Jan Cossiers

Bretby Heirlooms Sale, London, Christie's, 31 May 1918, lot 20 (as Hals);
Sir Felix Cassel, Bt.;
By whose executors sold, London, Christie's, 29 January 1954, lot 150;
There purchased by the father of the present owner.

The canvas is relined. There are two old repaired punctures to the canvas, one upper left and another bottom center in the coat of the seated male figure. Both of these old punctures have patches on the canvas visible on the verso. Both of these patches also have retouches which are visible to the naked eye. Two possible added strips are visible along the left side and top sides of the canvas. The overall picture has a glossy varnish which has discolored slightly over time, and may be masking some retouches underneath. Certain parts of the canvas have flattened, while some of the flesh tones have abraded, probably as a result of relining. Overall though, for a picture of this size much of the original paint remains, thus presenting a strong image. With some sensitive restoration, some of these problem areas may be improved. In a carved gilt wood frame.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

As a young artist Jan Cossiers traveled to Aix-en-Provence and Rome, but in 1627 returned to Antwerp where he spent the rest of his career.  His earliest works show the influence of the Caravaggesque movement in both subject matter and composition, though his brushwork was somewhat looser.  By the mid-1630s he was an assistant in Rubens' studio, working on some of the latter's largest commissions, and the master's influence is clear in Cossier's subsequent paintings.  He shook off the hard edges and clear lighting of the Caravaggisti and thoroughly absorbed the freer style of the Flemish Baroque. 

In The Merry Company, Cossiers sets six figures around a table in a garden:  a young man kissing the serving maid, a musical couple, and a boy bringing a prosperous older man a drink.  The lute player dominates the scene, his predominantly black and white clothing contrasting with the more colorful dress of the other participants.  He sits with his back towards us, the corner of his chair seeming to protrude out of the picture into our space.  Cossiers heightens this spatial effect by looping the man's elaborate lace collar over the edge of the chair back, causing the material to ripple across his coat.  Both the freedom of the brushwork and the subdued coloring suggest that The Merry Company is one of the artist's late works. 

The composition was apparently very popular because two inferior versions recently appeared on the market:  one at Madrid, Ansorena, 8 March 2001, lot 381, and the second at Amsterdam, Christie's, 13 April 2010, lot 36 (as Attributed to Jan Cossiers).