A Vase of Corn Lilies and Heliotrope
- Date
- 1863
- Material
- Oil on canvas
- made in
- United States, North and Central America
- Classification
- Paintings
- Collection
- American Art
- Current Location
- On View, Gallery 329
- Dimensions
- 16 3/8 x 12 3/8 in. (41.6 x 31.4 cm)
framed: 20 15/16 x 16 15/16 x 1 5/8 in. (53.2 x 43 x 4.1 cm) - Credit Line
- Eliza McMillan Trust
- Rights
- Public Domain
- Object Number
- 68:1965
NOTES
Martin Johnson Heade celebrated early summer with hues of red, white, and blue in this painting. The artist loved flowers and described gathering each day “a beautiful bouquet for the breakfast table.” One might imagine him clipping the white corn lilies, red and bluish-purple heliotropes, and strawberries as they all ripened and bloomed in early June. Delicate heliotrope blossoms were especially popular with 19th-century gardeners, who compared their sweet fragrance to the aroma of cherry pie.
Heade painted this small still life early in his career, during an enormously productive six-month period in which he sought to raise funds for an extensive trip to South America. Over the next 40 years, he painted nearly 150 still lifes, including a wide range of native and tropical flowers.
Heade painted this small still life early in his career, during an enormously productive six-month period in which he sought to raise funds for an extensive trip to South America. Over the next 40 years, he painted nearly 150 still lifes, including a wide range of native and tropical flowers.
Provenance
Unidentified antiques shop, New Orleans, LA [1]
Alonzo Nicholas Lansford, New Orleans, LA, purchased at a New Orleans antique shop
Olivo Gallery (Anthony Olivo), Providence, RI, purchased from Alonzo Nicholas Lansford
by 1964 - 1965
William Postar, Boston, MAs, purchased from Olivo Gallery [2]
1965 -
Saint Louis Art Museum, purchased from William Postar [3]
Notes:
The main source for this provenance is the Heade catalogue raisonné by Theodore E. Stebbins [Stebbins, Theodore E., Jr. "The Life and Work of Martin Johnson Heade: A Critical Analysis and Catalogue Raisonné." New Haven and London: Yale University Press, 2000, cat. 328].
[1] A 1966 article about the painting indicates that it was discovered in a New Orleans antiques shop by conservator and art dealer Alonzo Lansford. The unidentified antiques dealer in the French Quarter of New Orleans, where Lansford acquired the painting, was not able to confirm where the painting was acquired; however, he was able to tell him that it was from one of two painting lots that they had purchased – one came from New Orleans, the other from Natchez [Collier, Alberta. "St. Louis Museum Obtains 'Find' in French Quarter: History of Art Work Sought in New Orleans." The Times-Picayune (New Orleans, LA), Monday, March 31, 1966].
[2] According to a letter to the Museum from William Postar dated November 14, 1965, Postar purchased the painting from Anthony Olivo of Olivo Gallery, who acquired it from Alonzo Nicholas Lansford of New Orleans [SLAM document files]. The catalogue raisonné, however, indicates that the painting was on the New York art market between its time in New Orleans and Providence [Stebbins, p. 283].
[3] Bill of sale from William Postar dated July 6, 1965 [SLAM document files]. Minutes of the Administrative Board of Control and Associate Members of the Board of Control of the City Art Museum, June 24, 1965.
Alonzo Nicholas Lansford, New Orleans, LA, purchased at a New Orleans antique shop
Olivo Gallery (Anthony Olivo), Providence, RI, purchased from Alonzo Nicholas Lansford
by 1964 - 1965
William Postar, Boston, MAs, purchased from Olivo Gallery [2]
1965 -
Saint Louis Art Museum, purchased from William Postar [3]
Notes:
The main source for this provenance is the Heade catalogue raisonné by Theodore E. Stebbins [Stebbins, Theodore E., Jr. "The Life and Work of Martin Johnson Heade: A Critical Analysis and Catalogue Raisonné." New Haven and London: Yale University Press, 2000, cat. 328].
[1] A 1966 article about the painting indicates that it was discovered in a New Orleans antiques shop by conservator and art dealer Alonzo Lansford. The unidentified antiques dealer in the French Quarter of New Orleans, where Lansford acquired the painting, was not able to confirm where the painting was acquired; however, he was able to tell him that it was from one of two painting lots that they had purchased – one came from New Orleans, the other from Natchez [Collier, Alberta. "St. Louis Museum Obtains 'Find' in French Quarter: History of Art Work Sought in New Orleans." The Times-Picayune (New Orleans, LA), Monday, March 31, 1966].
[2] According to a letter to the Museum from William Postar dated November 14, 1965, Postar purchased the painting from Anthony Olivo of Olivo Gallery, who acquired it from Alonzo Nicholas Lansford of New Orleans [SLAM document files]. The catalogue raisonné, however, indicates that the painting was on the New York art market between its time in New Orleans and Providence [Stebbins, p. 283].
[3] Bill of sale from William Postar dated July 6, 1965 [SLAM document files]. Minutes of the Administrative Board of Control and Associate Members of the Board of Control of the City Art Museum, June 24, 1965.
We regularly update records, which may be incomplete. If you have additional information, please contact us at provenance@slam.org.