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拍品专文
The eldest son of Jan Brueghel the Elder, Jan the Younger was born in Antwerp in 1601 and taught to paint by his father. He went to Italy in 1622 but returned to Antwerp in 1625 following the sudden death of his father and three sisters from a cholera outbreak. Much of Jan the Younger’s work continued the tradition established by his father, though he also made paintings that, to a greater or lesser degree, had shaken off his father’s influence. After 1651, he spent long periods in Paris, where his work was in great demand. He died in Antwerp in 1678.
Though the composition appears to be entirely of Jan Brueghel the Younger’s design, the present bouquet nevertheless draws upon the work of Jan the Elder by reusing several flowers found in his still lifes. The red and yellow striated tulip at upper right appears in the elder artist’s bouquet of after 1608 in a Swiss private collection (K. Ertz, Jan Brueghel der Ältere: die Gemälde, III, Lingen, 2008-2010, pp. 898, 900, no. 423, illustrated). Similarly, the group of eight Raceme Narcissi in this painting appear in nearly identical fashion in a painting by Jan the Elder in the Ambrosiana, Milan (Ertz, op. cit., no. 431), and, to a somewhat lesser degree, a painting in a private collection and another formerly on the German art market (Ertz, op. cit., nos. 426 and 427). Sam Segal additionally suggested that ‘seven flowers are identical with those in a flower piece of 1605’ in a private collection in The Hague (Ertz, op. cit., no. 433, where dated to circa 1607; see Segal, op. cit., p. 204), though, aside from the close proximity of the Red Turban Cup Lily in the two paintings, the visual evidence does not support this claim.
This painting is a more elaborate take on a still life in a glass vase, formerly given to Jan the Elder, in the Ashmolean Museum, Oxford (inv. no. WA1940.2.17). The pink and white striated tulip, Red Turban Cup Lily, White Iris and red and yellow striated tulip are identical in both works, while further analogues appear in flowers like the tulip at middle left, the White and Batavian Roses at lower center and the use of a pair of Kingcups (Marsh Marigolds) to define the bouquet’s bottom edge.
Segal dated this picture to the 1640s, noting that its character is ‘far too pronounced for an earlier dating (op. cit., p. 205). On account of the consummate rendering of the various still-life elements – including the chased metal vase, on which appears the reflection of the studio window – he concluded that the painting stands as ‘one of the major works of its kind’ (op. cit.).
Though the composition appears to be entirely of Jan Brueghel the Younger’s design, the present bouquet nevertheless draws upon the work of Jan the Elder by reusing several flowers found in his still lifes. The red and yellow striated tulip at upper right appears in the elder artist’s bouquet of after 1608 in a Swiss private collection (K. Ertz, Jan Brueghel der Ältere: die Gemälde, III, Lingen, 2008-2010, pp. 898, 900, no. 423, illustrated). Similarly, the group of eight Raceme Narcissi in this painting appear in nearly identical fashion in a painting by Jan the Elder in the Ambrosiana, Milan (Ertz, op. cit., no. 431), and, to a somewhat lesser degree, a painting in a private collection and another formerly on the German art market (Ertz, op. cit., nos. 426 and 427). Sam Segal additionally suggested that ‘seven flowers are identical with those in a flower piece of 1605’ in a private collection in The Hague (Ertz, op. cit., no. 433, where dated to circa 1607; see Segal, op. cit., p. 204), though, aside from the close proximity of the Red Turban Cup Lily in the two paintings, the visual evidence does not support this claim.
This painting is a more elaborate take on a still life in a glass vase, formerly given to Jan the Elder, in the Ashmolean Museum, Oxford (inv. no. WA1940.2.17). The pink and white striated tulip, Red Turban Cup Lily, White Iris and red and yellow striated tulip are identical in both works, while further analogues appear in flowers like the tulip at middle left, the White and Batavian Roses at lower center and the use of a pair of Kingcups (Marsh Marigolds) to define the bouquet’s bottom edge.
Segal dated this picture to the 1640s, noting that its character is ‘far too pronounced for an earlier dating (op. cit., p. 205). On account of the consummate rendering of the various still-life elements – including the chased metal vase, on which appears the reflection of the studio window – he concluded that the painting stands as ‘one of the major works of its kind’ (op. cit.).