Flower Still Life

Artistattributed to Gerard van Spaendonck (Dutch, 1746–1822, active in Paris)

Date1785–1822

Mediumoil on canvas

Dimensionscanvas: 87 × 59.7 cm (34 1/4 × 23 1/2 in.)
framed: 112.6 × 87.6 × 9.5 cm (44 5/16 × 34 1/2 × 3 3/4 in.)

ClassificationsPaintings

Credit LineGift of Mr. Bruce G. Daniels and Mrs. Eleanor D. Bronson

Terms

canvas

Object number1982.8

DescriptionA variety of flowers in a large ceramic urn placed inside a stone niche. Bunches of grapes are placed on the ledge to the left of the urn. A small metalic swag of fruit and leaves appears above the niche and below it is a stone relief depicting an intoxicated, young Bacchus surrounded by his revelling companions.
Label TextThis work was recently conserved in response to the recent acquisition of the adjacent paintings by Philippe Jacques van Brée depicting the interior of a flower painter’s studio. The complex attribution stems in part from the puzzling presence of two signatures on the painting. Our current thinking is that someone in van Spaendonck’s Paris studio created the work, based on a signed preliminary drawing by the artist. Sauvage, a specialist in painted sculpture, contributed the frieze of cupids (collaboration was common among specialist painters in the 1700s). Van Brussel’s contribution is less clear, but he may have either touched up the painting later (the artists worked in entirely different cities) or possibly added the fruit at lower left. The grapes are painted in a style consistent with van Brussel. Condition issues further complicated the matter. In the 1800s, the canvas was adhered to another piece of fabric using excessive heat and moisture, causing the paint surface to shrink and wrinkle. During the recent treatment, an old varnish was removed to reveal vibrant and well-preserved colors. Analysis of the pigments through a technique called x-ray fluorescence spectroscopy helped identify orpiment (a mineral with arsenic) in the frieze of cupids. Orpiment is deep orange and Sauvage used it to create the illusion of bronze. The presence of orpiment also supports the dating to the 1700s as the toxic pigment fell out of favor by the 1800s.ProvenanceM. Georges Martini Collection, Paris, by 1911; Martini Sale, Hotel Drouot, no. 50, February 21-22, 1911; H. F. Dawson (art dealer), New York, by 1919; sold to Harry Williams Goddard (1863-1927), Worcester, 1919; to his daughter, Eleanor Grace Goddard Daniels (Mrs. F. Harold Daniels, 1889-1981), Worcester; to her children, Bruce Goddard Daniels and Eleanor G. Daniels Bronson, Lincoln, MA, by 1981; given to the Museum, 1982.

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