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Still Life with Vase of Flowers and a Dog
Hamen y León, Juan van der
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Hamen y León, Juan van der

Madrid, 1596 - Madrid, 1631

See author's file

Still Life with Vase of Flowers and a Dog

Ca. 1625. Oil on canvas.
On display elsewhere

This work and its companion (P4158) belonged to Jean de Croy, Count of Solre and captain of the Flemish Royal Guard of Archers, of which Van der Hamen was a member. Unframed, the two paintings hung in De Croy’s Madrid palace, where they flanked the entrance to the painting gallery. As such, they may have served as a trompe l’oeil expansion of the real space, whose floor they probably reproduce. The playful puppy (P4158) and dog (P6413) may very well be portraits of the Count’s pets. The subject of these paintings is related to the culture of aristocratic hospitality, an indispensible aspect of the palace occupants’ refined lifestyle. One of them shows a wine cooler on the floor and a trenching table covered with green damask velvet that bears sweets, a crystal vase and a clock whose hands indicate it is five o’clock—the perfect time for partaking of these candies.

Both works present large crystal and gilded bronze vases with flower arrangements. These vessels represent a type of luxurious decorative object very much in keeping with the social standing of Van der Hamen’s patron, and the flowers they contain stand out for their copious and varied blossoms. They unquestionably evoke the bouquets that were, in fact, a part of the Solre household’s sumptuous decoration, however they were not painted from life. Their image conveys a sense of artifice in the perfection of each flower and the combination of species that do not blossom at the same time of year.

Each vase has strikingly large ornamental and colorful flowers at the center of the arrangement: two red peonies in one, and two sunflowers in the other. The rest of each bouquet consists of a great variety of medium and small buds, placed to generate a careful and harmonious combination of colors. The long-stem varieties—tulips, irises and gladiolas—rise above the rest. The direction of the light is indicated by a diagonal line that reflects on the wall in the back and was possibly coordinated with the actual light in the room where these works hung. The flowers and leaves on the left are brightly lit and stand out against the dark background, while the silhouette of the leaves on the right is delineated over the lightest part of that wall. The bouquet in the painting with the large dog has more flowers than its companion, as well as some small petals that have fallen onto the table. In the painting with the puppy, Van der Hamen left two blossoms unpainted. The two flat, oval, brick-colored shapes that appear behind some small flowers and leaves correspond to the first stage in the preparation of a red flower like the two totally finished ones that also appear. This curious detail reveals the technique employed by Van der Hamen in some of the larger flowers. Apparently, it consisted of applying the base color to make round shapes slightly smaller that the head of the finished flower, whose form depended on its placement and perspective within the whole. After this first step, the artist worked over the preparatory layer of paint, defining the petals and modeling the forms of each variety with greater detail (Text from Luna, J. J.: El bodegón español en el Prado. De Van der Hamen a Goya, Museo Nacional del Prado, 2008, pp. 56-57).

Technical data

Inventory number
Hamen y León, Juan van der
Still Life with Vase of Flowers and a Dog
Ca. 1625
Height: 228.5 cm; Width: 100.5 cm
Royal Collection (Palacio Real Nuevo, Madrid, pieza interior triangulada, 1747, nº 455; Palacio del Buen Retiro, Madrid, piezas que siguen al casón, 1772, nº 455; Buen Retiro, 1794, nº 450).

Bibliography +

Orihuela Maeso, Mercedes, Dos obras inéditas de Van der Hamen depositadas en la Embajada de Buenos Aires, Boletín del Museo del Prado, 3, 1982, pp. 11-14.

Pérez Sánchez, Alfonso E., Pintura española de bodegones y floreros de 1600 a Goya, Ministerio de Cultura, Madrid, 1983, pp. 57.

Monstruos, enanos y bufones en la Corte de los Austrias, Amigos del Museo del Prado, Madrid, 1986, pp. 44.

Pérez Sánchez, Alfonso E. (1935-2010)), La nature morte espagnole du XVII sièecle a Goya /, Office du Livre ; Vilo, Fribourg; Paris, 1987, pp. 46 / lám. 32.

Museo Nacional del Prado, Museo del Prado. Inventario general de pinturas (I) La Colección Real, Museo del Prado, Espasa Calpe, Madrid, 1990.

Urrea, Jesús, La Pittura Madrilena del Secolo XVII, Edizioni Carte Segrete, Roma, 1991, pp. 76.

Mann, Richard G., El Greco y sus patronos: tres grandes proyectos, Akal, Torrejón De Ardoz, 1994, pp. 11.

Jordan, William B., El bodegón español de Velázquez a Goya, Ediciones el Viso, Madrid, 1995, pp. 47, nº 10.

Museo Nacional del Prado, La belleza de lo real: floreros y bodegones españoles en el, Museo del Prado, Madrid, 1995, pp. 49-51.

Museo Nacional del Prado, Catálogo de las pinturas, Ministerio de Educación y Cultura, Madrid, 1996, pp. 171.

Naturaleza y Verdad Siglos XVII al XX, Instituto Nacional de Bellas Artes, Máxico, 1996.

Esplendores de Espanha de el Greco a Velazquez, Arte Viva, Río De Janeiro, 2000, pp. 218.

Flores españolas del Siglo de Oro: la pintura de flores en la España del siglo XVII, Fundación Amigos del Museo del Prado, Madrid, 2002, pp. 107.

Calvo Serraller, Francisco, Spanish flower painting in the Golden Age, SEEI España, [Madrid], 2002.

Pérez Preciado, J.J., Aarschot and Solre. The Collections, Patronage and Influence in Spain of two Flemish Noblemen ; in Sponsors of the Past. Flemish Art and Patronage 1550-1700, Brepols, Brussels, 2005, pp. 17-36.

Jordan, William B., Juan Van Der Hamen y Leon y la Corte de Madrid, Patrimonio Nacional, Madrid, 2005, pp. 172.

Best in show : the dog in art from the renaissance to today..., Yale University Press, New Haven; Houston; Greenwich, 2006.

Luna, Juan J., El bodegón español en el Prado: de Van der Hamen a Goya, Museo Nacional del Prado, Madrid, 2008, pp. 56-59.

Martínez Leiva, Gloria; Rodríguez Rebollo, Ángel, El inventario del Alcázar de Madrid de 1666. Felipe IV y su colección artística, Consejo Superior de Investigaciones Científicas, Madrid, 2015, pp. 238 nº 114.

Ripollés, Carmen, Fictions of abundance in early modern Madrid: Hospitality, consumption and artistic identity in the work of Juan van der Hamen y León, Renaissance quarterly., LXIX n.1 spring, 2016, pp. 155-199 [163 f.4].

Cherry, P, 'Juan van der Hamen y León. Still life with a vase of flowers and a dog'., El Siglo de Oro: The Age of Velázquez., Staatliche Museen ; Kunsthalle der Hypo-Kulturstiftung, 2016, pp. 150 n.38.

Other inventories +

Inv. Real Museo, 1857. Núm. 354.
Escuela flamenca / 354. Florero. / Esta sobre una mesa, entre unas cajas / de dulce y un reló; al pie un perro perdi- / guero sentado. / Alto 8 pies, 2 pulg; ancho 3 pies, 6 pulg.

Catálogo Museo del Prado, 1854-1858. Núm. 354.

Catálogo Museo del Prado, 1873-1907. Núm. 1892.
1892.-(354-D.)-Florero.-Está sobre una mesa, entre / unas cajas de dulce y un reloj, al pié un perro per- / diguero sentado.- Compañero del anterior. / Salvado tambien, como antiguo, del incendio de 1734. / Alto 2,28; ancho 0,98.-L.

Inv. Felipe V, Palacio Nuevo, 1747. Núm. 455.
PINTURAS EXISTENTES ANTIGUAS [...] Pieza interior triangulada [...] {10492} 455 / Vn florero sobre vna mesa y abajo vn perro de dos varas y dos tercias de caida y vara y quarta de ancho de mano no conocida trescientos reales.

Inv. Carlos III, Buen Retiro, 1772. Núm. 455.
Piezas que siguen al cason [...] {14741-14742} 455-456 / Dos iguales que contienen dos jarrones de flores sobre vna mesa con otras cosas comestibles y en la parte inferior vnos perros de dos varas y tres quartas de alto y vara y quarta de ancho originales

Inv. Testamentaría Carlos III, Buen Retiro, 1794. Núm. 450.
Otra [pintura]: Un Florero y un Perro, de dos varas y tres quartas de alto y vara y quarta de ancho, con marco dorado...300

Inscriptions +

Inscribed in white. Front, lower left corner

Inscribed in red color. Front, Lower right area

Inscribed in gray. Front, lower left corner

Exhibitions +

"Flores y frutos en la Colección Banco de España"
25.10.2022 - 25.02.2023

El Siglo de Oro. The Age of Velázquez
25.11.2016 - 26.03.2017

El Siglo de Oro. The Age of Velázquez
01.07.2016 - 30.10.2016

El bodegón español en el Prado
24.03.2011 - 26.06.2011

El bodegón español en el Prado
11.03.2010 - 06.06.2010

El bodegón español en el Prado
12.10.2009 - 14.02.2010

El bodegón español en el Prado
25.06.2009 - 20.09.2009

El bodegón español en el Prado
31.03.2009 - 31.05.2009

El bodegón español en el Prado
24.09.2008 - 30.11.2008

Best in the Show. The Dog in Art from Renaissance to Post-Modernism
Houston TX
01.10.2006 - 01.01.2007

Juan van der Hamen y León y la corte de Madrid
16.03.2006 - 28.05.2006

Juan van der Hamen y León y la corte de Madrid
20.10.2005 - 22.01.2006

Flores españolas del Siglo de Oro / Spanich Flower Painting in the Golden Age
15.11.2002 - 02.02.2003

Spaanse Bloemenpracht Stillevens uit dee Zeventiende Eeuw - Flores españolas del Siglo de Oro
17.08.2002 - 14.10.2002

De El Greco a Velázquez. La cultura española durante la Unión Ibérica, 1580-1640
Río de Janeiro
12.07.2000 - 24.09.2000

Naturaleza y verdad: Bodegones y flores (siglos XVII-XX)
México D.F.
28.11.1996 - 17.02.1997

Spanish still life. Painting from Sánchez Cotán to Goya
22.02.1995 - 21.05.1995

Pintura madrileña del Siglo XVII
10.12.1991 - 31.01.1992

Location +

Madrid - Banco de España (Temporary Exhibition)

Displayed objects +

Decorative object and tableware



Update date: 08-11-2022 | Registry created on 28-04-2015

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