Jan Frans van Dael

Collection Visconti (d'après l'inscription sur une étiquette au revers) ;
Vente anonyme, Paris, Galerie Charpentier, Me Ader-Couturier, 6 avril 1960, lot n°15 ;
Acquis à cette vente par Madame Gérard Grandchamp des Raux (mère de l'actuel propriétaire)

On the naked eye: The painting is painted in an oak plank widely bevelled. We notice a very light slope of 0,4 cm. (1/8 in.). The painting has a light and regular varnish. There is some very minor lifting, mainly on the lower right side. Under UV light: We notice some extremely light restoration dots (pin-head size) on the rose on the left and some small restorations on the right peony . There are some old varnish traces and some extremely light restoration dots on the upper white flowers. The painting is in an overall great condition. The painting is in an early 19th century frame.
"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."

Autodidacte de la peinture, Jan Frans van Dael s’installe à Paris en 1786. La pureté de son coloris, le groupement ingénieux de ses fleurs, la fraîcheur et l’harmonie qui règnent dans toutes ses compositions feront que son talent sera vite reconnu et récompensé par de nombreux prix, donnant à l’artiste une place distinguée parmi les meilleurs peintres de fleurs. Son œuvre rivalise avec celle de ses prédécesseurs, les plus grands maîtres du genre actifs à Paris comme Jan van Huysum ou Gérard van Spaendonck. L’Impératrice Joséphine, dont la passion pour les fleurs était reconnue, lui acheta deux œuvres pour la décoration de son cabinet de la Malmaison. Van Dael collabora avec son ami Christian van Pol dans la décoration des châteaux de Bellevue, de Chantilly et de Saint-Cloud.

Notre tableau témoigne de cette virtuosité de l’artiste et s’inscrit dans la tradition des peintres de fleurs nordiques particulièrement appréciés pour la finesse de leur pinceau et l’harmonie de leurs compositions. L’éclat et la vivacité du bouquet sont renforcés par le réalisme des gouttes d’eau sur la feuille de rosier, le traitement des couleurs mais aussi la représentation des veines du marbre de l’entablement.
Capté par les couleurs du bouquet de fleurs, l’œil du spectateur s’attarde sur les délicats pétales d’une jacinthe pour glisser ensuite sur une belle rose Ronsard avant de terminer sa course le long d’une feuille de rosier sur laquelle reposent encore des gouttes d’eau soulignant la fraîcheur du bouquet. Daté de 1825, l’artiste est alors au sommet de son art, maîtrisant parfaitement l’art de la peinture de fleurs qui fit sa renommée. Présentées dans un verre discret, jacinthe, rudbeckia, pelargonium, pivoine et rose Ronsard sont épanouies, exposées à notre regard tel un portrait dont le réalisme est saisissant. 

Jan Frans van Dael was a self-taught painter who moved to Paris in 1786. The purity of his colors, the ingenious combination of his flowers, the freshness and harmony that prevailed in all his compositions formed his talent that was quickly recognized and rewarded with numerous awards, therefore giving the artist a distinguished place among the best floral painters. His work rivaled those by his predecessors who were the great masters of the genre active in Paris such as Jan van Huysum and Gérard van Spaendonck. Empress Josephine, who had a renown passion for flowers, bought two works for decorating the cabinet room at Malmaison. Van Dael also collaborated with his friend Christian van Pol for the ornamentation of castles in Bellevue, Chantilly and St. Cloud.

Our painting demonstrates the artist’s virtuosity and aligns with the tradition held by Northern European flower painters appreciated for the finesse of their paintbrush and harmony in their compositions. The brightness and vivacity of the bouquet are reinforced by the realism of water drops on the rose leaf, color processing and the depiction of veins on the marble ledge.

Captured by the colors on the bouquet of flowers, the viewer's eye focuses on the hyacinth’s delicate petals then moves onto a beautiful pink Eden rose before ending along a rose leaf on which more water drops emphasize the freshness of the floral arrangement. Dated 1825, the artist was at the height of his career, perfectly mastering the art of flower paintings which made him famous. A blooming hyacinth, rudbeckia, pelargonium, peony and Eden rose are presented in a discrete glass and exhibited before our eyes as a portrait with striking realism.