Who painted Cultivated Medlar (Mespilus germanica)?

Cultivated Medlar (Mespilus germanica) was painted by Gerard van Spaendonck in 1800.

Where can I see Cultivated Medlar (Mespilus germanica)?

Cultivated Medlar (Mespilus germanica) is held by Cleveland Museum of Art.

What movement is Cultivated Medlar (Mespilus germanica)?

Cultivated Medlar (Mespilus germanica) is associated with Romanticism.

Can I buy a print of Cultivated Medlar (Mespilus germanica)?

Museum-quality prints of Cultivated Medlar (Mespilus germanica) are available made-to-order from Artifact World Gallery.

Artwork

Cultivated Medlar (Mespilus germanica)

Gerard van Spaendonck , 1800

Cultivated Medlar (Mespilus germanica) is a print by the Romanticist artist Gerard van Spaendonck. It dates from 1800 and is held in the collection of the Cleveland Museum of Art. The work is a print depicting a single medlar fruit, its rough, split skin and soft interior rendered with meticulous detail.

Accession no.: 1939.289
Credit line: Gift of The Print Club of Cleveland, for the Donald Gray Memorial Collection

About this work

Overview

The work is a print depicting a single medlar fruit, its rough, split skin and soft interior rendered with meticulous detail. The image combines brown and blue‑green tones applied simultaneously on the same plate, creating a subtle gradation across the surface of the fruit.

Subject & Meaning

The medlar, a fruit once common in European orchards, is presented in close‑up, emphasizing its tactile texture and the delicate contrast between its fuzzy exterior and the exposed flesh. The focus on a solitary fruit reflects the artist’s interest in natural study and the quiet beauty of everyday botanical objects.

Technique & Style

After printing, the right‑hand side received additional hand‑applied watercolor, a common practice to enhance color but one that can obscure fine details.

The image was produced using the à la poupée method, in which a single copper plate is selectively inked with different colors by dab‑dabbing rag “dolls” onto designated areas. Brown and blue‑green inks were applied together, allowing the tonal shifts to emerge in a single impression. After printing, the right‑hand side received additional hand‑applied watercolor, a common practice to enhance color but one that can obscure fine details.

History & Provenance

The artist, Gerard van Spaendonck, served as a painter for the French royal court before relocating to the Netherlands. Known for his highly finished fruit and flower studies, he applied his precise observational skill to this print, which exemplifies his transition from court patronage to a broader European market.

Context

During the late 18th and early 19th centuries, the à la poupée technique was prized for its ability to produce multicolored prints without the expense of multiple plates. Van Spaendonck’s use of the method aligns with contemporary interests in scientific illustration and the decorative appeal of botanical subjects.

Legacy

The print illustrates the delicate balance between mechanical reproduction and hand‑finished embellishment, offering insight into the evolving practices of printmakers who sought to combine efficiency with the painterly qualities of watercolor.