Maria van Oosterwijck

With Pieter de Boer, Amsterdam, 1938;
Private Collection, Oxfordshire, by 1971 (according to records at the Courtauld Institute, London);
With David Koetser, Zurich, 1994;
From whom acquired by the present owner.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This picture is painted on a single piece of un-broken oak. The panel is flat and the paint layer is stable. The varnish is very slightly soft but essentially the painting could be hung as is. Under ultraviolet light one can see that most of the restorations have been applied in the background, particularly around the objects in the still life where some slight thinness may have developed in the flowers themselves. In the flowers the condition seems to be very good; the darker colors in the lower portion have received a few retouches, yet none of any concern.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

This lovely and delicate vase of flowers by Maria van Oosterwijck is characteristic of the artist's meticulous and finely rendered still life compositions.  Here, delicately veined, papery leaves are juxtaposed with heavy, velvety blossoms.  The lace-like wings of the butterfly are subtly rendered and the intricate, inverted reflection of the lead-paned window in the body of the glass vase gives the whole an incredibly life-like appearance.  Immediately to the left of the large, pink rose at the center of the bouquet, almost hidden at the back of the arrangement, is a sunflower.  A favorite of the artist, she frequently included sunflowers in her floral arrangements, almost like an emblem or second signature.

The daughter of a clergyman, Maria van Oosterwijck is thought to have studied with Jan Davidsz. de Heem and her compositions certainly betray his influence.  Oosterwijck never married, although Houbraken claimed that she was courted by her fellow artist Willem van Aelst.  Her paintings were much admired by her contemporaries and she received considerable patronage from various European monarchs including Louis XIV, Emperor Leopold I and Stadholder-King William III.