- 402
Follower of Rachel Ruysch
bidding is closed
Description
- Rachel Ruysch
- A Still life with tulips, poppies, morning glory and other flowers, in a vase on a ledge
- oil on canvas
Provenance
With Douwes, Amsterdam, no. 7314, circa 1962;
Collection of K.W.D. Gratama, Heemstede;
Anonymous sale, Sotheby's Mak van Waay, 13 December 1982, lot 41, as 'Cornelis Kick';
Private Collection, Boston;
Heinz Family Collection, U.S.A;
With Peter H. Tillou, London, 15th April 1991, as 'Rachel Ruysch', from whom purchased by the father of the present owner.
Collection of K.W.D. Gratama, Heemstede;
Anonymous sale, Sotheby's Mak van Waay, 13 December 1982, lot 41, as 'Cornelis Kick';
Private Collection, Boston;
Heinz Family Collection, U.S.A;
With Peter H. Tillou, London, 15th April 1991, as 'Rachel Ruysch', from whom purchased by the father of the present owner.
Exhibited
Dordrecht, Dordrechts Museum, Nederlandse stillevens uit de zeventiende eeuw, July - September 1962, cat. no. 68, as 'Cornelis Kick';
Washington, The National Gallery of Art Washington, Still lifes of the Golden Age, , 1989, cat. no. 123 as 'Rachel Ruysch'.
Literature
I. Bergström, Still lifes of the golden age: Northern European paintings from the Heinz family collection, Washington 1989, p. 78, cat. no. 123, reproduced, as 'Rachel Ruysch';
M. Berardi, Science into Art: Rachel Ruysch's early development as a still life painter, Ph.D. dissertation in Art History, University of Pittsburgh, Pennsylvania, 1988, p. 351, note 606 as 'a copy after Rachel Ruysch'.
M. Berardi, Science into Art: Rachel Ruysch's early development as a still life painter, Ph.D. dissertation in Art History, University of Pittsburgh, Pennsylvania, 1988, p. 351, note 606 as 'a copy after Rachel Ruysch'.
Catalogue Note
The present picture was originally sold as Cornelis Kick in Amsterdam in 1982, and subsequently attributed to Rachel Ruysch (see Literature) but is more likely a copy after Ruysch. The original flowerpiece may be that sold in Zurich in 1976. A copy of the composition was with Abels Cologne, 1949, as by Verelst.