Circle of Ambrosius Bosschaert the Elder

With Michel Segoura, Paris, 1988–89;
Anonymous sale, Paris, Ader/Picard, 12 December 1989, lot 85 (as by Ambrosius Bosschaert the Younger);
There acquired by Phoebe Cowles, San Francisco;
By whom sold, New York, Christie's, 16 January 1992, lot 91 (as Ambrosius Bosschaert the Elder) for $104,500, when acquired by the present owner.

The panel, composed of two vertical planks, is cradled. The surface is flat. The paint surface is secure, stable and clean. The colours of the petals are strong and vibrant. Retouching can be seen along parts of the vertical join near the left edge. Inspection under ultraviolet light reveals an even varnish and very small scattered retouchings to the stems and leaves at the upper centre and right of the bouquet. There is also an area of retouching on the ledge at lower left. The flowers, fruit and insects are all free of retouchings. Overall the work is in good condition. The painting is offered in carved wood frame with faux-tortoiseshell sight edge, in excellent 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."

At the time of its last appearance on the market in 1992 this painting was attributed to Ambrosius Bosschaert the Elder (1573–1621) by Dr. Sam Segal and dated to around 1617.¹ More recently, however, Fred G. Meijer has suggested on the basis of photographs that this painting should now be considered among a group of similar still lifes by an as yet unidentified painter or painters, in this case contemporary to and probably from the circle of Bosschaert himself. This group was probably painted in Antwerp rather than Middleburg as many of the works, such as the present panel, also betray the marked influence of Jan Brueghel the Elder (1568–1625). A very closely related version of the design, for example, was formerly with Galerie Pardo in Paris in 1952,² and a second sold in these Rooms 12 July 1978, lot 34 (as Ambrosius Bosschaert the Younger) and later with Richard Green in London. Another work from this group, a very similar but larger floral still-life on copper (61.5 by 45 cm.), formerly with Haberstock in Berlin, was sold in these Rooms, 16 December 1999, lot 17 (£400,000).³ In each of these pictures, the arrangement of the central part of the blooms, including the pink, white and red roses, the unopened rose, the carnation, variegated tulip and cyclamen are all very similar to those found in the present work. The last of these works was painted on a copper plate was made by Peeter Stas around 1610–15, and this would also speak for a likely use in Antwerp. First attributed to Bosschaert by Laurens J. Bol, at the time of the sale that work was also considered by Dr. Klaus Ertz to be from the hand of Jan Brueghel the Younger (1601–78) and has since been published by him as a collaborative work between him and his father Jan Brueghel the Elder (1568–1625).⁴

1. A the time of the New York sale a certificate from Dr. Segal, dated Paris 18 November 1989, accompanied this picture. The painting was studied for a second time by Dr. Segal in Amsterdam in April 1992.

2. L.J. Bol, The Bosschaert Dynasty, Leigh-on-Sea, 1960, p. 59, no. 8.

3. Bol 1960, no. 6.

4. K. Ertz and C. Nietze-Ertz, Jan Brueghel der Ältere 1568–1625, Kritischer Katalog der Gemälde, Lingen 2008–10, vol. III, p. 928, cat. no. 439.