Nicolaes van Verendael

By whom anonymously sold ('The Property of a Nobleman'), London, Sotheby's, 30 November 1983, lot 95, for £70,400;

Where acquired by Richard Green, London;

From whom acquired by Henry Kravis (b. 1944), New York;

From whom acquired by Dr Hinrich Bischoff (1936–2005);

Thence by descent to the present owner.

New York, Newhouse Galleries, Nature's Image, 11 May – 17 June 1988, no. 8.

This large and impressive floral vase was created by one of the most meticulous and refined Flemish still-life painters of the later seventeenth century. Nicolaes van Verendael, whose performances in this genre are considered an important stepping stone for later generations of still-life painters. Signed and dated 1674, this example can be compared closely to another large and powerful work in the Fitzwilliam Museum, Cambridge.¹

Born in Antwerp in 1640 to the painter Willem van Verendael, the artist joined the Guild of Saint Luke in that city at the age of seventeen. His achievements in still life commanded the respect of his contemporaries, as he is known to have collaborated with David Teniers the Younger, Carstian Luyckx, Gonzales Coques and Jan Davidsz. de Heem. Although his works build upon the example set by Daniel Seghers and Jan Brueghel the Elder, Verendael's graceful compositions and naturalistic approach set the foundations for Flemish still lifes for the next century, realised fully in the works of his pupils, such as Jean-Baptiste Morel.

Here, the attention to detail in each petal, leaf, water droplet and insect is remarkable. In observing such fine minutiae, it is clear why Verendael gained a reputation as a slow worker. A few decades after his death the painter Jacob Campo Weyerman (1677–1747) recounted that he had been told that the artist took no fewer than four days to paint a single carnation, a fact which apparently displeased his impatient patrons.² This painting provides a good example of the artist's interest in exploring the symbolic as well as decorative possibilities of such paintings. The appearance of a watch, with its prominent and crucifix-like golden winder in the centre, draws the viewer's attention to the transience of all worldly things.³ Unlike the painter, who has the ability to freeze time and create flowers that will never wilt, man will prove futile in his own attempts to do so.

This painting compares closely with another large-scale still life in the Fitzwilliam Museum, Cambridge, mentioned above. Dated 1673, the Cambridge work contains the same compositional elements as this picture, yet the present still life is notable for the strong diagonals created by the decorative bright white flowers. Another comparable work of similar dimensions was offered at auction in 1995.⁴

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¹ Oil on canvas, 76.2 x 63.4 cm.; PD.51–1975; https://rkd.nl/explore/images/197946; https://collection.beta.fitz.ms/id/image/media-7694

² J.C. Weyerman, De levens-beschryvingen der Nederlandsche konst-schilders en konst-schilderessen, door Jakob Campo Weyerman, Konst-schider, vol. 3, The Hague 1729, p. 235.

³ Although this item has previously been described as a compass, the shape of the instrument and the appearance of a winder makes this more plausibly a watch.

⁴ Oil on canvas, 78.4 x 59 cm.; Anonymous sale ('The Property of a Gentleman'), London, Christie's, 7 July 1995, lot 16; https://rkd.nl/explore/images/3537