小安博休斯·博斯哈特

Private collection, England;
With Eugene Slatter, London, by 1943;
Anonymous sale, London, Christie's, 2 December 1977, lot 37;
There acquired by Alexander Gallery, London;
With Robert Noortman, London, by 1982;
Private collection, California;
Acquired 1987 and thence by descent. 

London, Eugene Slatter Gallery, Flower & still-life paintings by Dutch and Flemish masters of the 17th and 18th centuries, 27 May - 19 June 1943 (as dated 1629);
London, Eugene Slatter Gallery, Dutch and Flemish Masters, 27 May - 9 July 1949, no. 9 (as dated 1629);
London, Eugene Slatter Gallery, 1958 Exhibition of Dutch and Flemish Masters, 6 May - 12 July 1958, no. 1 (as Ambrosius Bosschaert the Elder and dated 1620).

L.J. Bol, "Een Middelburgse Brueghel-groep: IV. IN BOSSCHAERTS SPOOR (vervolg)," in Oud Holland, vol. 71, 1956, p. 144, cat. no. 3 (as dated 1629);
L.J. Bol, The Bosschaert Dynasty: Painters of Flowers and Fruits, Leigh on Sea 1960, p. 92, cat. no. 3;
Burlington Magazine, June 1978, vol. 120, no. 903, p. xcvii, reproduced (advertisement);
Weltkunst, no. 52, July 1982, p. 1837, reproduced (advertisement).

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This work is in beautiful state. The panel seems to be a single piece of oak. Retouches are not clearly visible under ultraviolet light, but a vertical crack in the panel running through the center of the arrangement may have received a few small retouches. A small retouch can be seen in the table top beneath the vase. There may be some retouches in the background surrounding the still life. Within the still life itself, two roses have received a few lines of retouching to reduce some panel grain which has become slightly more noticeable. The restorations are all minor and not unexpected. The work should be hung as is.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Ambrosius Bosschaert the Younger was the eldest son of Ambrosius Bosschaert the Elder, one of the forerunners of the still life genre in Northern Europe in the early 17^th century.  Adhering to a tradition established by his father, Ambrosius the Younger was known for his beautiful botanical still lifes that showcased flowers to their best advantage.  Ambrosius the Younger’s skill is unmistakable in this lively composition of roses, fire tulips, and wild flowers, which was likely completed early in his career.

Rendered with meticulous detail and expert naturalism, this small yet compelling painting executes a notable level of realism.  A slightly elevated vantage point invites the viewer to peer into a neatly curated, uncrowded arrangement.  A sense of volume is achieved from the dusty pinks, soft whites and pale yellows of each main bloom, all intensified against the sparse, monochromatic background.  The compositional symmetry is not demonstrated by a mirrored recurrence of similar flowers, but instead by the methodical and balanced placement of assorted flowers, which echo the roundness of the glass vase and the oval shaped panel on which the scene is painted. The cool stone, monogrammed AB along the lower edge, couples with the enlightened curves of the vessel to further heighten the activity of the moment, as if the fly on the left side of the ledge has just landed and is expected to take flight again soon. This painting once bore a date of 1629, or 1620, which has since been removed (see exhibition history).

This composition appears to have been a successful one for Ambrosius Bosschaert the Younger, as evidenced by other known variants, such as a rectangular oil on panel of slightly larger dimensions sold at Sotheby’s London, 9 December 2010, Lot 122.

We are grateful to Fred G. Meijer for endorsing the attribution after first-hand inspection.