LOT DETAILS

Materials:

oil on panel

Measurements:

19.29 in. (49.00 cm.) (height) by 14.09 in. (35.80 cm.) (width)

Markings:

signed lower right: I. P. Van Thielen F.

Condition:

framed

Literature:

M. L. Hairs, M. L. Hairs, Les Peintres flamands de fleurs au XVIIe siècle, Les Peintres flamands de fleurs au XVIIe siècle, vol. I, vol. I, Brussels 1985, Brussels 1985, p. 268, p. 268, Having spent his apprenticeship with Theodoor Rombouts and Daniel Seghers, Having spent his apprenticeship with Theodoor Rombouts and Daniel Seghers, Thielen became a master of the Antwerp Guild of Saint Luke in 1641/42. His wife Francisca was the sister-in-law of Erasmus Quellinus, Thielen became a master of the Antwerp Guild of Saint Luke in 1641/42. His wife Francisca was the sister-in-law of Erasmus Quellinus, ,with whom Thielen collaborated frequently (in many cases, ,with whom Thielen collaborated frequently (in many cases, Thielens returned to his native town of Mechelen, Thielens returned to his native town of Mechelen, where he joined the local painters’ guild. His flower paintings betray a strong influence of his teacher, where he joined the local painters’ guild. His flower paintings betray a strong influence of his teacher, Daniel Seghers, Daniel Seghers, although his colours were sharper and his drawing was less precise., although his colours were sharper and his drawing was less precise., Floral garlands prevail in Thielen’s oeuvre. The present painting shows one of Thielen’s rare bouquets. Marie-Louise Hairs was able to compile a group of some twenty of these bouquets of flowers, Floral garlands prevail in Thielen’s oeuvre. The present painting shows one of Thielen’s rare bouquets. Marie-Louise Hairs was able to compile a group of some twenty of these bouquets of flowers, only few of which are dated. The mutation of the painter’s signature may be helpful in dating his paintings. It is known that in the 1640s Thielen signed as “J. P. van Thielen Rigouldts” (his mother’s name). Having acquired the estate of Couwenberch, only few of which are dated. The mutation of the painter’s signature may be helpful in dating his paintings. It is known that in the 1640s Thielen signed as “J. P. van Thielen Rigouldts” (his mother’s name). Having acquired the estate of Couwenberch, he used “J. P. van Thielen Heere Van Couwenberch” for his late works dating from the 1660s. He used the signature “J. P. Van Thielen”, he used “J. P. van Thielen Heere Van Couwenberch” for his late works dating from the 1660s. He used the signature “J. P. Van Thielen”, which also appears in the present painting, which also appears in the present painting, after 1650., after 1650

Provenance:

sale, Ushaw College et al., Sotheby’s, London, 9 May 1973, lot 28;, with Jacques Leegenhoek, Paris (1974);, with Richard Green, London (1974);, with Salomon Lilian, Amsterdam (1993);, with Noortman Master Paintings, Maastricht;, Private collection, The Netherlands