JOSEPH STÖBER, AFTER JAN DAVIDSZ. DE HEEM, ALLEGORY OF THE EUCHARIST IN A GARLAND OF FLOWERS AND FRUIT

JOSEPH STÖBER, AFTER JAN DAVIDSZ. DE HEEM ALLEGORY OF THE EUCHARIST IN A GARLAND OF FLOWERS AND FRUIT JOSEPH STÖBER 1768 – 1852 Etching with burin on paper, signed: J. D. de Heem pinx. / Jos. Stöber sc. 35.5 × 28.5 cm / 14 × 11.2 in; framed: 57 × 48 cm / 22.4 × 18.9 in PROVENANCE: Private collection, Vienna This refined print, executed by the Austrian artist Joseph Stöber (1768–1852), is an extremely accurate graphic reproduction of one of the most symbolically dense compositions by Jan Davidsz. de Heem, a celebrated master of Dutch Baroque still life. At the center of the scene is a radiant Eucharistic chalice, set in an architectural niche and surrounded by a lush garland of fruits, flowers, and foliage—a Baroque crown in which visual abundance intertwines with the theological dimension. The composition belongs to the genre known as pronkstilleven—or “sumptuous still life”—in which natural forms take on a ritual and symbolic resonance. Grapes, pomegranates, wheat, bread, and tulips evoke the Passion of Christ, the sacrament of the Eucharist, the Virgin Mary, and the sacrifice of the Lamb. Stöber masterfully renders the richness of textures: the sheet comes to life thanks to the delicacy of the engraving, with leaves, bunches, and fruits that seem almost tangible. While maintaining the original structure and symbolism of de Heem, the monochrome language of the print enhances the trompe-l'œil effect, giving rise to a refined graphic illusionism. The renewed interest in images of this type in the 19th century is explained not only by the enduring popularity of de Heem but also by the reinterpretation of his visual language in different cultural contexts. The Polish art historian Antoni Ziemba, known for his in-depth studies on iconography and visual perception in Dutch painting—especially in his work I. Miedzy opisem a iluzja rzeczywistosci. Wprowadzenie do sztuki holenderskiej (Between Description and Illusion of Reality. Introduction to Dutch Art)—emphasizes how these floral and fruity garlands, born in the Catholic tradition of the Southern Provinces, took on new meanings in the Protestant North: not only maintaining a sacred aura but also transforming into a sort of ironic exaltation of the everyday, a “sacralized realism.” The work is presented in a refined 20th-century gilded frame with a wide passe-partout, which enhances its solemn character and underscores its contemplative and collectable vocation.