Beskrivning: Se även beskrivning i den engelska versionen

Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 226:
 
Technical notes: The painting’s original support, a
single piece of regular, plain weave, single-threaded fabric,
with a weave count per cm of 12 horizontal and
10–12 vertical threads, has been lined. The texture of the
fabric support is apparent in the surface of the painting,
its appearance emphasized as a result of the lining
process. The original tacking edges have been cropped,
and the painting is attached to a non-original stretcher at
the tacking edges of the lining fabric.

The support was prepared with a thick, evenly applied,
light brown (double?) ground. Paint was applied very
thinly in the dark greyish background, barely covering
the light brown ground layer in many places, as between
the flowers in the garland at lower centre. Impastos were
used in the highlights on the fruit, leaves and gilded bowl
at the top, in the whites and yellows of the flowers in the
garland. Strong impastos were also used to create texture
in individual flowers and fruit, in the pears at the top and
the large pink roses at the lower centre. The edges of the
petals of the white lilies at the centre, and of the leaves of
the orange blossoms at the lower right, were built up in
relief using a full brush. The pink roses and reddish
orange briar roses were glazed with a translucent deep
red lake. Pentimenti occur in the form of slight enlargements
or adjustments of contour in a few blooms, for
example, in the pink roses at lower left and reddish
orange briar roses at lower right, in which some petals
were painted over the dark background.

The painting is in good condition. A thick layer of discoloured
old varnish is present. Abrasion is moderate
overall. The paint surface has been flattened through the
lining process. Retouching covers repaired losses of the
paint and ground layers along the edges, especially at the
right, bottom and left. Scattered small retouches are visible
in ultraviolet fluorescence in the foreground ledge,
the garland flowers and in the gilded bowl, pears, grapes
and leaves at the top. The probable fading of the red
glazes in the large pink roses and the reddish orange
briar roses at the lower left could account for their somewhat
undefined appearance. The painting underwent
conservation treatment in 1924 and 1988.

Provenance: Coll. Bentzelstjerna-V. Engström; donated
by Lars E. von Engeström in 1864

Exhibited: Stockholm 2007, no. 62.

Bibliography: Sander IV, p. 132, no. 12; NM Cat.
1867, p. 49; NM Cat. 1883, p. 66; Göthe 1887,
pp. 279–280; Göthe 1893, pp. 336–337; NM Cat. 1958,
p. 209; Hairs 1985, pp. 412, 505; NM Cat. 1990, p. 369;
Willigen and Meijer 2003 p. 203.

The oeuvre of Gaspar Pieter Verbruggen II was more
extensive and varied than his father’s. He painted both
large and small canvases with motifs that ranged from
traditional vases of flowers to cartouches with various
types of garlands. His compositions tend to be decorative
in character, which also agreed with contemporary
fashion. The Nationalmuseum’s painting, donated to
the museum in 1883 by Lars E. von Engeström,
belongs to this category. It depicts a garland of flowers
around a cartouche which is surmounted by a vase
with pears and grapes.
GCB
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