SON, Joris van

The painting depicts a ‘pronk’ still-life of grapes, cherries, walnuts and a peeled lemon, with oysters on a pewter plate, and a glass roemer, wine glass and gilt goblet, all on a draped table.

‘Pronkstilleven’ is a type of still-life painting. It is a term that could be translated as ‘ostentatious still-life’. These still-lifes displayed an array of luxurious possessions that reflected the lifestyle of the wealthy in seventeenth century Holland. Venetian glass, Chinese porcelain and Turkish carpets bedecked with ornamental gold and silverware were painted as status symbols, to be hung in the homes of the affluent patrons who commissioned them. However the choice of objects was not always for spectacle alone as they sometimes carried a symbolic significance. Although only the rich could afford such rare artefacts, which were usually imported from distant lands, their inclusion in a painting could be interpreted as a patriotic tribute to the prosperity of Dutch trade. The inclusion of citrus fruits alongside wine is often read as encouraging moderation in the use of alcohol, as lemon juice was added to wine to reduce its potency and for medicinal effect.

The painting is signed lower left: J. van. SON . f .

This painting represents a still-life wit crabs, peaches, apricots, grapes and a partly peeled lemon, with glasses behind, on a partly-draped table.

This signed and dated still-life includes grapes, a melon, an orange, plums and oysters in a stone niche.

The painting shows a still-life of fruit in a bowl with oysters and grapes. It is signed and dated lower left: J. VAN. SON. f / 1654.

The painting shows a still-life of a garland of fruits, flowers in a blue and white vase upon a stone plinth, together with vegetables, a wine cooler, a monkey, a tortoise, a macaw and a grey parrot, within an architectural setting.

Formerly the painting was attributed to Adriaen van Utrecht, and later to Abraham Mignon. It is Joris van Son’s largest recorded work. The macaw and the monkey are from another hand.

The picture shows a still-life with roses, honeysuckle and other flowers and summer fruits in a glass vase with shrimps on a stone ledge. It is signed and dated on the stone ledge lower left: ‘J. VAN: SON./1661’.

This still-life depicts grapes, plums, apricots and a pomegranate in a basket, together with other fruits and a Nautilus shell on a stone ledge. It is signed and dated lower centre.

Joris van Son was a follower of Jan Davidsz de Heem (1606-1684) in Antwerp. De Heem was one of the rare Dutch artists who captured some of the exuberance of Flemish Baroque painting, and soon after he settled in Antwerp in the 1630s his colouristic splendour rivals that of the native Flemings. Joris van Son successfully adopted his compositional schemes and style.