Georgius was taught by his father, the painter and poet Jan van Os (1744-1808). Just like his father, he specialised in landscapes and fruit and flower still lifes. His major commission were the drawings to illustrate Flora Batava (1800-1822) by Jan Christiaan Sepp (1739-1811) and Jan Kops (1765-1849). In 1809 van Os won the first prize with his still life watercolour at Felix Meritis in Amsterdam, which stimulated him to specialise in the genre. Few years later, in 1812, while employed at the Sèvres porcelain factory, he won a gold medal at the Paris Salon. Van Os stayed in France until 1816 after which he lived a while in Amsterdam (where he was a member of the Royal Academy of Art) and The Hague before settling definitely in Paris in 1822.
Influenced by Jan van Huysum (1682-1749), van Os drew his flowers and fruits directly after nature in the appropriate time of the year. His drawings were fully independent works of art and meant for the market. Amongst his most well known pupils were Hendrik Reekers (1815-1854) and Albertus Jonas Brandt (1788-1821).
This large watercolour on wove paper, showcasing grapes, dahlias, carnation flowers or marigold, a chestnut, red and white currants, berries, a quince and plums, is of the finest quality in van Os' oeuvre. A few drops of dew on both leaves in the lower left corner, the grape leaves and an ant on the peach are to be seen, suggestive of their freshness. In the far background a pineapple is discernible. The watercolour is still on it's original mount and has been preserved in pristine condition, capturing it's freshness like it had been executed yesterday. The two leaves in the lower left corner strongly remind of the Malva leaf by his brilliant pupil Albertus Jonas Brandt (1788-1821), which we sold to Fondation Custodia/Coll. Frits Lugt in 2022. Several closely related sheets are in the collection of Teylers Museum, Haarlem.
[1] Leslie A. Schwartz, The Dutch Drawings in The Teyler Museum. Artists born between 1740 and 1800.
Haarlem/Ghent/Doornspijk, 2004. p.307-310.
