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More information on this painting can be found in the Gallery publication Spanish Paintings of the Fifteenth through Nineteenth Centuries, which is available as a free PDF

lower right: Juan vanderHamen i Leon / fat 1627


Possibly Diego de Messía Felípez de Guzmán, Marquès de Leganés, Madrid, 1655.[1] Private collection, Florence, by 1950.[2] (Victor Spark, New York), at least 1952 to 1954.[3] (David M. Koetser Gallery, New York, London, and Zurich);[4] purchased 1955 by the Samuel H. Kress Foundation, New York;[5] gift 1961 to NGA.

Exhibition History
La Nature morte de l'antiquité à nos jours, Musée de l'Orangerie, Paris, 1952, no. 72, pl. 28.
Spanish Still Life in the Golden Age 1600-1650, Kimbell Art Museum, Fort Worth; The Toledo Museum of Art, Ohio, 1985, no. 17, color pl. 17.
Spanish Still Life from Velázquez to Goya, The National Gallery, London, 1995, no. 13, repro.
El Bodegón Español [De Zurbarán a Picasso], Museo de Bellas Artes de Bilbao, 1999-2000, no. 12, repro.
El Alma de España [The Soul of Spain], The Albuquerque Museum, 2005, no. 21, repro.
El Greco to Velázquez: Art during the Reign of Philip III, Museum of Fine Arts, Boston; Nasher Museum of Art at Duke University, Durham, 2008, no. 63, repro.
In the Presence of Things: Four Centuries of European Still Life Painting. Part One: 17th-18th Centuries, Fundaçäo Calouste Gulbenkian, Exhibition Gallery, Lisbon, 2010, no. 28, repro.
Technical Summary

The support is a medium-fine weight, plain-weave fabric which has been lined
to a plain-weave, double-threaded support. A thin red ground is applied overall, over
which the paint is applied in thin, opaque rich-paste layers. Although the paint is
worked in a wet-in-wet technique to create smooth tonal transitions, the artist uses low
striated brush strokes, giving the surface a delicately textured unity. The painting is
moderately abraded overall, particularly in the dark background, and the impasto is
flattened. Minute spots of retouch, applied over the abrasion in the background, have
become discolored and light. The painting was relined, cleaned, and treated in 1955.

Longhi, Roberto. "Un momento importante nella storia della `Natura Morta'." Paragone 1 (1950): 34-39, pl. 16.
Gwynne-Jones, Allan. Introduction to Still-Life. London, 1954: 66-67, no. 59.
Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation 1951-56. Introduction by John Walker, text by William E. Suida and Fern Rusk Shapley. National Gallery of Art. Washington, 1956: 104, no. 37, repro.
Walker, John. "The Nation's Newest Old Masters." The National Geographic Magazine 110, no. 5 (November 1956): color repro. 641, 646.
Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 126, as Still Life.
Gaya Nuño, Juan Anotonio. La pintura española fuera de España; historia y catàlogo. Madrid, 1958: 209, no. 1454.
Kubler, George, and Martin Soria. Art and Architecture in Spain and Portugal and Their American Dominions, 1500-1800. Baltimore, 1959: 235, pl. 122a.
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 272, repro., as Still Life.
Soria, Martin. "Notas sobre algunos bodegones españoles del siglo XVII." Archivo Español de Arte y Arqueologia 32 (1959): 273-280.
Evans, Grose. Spanish Painting in the National Gallery of Art. Washington, D.C., 1960 (Booklet Number Ten in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 22, color repro., as Still Life.
Jordan, William B. "Juan van der Hamen y León: A Madrilenian Still-Life Painter." Marysas 12 (1964-1965): 52-59, fig. 16.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 66, as Still Life.
Jordan, William B. "Juan van der Hamen y León." Ph.D. dissertation, New York University, 1967: 333, no. 16, fig. 34.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 58, repro., as Still Life.
Bergström, Ingvar. Maestros españoles de bodegones y floreros. Madrid, 1970: 36.
Angulo Iñiguez, Diego. Pintura española del siglo XVII. Ars Hispaniae, 15. Madrid, 1971: 29.
Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 89.
Pérez Sánchez, Alfonso E. "Caravaggio y los Caravaggistas en la pintura española." In Colloquio sul tema Caravaggio e i Caravaggeschi. Rome, 1974: 57-85, fig. 12.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 172, repro., as Still Life.
Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 206-207, fig. 202.
Held, Jutta. "Verzicht und Zeremoniell: zu Stilleben von Sánchez Cotán und van der Hamen." Stilleben in Europa. Westfälisches Landesmuseum für Kunst und Kulturgeschichte. Munster, 1979-1980: 390-394, repro. 391.
Pérez Sánchez, Alfonso E. Pintura española de bodegones y floreros. Exh. cat. Prado, Madrid, 1983: 42, repro.
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 247, no. 311, color repro., as Still Life.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 198, repro., as Still Life
Brown, Jonathan, and Richard G. Mann. Spanish Paintings of the Fifteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1990: 84-87, color repro. 85.
National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 83, repro.
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: v, 152-153, 166-167, no. 127, color repros.
Cherry, Peter. Luis Meléndez: Still-Life Painter. Madrid, 2006: 95, 96, fig. 78.
Rosenberg, Pierre. Only in America: One Hundred Paintings in American Museums Unmatched in European Collections. Milan, 2006: 86-87, 236, 239, color fig.
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