Beautifully painted on an intimate scale, this still life exemplifies Marrel’s skill as a naturalistic painter. On the ledge, Marrel has included the characteristic morello cherries which Sam Segal interprets as a reference to the artist’s name, serving as a form of signature.1
While the symmetrical composition set within a stone niche is typical of the artist, the scale of this work and the choice of copper support are rare in Marrel’s oeuvre
The bouquet is contained in a Dutch roemer
and comprises some fifteen varieties of flower, from the humble forget-me-not draped on the ledge to the resplendent flame tulip crowning the composition. The blooms are arranged in elegant disarray within a stone niche, in a manner reminiscent of Ambrosius Bosschart the Elder and Roelant Savery, by whom the artist was undoubtedly influenced.
We are grateful to Fred G. Meijer for endorsing the attribution following firsthand inspection.
1. S. Segal, Flowers and Nature: Netherlandish Flower Paintings of Four Centuries, exhibition catalogue, The Hague 1990, under cat. no. 195.
2. New Orleans 1997, under Literature, p. 71.