View full screen - View 1 of Lot 13. A lavish still life of many flowers in a terracotta vase resting on a wooden ledge, flanked by a clump of cyclamen and scattered diamonds and sapphires | 《靜物:木檯上赤陶瓶中的絢爛花卉,伴一簇仙客來、幾顆鑽石及藍寶石》.
13

Jan Brueghel the Elder

A lavish still life of many flowers in a terracotta vase resting on a wooden ledge, flanked by a clump of cyclamen and scattered diamonds and sapphires | 《靜物:木檯上赤陶瓶中的絢爛花卉,伴一簇仙客來、幾顆鑽石及藍寶石》

VAT reduced rate

Estimate:

2,500,000

to
- 3,500,000 GBP

The Property of a Family

Jan Brueghel the Elder

Jan Brueghel the Elder

A lavish still life of many flowers in a terracotta vase resting on a wooden ledge, flanked by a clump of cyclamen and scattered diamonds and sapphires | 《靜物:木檯上赤陶瓶中的絢爛花卉,伴一簇仙客來、幾顆鑽石及藍寶石》

A lavish still life of many flowers in a terracotta vase resting on a wooden ledge, flanked by a clump of cyclamen and scattered diamonds and sapphires | 《靜物:木檯上赤陶瓶中的絢爛花卉,伴一簇仙客來、幾顆鑽石及藍寶石》

Estimate:

2,500,000

to
- 3,500,000 GBP

The Property of a Family

Jan Brueghel the Elder

Brussels 1568 - 1625 Antwerp

A lavish still life of many flowers in a terracotta vase resting on a wooden ledge, flanked by a clump of cyclamen and scattered diamonds and sapphires


signed and dated lower left : BRVEGHEL 1605 (or 7).

oil on oak panel, three vertical planks, marouflaged

50 x 39.5 cm.; 19¾ x 15½ in.


家族收藏

老楊・布呂赫爾

1568年生於布魯塞爾,1625年卒於安特衛普

《靜物:木檯上赤陶瓶中的絢爛花卉,伴一簇仙客來、幾顆鑽石及藍寶石》


款識:藝術家簽名並紀年BRVEGHEL 1605 .(左下)

油彩橡木貼畫板,三條垂直支撐板

50 x 39.5 公分;19¾ x 15½ 英寸

The following condition report is provided by Henry Gentle who is an external specialist and not an employee of Sotheby's:


Jan Breughel the Elder 

A lavish still life of flowers in a terracotta vase

Oil on panel, in a plain oak frame with gilt sight edge, in good condition

 

The oak panel has been reduced in thickness and cradled, the cross grain runners of the cradle are loose and the panel is under no tension.

 

The vertical fixed battens of the panel reinforce five vertical evenly spaced joins and splits.

These vertical splits are secure and stable but in raking light one or two are slightly stepped.

 

Minimal associated paint loss has occurred down the splits and has recently been restored out. This restoration is not sympathetic.

 

The paint layer is very well preserved with areas of the composition in original condition.

 

The cool dark background has been naturally thinly applied and over time has become more transparent, allowing the paler ground colour to become more exposed. Reduction of this pale layer, by the application of recent restoration, can be detected; although there is some paint loss along raised paint ridges, particularly to the top left of the composition, this is excessive resulting in unnatural solidity to the paint layer.

 

Removal of it would allow a natural lightness to appear through the grey background, not dissimilar to the lightness visible through the background of the flowers and acting as a mid tone as the artist intended.

 

The flowers are very well preserved and the texture of the paint through the energetic brushwork is intact and readily visible in raking light.

Impasted highlights are original.

 

Some of the more vulnerable top note glazes, particularly through the pink carnation and roses have been slightly compromised but, overall, the fine details to the flowers are intact and subtleties throughout the composition are retained.

 

Chromatic and tonal values are preserved.

 

No tonal improvement would be gained from varnish removal.

 

The painting presents very well.

Private collection, England;

With Hallsborough Gallery Ltd., London;

With Galerie Nathan, Zurich, late 1950s;

Mr and Mrs Leigh B. Block, Chicago;

Their sale, New York, Sotheby's, 20 May 1981, lot 314;

With Noortman & Brod, London and New York, 1982–83;

From whom acquired by Jhr. Louis de Villeneuve (1923-2005), Wassenaer;

Thence by inheritance.

K. Ertz, Jan Brueghel der Ältere: Die Gemälde, Cologne 1979, pp. 280–82, 585, cat. no. 165, (as painted c. 1607);

S. Segal, ‘Een vroeg bloemstuk van Jan Brueghel de Oude’, in Tableau, 4, no. 5, 1982, pp. 490–99;

M.L. Hairs, Flemish Flower Painters in the XVIIth Century, Brussels 1985, pp. 37, 463, (as dated 1603, 'chronology debatable');

S. Segal, ‘Exotische bollen als statussymbolen’, in Kunstschrift Openbaar Kunstbezit, 31, no. 3, 1987, p. 96;

S. Segal, in A Prosperous Past: The Sumptuous Still-Life in The Netherlands 1600–1700, exh. cat., The Hague 1988, p. 100;

B. Brenninkmeyer-de Rooij, ‘Zeldzame Bloemen, ‘Fatta tutti del natturel’ door Jan Brueghel I’, in Oud Holland, 104, 1990, pp. 218–48;

H. Robels, in Von Brueghel bis Rubens: Das goldene Jahrhundert der flämischen Malerei, exh. cat., Vienna 1992, p. 212, n. 29;

P. van der Ploeg, in B. Brenninkmeijer-De Rooij (ed.), Bloei: Boeketten uit de Gouden eeuw, exh. cat., The Hague 1992, p. 70, no. 10, reproduced;

M.E. Wieseman, in P.C. Sutton, The Age of Rubens, exh. cat., Boston 1994, pp. 499–501, no. 95, reproduced p. 500;

N. Schneider, ‘Blumenstilleben der Frühen Neuzeit’, in Blumenstücke Kunststücke vom 17. Jahrhundert bis in die Gegenwart, exh. cat., Bielefeld 1995–96, p. 19, reproduced fig. 4;

A. van der Willigen and F.G. Meijer, A Dictionary of Dutch and Flemish Still-Life Painters Working in Oils 1525–1725, Leiden 2003, p. 54;

K. Ertz and C. Nitze-Ertz, Jan Brueghel der Ältere (1568–1625), Lingen 2008–10, vol. III, p. 919, no. 433, reproduced p. 927;

S. Segal & K. Allen, Dutch and Flemish Flower Pieces, Leiden 2021, vil. I, pp, 219-20, reproduced.

The Hague, Koninklijk Kabinet van Schilderijen Mauritshuis, Mauritshuis in Bloei: Boeketten uit de Gouden eeuw, 1992, no. 10;

Boston, Museum of Fine Arts, The Age of Rubens, 22 September 1993 – 2 January 1994, no. 95.