Still Life with OrangesΡαφαέλ Πιλ · 1818

Identification of the Still Life with Oranges

The quiet arrangement known as Still Life with Oranges by Raphaelle Peale captures a moment of domestic abundance. Created in 1818, this work presents a collection of fruit and a wine glass resting upon a table. The scene invites a close look at the textures of the organic subjects. It remains a significant piece of American art history, held within the collection of the Toledo Museum of Art in Toledo.

A subtle, playful detail marks the surface of the fruit. A spiraling orange peel rests within the composition, acting as a punning signature from the artist. This small gesture connects the work to its original recipient, the South Carolina collector John A. Alston. Peale inscribed the piece to Alston, whom he identified as “The Patron of Living American Artists.”

Composition and Visual Details

A quiet abundance rests upon a table, where a central bowl holds a collection of fruit. Oranges, apples, and grapes crowd the vessel, while the soft suggestion of peaches nestles among them. The arrangement feels casual yet deliberate, as if a meal has just been interrupted. Scattered across the tabletop, several oranges lie loose, their bright forms breaking the stillness of the surface. Nearby, a single wine glass catches the light, adding a sense of domestic ease to the scene.

The eye is drawn to a clever, playful detail tucked within the arrangement. A spiraling orange peel curls away from the fruit, acting as a punning signature left by the artist. This small, tactile gesture invites a closer look at the textures of the scene. One can almost sense the weight of the fruit and the smooth, cool surface of the glass. The composition relies on a careful balance of these organic shapes against the steady presence of the table.

Technical Details and Physical Support

The artist works with oil on a wood panel, a choice that lends a certain weight and permanence to the scene. The surface captures the light in a way that makes the textures of the fruit feel almost tangible. This specific piece measures 18 5/8 × 22 15/16 in. (47.3 × 58.3 cm), a scale that invites a close, intimate inspection of the arrangement. Every brushstroke contributes to the illusion of depth and the tactile reality of the objects resting upon the table.

Encasing this composition is a frame that extends the visual presence of the work. The dimensions of the frame reach 26 1/2 × 30 3/8 × 2 3/8 in. (67.3 × 77.2 × 6 cm), providing a structured boundary for the quiet drama unfolding within. The object is cataloged under the number 1951.498. It remains a physical presence that holds its own space, inviting the eye to linger on the subtle play of shadow and light across the wood's surface.

History and Provenance of the Object

The life of this painting leads directly to the Toledo Museum of Art, where it resides within the permanent collection. It exists today as a classified work of paintings, though it currently rests away from the public eye. It is not on view, waiting in the quiet spaces of the museum's holdings. The object carries a specific lineage of support, having been acquired through the generosity of the Florence Scott Libbey Bequest, offered in memory of her father, Maurice A. Scott.

Tracing its path through time, the work remains a significant part of the museum's holdings. It carries an inscription that links it to a specific moment of patronage, dedicated to the South Carolina collector John A. Alston, who was known as “The Patron of Living American Artists.” This connection places the fruit and the glass within a historical network of collectors who sought to preserve the visual identity of a burgeoning nation. The painting remains a quiet presence in the museum's archives, a piece of history held in trust for those who study the evolution of American still life.