Follower of Jan Brueghel the Younger, The Garden of Eden

Follower of Jan Brueghel the Younger The Garden of Eden, with the Fall of ManOil on copper 29 x 36cm (11¼ x 14 in.)Provenance:Sale, Sotheby's, 1950sThomas Agnews & Sons, Ltd., London (stock no. 2510)Private Collection, Nigel Warren, purchased from the above on 24 November 1958Thence by descent to the Estate of Christopher and Rosemary Warren The Garden of Eden or sometimes titled, Paradise Landscape, can be analysed as a catalogue of exotic animals or a miniature encyclopaedia. Jan Brueghel was the pioneer of the paradise landscape which was to become a popular subject matter that was copied throughout the 17th century right up to the present day. Most notable of Brueghel's followers was Roelant Savery (Dutch 1576-1639). What shaped the Breughel artistic dynasty was their dedication to the observation of rare species and specimens from life. Jan Brueghel lived in Antwerp inspired by exotica on display at the port of Antwerp. His position as painter to the Archdukes granted him access to their zoological menageries. It is recorded that the Archduke purchased a toucan in 1615 after which the bird began appearing in the work of Jan Brueghel. Individual aspects are closely observed to life and yet the scene is completely fantastical, requiring an acceptance that all God's creatures can appear in one place side by side. In the far distance are two figures which represent Adam and Eve and their disobedience. When the couple are said to have eaten the forbidden fruit of the tree of knowledge of good and evil God punished the couple by evicting them from the Garden of Eden. The present lot is an accomplished example of the Garden of Eden with the Fall of Man and has remained in private collection since 1958. Condition Report: The copper panel is slightly uneven, but is providing good support. There are several minor dents and abrasions to the edges and the lower left corner is missing, but these very minor defects are not visible under the frame edges. There are fine surface cracks, but the paint layer appears to be stable and in excellent original condition. Under ultra-violet light there is a small spot of inpainting in the centre of the lower edge (approx 2mm square) and possibly some earlier restoration along that edge and in very small spots on the tree trunk, but these are not visible to the naked eye. It has a thick layer of uneven and discoloured varnish and surface dirt and would benefit from a light clean. It is presented in an 18th Century English, carved and gilded frame which has minor abrasions to the edges. Condition Report Disclaimer