33
33

PROPERTY FROM THE COLLECTION OF J.E. SAFRA

Juan de Arellano
A PAIR OF STILL LIFES OF ROSES, VARIEGATED TULIPS, PEONIES AND OTHER FLOWERS IN CRYSTAL VASES, ON STONE PLINTHS
JUMP TO LOT
33

PROPERTY FROM THE COLLECTION OF J.E. SAFRA

Juan de Arellano
A PAIR OF STILL LIFES OF ROSES, VARIEGATED TULIPS, PEONIES AND OTHER FLOWERS IN CRYSTAL VASES, ON STONE PLINTHS
JUMP TO LOT

Details & Cataloguing

Old Masters Evening Sale

|
London

Juan de Arellano
SANTORCAZ 1614 - 1676 MADRID
A PAIR OF STILL LIFES OF ROSES, VARIEGATED TULIPS, PEONIES AND OTHER FLOWERS IN CRYSTAL VASES, ON STONE PLINTHS
Quantity: 2
both signed and dated lower left: Joannes de Arellano/ faciebat/ anno 1665
both oil on canvas
each: 61.6 x 61.6 cm.; 24 1/4  x 24 1/4  in. 
Read Condition Report Read Condition Report

Provenance

Private Collection, France, circa 1815 until at least 1990;

Anonymous sale, New York, Sotheby's, 30 January 1998, lot 84;

Where acquired by the present collector.

Exhibited

Madrid, Fundación Caja de Madrid, Juan de Arellano: 1614–1676,  May – June 1998, nos 19 and 20.

Literature

A.E. Pérez Sánchez, Juan de Arellano, 1614–1676, exh. cat., Madrid 1998, pp. 159–61, cat. nos 19 and 20, reproduced in colour. 

Catalogue Note

Operating from a shop in front of La Iglesia de San Felipe el Real in Madrid, Juan de Arellano rose from modest beginnings to become the greatest flower still life painter of the Spanish Golden Age. This beautifully preserved pair of still lifes is an outstanding example of the artist’s floreros de cristal and are dated 1665. At this time Arellano was at the height of his artistic powers and the superb quality of these paintings is underscored by their inclusion in the seminal exhibition on the artist held in Madrid in 1998, curated by the late Professor Alfonso Pérez Sánchez.

This mature period of Arellano’s career is defined as the moment that the more restrained floral arrangements and limited palette of the artist’s earlier output gave way to a greater exuberance and abundance in the design of the still lifes, along with a greater use of primary colours. In the present pair the artist uses a dazzling array of red, blue, yellow and white blooms among verdant green foliage. The sense of illusion that Arellano has achieved is remarkable; the crystal vase flooded with light that illuminates the web of green stems, and the light entering from the left of each composition casts long shadows across the stone plinths and dramatically sets these illuminated arrangements against their plain, dark backgrounds.

That Arellano chose to sign these works with the unusual form ‘Joannes’, indicates that the pair were probably commissioned by a Northern European patron, a notion maintained by the precision with which the flowers are painted here, demonstrating the artist’s admiration for the Dutch and Flemish still life painters, such as Daniel Seghers, whose works could have been seen in Madrid by the middle of the seventeenth century.

Old Masters Evening Sale

|
London