View full screen - View 1 of Lot 18. A still life of spring flowers in a glass vase on a table | 《靜物:桌上玻璃瓶中的春日花卉》.
18

Jan van Kessel the Elder

A still life of spring flowers in a glass vase on a table | 《靜物:桌上玻璃瓶中的春日花卉》

Property from the Schuybroek Collection

Jan van Kessel the Elder

Jan van Kessel the Elder

A still life of spring flowers in a glass vase on a table | 《靜物:桌上玻璃瓶中的春日花卉》

A still life of spring flowers in a glass vase on a table | 《靜物:桌上玻璃瓶中的春日花卉》

Property from the Schuybroek Collection

Jan van Kessel the Elder

Antwerp 1626 - 1679

A still life of spring flowers in a glass vase on a table



signed lower left: J.v.Kessel.f

oil on oak panel, the reverse marked indistinctly with the brand of the Antwerp panel-makers' Guild and incised with the mark of the panel maker François de Bout (active in Antwerp 1637-60): F/DB

41.3 x 30.1 cm.; 16¼ x 11⅞ in.


舒布魯克典藏

老楊・凡・凱塞爾

安特衛普,1626 - 1679 年

《靜物:桌上玻璃瓶中的春日花卉》


款識:藝術家簽名J.v.Kessel.f(左下)

油彩橡木畫板,背面隱約可見安特衛普畫板工匠同業公會標記及工匠蓋印FDB of Frans de Bondt. 

41.3 x 30.1 公分;16¼ x 11⅞ 英寸

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


Jan van Kessel

Still life of flowers in a vase

Oil on panel


The oak panel is well preserved and evenly chamfered all round.

There is a vertical repaired split.


Viewed in raking light, the paint layer is raised along the fine vertical wood grain; in some areas this is unstable with recent very minor loss, including along the split.


Under U-V light these areas of augmentation are difficult to detect.


The paint layer through the flowers shows preserved textural quality, energetic brushstrokes are visible. Some natural thinning of the paint layer particularly to the plinth, lower left, has been augmented; the signature is readable but a little worn.


Some of the 'top note' glazes have been slightly compromised leading to a minor reduction in the modelling of the flowers.


However, many of the fine details are in good original condition and chromatic and tonal values are intact.


Removal of a degraded and discoloured varnish would improve these tonal and chromatic nuances.


The painting presents well.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Please note that this lot is sold unframed.
Queen Maria of Yugoslavia (1900–1961), 1936;

Her youngest son, Prince Andrej of Yugoslavia (1929–1990), London;

Anonymous sale, London, Sotheby’s, 10 December 1980, lot 76, for £115,000, when acquired by Jean Schuybroek.

P. Mitchell, European Flower Painters, London 1973, p. 153, reproduced p. 147, pl. 201;

Lord Methuen, review of P. Mitchell, European Flower Painters, London 1973, The Connoisseur, February 1974, p. 13, reproduced fig. 1;

J. de Maere and M. Wabbes, Illustrated Dictionary of 17th Century Flemish Painters, Brussels 1994, vol. 2, reproduced p. 679;

M.-L. Hairs, Les Peintres flamands de fleurs au XVIIe siècle, Tournai 1998, p. 274, no. 261;

A. van der Hoeven, De bloemstillevens van Jan I van Kessel (1626–1679), unpublished diss., Groningen 2002, no. 17;

K. Ertz, with C. Nitze-Ertz, Die Maler Jan van Kessel: Jan van Kessel der Ältere 1626–1679, Jan van Kessel der Jūngere 1654–1708, Jan van Kessel der ‘Andere’ ca. 1620–ca. 1661. Kritische Kataloge der Gemälde, Lingen 2012, p. 313, no. 527, reproduced.

London, Drapers Hall, The Inspiration of Nature, 1976, reproduced in the catalogue, pp. 38–39.

Jan van Kessel, who is thought to have worked for some years in the studio of his uncle Jan Brueghel the Younger, painted a wide variety of different kinds of still lifes in several disparate styles. Although inevitably influenced by the Jan Brueghel tradition in many of these, some (but by no means all) of his elegant still lifes of flowers in vases, of which this is an excellent example, probably owe more to the influence of Daniel Seghers, as Peter Mitchell observed. In contrast to the Brueghel tradition, in his simpler flower pieces Van Kessel concentrates on a small number of well-differentiated flowers – here tulips, roses, a poppy, an iris and a hydrangia with a few smaller blooms – set against a dark background from which they stand out with sharp clarity. 

Few of Van Kessel's flower-pieces are dated. The earliest is from 1649. By comparison with the series of nine or more flower still lifes on copper almost certainly painted for export to Spain and dated 1652, the Schuybroek one must be later, perhaps from the late 1650s or 1660s, but before the looser, broader style he adopted in works dated in the 1670s. 


Note on Provenance

Queen Maria of Yugoslavia (and Maria of Romania) was the daughter of Prince Ferdinand of Hohenzollern-Sigmaringen and Princess Marie of Saxe-Coburg-Gotha. She was born in Gotha in 1900. A noted beauty in her youth, she worked as a nurse in the First Word War before marrying King Alexander I, second King of Serbs, Croats and Slovenes in Belgrade in 1922. Following her husband's assassination in Marseille in 1934, she settled on a farm in England. Her youngest son, to whom she presumably gave or bequeathed this painting, was largely brought up in England where he anglicised his name to Andrew and read mathematics at Cambridge before becoming an insurance broker. In 1956 he married his third cousin Princess Christina Margarethe of Hesse (1933–2011) in Kronberg im Taunus. Her uncle is the Duke of Edinburgh, who was godfather to two of their children (only one survives). Divorced in 1962, he remarried in 1963. His second wife was his second cousin, Princess Kira Melita of Keiningen (1930–2005): they had three children. They divorced in 1972 and he remarried in Palm Springs, California.