The canvas has been recently relined and restretched and restored. The relining is very rigid and has flattened the texture of the paint surface. The painting is covered with a heavy varnish layer which impedes assessment under ultra-violet light, nevertheless a large amount of restoration can be detected to many of the blooms and many of the spaces in between them. Some of the more central blooms such as the narcissi, daffodils and hyacinths appear to have been largely reconstructed. Offered in a plain modern parcel guilt cassetta frame.
"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."

The Medici Court in Florence was the principal stimulus behind still-life painting in the city, particularly in connection with its patronage of scientific research. Court artist Jacopo Ligozzi (1547-1627), for example, worked in collaboration with the Bolognese naturalist Ulisse Aldrovandi (1522-1605) on remarkably detailed depictions of flora and fauna. The present work is painted in a similar spirit, the flowers arranged in a distinctly systematic, rather than decorative manner, rendered in such detail that all sixty blooms are identifiable.