(Brussels 1568–1625 Antwerp) and (Munich 1564–1625 Augsburg)
The Madonna and Child surrounded by a floral garland,
oil on copper, 45.4 x 34.5 cm, framed

Provenance:
with Galerie St. Germain, Monte Carlo, 2007;
Private European collection

Literature:
K. Ertz, C. Nitze-Ertz, Jan Brueghel der Ältere, Die Gemälde, vol. III, Lingen 2008–2010, p. 980, no. 462

Prior to the publication of Dr. Ertz’s monograph in 2008, he had also written a certificate, dated 27 November 2007, which is available.

Ertz writes: “The painting can be said to be in excellent condition. The characteristically overlapping, transparent glazes are immaculately preserved and the colours give a fresh and brilliant impression. The most delicate details, applied with a pointed brush, have not suffered in the least. This copper panel is one of the most superb examples of the collaboration between these two artists […]. The exceptionally beautiful garland, whose blaze of colours fully comes into its own against the dark background, has been filled with innumerable tiny white, yellow, red, and blue blossoms, such as blue cornflowers, white lilies of the valley, yellow buttercups, multi-coloured pansies, and delicate red strawberry branches. Sticking out from amongst the larger blossoms, they lend the garland depth and volume. This has also been achieved by the arrangement of the blossoms and stems, which have not been placed side by side, but overlap […]. The garland encloses an oval augmented by a gilt rim and containing the Virgin Mary supporting the Christ Child on her arm. The Madonna wears a garment in the traditional colours of red and blue […]. The stylistic features typical of the two painters (Jan Brueghel I and Hans Rottenhammer) can also be seen in the present composition: the jewel-like colours used for both the flowers and the two figures are entirely characteristic and glow to a degree that, to my knowledge, can only be found in original works by these two artists. The transparent layers of glazes, which endow these compositions with a stunning three-dimensionality, have survived in perfect condition. The meticulous manner of painting, revealing a love for detail, leaves no doubt about the painting’s authenticity. Hans Rottenhammer’s figures, informed by Venetian examples, are of an overwhelming beauty and of superior quality. Rottenhammer has adapted to the miniature refinement of Jan’s painting style, so that the flowers and figures do not compete with one another as foreign elements, but present themselves to the beholder in complete harmony.”

In order to corroborate his attribution to Jan Brueghel I and Hans Rottenhammer, Ertz compares the present painting with the following works by these two artists:

1) J. Brueghel I and Hans Rottenhammer, Winter Landscape with Angels Scattering Petals (Ambrosiana, Milan, circa 1605);
2) J. Brueghel I, Floral Garland with the Holy Family and the Infant Baptist (Articor Collection, Geneva, shortly after 1608);
3) J. Brueghel I, The Holy Family and the Infant Baptist in a Wreath of Flowers (Galerie d’Art St. Honoré, Paris, circa 1608);
4) H. Rottenhammer, Madonna and Child with Saint Catherine and Two Angels (formerly Galerie Arnoldi-Livie, Munich, circa 1597);
5) H. Rottenhammer, The Rest on the Flight into Egypt (Staatliches Museum, Gemäldegalerie, Schwerin, dated 1597);
6) H. Rottenhammer, The Annunciation (sale, Dorotheum, Vienna, 2 October 2002, lot 393)

Due to the closeness of the present painting to these examples, Ertz dates it to the period around 1608.