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

Madrid, 1596 - Madrid, 1631

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Still Life with Vase of Flowers and a Puppy

Ca. 1625. Oil on canvas.
Room 008A

This work and its companion (P6413) 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 Puppy
Ca. 1625
Height: 228.5 cm; Width: 100.5 cm
Royal Collection (Palacio Real Nuevo, Madrid, pieza interior triangulada, 1747, nº 456; Palacio del Buen Retiro, Madrid, piezas que siguen al casón, 1772, nº 456; Buen Retiro, 1794, nº 445).

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, nº29.

Jordan, W.B., Spanish still life in the Golden Age: 1600-1650, Kimbell Art Museum, Fort Worth, 1985, pp. 110-111.

Monstruos, enanos y bufones en la Corte de los Austrias, Amigos del Museo del Prado, Madrid, 1986, pp. 46, nº10.

Pérez Sánchez, Alfonso E., La nature morte espagnole du XVII sièecle a Goya, Office du Livre; Vilo, Friburgo, 1987, pp. 46 / lám. 31.

Du Greco a Goya: chefs-d'oeuvre du Prado et de collections e, Musée d'Art et d'Histoire, Ginebra, 1989, pp. 60, nº23.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas (I) La Colección Real, Museo del Prado, Espasa Calpe, Madrid, 1990, pp. nº341.

Urrea, Jesús, La Pittura Madrilena del Secolo XVII, Edizioni Carte Segrete, Roma, 1991, pp. nº11.

Pintores del reinado de Felipe III, Museo del Prado, Madrid, 1993, pp. 84.

Jordan, William B., El bodegón español de Velázquez a Goya, Ediciones el Viso, Madrid, 1995, pp. 47, nº10.

Museo Nacional del Prado, La belleza de lo real: floreros y bodegones españoles en el, Museo del Prado, Madrid, 1995, pp. 47-51.

Jordan, William B., Spanish Still Life From Velazquez To Goya, National Gallery, Londres, 1995.

Cherry, Peter, Arte y naturaleza: el bodegón español en el siglo de oro, Ediciones Doce Calles, Aranjuez, 1999, pp. 175-178.

Esplendores de Espanha de el Greco a Velázquez, Arte Viva, Río de Janeiro, 2000, pp. 219.

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

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, nº 30.

Best in show : the dog in art from the renaissance to today..., Yale University Press: In associ, New Haven; Houston; Greenwich, 2006, pp. 146.

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

In the presence of things : four centuries of European still..., Calouste Gulbenkian Foundation, Lisboa, 2010, pp. 69-117.

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 115.

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.3].

Other inventories +

Inv. Real Museo, 1857. Núm. 341.
Escuela flamenca. / 341. Un florero. / Esta sobre una mesa, y al pie se ve un perrito jugando con una manzana. / Alto 8 pies, 6 lin; ancho 3 pies, 6 pulg, 6 lin.

Catálogo Museo del Prado, 1854-1858. Núm. 341.

Catálogo Museo del Prado, 1873-1907. Núm. 1891.
1891.-(341-D.)-Florero.-Está sobre una mesa, y al / pié hay un perro jugando con una manzana. / Salvado, como cuadro antiguo, del incendio del Alc. y Pal. de Madrid en / 1734. / Alto 2,24; ancho 0,99.-L.

Inv. Felipe V, Palacio Nuevo, 1747. Núm. 456.
PINTURAS EXISTENTES ANTIGUAS [...] Pieza interior triangulada [...] {10493} 456 / Otro [florero] igual [de dos varas y dos tercias de caida y vara y quarta de ancho de mano no conocida] y correspondiente al antecedente con vn perro abajo tambien de flores trescientos sesenta rs.

Inv. Carlos III, Buen Retiro, 1772. Núm. 456.
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. 445.
Otra [pintura] de un Florero y un Perrito: de dos varas y tres quartas de alto y vara y quarta de ancho marco dorado...300

Inscriptions +

Inscribed in black. Front, lower left corner

Inscribed in white. Front, lower left corner

Inscribed in red color. Front, lower right corner

Exhibitions +

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

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

Pintores del reinado de Felipe III
25.02.1994 - 27.03.1994

Pintores del reinado de Felipe III
21.01.1994 - 20.02.1994

Pintores del reinado de Felipe III
17.12.1993 - 16.01.1994

Pintores del reinado de Felipe III
12.11.1993 - 12.12.1993

Pintores del reinado de Felipe III
08.10.1993 - 07.11.1993

Pintores del reinado de Felipe III
03.09.1993 - 03.10.1993

Pintores del reinado de Felipe III
29.07.1993 - 29.08.1993

Pintores del reinado de Felipe III
25.06.1993 - 25.07.1993

Pintores del reinado de Felipe III
21.05.1993 - 20.06.1993

Pintores del reinado de Felipe III
15.04.1993 - 06.05.1993

Obras maestras de la Pintura Española: del Siglo de Oro a Goya
14.06.1989 - 24.09.1989

Location +

Room 008A (On Display)


Displayed objects +

Decorative object and tableware: Florero

Pitcher / Vase


Update date: 04-11-2021 | Registry created on 28-04-2015

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