelks Whelk

Wulken Wulk

N.Atl.

Babyloniidae Babylonia areolata Babylonia spirata

Babyloniidae Spotted Babylon Spiral Babylon

Babyloniidae Gevlekte babylonwulk Geschouderde babylonwulk

W.Pac. Ind.-Pac.

Colubrariidae Colubraria muricata Colubraria nitidula

Colubrariidae Maculated Dwarf Triton Shiny Dwarf Triton

Colubrariidae Gevlekte dwergtriton Colubraria

Pisaniidae Pollia undosus

Pisaniidae Waved Goblet

Pisaniidae Gegolfde bokaalslak

Ind.-W.Pac.

Melongenidae Pugilinia morio Melongena corona Volema myristica

Melongenids Giant Melongena American Crown Conch Nutmeg Melongena

Draaischelpen Reuzenmelongena Amerikaanse kroonslak Muskaatmelongena

Trop.Atl. Car. W.Pac.

Olividae Minoaceoliva miniacea Oliva vidua Oliva reticulata Oliva elegans Oliva annulata Oliva oliva Oliva carneola Agaronia acuminata

Olive Shells Red-mouth Olive Black Olive Blood Olive Elegant Olive Amethyst Olive Common Olive Camelian Olive Acuminate Agaronia

Olijfhorens Rode mondolijf Zwarte olijf Bloedende olijfhoren Elegante olijf Geringde olijf Gewone olijf Heldergebandeerde olijfhoren Spitse Agaronia

W.Pac. Ind.-Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind-Pac. Car.

S.As. Ind.-Pac. Trop.Ind-Pac. Ind.-W.Pac. Ind.-Pac. Car. Car.

W.Pac.

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Harpidae Harpa harpa Harpa costata Harpa cabriti Harpa amouretta

Harp Shells Harp Shell Imperial Harp Swollen Harp Shell Small Harp Shell

Harpslakken Harpslak Keizerlijke harp Gezwollen harpslak Kleine harpschelp

Mitridae Mitra mitra Mitra papalis Domiporta granatina

Mitre Shells Mitre Shell Papal Mitre Speckles Mitre

Mijterslakken Mijterslak Pausmijter Gestippelde mijter

Ind.-Pac. Ind.-W.Pac. Ind.-W.Pac.

Costellariidae Vexillum regina Vexillum taeniatum Vexillum vulpecula Vexillum plicarium Vexillum exasperatum Vexillum sanguisuga Vexillum filiareginae

Ribbed Miters Regal Mitre Ribboned Mitre Fox Ribbed Mitre Furrowed Mitre Roughed Mitre Leech Mitre Tonyshell

Costellariidae Koningsmijter Bandmijter Vosjesribmijter Halfgestreepte ribmijter Ruige ribmijter Bloedzuigerslak Koninklijke mijter

Ind.-Pac. W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac.

Turbinellidae Vasum ceramicum Vasum turbinellus Vasum capitellum Turbinella pyrum

Vase Snails Heavy Whelk Light Whelk Spiny Vase Chank Shell

Vaasslakken Donkere vaasslak Lichte vaasslak Trap vaasslak Indische vaashoren

Ind.-W.Pac. Ind.-W.Pac. W.Ind. Indo-W.Pac.

Volutidae Voluta musica Cymbiola vespertilio Melo aethiopicus Melo amphora Harpulina lapponica Harpulina arausiaca

Volutes Music Volute Bat Volute Crowned Baler Diadem Volute Brown-lined Volute Orange-striped Volute

Rolhorens Muziekhoren Vleermuisvoluut Indonesische voluut Gekroonde meloenhoren Bruingevlekte voluut Oranjegestreepte voluut

Car. Ind.-W.Pac. Indonesia Ind.-Pac. S.Ind.-S.Lan. S.Ind.-S.Lan.

Conidae Conus marmoreus Conus imperialis Conus lividus Conus eburneus Conus tessulatus Conus magus Conus vexillum Conus geographus Conus textile Conus omaria Conus episcopus Conus pennaceus Conus capitaneus Conus betulinus Conus ranunculus Conus bandanus Conus litteratus Conus virgo Conus striatus Conus figulinus Conus namocanus Conus miles

Cone Shells Marble Cone Imperial Cone Livid Cone Ivory Cone Tessulate Cone Sand-coloured Cone Flag Cone Geography Cone Cloth-of-Gold Cone Poisenous Cone Bishop Cone Wing Cone Captain Cone Beech Cone Buttercup Cone Waved Cone Lettered Cone Virgin Cone Striped Cone Fig Cone Namocanus Cone Soldier Cone

Kegelslakken Gemarmerde conus Keizersconus Bonte conus Gestippelde conus Geblokte conus Wasgele conus Vlagconus Landkaartconus Weefselslak Giftige kegelslak Bisschopsslak Vleugelconus Kapiteinconus Berkenconus Ranonkelconus Gegolfde conus Letterkegelslak Conus virgo Gestreepte kegelslak Vijgkegelslak Namocanus kegelslak Soldaatkegelslak

Ind.-Pac. Ind.-Pac. Ind.-Pac. Ind.-Pac. Ind.-Pac. Philipp. Ind.-S.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-Pac. Ind.-Pac. Ind.-Pac. Ind.-W.Pac. Car. W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.-W.Pac. Ind.Oc. Ind.-W.Pac.

E.Afr. Mauritius

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Conus generalis Conus stercusmuscarum Conus arenatus Conus ebraeus Conus catus Conus proximus Conus nussatella Conus glaucus Conus pulicarius Conus aulicus Conus aurisiacus Conus ammiralis Conus pulcher Conus locumtenens Conus genuanus Conus ermineus Conus achatinus Conus rattus Conus regius Conus floridanus Conus spurius

General Cone Fly-speckled Cone Granulose Cone Hebrew Cone Cat Cone Near-lined Cone Dotted Line Cone Glaucous Cone Fleas Cone Purple Net Cone Short-striped Cone Admiral Shell Excellent Cone Vice Admiral Cone Genuanus Cone Curved Cone Agate Cone Rat Cone Crown Cone Florida Cone Alphabet Cone

Generaalkegelslak Vliegenpoepjeskegelslak Zandkorrelkegelslak Hebreeuwse kegelslak Katerkegelslak Dichtlijnige kegelslak Stippellijnkegelslak Groengrijze kegelslak Vlooienkegelslak Purpernetkegelslak Kortgestreepte kegelslak Admiraalkegelslak Reuzenkegelslak Puntige kegelslak Kousebandkegelslak Gebogen kegelslak Agaat kegelslak Rattenkegelslak Koningskegelslak Florida kegelslak Alfabet kegelslak

Ind.-W.Pac. Ind.-W.Pac. Ind-W.Pac. Ind.-Pac. Ind.-W.Pac.

Terebridae Terebra subulata Oxymeris dimidiata Oxymeris chlorata Oxymeris maculata Terebra guttata Oxymeris crenulata

Auger Shells Chocolate-spotted Auger Didimiate Auger Short Auger Marlin Spike Auger Spotted Auger Crenulate Auger

Terebra cingulifera Cinguloterebra anilis

Ringed Auger Banded Auger

Cinguloterebra cumingii Hastula lanceata Hastula strigilata Hastula acumen

Cuming’s Auger Lance Auger Bristly Auger Tapered Auger

Schroefslakken Donker geblokte priemslak Oranjebruine priemslak Korte schroefhoren Brede schroefhoren Gevlekte schroefhoren Fijngestippelde schroefhoren Geringde schroefhoren Gebandeerde schroefhoren Cumings schroefhoren Lansvormige schroefhoren Stoppelige schroefhoren Puntige schroefhoren

Ampullariidae Pila ampullacea

Apple Snails Pila

Appelslakken Pila

Philipp.

Orthalicidae Liguus fasciatus

Tree Snails Florida Tree Snail

Boomslakken Florida boomslak

Florida

Architectonicidae Architectonica perspectiva

Sundial Shells Sundial Shell

Zonnewijzerslakken Zonnewijzerslak

Ind.-W.Pac.

Haminoeidae Atys naucum

Soap Bubble Shells White Bubble Shell

Zeepbelhorens Witte zeepbelhoren

Ind.-W.Pac.

Bullidae Bulla ampulla

Bubble Shells Bubble Shell

Bobbelschelpen Bobbelschelp

Ind.-W.Pac.

Siphonariidae Siphonaria laciniosa

False Limpets Fringed False Limpet

Longschaalhorens Geschulpte longschaalhoren

Ind.-W.Pac. W.Pac. Ind.-W.Pac. Ind.-W.Pac. Philipp. Ind.-W.Pac. W.-S.Afr. Ind.-W.Pac. W.Afr. W.Afr. Ind.-W.Pac. Ind.-Pac. Car. Florida Trop.Atl. Ind.-W.Pac. Ind.-Pac. Ind.-Pac. Ind.-W.Pac. Pac. Ind.-W.Pac. Pac. Pac. Pac. Ind.-W.Pac. Pac. Pac.

W.Pac.

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Ellobiidae Pythia scarabaeus Ellobium aurismidae

Ear Snails Panther Ear Snail Midas’s Ear Cassidula

Oorslakken Panter oorslak Midasoor

Opisthobranchia

Opisthobranchs

Achterkieuwigen

Aplysiidae Dolabella auricularia

Sea Hares Sea Hare

Zeehazen Zeehaas

Umbraculidae Umbraculum umbraculum

Umbrella Slugs Umbrella Slug

Parapluslakken Grote parapluslak

Pulmonata

Lung Snails

Longslakken

Basommatophora

Disk Shells

Schijfhorens

Planorbidae

Ramshorn Snails

Schijfhorens

Stylommatophora

Terrestrial Slugs and Snails

Landslakken

Slugs

Naaktslakken

Arionidae Arion hortensis Arion ater

Land Slugs Garden Slug Black Slug

Wegslakken Zwarte tuinslak Zwarte wegslak

W.-S.Eur W.-C.Eur.

Limacidae Limax maximus

Keelback Slugs Giant Gardenslug

Aardslakken Tijgerslak

W.-S.Eur.

Snails

Huisjesslakken Tuinslakken Bosslak

W.Eur.

Tuinslak

W.-S.Eur.

Arianta arbustorum Cornu aspersum Helix pomatia

Garden Snails Grove Snail or Brown-lipped Snail Garden Snail or White-lipped Snail Copse Snail Common Garden Snail Edible Snail

Heesterslak Segrijnslak Wijngaardslak

W.-C.Eur. W.Eur.-Med. C.-E.Eur.

Ariophantidae Xesta citrina

Ariophantids Indonesian Treesnail

Lage hoornslakken Citroenslak

Achatinidae Achatina fulica

Achatinids Giant African Land Snail

Grote agaatslakken Agaatslak

E.Afr.

Helminthoglyptidae Polymita picta

American Lip Snails Cuban Land Snail

Amerikaanse lipschelpen Cubaanse landslak

Cuba

Camaenidae Planispira zonaria Amphidromus inversus Papuina boyeri

Camaenids Planospira Jaxshell Woodlark

Camaeniden Planospira Lichtbruine kurkentrekker Lichtbruine boomslak

S.As. SE.As. Nw Guinea

Helicidae Cepaea nemoralis Cepaea hortensis

W.Pac. S.As.

Car.-Ind.-Pac.

CelebesNw Guinea

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SCAPHOPODA

Tusk Shells

Stoottanden

Dentaliidae Dentalium elephantinum Dentalium entalis Dentalium octangulatum

Elephant’s Tusk Shells Elephant’s Tusk Shell Entale Tusk Octogonal Tusk

Olifantstanden Olifantstand Gladde olifantstand Achtkantige olifantstand

CEPHALOPODA

Cephalopods

Inktvissen

NAUTILOIDEA

Nautilus Shells

Nautilusschelpen

Nautilida

Nautilus Shells

Nautilusschelpen

Nautilidae Nautilus pompilius

Nautilus Shells Chambered Nautilus

Nautilusschelpen Parelnautilus

Ind.-Pac.

Argonautidae Argonauta argo Argonauta hians

Paper Nautiluses Greater Argonaut Brown Paper Nautilus

Papiernautilussen Schippertje Papiernautilus

Subtrop.-Trop. Trop.

ARTHROPODA

Arthropods

Geleedpotigen

CRUSTACEA

Crustaceans

Schaaldieren

MALACOSTRACA

Crustaceans

Kreeftachtigen

Decapoda

Decapods

Tienpotigen

Nephropidae Homarus gammarus

Lobsters European Lobster

(Zee)kreeften Noordzeekreeft

Cancridae Cancer pagurus

Crabs Edible Crab

Krabben Noordzeekrab

Astacidae Astacus astacus

Crayfish European Crayfish

Rivierkreeften (Europese) Rivierkreeft

Paguridae Pagurus bernhardus

Hermit Crabs Hermit Crab

Heremietkreeften Heremietkreeft

Crangonidae Crangon crangon

Shrimps North Sea Shrimp

Garnalen Noordzeegarnaal

Isopoda

Pill Bugs, Sowbugs

Pissebedden

Philosciidae Philoscia muscorum

Woodlice Fast Woodlouse

Bospissebedden Mospissebed

Oniscidae Oniscus spec.

Sowbugs Pillbug

Glanspissebedden Glanspissebed

HEXANAUPLIA

Hexanauplia

Hexanauplia

Sessilia

Barnacles

Zeepokken

Ind.-W.Pac. N.Atl. Ind.-Pac.

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Archaeobalanidae Semibalanus balanoides

Barnacles (Common) Barnacle

Zeepokken (Gewone) Zeepok

CHELICERATA

Chelicerates

Gifkakendragers

ARACHNIDA

Arachnids

Spinachtigen

Acari

Mites, Ticks

Mijten, Teken

Trombidiformes

Mites

Mijten

Trombidiidae Trombidium holosericeum

Velvet Mites Velvet Mite

Fluweelmijten Rode tuinmijt

Tetranychidae Panonychus ulmi

Spider Mite European Red Mite

Spinmijten Spinmijt

Eriophyidae Colomerus vitis

Gall Mites Grape Erineum Mite

Galmijten Druivenbladgalmijt

Araneae

Spiders

Spinnen

Pholcidae Pholcus phalangioides

Daddy-Long-Legs Spiders Cellar Spider

Trilspinnen Grote trilspin

Agelenidae Tegenaria domestica Eratigena atrica

Funnel-web Spiders Barn Funnel Weaver Spider Giant House Spider

Trechterspinnen Grijze huisspin Huisspin

Theridiidae Theridion melanurum Phylloneta sisyphia Parasteatoda lunata

Cobweb Weaver Spiders Cobweb Spider Mother Care Spider House Cobweb Spider

Kogelspinnen Huiskogelspin Streepjesspin Prachtkogelspin

Linyphiidae Erigone spec.

Sheetweb Weavers Dwarf Spider, Money Spider

Hangmatspinnen Dwergspin spec.

Araneidae Araneus diadematus

Orbweaver Spiders Diadem Spider

Wielwebspinnen Kruisspin

Philodromidae Philodromus cespitum

Crab Spiders Running Spin

Renspinnen Gewone renspin

Salticidae Salticus cingulatus

Jumping Spiders Jumping Spider

Springspinnen Boomzebraspin

Theraphosidae Avicularia avicularia Theraphosa blondi

Tarantulas Pinktoe, Tarantula Theraphosa Spider

Vogelspinnen Rozeteen boomvogelspin Theraphosa vogelspin

Tetragnathidae Pachygnatha degeeri

Long-jawed Orb Weavers Thick-jawed Orb Weaver

Kaakwevers Dikkaakwever

Opiliones

Harvestmen

Hooiwagens

Phalangiidae Phalangium opilio

Harvestmen Common Harvester

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HEXAPODA INSECTA

Insects

Insecten

Ephemeroptera

Mayflies

Haften, Eendagsvliegen

Ephemeridae Ephemera vulgata

Mayflies Brown Mayfly

Eendagsvliegen Driestaart eendagsvlieg

Neuroptera

Lacewings

Gaasvliegen, Mierenleeuwen

Hemerobiidae Hemerobius spec.

Brown Lacewings Hemerobius

Bruine gaasvliegen Hemerobius

Chrysopidae Chrysopa flava

Lacewings Yellow Lacewing

Gaasvliegen Gele gaasvlieg

Megaloptra

Alderflies, Dobsonflies, Fishflies

Grootvleugeligen

Corydalidae Corydalus cornutus

Dobsonflies Dobsonfly

Corydalidae Reuzenslijkvlieg

Trichoptera

Caddisflies

Kokerjuffers

Odonata

Dragonflies, Damselflies

Libellen, Juffers

Zygoptera

Damselflies

Juffers

Calopterygidae Calopteryx virgo Calopteryx splendens

Demoiselles Beautiful Demoiselle Splendid Demoiselle

Beekjuffers Bosbeekjuffer Prachtige beekjuffer

Lestidae Lestes sponsa Lestes viridis

Spreadwings Emerald Damselfly Green Damselfly

Pantserjuffers Vijverjuffer Groene beekjuffer

Coenagrionidae Pyrrhosoma nymphula Coenagrion puella Ischnura elegans

Damselflies Red Damselfly Azure Damselfly Blue-tailed Damselfly

Waterjufffers Rode waterjuffer Azuurwaterjuffer Lantaarntje

Epiprocta

Dragonflies

Libellen

Corduliidae Cordulia aenea

Emerald Butterflies Downy Emerald

Smaragdlibellen Smaragdlibel

Cordulegastridae Cordulegaster boltonii

Spiketails Golden-ringed Dragonfly

Bronlibellen (Gewone) Bronlibel

Aeshnidae Aeshna juncea Aeshna cyanea Aeshna viridis Aeshna grandis Anax imperator

Hawkers Fen Hawker Blue Hawker Green Hawker Brown Hawker Emperor Dragonfly

Glazenmakers Venglazenmaker Blauwe glazenmaker Groene glazenmaker Bruine glazenmaker Keizerlibel

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Gomphidae Gomphus vulgatissimus

Club-tailed Dragonflies Commun Club-tail Dragonfly

Rombouten Beekrombout

Libellulidae Libellula quadrimaculata Libellula depressa Orthetrum cancellatum Sympetrum sanguineum

Chasers Four-spotted Chaser Broad-bodied Chaser Black-tailed Skimmer Ruddy Darter

Libellen Viervlekkige libel Platbuik Oeverlibel Bloedrode heidelibel

Dermaptera

Earwigs

Oorwormen

Forficulidae Forficula auricularia

Earwigs (Common) Earwig

Oorwormen (Gewone) Oorworm

Mantodea

Mantises

Bidsprinkhanen

Mantidae Mantis religiosa

Mantises Praying Mantis

Bidsprinkhanen Bidsprinkhaan

Orthoptera

Locusts, Crickets

Rechtvleugeligen

Caelifera

Grasshoppers

Kortsprietigen

Acrididae Locusta migratoria Oedipoda coerulescens Oedipoda germanica Chorthippus biguttulus Chorthippus brunneus

Field Locusts Migratory Locust Blue-winged Grasshopper Red-winged Grasshopper Field Locust Brown Locust

Veldsprinkhanen Treksprinkhaan Blauwvleugelige sprinkhaan Roodvleugelige sprinkhaan Ratelaar Bruine sprinkhaan

Ensifera

Crickets

Langsprietigen

Tettigoniidae Tettigonia viridissima

Bush Crickets Great Green Bush Cricket

Ephippiger ephippigera Decticus verrucivorus Meconema thalassinum Conocephalus dorsalis

Saddle Bush Cricket Wart-biter Oak Bush Cricket Short-winged Cone-head

Sabelsprinkhanen Grote groene sabelsprinkhaan Zadelsprinkhaan Wrattenbijter Boomsprinkhaan Spitskopje

Gryllidae Gryllus campestris Gryllus assimilis

Field Crickets Field Cricket Domestic Cricket

Krekels Veldkrekel Huiskrekel

Grylloblattodea

Mole Crickets

Veenmollen

Gryllotalpidae Gryllotalpa gryllotalpa

Mole Crickets Mole Cricket

Veenmollen Veenmol

Hemiptera

Hoppers, Cicadas, Aphids

Halfvleugeligen

Aphididae Phylloxera vastatrix

Aphids Grape Phylloxera

Bladluizen Druifluis

Diaspididae Aulacaspis rosae

Scales Rose Scale

Schildluizen Rozenschildluis

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Cercopidae Philaenus spumarius

Spittlebugs Meadow Spittlebug

Spuugbeestjes Schuimbeestje

Heteroptera

Bugs

Wantsen

Coreidae Anisocelis foliacea

Leaf-footed Bugs Leaf-footed Bug

Lederwantsen Bladpootwants

Pyrrhocoridae Pyrrhocoris apterus

Firebugs Firebug

Vuurwantsen Vuurwants

Anthocoridae Anthocoris nemorum

Flowerbugs Common Flowerbug

Bloemenwantsen Gewone bloemenwants

Coleoptera

Beetles

Kevers

Carabidae Cicindela campestris Carabus coriaceus Carabus nemoralis Carabus violaceus Pterostichus melanarius Brachinus crepitans Lebia cyanocephala Panagaeus cruxmajor

Ground Beetles Green Tiger Beetle Leathery Carabus Wood Carabid Violet Ground Beetle Black Ground Beetle Bombardier Beetle Blue Gound Beetle Crucifix Ground Beetle

Loopkevers Groene zandloopkever Lederloopkever Tuinschalebijter Violette loopklever (Gewone) Streeploopkever Grote bombardeerkever Blauwe loopkever Kruisloopkever

Dytiscidae Dytiscus marginalis

Diving Beetles Great Water Beetle

Waterroofkevers Geelgerande watertor

Staphylinidae Emus hirtus

Rove Beetles Bee Rove Beetle

Kortvleugelige kevers Geelbehaarde aaskortschild

Silphidae Silpha atrata Necrophorus vespilloides Necrophorus investigator Necrophorus vespillo Necrophorus vestigator

Carrion Beetles Black Carrion Beetle Carrion Beetle Black Sexton Beetle Sexton Beetle Search Beetle

Aaskevers Zwarte aaskever (Gewone) Doodgraver Zwarte doodgraver Krompootdoodgraver Zoekgraver

Malachiidae Malachius bipustulatus

Soft-wing Flower Beetles Red Spot Beetle

Bloemweekschilden Roodvlekkever

Cleridae Opilo domesticus Thanasimus formicarius Trichodes apiarius Trichodes alvearius Trichodes ornatus

Checkered Beetles Motley Beetle Ant Beetle Bee-eating Beetle Hairy Bee-eating Beetle Checkered Flower Beetle

Mierkevers Bontkever Mierkever Bijenwolf Behaarde bijenwolf Geruite bloemenkever

Coccinellidae Adalia bipunctata Coccinella quinquepunctata Coccinella septempunctata Adalia decempunctata Hippodamia tredecimpunctata Propylea quatuordecimpunctata

Ladybirds 2-spot Ladybird 5-spot Ladybird 7-spot Ladybird 10-spot Ladybird 13-spot Ladybird 14-spot Ladybird

Lieveheersbeestjes 2-stippelig lieveheersbeestje 5-stippelig lieveheersbeestje 7-stippelig lieveheersbeestje 10-stippelig lieveheersbeestje 13-stippelig lieveheersbeestje 14-stippelig lieveheersbeestje

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Subcoccinella vigintiquatuorpunctata Anatis ocellata Cynegetis impunctata

24-spot Ladybird

24-stippelig lieveheersbeestje

Eyed Ladybird Ladybird Beetle

Oogvleklieveheersbeestje Onbestippeld lieveheersbeestje

Ptinidae Ptinus fur

Spider Beetles White-marked Spider Beetle

Diefkevers Diefje

Pyrochroidae Pyrochroa coccinea

Cardinal Beetles Cardinal Beetle

Vuurkevers Zaagsprietkever

Tenebrionidae Tenebrio molitor Cteniopus sulphureus

Darkling Beetles Meal Beetle Sulphur Beetle

Zwartlijfkevers Meeltor Gele bloemenkever

Geotrupidae Geotrupes stercorarius Trypocopris vernalis

Earth-boring Dung Beetles Dor Beetle Golden Scarab

Echte mestkevers Paardenmestkever Voorjaarsmestkever

Scarabaeidae Melolontha melolontha Anomala dubia Polyphylla fullo Phyllopertha horticola Trichius fasciatus Cetonia aurata Protaetia cuprea Oryctes nasicornis Chalosoma spec. Copris maesi

Scarabs Cockchafer June Beetle Walker Beetle Garden Chafer Banded Brush Beetle Rose Chafer Cool Beetle European Rhinoceros Beetle Rhino Beetle Ternate-horned Dung Beetle

Dynastes hercules

Hercules Beetle

Bladsprietkevers Meikever Junikever Julikever Rozenkever Penseelkever Gouden tor Rozenkever Neushoornkever Rhinokever Driewerf gehoornde mestkever Herculeskever

Dermestidae Dermestes lardarius

Skin Beetles Larder Beetle

Spektorren Spekkever

Lucanidae Lucanus cervus

Stag Beetles Stag Beetle

Hertkevers Vliegend hert

Cerambycidae Leptura quadrifasciata Rutpela maculata Leptura annularis Strangalia attenuata Cerambyx cerdo Clytus arietis Plagionotus arcuatus Plagionotus floralis Saperda scalaris Saperda carcharias Saperda similis Clytus arietis Clytus lama Aromia moschata Acrocinus longimanus Callipogon cinnamomeus

Longhorn Beetles Four-banded Longhorn Speckled Longhorn Flower Longhorn Narrowed Longhorn Great Capricorn Beetle Wasp Beetle Longhorned Beetle Lucerne Longicorn Ladder-marked Longhorn Spotted Brown Longhorn Spotted Longhorn Black Wasp Beetle Narrow-speared Wasp Beetle Musk Beetle Harlequin Beetle Cinnamon Beetle

Boktorren Vierbanden smalbok Gevlekte smalbok Boogband smalbok Versmalde smalbok Heldenbok Wespenbok Pronkbok Lucernebok Ladderpopulierenbok Grote populierenbok Gestippelde boktor Dofzwarte streepbok Smalsprietige streepbok Muskusbok Harlekijnkever Kaneelkever | 1125

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Mallodon spinibarbe Taeniotes subocellatus Callipogon barbatus Macrodontia cervicornis Titanus giganteus Stictoleptura rubra Celosterna scabrator Trachyderes hilaris

Capricorn Beetle Eye-spot Beetle Shiny Longhorn Beetle Pine Beetle Giant Beetle Red Longhorn Brown Longhorn Longhorn Beetle

Steenbokkever Oogvlekkever Glanzende bok Dennenboktor Reuzenkever Rode smalbok Bruine boktor Boktor

Chrysomelidae Crioceris asparagi Oulema gallaeciana Lilioceris lilii Chrysolina cerealis Chrysolina fastuosa Chrysolina varians Chrysomela populi Cassida viridis Galeruca tanaceti Donacia vulgaris Agelastica alni

Leaf Beetles Asparagus Beetle Cereal Leaf Beetle Scarlet Lily Beetle Rainbow Leaf Beetle Dead-Nettle Leaf Beetle St John’s Wort Leaf Beetle Poplar Leaf Beetle Tortoise Beetle Yarrow Leaf Beetle Reed Beetle Elder Leaf Beetle

Bladhaantjes Aspergehaantje Graanhaantje Leliehaantje Regenbooggoudhaantje Dovenetelgoudhaantje Sint-Janskruid goudhaantje Populierenhaantje Schildpadtorretje Wormkruidhaantje Egelskophaantje Elzenhaantje

Curculionidae Curculio nucum

Weevils Hazelnut Weevil

Snuitkevers Hazelnootboorder

Meloidae Hycleus polymorpha Mylabris tricinata

Blister Beetles Blister Beetle Curl Blister Beetle

Oliekevers Blaarkever Krulblaarkever

Buprestidae Euchroma gigantea

Jewel Beetles Metallic Wood Boring Beetle

Prachtkevers Prachtkever

Mordellidae Mordella fasciata

Tumbling Flower Beetles Tumbling Flower Beetle

Sparteltorren Sparteltor

Elateridae

Click Beetles

Kniptorren

Hymenoptera

Ants, Bees, Sawflies, Wasps

Vliesvleugeligen

Symphyta

Sawflies

Zaagwespen

Cimbicidae Cimbex spec.

Cimbicid Sawflies Cimbicid Sawfly

Knotssprietbladwespen Knotssprietbladwesp

Cephidae Cephus pygmaeus

Slender Sawflies Small Sawfly

Halmwespen Halmwesp

Tenthredinidae Tenthredo campestris Tenthredinopsis spec. Nematus ribesii Allantus cinctus

Sawflies Gourweed Sawfly Tenthredinopsis Sawfly Gooseberry Sawfly Curled Rose Sawfly

Bladwespen Zevenbladwesp Tenthredinopsis bladwesp Bessenbladwesp Rozenzaagwesp

Argidae Arge ochropus

Sawflies Rose Sawfly

Argusbladwespen Gele rozebladwesp

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Siricidae Uroceras gigas

Horntails Greater Horntail Wasp

Houtwespen Reuzenhoutwesp

Apocrita

Ants, Bees, Wasps

Apocrita

Ichneumonidae Rhyssa persuasoria Amblyteles armatorius Rhorus mesoxanthus

Ichneumon Wasps Sabre Wasp Two-banded Ichneumon Fly Half-yellow Ichneumon Fly

Sluipwespen Reuzensluipwesp Tweeband sluipwesp Halfgele sluipwesp

Pteromalidae Pteromalus puparum

Chalcid Wasps Pteromalus Chalcid Wasp

Roofwespen Pteromalus roofwesp

Chrysididae Trichrysis cyanea Chrysis ignita

Gold Wasps Blue Goldfly Gold Wasp

Goudwespen Blauwe goudwesp Vuurgoudwesp

Braconidae Cotesia glomerata

Braconid Wasps Whites Killer

Brakwespen Koolwitjesdoder

Cynipidae Cynips quercusfolii

Gall Wasps Oak Gall Wasp

Galwespen Eikengalwesp

Formicidae Lasius flavus Lasius niger Formica rufa Eciton burchellii Camponotus spec.

Ants Yellow Meadow Ant Black Ant Southern Wood Ant Southamerican Army Ant Carpenter Ant

Mieren Gele weidemier Bruine wegmier Rode bosmier Zuid-Amerikaanse trekmier Reuzenmier

Apoidea

Apoidea

Apoidea

Vespidae Vespa crabro Vespula germanica Vespula vulgaris Dolichovespula saxonica

Wasps Hornet German Wasp Common Wasp Saxon Wasp

Wespen Hoornaar Duitse wesp (Gewone) Wesp Saksische wesp

Sphecidae Ammophila sabulosa

Digger Wasps Spider-hunting Wasp

Graafwespen Rupsendoder

Crabronidae Ectemnius dives Rubrica nasuta

Crabronids Ectemnius Digger Wasp Sand Wasp

Crabronide graafwespen Blokhoofdwesp Zandwesp

Apidae Apis mellifera Bombus terrestris Bombus lucorum Bombus hortorum Bombus lapidarius Bombus pratorum Bombus hypnorum Eulaema polyzona

Bees, Bumblebees Honeybee Earth Bumblebee Field Bumblebee Garden Bumblebee Stone Bumblebee Early Bumblebee New Garden Bumblebee Orchid Bee

Bijen, Hommels Honingbij Aardhommel Veldhommel Tuinhommel Steenhommel Weidehommel Boomhommel Orchideeënbij

Halictidae Halictus calcaratus

Sweat Bees Digger Wasp

Halictidae Groefgraafbij | 1127

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Colletidae Colletes daviesanus

Plasterer Bees Silk Bee

Colletidae Zijdebijtje

Lepidoptera

Butterflies, Moths, Caterpillars

Vlinders, Motten, Rupsen

Cossidae Cossus cossus Zeuzera pyrina

Carpenter Moths Goat Moth Leopard Moth

Houtboorders Wilgenhoutvlinder Gestippelde houtvlinder

Zygaenidae Zygaena filipendulae Zygaena ephialtes

Blood Drops Six-spot Burnet Variable Burnet

Bloeddrupjes Sint-Jansvlinder Blauw drupje

Tineidae Tinea pellionella Tineola bisselliella

Clothes Moths Case-bearing Clothes Moth Clothes Moth

Echte motten Pelsmot Kleermot

Sesiidae Sesia apiformis Sesia bembeciformis

Clearwing Moths Hornet Moth Lunar Hornet Moth

Glasvleugelvlinders Horzelvlinder Gekraagde wespvlinder

Pyralidae Pyralis farinalis Azomora nobilis Aglossa pinguinalis Galleria mellonella

Pyralid Moths Meal Moth Pyralids Grease Moth Honeycomb Moth

Snuitmotten Grote meelmot Snuitmot Pinguinlichtmot Grote wasmot

Crambidae Udea ferrugalis Anania funebris Pleuroptya ruralis

Grass Moths Rusty Dot Pearl White-spotted Sable Moth Mother of Pearl

Grasmotten Oranje kruidenmot Lichtbalmot Parelmoermot

Hesperiidae Ochlodes sylvanus Thymelicus lineola Thymelicus sylvestris Carcharodus alceae Urbanus dorantes Pyrrhopyge phidias bixae

Skippers Large Skipper European Skipper Small Skipper Mallow Skipper Dorantes Longtail Original Firetip

Dikkopjes Groot dikkopje Zwartsprietdikkopje Geelsprietdikkopje Kaasjeskruiddikkopje Langstaart dikkopje Vlamvlinder

Papilionidae Papilio machaon Papilio memnon Papilio androgeus Papilio demoleus Iphiclides podalirius Parides neophilus olivencius Parides anchises Troides helena Zerynthia polyxena Parnassius apollo

Swallowtails Swallowtail Great Mormon Giant Swallowtail Lime Butterfly Scarce Swallowtail Cattleheart Anchises Cattleheart Common Birdwing Southern Festoon Apollo

Pages Koninginnenpage Blauwe Mormoon Grote page Limoenvlinder Koningspage Bonte Paridesvlinder Anchises Paridesvlinder Vogelvleugel Zuidelijke pijpbloemvlinder Apollovlinder

Pieridae Pieris brassicae Pieris napi Pieris rapae Aporia crataegi

Whites Large White Green-veined White Small White Black-veined White

Witjes Groot koolwitje Groengeaderd witje Klein koolwitje Zwartgeaderd witje

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Anthocharis cardamines Pontia daplidice Colias hyale Colias croceus - f. helice Colias alfacariensis Gonepteryx rhamni Eurema spec. Delias hyparete Delias aglaia Phoebis argante Phoebis sennae Phoebis sennae marcellina

Orange Tip Bath White Pale Clouded Yellow Clouded Yellow White Clouded Yellow Berger’s Clouded Yellow Brimstone Grass Yellow Butterfly Painted Jezebel Redbase Jezebel Apricot Sulphur Cloudless Giant Sulphur Marcellina Cloudless Giant Sulphur

Oranjetip Resedawitje Gele luzernevlinder Oranje luzernevlinder Witte luzernevlinder Zuidelijke luzernevlinder Citroenvlinder Grasgeeltje Geschilderde Jezebel Kleurenvlinder Abrikoos zwavelvlinder Reuzengeeltje Marcellina reuzengeeltje

Lycaenidae Thecla betulae Lycaena phlaeas Lycaena dispar Maculinea arion Maculinea alcon Plebejus argus Polyommatus icarus Aricia agestis

Blues Brown Hairstreak Small Copper Large Copper Large Blue Gentian Blue Silver-studded Blue Common Blue Brown Argus

Blauwtjes Berkenpage Vuurvlindertje Grote vuurvlinder Tijmblauwtje Gentiaanblauwtje Heideblauwtje Icarusblauwtje Bruin blauwtje

Nymphalidae

Brush-footed Butterflies

Dryas iulia alcionea Apatura ilia Fabriciana adippe Speyeria aglaja Issoria lathonia Boloria euphrosyne Boloria selene Boloria dia Vanessa atalanta Vanessa cardui Vanessa virginiensis Euphrydryas aurinia Melitea athalia Nymphalis antiopa Nymphalis polychloros Aglais urticae Inachis io Polygonia c-album Aphantopus hyperanthus Hipparchia semele Oleria aegle Morpho menelaus Morpho telemachus Myonia pyraloides Limenitis camilla Limenitis reducta herculeana Limenitis populi Heliconius melpomene Heliconius ricini Anartia jatrophae

Orange Longwing Small Emperor High Brown Fritillary Dark Green Fritillary Queen of Spain Fritillary Pearl-bordered Fritillary Silver-borderd Fritillary Violet Fritillary Red Admiral Painted Lady American Painted Lady Marsh Fritillary Heath Fritillary Camberwell Beauty Large Tortoiseshell Small Tortoiseshell Peacock Comma Ringlet Grayling Clearwing Blue Morpho Telemachus Morpho Myonia White Admiral Southern White Admiral Poplar Admiral Heliconius Palma Christi Heliconian White Peacock

Schoenlappers, parelmoervlinders, zandoogjes Oranje passiebloemvlinder Kleine weerschijnvlinder Bruine parelmoervlinder Grote parelmoervlinder Kleine parelmoervlinder Zilvervlek Zilveren maan Paarse parelmoervlinder Atalanta Distelvlinder Amerikaanse atalanta Moerasvlinder Bosparelmoervlinder Rouwmantel Grote vos Kleine vos Dagpauwoog Gehakkelde aurelia Koevinkje Heidevlinder Zwarte witvleugelvlinder Blauwe morpho Telemachus morpho Myonia Kleine ijsvogelvlinder Blauwe ijsvogelvlinder Nijmeegse kapel Heliconius Wondervlinder Witte pauwvlinder | 1129

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Caligo idomeneus Caligo teucer Magneuptychia lea Araschnia levana f. prorsa Argynnis paphia Pyronia tithonus Baeotus baeotus Melanargia galathea Maniola jurtina Coenonympha pamphilus Coenonympha tullia Pararge aegeria Lasiommata megera Thyridia psidii

Giant Owl Butterfly Giant Teucer Butterfly Dark Euptygia Map Butterfly summer form Silver-washed Fritillary Gatekeeper Spotted Butterfly Marbled White Meadow Brown Small Heath Large Heath Speckled Wood Wall Spotted Amberwing

Grote uilvlinder Grote teucer uilvlinder Donkere Euptygia Landkaartje zomervorm Keizersmantel Oranje zandoogje Baeotus Dambordje Bruin zandoogje Hooibeestje Veenhooibeestje Bont zandoogje Argusvlinder Gevlekte ambervlinder

Lasiocampidae Malacosoma neustria Lasiocampa quercus Lasiocampa trifolii Gastropacha quercifolia Trichiura crataegi Odonestis pruni Euthrix potatoria Eriogaster lanestris Eriogaster catax Macrothylacia rubi

Eggars Lackey Moth Oak Eggar Grass Eggar Lappet Pale Egger Moth Plum Lappet Drinker Small Eggar Eastern Eggar Fox Moth

Spinners Ringelrups Hageheld Kleine hageheld Eikenblad Grijsbandspinner Kersenspinner Rietvink Wolspinner Bosrandspinner Veelvraat

Bombycidae Bombyx mori

Bombycids Silk Moth

Echte Spinners Zijdevlinder

Saturniidae Saturnia pyri Saturnia pavonia Automeris liberia Automeris arminia Rothschildia hesperus Molippa nibasa Arsenura armida Aglia tau

Peacocks Giant Peacock Small Emperor Bullseye Moth Automeris arminia Rothschild’s Moth Molippa Moth Giant Silk Moth Tau Emperor

Nachtpauwogen Grote nachtpauwoog Nachtpauwoog Automeria mot Automeris arminia Rothschildia mot Molippa nachtpauwoog Erythrina mot Tauvlinder

Geometridae Abraxas grossulariata Colotois pennaria Horisme tersata Timandra comae Timandra griseata Eupithecia centaureata Eupithecia fraxinata Eupithecia spec. Macaria wauaria Chloroclysta miata Chloroclysta siterata Theria rupicapraria Cyllopoda jatropharia Crocallis elinguaria Pelurga comitata

Geometrids Magpie Moth Feathered Thorn Moth The Fern Blood-vein Eastern Blood-vein Lime-speck Pug Ash Pug Pug Moth V-Moth Autumn Green Carpet Red-green Carpet Early Umber Bellyache Butterfly Scalloped Oak Dark Spinach

Spanners Bonte bessenvlinder Gepluimde spanner Egale bosrankspanner Lieveling Oostelijke lieveling Zwartvlekdwergspanner Essendwergspanner Dwergspanner Zwarte-w-vlinder Herfstpapegaaitje Roodgroene spanner Late meidoornspanner Buikpijnplantvlinder Eikenspanner Meldespanner

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Biston betularia Cleora cinctaria Pseudoterpna pruinata Eulithis prunata Cidaria fulvata Anticlea derivata Xanthorhoe fluctuata Erannis defoliaria Alcis repandata Mesoleuca albicillata Scopula ornata

Peppered Moth Ringed Carpet Grass Emerald Phoenix Barred Yellow Streamer Garden Carpet Mottled Umber Moth Mottled Beauty The Beautiful Carpet Lace Border

Berkenspanner Geringde spikkelspanner Grijsgroene zomervlinder Wortelhoutspanner Oranje bruinbandspanner Getekende rozenspanner Zwartbandspanner Grote wintervlinder Variabele spikkelspanner Brummelspanner Kantstipspanner

Sphingidae Smerinthus ocellatus Acherontia atropos Deilephila elpenor Sphinx ligustri Sphinx pinastri Hyles euphorbiae Hyles gallii Agrius convolvuli Madoryx oiclus oiclus Manduca sexta paphus Manduca rustica Mimas tiliae Macroglossum stellatarum Daphnis nerii Erinnyis ello Erinnyis alope Eumorpha fasciata Pseudosphinx tetrio Cocytius antaeus Laothoe populi

Hawk Moths Eyed Hawk Death’s Head Hawk Elephant Hawk Privet Hawk Pine Hawk Spurge Hawk Bedstraw Hawk Moth Convolvulus Hawk Mador Hawk Tobacco Hawk Rustic Sphinx Lime Hawk Moth Hummingbird Hawk Moth Oleander Hawk Moth Cassava Hornworm Papaya Hornworm Banded Sphinx Tetrio Sphinx Giant Sphinx Poplar Hawk Moth

Pijlstaarten Pauwoogpijlstaart Doodshoofdvlinder Groot avondrood Ligusterpijlstaart Dennenpijlstaart Wolfsmelkpijlstaart Walstropijlstaart Windepijlstaart Madoryxpijlstaart Tabakpijlstaart Rustica pijlstaart Lindepijlstaart Kolibrievlinder Oleanderpijlstaart Ello pijlstaart Gestippelde pijlstaart Bandepijlstaart Tetrio pijlstaart Reuzenpijlstaart Populierenpijlstaart

Notodontidae Notodonta phoebe Notodonta dromedaris Phalera bucephala Notodonta ziczac Pterostoma palpina Cerula vinula Ptilodon capucina Clostera pigra

Prominents Willow Prominent Iron Prominent Buff-tip Pebble Prominent Pale Prominent Puss Moth Coxcomb Prominent Small Chocolate-tip

Tandvlinders Wilgentakvlinder Dromedarisvlinder Wapendrager Kameeltje Snuitvlinder Hermelijnvlinder Kroonvogeltje Donkere wapendrager

Noctuidae Noctua comes Noctua pronuba Xanthia aurugo Apatele psi Acronicta tridens Acronicta rumicis Acronicta psi Acronicta leporina Acronicta auricoma Bryophila domestica Melanchra persicariae Periphanes delphinii

Owlet Moths Lesser Yellow Underwing Yellow Underwing Barred Sallow Grey Dagger Dark Dagger Knotgrass Grey Dagger Miller Scarce Dagger Marbled Beauty Dot Moth Larkspur Owl

Uilen Volgeling Huismoeder Saffraangouduil Psi-uil Drietanduil Zuringuil Psi-uil Schaapje Goudhaaruil Lichte korstmosuil Perzikkruiduil Ridderspooruil | 1131

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Lithophane furcifera Lithophane socia Abrostola trigemina Abrostola triplasia Hadula trifolii Autographa gamma Autographa bractea Autographa pulchrina Cucullia umbratica Shargacucullia verbasci Antitype chi Xylena exsoleta Autoplusia egena Amphipyra pyramidea Ceramica pisi Amphipyra livida Amphipyra tragopoginis Eurois occulta Mamestra brassicae Polymixis flavicincta Ochropleura plecta Orthosia incerta Orthosia gothica Orthosia gracilis Parastichtis ypsillon Phlogophora meticulosa Hadena rivularis Diarsia brunnea Agrochola lychnidis Agrochola litura Apamea monoglypha Apamea sordens Lacanobia oleracea Cosmia diffinis Cosmia trapezina Eupsilia transversa Mesapamea secalis Xestia c-nigrum Xestia ditrapezium Pyrois cinnamomea Hypena proboscidalis Ipimorpha retusa Agrotis spec. Elaphria venustala Helicoverpa armigera Diloba caeruleocephala Calliteara pudibunda Orgyia antiqua Leucoma salicis Lymantria monacha Lymantria dispar Gynaephora fascelina Euproctis chrysorrhoea Euproctis similis Arctia caja Phragmatobia fuliginosa Arctia villica

Conformist Pale Pinion Spectacle Dark Spectacle Nutmeg Moth Silver Y Moth Gold Spangle Beautiful Golden Y White Shark Moth Mullein Moth Grey Chi Sword-grass Moth Bean Leafskeletonizer Copper Underwing Broom Moth Gleaming Underwing Mouse Moth Great Brocade Cabbage Moth Large Ranunculus Flame Shoulder Clouded Drab Hebrew Character Powdered Quaker Dingy Shears Angel Shades Campion Purple Clay Beaded Chestnut Brown-spot Pinion Dark Arches Rustic Shoulder-knot Bright-line Brown-eye White-spotted Pinion Dun-bar Moth Satellite Moth Common Rustic Setaceous Hebrew Character Triple-spotted Clay Cinnamon Underwing Snout Olive Dart Rosy Marbled Scarce Bordered Straw Figure of Eight Pale Tussock Vapourer White Satin Black Arches Gipsy Moth Dark Tussock Moth Browntail Moth Yellow Tail Garden Tiger Moth Ruby Tiger Cream-spot Tiger

Kleine manteluil Geelbruine houtuil Brandnetelkapje Donker brandnetelkapje Spurrie-uil Gamma-uil Zilvervenster Donkere jota-uil Grauwe monnik Kuifvlinder Chi-uil Roetvlek Bonenskeletrups Piramidevlinder Erwtenuil Piramideuil Boksbaardvlinder Grote bosbesuil Kooluil Gele granietuil Haarbos Variabele voorjaarsuil Nunvlinder Sierlijke voorjaarsuil Wilgenschorsvlinder Agaatvlinder Gevorkte silene-uil Donkere kleimot Variabele herfstuil Zwartgevlekte herfstuil Grasworteluil Kweekgrasuil Groente-uil Iepenuil Hyena Wachtervlinder Halmrupsvlinder Zwarte c-uil Trapeziumuil Kaneeluil Bruine snuituil Olijfmot Agrotis uiltje Gemarmerd heide-uiltje Katoendaguil Krakeling Meriansborstel Witvlakvlinder Satijnvlinder Nonnetje Plakker Grauwe borstel Bastaardsatijnvlinder Donsvlinder (Bruine) Beervlinder Kleine beer Roomvlek

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Parasemia plantaginis Callimorpha dominula Spilarctia lutea Spilosoma lubricipeda Tyria jacobaea Hypercompe spec. Hypocrita temperata Hypercompe icasia Rhyparia purpurata Spiris striata Miltochrista miniata Lithosia quadra Saurita cassandra Catocala nupta Catocala elocata Catocala sponsa Catocala promissa Catocala fraxini Scoliopteryx libatrix Polypogon spec. Parascotia fuliginaria

Wood Tiger Scarlet Tiger Buff Ermine White Ermine Cinnabar Hypercompe Hypocrita temperata Hypercompe icasia Purple Tiger Feathered Footman Rosy Footman Four-footed Footman Wasp Moth Red Underwing French Red Underwing Dark Crimson Underwing Light Crimson Underwing Clifden Nonpareil The Herald Polypogon Owlet Waved Black

Weegbreebeer Bonte beer Tijger Tienuursvlinder Sint-Jacobsvlinder Hypercompe Hypocrita temperata Hypercompe icasia Purperbeer Geel grasbeertje Roze kronkellijnvlinder Viervlakvlinder Wespmot Rood weeskind Populierenweeskind Karmozijnrood weeskind Klein rood weeskind Blauw weeskind Roesje Polypogon-uil Paddenstoeluil

Nolidae Nola cucullatella Meganola albula

Nolid Moths Short-cloaked Moth Kent Black Arches

Visstaartjes Klein visstaartje Groot visstaartje

Psychidae Oiketicus geyeri

Basket Moths Geyer Basket Moth

Zakdragers Grote zakdrager

Tortricidae Cnephasia chrysantheana Notocelia rosaecolana Pandemis cerasana Pandemis heparana Pandemis corylana Archips rosana Acleris variegana Acleris bergmanniana Epiblema roborana Hedya nubiferana Cydia nigricana

Leafrollers Yellow Tortrix Rosary Tortrix Barred Fruit-tree Tortrix Dark Fruit-tree Tortrix Chequered Fruit-tree Tortrix Rose Tortrix Garden Rose Tortrix Yellow Rose Button Moth Epiblema Rose Tortrix Marbled Orchard Tortrix Pea Moth

Bladrollers Gele tortrix Rozenhermelijnbladroller Kersenbladroller Leverkleurige bladroller Hazelaarbladroller Heggenbladroller Witschouderbladroller Bergmans belmot Epiblema rozenbladroller Gewone witvlakbladroller Erwtenbladroller

Ethmiidae Ethmia terminella

Stipple Moths Stipple Moth

Stippelmotten Stippelmot

Yponomeutidae Yponomeuta padella Yponomeuta plumbella

Ermines Orchard Ermine Dotted Ermine

Spinselmotten Meidoornstippelmot Grootvlekstippelmot

Plutellidae Plutella porrectella

Diamondback Moths Grey-streaked Smudge

Koolmotten Gemarmerd koolmotje

Pterophoridae Stenoptilia pterodactyla Cnaemidophorus rhododactyla

Plume Moths Hants Moth Rose Plume Moth

Vedermotten Ereprijsvedermot Rozenvedermot

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Drepanidae Tethea or Tethea ocularis Watsonalla cultraria Drepana curvatula Cilix glaucata Thyatira batis

Hook-tip Moths Poplar Lutestring Figure of Eighty Barred Hook-tip Dusky Hook-tip Chinese Character Peach Blossom

Eenstaartjes Orvlinder Peppel-orvlinder Beukeneenstaart Bruine eenstaart Witte eenstaart Braamspinner

Mecoptera

Scorpion Flies

Schorpioenvliegen

Panorpidae Panorpa communis

Scorpion Flies (Common) Scorpion Fly

Schorpioenvliegen Schorpioenvlieg

Diptera

Flies

Tweevleugeligen

Nematocera

Thread-horns

Muggen

Tipulidae Tipula oleracea Tipula paludosa

Crane Flies Daddy-Long-Legs Crane Fly

Langpootmuggen Langpootmug Moeraslangpootmug

Ptychopteridae Ptychoptera contaminata

Long-legged Flies Phantom Crane Fly

Glansmuggen Glansmug

Culicidae Culex pipiens Culiseta annulata

Mosquitoes Mosquito Banded Mosquito

Steekmuggen Gewone steekmug Ringpootmug

Simuliidae Simulium reptans

Itch Flies Black Fly

Kriebelmuggen Zwarte kriebelmug

Ceratopogonidae

Biting Midges

Knutjes

Bibionidae Bibio varipes

March Flies Variable Bibio

Zwarte vliegen Zwarte vlieg

Brachycera

Flies

Vliegen

Tabanidae Haematopota pluvialis

Horse Flies Rain Fly

Dazen Regendaas

Scenopinidae Scenopinus fenestralis

Window Flies Window Fly

Venstervliegen Venstervlieg

Bombyliidae Bombylius major

Bee-like Flies Bee Fly

Wolzwevers Wolzwever

Asilidae Leptogaster spec.

Robber Flies Robber Fly

Roofvliegen Roofvlieg

Syrphidae Scaeva pyrastri Scaeva selenitica Episyrphus balteatus Helophilus pendulus Syrphus ribesii Syrphus vitripennis

Hoverflies Half Moon-spot Hoverfly Yellow Half Moon Hoverfly Double-banded Hoverfly Common Hoverfly Wasp Hoverfly False Wasp Hoverfly

Zweefvliegen Halvemaanzweefvlieg Gele halvemaanzweefvlieg Dubbelbandzweefvlieg Pendelzweefvlieg Wespzweefvlieg Kleine bandzwever

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Volucella pellucens Volucella zonaria Eupeodes corollae Eristalis spec. Chrysotoxum spec. Baccha elongata

Bumble Hoverfly Hornet Mimic Hoverfly Vagrant Hoverfly Eristalis Hoverfly Chrysotoxum Hoverfly Flying Pin

Hommelzweefvlieg Stadsreus Terrasjeskommazwever Eristalis zweefvlieg Fopwesp Vliegende speld

Sepsidae Sepsis cynipsea

Scavenger Flies Black Scavenger

Wappervliegen Zwarte wappervlieg

Chloropidae Oscinella frit

Frit Flies Frit Fly

Halmvliegen Fritvlieg

Scathophagidae Scathophaga stercoraria

Dung Flies Yellow Dung Fly

Drekvliegen Drekvlieg

Fanniidae Fannia canicularis

Fanniidae Lesser Housefly

Fanniidae Kleine huisvlieg

Muscidae Musca domestica Stomoxys calcitrans Helina lucorum Mesembrina meridiana Hydrotaea ignava

Flies Housefly Stable Fly Spotted-wing Fly Noon Fly Garbage Fly

(Eigenlijke) Vliegen Huisvlieg Stalvlieg Vlekvleugelvlieg Schorsvlieg Blauwe zwever

Oestridae Gasterophilus intestinalis Hypoderma bovis

Botflies Horse Botfly Northern Cattle Grub

Horzels Paardenhorzel Runderhorzel

Anthomyiidae Pegomya betae

Anthomyid Flies Root Fly

Bloemvliegen Bietenvlieg

Calliphoridae Calliphora erythrocephala Calliphora vicina Calliphora vomitoria Lucilia caesar Pollenia rudis

Blow Flies Blue Blow Fly Orange-cheeked Bluebottle Fly (Common) Bluebottle Fly Greenbottle Fly Cluster Fly

Bromvliegen Blauwe bromvlieg Roodwangbromvlieg Blauwe vleesvlieg Keizersvlieg Viltvlieg

Sarcophagidae Sarcophaga carnaria

Flesh Flies Common Flesh Fly

Dambordvliegen Grijze vleesvlieg

Tachinidae

Tachina Flies

Parasietvliegen

Piophilidae Piophila casei

Shiny Flies Cheese Skipper

Glimvliegjes Kaasvlieg

Psilidae

Rust Flies

Wortelvliegen

CHORDATA

Chordate

Chordata

VERTEBRATA

Vertebrates

Gewervelde dieren

ACTINOPTERYGII

Ray-finned Fishes

Straalvinnigen

Cypriniformes

Ray-finned Fishes

Karperachtigen | 1135

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Cyprinidae Carassius auratus

Carps Goldfish

Karpers Goudvis

REPTILIA

Reptiles

Reptielen

Testudines

Turtles

Schildpadden

Testudinidae Testudo hermanni

Tortoises Hermann’s Tortoise

Landschildpadden Griekse landschildpad

Emydidae Emys orbicularis

Pond Turtles Pond Terrapin

Moerasschildpadden (Europese) Moerasschildpad

Squamata

Scaled Reptiles

Schubreptielen

Lacertilia

Lizards

Hagedissen

Chamaeleonidae Chamaeleo chamaeleon

Chameleons Chameleon

Kameleons Kameleon

Lacertidae Lacerta agilis Lacerta viridis Podarcis muralis

Lizards Sand Lizard Green Lizard Wall Lizard

Hagedissen Zandhagedis Smaragdhagedis Muurhagedis

Serpentes

Snakes

Slangen

Colubridae Hierophis viridiflavus Natrix natrix Coronella austriaca

Colubrid Snakes Dark Green Snake European Grass Snake Smooth Snake

Toornslangen Geelgroene toornslang Ringslang Gladde slang

Viperidae Vipera berus Vipera aspis

Vipers Northern Viper Asp Viper

Adders Adder Aspisadder

AMPHIBIA

Amphibians

Amfibieën

Caudata

Salamanders

Salamanders

Salamandridae Salamandra salamandra Triturus cristatus

Salamanders Fire Salamander Great Crested Newt

(Gewone) Salamanders Vuursalamander Kamsalamander

Anura

Frogs, Toads

Kikkers, Padden

Alytidae Alytes obstetricans

Midwife Toads Midwife Toad

Vroedmeesterpadachtigen Vroedmeesterpad

Bombinatoridae Bombina variegata Bombina bombina

Fire-bellied Toads Yellow-bellied Toad Fire-bellied Toad

Vuurbuikpadden Geelbuikvuurpad Roodbuikvuurpad

Pelobatidae Pelobates fuscus

Spadefoot Toads (Common) Spadefoot

Knoflookpadden Knoflookpad

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Bufonidae Bufo calamita Bufo bufo

(Real) Toads Natterjack Toad (Common) Toad

(Echte) Padden Rugstreeppad (Gewone) Pad

Hylidae Hyla arborea

Tree Frogs (Common) Tree Frog

Boomkikkers (Europese) Boomkikker

Ranidae Rana temporaria Rana esculenta Rana arvalis

(True) Frogs Common Frog Edible Frog Moor Frog

(Echte) Kikkers Bruine kikker Groene kikker Heikikker

AVES

Birds

Vogels

Ciconiiformes

Storks

Ooievaarachtigen

Ciconiidae Ciconia ciconia

Storks White Stork

Ooievaars Ooievaar

Galliformes

Game Birds

Hoendervogels

Phasianidae Coturnix coturnix Chrysolophus pictus Phasianus colchicus - subsp. torquatus Pavo cristatus Perdix perdix Gallus gallus f. domesticus

Pheasants et al. Quail Golden Pheasant Pheasant Ring-necked Pheasant Peacock Grey Partridge Chicken

Fazanten e.a. Kwartel Goudfazant Fazant Ringfazant Pauw Patrijs Kip

Charadriiformes

Waders et al.

Steltloperachtigen

Scolopacidae Gallinago gallinago

Snipes et al. Snipe

Snippen e.a. Watersnip

Accipitriformes

Hawks et al.

Havikachtigen

Accipitridae Accipiter gentilis Accipiter nisus

Hawks et al. Goshawk Sparrowhawk

Havikachtigen Havik Sperwer

Cathartidae Sarcoramphus papa

Vultures King Vulture

Gieren Koningsgier

Falconiformes

Birds of Prey

Roofvogels

Falconidae Falco tinnunculus Falco subbuteo Falco peregrinus

Falcons Kestrel Hobby Peregrine

Valken Torenvalk Boomvalk Slechtvalk

Columbiformes

Doves

Duifachtigen

Columbidae Columba livia -f. domestica Columba palumbus

Doves Rock Dove (Common) Dove Wood Pigeon

Duiven Rotsduif (Gewone) Duif Houtduif | 1137

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Psittaciformes

Parrots

Papegaaiachtigen

Cacatuidae Cacatua galerita Cacatua moluccensis

Cockatoos Sulphur-crested Cockatoo Salmon-crested Cockatoo

Kaketoes Grote geelkuifkaketoe Molukkenkaketoe

Psittacidae Psittacus erithacus Ara macao Ara ararauna

Parrots African Grey Parrot Scarlet Macaw Bue-and-Gold Macaw

Edelpapegaaien Grijze roodstaartpapegaai Rode ara Blauwgele ara

Psittaculidae Trichoglossus haematodus Melopsittacus undulatus Eclectus roratus Psittacula eupatria Prosopeia tabuensis

Loriinis et al. Rainbow Lorikeet Budgerigar Eclectus Parrot Alexandrine Parrot Red Shining Parrot

Prachtparkieten e.a. Veelkleurige lori Grasparkiet Grote edelpapegaai Alexanderparkiet Roodglansparkiet

Strigiformes

Owls

Uilen

Tytonidae Tyto alba

Barn Owls Barn Owl

Kerkuilen Kerkuil

Coraciiformes

Kingfishers et al.

Scharrelaarvogels

Alcedinidae Alcedo atthis

Kingfishers Kingfisher

IJsvogels IJsvogel

Bucerotiformes

Bucerotiformes

Bucerotiformes

Upupidae Upupa epops

Hoopoes Hoopoe

Hoppen Hop

Piciformes

Woodpeckers

Spechtvogels

Picidae Picoides major Picus viridis

Woodpeckers Great Spotted Woodpecker Green Woodpecker

Spechten Grote bonte specht Groene specht

Passeriformes

Song Birds

Zangvogels

Alaudidae Alauda arvensis

Larks Sky Lark

Leeuweriken Veldleeuwerik

Paradisaeidae Paradisaea guilielmi

Birds of Paradise Emperor Bird-of-Paradise

Paradijsvogels Keizer wilhelms paradijsvogel

Corvidae Corvus corone Corvus cornix Pica pica Garrulus glandarius

Crows Carrion Hooded Crow Magpie Jay

Kraaien Zwarte kraai Bonte kraai Ekster (Vlaamse) Gaai

Paridae Parus major Parus caeruleus

Tits Great Tit Blue Tit

Mezen Koolmees Pimpelmees

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Turdidae Turdus merula Turdus philomelos

Thrushes Blackbird Song Thrush

Lijsters Merel Zanglijster

Fringillidae Chloris chloris Carduelis carduelis Pyrrhula pyrrhula Fringilla coelebs

Finches Greenfinch Goldfinch Bullfinch Chaffinch

Vinken Groenling Putter, Distelvink Goudvink Vink

Passeridae Passer domesticus

Sparrows House Sparrow

Mussen (Huis)Mus

Prunellidae Prunella modularis

Dunnocks Dunnock

Heggenmussen Heggenmus

Muscicapidae Phoenicurus phoenicurus Saxicola torquatus Luscinia megarhynchos Erithacus rubecula

Old World Flycatchers Common Redstart African Stonechat Nightingale Robin

Vliegenvangers Gekraagde roodstaart Roodborsttapuit Nachtegaal Roodborst

Sturnidae Sturnus vulgaris

Starlings Common Starling

Spreeuwen Spreeuw

MAMMALIA

Mammals

Zoogdieren

Eulipotyphla

Insectivores

Insecteneters

Erinaceidae Erinaceus europaeus

Hedgehog, Gymnures Hedgehog

Egelachtigen Egel

Artiodactyla

Even-toad Ungulates

Evenhoevigen

Cervidae Cervus elaphus

Deer Deer

Hertachtigen Hert

Lagomorpha

Hares et al.

Haasachtigen

Leporidae Lepus europaeus Oryctolagus cuniculus

Hares, Rabbits Hare Rabbit

Hazen, Konijnen Haas Konijn

Rodentia

Rodents

Knaagdieren

Sciuridae Sciurus vulgaris Marmota spec.

Squirrels Reddish-brown Squirrel Marmots

Eekhoornachtigen (Rode) Eekhoorn Marmot

Muridae Mus musculus

Mice, Rats et al. House Mouse

Muisachtigen Huismuis

Caviidae Cavia porcellus

Cavies Guinea Pig

Cavia-achtigen Huiscavia

Canidae Canis familiaris

Dogs, Wolves et al. Dog

Hondachtigen Hond | 1139

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Felidae Felis domestica

Cats Domestic Cat

Katachtigen Kat

Primates

Primates

Primaten

Cercopithecidae Cercopithecus spec.

Old World Monkeys Guenons

Apen van de Oude Wereld Meerkat

Cebidae Saimiri sciureus

Capuchin Monkeys Squirrel Monkey

Kapucijnapen Doodshoofdaapje

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Bieler, R. & R.E. Petit, ‘Catalogue of Recent and fossil “worm-snail” taxa of the families Vermetidae, Siliquariidae, and Turritellidae (Mollusca: Caenogastropoda)’, Zootaxa 2948 (2011), pp. 1-103.

Jurzitza, G., Libellen – De waternimfen van West- en Midden-Europa in 120 kleurenfoto’s, Zutphen 1979.

Bos, F., Lieveheersbeestjes in beeld, Utrecht 1999.

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Frank, S., The Pictorial Encyclopedia of Fishes, Londen & New York 1971. Gibbons, B., Dragonflies and Damselflies of Britain and Northern Europe, Rushden 1986. van der Goot, V.S., De zweefvliegen van Noordwest-Europa en Europees Rusland, in het bijzonder van de Benelux, Hoogwoud 1981. von Hagen, E., Hummeln – bestimmen, ansiedeln, vermehren, schützen, Augsburg 1994. Harde, K.W., A Field Guide in Colour to Beetles, London 1984. Higgins, L.G. & N.D. Riley, Elseviers vlindergids voor alle Europese dagvlinders, Amsterdam & Brussels 1971.

Oudemans, J.Th., De Nederlandsche insecten, The Hague 1900. Peeters, T.M.J. et al., De wespen en mieren van Nederland (Hymenoptera: Aculeata), Leiden 2004. Peterson, R.T., G. Mountfort & P.A.D. Hollom, J. Kist, Vogelgids voor alle in ons land en overig Europa voorkomende vogelsoorten, Amsterdam & Brussels, 1969. Preston-Mafham, K., Spiders – The Illustrated Identifier to over 90 Species, London 1998. Prys-Jones, O.E. & S.A. Corbet, Bumblebees, Exeter 2011. Roberts, M.J., Tirion Spinnengids – Uitgebreide beschrijving van ruim 500 Europese soorten, Baarn 1998.

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Rösel von Rosenhof, A.J., De natuurlyke historie der insecten – voorzien met naar’t leven getekende en gekoleurde plaaten, 4 vols, Haarlem & Amsterdam 1765-1788. (Dutch translation of A.J. Rösel von Rosenhof, Der monatlich-herausgegebenen InsectenBelustigung, 4 vols, Nürnberg 1746-1761)

Svensson, L. & P.J. Grant, Bird Guide – The Most Complete Guide to the Birds of Britain and Europe, London 2011.

Sandhall, Å. & K. Ander, Sprinkhanen, krekels en andere rechtvleugeligen – Natuurgids in kleuren over uiterlijk, ontwikkeling, levenswijze en gedrag der rechtvleugeligen, Rijswijk 1980.

Turin, H. & E.J. Van Nieukerken, De Nederlandse loopkevers – Verspreiding en oecologie (Coleoptera: Carabidae), Leiden 2000.

Sandhall, Å. & H. Andersson, Vliegen en muggen – Natuurgids in kleuren over uiterlijk, ontwikkeling, levenswijze en gedrag der tweevleugeligen, Rijswijk 1980. Sandhall, Å. & K-J. Hedqvist, Hommels, bijen, wespen en mieren – Natuurgids in kleuren over uiterlijk, ontwikkeling, levenswijze en gedrag der vliesvleugeligen, Rijswijk 1979. Sandhall, Å., U. Norling & B.W. Svensson, Libellen en andere netvleugeligen, Rijswijk 1980. Sauer, F., Bienen, Wespen und Verwandte nach Farbfotos erkannt, Karlsfeld 1985. Sauer, F., Fliegen und Mücken nach Farbfotos erkannt, Karlsfeld 1987. Schmidt-Loske, K., Die Tierwelt der Maria Sibylla Merian (1647-1717) – Arten, Beschreibungen und Illustrationen, Acta Biohistorica 10, Marburg 2007.

Tauscher, H., Unsere Heuschrecken – Lebensweise Bestimmung der Arten, Stuttgart 1986.

Voet, Johann Eusebius, Catalogus systematicus coleopterorum, 2 vols, The Hague 1806. Waring, P. & M. Townsend, Beknopte veldgids Nachtvlinders – Alle soorten van Nederland en België, Baarn 2009. Watson, A. & P.E.S. Whalley, The Dictionary of Butterflies and Moths in Colour, London 1975. van der Wiel, P., Welke kever is dat?, Zutphen 1954. de Wilde, A., Rupsentabel, Utrecht 1991. Wolters, H.E., Die Vogelarten der Erde – Eine systematische Liste mit Verbreitungsangaben sowie deutschen und englischen Namen, Hamburg 1982. Zahradnik, J., Thieme’s insektengids voor West- en Midden-Europa, Zutphen 1978.

Senders, J. & R., Exotische schelpen in een oogopslag, Kapellen & Bussum 1984. Sepp, Jan Christiaan, Beschouwing der Wonderen Gods in de minstgeachte schepzelen of Nederlandsche Insecten, 8 vols, Amsterdam 1762-1860. Skinner, B., Colour Identification Guide to Moths of the British Isles (Macrolepidoptera), Harmondsworth 1984. Smart, P., Moussault’s groot vlinderboek, Baarn 1976. South, R., The Moths of the British Isles, 2 vols, London 1980. Springer, K.B. & R.K. Kinzelbach, Das Vogelbuch von Conrad Gessner (1516-1565) – Ein Archiv für avifaunistische Daten, Berlin 2009. Staněk, V.J., The Pictorial Encyclopedia of Insects, London & New York 1969. Staněk, V.J., The Pictorial Encyclopedia of the Animal Kingdom, London 1971. Steiner, A. et al., Die Nachtfalter Deutschlands – Ein Feldführer, Östermarie 2014.

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Detail Fig. 8.27 | 1145

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SEGAL 1993a S. Segal, ‘Twee stillevens van / Two still lifes by Cornelis Kuipers’ in J. Erkelens et al. 1993, pp. 21-33.

SEGAL 1985-86 S. Segal, ‘Roelant Savery als Blumenmaler’ in Cologne & Utrecht 1985-86, pp. 55-72, and entries nos 2, 12, 34, 43, 44, 67 and 129. SEGAL 1986 S. Segal, ‘De keus in de kunst – Over de betekenis van zeventiende eeuwse stillevens’, Tableau 8 (1986) no. 5, pp. 56-60, 70 (summary). SEGAL 1987 S. Segal, ‘Exotische bollen als statussymbolen’, Kunstschrift – Openbaar Kunstbezit 31 (1987), pp. 88-97. SEGAL 1987a S. Segal, ‘Paardebloemen in de kunst’ in A.A. Sterk et al., Paardebloemen, planten zonder vader – Variatie, evolutie en toepassingen van het geslacht paardebloem (Taraxacum), Utrecht 1987, pp. 296-314. SEGAL 1987b S. Segal, Tulips by Anthony Claesz – 56 seventeenth century watercolour drawings by Anthony Claesz (ca.1607/08-1649), Maastricht 1987. SEGAL 1987c S. Segal, ‘A flower piece by Cornelis de Heem’, Tableau 9 (1987) no. 6, pp. 32-33 and Tableau 10 (1987) no. 2, p. 48. SEGAL 1989 S. Segal, ‘Gaspar van den Hoecke – Boeket met een Keizerskroon in een aardewerk vaas’, Tableau 11 (1989) no. 6, pp. 98-99, 103. SEGAL 1990 S. Segal, ‘A still life of flowers and fruits by Jan van den Hecke’, Tableau 12 (1990) no. 6, pp. 36-38.

SEGAL 1994 S. Segal, ‘De symboliek van de Tulp’ / ‘De Tulp in de Gouden Eeuw’ in Amsterdam 1994, pp. 8-23, 74-128. SEGAL 1995 S. Segal, ‘A Dutch Flowering’ in The European Fine Art Fair – Handbook 1995, Maastricht 1995, pp. 26-31. SEGAL 1996 S. Segal, ‘Bloemschilderkunst in de Nederlanden van Jan Brueghel tot Vincent van Gogh’ / ‘Les fleurs dans la peinture aux Pays-Bas de Jan Brueghel à Vincent van Gogh’ in Brussels 1996, pp. 6-36; ‘Bloemen en mode in de Nederlandse schilderkunst’ / ‘Les fleurs et la mode dans la peinture aux Pays-Bas’ in idem, pp. 51-58. SEGAL 1996a S. Segal, ‘Blumen, Tiere und Stilleben von Ludger tom Ring d.J.’ in Münster 1996, I. pp. 109-150; II. entries nos 76-101; cat. nos 134-137, 140-142, 149-152, 178-196, 200-202. SEGAL 1997 S. Segal, ‘Maria Sibylla Merian als Blumenmalerin’ / ‘Maria Sibylla Merian as a Flower Painter’ / ‘Maria Sibylla Merian als bloemenschilderes’ in Frankfurt & Haarlem 1997-98, pp. 68-87. SEGAL 1999 S. Segal, ‘Die Entdeckung des Moller-Florilegiums’ in H. de Cuveland et al., Das Moller-Florilegium des Hans Simon Holtzbecker, Berlin 1999, pp. 24-27. SEGAL 2001 S. Segal, ‘On Florilegia’ in Natural History & Travel – Old and Rare Books, catalogue 279 Antiquariaat Junk, Amsterdam 2001, pp. 9-47.

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BRUSSELS 1989 S. Segal, W. Laureyssens, P. Dekeyser et al., Tableaux de fleurs du XVIIe siècle – Peinture et botanique / Zeventiende-eeuwse bloemstukken – Schilderkunst en plantkunde, Koninklijke Musea voor Schone Kunsten van België, Brussels 1989. BRUSSELS 1996 H. Devisscher, S. Segal, A. Lawalrée et al., Bloemen in de schilderkunst van de 16de tot de 20ste eeuw, Galerie van het Gemeentekrediet, Brussels 1996. BRUSSELS & ROME 1995 H. Devisscher & A.-C. de Liedekerke (eds), Fiamminghi a Roma 1508-1608 – Kunstenaars uit de Nederlanden en het Prinsbisdom Luik te Rome tijdens de Renaissance, Paleis voor Schone Kunsten, Brussels & Palazzo delle Esposizioni, Rome 1995.

BRUSSELS 1910 Trésor l’art belge au XVIIe siècle – Mémorial de l’exposition d’art ancien à Bruxelles en 1910, 2 vols, s.n., Brussels 1912.

CAEN 1990 A. Tapié (ed.), Les vanités dans la peinture au XVIIe siècle – Méditations sur la richesse, le dénuement et la rédemption, Musée des Beaux-Arts, Caen 1990.

BRUSSELS 1929 E. Zarnowska, La nature-morte hollandaise – Les principaux représentants, ses origines, son influence, Paleis voor Schone Kunsten, Brussels 1929.

CAEN 1987 & PARIS 1989 S. Segal, A. Tapié, C. Joubert et al., Le sens caché des fleurs – Symbolique et botanique dans la peinture du XVIIe siècle, Musée des Beaux-Arts, Caen 1987 & Trianon de Bagatelle, Paris 1989.

BRUSSELS 1963 G. Bazin, S. Bergmans, K.G. Boon et al., De eeuw van Bruegel – De schilderkunst in België in de 16de eeuw, Koninklijke Musea voor Schone Kunsten van België, Brussels 1963.

CAMBRIDGE 1988-89 P. Woudhuysen (ed.), The Dutch connection – The founding of the Fitzwilliam Museum, Fitzwilliam Museum, Cambridge 1988-1989.

BRUSSELS 1965 S. Bergmans, E. Greindl, M.-L. Hairs et al., De eeuw van Rubens, Koninklijke Musea voor Schone Kunsten van België, Brussels 1965. BRUSSELS 1967 Exposition de tableaux de maîtres du XV au XIX siècle, Galerie Robert Finck, Brussels 1967. BRUSSELS 1969 L. Lebeer, Catalogue raisonné des estampes de Bruegel l’Ancien, Koninklijke Bibliotheek Albert I, Brussels 1969. BRUSSELS 1970 Galerij Robert Finck – Exposition de tableaux de maîtres du XVe au XVIIIe siècle, Galerie Robert Finck, Brussels 1970. BRUSSELS 1971 Rembrandt en zijn tijd, Paleis voor Schone Kunsten, Brussels 1971. BRUSSELS 1985-86 D. Coekelberghs & P. Loze, 1770-1830 – Om en rond het neoclassicisme in België, Gemeentemuseum van Elsene, Brussels 19841985.

CAPE TOWN 1952 R. van Luttervelt & J. Paris, Catalogue of an exhibition of XVII century Dutch painting from the Netherlands and from public and private collections brought together for the Van Riebeeck tercentenary festival, National Gallery of South Africa, Cape Town 1952. COLCHESTER 1967 M. Chasen The Flower in Art, The Minories, Colchester 1967. COLOGNE 1968 H. May, Weltkunst aus Privatbesitz, Kunsthalle Köln, Cologne 1968. COLOGNE, ANTWERP & VIENNA 1992-93 E. Mai & H. Vlieghe (eds), Von Bruegel bis Rubens – das goldene Jahrhundert der flämischen Malerei, Wallraf-Richartz-Museum, Cologne 1992, Koninklijk Museum voor Schone Kunsten, Antwerp 1992-1993 & Kunsthistorisches Museum, Vienna 1993. COLOGNE & DORDRECHT 2015-16 A.K. Sevcik (ed.), Schalcken – gemalte Verführung / Schalcken – de kunst van het verleiden, Wallraf-Richartz-Museum & Fondation Corboud, Cologne 2015-2016 & Dordrechts Museum, Dordrecht 2016.

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DELFT, CAMBRIDGE & FORT WORTH 1988-89 S. Segal, A prosperous past – The sumptuous still life in the Netherlands 1600-1700, Stedelijk Museum Het Prinsenhof, Delft 1988, Fogg Art Museum, Cambridge 1988 & Kimbell Art Museum, Fort Worth (Texas) 1988-1989. DELFT & HOUSTON 2006-07 S. Segal, De verleiding van Flora – Jan van Huysum 1682-1749 / The Temptations of Flora – Jan van Huysum 1682-1749, Stedelijk Museum Het Prinsenhof, Delft 2006-2007 & Museum of Fine Arts, Houston 2007. DORDRECHT 1949 Dordts Kunstbezit, Dordrechts Museum, Dordrecht 1949. DORDRECHT 1954 L.J. Bol, Nederlandse stillevens uit vier eeuwen, Dordrechts Museum, Dordrecht 1954. DORDRECHT 1955 L.J. Bol, Boom, bloem en plant – Nederlandse meesters uit vijf eeuwen, Dordrechts Museum, Dordrecht 1955. DORDRECHT 1956 De gebroeders van Strij – Tentoonstelling ter herdenking van de geboorte van Jacob van Strij op 2 oktober 1756, Dordrechts Museum, Dordrecht 1956. DORDRECHT 1958 L.J. Bol, Adriaen Coorte – Stillevenschilder, Dordrechts Museum, Dordrecht 1958. DORDRECHT 1962 L.J. Bol, Nederlandse stillevens uit de 17e eeuw, Dordrechts Museum, Dordrecht 1962. DORDRECHT 1984 G.J. Schweitzer & W. de Paus, Dordrechts Museum 80 jaar op zijn plaats – Reconstructie van een tentoonstellingszaal anno 1904, Dordrechts Museum, Dordrecht 1984. DORDRECHT 1977-78 J.M. de Groot, Aelbert Cuyp en zijn familie – schilders te Dordrecht […], Dordrechts Museum, Dordrecht 1977-1978.

DELFT 2002 E. Bergvelt, M. Jonker & A. Wiechmann (eds), Schatten in Delft – Burgers verzamelen 1600-1750, Museum Lambert van Meerten, Volkenkundigmuseum Nusantara & Stedelijk Museum Het Prinsenhof, Delft 2002.

DORDRECHT 1980 I. Voorsteegh, Het eeuwig “tijdelijke”, Dordrechts Museum, Dordrecht 1980.

DELFT 2006-07 E. Kolfin, Voor koningen en prinsen – De stillevens en landschappen van Jan van Huysum (1682-1749), Stedelijk Museum Het Prinsenhof, Delft 2006-2007.

DORDRECHT 1986 J. Erkelens, J.M. de Groot, G.J. Schweitzer, Tussen zonnegoud en kaarslicht – Dordtse meesters 1780-1840, Dordrechts Museum, Dordrecht 1986.

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DORDRECHT 1992-93 P. Marijnissen (ed.), De Zichtbaere Werelt – schilderkunst uit de Gouden Eeuw in Hollands oudste stad, Dordrechts Museum, Dordrecht 1992-1993. DORDRECHT 2002 S. Paarlberg (ed.), Jacob Gerritsz. Cuyp (1594-1652), Dordrechts Museum, Dordrecht 2002. DORDRECHT & AMSTERDAM 1959-60 Bekoring van het kleine, Rijksprentenkabinet & Rijksmuseum, Amsterdam & Dordrechts Museum, Dordrecht 1959-1960. (cf. Bol 1963) DORDRECHT & ENSCHEDE 2000 C. Dumas (ed.), In helder licht: Abraham en Jacob van Strij – Hollandse meesters van landschap en interieur omstreeks 1800, Dordrechts Museum, Dordrecht & Rijksmuseum Twenthe, Enschede 2000. DRESDEN 1957 G. Rudloff-Hille, Sonderausstellung der Dresdner Gemäldegalerie im Albertinum […], Staatliche Kunstsammlungen Dresden, Dresden 1957. DRESDEN 1983 Das Stilleben und sein Gegenstand – Eine Gemeinschaftsausstellung von Museen aus der UdSSR, der CSSR. und der DDR, Staatliche Kunstsammlungen Dresden, Dresden 1983. DRESDEN 2004 A. van der Goes (ed.), Tulpomanie – die Tulpe in der Kunst des 16. und 17. Jahrhunderts, Staatliche Kunstsammlungen Dresden & Kunstgewerbemuseum, Dresden 2004. DULWICH 1996 P. Taylor, Dutch flower painting 1600-1750, Dulwich Picture Gallery, Dulwich 1996. EINDHOVEN 1957 Het Hollandse stilleven 1550-1950, Stedelijk Van Abbemuseum, Eindhoven 1957. ESSEN, VIENNA & ANTWERP 1997-98 K. Ertz & C. Nitze-Ertz (eds), Pieter Brueghel der Jüngere (1564-1637/38) – Jan Brueghel der Ältere (1558-1625) – Flämische Malerei um 1600 – Tradition und Fortschritt / Pieter Brueghel de Jonge (1564-1637/38) – Jan Brueghel de Oude (1558-1625) – Een Vlaamse schildersfamilie rond 1600, Villa Hügel, Essen 1997, Kunsthistorisches Museum, Vienna 1997-1998 & Koninklijk Museum voor Schone Kunsten, Antwerp 1998. FLORENCE 1988 M. Mosco & M. Rizzotto, Floralia – florilegio dalle collezione fiorentine del Sei-Settecento, Palazzo Pitti, Florence 1988.

FLORENCE 1998 M. Chiarini, La natura morta a palazzo e in villa – le collezioni dei Medici e dei Lorena, Palazzo Pitti, Florence 1998. FRANKFURT 1993-94 K. Wettengl (ed.), Georg Flegel 1566-1638 – Stilleben, Historisches Museum, Frankfurt am Main 1993-1994. FRANKFURT & BASEL 2008-09 J. Sander (ed.), Die Magie der Dinge – Stillebenmalerei 1500-1800, Städelsches Kunstinstitut & Städtische Galerie, Frankfurt am Main 2008 & Kunstmuseum, Basel 2008-2009. FRANKFURT & BERLIN 2008-09 J. Sander & S. Kemperdick (eds), The Master of Flémalle and Rogier van der Weyden, Städel Museum, Frankfurt am Main 2008-2009 & Staatliche Museen, Berlin 2009. FRANKFURT & DESSAU 2002-03 M. Großkinsky & N. Michels (eds), Sammlerin und Stifterin Henriette Amalie von Anhalt-Dessau und ihr Frankfurter Exil, Haus Giersch, Museum Regionaler Kunst, Frankfurt am Main 2002-2003 / Die verstoßene Prinzessin – Kunst, Karriere und Vermächtnis der Henriette Amalie von Anhalt-Dessau, Anhaltische Gemäldegalerie, Dessau 2003. FRANKFURT & HAARLEM 1997-98 K. Wettengl (ed.), Maria Sibylla Merian 1647-1717 – Künstlerin und Naturforscherin / Maria Sibylla Merian – Artist and naturalist 1647-1717 / Maria Sibylla Merian – Kunstenares en natuuronderzoekster 16471717, Historisches Museum, Frankfurt am Main 1997-1998 & Teylers Museum, Haarlem 1998. GHENT 1954 P. Eeckhout, Roelant Savery 1576-1639, Museum voor Schone Kunsten, Ghent 1954. GHENT 1960 P. Eeckhout, Fleurs et jardins dans l’art flamand / Bloem en tuin in de Vlaamse kunst, Museum voor Schone Kunsten, Ghent 1960. GHENT 1986 P. Verbraeken (ed.), Joachim Beuckelaer – Het markt- en keukenstuk in de Nederlanden, 1550-1650, Museum voor Schone Kunsten, Ghent 1986. GOTHENBURG 1970 I.N. Novoselskaja (ed.), 100 malningar och teckningar fran Eremitaget Västeuropeisk konst fran 1500-1700-talen, Konstmuseum, Gothenburg 1970. GOUDA 1952 Bloemen uit de Gouden Eeuw, Catharina Gasthuis, Gouda 1952.

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GREENWICH & FORT WORTH 2002-03 M. Roland-Michel, The floral art of Pierre-Joseph Redouté, Bruce Museum of Arts and Science, Greenwich 2002 & Kimbell Art Museum, Forth Worth 2002-03.

HAARLEM & WORCESTER 1993 J.A. Welu (ed.), Judith Leyster – Schilderes in een mannenwereld, Frans Halsmuseum, Haarlem & Worcester Art Museum, Worcester (Mass.) 1993.

HAARLEM 1935 J.C. Westermann, Catalogus van teekeningen, schilderijen, boeken, pamfletten, documenten en voorwerpen betreffende de geschiedenis van de bloembollencultuur en den bloembollenhandel, Frans Hals Museum, Haarlem 1935.

THE HAGUE 1925 Tentoonstelling van schilderijen door Oud-Hollandsche en Vlaamsche meesters, Koninklijke Kunstzaal Kleykamp, The Hague 1925.

HAARLEM 1947 H.P. Baard & E.H. Krelage, In de bloemhof der schilderkunst – Tentoonstelling van bloemstillevens uit vier eeuwen, Frans Halsmuseum, Haarlem 1947. HAARLEM 1953 Bloemenwereld van oude en moderne Nederlandse kunst, Teylers Museum, Haarlem 1953. HAARLEM 1972 I.Q. van Regteren Altena, J.H. van Borssum Buisman, C.J. de Bruyn Kops, Wybrand Hendriks 1744-1831 – Keuze uit zijn schilderijen en tekeningen, Teylers Museum, Haarlem 1972. HAARLEM 1974 Tulpomania – Tentoonstelling rondom het Tulpenboek van Judith Leyster, Frans Halsmuseum, Haarlem 1974. HAARLEM 1986 E. de Jongh, Portretten van echt en trouw – Huwelijk en gezin in de Nederlandse kunst van de zeventiende eeuw, Frans Halsmuseum, Haarlem 1986. HAARLEM 1987 R.E. Jellema, Herhaling of vertaling? – Natekeningen uit de achttiende en negentiende eeuw, Teylers Museum, Haarlem 1987. HAARLEM 1997 Het Boeket, Frans Halsmuseum, Haarlem 1997. (without catalogue) HAARLEM 2009-10 A. Tummers, Judith Leyster (1609-1688) – De eerste vrouw die meesterschilder werd / Judith Leyster (1609-1688) – The first woman to become a master painter, Frans Halsmuseum, Haarlem 2009-2010. HAARLEM & DULWICH 2008 P. Biesboer (ed.), Salomon, Jan, Joseph en Dirck de Bray – Vier schilders in één gezin, Frans Halsmuseum, Haarlem 2008 / Painting family – The De Brays – Master painters of 17th century Holland, Dulwich Picture Gallery, Dulwich 2008. HAARLEM & PARIS 2001-02 M. van Berge-Gerbaud, M. Menalda, M.C. Plomp et al., Hartstochtelijk verzameld – Beroemde tekeningen in 18de-eeuwse Hollandse collecties , Teylers Museum, Haarlem 2001-2002 & Institut Néerlandais, Paris 2002.

THE HAGUE 1926 G. Knuttel, Nederlandsche stillevens uit vijf eeuwen, Gemeentemuseum, The Hague 1926. THE HAGUE 1930 Tentoonstelling van schilderijen door Oud-Hollandsche en Vlaamsche meesters, Koninklijke Kunstzaal Kleykamp, The Hague 1930. THE HAGUE 1948 H.E. van Gelder, W. Moll & A.W.J. Mulder, Zeven eeuwen Den Haag, Gemeentemuseum, The Hague 1948. THE HAGUE 1950 H.E. van Gelder, Verzameling H.P. Bremmer, Gemeentemuseum, The Hague 1950. THE HAGUE 1966 W.H. Laseur & D. van Velden, 1000 jaar bloem-illustratie – Zomertentoonstelling, Rijksmuseum Meermanno-Westreenianum, The Hague 1966. THE HAGUE 1982 H.R. Hoetink & W.L. van de Watering, Terugzien in bewondering [Wat verzamelaars kozen – een honderdtal 17de eeuwse Nederlandse schilderijen voornamelijk uit particulier bezit tentoongesteld in het Mauritshuis], Mauritshuis, The Hague 1982. THE HAGUE 1992 B. Brenninkmeijer-de Rooij, B. Broos, P. van der Ploeg et al., Boeketten uit de Gouden Eeuw – Mauritshuis in bloei / Bouquets from the Golden Age – The Mauritshuis in bloom, Mauritshuis, The Hague 1992. THE HAGUE 2008 Q. Buvelot, De stillevens van Adriaen Coorte (werkzaam c. 1683-1707): met oeuvrecatalogus, Mauritshuis, The Hague 2008. THE HAGUE & SAN FRANCISCO 1990-91 R. van Leeuwen (ed.), Hollandse meesters uit Amerika, Mauritshuis, The Hague 1990-1991 & The Fine Arts Museums of San Francisco, San Francisco 1991. HAMBURG 2008 M. Sitt & H. Gassner (eds), Spiegel geheimer Wünsche – Stilleben aus fünf Jahrhunderten, Hamburger Kunsthalle, Hamburg 2008.

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HANOVER, RALEIGH, HOUSTON & ATLANTA 1991-93 J. Kenseth (ed.), The Age of the Marvelous, Hood Museum of Art, Hanover (New Hampshire) 1991, North Carolina Museum of Art, Raleigh 1992, Museum of Fine Arts, Houston 1992 & High Museum of Art, Atlanta 1992-1993. ’S-HEERENBERG 1988 R.R.A. van Gruting, Graaf Hendrik van den Bergh 1573-1638 – Neef en tegenstander van Prins Maurits en Prins Frederik Hendrik, Oude Munt, ’s-Heerenberg 1988. HELSINKI 1936 Vanhaa ulkomaista taidetta – Maalauksia, grafiikkaa, lasia ja venäläistä posliinia / Gammal utländsk konst – Måleri, grafik, glas och ryskt porslin, Konsthallen Helsinki, Helsinki 1936. ’S-HERTOGENBOSCH 1977 M. van Boven & E. Bergvelt, J.A. Knip 1777-1847, Noordbrabants Museum, ’s-Hertogenbosch 1977. ’S-HERTOGENBOSCH 1980-81 M. van Boven & S. Segal, Gerard & Cornelis van Spaendonck – Twee Brabantse bloemenschilders in Parijs, Noordbrabants Museum, ’s-Hertogenbosch 1980-1981. ’S-HERTOGENBOSCH 1988 F. Kuyvenhoven (ed.), De familie Knip – Drie generaties kunstenaars uit Noord-Brabant, Noordbrabants Museum, ’s-Hertogenbosch 1988.

KOBE 1982 The silk road on the sea, Kobe City Museum, Kobe (Japan) 1982. KORTRIJK 1976 P. Debrabandere, Herdenking Roeland Savery – Kortrijk 1576-Utrecht 1639 – Tentoonstelling georganiseerd naar aanleiding van de 400ste verjaardag van de geboorte van de kunstschilder, Stedelijk Museum voor Schone Kunsten, Kortrijk 1976. LAREN 1963 Modernen van toen 1570-1630 – Vlaamse schilderkunst en haar invloed, Singer Museum, Laren 1963. LEAMINGTON 1951 Art treasures of Warwickshire – A festival of Britain exhibition, Leamington Spa Art Gallery & Museum, Leamington 1951. LEEUWARDEN 1998-99 M. Stoter, Van Jan Steen tot Jan Sluijters – De smaak van Douwes, Fries Museum, Leeuwarden 1998-1999. LEEUWARDEN 2002 V. Mans, P. Breuker & P. Karstkarel, Margaretha de Heer (circa 1600-circa 1665) – dé Friese kunstenares van de zeventiende eeuw, Fries Museum, Leeuwarden 2002. LEEUWARDEN & ’S-HERTOGENBOSCH 1978 Zeven in één klap – oude kunst uit de randgewesten, Fries Museum, Leeuwarden & Noordbrabants Museum, ’s-Hertogenbosch 1978.

’S-HERTOGENBOSCH 2019 P. Huys Janssen, De geur van succes – Gerard & Cornelis van Spaendonck, bloemschilders in Parijs, Noordbrabants Museum, ’s-Hertogenbosch 2019.

LEIDEN 1970 M.L. Wurfbain & I. Bergström, IJdelheid der ijdelheden – Hollandse vanitas-voorstellingen uit de zeventiende eeuw, Stedelijk Museum De Lakenhal, Leiden 1970.

’S-HERTOGENBOSCH, ENSCHEDE & LEEUWARDEN 2004-05 C. Schellekens, Bloemen van verlangen, Noordbrabants Museum, ’s-Hertogenbosch 2004, Rijksmuseum Twenthe, Enschede 2004 & Fries Museum, Leeuwarden 2004-2005.

LEIDEN 1979 P.W. Leenhouts, Flora verbeeld – botanische tekenaars en hun werk – 150 jaar Rijksherbarium, Stedelijk Museum De Lakenhal, Leiden 1979.

HOORN 1991 T. Jurriaans & R. Spruit, Herman Henstenburgh 1667-1726 – Hoorns schilder en pasteibakker, Westfries Museum, Hoorn 1991.

LEIDEN 1987 R.P.L. Arpots & W. Otterspeer, Johannes le Francq van Berkheij – 1729-1813, Academisch Historisch Museum, Leiden 1987.

HOUSTON & WASHINGTON 2012 T. Paul, J. Clifton & A.K. Wheelock, Elegance and refinement – The still-life paintings of Willem van Aelst, Museum of Fine Arts, Houston & National Gallery of Art, Washington 2012.

LEIDEN 1988 E.J. Sluijter, M. Enklaar & P. Nieuwenhuizen, Leidse fijnschilders – Van Gerrit Dou tot Frans van Mieris de Jonge 1630-1760, Stedelijk Museum De Lakenhal, Leiden 1988.

ISTANBUL 1993 M. Roding & H. Theunissen (eds), The Tulip – A Symbol of Two Nations, Museum of Turkish and Islamic Arts, Istanbul 1993.

LEIPZIG 2012 J. Nicolaisen, Niederländische Malerei 1430-1800, Museum der bildenden Künste, Leipzig 2012.

KARLSRUHE 2015 H. Jacob-Friesen & P. Müller-Tamm, Die Meister-Sammlerin Karoline Luise von Baden, Staatliche Kunsthalle, Karlsruhe & Generallandesarchiv, Karlsruhe 2015.

LIÈGE 1950 R. Delcourt & A. Lawalrée, Voici des fleurs – La fleur dans les arts – Rétrospective P.J. Redouté, Palais des Beaux-Arts, Liège 1950.

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LILLE, ARRAS & DUNKERQUE 1972-73 F. Baligand, J. Foucart, F. Maison et al., Trésors des Musées du Nord de la France I – Peinture hollandaise, Palais des Beaux-Arts, Lille 1972, Musée des Beaux-Arts, Arras 1973 & Musée des Beaux-Arts, Dunkerque 1973. LISSE 1992 S. Segal, De tulp verbeeld – De Hollandse tulpenhandel in de 17de eeuw / Tulips portrayed – The tulip trade in Holland in the 17th century, Museum voor de Bloembollenstreek, Lisse 1992. LONDON 1815 Catalogue raisonné, British Institution, London 1815. LONDON 1952-53 Dutch pictures 1450-1750, Royal Academy of Arts, London 1952-1953. LONDON 1954-55 European masters of the eighteenth century, Royal Academy of Arts, London 1954-1955. LONDON 1979 K. Ertz, Jan Brueghel the Elder – A loan exhibition of paintings, Brod Gallery, London 1979. LONDON 1984 P. Mitchell & S. Segal, Flowers in watercolour – An exhibition of flower painting in watercolour and gouache by Dutch, French, German and English artists of the 17th, 18th and 19th centuries, Gallery John Mitchell & Son, London 1984. LONDON 1986 R. Nagy, The inspired spirit – Three centuries of European painting, Martyn Calso Antiques [in association with London art dealers], London 1986. LONDON 1986-87 The glory of the garden, Sotheby’s [in association with The Royal Horticultural Society], London 1986-1987. LONDON 1989 The flowerpiece through the centuries – XVII-XX, Richard Green Gallery, London 1989. LONDON 1989a Jacob Bogdáni c. 1660-1724, Richard Green Gallery, London 1989. LONDON 1990 A.W. Lowenthal, Netherlandish Mannerism in British collections – A loan exhibition, Entwistle Gallery, London 1990. LONDON 1993 P. Mitchell et al., Pick of the bunch – A loan exhibition of flower and still life paintings from the Fitzwilliam Museum, Cambridge including works from the Broughton bequest, John Mitchell & Son Gallery, London 1993.

LONDON 1995 W.B. Jordan & P. Cherry, Spanish still life – from Velázquez to Goya, The National Gallery, London 1995. LONDON 1998 A. Griffiths, The print in Stuart Britain – 1603-1689, The British Museum, London 1998. LONDON 1999-2000 Dutch and Flemish old master paintings, Johnny Van Haeften Gallery, London 1999-2000. LONDON 2016 The language of flower pieces, National Gallery, London 2016. (without catalogue, with lecture by Sam Segal) LONDON & AMSTERDAM 2006 F. Lammertse & J. van der Veen, Uylenburgh & Zoon – Kunst en commercie van Rembrandt tot De Lairesse, 1625-1675, Dulwich Picture Gallery, London & Museum Het Rembrandthuis, Amsterdam 2006. LOS ANGELES 1992-93 J. Walsh & C.P. Schneider, A mirror of nature – Dutch paintings from the collection of Mr. and Mrs. Edward William Carter, Los Angeles County Museum of Art, Los Angeles 1992-1993. LOS ANGELES, AUSTIN, PITTSBURGH & NEW YORK 1976-77 A. Sutherland Harris & L. Nochlin, Women artists: 1550-1950, Los Angeles County Museum of Art, Los Angeles 1976-1977, The University Art Museum, Austin (Texas) 1977, Museum of Art, Carnegie Institute, Pittsburgh 1977 & The Brooklyn Museum, New York 1977. LOS ANGELES, BOSTON & NEW YORK 1981-82 J. Walsh & C.P. Schneider, A mirror of nature – Dutch Paintings from the collection of Mr. and Mrs. Edward William Carter, Los Angeles County Museum of Art, Los Angeles 1981-1982, Museum of Fine Arts, Boston 1982 & The Metropolitan Museum of Art, New York 1982. LUND 1927-28 B. Svenonius, Äldre mätares tavlor, Skånska Konstmuseum, Lund 1927-1928. LUXEMBOURG & LIÈGE 1957 M.P.N.H. Domela Nieuwenhuis, Natures mortes hollandaises 15501950, Musée de l‘État, Luxembourg & Musée des Beaux-Arts, Liège 1957. LYON, BOURG-EN-BRESSE & ROANNE 1992 J. Foucart, M.-F. Pérez, G. Chomer et al., Flandre et Hollande au Siècle d’or – Chefs-d’oeuvre des Musées de Rhône-Alpes, Musée des Beaux-Arts, Lyon, Musée de Brou, Bourg-en-Bresse & Musée Déchelette, Roanne 1992.

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| BIBLIOGRA PHY

MAASTRICHT 2015 A.C. Koldeweij, F. Lammertse, V. Manuth et al., Henri de Fromantiou – Vorstelijke illusies, Bonnefantenmuseum, Maastricht 2015.

NAGASAKI 1993-94 J.M. de Groot, Masters of Dordrecht – 17th, 18th and 19th century paintings from the collection of the Dordrechts Museum, Palace Huis ten Bosch Museum, Nagasaki 1993-1994.

MADRID 1977-78 M. Díaz Padrón, M. Orihuela Maeso, L. Pan de Soraluce, Pedro Pablo Rubens (1577-1640) – Exposicion homenaje, Palacio de Velázquez del Parque del Retiro de Madrid, Madrid 1977-1978.

NAGASAKI 1994-95 J. de Meyere & M. Bosma, Masters of Utrecht – 17-19th century paintings from the collection of Centraal Museum Utrecht, Palace Huis ten Bosch Museum, Nagasaki 1994-1995.

MADRID, BILBAO & BARCELONA 1992-93 J. De Meyere & J.J. Luna, La pintura holandesa del siglo de oro – la escuela de Utrecht, Banco Bilbao Vizcaya, Madrid, Bilbao & Barcelona 1992-1993.

NEW DELHI 1984 Art treasures from Dresden, National Museum of India, New Delhi 1984.

MANCHESTER 1949 Early Dutch flower paintings, Manchester City Art Gallery, Manchester 1949. MELBOURNE & CANBERRA 1997-98 A. Blankert, Rembrandt – A genius and his impact, National Gallery of Victoria, Melbourne 1997 & National Gallery of Australia, Canberra 1997-1998. MEXICO CITY 1980-81 50 obras maestras de pintura de los museos de Dresden y Berlin de la Republica Democratica Alemana, Museo de San Carlos, Mexico City 1980-1981. MIDDELBURG 2016-17 K. Beaart, Johannes Goedaert 1617-1668 – Fijnschilder en entomoloog, Zeeuws Museum, Middelburg 2016-2017. MIDDLESBROUGH 1949 Exhibition of Dutch and Flemish masters of the 16th and 17th centuries, Municipal Art Gallery, Middlesbrough 1949. MINNEAPOLIS, HOUSTON & SAN DIEGO 1985 Dutch and Flemish Masters – Paintings from the Vienna Academy of Fine Arts, The Minneapolis Institute of Art, Minneapolis, Museum of Fine Arts, Houston & San Diego Museum of Art, San Diego 1985. MUNICH 1997 T. Vignau-Wilberg, Durch die Blume – Natursymbolik um 1600, Staatliche Graphische Sammlung, Munich 1997. MÜNSTER 1996 A. Lorenz (ed.), Die Maler tom Ring, 2 vols, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster 1996. MÜNSTER & BADEN-BADEN 1979-80 U. Bernsmeier, C. Klemm, J. Lammers (eds), Stilleben in Europa, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster 1979-1980 & Staatliche Kunsthalle, Baden-Baden 19791980.

NEW YORK 1941 Flower paintings by great masters of the 17th century – Exhibition of the Eugene Slatter collection of London, David Koetser Gallery, New York 1941. NEW YORK 1975 The object as subject – Still life painting from the seventeenth to the twentieth century, Wildenstein Gallery, New York 1975. NEW YORK 1979-80 J.W. Schulte Nordholt & J.G. van Gelder, William and Mary and their house, The Pierpont Morgan Library, New York 1979-1980. NEW YORK 1984 E.M. Foshay, Reflections of Nature – Flowers in American art, Whitney Museum of American Art, New York 1984. NEW YORK 1988 E. Haverkamp-Begemann & A.J. Adams, Dutch and Flemish paintings from New York private collections, National Academy of Design, New York 1988. NEW YORK, TOLEDO & TORONTO 1954-55 T. Rousseau, Dutch painting – The Golden Age – An exhibition of Dutch pictures of the seventeenth century, The Metropolitan Museum of Art, New York, Toledo Museum of Art, Toledo & Art Gallery of Toronto, Toronto 1954-1955. NEW YORK & LONDON 2001 W. Liedtke, M.C. Plomp & A. Rüger et al., Vermeer and the Delft School, The Metropolitan Museum of Art, New York & The National Gallery, London 2001. NIJMEGEN 1961 J.A. van Beers & G.T.M. Lemmens, Johannes Teyler – Nederlandse kleurendruk rond 1700, Waag Nijmegen, Nijmegen 1961. NORWICH 1988 A.W. Moore, Dutch and Flemish painting in Norfolk – A history of taste and influence, fashion and collecting, Norwich Castle Museum, Norwich 1988.

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NORWICH & LONDON 1996-97 A.W. Moore, Houghton Hall – The Prime Minister, the Empress and the Heritage, Norwich Castle Museum, Norwich 1996-1997 & Kenwood House (The Iveagh Bequest), London 1996.

PARIS, DETROIT & NEW YORK 1974-75 W. Friedlaender, De David à Delacroix – La peinture française de 1774 à 1830, Grand Palais, Paris, 1974-1975, Detroit Institute of Arts, Detroit 1975 & The Metropolitan Museum of Art, New York, 1975.

NUREMBERG 1962 L. Grote, H. Röttgen, F. Zinck et al., Barock in Nürnberg 1600-1750 – aus Anlaß der Dreihundertjahrfeier der Akademie der bildenden Künste, Germanisches Nationalmuseum, Nuremberg 1962.

PHILADELPHIA 1963 H. Clifford, A world of flowers – Paintings and prints, Philadelphia Museum of Art, Philadelphia 1963.

OSAKA 2000 A.K. Wheelock, M.C. Plomp, Q. Gregory et al., The public and the private in the age of Vermeer, Osaka Municipal Museum of Art, Osaka 2000.

PHOENIX & THE HAGUE 1998-99 Copper as canvas – Two centuries of masterpiece paintings on copper 1575-1775, Phoenix Art Museum, Phoenix 1998-1999, The Nelson-Atkins Museum of Art, Kansas City 1999 & Mauritshuis, The Hague 1999.

OSAKA, TOKYO & SYDNEY 1990 S. Segal, Flowers and nature – Netherlandish flower painting of four centuries, Nabio Museum of Art, Osaka, Tokyo Station Gallery, Tokyo & The Art Gallery of New South Wales, Sydney 1990.

PITTSBURGH 1986 K.J. Hellerstedt, Gardens of earthly delight – Sixteenth and seventeenth-century Netherlandish gardens, The Frick Art Museum, Pittsburgh 1986.

OSLO 1959 R. Jørgensen & L. Østby, Fra Rembrandt til Vermeer, Nasjonalgalleriet, Oslo 1959.

PRAGUE 1967 Flamska o holandska zatisi 17. stol, Národní Galerie, Prague 1967.

OSNABRÜCK 1948 Niederländische Malerei des 17. Jahrhunderts aus Osnabrücker Privatbesitz, Städtisches Museum, Osnabrück 1948.

PRAGUE 1994 H. Seifertová, Georg Flegel (1566-1638) – Zátisí, Národní Galerie, Prague 1994.

PARIS 1952 C. Sterling, La nature morte de l’antiquité à nos jours, Orangerie des Tuileries, Paris 1952.

PRAGUE 2004 H. Seifertová & J. Třeštík, Rachel Ruysch (1664-1750) – Lesní zákoutí s květinami / Rachel Ruysch (1664-1750) – Forest recess with flowers, Národní Galerie, Prague 2004.

PARIS 1970-71 A. Brejon de Lavergnée, C. Cocault, J.-P. Cuzin et al., Le siècle de Rembrandt – Tableaux hollandais des collections publiques françaises, Musée du Petit Palais, Paris 1970-1971.

PRAGUE 2013-14 H. Seifertová, Klidožití – Zátiší ze sbírek Strahovské obrazárny / Still life – Paintings from the collection of the Strahov Picture Gallery, GATE Galerie, Prague 2013-14.

PARIS 1979 J.C. Ebbinge Wubben & B. Nicolson, Le choix d’un amateur éclairé – Oeuvres de la collection Vitale Bloch provenant du musée Boymansvan Beuningen avec quelques apports de la Fondation Custodia, Institut Néerlandais, Paris 1979.

PRAGUE & BRAUNSCHWEIG 1997 H. Seifertová & A.K. Sevcík, Dialog mit Alten Meistern – Prager Kabinettmalerei 1690-1750, Národní Galerie, Prague & Herzog Anton Ulrich-Museum, Braunschweig 1997.

PARIS 1986 B. Broos, H.R. Hoetink, B. Brenninkmeijer-de Rooij et al., De Rembrandt à Vermeer – Les peintres hollandais au Mauritshuis de La Haye, Galeries nationales du Grand Palais, Paris 1986. PARIS 1988 D. Alcouffe, C. Bailey, C. Arnaud et al., La Folie d’Artois, Château de Bagatelle, Paris 1988. PARIS 2014-15 H. Buijs & G. Luijten (eds), Goltzius to Van Gogh – Drawings and paintings from the P. & N. de Boer Foundation, Fondation Custodia, Paris 2014-15.

PRAGUE & KORTRIJK 2010-11 H. Devisscher (ed.), Roelandt Savery 1576-1639, Národní Galerie, Prague 2010-2011 & Broelmuseum, Kortrijk 2011. RECKLINGHAUSEN & OBERHAUSEN 1969-70 P.N.Hj. Domela Nieuwenhuis, Niederländische Malerei des 17. Jahrhunderts – Hauptwerke aus Dordrechts Museum, Städtische Kunsthalle, Recklinghausen 1969-1970 & Städtische Galerie Schloss Oberhausen, Oberhausen 1970. ROME 2017 A. Coliva & D. Dotte (eds), L’origine della natura morta in Italia – Caravaggio e il Maestro di Hartford, Galleria Borghese, Rome 2017.

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ROME & MILAN 1954 Mostra di pittura olandese del seicento, Palazzo delle Esposizione, Rome & Palazzo Reale, Milan 1954. ROTTERDAM 1951 Tentoonstelling van oude schilderijen, Rotterdamse Kunstkring, Rotterdam 1951. ROTTERDAM 1955 E. Haverkamp-Begemann & B.R.M. de Neeve, Kunstschatten uit Nederlandse verzamelingen, Museum Boymans, Rotterdam 1955. ROTTERDAM 1960 Bloemen, vogels en insecten – tekeningen en aquarellen van Hollandse meesters uit de jaren 1650 tot 1850 uit eigen bezit, Museum Boymans-van Beuningen, Rotterdam 1960.

SAN FRANCISCO, TOLEDO & BOSTON 1966-67 H.K. Gerson & P.J.J. van Thiel, The age of Rembrandt – An exhibition of Dutch paintings of the seventeenth century, California Palace of the Legion of Honor, San Francisco 1966, Museum of Arts, Toledo 1966-1967 & Museum of Fine Arts, Boston 1967. SANTIAGO 1997 L.M. Helmus, Maestros holandeses del Siglo de oro / Dutch masters of the Golden Age, Museo National de Bellas Artes de Santiago de Chile, Santiago 1997. SCARBOROUGH 1960 Dutch and flemish masters from the collection of Mrs. R.A. Constantine and family – Dutch festival 1960, Scarborough Art Gallery, Scarborough 1960.

ROTTERDAM 1978 Legaat Vitale Bloch, Museum Boymans-van Beuningen, Rotterdam 1978.

SCHWERIN 2000 K. von Berswordt-Wallrabe, Stilleben des Goldenen Zeitalters – Die Schweriner Sammlung, Staatliches Museum Schwerin, Schwerin 2000.

ROTTERDAM 1979 W. Beeren, Formaties – Stillevens 17e eeuw – Neoclassicisme tekeningen – Nederlandse historiestukken en romantiek uit de 19e eeuw, Museum Boymans-van Beuningen, Rotterdam 1979.

SCHWERIN & ENSCHEDE 2017 G. Seelig, E. Jorink, B. van de Roemer et al., Medusa’s menagerie – Otto Marseus van Schrieck and the scholars, Staatliches Museum, Schwerin & Rijksmuseum Twenthe, Enschede 2017.

ROTTERDAM 2006 J. van der Waals, Prenten in de Gouden Eeuw – Van kunst tot kastpapier, Museum Boijmans Van Beuningen, Rotterdam 2006.

SOFIA 1958 [Paintings from the Dresdener Galerie], National Art Gallery, Sofia 1958.

ROTTERDAM & WASHINGTON 1985-86 Jacques de Gheyn II drawings 1565-1629 / Jacques de Gheyn II als tekenaar 1565-1629, Museum Boymans-van Beuningen, Rotterdam 1985-1986 & National Gallery of Art, Washington 1986.

STOCKHOLM 1959 Konstskatter från Hollands Guldålder, Nationalmuseum, Stockholm 1959.

SALEM, SAN FRANCISCO & HOUSTON 2011-12 F.J. Duparc, F. Diercks, R. Baarsen et al., Golden – Dutch and Flemish masterworks from the Rose-Marie and Eijk van Otterloo collection, Peabody Essex Museum, Salem 2011, Fine Arts Museums of San Francisco, San Francisco 2011 & Museum of Fine Arts Houston, Houston 2011-2012.

STOCKHOLM 1970 G. Aronowitsch, Bukowski’s 100 år 1870-1970 – jubileumsutgåva, Bukowski, Stockholm 1970. STOCKHOLM 1998-99 Catherine the Great & Gustav III, Nationalmuseum, Stockholm 1998-1999.

SALZBURG 2002 R. Juffinger (ed.), Tulpen – Schönheit & Wahn, Residenzgalerie, Salzburg 2002.

STRASBOURG 1949 R.van Luttervelt, La Hollande en fleurs, Château des Rohan, Strasbourg 1949.

SAN DIEGO 2016 F.G. Meijer & M. Brown, Brueghel to Canaletto – European masterpieces from the Grasset collection, San Diego Museum of Art, San Diego 2016.

TOKYO 1969 Masterpieces from Britain, Marubeni Art Gallery, Tokyo 1969.

SAN FRANCISCO, BALTIMORE & LONDON 1997-98 J. Spicer & L. Federle Orr, Masters of light – Dutch painters in Utrecht during the Golden Age, Fine Arts Museum of San Francisco, San Francisco 1997, Walters Art Gallery, Baltimore 1998 & The National Gallery, London 1998.

TOKYO etc. 2008-09 Stilleben aus der Gemäldegalerie des Kunsthistorischen Museums Wien, The National Art Center, Tokyo 2008, Miyagi Museum of Art, Miyagi 2008, Hyogo Prefectural Museum of Art, Hyogo 2009 & Aomori Museum of Art, Aomori 2009.

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TOKYO & KYOTO 1974-75 Masterworks of European painting from the Gemäldegalerie Alte Meister, Dresden, The National Museum of Western Art, Tokyo & Municipal Museum, Kyoto 1974-1975.

VIENNA 1930 L. Baldass, O. Benesch, G. Glück et al., Drei Jahrhunderte vlämische Kunst 1400-1700, Vereinigung Bildender Künstler Wiener Secession, Vienna 1930.

TOURNAI 1909 L’art tournaisien au 19e siècle – exposition d’oeuvres d’artistes tournaisiens du 19e siècle – catalogue et notices biographiques, Halle aux draps, Tournai 1909.

VIENNA 1935 L. Baldass, O. Benesch & G. Glück, Die jüngeren Breughel und ihr Kreis, Palais Pallavicini, Vienna 1935.

TURIN 2000 A. Cottino, La seduzione della natura – Natura morta in Piemonte nel ‘600 e ‘700, s.n., Turin 2000. TURIN 2000a 41a mostra maestri fiamminghi ed olandesi del XVI-XVII secolo, Galleria Luigi Caretto, Turin 2000. UTRECHT 1894 Tentoonstelling van oude schilderkunst, Museum Kunstliefde, Utrecht 1894. UTRECHT 1941 Catalogus van schilderijen der Utrechtse school, Centraal Museum, Utrecht 1941. UTRECHT 1948 D.P.R.A. Bouvy & C.H. de Jonge, Utrecht’s kunst in opkomst en bloei 650-1650, Centraal Museum, Utrecht 1948. UTRECHT 1985 J. de Meyere, Roelant Savery (1576-1639), Centraal Museum, Utrecht 1985. UTRECHT 1988 P. Dirkse et al., Vermaakt aan de Staat – Het legaat Thurkow-van Huffel, Rijksmuseum Het Catharijneconvent, Utrecht 1988. UTRECHT 1994 H. Adriaans, M. Bosma, R. de Bruin et al., De Utrechtse Parade – 1495-1995 – van Van Scorel tot Rietveld en Koch, Centraal Museum, Utrecht 1994. UTRECHT & BRAUNSCHWEIG 1991 S. Segal, Jan Davidsz de Heem zijn kring / Jan Davidsz de Heem und sein Kreis, Centraal Museum, Utrecht & Herzog Anton UlrichMuseum, Braunschweig 1991. VENLO 1977 Bloemen in de schilderkunst (17e, 18e en 19e eeuw), Goltziusmuseum, Venlo 1977. VIC-SUR-SEILLE 2005 G. Diss & L. Turnherr, Un cabinet imaginaire – Natures mortes et vanités du 17ème siècle, Musée départemental Georges de La Tour, Vic-sur-Seille 2005.

VIENNA 1952-53 L. Münz, Meisterwerke der Tier- und stillebenmalerei, Akademie der bildenden Künste, Vienna 1952-53. VIENNA 1965 Blumen und Früchte in der Malerei des XVII. und XVIII. Jahrhunderts, Gemäldegalerie der Akademie der bildenden Künste, Vienna 1965. VIENNA 1968 M.-L. Hairs & F. Pallamar, Gemälde bedeutender niederländischer Meister des 17. Jahrhunderts, Galerie Friederike Pallamar, Vienna 1968. VIENNA 1969 W. Eckert, Unbekannte Schätze aus den Sammlungen der Akademie, Akademie der bildenden Künste, Vienna 1969. VIENNA 1985 F. Koreny (ed.), Albrecht Dürer und die Tier- und Pflanzenstudien der Renaissance / Albrecht Dürer and the animal and plant studies of the Renaissance, Graphische Sammlung Albertina, Vienna 1985. VIENNA & ESSEN 2002 W. Seipel, C. Nitze-Ertz & U. Kleinman (eds), Das flämische Stilleben 1550-1680, Kunsthistorisches Museum, Vienna & Villa Hügel, Essen 2002. WARSAW 1939-40 M. Walicki, Malarze martwej natury – katalog wystawy, Muzeum Narodowe, Warsaw 1939-1940. WASHINGTON etc. 1958-59 I.Q. van Regteren Altena, Dutch drawings – masterpieces of five centuries, National Gallery of Art, Washington, The Pierpont Morgan Library, New York, The Minneapolis Institute of Arts, Minneapolis, Museum of Fine Arts, Boston, The Cleveland Museum of Art, Cleveland & Art Institute of Chicago, Chicago 1958-1959. WASHINGTON 1985-86 G. Jackson-Stops (ed.), The treasure houses of Britain – Five hundred years of private patronage and art collecting, National Gallery of Art, Washington 1985-1986.

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WASHINGTON 1998 A.K. Wheelock, A collector’s cabinet, National Gallery of Art, Washington 1998. WASHINGTON 1999 A.K. Wheelock, From botany to bouquets – Flowers in Northern art, National Gallery of Art, Washington 1999. WASHINGTON 2002-03 S. Ebert-Schifferer, Deceptions and illusions – Five centuries of trompe l’oeil painting, National Gallery of Art, Washington 20022003. WASHINGTON & BOSTON 1989 I. Bergström & A.K. Wheelock, Still lifes of the Golden Age – Northern European paintings from the Heinz family collection, National Gallery of Art, Washington & Museum of Fine Arts, Boston 1989.

ZURICH 1971 A. Mayer-Meintschel, A. Walther & H. Marx, Kunstschätze aus Dresden – Staatliche Kunstsammlungen Dresden DDR, Kunstmuseum, Zurich 1971. ZURICH 1973 R. Wehrli, 50 Jahre Kunsthandelsverband der Schweiz – Jubiläumsausstellung mit Werken des 15.-20. Jahrhunderts aus öffentlichem und privatem Besitz, Kunsthaus, Zurich 1973. ZWOLLE 1993 E.A. van Dijk, Schilders in Zwolle, Provinciaals Overijssels Museum, Zwolle 1993.

WAUSAU etc. 1989-90 I. Ember & I. Barkóczi, Delights for the senses – Dutch and Flemish still-life paintings from Budapest, Leigh Yawkey Woodson Art Museum, Wausau 1989, Rochester Museum & Science Center, Rochester 1989, Dixon Gallery and Gardens, Mephis 1989, Speed Art Museum, Louisville 1989, Bayly Art Museum, Charlottesville 1989, Cummer Gallery of Art, Jacksonville 1990, Tampa Museum of Art, Tampa 1990 & Arkansas Arts Center, Little Rock 1990. WORCESTER 1983-84 J.A. Welu, The collector’s cabinet – Flemish paintings from New England private collections, Worcester Art Museum, Worcester 1983-1984. WÜRZBURG 2012 M. Siemer (ed.), Still+Leben. Stilleben des Martin von Wagner Museums, Martin von Wagner-Museum der Universität Würzburg, Würzburg 2012. ZIERIKZEE 2018-19 K. Heyning, Zeeuwse meesters uit de Gouden Eeuw, Stadhuismuseum Zierikzee, Zierikzee 2018-19. ZUOZ 1986 Holland im Engadin – Dutch painting of the Golden Age from the Royal Picture Gallery Mauritshuis and the galleries of Hans M. Cramer and John Hoogsteder, The Hague, Netherlands, Chesa Planta, Zuoz (Graubünden) 1986. ZURICH 1953 Holländer des 17. Jahrhunderts, Kunsthaus, Zurich 1953. ZURICH 1956 Unbekannte Schönheit – bedeutende Werke aus fünf Jahrhunderten, Kunsthaus, Zurich 1956.

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A PPEND IX 1 | FLORA

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Index

A Aa, Dirk van der: 684, 689, 729 Aa, Pieter van der I: 985 Aalmis, Pieter Jansz: 984 Abels, Tanneken: 207 Adamsz, Adam II: 767 Admiral, Jacob l’ I: 771 Admiral, Jacob l’ II: xiii, 771 Adriaenssen, Alexander: xi, 334-336 Adriaenssens, Isabella: 863 Aelst, Evert van: x, 301-302, 426 Aelst, Pauwels Coecke van: 143 Aelst, Pieter Coecke van I: 143 Aelst, Willem van: xi, 6, 9, 98, 99, 100, 102, 103, 105, 112, 115, 267, 301, 363, 364, 389, 398, 402, 409, 426-432, 433, 434, 437, 438, 443, 444, 445, 447, 454, 456, 462, 464, 465, 467, 468, 472, 475, 481, 508, 510, 617, 622, 631, 634, 635, 647 Aertsen, Pieter: 58, 202 Aertsens, Nicolaes: 237 Aesop: 28, 36, 78, 82 Afvijn, Susanna Maria van: 864 Agricola, Johannes: 67 Aken, François van: xii, 605-606 Albrecht and Isabella, Archduke: 163, 209, 210, 211, 212, 223, 227 Alciati, Andrea: 34, 37, 78, 79 Alewijn, Baron: 234 Allard, Carel: xiii, 934, 971, 983-984 Allard, Hugo: 983 Alva, Duke of: 4 Amadio, Andrea: 143 Amman, Paul: 736, 987 Ancona, Levi d’: 51 Andriessen, Hendrick: xii, 606-607 Anglicus, Bartholomeus: 86 Anglois, François L’: 1024 Anne, Queen: 482, 544 Anselmus, Antonius: 22 Anselmus, Gillis: 22 Anselmus, Joanna: 22 Anslo, Reyer: 491 Antwerpen, David Jansz van: 378 Apol, Adrianus: xiii, 733 Apol, Johannes Cornelis: 733 Apshoven, Maria van: 577, 581, 583 Arends, Jan: 722 Aristotle: 78, 84 Arpino, Cavalier d’: 216

Assen, Benedictus Antoni van: xiii, 734 Assteyn, Abraham: 294 Assteyn, Bartholomeus: x, 275, 294-295, 320, 371, 522 Ast, Balthasar van der: x, 5, 9, 10, 20, 42, 90, 91, 94, 99, 100, 102, 104, 105, 111, 115, 118, 172, 183, 192, 194, 196, 215, 247, 263, 264, 265-276, 277, 278, 279, 281, 283, 294, 297, 300, 303, 311, 315, 316, 369, 372, 374, 378, 491, 631, 1027 Ast, Hans van der: 265 Ast, Johannes van der: x, 192, 265, 276-277 Ast, Maria van der: 192, 265 Augustine: 77, 85 Augustini, Jan: xiii, 695, 735-736, 987 Augustus, Emperor: 40 Austria, Maria Christina of: 845, 858 Avont, Pieter van: 17, 210

B Backer, Catharina: xii, 392, 647-649 Backer, Johan Christosomus de: 163 Baden, Hans Jurriaensz van: 297 Badens, Frans: 202, 249 Baerle, Suzanna van: 496 Baers, Hans: 316 Baers, Johannes: x, 178, 265, 316-317 Baesrode, Andries van I: x, 239 Baesrode, Andries van II: 239 Baesrode, Gabriël van: 345 Bailliu, Pieter de I: 592 Bailliu, Pieter Frans de: xii, 590, 592 Bailly, David: xi, 378, 479 Bainville, N.: 561 Bakkers, Petronella: 540 Balen, Hendrick van: 210, 253, 351 Balen, J.: xiii, 890 Balen, Jan van: x, 253 Balen, Peter van: 253 Balera, Francisco de: 317 Ban, Jan Albert: 338 Banning, Maria: 727 Barbette, Friderico: 1019 Barbiers, Bartholomeus: 736 Barbiers, Bartholomeus Pietersz: 736 Barbiers, Cecilia Geertruida: 809 Barbiers, Maria Geertruida: 809 Barbiers, Pieter III: xiii, 736, 809 Barbiers, Pieter Anthonisz: 736 Barbiers, Pieter: 736, 809 | 1207

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Barbiers, Pieter Bartholomeusz: 736 Barbiers, Pieter Pietersz: 736 Baren, Jan Anton van der: xii, 568-569, 570 Baren, Philip van der: xii, 570 Barras, Sébastien: 981 Bart, Jacob: 391 Bary, David de: 321 Basseia, Adam de: 69 Bassen, Bartholomeus van: 11, 267 Basson, Lijsbet Jans: 508 Batist, Karel: xi, 479 Battem, Gerrit: xi, 480-481 Beauharnais, Joséphine de: 850 Beauregaert, Anthonie Marinusz: xi, 481 Beauvais, Vincent of: 19 Beeck, Catharina van der: 371 Beeck, Jan Simonsz van der: 34 Beeckmans, Norbertus: 588 Beer, Cornelis de: x, 317, 954 Beer, Maria Eugenia de: 317 Beert, Osias I: x, 90, 92, 112, 113, 115, 116, 148, 164, 165, 169, 174, 204, 239-242, 243, 247, 345, 554 Beert, Osias II: 239 Beet, Wernerd de: xiii, 737 Bega, Cornelis: 12 Begeyn, Abraham Jansz: xi, 469-470 Beke, Daniël van: xiii, 477, 737-739 Beke, Leendert van: xi, 477-478, 738 Beken, Ignatius van der: 868 Beken, J.(F.?) van der: xiii, 868-869 Bellechiere, T.: xi, 481 Bellini, Jacopo: 143 Belvedere, Andrea: 257 Bening, Alexander: 124 Bening, Simon: 124, 127, 1023 Benoist, Estienne: 739 Benoist, Jacques Estienne: xiii, 739-740 Benoist, Pierre: 739 Bentinck, Hans Willem: 833 Berchem, Nicolaes: xi, 469, 470, 508, 831 Berchorius, Petrus: 30, 65, 86 Berck, H.: xiii, 864-865 Berck, J.: 864 Berck, J.M.: 864 Berckerath: 493 Berckheyde, Job: 12 Bercx, Bartholomeus: 249 Berg, Andries van den: 513, 514 Berge, Pieter van den I: 963 Berge, Pieter van den II: xiii, 963 Bergh, A. van den: xii, 646-647 Bergh, Abraham van den: 646 Bergh, Gillis de: x, 300-301 Bergh, Gysbrecht van den: 237 Bergh, Hendrick: 864 Bergh, Jan van den: 355 Bergh, Johanna van den: 759

Berghe, Anna Isabella van den: 913 Berghe, Christoffel van den: x, 5, 8, 146, 204-207, 366 Berkhey, Maria: 752 Bern, J. (or H. or J.H.): xi, 482, 864 Bernaerts, Nicasius: 351 Bernard, Isaac: xii, 608 Bernard, J.: 608 Bernard, J. Van: xiii, 890-891 Bernard, Jacques Samuel: 427 Bernard, Jean: xiii, 741 Berninck, H.: xii, 704-705 Berninck, J. (van): 704, 705 Bernini, Gian Lorenzo: 659 Berré, Jean Baptiste: xiii, 854-855 Bertels, Hendrik: 608 Besler, Basilius: xiv, 20, 252, 1011, 1018, 1022-1023, 1027 Besozzo, Michelino Molinari da: 56, 123 Beurs, Willem: xi, 482 Beusecom, Francoys van: 959 Beusecom, Maria van: 387 Beveren, Catharina van: 583 Beveren, Matthias van: 583 Beverwijck, Johan van: 35 Beyeren, Abraham van: xi, 8, 110, 266, 318, 322, 363, 472-475, 475, 478, 479, 521 Beyeren, Anna van: 521 Beyeren, Clemens van: 870 Beyeren, Leonart van: 288 Bianchi, Ercole: 210, 211, 213, 228 Bie, Cornelis de: 210, 338, 519, 566, 598 Bie, K. de: xi, 482 Bigée, Carolus: xiii, 879-880 Bigée, Charles: 879 Bilderdijk, Willem: 752 Bingen, Hildegard von: 30, 56 Binoit, Peter: x, 251, 252, 254-255 Bisschop, Abraham: 743 Bisschop, Anna: 491 Bisschop, Cornelis: 743 Bisschop, Cornelis I: 491, 504 Bisschop, Cornelis II: xiii, 742-743 Bisschop, Gysbert: 743 Bisschop, Jacob: 743 Bisschop, Jan: 663 Bisschop, Peter: 663 Bithaen, Geert: 239 Blankaert, Maria: 604 Bleyswijck, Dirck van: 178, 426 Blieck, Daniël de: 297 Block, Agnes: 374, 505, 546, 549, 758, 796 Bloclant, G. van: xii, 566-567 Bloclant, J. van: xii, 566-567 Bloemaert, Abraham: 287, 296, 317, 395 Bloemaert, Catharina: 796 Bloemendaal, Susanna: 781 Bloemers, Arnoldus: 794, 809 Blom, Jan: 987

1208 |

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| IND EX

Blom, P.: xiii, 881-882 Blommaert, Maximiliaen: 605 Blon, Jakob Christof Le: 771 Bloteling, Maria: 976 Bock, Clara de: 366 Bock, Hieronymus: 14, 15 Bock, Magdalena de: 943, 1009 Bocskay, Georg: 1023 Boeckaert, Cathalyntge: 536 Boeckhorst, Jan: 583 Boekaart, Lysbeth Jacob: 831 Boel, Jan: 604 Boel, Jan Baptist: xii, 604 Boel, Peeter: xii, 355, 462, 604-605, 617 Boel, Pieter: 485 Boer, Pieter de: 11 Boerhaave, Herman: 829 Boethius: 62 Bogaerde, Andries van den: 237 Bogaert, Jemant: 483 Bogdáni, Jakob: xi, 482-483 Bois, Elisabeth de: 357 Bois, Laurens Du: 139 Bol, Hans: 180, 923, 937, 938 Bol, Laurens J.: 11, 278, 315 Bolgersteyn, Harmen van: x, 317 Bollongier, Gillis: 307 Bollongier, Hans: x, 115, 175, 289, 299, 303, 307, 307-311, 323, 372, 479 Bollongier, Horatius: 307 Bonaparte, Napoleon: 715, 850, 908 Bongerd, Bernard van den: 298 Bongerd-van Bronckhorst, Wilhelmina van den: 299 Boodt, Anselmus Boëtius de: 1011 Boogaert, Hans: 483 Boogaert, Iemant (Jemant): 483 Boogaert, Jan: xi, 483 Boots: 586 Booy, Adriana: 684 Boratti, Angela: 556 Borch, Gesina ter: 377 Borch, Maria ter: 377 Borch, Moses ter: 377 Borcht, Frans van der: 239 Borcht, Hendrick van der I: x, 256-257 Borcht, Pieter van der I: 15, 20 Borghese, Camillo: 216 Borght, J. van der: xii, 609-610 Borght, Jacobus van der: 609 Borman, Johannes: xi, 418-419 Borromeo, Cardinal Federico: 6, 8, 210, 211, 212, 213, 216, 228 Borsselen, Philibert van: 84 Bos, Anthonie van den: xiii, 994-995 Bos, Cornelis: 142 Bos, Metje: 402 Bosch, Anthonie van den: 994 Bosch, Hieronymus: 11, 35, 50 Bosch, Jeronimo de: 705

Bosch, Johannes de: xii, 93, 705-706, 744 Bosch, Lodewijck Jansz den: 95, 142, 163 Bosch, Pieter van den: xi, 418, 483-485 Bosch, Paulus van den: 485 Bose, Caspar: 736, 987 Boshamer, Johan Hendrik: 772 Bosschaert, Abraham: x, 192, 265, 281, 283-285 Bosschaert, Ambrosius I: x, 7, 9, 10, 22, 37, 84, 90, 91, 96, 97, 100, 101, 111, 138, 143, 144, 145, 146, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 164, 165, 183, 185, 192-201, 204, 205, 214, 231, 235, 241, 247, 263, 264, 265, 266, 267, 276, 277, 278, 281, 285, 303, 366, 926 Bosschaert, Ambrosius II: x, 192, 281-283, 285, 289, 316, 368 Bosschaert, Andreas: 882 Bosschaert, Carolus N.J.: 900 Bosschaert, Elisabeth: 882 Bosschaert, Emerentiana: 617 Bosschaert, Jan Baptist: xiii, 4, 590, 592, 867-868, 872, 882 Bosschaert, Jan Baptist I: 867 Bosschaert, Johannes: x, 111, 158, 159, 192, 265, 269, 278-280, 286, 294, 296 Bosschaert, Maria: 192, 281, 285 Bosschaert, N.: 867 Bosschaert, Nicolaes: 867 Bosschaert, Thomas Willeboirts: xi, 337, 345, 352, 353, 360 Boucle, Peter van: 351 Bouillon, Michel: xii, 610-611 Bourdichon, Jean: 17, 53, 127 Bourgoingne, Antonius van: 47, 77 Bout, Melchior de: 427 Bouttats, Frederik: 981 Bouttats, Jan Baptist: xiii, 891-893 Bouverie, Jean de la I: 612 Bouverie, Jean de la II: xii, 612 Boven, Maria Catharina van: 911 Boyer d’Aguilles, Jean Baptiste: 981 Boys: x, 318 Braamcamp, Gerret: 669, 708, 842 Bracht, Bellijntje Tiekmans Pleunisdr van: 296 Bradley, Richard: 930 Brancion, Jean de: 61 Brande, Johannes van den: 471 Brandenburg, Cardinal Albrecht of: 126 Branders, P.: 470 Brandhout, Gerbrandt Warnaertsz: 482 Brandis, L.: 471 Brandis, Philippus: xi, 470-471 Brandon, Bartholomeus: xi, 485-486, 493 Brandt, Johan van den: 471 Brandt, Johannes van den: 471 Brant, N.N.: 471 Branus, P.: 470 Brasser, Leendert: xiii, 743-744 Brauch: xi, 486 Bray, Dirck de: vi, xi, 8, 53, 109, 486-489, 489, 490 Bray, Jacob de: 489 Bray, Jan de: 486, 489 Bray, Joseph de: xi, 486, 489-490 | 1209

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DUTCH AND FLEM I SH F LOWE R PIECE S

Bray, Salomon de: 486, 489 Bredael, Alexander van: 899, 910 Bredael, Jan Peeter van I: xii, 612-614 Bredael, Jan Peeter van II: 614 Bredael, Jan Pieter van II: 614 Bredael, Joseph: 211 Bredael, Peeter van: 612 Brekelenkam, Quiringh van: 12 Bretagne, Anne de: 127 Breyne, Jacob: 375 Brickely, Johannes: 552 Bridier, Jean: 1000 Brienne, Auguste Piquet de: 715 Bril, Paul: 202 Broech, Frederick: 486 Broeck, Elias van den: xi, 5, 95, 115, 266, 399, 427, 447-450, 450, 452, 486, 646, 798, 841, 842 Bronckhorst, Jan van: 499 Bronckhorst, Johannes: xi, 490-491, 423, 506, 546 Bronckhorst, Wilhelmina van: 298, 299 Broughton, Henry Rogers: 11 Brouwer, Cornelis: xi, 479 Broyel, Maria van: xiii, 744 Brueghel, Abraham: xii, 152, 198, 241, 325, 537, 554, 556-558, 560, 574, 590, 631, 863 Brueghel, Ambrosius: xii, 164, 202, 232, 242, 554, 554 Brueghel, Henri Ferdinand: xii, 325, 554, 558-559 Brueghel, Jan I: x, xi, 5, 6, 8, 9, 10, 17, 22, 36, 37, 40, 67, 75, 93, 96, 97, 100, 101, 103, 105, 110, 114, 115, 117, 118, 131, 143, 148, 164, 166, 174, 183, 185, 193, 201, 205, 210-233, 233, 234, 237, 238, 240, 247, 253, 263, 267, 325, 326, 328, 330, 332, 337, 338, 351, 475, 554, 556, 577, 622, 631, 1017 Brueghel, Jan II: xi, 10, 210, 211, 214, 215, 216, 227, 232, 238, 253, 262, 263, 325-328, 329, 334, 335, 355, 554, 558, 560, 577 Brueghel, Jan Baptist: xii, 325, 554, 560 Brueghel, Jan Pieter: xii, 216, 325, 554, 554-556, 558, 614 Brueghel, Paschasia: 210, 577 Brueghel, Philip: 325, 558 Brueghel, Pieter I: 3, 17, 50, 86, 210, 227, 233 Brueghel, Pieter II: x, 210, 233-234, 234, 351 Bruijn: xiii, 744-745 Bruijn, J.F.: 744 Brun, Jean-Baptist-Pierre Le: 994 Brunfels, Otto: 14, 15 Brussel, Paulus Theodorus van: xii, 695-696, 697, 992, 993 Bruyn, Abraham de: 956, 1008 Bruyn, Bartholomäus I: 58 Bruyn, Cornelis de: 746 Bruyn, Cornelis Johannes de: 747 Bruyn, Jacobus de: 746 Bruyn, Johannes Cornelis de: xiii, 746-747 Bruyn, Johannes de: 746 Bruyn, Nicolaes de: xiii, 143, 164, 180, 926, 945, 956-957, 1003 Bry, Johann Theodor de: xiii, xiv, 17, 20, 47, 115, 164, 252, 934, 949954, 1015, 1016, 1018, 1019, 1023 Bry, Maria Magdalena de: 949, 1016 Bry, Theodor de: 949 BS, Monogrammist: 809, 811, 812

Buchelius, Arnoldus: 163, 174, 175, 945 Buckingham, Duke of: 210 Bueren, Grietje (Margrieta) Jans van: 265 Buijs, Jacob: xii, 93, 706-707, 711 Buiten, M. van: xiii, 893-894 Buiteveld, Jan: xiii, 747-748 Bulgert: xi, 357 Buoninsegna, Duccio di: 6, 123 Buren, Cornelia van: 983 Buren, Karl Philipp van: 748 Buren, P. van: xiii, 748-749 Buren, Philipp van: 748 Burgh, van der: 533 Burgh, Hendrick van der: 533 Burgh, Willem van der: 533 Burgt, N. vander: 609 Busbecq, Ogier Ghislain de: 21 Busbeke, Gisleen van: 21 Bussemacher, Johann: 47, 953 Buxtehude: 75 Buzanval, Lord of: 174 Bye, Arthur E.: 11

C Cabel, A. vander: xi, 491 Cadogan, Lord: 677 Calkoen, Cornelis: 376 Callot, Jacques: 73 Calraet, Abraham van: xi, 491-492 Calraet, Barent van: 491 Calraet, Pieter van: 491 Camerarius, Joachim: 34, 52, 59, 60, 61, 62, 65, 66, 67, 70, 72, 74, 76, 77, 78, 79, 81, 83, 84, 85, 141, 1022, 1027 Campen, Jacob van: 544 Campen, Willem van: 462 Camphuys, Johannes: 553 Camphuysen: x, 318 Camphuysen, Dirck Govertsz: 318 Camphuysen, Dirck Rafaelsz: 318 Camphuysen, Govert Dircksz: 318 Camphuysen, Rafael I: 318 Camphuysen, Joachim: 318 Campidoglio, Michelangelo di: 556 Campin, Robert: 6, 56, 136 Cano: xii, 586, 592 Cantimpré, Thomas of: 19, 86 Caproens, Jacob: xii, 602-603 Caravaggio: 8, 216, 217, 218, 981 Carleton, Sir Dudley: 174 Carlos, Baltasar: 317 Carnier, John H.: 602 Carpentero, Joris: 588 Cartwright, Jan: 321 Casteels, Pieter II: 882 Casteels, Pieter III: xiii, 42, 867, 882-885, 885, 913, 930, 931, 934 Casteels, Pieter Frans: xiii, 590, 882, 885-886

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| IND EX

Cater, Jacques: 338 Cats, Jacob: 28, 31, 34, 37, 38, 39, 59, 60, 70, 75, 76, 77, 78, 80, 81, 84, 85, 86, 369, 409, 833 Catullus: 61 Celle, Peter of: 65 Champaigne, Philippe de: 42 Chandelier, Jan Six van: 338 Charlemagne: 19 Charles I, King of England: 174, 337 Charles II, King of England: 891 Charles II, Prince of Arenberg: 12 Charles X, King: 850 Chazal, Antoine: 715, 719, 920 Cheropy, Maria de: 475 Cholin, Jeanne: 622 Christiaensens, Jacob I: 235 Christina, Queen of Sweden: 337, 693 Cicero: 59, 84, 85 Cisterciensis, Thomas de: 64 Claeissens, Pieter I: 58 Claessens, Joanna: 350 Claessens, Maria: 237, 239 Claesz, Anthony: x, 20, 115, 265, 303-307 Claesz, Anthony I: 303 Claesz, Anthony II: 303 Claesz, Anthony III: 303 Claesz, Pieter: 32, 243, 308, 378, 470 Claeuw, Jacques de: xi, 369, 475-476, 607 Clairvaux, Bernard of: 74, 81 Clare, Eadmer of: 56 Clarebouts, Sara: 493 Claude de France, Master of: 127 Cle, Gaspar de: 609 Clerc, Jean le: 935, 943, 947, 954, 1004 Clerck, Peeter de: 570 Cleve, Joos van: 69 Cleyn, Hendrik de: 345 Cleynaerts, Jeanne-Marie: 879 Clusius, Carolus: 12, 15, 21, 22, 42, 59, 117, 170, 261, 736, 986, 1012, 1015 Cochin, Nicolas: 1019, 1023 Cock, Franciscus de: 479, 604 Cock, Hiëronymus: 922 Coclers, Christian: 877 Coclers, Henri Joseph Léonard Eugène: xiii, 875, 878-879 Coclers, Jean George Christian: xiii, 875, 877-878, 878, 879 Coclers, Johannes Baptista Petrus: xiii, 609, 875, 875-877, 878 Coclers, Louis Bernard: 762, 804 Coclers, Philippe: 875, 877 Cocq, Anna Maria: 389 Codde, Pieter: 796 Coeck, Franciscus: 858 Coecke, Mayken: 210 Coelemans, Jacobus: xiii, 981 Coevoets, Anne: 239 Coignet, Gillis I: 42, 43 Coignet, Gillis II: 235 Coignet, Susanna: 235

Coincy, Gautier de: 69 Colin, Petrus Gerardus Philippus: xiii, 894-895 Collaert, Adriaen: xiii, xiv, 20, 30, 40, 41, 65, 142, 143, 163, 164, 921, 922, 923, 926, 934, 935, 937-943, 945, 954, 955, 959, 1000, 1002, 1003, 1004, 1005, 1006, 1007, 1009, 1011, 1023 Collenius, Hermannus: 751 Colloredo: 769 Commelin, Caspar: 15, 374, 634 Commelin, Johannes: 15, 374, 399, 549, 634, 959 Coninck, Abraham de: 947 Conincx, Aert: 332 Coninxloo, Gillis van I: 167, 169 Coninxloo, Gillis van II: 167, 169, 233 Coninxloo, Gillis van III: x, 167-169, 174 Coninxloo, Gillis van, the Younger: 167, 169 Contant, Jacques: 935 Contant, Paul: 935 Cool, Cornelia: 398 Coorte, Adriaen: xiii, 109, 749-750 Coosemans, Alexander: 395 Cooten, Aertken Cornelisdr van: 296 Corenhuyse, Jacques van: 20 Corrozet, Gillis: 84, 85 Cort, Cornelis: 922 Cortusa, Jacopo: 61 Cosijn, Pieter: xi, 493, 493 Cosijn, Stephanus: xi, 485, 493, 493-495 Cossiers, Jan: 337 Couchet, Abraham: xii, 614 Coudenberghe, Pieter van: 17 Courcelles, Pauline Rifer de: 727 Court, Allard de la: 392, 647 Couwenberg: 561 Couwenbergh, Christiaen van: 451 Covens, Johannes: 964 Coxcie, Raphael: 12, 239 Crabeth, Wouter: 463 Cracht, Tyman Arentsz: 472 Craen, Laurens: xi, 378, 419 Craesbeecq, Robertus Dominicus Ignatius van: 621 Crepu, Jean Baptist de: xii, 592-593, 867, 886 Croix, Pierre Frédric de la: 679 Croix, Susanna de la: 679 Cromwell, Oliver: 619 Croy-Chimay, Anne: 12 Cruydenier, Jacob: 402 Cuba, Johannes de: 14 Cuyck, Pieter van II: 752 Cuyck de Myerhop, Frans van: xii, 593-594, 751 Cuyp, Aelbert: 296, 491, 772 Cuyp, Jacob Gerritsz: x, 5, 111, 279, 296, 475, 536

D Dael, J.B.: xiii, 853-854 Dael, Jan Frans van: xiii, 715, 724, 850-852, 853 Daellen, François van: 318 | 1211

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DUTCH AND FLEM I SH F LOWE R PIECE S

Dalen, Andries van: 549 Dalen, Ernst van: xi, 496 Dalen, Frans van: x, 318-319 Dalen, Jan van: 496 Dam, Wouter: 767 Damascene, John of: 65 Damery, Jacques: xii, 614, 614 Damery, Walther: xii, 554, 614, 614 Danckerts, Cornelis I: 981 Danckerts, Cornelis II: xiii, 981-983, 984 Danckerts, Justus I: xiii, 929, 930, 959, 971, 981-983, 984 Danckerts, Justus II: xiii, 981-983 Danckerts, Theodorus: xiii, 981-983 Dandoy, Gilliam: 345 Daniëls, Andries: x, 11, 12, 111, 165, 233, 234-235, 257, 330 Dante: 81 Dauwes Bronsema, Grietje: 774 David, Gerard: 56, 137 David Scenes, Master of the: 126 Dedel, Isabella: xi, 496 Defrance, Léonard: 875 Delafleur, Nicolas Guillaume: 929, 930, 982, 983, 1023, 1026 Delaram, Francis: 1011 Delden, Jan Porcellis van: 419 Delen, Dirck van: x, 94, 296-297, 366 Delff, Cornelis Jacobsz: 300 Delfos, Abraham: 735, 736, 987 Demoges, Pierre: 935 Denies, Isaac: xi, 426, 433-434, 434 Denysz, Jan: 301 Desprez, Jacob: 323 Deventer, Jan Baptist van: 605 Devis, Arthur: 913 Deyster, Lodewijk de: 576 Dielaert, Christiaen van: xi, 496-497 Dielen, Helena Margareta van: xiii, 750 Diepenbeeck, Abraham van: 337 Dietzsch, Barbara Regina: 506 Dieudonné Deneux, Jean: xiii, 879 Dieviel, J. van: xiii, 751 Diffiori, Marie: xiii, 896 Dijck, Floris van: 174, 207 Dijk, Philip van: 735 Dijl, Dirk van: 729 Dimen, Françoise van: 526 Dinant, Paulus: 376 Dioscorides, Pedanios: 13, 15, 19, 53, 67 Dirckx, Maghteltje: 399 Dirckxen, Willem: 298, 300 Diren, J. van: xiii, 751, 837 Dissius, Abraham: 408 Dodoens, Rembert: 15 Dodonaeus: 12, 15, 21, 24, 35, 51, 57, 59, 61, 66, 178, 213, 468, 999, 1012 Doens, Pieter: 239 Dolendo, Zacharias: 170 Doncre, Guillaume Dominique Jacques: xiii, 896-897 Dooreslaer, Lucia van: 983

Dorne, Johann(es) van: xiii, 897-898, 899 Dorne, Martin van: xiii, 897, 898-899 Dou, Gerard: 11, 110, 518, 526, 527 Doublet, Philips: 175 Doudaer, Kathelijne: 945 Doudijns, Willem: 524 Douffet, Gérard: 617 Douw, Simon Johannes van: 616 Doyenburgh, Evert van: xi, 496-497 Drebbel, Cornelis Jacobsz: 170 Drekvoort, Francina van: 665 Drielenburg, Willem van: 482 Dronnecke, Johann(es): 14 Dubois, Catharina: xiii, 752 Dubourg, Louis Fabritius: 665 Durbuto, Antoine: 614 Dürer, Albrecht: 5, 14, 56, 57, 79, 139, 143, 193, 235, 289 Durks, Jan: 747 Dyck, Daniël van den: xii, 614-615 Dyck, Philip van: 12

E Earlom, Richard: 659, 932 Eck, Van: xii, 615 Eeckhout, Anthonie van: xii, 576-577 Eeckhout, Paulina uyt den: 597 Egmont, Justus van: 235, 617 EJ, Monogrammist: xi, 519-520 Eliaerts, J.F.: 689 Eliaerts, Jan Frans: xiii, 847-849 Elizabeth I, Queen: 1010 Elliger, Ottomar I: xi, 337, 402, 445, 497-498 Elliger, Ottomar II: 516 Elliot, Catharina: 289 Elsland, Michiel van: 237 Elst, Ludovicus van der: 615 Elst, Van der: xii, 615 Elstraten, Peter van der: 570 Elwe, Jan Barend: 993 Engelaer, Maria: 540 Engelen, Cornelis van: 352 Epictetus: 86 Erasmus, Desiderius: xvi, 31, 40, 53, 57, 83, 85 Ermerin, Jacobus: 777 Es, Jacob Foppens van: xi, 58, 350-351 Escher, Maurits: 32 Escluse, Charles de l’: 15 Espine, Jacques Le Moine de L’: 961 Everbroeck, Frans van: xii, 598, 601-602 Everdingen, Allaert Pietersz van: 182 Everdingen, Caesar van: xi, 499 Eyck, Hubert van: 56, 66, 128, 129, 130, 134, 135, 136 Eyck, Jan van: 3, 6, 31, 56, 66, 124, 128, 129, 130, 131, 134, 135, 136 Eyckens, Pieter: 590, 598, 882 Eynde, Isabella van den: 598

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| IND EX

F Fabritius, Barent: 499 Fabritius, Johannes: xi, 499-500 Fabritius, Pieter Carelsz: 499 Faes, J.B.: xiii, 846-847 Faes, Jan Baptist: 846 Faes, Pieter: xiii, 845-846, 846, 849 Fagel, Gaspar: 493 Failie, Jan Baptist de la: 352 Faille, Melchior de la: xii, 616 Falck, Jeremias: 323, 959 Faulconier, Jean: 285 Febure, Catherine Le: 879 Félibien, André: 9, 10, 210 Ferdinand of Austria: 334 Ferdinand I, Emperor: 21 Ferguson, William Gowe: xi, 500-501 Ferrara, Carel van: 345 Ferrari, Giovanni Battista: 934, 1018 Ficino, Marsilio: 37 Fiori, Mario de’: 896, 981 First Prayer Book of Maximilian, Master of the: 126 Flegel, Georg: 5, 20, 24, 148, 249, 251, 252, 289 Flegel, Jakob: 323 Flémalle, Bertholet: 512 Flémalle, Master of: 136 Fletcher, Henry: 930, 931 Flines, Philips de: 831 Floquet, Bartholomeus: 447 Floquet, Catharina: 345, 348 Floquet, Lucas: 348 Florianus, Daniel: 369 Floris (de Vriendt), Frans I: 922 Floris (de Vriendt), Jacob I: 142 Flups, Johannes: x, 318 Fontaine, Jean de la: 28, 82 Fonteyn, Carel: xii, 616-617 Forchondt: 234, 345, 587 Fornenburgh, Barent van: 311 Fornenburgh, Jan Baptist van: x, 239, 286, 311-314, 316, 323 Foucquier, Jacques: 210 Francis I, King of France: 1000 Francken, Ambrosius I: 622 Francken, Frans II: 11, 12, 40, 111, 117, 193, 223, 234, 345, 561, 622 Francken, Frans III: 573 Francken, Hiëronymus II: 243, 622 Francq, Evert Le: 752 Francq van Berkhey, Johannes Le: xiii, 453, 752-753 Franeau, Jean: 1011, 1023 Frank, Johan Willem: xii, 674-675 Frederick I, King of Prussia: 444, 888 Frederick III, Elector of Brandenburg: 444, 530 Frederick William, Elector of Brandenburg: 337, 444, 465, 497, 971 Frederik Hendrik, Stadhouder of the United Provinces: 337 Fredriks, Jan Hendrik: xii, 686-689 Fris, Pieter: 486

Frisius, Simon: 942 Froberg, Sigmund: 1019 Fromantiou, Hendrick de: xi, 437, 444-447, 651 Fuchs, Leonhart: 15, 70, 999 Füllmaurer, Heinrich: 15, 83, 143 Furber, Robert: 882, 930 Fürst, Magdalena: 934 Fürst, Paul: 934, 935 Fürst, Rosina Helena: 934, 935 Fürstenburg, von: 298 Fyt, Joannes: xi, xii, 110, 263, 351, 352, 355-356, 360, 570, 573, 574, 583, 604

G G.M.: xi, 472 Gage, Georg: 174 Galen: 35 Galen, Count: 505 Gallant, Johannes: 813 Galle, Hieronymus: xii, 339, 574-575, 590, 594 Galle, Justa: 937 Galle, Philips: 41, 937, 940, 942, 1002, 1003 Gallis, Johanna: 423, 769 Gallis, Pieter: xi, 423-424, 769 Garemijn, Jan Anton: 905 Gärtner, Georg: 934 Gaston, Duke of Orléans: 1025 Gaver, Anneken: 536 Geenhuysen, Clasina van: 695 Geeraerts, Louis: 617 Geeraerts, Martinus Josephus: 860 Geerard: xii, 617 Geerards, Jasper: 617 Geest, Eva Maria de: 520 Geest, François de: xi, 20, 501-504, 505, 520, 521, 1027, 1028, 1029 Geest, Julius de: 501, 502 Geest, Julius François de: 502 Geest, Wybrand de: 501, 520 Gelder, Jan van: 237 Gelder, Nicolaes van: 407 Gelderblom, Laurens: xiii, 753 Gellhausen, Ulrich Völler von: 999 Gemmingen, Johann Konrad von: 1022 George II, King: 454 Gerard, John: 15, 947 Gesner, Conrad: 20, 21 Gewalt, Aernout: 317 Geyl, T. van: xiii, 754 Gheyn, Jacob de: 316 Gheyn, Jacques de I: 170 Gheyn, Jacques de II: x, 5, 7, 17, 20, 22, 42, 95, 100, 101, 104, 105, 143, 163, 169, 170-177, 178, 185, 193, 202, 311, 378 Gheyn, Jacques de III: 174, 175 Gheyn, Jan Bapist de: xii, 594-595 Gijsels, Margerita: 467 Gildemeester, Jan Jansz: xii, 668, 707-709 | 1213

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Gillemans, Jan Pauwel I: xii, 597-598, 598, 600, 605 Gillemans, Jan Pauwel II: xii, 590, 592, 597, 598, 598 Gillemans, Peter Matheus: 597 Gillis, Jacob: 350 Gillis, Nicolaes: x, 167, 174, 207-209 Giselaer, Nicolaes de: 11 Giustiniani, Vincenzo: 8 Glashorst, Cornelis van: xiii, 755 Gobelius, Severinus: 15 Godewijck, Margaretha van: xi, 504 Goedaert, Johannes: xi, 78, 79, 81, 366-367, 548 Goeimare, Joos: 180 Goes, Abraham: 926 Goes, Adriana: 769 Goes, Hugo van der: 58, 136, 137 Goetkint, Peter I: 210 Gogh, Vincent van: xvi, 24, 36 Golé, Catharina Maria: 513 Goltzius, Hendrick: 170, 174, 210, 948 Gool, Clara: 369 Gool, Johan (Jan) van: 10, 634, 796, 888 Goor, Gerrit Stevensz van: 796 Goos, Abraham: 926 Goswin, Gerard: xii, 617, 617-618 Goubau, Anton: 614 Govaerts, Abraham: x, 210, 237 Govaerts, Jan Baptist: xiii, 899-900 Govaerts, Johan Baptist: 899 Goyen, Jan van: 23, 115, 265, 475, 743 Goyen, Maria van: 475 Graauw, Hendrik: 491 Graff, Dorothea Maria: 514 Graff, Johann Andreas: 289, 514, 516, 758, 967 Graff, Johanna Helena: 514 Grasdorp, Jan: xi, 425 Grasdorp, Jan Egbertsz: 425, 452 Grasdorp, Jan Willem: 425 Grasdorp, Willem I: xi, 425, 438, 452-453, 753, 755 Grasdorp, Willem II: xiii, 755 Gravesande, Amalia ‘s-: 964 Grebber, Albert de: 319 Grebber, Frans Pietersz de: 319 Grebber, Maria de: x, 319 Grebber, Pieter de: 319, 470 Grenier, David: 470 Greve, Aleida: 482 Grieff, Adriaen de: 475 Grieff, Jacques de: 475 Griffen, Mayken Jans van: 204 Griffier, A.R.: xiii, 756 Griffier, Jan I: 756 Griffier, Jan II: 756 Griffier, Robert: 756 Groenrys, Hans: 237 Groot, Catrijne Claesdr de: 470 Gyselaer, Philip: 352 Gysels, Peeter: 325

H Haag, J.E.: xiii, 757 Haag, Johan David Christian: 757, 813 Haag, Tethart Philipp Christian: 757, 813 Haarlem, Cornelis Cornelisz van: 202, 693 Hack, Abraham: 570, 574 Haecht, Willem van: 342 Haen, Andries de: 398 Haen, Anthony de: 483 Haen, Gerrit de: xi, 398 Hallet, Gillis: 614 Halma, François: 985 Hals, Adriaentje: 523 Hals, Frans: 297, 321, 523, 536, 693 Ham, Davidt van: 352 Hamers, Maria: 525 Hamilton, Francis de: 619 Hamilton, James de: xii, 619 Händel: 75 Hanneman, Adriaen: 504 Hannover, Anna van: xiii, 757 Harder, Elizabeth: 600 Hardimé, Pieter: xiii, 817, 886, 888-889 Hardimé, Simon: xiii, 592, 838, 886-888, 888 Harmens, Annetje: 646 Harmsen, Geertruid: 693 Hartford, Master of: 216 Hartog, Jan: 829 Haute, Laurens vanden: 139, 140 Haverman, Margareta: vi, xii, xxi, 650, 671-673 Haye, Reinier de la: xi, 12, 504-505 Hazen, W. van: 19 Hecke, Jan van den I: xii, 459, 570-571, 615 Hecke, Jan van den II: 570 Hecken, Abraham van den: xi, 330, 332 Hecken, Magdalena van den: xi, 330, 332-333 Hecken, Samuel van den: xi, 330-332, 332 Heda, Willem: 243, 308, 378 Heem, Claes de: xi, 389 Heem, Cornelis de: xi, 378, 387-388, 389, 391, 647 Heem, David de I: 378 Heem, David Cornelisz de: xi, 378, 387, 389-390, 395 Heem, Jan Davidsz de: xi, xii, 7, 8, 9, 10, 22, 31, 36, 47, 49, 50, 65, 66, 68, 69, 71, 92, 93, 98, 99, 100, 102, 105, 110, 111, 112, 115, 116, 118, 119, 183, 212, 263, 265, 266, 289, 294, 308, 328, 337, 338, 360, 363, 364, 368, 378-386, 387, 389, 391, 395, 398, 402, 405, 407, 409, 417, 419, 421, 424, 425, 447, 454, 497, 504, 508, 529, 570, 573, 577, 583, 584, 597, 598, 599, 603, 617, 631, 635, 647, 651, 758, 850 Heem, Jan Jansz de: xi, 378, 379, 391 Heem, Nicolaes de: 389 Heer, Gerrit de: 505 Heer, Margareta de: x, 319-320, 502, 504, 505 Heer, Willem de: xi, 504, 505-506 Heere, Aaltje: 735 Heil, Leo van: xi, 357, 570 Heim, Johanna Catharina: 514

1214 |

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| IND EX

Heimius, Johanna Sibylla: 289 Hellefort, Johanna van: 598 Hellenbroek, Isaak: 645 Helm, Margaretha: 935 Hemelaer, Francesca de: 561, 564, 565 Hemelryck, Anna: 357 Hemmings, Elizabeth: 482 Hendriks, Wybrand: xii, 692-694, 698 Henri II, King of France: 1000 Henri IV, King of France: 20, 1015 Henstenburgh, Anton: 506, 769 Henstenburgh, Herman: xi, 491, 506-507, 668, 769 Herck, Jacob Melchior van: xiii, 590, 874-875 Herderwyn, Abraham: 598 Héritier de Brutelle, Charles Louis L’: 908 Hermans, Joannes: xii, 619 Hernández de Toledo, Francisco: 724 Herolt, Jacob Hendrik: 758 Herolt-Graff, Johanna Helena: xiii, 15, 374, 634, 758-759, 1027 Herreyns, Willem Jacob: 714, 720, 854 Herwart, Heinrich: 21 Hessen, Count Karl von: 785 Hessen-Darmstadt, Georg Wilhelm von: 677 Hessen-Darmstadt, Karoline Luise von: 842 Heteren, Adriaan Leonard van: 827 Heulens, Cornelia van: 598, 600 Heusden, Van: xi, 508 Heusden, Adolf van: 508 Heusden, Adriaen van: 508 Heyden, Pieter van der: 17 Heyens, Maria Adriana: 570 Heyns, Zacharias: 62, 78 Hild(t), Johann Kaspar: 758 Hill, John: 1011 Hilst, J.C.: xiii, 758 Hinloopen, Jan Jacobsen: 482 Hinz, Georg: 438, 497 Hoecke, Gaspar van den I: x, 235, 235-237 Hoecke, Jan van den: 235, 345 Hoecke, Robert van den: 235 Hoefnagel, Alexander: 112 Hoefnagel, Jacob: 32, 33, 40, 42, 73, 75, 78, 83, 85, 86, 142, 183, 577, 922, 923, 1000 Hoefnagel, Joris: 22, 32, 33, 40, 42, 51, 53, 73, 75, 78, 83, 85, 86, 95, 109, 112, 139, 140, 141, 142, 143, 172, 183, 254, 289, 577, 922, 923, 941, 945, 1000, 1023 Hoes, Maria la: 247 Hoeswinckel, Eduard van: 922, 937 Hoet, Gerard: 395, 759, 821 Hoet, Hendrik Jacob: xiii, 759 Hoet, Jacob: 12 Hoffmann, Hans: 61, 143 Hofman, Pieter: xiii, 759-760 Hofmann, Magdalena: xi, 508 Hofmann, Samuel: 508 Hogenberg, Johann: 1024 Holsteyn, Pieter II: iv, 20, 1027

Holt, Anna Cornelia: 482 Holt, Sophia: 482 Holtzbecker, Hans Simon: 20, 1027 Holzwart: 76, 84, 85 Homer: 76 Hondecoeter, Gillis Claesz d’: 182 Hondecoeter, Melchior d’: 111, 749 Hondius, Hendrick I: xiii, 17, 49, 163, 164, 923, 924, 926, 942, 945-947 Hondius, Jodocus: 954, 955 Hondius, Petrus: 40 Honervogt, Jacques: 180, 182, 955 Honorius of Autun: 64 Hooch, Pieter de: 12, 533 Hooftmans, Joanna: 22 Hoogenhuyzen, Elisabeth Georgina van: xiii, 760-761 Hoogers, Hendrik: xiii, 471, 762 Hoogschilt, David: 407 Hoogstraten, François van: 53, 55, 78, 82 Hoogstraten, Samuel van: 9, 10, 40, 516, 526 Hoop, Douwe de: 843 Hooren, G. van: xiii, 763 Hoorn, Jordanus: xiii, 764-765 Hoorn, Wendela (Weijntje) van: 544 Hoppesak, Elisabet: 987 Horace: 61, 76 Horapollo: 34, 77 Horemans, Jan Josef I: 900 Horemans, Jan Josef II: xiii, 900 Horne, Margarita van: xiii, 900 Horst, S.: 373 Houbraken, Arnold: 210, 294, 297, 391, 395, 409, 421, 423, 426, 482, 504, 512, 528, 553, 785 Houbraken, Hector van: 619 Houbraken, Nicola van: xii, 619 Houckgeest, Joachim: 318 Houstraet, Jacobus: 408, 493 Houtman, Cornelis: xiii, 765 Howard, Thomas: 257 Huizinga, Johan: 29 Hulsdonck, Gillis van: 247 Hulsdonck, Jacob van: x, 58, 247-249, 345, 359, 360 Hulsen, Frederich van: 1023 Hulst, J.F. van der: xiii, 901 Hulstijn, Cornelis Johannes van: 746 Humble, George: 1011 Huppe, brothers: 491 Huygens, Constantijn: 170, 175, 337, 409, 413, 419, 496 Huygens, Constantijn Jr: 496 Huygens, Justina: 496 Huygens, Suzanna: 175 Huynen, Cornelis van: 598 Huys, Balthasar: xi, 357 Huys, J.B.: xiii, 765-766 Huysum, Francina Margaretha van: xii, 668, 669-671, 712 Huysum, Jacob van: xii, 42, 508, 650, 664, 665-667, 668, 932 Huysum, Jan van: xii, xiii, 5, 6, 8, 9, 10, 23, 30, 31, 36, 40, 42, 55, 65, 66, 89, 90, 92, 93, 95, 100, 102, 103, 105, 106, 110, 111, 115, 116, 119, 378, | 1215

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379, 406, 438, 445, 508, 509, 510, 593, 631, 632, 633, 647, 650-665, 665, 666, 668, 669, 670, 671, 674, 677, 679, 680, 685, 689, 691, 693, 695, 696, 697, 700, 703, 704, 705, 706, 707, 708, 711, 712, 715, 719, 722, 729, 733, 759, 779, 804, 809, 810, 813, 815, 829, 831, 840, 842, 845, 849, 850, 909, 919, 920, 932, 933, 984, 988, 989, 990, 991 Huysum, Josua van: xii, 508, 668 Huysum, Justus van I: xi, 5, 399, 508-511, 511, 650, 653, 665, 668 Huysum, Justus van II: 508, 650 Huysum, Maria van: 670 Huysum, Michiel van: xii, 508, 650, 668, 668-669, 669, 670, 671, 708 Huysum, Nicolaes van: 668

I Immerseel, Van: 360 Imper: 926 Ingen, Simon: 338 Innocent XI, Pope: 693 Isaacsz, Pieter: 202 Isselburgh, Peter: 1023

J Jacobs, Hans: 941 Jacobs, J.F.C.: xiii, 766 Jacobsz, Juriaen: 351 Jacobsz, Lambert: 319 Jagers, Annetje: 525 Jans, Aeltje: 616 Jans, Tryn: 616 Jansen, Pieter: xi, 374 Janssens, Abraham: 325 Janssens, Anna Maria: xi, 325, 329, 554 Jansz, Pieter: 374 JE, Monogrammist: xi, 519-520 Jelisz, Claes: 207 Jerome: 65, 83 JF, Monogrammist: x, 323 Jilles, Claes: 207 Jode, Anna de: 937 Jode, Isabella de: 210, 325 Johann Wilhelm, Elector Palatine: 6, 526, 542, 634, 677, 781, 782, 785 Jonge, A. van: xiii, 767 Jonge, Abraham de: 767 Jonge, Reint Albert de: xiii, 767 Jonxis, Jan Lodewijk: 796 Jordaens, Hans IV: 524 Jordaens, Jacob: 12, 353, 604 Josi, Christiaan: 989 Jourdain, Charles: xiv, 1000-1001 Juliana, Anicia: 13 Julius Francis, Duke of Saxe-Lauenburg: 548 Juurds, Lijsbet: 747

K Kabel, Adriaen van der: 491 Kalf, Willem: 115, 426, 497, 617 Kampen, Nicolaas van: 18 Kaub, Johann Wonnecke von: 14 Keere, Colette van der: 955 Keere, Pieter van der: xiii, 180, 925, 926, 954-955 Keirincx, Alexander: 237 Kelderman, Jan: xiii, 767-768, 773, 794 Keller, Johan Hendrik: 684 Kempener, Jacob: 12, 47, 115, 164, 934, 943, 949, 950, 951, 952, 953, 954 Kempis, Thomas à: 409 Kerckhove, Jacques van de: 355 Kessel, Ferdinand van: xii, 577, 581-582, 838 Kessel, Hieronymus van: 577 Kessel, Jan van I: xii, 89, 111, 325, 364, 577-580, 581, 582, 583, 619, 620, 902 Kessel, Jan van II: xii, 577, 581, 583 Kessel, Peter van: xii, 524, 619-620 Kessel, Pieter Jeronimus van: 619 Ketel, Agatha: 692 Keulen, Gerard van: xiii, 962-963, 963 Khayyàm, Omar: 72 Kick, Cornelis: xi, xiii, 399-402, 402, 403, 447, 646, 959-960 Kick, Simon: 399 Kiggelaer, Frans: 985 Kinderman, Andreas: xiii, 769 Kittenstein, Elisabeth: 837 Klein, A.: xii, 703 Kleynhens, Isaak: xi, 511 Klijnhans, Marten Martensz: 511 Klinkhamer: 52 Klinkhamer, Jacob: 769 Klinkhamer, Michiel: 769 Klinkhamer, Pieter I: 769 Klinkhamer, Pieter II: xiii, 769 Knijp, Dirck: 552 Knip, Frederik Willem: 727 Knip, Henriëtte: 727, 851 Knip, Josephus Augustus: xii, 727, 727 Knip, Mattheus Derk: 727 Knip, Nicolaas Frederik I: 726-727, 727 Knobbaert, Jan: 941 Knobbaert, widow of: 941 Kobayashi, Issa: 81 Kobell, Jan II: 746 Kobels, Tryntje: 180 Kock, Paul Joseph de: xiii, 902 Koeck: 858 Koninck, Salomon: 202 Koning, Wilhelmus Engelbartus: 966, 967 Kooi, Willem Bartel van der: 819 Kouwenbergh, Frans Philipsz van: 450 Kouwenbergh, Philip van: xi, 450-452, 902 Kouwenhoorn, Pieter van: 20, 1026, 1027

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| IND EX

Kraÿ, Elsje: 769 Kraÿ, Jan: xiii, 769-771 Krelage: 21 Kretzer, Marten: 483 Kuipers, Cornelis: xii, 684-685 Kuipers, Dirk: 722, 759 Kuysten, Gerard: 482 KW, coppersmith: 193

L Lachtropius, Nicolaes: xi, 434-437, 440, 443, 445 Lacrois, Janneken Pieters: 294 Laeck, Arthur van: 334 Lairesse, Gerard de: xi, 4, 10, 35, 454, 512, 963 Lairesse, Jacques de: xi, 512 Lairesse, Reinier de: 512 Lamberg-Sprinzenstein, Count: 784 Lamberts, Clara: 243 Lamme, Arie: xiii, 767, 772-773, 794 Lamme, Arnoldus: 772 Lamoen, Abraham van: 348 Lanckvelt, Peter van: 352 Landberg, Freiherr von: 505 Lannoy, Anna de: 239 Lauderdale, Duke of: 469 Leemputte, Margriet van: 235 Leen, Willem van: xii, 698, 722-724, 775, 794, 860 Leenaerts, Marie: 447 Leeuw, Barentje de: 987 Leeuw, Bastiaan Govertsz van der: 296, 512 Leeuw, Pieter de: xi, 512 Leeuw, Pieter van der: 512 Leeuwen, Gerrit Johan van: xii, 698-700, 700 Legi, Giacomo: xii, 356, 620 Lelie, Adriaen de: 796 Lelienbergh, Cornelis: xi, 512 Lely, Peter: 532 Lemmen, J. van: xiii, 773 Lens, Andries Cornelis: 902 Lens, Corneille: 902 Lens, Cornelis: xiii, 902-903 Lens, Jan Jacob: 902 Leopold I, Holy Roman Emperor: 409 Leopold Wilhelm, Archduke: 112, 223, 227, 337, 357, 483, 568, 570, 615 Lesire, Paulus: 296 Lettré: x, 321 Leyster, Judith: x, 321-322, 475, 544 Liefde, Johanna de: 987 Lier, Joris Gerritsz van der: x, 316 Lievens, Jan: 338, 378, 395, 598 Ligozzi, Jacopo: 143 Limborch, Hendrik van: 493 Linnaeus, Carolus: 477, 1035, 1107 Linné, Carl von: 1035 Linschoten, Adriaen Cornelisz: 316 Linthorst, Jacobus: xii, 685-687, 729

Lints, Peter: 601 Lippe, Count of: 324 LMPT, Monogrammist: 20 Lobelius: 12, 15, 16, 21, 923, 1007, 1015 Lochner, Stefan: 289 Lofvers, Hendrick: xiii, 774-775 Lofvers, Pieter: 774 Lomboy, Maria: 870 Londerseel, Assuerus van: 926, 956, 1003 Londerseel, Johannes van: 956 Londerseel, Susanna van: 956 Loo, Pieter van: xii, 708-711, 825, 991 Loon, Johannes Hermanus van: xiii, 775-777, 825 Lormier, Willem: 674, 792 Lotyn, Johannes: xii, 595-596 Louis XIII, King: 1025 Louis XIV, King: 6, 337, 391, 409, 617, 622 Louis XVI, King: 714, 715, 717, 860 Louis XVIII, King: 850 Lovejoy, William: 454 Loyola, Ignatius of: 339 Lucas, Swaentje: 646 Lucas, William: 18 Luce, Lucas: 462 Lusse: 462 Lust, Abraham de: xi, 462-463 Lust, Guilliam van der: 615 Lutgeert: xii, 620 Lutma, Johannes I: 427 Luttichuys: 419 Luyck, Hans van: 937 Luyckx, Carstian: xii, 345, 572-573, 583 Luyckx, Christiaen: 573 Luyken: 81

M Macer, Aemilius: 14 Maes, Claes Adriaensz van der: 318 Maes, Evert van der: 369 Magdunensis, Odo: 14 Magnus, Albertus: 19, 53, 376 Mahu, Cornelis: 588 Man, Cornelis de: 12 Man, Maria de: 941 Mander, Carel van: 35, 37, 39, 43, 44, 45, 65, 78, 83, 84, 86, 90, 91, 95, 142, 143, 163, 171, 172, 174, 180, 209, 210, 298, 923, 948 Mander, Carel van II: 316 Mandevyll, Robbert van: xi, 512 Manfred, King of Sicily: 13 Maratti, Carlo: 556, 592 Marcelis, Jan: xi, 513 Marcelis, Jan Claesz: 513 Marcelis, Jan Klaassen: 513 Marcus, J.C.: 819 Mariënburg, Catharina van: 210 Mariette, Pierre-Jean: 981 | 1217

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DUTCH AND FLEM I SH F LOWE R PIECE S

Marle, Cornelia van: 482 Marlier, Philips de: xi, 235, 249, 344-345, 573 Marnius, G.A.: 472 Marot, Daniël I: xi, 513-514, 693 Marrel, Jacob: x, 20, 43, 79, 90, 93, 175, 264, 267, 285, 289-293, 297, 323, 324, 328, 368, 371, 372, 374, 378, 391, 406, 497, 514, 968 Mars, Cornelia van der: 450 Martini, Norbertus: 588, Martini, Simone: 123 Mary, Queen: 595, 886 Mary of Burgundy, Master of: 124, 125 Mast, Dirck van der: x, 315 Mast, Herman van der: 315 Matham, Jacob: xiii, 30, 43, 44, 45, 47, 298, 300, 923, 948-949 Matham, Johannes: x, 298-299, 300 Matthias, Emperor: 182 Mattioli, Andrea: 13, 57 Mattos, Abraham Teixeira de: xiii, 822-823 Maurer, Jacob: 989 Maurits, Stadhouder, Prince of Orange-Nassau: 7, 170, 192 Maurus, Hrabanus: 19, 30, 64 Maximilian I, Emperor: 143 Maximilian II, Emperor: 15 May, Cornelis: xi, 514 Mayers, Jannetie: 303 Mecklenburg-Schwerin, Duke of: 6 Medici, Ferdinando II de’: 6, 426, 467 Medici, Giancarlo de’: 428, 426 Medici, Leopoldo de’: 426 Medici, Maria de’: 7, 174, 337, 1015 Meer, Barend van der: 516 Meer, Johannes van der: 516 Meer, Noach van der I: 993 Meer, Noach van der II: xiii, 637, 752, 993-994 Meerten, Hendrik van: 807 Meertens, Abraham: xiii, 777-778 Megenberg, Konrad von: 14 Memling, Hans: 58, 138 Memmi, Lippo: 123 Mendelssohn: 75 Mer, Johan (le): 926, 928, 959 Merct, Maria van der: 376 Merian, Maria Sibylla: xi, xiii, 81, 289, 366, 374, 391, 514-516, 634, 758, 929, 934, 935, 967-969, 1016, 1023, 1026, 1027 Merian, Matthäus I: 289, 514, 934, 935, 949, 1016, 1018, 1023 Mertens, Anna Maria: 249 Mertens, Jan Frans Jozef: xiii, 903-905 Messager, Jean: 47, 954 Metsu, Gabriël: 12, 759 Meulen, Claes van der: 519 Meulen, Cornelis van der: xi, 516 Meulen, Pieter van der: 516 Meurs, Jan van: 351 Meyer, Albert: 15, 143 Meyers, Joseph: 686 Meyssens, Joannes: 49 Michiel, Louis: xi, 427, 434, 437-438, 454

Michielsen, Hans: 249 Michielsen, L.: 437 Mieris, Frans van I: 12, 110, 406, 464 Mignon, Abraham: xi, 5, 10, 22, 110, 118, 208, 212, 289, 328, 378, 379, 391-395, 395, 417, 438, 445, 543, 631, 635, 645, 647, 691, 850 Mijling, Hendrik Leffert: xiii, 992-993 Mijn, Agatha van der: xiii, 778-779, 781 Mijn, Cornelia van der: xiii, 779-780, 781, 784 Mijn, George van der: 781 Mijn, Gerard van der: 781 Mijn, Herman van der: xiii, 438, 778, 779, 781-782, 782, 784, 785, 796 Mijn, Robert van der: 781 Milcx, Philippe: 334 Moeyaert, Claes: 470 Moffett, Thomas: 78 Molenaer, Jan Miense: 300, 321, 322, 475, 544 Molineus, Magdalena: 511 Momper, Joos de II: 210, 235 Monardes, Nicolás: 16, 69 Mondoteguy, Jacques: 671 Moniaert, Cornelis: 874 Moninckx, Cornelis: 377 Moninckx, Johannes I: 376 Moninckx, Johannes II: xi, 15, 20, 374-376, 546, 549, 634 Moninckx, Lysbeth: 483 Moninckx, Machtelt: 376 Moninckx, Maria: xi, 15, 20, 374, 376, 376-377, 634 Moninckx, Pieter: 376, 483 Monnoyer, Jean Baptiste: 479, 483, 593, 631, 653, 751, 868, 882, 886, 919, 920, 921, 929, 934, 935, 936, 962, 963, 964, 965, 971, 972, 977, 978, 984 Montalie, Norbert: 598 Moor, Carel de II: 12 Moor, Jacob de: 247 Moreau, Maria: 300 Morel, Jan Baptist: xiii, 583, 871, 870-871 Morel, Jean Baptiste II: xiii, 871, 872 Morel, Jan Evert I: xii, 685, 729-732, 825 Morel, Jean Pierre: xiii, 871, 873 Morel, Jean René: xiii, 871, 872 Morel, N.: 871 Morel, Nicolaes: 871 Morell, H.: xiii, 603, 871, 871-872 Moretus, Jan: 937 Morin, Jean: 42 Moritake: 57 Moritz, Louis: 798 Mortel, Jan: xi, 287, 419-421, 647 Mortier, Cornelis: 964 Mortier, Pieter: xiii, 964-967 Motelettes, Henri Albert Imbert des: xiii, 905 Moucheron, Isaac de: 706 Mourik, Bernardus: 987 Moyne de Morgues, Jacques le: xiv, 17, 1000, 1007, 1008, 1009, 1010 Mulckenhof, J.: xiii, 782 Muller, Herman Jansz: 142 Munting, Abraham: xiii, 985

1218 |

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| IND EX

Munting, Henricus: 985 Musscher, Michiel van: xi, 12, 516-518 Musson, Margriet: 235 Musson, Matthijs: 622

N Naarden, Jean Arentz: 180 Naiveu, Matthijs: xi, 518-519 Narnius, G.A.: 472 Nason, Pieter: 493 Nassau, Countess Albertine Agnes of: 462 Naulaerts, Frans: 590 Neal, Elisabeth: xi, 519 Nellius, Martinus: xi, 408-409 Nerven, Cornelis van: 318 Netscher, Caspar: 12, 471 Netscher, Constantijn: 516, 677 Neuf, Simon Balthasar de: 479, 615, 896 Neyman, M.: 711, 989 Neyt, Herman de: 235, 357, 620 Nickelen, Isaak van: 785 Nickelen, Jacoba Maria van: xiii, 781, 782-784, 785 Nickelen, Jan van: xiii, 782, 785 Nickelen, Rymer van: 785 Niels, J.: xii, 701-703 Niels, J.R.: 703 Niemans: 621 Nieulandt, Abigaël van: 202 Nieulandt, Adriaen van: x, 202-204, 554 Nieulandt, Guilliam II van: 202, 180 Nieulandt, Jacob van: 202 Nieuwenhuis, Helena: 426 Nijhoff, Andries Pietersz: 319 Nijmegen, Barbara van: xiii, 785 Nijmegen, Dionys van: 785 Nijmegen, Elias van: xiii, 785, 785-788, 806 Nijmegen, Gideon van: 785 Nijmegen, Herbert van: 785 Nijmegen, Johanna van: 785, 806 Nijmegen, Tobias van: 785, 806 Nijs, Pieter: 493 Nollekens, Jan Baptist: 211 Nollekens, Josef Frans: 913 Nuemans, Egidius: xii, 621-622 Nuffelen, Michiel van: 532 Nuglisch, Friedrich Christian: 444 Nuzzi, Mario: 896, 981

O Obel, Matthias de l’: 15, 16, 923 Obidos, Josefa de: 489 Oldenbarnevelt, Maria van: 546 Olis, Jan: xi, 371-372 Oliva, Joseph: 605 Olivera, Franciscus d’: 590

Olofson, Jan: 371 Olst, A. van: xiii, 788-789 Olst, M.J. van: xiii, 789-791 Ommeganck, Balthasar Paul: 854 Ongeraen, Sara Leenderts: 477 Oorschot, Frans van: 345 Oortman, Joachim Jan: 727 Oortman, Petronella: 519, 520 Oosterwijck, Jacob van: 409 Oosterwijck, Maria van: xi, 6, 50, 112, 342, 409-411, 413, 415, 444, 516, 549, 654 Oostfries, Catharina: xi, 519 Oostfries, Jozef: 519 Oostfries, Sieuwert: 519 Oosthoorn, Helena van: 499 Opstal, Caspar Jacob van: 590, 915 Orange-Nassau, Anna of, Princess of Great Britain and Ireland: 757 Os, Georgius Jacobus Johannes: 679, 682, 683, 732, 791, 798 Os, Heyndrick van: 172 Os, Jan van: xii, 118, 679-682, 682, 683, 684, 685, 687, 695, 729, 733, 788, 791, 795, 815, 822, 850, 854 Os, Maria Margaretha van: xiii, 679, 682, 791-792 Os, Pieter Frederik van: 682 Os, Pieter Gerardus van: xii, 679, 682-683, 791 Oss, A. van: 788, 789 Ostade, Adriaen van: 12 Ostayen, Jacob van: xi, 357-359 Ottens, Joshua: 937 Ottens, Reinier II: 937 Ouwater, Jacobus: xiii, 792 Ovens, Jürgen: 532 Ovid: 19, 31, 51, 52, 59, 66, 76, 659, 979

P Pachelbel, Amalia: 934 Palamedes, Guilliaem: 301 Palestrina: 75 Palthe, Anthony: 692 Panofsky, Erwin: 39, 131 Paradin, Claude: 54, 60, 71, 76, 78, 79, 82, 83 Parkinson, John: 1011 Parlasca, Simon: 69 Parma, Margareta of: 61 Passe, Crispyn de I: xiii, xiv, 17, 31, 34, 48, 62, 943-945, 1000, 1005, 1006, 1007, 1008, 1009, 1011, 1015, 1023 Passe, Crispyn de II: xiv, 17, 18, 20, 48, 943, 985, 1005, 1006, 1008, 1009, 1010, 1011-1015, 1018, 1024 Passe, Magdalena de: 943 Passe, Simon de: 48, 943, 1011, 1013 Passe, Willem de: 943, 1011, 1013 Pasteur, Louis: 19, 261 Paul V, Pope: 69 Pauli, Andries: 592 Pauli, Marie Anna: 592 Pauw, Adriaen: 22, 564 Pauwels, Joanna Catharina: 866 | 1219

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DUTCH AND FLEM I SH F LOWE R PIECE S

Pauwens, Catharina: 387 Payne, John: 1011 Peeters, Clara: x, 59, 111, 243-246 Peeters, Gillis: 303 Peeters, Philips Jacob: xiii, 859-860 Pelt, Hans van: 247 Pepys, Samuel: 454 Perrière, La: 61 Pers, Dirck Pietersz: 34, 71 Persius: 85 Peter the Great, Russian Tsar: 634 Peters, Josine: 247 Petit, Pierre Joseph: 860 Phaedrus: 28 Philip II, King of Spain: 4, 724 Philip IV, King of Spain: 337 Philippus: 34 Physiologus: 28, 36, 76, 77 Picart, Jean Michel: xii, 426, 427, 618, 622-624 Picinelli: 28, 34, 37 Pick, Adam: 301, 520 Pickarts, Clara: 622 Picquet, Jean: 954 Pielier, J. van: xiii, 792-794 Piera, Antoni: xiii, 794 Pieters, Ariaentje: 376 Pieters, F.R.: xii, 703 Pieters, Geertgen: 413 Pieters, Tryntge: 535 Pietersz, Gerrit: 413 Pijnacker, Adam: xi, 502, 520-521 Pini, Girolamo: 935 Pisanello: 143 Pious, Louis the: 19 Plantijn: 15, 261 Plateau, Antoine: xiii, 905 Platter, Felix: 14 Pliny: 14, 30, 52, 55, 57, 58, 59, 61, 66, 84, 85, 123, 1040 Ploos van Amstel, Cornelis: xii, xiii, 664, 669, 671, 673, 706, 711-712, 712, 933, 988-989, 989 Poelenburg, Dirck van: x, 300, 544 Poelenburg, Maria van: 298, 300 Poilly, François de: 971 Poirters: 81, 84 Pol, Christiaan van: xii, 724-725, 850, 851 Ponse, Joris: xiii, 684, 722, 753, 759, 767, 772, 773, 794-795, 815 Pontius, Paulus: 239 Pool, Isaac: 634 Pool, Juriaen: 634 Poort, Marcus de la: 352 Portinari, Tommaso: 137 Post, Maria: 634 Post, Pieter: 634 Potteau, Guillelmo: 614 Potter, Paulus: 909 Potter, Pieter: 378 Pourbus, Frans II: 12

Poussin, Nicolas: 337 Praet, Marie van: 368, 615 Pronk, Cornelis: 706 Provoost, Jan: 139 Prudentius: 50 Put, Guillaume van der: 521 Put, Isaak van der: xi, 521, 906 Put, J. van: 521 Putte, Van der: xiii, 906 Puyl, Louis François Gerard van der: xiii, 796

Q Quad, Matthias: 1010 Quast, Anna: 287 Quast, Pieter: 287 Queborn, Anna van den: xi, 472, 521 Queborn, Crispyn van den: 521 Quellinus, Erasmus II: 337, 353, 561, 590, 598, 604

R Rabel, Daniel: 1024, 1025, 1026, 1027 Rademaker, Gerrit: xiii, 796 Radermacher, Johannes: 139 Radermacher, Samuel: 192 Radt, C. van der: xi, 521-522 Raeps, Sara Catharina: 588 Raes, Catelynken Thomasdr: 202 Raeth, Ignace: 337 Ranson, Pierre: 921 Raphael: 622 Raven, Servatius: 1023 Ravenswaay, Jan van: 764 Ravesteyn, Arnold van: 465 Razet, Jacques (Jacob): 143, 163 Reboul, Jeanne: 914 Recco, Pieter: xiii, 796 Redouté, Antoine Ferdinand: 907 Redouté, Charles Joseph: 907 Redouté, Pierre-Joseph: xiii, 715, 850, 907, 908-909, 909, 1026 Ree, A.: xiii, 796-798 Ree, Anthonij: 796 Regnier, Lucretia: 614 Regnier, Nicolaes: 614 Reijerman, Annette: xiii, 798-799 Reitlinger: 10 Rembrandt: 3, 95, 115, 377, 378, 532, 657, 711, 738, 1038 Remmers, Johannes: 692 Remunde (Ro(u)rmunde), Everard van: 209 Remunde, F. (?) van: x, 209 Renard, Louis II: 983 Renialme, Johannes de: 483 Reusner: 52, 76 Reuwich, Erhard: 14 Richard, Marie: 622 Ridder, Jheronimus de: 239

1220 |

DUTCH AND FLEMISH FLOWER PIECES_BW_PART2.indb 1220

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| IND EX

Rieu, Florent de: 338 Rigouldts: 561 Rigouldts, Anna: 561 Rijck, Cornelia de: 796 Rijck, Pieter van: 202 Rijlof, Margreta Jans: 482 Rijnders, widow of Hendrik: 947 Rijt, Herman de: 352 Ring, Hendrick Brugge van: 464 Ring, Ludger tom II: 6, 7, 139, 143, 144, 145, 146, 148, 150, 151, 156, 159, 185, 201, 252, 620, 922, 1002 Ring, Pieter de: xi, 379, 407, 408, 647 Rinio, Benedetto: 143 Ripa, Cesare: 34, 52, 63, 65, 67, 68, 70, 78, 81, 82, 85 Rivière, Louis de la: 686 Robart, P.A. (I?): xiii, 800-801, 802 Robart, P.A. II: xiii, 801-802 Robart, R.G.: xiii, 803 Robart, R.H.: xiii, 804 Robart, Willem: xiii, 803, 804 Robert, Nicolas: 20, 929, 934, 968, 993, 1026, 1027 Robin, Jean: 20, 1015 Robroeck, Maria: 167 Rodenburg, Sara: 512 Roedig, Johannes Christiaan: xii, 689-692, 760, 822 Roepel, Coenraet: xii, 677-679, 788, 804, 821, 826 Roepel, J.: xiii, 804-806 Roestraeten, Pieter Gerritsz van: xi, 523-524 Roghman, Roelant: 182 Rollenhagen, Gabriel: 34, 36, 73, 85 Romborgh, Maria: 285 Rombouts, Theodoor: 561 Romburgh: 469 Romondt, Otto van: 750 Roore, Jacques de: 592 Roos, Jan: xi, 351, 356, 620 Rootius, J.: 389 Roover, Philips Corstiaensz: 368 Roovers, Elisabeth: 368 Roovers, Helena: xi, 368-369 Roovers, Maria: 368 Rösslin, Eucharius I: 15 Rosso, Giovanni Battista: 959 Rossum, Jan van: xi, 405-406 Roswel, Alexander: 524, 525 Rothschild: 11, 124, 126, 127 Rotius, Jacob: xi, 421-422, 423 Rotius, Jan Albertsz: 421 Röver, Valerius: 711, 737 Roy, Jean Baptiste De: xiii, 909-910 Royen, Adriaan van: 829 Royen, Willem Frederiksz van: xi, 445, 465-466 Rubens, Peter Paul: 3, 11, 12, 17, 90, 210, 239, 337, 345, 351, 622 Ruckers, Anna: 378 Rudolf II, Emperor: 6, 15, 51, 73, 141, 144, 171, 174, 182, 183, 192, 934 Ruel, Martinus de la: 376 Ruffo, Antonio: 556, 558

Rumphius, Georg Everhard: 553 Ruusbroec, Jan van: 81 Ruwel, Alexander: xi, 524 Ruwel, Maria: 524 Ruysch, Anna: xii, 634, 637, 644-645 Ruysch, Frederik: xii, 374, 634, 634, 637 Ruysch, Petronella: 374 Ruysch, Rachel: xii, 6, 9, 10, 95, 99, 100, 105, 106, 110, 115, 116, 118, 374, 379, 426, 435, 444, 447, 452, 467, 516, 541, 631, 634, 634-644, 644, 646, 647, 677, 679, 784, 798, 826, 850, 993, 994 Ruyt, Jacobus de: 755 Ruyven, Pieter Jansz van: xi, 524-525 Ryckaert, Hans: 239 Rye, Joris van de: 21 Rym, Karel: 261 Rysbrack, Peter: 598

S Sadelare, Susanneken: 204 Sadeler, Johannes: 954, 1011 Sadeler, Justus: 1004, 1011 Saenredam, Pieter: 265 Saint-Laurent, Richard of: 65 Saint Victor, Adam of: 56 Saint Victor, Hugh of: 30, 40, 83 Saive, Jan Baptist I: 357 Salme, Marie: 512 Sambucus: 83 Sande, Salomon van de: xi, 525 Sanders, Gerard: xiii, 785, 806-807 Sanderus, Elisabeth: 508, 668 Sanderus, Josua: 511 Sandrart, Joachim von: 63, 67 Sandrart, Susanna Maria von: 934 Santwyck, François van: xi, 525 Santwyck, Philips van: 481, 500, 525 Sappho: 51, 1040 Sardis, Melito of: 19, 30, 51, 83 Sauvage, C.G.: xiii, 860, 862 Sauvage, Pieter Joseph: xiii, 860, 860-861 Savery, Hans II: 182 Savery, Jacob: x, 143, 164, 180, 182, 182, 925, 926, 934, 935, 955, 956, 957, 959 Savery, Maria: 182 Savery, Roelandt: x, 6, 40, 96, 99, 103, 105, 115, 143, 164, 165, 172, 180, 182-192, 193, 205, 215, 264, 266, 279, 281, 289, 294, 311, 316, 359, 372, 926, 956 Savoy, Marie Joséphine of: 850 Schaalje, Cornelis Johannes: xii, 727-729 Schalcken, Godfried: xi, 8, 12, 522, 526-527 Schalie, Cornelis Johannes: 727 Scharenborgh, Jeronimus van: 583 Scheffer, Johan Bernard: 762 Scheffer, Margaretha: 480 Scheffer-Lamme, Cornelia: 772 Schenk, Leonard: xiii, 977-980 | 1221

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DUTCH AND FLEM I SH F LOWE R PIECE S

Schenk, Maria: 976 Schenk, Pieter I: xiii, 933, 934, 959, 962, 971, 976, 977-980, 989 Schenk, Pieter II: xiii, 934, 977-980 Schepers, Maria E.J.: xiii, 910-911 Schilperoort, Anna Barbara: xiii, 807 Schindelaar, Hendriks Petrus: xiii, 807 Schinne, Barbara van: 524 Schmettau, Johann Ernst von: 888 Schöffer, Peter: 14 Schomper, Johan Joseph: xiii, 807 Schonaeus, Cornelis: 47 Schönborn, Graf von: 729 Schönsperger, Johann: 921 Schoock, Gysbert: 395 Schoock, Hendrik: xi, 395-397 Schoodt, Gilliam van: 247 Schoonhoven, Johan van: 532 Schoonjans, Anton: 671 Schoor, Willem van: 17 Schouman, Aert: 20, 679, 794, 835 Schouten, C.M.: 423 Schouten, Margrietje: 508 Schouten, W(illem?): xiii, 807-808 Schreuder, Bernardus: xiii, 933, 989-990 Schrieck, Evert Marseus van: 532 Schrieck, Otto Marseus van: xi, 5, 95, 100, 103, 426, 431, 444, 467469, 513, 532, 540, 544, 769, 829 Schultz, Johan Christoffel: 796 Schurman, Anna Maria van: 192 Schurman, Frederik van: 192 Schut, Cornelis: 337, 561 Schut, Norbertus: 604 Schut, Sara: 249, 425 Schutter, Meesje Maria: 825 Schuurmans, Johannes Stekhoven: 736, 987 Schuyten, Pieter Cornelisz: xi, 527 Schwegman, Hendrik: xiii, 20, 708, 991 Schynvoet, Simon: 659 Scipione, Cardinal: 216 Seghers, Daniël: xi, xii, 7, 40, 69, 92, 93, 97, 99, 100, 102, 105, 112, 117, 207, 210, 211, 214, 223, 263, 325, 334, 335, 337-343, 345, 351, 352, 360, 363, 378, 447, 454, 556, 561, 566, 568, 570, 574, 577, 588, 590, 598, 631 Seghers, Gerard: 360 Seldenslach, Jacobus: xiii, 588, 866 Seneca: 52 Serange, Jan: x, 209 Servandoni, Giovanni Niccolò: 875 Sevenhoven, Jacques van: 357 Severdonck, Catharina van: 588 Sevestre, Maria Elisabeth: 739 Seville, Isidore of: 19, 30, 51, 77 Seyfried, Johann Christoph: 1027 Shakespeare, William: 31, 55, 70 Sibmacher, Johann: 923, 934 Sieuwerts, Trijntje: 519 Simon-Thomas, D.E.: 642 Simons, Michiel I: x, 249, 425

Simons, Michiel II: xi, 249, 425 Simpson, William: 1011 Singel, Swaantje: 462 Sinte Annaland, Lady of: 175 Sinte Annaland, Lord of: 175 Sjoer, Cornelis Wynandus: 470 Slaets, Magdalena: 902 Slechtenhorst, J. van: xi, 372-373 Slingelandt, Lambert van: 407 Slingelandt, Pieter van: xi, 12, 527-528 Sloot, Pieter van der: 675 Sluys, Jacob van der: 527 Sluysze, M. van: 686 Smids, Ludolph: 977 Smidts, Lucas: 239 Smit, Catharina: 524 Smith, James: 930 Smits, Caspar: xi, 528, 529 Smits, J[an?]: xi, 529 Smits, Jasper: 529 Smits, Johannes: 529 Smits, Theodoor: 528 Smitsen, Arnold: xiii, 881 Snabilié, Maria Geertruida: xiii, 736, 809-810 Snel, Jacques: 235 Snellincks: 237 Snellinck, Andries: x, 237-239 Snellinck, Jan I: 211, 237 Snijers, Petrus Johannes: 910, 911 Snijers, Pieter: xiii, 910-912 Snyders, Frans: xi, 58, 94, 202, 210, 233, 263, 351-352, 353, 355, 356, 359, 360, 378, 508, 556, 604, 622 Snyders, Frans II: 237 Snyders, Michael: 943 Sobieski, Jan III: 581 Solms, Amalia van: 337 Somer, Jan van: xiii, 961-962 Someren, Sara van: 500 Son, Jan Frans van: xii, 523, 597, 598, 600-601 Son, Joris van: xii, 379, 523, 598, 598-599, 600, 601 Sonneman: xiii, 812-813 Sonnenberg, Johannes: xiii, 813 Soreau, Daniël: 359 Soreau, Isaak: xi, 247, 359-360 Soreau, Jan: 359 Soreau, Peter: 359 Soumans, Margaretha: 711 Spaendonck, Cornelis van: xii, 111, 715, 720-722, 860, 919, 934 Spaendonck, Gerard van: xii, xiii, 7, 23, 100, 105, 106, 110, 111, 118, 119, 631, 703, 714-720, 720, 721, 722, 724, 727, 729, 733, 765, 845, 849, 850, 854, 858, 860, 905, 908, 909, 919, 920, 934, 1026 Spaeroogh, Cornelia: 399 Spaey, M. van: xiii, 857-858 Speckle, Veit Rudolph: 15 Speeckaert, Michel Joseph: xiii, 856-857 Spelt, Adriaen van der: xi, 406, 463-465 Spelt, Hadrianus van der: 463

1222 |

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| IND EX

Spey, Martinus: 857 Spierinc, Nicolas: 124 Spinola: 126 Spinola, Angela: 615 Splinter, Robert Jansz: 287 Splinters, Anna: x, 287-288 Sporckmans, Huibrecht: 864 Spreeuwen, Jacob van: 287 Stalpaert van der Wiele, Eva: 170 Stas, Peeter: 89, 240 Steen, Jan: 11, 475, 693 Steens, Lambert: 237 Steenwyck, Abraham: 478 Stercke, Emmerantia: 472 Stevens, A.: xi, 530 Stooter, Cornelis: x, 323 Stoppelaer, C.: xiii, 813-815 Stoppelaer, Charles: 813 Stratem, A.H. van: 686 Strij, Abraham van: xiii, 684, 788, 794, 815-816 Strij, Leendert van: 815 Stroo, Cornelis: 769 Struys, Maria: 281 Stuart, Charles: 454 Stuart, Mary: 513 Stuven, Ernst: xi, 391, 426, 434, 438-440, 440, 452, 541, 635, 781 Suchtelen, Nicolaes (?) van: xi, 423 Suetonius Tranquillus, Caius: 40, 85 Susenier, Abraham: xi, 478-479 Swaanenburg, Willem van: 778 Swalue, Albartus Otto: xiii, 817 Swammerdam, Jan: 548 Swanenburgh, Willem Isaaksz: 15 Swart, Frans Jurjens: xiii, 818-819 Sweert, Emanuel: xiv, 20, 47, 285, 1011, 1015, 1016, 1019, 1020, 1021 Sweerts, Hieronymus: 285 Sweerts, Jeronimus: x, 192, 239, 285-287, 289, 313 Sweinen, Evert van: 986 Swijnen, F. van: xiii, 986-987 Swijnen, J. van: 736 Swijnen, T. van: 736, 986 Swol, Hendrina: 421 Symons, Michiel: 425 Syracuse, Theocritus of: 945 Sysmus, Jan: 514

T Takens, Elisabeth: 650, 668 Tan, Franciscus: xiii, 913 Teerlink, Abraham: 767 Teggers, Aert: 527 Tengeler, Johan Wilhelm: xiii, 819-820 Teniers, David I: 12, 17, 235 Teniers, David II: 112, 235, 573, 577, 583 Teniers, Juliaen I: x, 235, 235 Terwesten, Augustinus I: 530

Terwesten, Elias: 530 Terwesten, Esaias: xi, 530-532 Terwesten, Mattheus: 590, 591, 677, 821, 826, 888 Terwesten, Pieter: xiii, 752, 821-822 Teyler, Johannes: xiii, 824-825, 926, 929, 934, 971-976, 976, 977, 982 Theophrastus: 13, 19, 52, 57, 58, 78 Thielen, Anna Maria van: xii, 561, 565, 566 Thielen, Francisca Catharina van: xii, 561, 565, 566 Thielen, Jan Philip van: xii, 94, 175, 253, 337, 339, 561-564, 564, 565, 566, 588 Thielen, Libertus van: 561 Thielen, Maria Theresia van: xii, 561, 564-565, 566 Thielens, Gaspar: xii, 587-588 Thienen, Jan van: 350 Thys, Pierre Joseph: xiii, 858 Tibullus: 65 Tilburgh, Gillis van: 17 Tilemann, Johann: 324 Tilens: 587 Tilius, Johannes: 527 Tillemans, J.: 913 Tillemans, Peter: xiii, 882, 913-914 Tilman, Simon Peter: x, 324 Titian: 622 Tol, Domenicus van: 12 Tongeren, A. van: xii, 532, 697-698 Tongeren, Arent van: xi, 532, 697 Tongeren, Arnt van: 697 Toorenburgh, Gerrit: 764 Toorenvliet, Abraham: 518 Torrentius: 34 Triest, Anna Clara van: 554 Trommius, Abraham: 30 Troost, Cornelis: 12, 706, 711, 825 Troost, Elizabeth: 711 Troost, Willem: 782 Troost van Groenendoelen, Jan Hendrik: xiii, 708, 729, 775, 825826, 842, 994 Tuinman, Carolus: 31 Typotius, Jacobus: 34

U Uchelen, Paulo van: 548 Uden, Artus van: 360 Uden, Jacques van: xi, 360 Udine, Giovanni da: 16 Uffelen, Michiel van: xi, 532 Uil, C. de: xii, 586 Ulfeldt, Jakob Mogensen: 178 Ulrich, Heinrich: 1023 Uppink, Hermanus: xii, 700-701 Utrecht, Adriaen van: xi, 352-354 Uyl, C. den: 586 Uyl, Jan Jansz den: 378 Uylenburgh, Anna: 532 Uylenburgh, Gerrit: 417 | 1223

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Uylenburgh, Hendrick: 532 Uylenburgh, Juffer: xi, 532 Uylenburgh, Lyntgen: 532 Uylenburgh, Sara: 532 Uylenburgh, Saskia: 532 Uylenburgh, Susanna: 532

V Vaart, Jan van der: xi, 532-533 Vaiana, Anna Maria: 934 Vaillant, Bernard: 463 Valck, Agatha: 976, 977 Valck, Gerard: xiii, 971, 976-977, 977 Valck, Leonard: 976 Valckenborch, Gillis van I: 257 Valckenborch, Lodewijck Jansz van: 163 Valckenborch, Lucas van: 252 Valckenborch, Maerten van: 252 Valentini, Michael Bernhard: 1019 Valerianus, Joannes Pirius: 34, 76, 83, 86 Valkenburg, Dirk: 516, 794 Valkenburgh, H.: 19 Vallet, Pierre: xiv, 20, 213, 1015, 1016, 1017, 1018, 1019, 1023, 1024 Valois, Marguerite de: 1000 Vandenburgh: xi, 533-534 Vanderburch, Dominique Joseph: xiii, 914 Vasari: 39 Vauquer, Jacques: 920, 929, 971, 972, 973, 974, 977, 982 Vay, Lodewijck: xi, 535 Veen, Otto van: 62 Veldener, Johannes: 14 Velthoven, Hendrik van: 796 Velthuysen, Barent: xiii, 987, 989 Venne, A. van der: 17 Venne, Adriaen van de: 40, 59, 60, 369 Venne, Pieter van de: xi, 369-370 Vent, Cecilia: 459 Verbruggen, Adriana: xiii, 677, 826-827 Verbruggen, Balthasar Hyacinth: xiii, 479, 588, 590, 827, 863-864, 864 Verbruggen, C.: 553 Verbruggen, Gaspar Peeter I: xii, 529, 588-589, 590, 625, 827, 863, 866 Verbruggen, Gaspar Peeter II: xii, xiii, 4, 363, 554, 574, 584, 588, 590591, 592, 631, 827, 863, 864, 874, 882, 885 Verelst: 615 Verelst, Cornelis: xi, 460 Verelst, Harmen: 459 Verelst, Herman: xi, 437, 459-460, 460 Verelst, Johannes: xi, 460-462 Verelst, Pieter: 454, 459, 460, 483 Verelst, Simon: xi, 91, 98, 99, 102, 103, 105, 114, 115, 266, 399, 427, 454458, 459, 460, 461, 462, 523, 526, 646 Verendael, Nicolaes van: xii, 94, 109, 391, 417, 573, 583-585, 586, 592, 870 Verendael, Willem van: 583

Verhaecht, Peeter: 614 Verheyden, Jacobus: 675 Verhoek: xiii, 827 Verhoek, Gijsbert: 827 Verhoek, Pieter: 827 Verhorst, Margareta: 283 Verhulst, Elias: 13, 143, 163, 164, 923, 924, 926, 945, 946, 947, 959 Verhulst, Mayken: 210, 233 Verkolje, Johannes II: 826 Vermeer, Johannes: 3, 109, 311, 516 Vermeirsch, S.: xiii, 914-915 Vermeulen, Cornelis: 516 Vermeulen, Thomas: 247 Verschuren, Jan: xi, 535-536 Verschuren, Jan Pietersz: 535 Verschuur, Wouterus: 682 Verspreet, Guillielmus: 556 Versteeg, Michiel: 767 Verveer, Adriaen Huibertsz: xi, 296, 536 Vezelaer, Elisabeth: 139 Vianen, Adam van: 427, 437, 485 Vianen, Christiaen: 437 Viers, Maria: 601 Vierssen, Titia van: xi, 536 Vil, C. de: xii, 586 Villain: 715 Ville, Jacques de: 586 Villedary, Jean: 972 Villegas de Borsbeke, Marie Catharine: 902 Vinci, Leonardo da: 143 Vinck, Gillis: 590 Vinckboons, David: 4, 17 Vinne, van der: xiii, 20, 827 Vinne, Izaak Vincentsz van der: 827 Vinne, Jacob Laurensz van der: 827 Vinne, Jan Jansz van der: 827 Vinne, Jan Laurensz van der: 489, 827, 832 Vinne, Jan Vincentsz van der: 827 Vinne, Joris Jacobsz van der: 827 Vinne, Laurens Jacobsz van der: xiii, 24, 827, 829-830 Vinne, Laurens Vincentsz van der: xiii, 827, 831-832 Vinne, Vincent Jansz van der: xiii, 536, 692, 827, 828, 832-833 Vinne, Vincent Laurensz van der I: xi, 536, 827, 828, 831 Vinne, Vincent Laurensz van der II: xiii, 536, 827, 828, 832 Virgil: 19, 61, 82 Visscher, Claes Jansz: xiii, 40, 926, 937, 940, 941, 943, 946, 947, 949, 958-959 Visscher, Cornelis de I: 11 Visscher, Nicolaes II: xiii, 959 Visscher, Nicolaes III: xiii, 959 Visscher, Roemer: 12, 13, 42, 73, 74, 75, 77, 78, 83 Vlieger, Eltie de: xi,443-444 Vlieger, Simon de: 115, 265, 443 Voet, Carel Borchart: xiii, 833-835 Vogelaer, Carel de: xi, 536-538, 882 Vogelsang: 10 Vollenhove, Johannes: 491

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| IND EX

Vollevens, Johannes II: 826 Volmarijn, Crijn Hendricksz: 535 Vondel, Joost van den: 10, 31, 50, 62, 63, 67, 70, 75, 76, 83, 338, 410 Vonk, Jacobus: xiii, 835-837 Voorhout, Johannes: 438 Voorst, Johanna van: 395 Voort, Allard de la Court van der: 392, 647 Voort, Cornelis van der: 209 Voort, Dymphna van der: 590 Voort, Pieter van der: x, 209 Vorstermans, Elisabeth: 981 Vos, Alexander: xiii, 837 Vos, Cornelis de: 351 Vos, Jan: 338, 426, 482 Vos, Maerten de: 11, 22, 138, 922, 944, 945, 1009 Vos, Margaretha de: 351 Vos, Paul de: 351 Vos, Reynier Jansz: 311 Vos, Simon de: 334, 337, 345, 577 Vosmaer, Abraham Arentz: 178 Vosmaer, Daniël: 178 Vosmaer, Jacob: x, 20, 174, 178-181, 269, 311, 315, 316, 317, 369 Vosmaer, Jacob Woutersz: 322 Vosmaer, Jan: 178 Vosmaer, Wouter: 178 Vrancx, Sebastiaan: 11, 12 Vries, Hans Vredeman de: 17, 1013 Vries, Lambrecht de: 249 Vries, Seger de: 544 Vrijdag, Daniël: 755 Vroomans, Isaac: xi, 539-540

W Wackis, B.: xi, 415 Wackis, J.B.: 415 Wael, Cornelis de: 590 Wael, Hans de: 356 Waeyer, Maria de: 570 Wall, Christina van de: 496 Wallraf, Franz Ferdinand: 521 Walpole, Sir Robert: 657, 665, 932 Walraven, Isaak: 796 Walscappelle, Jacob van: xi, 379, 399, 400, 402, 402-405, 435, 497, 769 Walscappelle, Teuntje van: 497 Walther, Johann Jakob: 1027 Ward, Daisy Linda: 11 Warner, Ralph: 11 Wassenbergh, Elisabeth Geertruida: 837 Wassenbergh, Jan Abel I: xiii, 751, 837-838 Wassenbergh, Jan Abel II: 837 Wassenbergh, Johannes: 837 Waterloos, J.: xiii, 970 Waterschoot, Hendrik van: xiii, 915 Weber, Gregor: 95 Weede, Aeltgen Cornelisdr van: 378

Weenix, J.M.: 675 Weenix, Jan: xi, 111, 540-543, 647, 675, 676, 677, 693, 722, 794 Weenix, Jan Baptist: 540, 675 Weenix, Josina Margareta: xii, 541, 675-677 Weenix, M.: 675 Weenix, Maria: 540, 541, 675 Weerden, Johanna van: 253 Weert, Henricus van: 417 Weerts, Henricus Maria: xi, 416-417 Weiditz, Hans II: 14, 16, 143 Weigel, Christoph: 935, 1004, 1005 Weigel, Johann Christoph: 935 Weinmann, Johann: 20, 829 Welmeer, Christiaan: 741 Werdmüller, Johann Rudolf: 289 Werff, Adriaen van der: 837 Wesbusch, Passchier van: 486 Westerbaen, Jacob: 489 Weyden, Rogier van der: 3 Weyerman, Jacob Campo: xiii, 95, 391, 395, 447, 454, 493, 540, 590, 609, 737, 738, 838-840, 867, 871, 886 Wiericx, Hieronymus: 926 Wiert, Hester van: 785 Wighman, Leonora: 493 Wijmer, Elisabeth: 485 Wijnen, Oswald: xii, xiii, 669, 711, 712-713, 989 Wijnhoven-Hendriksen, Theodorus Johannes: 947 Wijsmuller: 947 Wildens, Jan: 17 Willaerts, Adam: 391, 543 Willaerts, Cornelis: 391, 543 Willaerts, H.: 543 Willaerts, Maria: xi, 391, 543 Willebeeck, Peter: 493 Willem II: 337 Willems, Arjen: 319 Willems, Dirck: xi, 300, 544 Willemsen, Jan: 239 Willemssen, Suzanna: 239 Willenhoudt, Adriaen: 619 William III of Orange: 7, 337, 409, 426, 493, 513, 595, 833 William 4th Lord Byron: 913 William IV, Prince of Orange-Nassau: 757, 781 William V, Prince of Orange: 714 Willingh, Nicolaes: 437 Wils, Jan: 470 Wilt, Thomas van der: 838 Windtraken, Jochem (van): xi, 440-443 Windtraken, P.W.: 440 Winghe, Jeremias van: x, 148, 249-252, 253 Winghe, Joos van: 249 Winghen, Bartholomeus van: xii, 625 Winsser, Maria: 825 Winteraeck, Jochemus: 440 Wissing, Willem: 532 Wit, A.D.: xiii, 840 Wit, Frederik de: 959 | 1225

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Wit, Jacob de: 706, 743 Withoos, Alida: xi, 15, 374, 423, 545, 546, 549-551, 552, 553 Withoos, Frans: xi, 545, 553 Withoos, Johannes: xi, 545, 548-549 Withoos, Maria: xi, 545, 549, 552-553 Withoos, Matthias: xi, 5, 467, 544-545, 546, 547, 548, 549, 769, 986 Withoos, Pieter: xi, 20, 64, 491, 545, 546-547, 549 Witte, Emanuel de: 12, 301 Wittel, Caspar van: 544 Wittelaer, Marie: 525 Woensel, Elizabeth van: 711, 989 Woensel, Petronella van: 679, 791 Wolff, Wouter de: 319 Wolff, M.: 773 Wolfsen, Aleida: 12 Wolfvoet, Victor II: 237 Wolschot, J.F.: 175 Wouters, Willem: 321 Woutneel, Johannes: 943, 1009, 1010 Wouwerman, Ludowina: 444 Wouwerman, Philips: 444 Wtewael, Joachim: 317 Wttenboogaert, Johan: 174, 175 Wuchters, Karl: xiii, 915 Wulp, Dirk: 298 Wÿck, Adrianus van: xiii, 840-842 Wyck, Thomas Adriaensz: 532 Wyckhuyzen, Maria van: 828 Wyntges, Geertgen: xi, 409, 412-414 Wyntges, Pieter: 413 Wyntgis, Melchior: 163, 209 Wyttenhorst, Willem Vincent van: 298, 299

Ziesel, Georg Frederik: xiii, 849-850, 894 Zijl, Margriet van: 469

X Xavery, Albert: 842 Xavery, Franciscus Xaverius: 842 Xavery, Gerard Joseph: xiii, 842 Xavery, Jacob: xiii, 842-843 Xavery, Jan Baptist: 842 Xavier, Louis Stanislas: 850

Y Ykens, Catharina I: xi, 345, 348-349 Ykens, Catharina II: 345, 348 Ykens, Frans: xi, 239, 345-348, 348, 360 Ykens, Hans: 239 Ykens, Margaretha: 239 Ykens, Simon: 348

Z Zampieri, Domenico: 337 Zande, Joanna Francisca van den: 355 Zeeldrayers, Maria: 334 Zeeman, Joost: xiii, 843-844 1226 |

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Photograph Credits

COVER © Mauritshuis, The Hague (Dirck de Bray, Flowers strewn in front of a vase with flowers) © The Metropolitan Museum of Art, New York (Margareta Haverman, Flower piece with fruit in a niche) © Alexandra Verburg (photograph Sam Segal) © Bruno Lévy (photograph Klara Alen) AMERSFOORT © Museum Flehite, Amersfoort: Figs 8.81 – 9.85 AMSTERDAM © Allard Pierson, Universiteit van Amsterdam: Figs 8.7 – 10.64 © Amsterdam Museum: Figs 7.8 – 7.34 – 9.14 – 11.5 © Antiquariaat Junk, Amsterdam 2019: Figs 10.34 – 10.54 – 10.55 © P. & N. de Boer Foundation: Figs 3.13 – 5.23 © Rijksmuseum: Figs 1.4 – 2.4 – 2.6 – 2.7 – 2.8 – 2.20 – 2.21 – 2.25 – 3.10 – 6.1 – 6.4 – 7.28 – 8.8 – 8.14 – 9.36 – 9.45 – 9.66 – 9.95 – 9.96 – 9.135 – 10.1 – 10.7 – 10.8 – 10.10 – 10.11 – 10.12 – 10.14 – 10.15 – 10.16 – 10.17 – 10.19 – 10.23 – 10.24 – 10.25 – 10.26 – 10.27 – 10.28 – 10.29 – 10.33 – 10.36 – 10.37 – 10.39 – 10.41 – 10.44 – 10.45 – 10.46 – 10.47 – 10.48 – 10.49 – 10.50 – 10.51 – 10.60 – 10.61 – 10.62 – 10.63 – 10.66 – 11.2 – 11.3 – 11.15 – 11.16 ANTWERP © Collectie Stad Antwerpen, Erfgoedbibliotheek Hendrik Conscience, Antwerpen: Fig. 2.13 © KBC Snijders&Rockoxhuis: Fig. 6.34 © Koninklijk Museum voor Schone Kunsten, Antwerpen / Lukas – Art in Flanders VZW: Figs 1.3 – 6.30 © Museum Smidt van Gelder: Fig. 9.67 – © KIK-IRPA, Brussel: Fig. 9.112 © Onze-Lieve-Vrouwekathedraal: Fig. 5.12 APELDOORN © Paleis Het Loo, Apeldoorn: Fig. 8.88 ARNHEM © Collectie Museum Arnhem / Studio Marc Pluim Fotografie: Figs 8.87 – 8.87a ARRAS © Musée des Beaux-Arts, Arras: Fig. 9.176 BAMBERG © bpk / Bayerische Staatsgemäldesammlungen: Figs 3.4 – 3.15 – 7.47

BASEL © Kunstmuseum Basel: Fig. 9.5 BAYEUX © Bayeux - MAHB: Fig. 2.5 BERN © Burgerbibliothek Bern: Fig. 1.5 BOSTON © Boston, Museum of Fine Arts, promised gift of Rose-Marie and Eijk van Otterloo in support of the Center for Netherlandish Art: Figs 3.2 – 6.14 © Boston, Museum of Fine Arts, promised gift of Susan and Matthew Weatherbie in support of the Center for Netherlandish Art: Fig. 8.47 BREMEN © Kunsthalle Bremen – Marcus Meyer – ARTOTHEK: Fig. 7.14 BRAUNSCHWEIG © Herzog Anton Ulrich-Museum Braunschweig, Kunstmuseum des Landes Niedersachsen Foto: Museum: Figs 3.17 – 7.10 – 9.80 – 10.22 BRUSSELS © KBR / Koninklijke Bibliotheek van België, Brussel: Figs 10.9 – 10.20 – 10.30 – 10.65 © Koninklijke Musea voor Schone Kunsten van België, Brussel / foto J. Geleyns - Ro scan: Figs 1.9 – 1.9a CAMBRIDGE © The Fitzwilliam Museum, Cambridge: Figs 3.7 – 6.31 – 8.26 – 8.39 – 8.42 – 8.52 – 8.59 – 8.74 – 8.86 – 9.17 – 9.18 – 9.19 – 9.22 – 9.33 – 9.51 – 9.52 – 9.110 – 9.113 – 9.133 – 9.147 – 9.150 CAEN © Musée des Beaux-Arts de Caen, Martine Seyve Photographe: Figs 3.18 – 8.36 CAMBRIDGESHIRE © Anglesey Abbey / National Trust Images: Fig. 5.22 CHICAGO © The Art Institute of Chicago: Fig. 10.13 CLEVELAND © The Cleveland Museum of Art: Fig. 5.26 | 1227

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COBURG © Kunstsammlungen der Veste Coburg – www.kunstsammlungencoburg.de: Fig. 10.56

FORT WORTH, TEXAS © Kimbell Art Museum, Fort Worth, Texas / Scala, Florence: Fig. 6.7

COPENHAGEN © Statens Museum for Kunst: Figs 6.2 – 8.2 – 10.3

GAZZADA © Villa Cagnola: Fig. 8.122

CULTURAL HERITAGE AGENCY OF THE NETHERLANDS © Collectie Rijksdienst voor het Cultureel Erfgoed: Figs 6.3 – 6.32 – 8.101 – 9.53 – 9.57

GHENT © Museum voor Schone Kunsten, Gent / Lukas – Art in Flanders VZW: Fig. 8.155 © Saint-Bavo’s Cathedral, www.lukasweb.be – Art in Flanders, photo Hugo Maertens and Dominique Provost: Figs 5.4 – 5.5 – 5.6 – 5.7 – 5.8 © STAM, Gent / Lukas – Art in Flanders VZW: Fig. 5.14

DELFT © Collectie Museum Prinsenhof Delft: Fig. 6.9 DESSAU © Anhaltische Gemäldegalerie, Schloss Georgium: Fig. 7.5 DETROIT © Detroit Institute of Arts, USA / Bridgeman Images: Figs 3.8 – 9.3 DORDRECHT © Dordrecht, Dordrechts Museum: Figs 7.19 – 9.81 / bruikleen RCE 1953: Fig. 7.18 © Het Dordts Patriciërshuis: Fig. 9.27 DOUAI © Musée de la Chartreuse: Fig. 7.2 DRESDEN © Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden, Foto: Hans-Peter Klut: Figs 3.26 – 8.10 DURHAM © The Bowes Museum, Barnard Castle, County Durham: Fig. 7.23 EDE © Kunsthandel Simonis & Buunk 2019: Fig. 9.108 EUTIN © Stiftung Eutiner Landesbibliothek: Figs 10.42 – 10.43 LA FÈRE © Musée Jeanne d’Aboville – Photo © RMN-Grand Palais / Benoît Touchard: Fig. 8.80 FLORENCE © Galleria Palatina, Palazzo Pitti: Figs 3.27 – 8.37 © Galleria delle Statue e delle Pitture degli Uffizi / su concessione del Ministero per i beni e le attività culturali: Figs 5.10 – 5.10a © su concessione del Ministero dei beni e delle attività culturali e del turismo / Bilioteca Nazionale Centrale Firenze: Figs 8.70 – 8.75 – 8.76 FONTAINEBLEAU © Musée National du Château de Fontainebleau – Photo © RMNGrand Palais (musée du Louvre) / Franck Raux: Figs 3.31 – 9.48

GRONINGEN © Collectie Groninger Museum, foto Marten de Leeuw: Fig. 8.83 / foto John Stoel: Fig. 9.134 HAARLEM © Frans Hals Museum, Haarlem. Foto: Tom Haartsen: Figs 7.1 – 9.131 © Teylers Museum: Figs 9.44 – 9.116 © Rechtbank Noord-Holland: Fig. 9.128 THE HAGUE © KB | Nationale bibliotheek, Den Haag: Fig. 2.26 © Koninklijke Verzamelingen, Den Haag: Figs 9.100 – 9.101 © Mauritshuis, The Hague: Figs 3.1 – 3.6 – 3.11 – 3.12 – 3.23 – 3.29 – 6.16 – 6.16b – 6.29 – 7.6 – 8.38 – 8.64 – 8.72 © RKD – Nederlands Instituut voor Kunstgeschiedenis: Figs 2.9 – 2.11 – 2.12 – 2.14 – 2.15 – 2.16 – 2.17 – 2.18 – 2.19 – 2.22 – 2.23 – 2.24 – 10.35 HAMBURG © Hamburger Kunsthalle / bpk – Foto Elke Walford: Figs 8.22 – 8.160 / Foto Christoph Irrgang: Fig. 9.43 INNSBRUCK © Innsbruck, Tiroler Landesmuseum Ferdinandeum, Foto: TLM: Figs 3.5 – 3.16 – 8.11 JACKSONVILLE © Courtesy of the Cummer Museum of Art & Gardens, Jacksonville, Florida: Fig. 7.54 KARLSRUHE © Staatliche Kunsthalle Karlsruhe / bpk – Foto Annette Fischer / Heike Kohler: Figs 7.16 – 8.166 / Foto Wolfgang Pankoke: Fig. 9.11 LEEUWARDEN © Collectie Fries Museum, Leeuwarden | Aangekocht met steun van de Vereniging Rembrandt (mede dankzij haar Dorodarte Kunst Fonds en haar Saskia Fonds): Fig. 8.82 / Fries Museum, Leeuwarden: Fig. 8.84

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LEIDEN © Erfgoed Leiden en Omstreken: Fig. 10.59 © Museum De Lakenhal, Leiden: Fig. 8.31 © Rijksmuseum Boerhaave, Leiden: Fig. 9.129 © Universiteitsbibliotheek, Leiden: Fig. 9.61 / loan from the Maatschappij der Nederlandse Letterkunde, Leiden: Fig. 9.75 LEIPZIG © Museum der bildenden Künste, Leipzig / bpk – Foto Michael Ehritt: Fig. 9.41 LIÈGE © Liège, Musée des Beaux-Arts de la Boverie: Fig. 9.161 LILLE © Palais des Beaux-Arts de Lille: Fig. 8.28 LONDON © RHS Lindley Collections: p. 5 © RHS Lindley Collections: Fig. 11.22 © Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019: Fig. 8.111 © The British Museum / Trustees of the British Museum: Figs 6.21 – 10.52 – 10.53 – 11.6 – 11.7 – 11.9 © The National Gallery, London 2019: Fig. 9.12 © Victoria and Albert Museum, London: Figs 3.3 – 8.20 LOUISVILLE © Collection of the Speed Art Museum, Louisville, Kentucky: Fig. 8.21 LOS ANGELES © Los Angeles County Museum of Art / www.lacma.org: Fig. 6.15 © The J. Paul Getty Museum, Los Angeles / Digital image courtesy of the Getty’s Open Content Program: Figs 3.32 – 3.33 MADRID © Biblioteca Nacional de España: Fig. 10.31 © Museo Nacional del Prado: Fig. 5.11 © Museo Thyssen-Bornemisza. Madrid: Fig. 5.13 © Real Academia de Bellas Artes de San Fernando, Madrid: Fig. 8.158 MANCHESTER © Manchester Art Gallery: Fig. 8.128 MANTUA © Su concessione del Ministero dei Beni e delle Attività Culturali Complesso Museale Palazzo Ducale di Mantova: Fig. 8.161 MARSUM © Poptaslot / Heringastate: Fig. 9.122 MEAUX © Musée Bossuet de Meaux: Fig. 8.151

MIDDELBURG © Zeeuws Museum: Fig. 5.15 MILAN © Pinacoteca Ambrosiana: Figs 6.24 – 6.27 MUNICH © Alte Pinakothek / Blauel Gnamm – ARTOTHEK: Fig. 8.109 MÜNSTER © LWL-Museum für Kunst und Kultur: Figs 1.1 – 1.2 – 7.21 – 7.30 NEW YORK © Cooper Hewitt, Smithsonian Design Museum: Fig. 10.40 © The Metropolitan Museum of Art: Figs 5.16 – 9.20 – 10.4 © The Metropolitan Museum of Art, The Cloisters: Figs 5.9 – 5.9a NIJMEGEN © Museum Het Valkhof, Nijmegen: Figs 9.83 – 9.126 OTTERLO © Collection Kröller-Müller Museum, Otterlo, the Netherlands: Fig. 9.24 OXFORD © Ashmolean Museum, University of Oxford: Figs 5.17 – 7.39 – 8.5 – 8.29 – 8.97 © Bodleian Library: Fig. 5.2 PARIS © Bibliothèque nationale de France: Figs 11.17 – 11.18 – 11.20 – 11.21 © Fondation Custodia, Collection Frits Lugt, Paris: Figs 2.1 – 2.2 – 2.3 – 2.27 – 6.5 – 10.2 PONTOISE © Musée Tavet-Delacour: Fig. 9.185 PRIVATE COLLECTIONS © Bonhams: Figs 7.37 – 9.34 – 9.98 – 9.125 – 9.178 © Collection W.H. van Riemsdijk, Stiens: Fig. 10.58 © Christie’s, London: Figs 3.19 – 5.3 – 6.6 – 6.17 – 6.20 – 7.7 – 7.9 – 7.15 – 8.44 – 8.54 – 8.63 – 8.65 – 8.73 – 8.92 – 8.107 – 8.112 – 8.113 – 8.117 – 8.118 – 8.121 – 8.123 – 8.127 – 8.137 – 8.140 – 8.150 – 8.152 – 8.153 – 8.157 – 9.25 – 9.29 – 9.40 – 9.58 – 9.64 – 9.68 – 9.71 – 9.84 – 9.91 – 9.102 – 9.105 – 9.106 – 9.107 – 9.124 – 9.130 – 9.137 – 9.154 – 9.158 – 9.160 – 9.162 – 9.165 – 9.167 – 9.169 – 9.182 – 9.186 – 9.189 – 11.19 © Courtesy of Simon C. Dickinson Ltd: Fig. 9.1 © Courtesy of Sotheby’s: Figs 3.30 – 5.20 – 5.21 – 6.35 – 7.13 – 7.24 – 7.27 – 7.29 – 7.36 – 7.51 – 7.58 – 8.12 – 8.18 – 8.19 – 8.24 – 8.25 – 8.61 – 8.66 – 8.67 – 8.69 – 8.79 – 8.85 – 8.95 – 8.103 – 8.104 – 8.106 – 8.115 – 8.125 – 8.126 – 8.138 – 8.145 – 8.148 – 8.164 – 9.21 – 9.28 – 9.32 – 9.49 – 9.50 – 9.70 – 9.77 – 9.79 – 9.87 – 9.88 – 9.109 – 9.118 – 9.119 – 9.139 – 9.140 – 9.142 – 9.143 – 9.145 – 9.146 – 9.148 – 9.152 – 9.155 – 9.166 – 9.179 – 9.187 – 9.188 © David Koetser Gallery, Zurich: Figs 5.24 – 7.52 – 7.57 – 8.13 – 8.32 – 8.45 – 8.45a – 8.130 | 1229

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© Dorotheum, Vienna: Figs 7.45 – 9.172 © Douwes Fine Art, Amsterdam: Figs 7.41 – 8.132 – 9.46 – 9.89 © Galerie De Jonckheere, Genève: Fig. 7.38 © Galerie Fischer Auktionen AG: Figs 8.154 – 9.168 © Galerie Sanct Lucas GmbH, Vienna: Fig. 8.167 © Galerie Lowet de Wotrenge, Antwerp: Fig. 9.6 © Galleria Luigi Caretto, Torino: Fig. 8.96 © Haboldt Pictura, Paris: Fig. 8.91 © Hoogsteder & Hoogsteder, Den Haag: Figs 8.34 – 8.57 – 9.30 – 9.31 © Koller Auktionen, Zurich: Figs 8.143 – 8.147 – 8.165 – 9.9 – 9.111 – 9.175 © Kunsthandel P. de Boer, Amsterdam: Figs 7.40 – 7.50 – 7.53 – 8.30 – 8.131 – 8.156 © Kunsthandel Simonis & Buunk, Ede: Figs 9.59 – 9.94 © Mercier & Cie, Lille: Fig. 9.173 © Nagel Auktionen, Stuttgart: Fig. 8.40 © Otto Naumann: Figs 3.28 – 8.53 © Photograph courtesy of Johnny Van Haeften Limited, England: Figs 3.24 – 5.25 – 7.4 – 7.17 – 7.55 – 7.56 – 8.3 – 8.48 – 8.58 – 8.108 – 9.2 © Photograph courtesy of Johnny Van Haeften Limited, England 2019: Fig. 8.41 © Rafael Valls Limited, London: Figs 8.68 – 8.94 – 8.142 – 8.149 – 9.138 © Richard Green, London: Figs 7.11 – 8.43 – 8.124 – 8.133 – 9.23 – 9.54 – 9.103 – 9.117 © Segal Still Life Documentation, RKD – Nederlands Instituut voor Kunstgeschiedenis, The Hague: Figs 1.6 – 2.10 – 3.14 – 3.20 – 4.1 – 5.19 – 6.8 – 6.10 – 6.12 – 6.14a-d – 6.18 – 6.19 – 6.23 – 6.28 – 6.33 – 6.37 – 6.38 – 6.39 – 6.40 – 6.41 – 7.3 – 7.20 – 7.22 – 7.25 – 7.26 – 7.31 – 7.32 – 7.33 – 7.35 – 7.42 – 7.43 – 7.44 – 7.49 – 8.1 – 8.4 – 8.6 – 8.16 – 8.17 – 8.23 – 8.27 – 8.33 – 8.46 – 8.49 – 8.50 – 8.51 – 8.55 – 8.56 – 8.62 – 8.71 – 8.77 – 8.78 – 8.89 – 8.119 – 8.120 – 8.135 – 8.136 – 8.141 – 8.144 – 8.146 – 8.163 – 9.4 – 9.7 – 9.15 – 9.16 – 9.26 – 9.35 – 9.37 – 9.38 – 9.47 – 9.62 – 9.65 – 9.72 – 9.82 – 9.86 – 9.114 – 9.115 – 9.120 –9.121 – 9.144 – 9.149 – 9.157 – 9.174 –9.181 – 9.190 – 10.32 – 11.1 – 11.4 – 11.13 – 11.14 © Visual documentation, RKD – Nederlands Instituut voor Kunstgeschiedenis, The Hague: Figs 9.74 – 9.76 – 9.93 – 9.156 – 9.156a – 9.171 © Xaver Scheidwimmer, München: Figs 8.60 – 9.127 RALEIGH © North Carolina Museum of Art: Fig. 8.90 ROME © Biblioteca Nazionale Centrale di Roma: Fig. 8.93 © Ministero per i Beni e le Attività Culturali – Galleria Borghese: Fig. 6.22 ROTTERDAM © Museum Boijmans Van Beuningen: Figs 3.9 – 5.27 – 9.10 – 9.42 – 9.104 – 10.6 – 10.18 © Museum Rotterdam: Fig. 10.57

SCHWERIN © Staatliches Museum Schwerin: Figs 9.153 – 10.38 SHEFFIELD © Museums Sheffield: Fig. 9.60 SAINT-OMER © Musée de l’Hôtel Sandelin: Fig. 9.184 SAINT PETERSBURG © The State Hermitage Museum: Figs 8.15 – 9.13 SAN LORENZO DE EL ESCORIAL © Escorial: Fig. 7.48 SKETCHES © Sam Segal, Segal Still Life Documentation, RKD – Nederlands Instituut voor Kunstgeschiedenis, The Hague: Figs 5.6a – 6.3a – 6.7a – 6.13a – 6.16a – 6.20a – 6.23a – 6.26a – 6.28a – 6.34a – 6.38a – 7.4a – 7.5a – 7.6a – 7.17a – 7.25a – 7.38a – 8.9a – 8.10a – 8.21a – 8.64a – 8.133a – 9.3a – 9.13a – 9.15a – 9.20a – 9.94a SLAVKOV U BRNA © Slavkov-Austerlitz Castle: Fig. 8.159 SPEYER © Historisches Museum der Pfalz: Fig. 9.56 STAMFORD © The Burghley House Collection: Fig. 9.97 STOCKHOLM © Hallwylska Museet: Fig. 9.8 © Nationalmuseum: Fig. 10.5 TOLEDO © Toledo Museum of Art: Figs 3.25 – 7.46 TOURNAI © Musée des Beaux-Arts, Tournai: Figs 9.151 – 9.183 UPPERVILLE, VIRGINIA © Oak Spring Garden Foundation, Upperville, Virginia: Figs 1.7 – 1.8 – 11.8 – 11.10 – 11.11 – 11.12 – 11.23 – 11.24 UPPSALA © Gustavianum, Uppsala University Museum: Fig. 9.69 UTRECHT © Centraal Museum: Figs 3.22 – 6.11 – 6.13 – 6.13b – 6.13c – 7.12 – 8.98 VENICE © Biblioteca Nazionale Marciana: Fig. 5.1

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VIENNA © Gemäldegalerie der Akademie der bildenden Künste Wien: Fig. 9.99 © Kunsthistorisches Museum: Figs 3.21 – 6.25 – 6.26 – 6.26b – 8.129 © Österreichische Nationalbibliothek: Fig. 5.18 WAGENINGEN © Special Collections, Wageningen University & Research – Library: Fig. 10.21 WARSAW © Muzeum Narodowe w Warszawie: Fig. 9.163 WASHINGTON © Courtesy National Gallery of Art, Washington: Figs 8.9 – 8.9b – 8.134 © National Museum of Women in the Arts: Fig. 6.36 WHEREABOUTS UNKNOWN © Christie’s, London: Figs 8.99 – 9.78 © Courtesy of Sotheby’s: Figs 9.55 – 9.136 © Kunsthaus Lempertz, Köln: Fig. 9.180 © Segal Still Life Documentation, RKD – Nederlands Instituut voor Kunstgeschiedenis, The Hague: Figs 8.35 – 8.100 – 8.102 – 8.105 – 8.110 – 8.114 – 8.116 – 8.139 – 8.162 – 9.73 – 9.159 – 9.177 © Visual documentation, RKD – Nederlands Instituut voor Kunstgeschiedenis, The Hague: Figs 9.39 – 9.63 – 9.90 – 9.92 – 9.123 – 9.141 – 9.164 – 9.170 – 9.191 ZWOLLE © Historisch Centrum Overijssel: Fig. 9.132

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