(Hamburg 1658–1724 Vienna)
Flowers in an urn, with fruit on a stone ledge and two Putti; and
Flowers in an urn, with fruit on a stone ledge and two Putti,
oil on canvas, 128 x 95 and 126 x 93 cm, framed, a pair (2)

Provenance:
Private European collection

Literature:
G. Bocchi, U. Bocchi, I pittori di natura morta a Roma. Artisti stranieri 1630–1750, Viadana 2004, p. 193, p. 237, illustrated pp. 240-41, figs. FT.46 and FT.47 (as Franz Werner von Tamm)
The present compositions are typical of the Roman production of Franz Werner von Tamm. During his period in Rome, from 1685 to 1695, Tamm was influenced by the master flower painters active in the city including Paolo Porpora, Mario de’ Fiori, Christian Berentz and especially Karel van Vogelaer, combining with the lucidity of vision and analytical taste of its northern European origins. The moving flowers fills the pictorial space: roses, poppies, carnations, lilies and peonies are skillfully combined with partly twisted stems and offer a multitude of spatially varied impressions.

The rendering of the putti reflects the influence of Carlo Maratta (1625–1713), the leading artist of Roman classicism, who favoured Tamm for the floral and naturalistic inserts in his paintings. The collaboration between the two artists started in circa 1685 and they carried out together the celebrated two series of sovrapporte with Garlands and Putti, six for the roman financier Francesco Montioni and four for Marchese Niccolò Pallavicini (see Fototeca Zeri no. 89428). These series reveal close connection with the present pair of paintings.

Tamm depicted the composition of the first painting in another version, signed and dated 1693, differing in the absence of the putto on the left (see G. Bocchi in literature, cat. no. FT.45). Thereby, suggesting the dating of present paintings. The second canvas of the present pair is instead an unpublished invention by Tamm.

In Hamburg, Tamm initially devoted himself to history painting but quickly specialised in still life paintings. His stay in Rome secured him some consideration among genre painters; in the city, Tamm was introduced by Gaspar van Wittel, Vanvitelli, into the circle of Flemish-Italian artists and joined the ‘Schilderbent’ association of painters, where he received the moniker ‘Dapper’. Through Maratta, he obtained commissions from Roman patrician families. From 1701 he is documented in Vienna as painter to the Imperial court of Leopold I.