Purchase, Charles and Jessie Price, Jean A. Bonna, and Annette de la Renta Gifts, and The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 2008
Not on view
Joris Hoefnagel is one of a few artists in the sixteenth century, celebrated for their incredibly accurate and beautiful studies after nature. The symmetric composition of this bouquet might give it a gloss of artifice from a modern viewpoint, but conforms to the predominant taste that lasted well into the seventeenth century. The difference in scale of some of Hoefnagel’s flowers indicates that he used individual flower studies to form his bouquet; a fact that is supported by his reuse of separate motifs in other works. This particular bouquet of flowers is a very intimate work, not just because of its size, but also because of its intended purpose. The Latin inscription on the pedestal reveals that Hoefnagel made this drawing for his mother ‘as a monument of love’.
Signature: In the cartouche below the vase, signed and inscribed "AMORIS MONUMENTV[M] MATRI CHARISS[IMAE]|GEORGIVS HOEFNAGLIVS. D. Ao 89." by the artist
Given by the artist to his mother Elisabeth Veselaer Hoefnagel (died after 1589); probably by descent to her daughter Susanna Hoefnagel-Huygens (1561–1633 The Hague); her son, Constantijn Huygens the Elder (Dutch, The Hague 1596–1687 The Hague); possibly by descent within the Huygens family; Private Collection, The Netherlands; Vendor: Nicolaas Teeuwisse (Dutch, active Berlin)
The Metropolitan Museum of Art. "The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions," October 24, 2008–February 1, 2009.
The Metropolitan Museum of Art. "Paper Chase: Two Decades of Collecting Drawings and Prints," December 9, 2014–March 16, 2015.
Stijn Alsteens, Nadine Orenstein, Perrin Stein "Recent Acquisitions, A Selection: 2007-2008." in The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, vol. 66, no. 2, Fall 2008, p. 18, ill.
Thea Vignau-Wilberg "Joris Hoefnagel und die Freiheit des hofgeschützten Künstlers." in München-Prag um 1600 [part of: Studia rudolphina. Sonderheft]. Beket Bukovinská, Lubomír Konecný, Artefactum. Institut für Kunstgeschichte der Akademie der Wissenschaften der Tschechischen Republik, Prague, 2009, fig. no. 2, 127.
Frits Scholten "Joost van Cranevelt's prayer nut" Simiolus. 36, 2012, p. 127, fig. 4.