PROPERTY FROM THE COLLECTION OF J.E. SAFRA
For a work that today seems so typical of the artist it is a peculiarity that it was not recognized as such until the 1960s. Previously given to the so-called Monogrammist PvB on account of a misreading of its monogram (the perceived ‘v’ is in fact a decorative link between the P and the B), the painting only entered the literature on Binoit in 1962. The monogram is in fact precisely the same as those in several other works by Binoit, such as those in the Szépmüvészeti Museum, Budapest, and the large copper recorded by Hairs (1975) as in the Count Magnus Brahe collection, Skokloster, which was also previously attributed to the erstwhile Monogrammist PvB.1 With the Budapest work, dated 1613, the painting shares a similar mise-en-scène, the flowers presented in seemingly the same earthenware vase with a beetle to the left. Binoit, like Bosschaert and all the flower painters of the era, repeated various blooms from picture to picture: the scarlet poppy can be found in the same position in the Budapest work; the variegated tulip, upper left, occupies the same spot in a work sold at Christie’s in 2000; and the rose branch on the ledge reappears in the copper recorded by Bott in the Galerie Pudelko, Bonn, 1980.2
Though unrecognized at the time of the 1992 sale (see Provenance) the red cipher on the reverse of the copper with the letters GR in ligature and surmounted by a crown is that of Georg V, last King of Hanover before the unification of Germany in 1871 (GR standing for (‘Georg Rex’). Following unification, the painting entered the Provinzialmuseum in Hanover.
1. For the latter see Bott 2001, p. 196, no. WV.B.3, reproduced.
2. Bott 2001, p. 199, no. WV.B.10 and p. 198, no. WV.B.8 respectively.
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