Jacob van Hulsdonck

Hugh Richard Arthur Grovesnor (1879-1953), 2nd Duke of Westminster, possibly by descent from his father Hugh Lupus Grovesnor, 1st Duke of Westminster (1825-1899), at Eaton Hall, Cheshire, by 1934, and then at Fort William, Co. Cork;
Thence by inheritance to his fourth wife Anne, Duchess of Westminster (1915-2003), Eaton Lodge;
By whom given to the father of the present owner.

The painting is richer and colour and stronger in tone than the catalogue illustration would suggest. The support is a single unsupported structurally sound panel that has bowed very slightly at the edges and has been chamfered on all sides but the right. The paint surface is in good overall condition with no apparent damage or loss of paint. There are several very minor scattered spots of raised but stabilised paint visible under a raking light, for example approx. 2cm above the tip of the left most upward pointing green leaf, centre left as can be seen in the catalogue illustration, and in the lower left hand bud of the right most rose, centre right. Under a raking light there is also evidence of three old retouched diagonal surface scratches stemming from the right panel edge. The first measuring approx. 3 cm. is centre right below the top most clump of green leaves. The second, measuring approx. 1 cm. is situated directly below the first and is parallel to the middle clump of green leaves. The third, measuring approx. 1 cm. is situated below the second and is parallel to the lower clump of green leaves. Also visible under a raking light are two thin vertical lines of raised but stable paint stemming from the lower panel edge. The first measuring approx. 9 cm. runs up through the butterflies left wing to the edge of the lower clump of green leaves. The second, measuring approx. 2 cm. runs up the edge of the table to the bud of the closed flower beside the butterfly. Examination under ultraviolet light reveals very minor scattered retouching to the panel edges, and to the aforementioned areas as well as to a 1cm horizontal fleck of retouching to a minor abrasion in the background parallel to the daffodil centre left.. It also reveals retouching throughout the background concentrated around the green leaves and stems and around the scarlet flower upper left. There also appears to be older retouching to the green pigments, and there appears to have been a green leaf painted out on the right most edge of the lower left hand clump, which accounts for the dark infringement on the table top as is visible in the catalogue illustration. The actual flowers themselves appear to be relatively untouched but for some very minor scattered cosmetic flecks of retouching. Offered in a Dutch style black and gilt wood frame in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

We are grateful to Fred Meijer from the Rijksbureau voor Kunsthistorische Documentatie for confirming the attribution to Hulsdonck, following inspection of the painting in the original. He points out that the composition is closely related to a copper of similar size by Hulsdonck sold London, Christie's, 8 December 1972, lot 46, and later with David Koetser in Zurich. A copy of slightly larger size was sold Amsterdam, Christie's, 7 November 2001, lot 73.