31
31
Nicolaes van Verendael
A STILL LIFE OF A RED AND WHITE TULIP, A CARNATION, ROSES, FORGET-ME-NOTS, DWARF MORNING GLORY, NASTURTIUMS AND OTHER FLOWERS IN A GLASS VASE TOGETHER WITH BUTTERFLIES AND OTHER INSECTS, ALL ON A STONE LEDGE WITH A WATCH AND A KEY ON A BLUE SATIN RIBBON
Estimate
80,000120,000
LOT SOLD. 255,000 EUR
JUMP TO LOT
31
Nicolaes van Verendael
A STILL LIFE OF A RED AND WHITE TULIP, A CARNATION, ROSES, FORGET-ME-NOTS, DWARF MORNING GLORY, NASTURTIUMS AND OTHER FLOWERS IN A GLASS VASE TOGETHER WITH BUTTERFLIES AND OTHER INSECTS, ALL ON A STONE LEDGE WITH A WATCH AND A KEY ON A BLUE SATIN RIBBON
Estimate
80,000120,000
LOT SOLD. 255,000 EUR
JUMP TO LOT

Details & Cataloguing

Tableaux, Sculptures et Dessins Anciens et du XIXe siècle

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Paris

Nicolaes van Verendael
ANVERS 1640 - 1691
A STILL LIFE OF A RED AND WHITE TULIP, A CARNATION, ROSES, FORGET-ME-NOTS, DWARF MORNING GLORY, NASTURTIUMS AND OTHER FLOWERS IN A GLASS VASE TOGETHER WITH BUTTERFLIES AND OTHER INSECTS, ALL ON A STONE LEDGE WITH A WATCH AND A KEY ON A BLUE SATIN RIBBON
signed and dated lower right: Ni.[V?].Veerendael.Anno.1682
Oil on copper
45 x 35.7 cm; 17 3/4  by 14   in.
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Provenance

Probably sale, Paris, Me Baudoin, 26 December 1797, lot 81 ("Une carafe de verre, remplie de fleurs variées, telles que roses, tulypes, oeillets. cloches, &c.; le tout pose sur une table de pierre, òu est aussi pose une montre òu tient un ruban bleu & une clef. L'on y remarque encore trois papillons & quelques autres insectes. Ce tableau est un des plus beaux que l'on puisse trouver de ce maître. - Hauteur 16 pouces, largeur 12 po. 1/2. C.").

Catalogue Note

Nicolaes van Verendael (or Veerendael) was born in Antwerp in 1640, training under his father, Willem van Veerendael, before joining the Antwerp Guild of Saint Luke in 1657. Highly regarded in his own lifetime, he collaborated with other leading Antwerp masters such as David Teniers the Younger and Jan Davidsz. de Heem, and through pupils such as Jean-Baptiste Morel, had a profound impact on eighteenth-century Flemish flower painting. Famed for his closely studied effects of light - displayed here in the water droplets on the ledge, and in the two reflections of the painter's studio window in the glass vase -, the verisimilitude of his flowers is equally striking, and indeed according to the eighteenth-century biographer Jacob Campo Weyerman, it sometimes took him four(!) days to finish a single flower (see De levens-beschryvingen der Nederlandsche konst-schilders en konst-schilderessen, vol. III, 1729, pp. 234-5).

As the present work is painted on a large copper plate this contributes to its delicately polished and stylized quality. Based on stylistic comparisons, we see a debt to previous Antwerp masters such as Daniel Seghers (1590-1661) and Jan Breughel the Elder (1563-1625) in the controlled palette and composition. Van Veerendael's bouquets from the 1670s and 1680s are more informal, and insects and vanitas elements are sometimes included.

Celebrated during his lifetime as a painter of still lifes in vases, garlands and swags, Nicolaes van Veerendael achieved early renown and collaborated with other illustrious painters such as David Teniers II, Carstian Luyckx, Gonzales Coques, and Jan Davidsz. de Heem. The bold contrasting colors (frequently featuring pinks and reds in the same composition), expert use of whites and careful attention to the play of light for which Veerendael was renowned are all evident in the present vibrant and sumptuous composition, which dates to the artist's full mature period of the early 1680s. 

Dr. Fred Meijer has kindly confirmed the attribution on the basis of photographs.

Tableaux, Sculptures et Dessins Anciens et du XIXe siècle

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Paris