Jan Brueghel the Elder

Copper plate is flat and stable. there are some losses around the extreme outer edge probably due to rubbing of a former frame. a couple of tiny, pinprick losses can be seen in sky. for the most part, the paint surface has been well retained, especially in the detail of the foliage. there is some slight thinness in tree trunk and branches at far left side. varnish is old and uneven. examination under UV light reveals an area of retouching in foreground landscape above the figures, measuring 1 1/2 by 1 in. (3.8 by 2.5 cm.), which is probably to fill an old loss. another tiny retouch to head of putto. a small area at the far right center edge fluoresces, but this appears to be a small test clean and not a retouch.
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.

This small copper is a beautiful example of an early wooded landscape by Jan Brueghel the Elder. Brueghel developed the wooded landscape genre throughout the beginning of the 17^th century, with formative works such as his painting, circa 1593, now in the Vienna Kunsthistorisches Museum, inv. no. 458. Another example of this type was sold London, Sotheby's, December 13, 1978, lot 102 (as by Anton Mirou)¹. Despite his clear mastery of the landscape genre, it is not until the early years of the 17^th century that we begin to see a shift in Brueghel's oeuvre towards landscape painting, and in particular a focus on the rendering of trees as the primary subject. This shift further displays his independence from his father, Pieter I, as Jan's compositions employ a single vanishing point as opposed to the dual vanishing point system utilized by Pieter.

1. 1. K. Ertz, Jan Brueghel d. Ä., Köln 1979, cat. nos. 2 and 2a, reproduced, figures 92 and 92a.