Maria van Oosterwyck (Nootdorp, near Delft 1630-1693 Uitdam)
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Maria van Oosterwyck (Nootdorp, near Delft 1630-1693 Uitdam)

Roses, a parrot tulip, carnations, ears of wheat, hyacinths and other flowers with butterflies in a Chinese vase, with an orange on a marble ledge

细节
Maria van Oosterwyck (Nootdorp, near Delft 1630-1693 Uitdam)
Roses, a parrot tulip, carnations, ears of wheat, hyacinths and other flowers with butterflies in a Chinese vase, with an orange on a marble ledge
signed 'Maria V. O.' (upper right), and with signature 'Maria V. Oosterwijck' (lower centre, on the ledge)
oil on canvas
22¼ x 19¾ in. (56.5 x 50.1 cm.)
注意事项
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

荣誉呈献

Freddie De Rougemont
Freddie De Rougemont

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拍品专文

Maria van Oosterwyck nurtured her talents in the studio of the celebrated painter Jan Davidsz. de Heem. She soon began to work independently and after a number of years moved to Amsterdam, establishing a studio opposite the contemporary still-life painter Willem van Aelst. Fully immersed in the creative circles of the much sought-after Dutch Golden Age painters, Oosterwyck astutely advertised her work abroad and was patronised by Louis XIV of France, the Holy Roman Emperor Leopold I and William III of England. Despite her success, she was denied membership to the painters' guild, however, as one of very few women to be considered a professional artist in the seventeenth century, the context of Oosterwyck's work is highly important.

This small canvas, in which the artist employs vivid colours against a dark background, is a fine example of Oosterwyck's still-life work. The artist's deep religious conviction should not be overlooked in any of her compositions, with her careful selection of colours rich in symbolic meaning; white denoting innocence, red martyrdom, and the frequent depiction of butterflies representing the resurrection of Christ.

更多来自 古典大师及英国绘画 (日间拍卖)

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