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Wild Strawberries and a Carnation in a Wan-Li Bowl

Jacob van Hulsdonckc. 1620

National Gallery of Art, Washington DC

National Gallery of Art, Washington DC
Washington, DC, United States

Jacob van Hulsdonck drew much of his artistic inspiration from Jan Breughel the Elder (1568–1625) in Antwerp and Ambrosius Bosschaert the Elder (1573–1621) in Middelburg, yet he painted with a clarity of form and composition quite different from either of these masters. This small and exquisite painting, executed on copper, captures the very best qualities of Van Hulsdonck's work. Set atop a plain wooden table, a beautifully articulated Wan-Li bowl is filled with wild strawberries and adorned by a single carnation, dramatically silhouetted against a dark background. This unexpected element adds tension to the visually simple yet luscious composition. The cherries, red and white currants, and random water droplets arrayed on the table form a pattern of circles that echo the round forms of the strawberries and the bowl. The droplets reinforce the still life's sense of fleeting freshness, and the transience of the moment is heightened by the presence of the delicate butterfly that has just alighted on a leaf and by the fly feasting on a berry. Though simple in its composition, this striking image captures the viewer's attention with its bold color contrasts and delicacy of execution.


This work beautifully complements the other early 17th-century still lifes in the Dutch cabinet galleries, particularly the fruit and flower pendants by Balthasar van der Ast (1593/1594–1657), an artist greatly influenced by Hulsdonck's paintings.

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  • Title: Wild Strawberries and a Carnation in a Wan-Li Bowl
  • Creator: Jacob van Hulsdonck
  • Date Created: c. 1620
  • Physical Dimensions: overall (copper panel): 28.3 × 36.2 cm (11 1/8 × 14 1/4 in.) overall (with wood strip edges): 29.6 × 37.3 cm (11 5/8 × 14 11/16 in.)
  • Provenance: (Leonard Koetser, London), in 1963.[1] private collection, "the property of a lady"; (sale, Christie, Manson & Woods, London, 25 November 1966, no. 44); (Leonard Koetser, London), until at least 1967. (Newhouse Galleries, New York); purchased 1974 by Robert H. Smith [1928-2009], Bethesda, Maryland; sold 1978 to (Essoldo Fine Arts Ltd., London).[2] (Galerie Julie Kraus, Paris). private collection, Germany, in 1983. (Charles Roelofsz, Amsterdam), in 1994.[3] (Bob P. Haboldt & Co., New York), in 1995. private collection; (sale, Sotheby's, London, 14 December 2000, no. 15); private collection, Germany; (sale, Sotheby's, London, 8 July 2009, no. 12); private collection, "property from a deceased's estate"; (sale, Sotheby's, London, 5 December 2012, no. 32); purchased by NGA with donated funds. [1] Koetser exhibited the painting in his 1963 autumn exhibition; see T.H. Crombie, "Autumn Offerings: Mr. Leonard Koetser," _Apollo_ 78, no. 20 (October 1963): 305, fig. 6. [2] In the published record of the painting, Mr. Smith's name is placed at various points in the ownership sequence: between the 1983 German private collection and Haboldt & Co. in the three Sotheby's sale catalogues, but before the 1966 Christie's sale in the catalogue of a 1995 exhibition at Haboldt & Co. in New York. The actual dates have been confirmed by Smith collection records that document the purchase from Newhouse Galleries and the sale to Essoldo Fine Arts (copies in NGA curatorial files). It is not yet certain whether Mr. Smith's ownership came before or after the ownership by Galerie Julie Kraus. [3] Roelofsz exhibited the painting at TEFAF (The European Fine Art Fair) in Maastricht, The Netherlands, in 1994.
  • Medium: oil on copper
National Gallery of Art, Washington DC

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