Erasmus Quellinus II (Antwerp 1607 - 1672)
Vanitas (as an allegory of the vanity of life or youth)
Oil on canvas - cm. 121 x 84, framed cm. 135 x 98
The work is accompanied by an in-depth study written by Prof. Emilio Negro, of which we present some excerpts.
- COMPLETE DETAILS CAN BE CONSULTED DIRECTLY AT THE FOLLOWING - LINK -
The subject of the painting we are presenting is a unique and rare "Vanitas", a subject of strong moral significance which, in the pictorial field, refers to a composition with symbolic elements alluding to the theme of the transience of life, and therefore intended to urge the viewer to meditate on the transience of human destiny and the fragility of worldly pleasures.
Such subjects, which were particularly successful in the Flemish area, are works of great charm, interesting to study and often difficult to decipher; the protagonist of our canvas is a capricious cupid, sitting on a sarcophagus, a sort of anthropomorphic Carpe Diem (seize the day) pictorial, who invites us to meditate on the fleeting nature of life and to enjoy the moments of happiness granted by it; without worrying about the alternations of fortune, symbolized by the foot of the putto trampling on gold coins, the precious fabric, the scepter, the ermine stole, the skull, the hunting horn and the books.
Next to him is a still life of colorful flowers, collected in a crystal vase, whose presence takes on a clear allegorical meaning, since they constitute the metaphor of the transience of youthful beauty which, like fresh flowers, is destined to wither.
[...]
Regarding the pictorial origin of the composition in question, it should be noted first of all that it is an interesting replica, with some modifications, of a work executed by Erasmus Quellinus the Younger (the figure of the putto) and Daniel Seghers (the still life).
A version entitled 'Allegory of the passage of Youth' is also known of the same composition, which passed from Sotheby's in Amsterdam as Cornelis Schut and Daniël Seghers (12.12.1991, Old master Paintings and Drawings, lot 218, Price 16,630 €, then sold in London as Thomas Willeboirts Bosschaert (Sotheby's 16.12.1999, lot 59, Hammer price: 126,592 € /80,000 £).
Here is the link to the painting: https://rkd.nl/en/explore/images/record?filters%5Bkunstenaar%5D=Willeboirts+Bosschaert%2C+Thomas&...
And again the Vanity attributed to Thomas Willeboirts Bosschaert and passed in Vienna by Dorotheum (17/10/2007, and estimated: 18,000-24,000 €, link: https://www.invaluable.com/auction-lot/thomas-willeboirts-bosschaert-bergen-op-zoom-1613-228-c-ms7xg...#
[...]
These reasons allow us to link this Vanitas to the modus operandi of the aforementioned Erasmus Quellinus the Younger (Antwerp, 1607-1678), one of Rubens' closest collaborators in the 1630s, here assisted by the intervention of a valid collaborator trained within his active workshop. Descendant of a renowned family of artists (since his father was the painter Erasmus Quellinus the Elder) Erasamus Quellinus II worked mainly in Flanders where his activity is attested by numerous compositions similar to ours, attributed to him and kept in the most important public and private collections. Furthermore, he was head of a successful atelier in which numerous pupils were trained, including his sons and nephews. It is true that in the canvas in question, credibly destined to adorn the walls of a noble residence of a collector, scholar or humanist, an accurate painting emerges, especially in the insistent search for details, in warm colors, which are specific qualities of the best works performed by Erasmus.
For further information please contact us.
The work, like all our objects, is sold with a photographic certificate of authenticity in accordance with the law.
Follow us also on :
https://www.instagram.com/galleriacastelbarco/?hl=it
https://www.facebook.com/galleriacastelbarco/
