Balthasar van der Ast

Anonymous sale, New York, Christie's, 10 January 1980, lot 112;
With David Koetser, Zurich;
Acquired from the above by the late owners in October 1980.

I. Bergström, 'Baskets with Flowers by Ambrosius Bosschaert the Elder and their Reprecussions on the Art of Balthasar van der Ast', in Tableau, vol. 6, no. 3, December 1983 - January 1984, pp. 70-71, reproduced fig. 7.

The support consists of a single panel and is uncradled. The paint surface is secure and stable, with an even and clear varnish. There are no major damages visible to the naked eye. Inspection under ultra-violet light reveals that much of the dark background has been repainted, and there are some retouchings to the left side of the marble ledge. The flowers and insects themselves remain largely untouched. Offered in a plain dark wood frame with ripple mouldings in the Dutch style, with a gilt inner sight edge.
"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."

The influence of Balthasar Van der Ast’s brother-in-law and teacher, Ambrosius Bosschaert I, is plainly visible in the motifs, the overall composition, and in the painterly effects of this still life. The inclusion of specific details such as a pair of overlapping golden peaches, the single dark plum and tulip lying on the ledge, the pale pink rose spilling over the front of the basket, and the flowers poking through the wicker handle just visible through the arrangement, are elements that were commonly employed by Bosschaert in the first decades of the 17th century, before his death in 1621. Upon Bosschaert’s death it was Van der Ast who took over the running of his workshop and whilst later he developed a more naturalistic style, the present picture still reflects the composition, clear colouring and linear style of his mentor. It is likely that the execution of this work can be dated to this early phase of his career during the 1620s.