Lot 155: - Ambrosius Bosschaert the Younger , Arnemuiden 1609 - 1645 Utrecht Still life with variegated Tulips, pink and white roses, a marigold fritillary, columbine and lily of the valley in a globose vase with a toad, all on a ledge oil on panel

signed with monogram and dated lower right: AB. 1627 ( AB in ligature) oil on panel

measurements note 46.7 by 30.5 cm.; 18 3/8 by 12 in.

Indianapolis, John Herron Institute; San Diego, Fine Arts Gallery of San Diego, Young Rembrandt and his Times, 1958, cat. no. 77 (as by Bosschaert the Younger).

W.R. Valentiner, Bulletin of the DIA, vol. 15, no. 3, 1936, p. 47, reproduced (as by Bosschaert the Elder);
E. Scheyer, Baroque Painting in the Detroit Institute of Arts, Detroit 1937, p. 59 (as by Bosschaert the Elder);
The Detroit Institute of Art, Catalogue of Paintings, Detroit 1944, p. 15, no. 439 (as by Bosshaert the Elder);
J.S. Berral, A History of Flower Arrangement, London 1953, p. 32, reproduced fig. 31 (as by Bosschaert the Elder);
E.P. Richardson, Catalogue of the Whitcomb Gifts, London 1954 (as by Bosschaert the Younger);
L.J. Bol, The Bosschaert Dynasty, Painters of Flowers and Fruit, Leigh-on-Sea 1960, p. 92 (as by Bosschaert the Younger);
The Detroit Institute of Arts, A Checklist of Paintings, Detroit 1965, p. 16 (as by Bosschaert the Younger).

With P. de Boer, Amsterdam;
Mrs. Anna Scripps Whicomb, Detroit;
By whom given to The Detroit Institute of Arts in 1935;
By whom sold, New York, Sotheby's, January 30, 1997, lot 29, for $134,000 to the present owner.

PROPERTY FROM A PRIVATE COLLECTION
Ambrosius the Younger was the eldest son of Ambrosius Bosschaert the Elder, the earliest great specialist in flower painting in Northern Europe. As Bol notes in The Bosschaert Dynasty (see Literature), "... the composition and style [of the present lot] are typical of the early works of Ambrosius the Younger." In its compact and formal arrangement of flowers, viewed from a slightly elevated vantage point, the painting strongly adheres to the principles of his father and therefore reflects the widely accepted observation that Bosschaert was strongly under his father's stylistic influence prior to 1634. This work was in fact long considered to be by Ambrosius Bosschaert the Elder. We are grateful to Fred G. Meijer of the Rijksbureau voor Kunsthistorische Documentatie, The Hague, for endorsing the attribution to Ambrosius Bosschaert the Younger.