About This Artwork

Juan de Zurbarán, attributed to
Spanish, 1620–1649

Flowers and Fruit in a China Bowl, c. 1645

Oil on canvas
32 1/2 x 42 3/4 in. (82.6 x 108.6 cm)
Wirt D. Walker Fund, 1947.511

Exhibition, Publication and Ownership Histories

Exhibition History

Madrid, Museo Nacional del Prado, Exposicion de Zurbarán, 1905, cat. 48.

New York, M. Knoedler and Company, Exhibition Celebrating Knoedler: One Hundred Years, 1846–1946, April 1–27, 1946, cat. 101, as Francisco de Zurbarán.

New York, E. and A. Silberman Galleries, An Exhibition of Paintings for the benefit of the Research Fund of Art and Archeology, The Spanish Institute, Inc., October 12–November 1, 1955, cat. 21.

Newark, New Jersey, The Newark Museum, The Golden Age of Spanish Still-life Painting late 16th through early 19th centuries, December 10, 1964–January 26, 1965, no. 39, as Francisco de Zurbarán.

Fort Worth, Kimbell Art Museum, Spanish Still Life in the Golden Age 1600-1650, 11 May – 4 August 1985; Toledo, Toledo Museum of Art, September 8–November 3, 1985, cat. 46.

Chicago, Art Institute, The Art of the Edge: European frames 1300–1900, October 17–December 14, 1986, cat. 31.

Madrid, Museo Nacional del Prado, Flores españolas del Siglo de Oro. La pintura de Flores en la España del siglio XVII, November 15, 2002–February 2, 2003, cat. 9.

Publication History

Catálogo de la galería de cuadros del Exmo. Sr. D. José de Madrazo (Madrid, 1856), p. 108, no. 449.

José Cascales y Muñoz, Francisco de Zurburán, Su época, su vida y sus obras, Madrid, 1911, p. 93.

Hugo Kehrer, Francisco de Zurburán, Munich, 1918, p. 147.

Martin S. Soria, “Zurbaran, Right and Wrong,” Art in America 32, no. 3 (1944), pp. 129, fig. 2.

M. S. Soria, “Francisco de Zurbarán, a Study of his Style,” pt. II, Gazette des Beaux-Arts, ser. 6, 25 (1944), p. 164.

Helmut P. G. Seckel, “Francisco de Zurbarán as a Painter of Still Life,” Gazette des Beaux-Arts, ser. 6, 30 (1946), pp. 288-289, fig. 8 and ser. 6, 31 (1947), p. 62, no. VII.

Patrick T. Malone, “A Spanish Still Life,” pt. 2, Bulletin of the Art Institute of Chicago 42 (1948), p. 17, ill. cover.

Martin S. Soria, The Paintings of Zurbarán. complete edition (London, 1955), p. 177, no. 178, ill.

César Pemán, “Juan de Zurbarán,” Archivo Español de Arte 31, 1958, pp. 201–210, pl. 4.

Paul Guinard, Zurbarán et les peintres espagnols de la vie monastique (Paris, 1960), p. 281, no. 603.

César Pemán, “Sobre bodegones zurbaranescos,” Archive Español de Arte 34 (1961), pp. 275–6.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961) p. 490, ill. p. 97.

Rámon Torres Martín, Zurbarán; El Pintor Gótico del Siglo XVII (Seville, 1963), pp. LXXXVI, 206, no. 114, ill, p. 144.

John Maxon, The Art Institute of Chicago, (London, 1970), pp. 258 (ill), 288.

Ramón Torres Martín, La Naturaleza Muerta en la Pintura Española (Barcelona. 1971), pp. 57-58, 69, 72, pl. 16.

Mina Gregori and Tiziana Frati, L’Opera completa di Zurbarán (Milan, 1973), p. 117, no. 567.

Nina Ayala Mallory, “Museum News: Spanish Still Life in the Golden Age: 1600-1650,” (ex. Review), Art Journal 45, no. 4 (1985), p. 355.

Enriqueta Harris, “Exhibition reviews. Fort Worth and Toledo: Spanish Still Life,” Burlington Magazine 127, (1985), p. 643-44, fig. 98.

William B. Jordan in An Eye on Nature: Spanish Still-Life Paintings from Sánchez Cotán to Goya, exh. cat. Matthiesen Fine Art Ltd., London, 1997, pp. 107–109.

“José de Madrazo, coleccionista” in Jose de Madrazo (1781–1859), exh. cat., Fundación Marcelino Botín, Santander and Museo Municipal, Madrid, 1998, p. 174.

Peter Cherry, Arte y Naturaleza, El Bodegón Español en el Siglo de Oro (Aranjuez, 1999), p. 131, 135, pl. 83.

Ownership History

Don José de Madrazo y Agudo (died 1859), Madrid by 1856 [Madrazo cat. 449]; sold by his heirs to Don José de Salamanca, Marqués de Salamanca, Madrid in 1861 [see Alaminos López and Salas Vázquez 1998, p. 169]. Condesa de Montarco, Madrid by 1905 [lent by her to Madrid 1905; see also handwritten annotation in stretcher]. Art market, probably by June 1933 [photographs both inscribed with the number N3939, bear expertises by Tancred Borenius of June 1933 and August L. Mayer of October 22, 1934; photos in curatorial file]. Knoedler and Co., New York, 1935 [according to New York 1955, cat. 21]. Joseph Brummer, New York, by 1944, to at least 1946 [see Soria 1944 and New York 1948]. E. and A. Silberman by 1947; purchased by Art Institute 1947.