This late 17th-century still life painting, attributed to Dutch artist Simon Pietersz Verelst (1644-1710/1717) presents an arrangement of flowers gathered within a vase.
At its centre, pale roses and softly unfolding blossoms are clustered in a luminous core, their petals delicately modelled with subtle transitions of light. Around them, rich red poppies with translucent petals and smaller pink blooms cascade downward toward the ledge.
The painting sits within the Anglo-Dutch still life tradition of the late 17th century, and the handling is particularly exquisite. Petals are built through controlled layering, with gentle highlights - the deep reds are particularly telling, avoiding the later 18th-century tendency toward heightened saturation. Overall, the effect is one whereby light appears diffused rather than arriving from a single source.
Flower painting in the Dutch Republic at this time had reached a high level of unparalleled refinement, but by the late 1660s, economic
...issues pushed many artists to seek opportunities abroad. London, under Charles II, became a natural destination. There, painters such as Simon Pietersz Verelst introduced a distinctly Dutch sensitivity, adapted to English taste.
The attribution to Simon Pietersz Verelst is supported by several characteristics associated with his approach. For instance, the degree of nuance between light and petal structure and also the level of compositional intelligence applied to the arrangement. At the same time, certain passages, particularly in the darker recesses, suggest the involvement of workshop assistants. This was standard practice, and authorship within the Verelst studio was often shared or fluid.
The painting can be dated to circa 1670-1690 based on stylistic and material evidence. The restrained tonal palette, the handling of the background, and the specific types of blooms depicted all align with this period. The absence of later decorative excess or brighter, more enamelled surfaces further supports an early date.
Verelst was a fascinating character - both technically gifted and also intensely proud. It''s recorded that he declared himself as the ''God of Flowers''. His works were highly sought after, particularly when he first arrived in London. The diary of Samuel Pepys references a meeting the two had, during which he was shown a work by the artist that he touched “again and again, to feel whether my eyes were deceived or no.''
He''s represented in numerous public collections, including at the V&A Museum.
This painting sold at Christie''s, London, in 2001, realising £7,050. Further details can be provided.
Held in a period carved gilt frame, which is possibly original.
Learn more about Simon Pietersz Verelst in our directory.
Medium: Oil on canvas
Overall size: 31” x 36” / 79cm x 91cm
Year of creation: c. 1680
Provenance: Old Master Pictures, Christie''s, London, 13 July 2001, lot 72 / Private collection, UK.
Condition: Cleaned. Revarnished. Canvas relined. Historic repairs. Patched repairs. Fine craquelure throughout. The paint layer is stable. Frame in excellent condition.
Artist’s auction maximum: £320,258 achieved in 2001 for ‘Roses, Irises, Poppies and other Flowers in a Glass Vase’.
Our reference: BRV2274
Internal Reference: BRV2274
Antique ID Number (AIDN): SA1209567
Dateline of this antique is 17th Century
Height is 91cm (35.8inches)Width is 79cm (31.1inches)Depth is 6cm (2.4inches)
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