Louis-Jean-François Collet (1722–1787), Chevalier de l'Ordre de St. Michel;

His posthumous sale, Paris, Lebrun, 1ꦏ4–23 May 1787, lot 36, where purcha🔜sed for 1060 French Francs by

Charles-Alexandrไe de Calonne (1734–1802) or, or with, Jean-Baptiste-Pierre Le Brun 🃏(1748–1813);

By whom sold, Paris, Lebrun, 21–30 April 1788, lot 48, fo🥀r 1651 French Franc🥂s, to Duval;

By whom offꦉered, London, Christie's, 3 May 1806, lo൲t 3, where unsold;

J.L. Masson, Paris;

By🎃 whom sold, London, Christie's, 30 May 1806, lot 8 for £3.3s to Woodburn;

Princess Galitzin, Saint Petersburg;

Antoon van Welie, The Hague, 1935;

Jacob Hartog, The Hague;

Confiscated f♒rom the above 💃by Dr M.H.H. Franssen, The Hague, 1942;

Acquired❀ from the above for the Sonderauftrag Linz by Hans Posse (inv. no. 2456);

Central Collec🎉ting Point Munich, 1945 (Inv. no. 3802);

Restituted to the Dutch State, 1945;

Restituted to the heirs of Jacob Hartog, New York, 1946💧;

Anonymous sale, London, Christie’s, 19 Mar𝓀ch 1965, lot 9, for 1700 Guineas to Herzig;

With Galerie Sanct Lucas, Vienna, 1965, from whom almost certain🔯ly acquဣired by the father of the present owner.

Saint Petersburg, The Hermitage;

Vienna, Galerie Sanct Lucas, Gemälde alter Meister, Neuerwerbungen, 1965–66, no. 14.  

J. Smith, A Catalogue Raisonée…, vol. III, London 1831, p. 336, no. 285.

This beautifully preserved painting retains a majority of its original impasto and colour and conveys the artist's skill in his characterisation of faces and in the depiction of drapery and still life elements. The oak panel is cradled. The panel is for the most part flat although there are two vertical ridges following vertical grain and signs of some surface splits along these ridges. The panel however seem completely stable. The paint surface is beautifully preserved with the artist's unique brushwork manifest throughout. The only blemishing to the paint surface are: some minor retouching along the vertical splits that rises from the bottom margin through the oyster shell to the boy's shoulder; some small retouchings to an area in the upper left background; and some very minor retouching along the extreme lower margin. Sold in a nineteenth century plaster gilt 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."

In this characteristic work by David Teniers from the mid to late 1640s, an elegantly dressed youth is blowing bubbles through a straw using a soapy solution contained in a mussel shell. The blowing of bubbles would have been instantly recognized in Teniers' day as an emblem of Vanitas: bubbles, which last but a few seconds being an obvious symbol of the ephemeral and transient nature of human life. There may be a secondary purpose in this picture to depict two of the four elements: Air and Fire.