弗蘭斯·伊肯斯

In the collection of a family since the 1930s;

By whom (anonymously) sold, London, Sotheby's, 11 December 1996, lot 60, when acquired by the present owner.

The support consists of four vertical planks. The leftmost join, together with an adjacent consolidated split that runs from the bottom edge about 2/3 up the plank, are supported on the reverse by a series of small wooden inserts. The panel is not cradled and there is a vertical convex bow. The flowers are in very good condition. The only blemishes being on the smaller of the two red blooms at the centre right which has undergone some retouching around its edges, and some spot retouchings on the two central white flowers. There are more extensive retouchings in the dark background, particularly lower right. There are further spot retouchings to the background throughout. The restorations has been done relatively recently and to a high standard. The painting has also been cleaned and varnished and requires no further attention.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Ykens was apprenticed to his uncle, Osias Beert, and became a Master in Antwerp in 1630. Few of his works are dated, but in what are presumed to be mature works such as this one, no trace of his formation under Beert remains, and his style is more reminiscent of artists active in the middle of the seventeenth century, such as Daniel Seghers.

This is one of his most beautiful paintings, combining a highly successful modelling of the blooms in depth and bulk, and an engaging softness in palette and brushwork, perhaps under the influence of Jan Fyt. Like some of his contemporaries, he altered the language of his signature, presumably according to the mother-tongue of his patron. Many of his paintings are signed Franchois Ykens, some Francois Ykens, while others, like the present one, are signed with the Spanish form of his first name, probably because they were destined for Spanish collectors. Other such works include a still life in the Haarlem tradition dated 1636 in Ghent, Museum voor Schone Kunsten; a vase of flowers formerly in a Belgian private collection, dated 1644; and a large-scale work incorporating flowers, game, fruit and vegetables dated 1646 in the Prado, Madrid.  

A small still life of flowers in a pot is listed as no. 245 in Rubens' posthumous inventory, one of six works by the artist that he owned.