- 213
Jan Frans van Dael
Description
- Jan Frans van Dael
- Still life with fritillaria imperialis, roses and tulips in a stone vase, on a red marble ledge
- signed and dated lower left: Van dael / Can 3 ème
- oil on canvas
Provenance
Thence by family descent until sold, Paris, Christie's, 19 September 2011, lot 48.
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
The present work is one of Van Dael’s earliest. Its date ‘3 ème’ refers to the third year of the French Revolutionary calendar, which ran from 22 September 1794 to 22 September 1795. The rather dark background is characteristic of his early compositions, illuminated by a bright but soft light, which allows for the meticulous articulation of every intricate detail and assorted texture, as well as the convincing impression of depth and substance. The style here is highly refined and the colours jewel-like, reflecting both Van Dael’s fidelity to the Flemish and Dutch tradition and the grand context of turn-of-the-century France. Indeed, Van Dael collected the flower paintings of both his contemporaries and 17th-century masters, such as Jan Davidsz. de Heem, Abraham Mignon and Rachel Ruysch. Although he was clearly inspired by the rich compositions and luxurious motifs of Van Spaendonck’s works, the present painting is evidence of Van Dael’s originality of invention. The plant in the lower right corner, apparently growing from an unseen source in front of the marble ledge, would seem to be a unique device.
This painting was formerly in the collection of the banker Baron Eugène Fould-Springer and his wife Marie-Cecil, daughter of the industrialist Baron Gustav Springer. Their house – the Palais Abbatial de Royaumont at Asnières-sur-Oise, near Chantilly, formerly a 13th-century Cistercian abbey, transformed into a neoclassical building in 1784 – and their collection, were protected from the Nazis during the Second World War by the couple’s son-in-law, the Spanish diplomat Eduardo Propper de Callejón who, by declaring it to be his main residence, gave it diplomatic immunity. Propper de Callejón is mainly remembered for facilitating the escape of thousands of Jews from occupied France at this time.