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Lot Essay
This unusually large composition is one of the finest examples of its kind by the artist. Against a sober background stands an impeccably composed and minutely observed bouquet of splendidly bright and vibrant blooms. An abundance of roses, tulips, primroses, irises, orchids, cornflowers, narcissi, peonies and other white, red and blue flowers complete this magnificent arrangement. Strikingly, two white lilies and one yellow lily shoot up in the upper centre, set off against the red peonies behind them. On the ledge, a large stag beetle and another, smaller beetle crawl by on either side of the ornate vase or urn. In this painted vessel one finds further allusions on the subject of flowers. In a certificate of authentication dated 18 July 1990, Dr. Klaus Ertz suggests that the figures depicted in the two cartouches can be identified as Amphitrite and Ceres, respectively the goddesses of the sea and of the earth, the two main nutrients required for flowers to grow. In the certificate, Dr. Ertz emphasises the outstanding quality of the picture, describing it as 'one of the finest examples of this type of composition which I have seen so far, and a marvel in its colouring'.
The eldest son of Jan Breughel the Elder, Jan the Younger received his training in his father's studio. Jan the Elder was a leading innovator of floral still-life painting during the seventeenth century, as indeed of other genres. Following the unexpected death of his father during a cholera epidemic in 1625, Jan the Younger returned to Antwerp from Palermo, where he had been sojourning with his childhood friend, Anthony (later Sir Anthony) van Dyck, and took over the running of the studio. As might have been expected, the artist's output was greatly influenced by his father's style and prototypes. Typically showing imaginary designs of flowers that bloom at different times of the year, these opulent works were favoured by the wealthy and noble across Europe. Generally, they have an underlying vanitas theme, through which the viewer is reminded of the transitory nature of life through the handsome blooms that will eventually and inevitably wither away. At the same time, the pictorial juxtaposition of flowers that bloom at differing times of year, and that could therefore never (in the period before modern refrigeration) be seen simultaneously, illustrates the magical ability of the artist to freeze time, his almost miraculous powers as an imitator and an aspiring rival of sublime nature.
The present work derives from Jan the Elder's Still life of flowers in an earthenware vase, in the Gemäldegalerie in Berlin (inv. no. 688A), with both compositions containing similarly decorated vases. However, the younger artist has not merely copied the work of his father. Innovations have been introduced, resulting in a work that is distinctive in its monumentality and its spatial realism and complexity. For example, the vase has been given larger proportions, which makes it more suitable to accommodate such a large number of stalks. This alteration shows a sense of realism that is perhaps lacking in the prototype, with its tighter-necked vessel. Gone too is the relatively flat, decorative scheme of the original, and in its place a greater sense of depth and space is achieved. This is seen everywhere in the composition, where flowers overlap and stalks intersect flowers and leaves. This creates a more tangible arrangement, not only superficially beautiful, but with a real spatial presence.
Dr. Ertz dates the present work on stylistic grounds to circa 1630. In the aforementioned certificate, noting this picture's unusual size and monumentality, Dr. Ertz cites a series of paintings, comparable in composition, structure and dating. In particular, see Flowers in a sculpted earthenware vase, Royal Museum of Fine Arts, Antwerp (inv. no. 643), and Bunch of flowers in earthenware vase, Villa del Poggio Imperiale, Florence (inv. no. 165).
The eldest son of Jan Breughel the Elder, Jan the Younger received his training in his father's studio. Jan the Elder was a leading innovator of floral still-life painting during the seventeenth century, as indeed of other genres. Following the unexpected death of his father during a cholera epidemic in 1625, Jan the Younger returned to Antwerp from Palermo, where he had been sojourning with his childhood friend, Anthony (later Sir Anthony) van Dyck, and took over the running of the studio. As might have been expected, the artist's output was greatly influenced by his father's style and prototypes. Typically showing imaginary designs of flowers that bloom at different times of the year, these opulent works were favoured by the wealthy and noble across Europe. Generally, they have an underlying vanitas theme, through which the viewer is reminded of the transitory nature of life through the handsome blooms that will eventually and inevitably wither away. At the same time, the pictorial juxtaposition of flowers that bloom at differing times of year, and that could therefore never (in the period before modern refrigeration) be seen simultaneously, illustrates the magical ability of the artist to freeze time, his almost miraculous powers as an imitator and an aspiring rival of sublime nature.
The present work derives from Jan the Elder's Still life of flowers in an earthenware vase, in the Gemäldegalerie in Berlin (inv. no. 688A), with both compositions containing similarly decorated vases. However, the younger artist has not merely copied the work of his father. Innovations have been introduced, resulting in a work that is distinctive in its monumentality and its spatial realism and complexity. For example, the vase has been given larger proportions, which makes it more suitable to accommodate such a large number of stalks. This alteration shows a sense of realism that is perhaps lacking in the prototype, with its tighter-necked vessel. Gone too is the relatively flat, decorative scheme of the original, and in its place a greater sense of depth and space is achieved. This is seen everywhere in the composition, where flowers overlap and stalks intersect flowers and leaves. This creates a more tangible arrangement, not only superficially beautiful, but with a real spatial presence.
Dr. Ertz dates the present work on stylistic grounds to circa 1630. In the aforementioned certificate, noting this picture's unusual size and monumentality, Dr. Ertz cites a series of paintings, comparable in composition, structure and dating. In particular, see Flowers in a sculpted earthenware vase, Royal Museum of Fine Arts, Antwerp (inv. no. 643), and Bunch of flowers in earthenware vase, Villa del Poggio Imperiale, Florence (inv. no. 165).