Erasmus Quellinus II, Allegory of Vanity and Youth, 1660, Oil on Canvas

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Erasmus quellinus ii (antwerp 1607 - 1672)
vanitas (as an allegory of the vanity of life or youth)
oil on … Read more Erasmus quellinus ii (antwerp 1607 - 1672)
vanitas (as an allegory of the vanity of life or youth)
oil on canvas - 121 x 84 cm, framed 135 x 98 cm

the work is accompanied by an in-depth study by professor emilio negro, from which we present some excerpts.

the theme of the painting we propose is a singular and rare "vanitas," a subject with strong moral significance. In painting, it refers to a composition with symbolic elements alluding to the theme of the transience of life, thus encouraging the viewer to meditate on the transience of human destiny and the fragility of worldly pleasures.

these subjects, which enjoyed particular popularity in the flemish milieu, are fascinating works, interesting to study and often difficult to decipher. The protagonist of our canvas is a capricious cupid sitting on a sarcophagus, a sort of pictorial anthropomorphic carpe diem (seize the day), inviting us to meditate on the fleeting nature of life and enjoy the moments of happiness it affords us. This is done without regard for the changing fortunes of fate, symbolized by the cupid's foot trampling on the gold coins, the precious cloth, the scepter, the ermine stole, the skull, the hunting horn, and the books.

beside him is a still life of colorful flowers, gathered in a crystal vase, whose presence takes on a clear allegorical meaning, as they constitute a metaphor for the transience of youthful beauty, which, like fresh flowers, is destined to wither.
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regarding the pictorial origins of the composition in question, it should first be noted that it is an interesting replica, with some modifications, of a work created jointly by erasmus quellinus the younger (the figure of the putto) and daniel seghers (the still life).
a version of the same composition, titled "allegory of the passage of youth," is also known. It was sold at sotheby's in amsterdam as cornelis schut and daniël seghers (12/12/1991, old master paintings and drawings, lot 218, price €16,630), and later sold in london as thomas willeboirts bosschaert (sotheby's 16/12/1999, lot 59, hammer price: €126,592 / £80,000).
and again, the vanity attributed to thomas willeboirts bosschaert and sold at dorotheum in vienna. (10/17/2007, estimate: €18,000-24,000).
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these reasons allow us to connect this vanitas to the modus operandi of the aforementioned erasmus quellinus the younger (antwerp, 1607-1678), one of rubens' closest collaborators in the 1630s, here supported by the intervention of a skilled assistant trained within his active workshop. Descended from a renowned family of artists (his father was the painter erasmus quellinus the elder), erasmus quellinus ii worked mainly in flanders, where his activity is evidenced by the numerous compositions similar to ours, attributed to him and preserved in the the most important public and private collections. He also ran a successful studio where numerous students, including his children and grandchildren, trained. It is true that the canvas in question, likely destined to adorn the walls of the noble residence of a collector, scholar, or humanist, displays a meticulously executed style, especially in the meticulous attention to detail and warm hues, which are hallmarks of erasmus's finest works.

the work, like all our items, is sold with a legally required photographic certificate of authenticity. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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