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Rachel Ruysch Sold at Auction Prices

Painter, Flower painter, b. 1664 - d. 1750

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        • Attr. Rachel Ruysch (1664-1750) Dutch, O/C
          Nov. 05, 2023

          Attr. Rachel Ruysch (1664-1750) Dutch, O/C

          Est: $1,000 - $2,000

          Attributed to Rachel Ruysch (1664-1750) Dutch, Oil on Canvas. Titled "Flowers in a Vase and a Basket of Fruit". Rachel Ruysch is known for Floral still life paintings. Rachel Ruysch was born in 1664 in The Hague. Ruysch's father was a renowned anatomist who, in 1666, took up a professorship in Amsterdam. He had a celebrated collection of rarities there, and published extensively about it. Ruysch's mother was a daughter of the architect Pieter Post (who built Huis ten Bosch, the residence of the present Queen of the Netherlands). In 1679, Ruysch became a pupil of Willem van Aelst. In 1693, she married the portrait painter Juriaen Pool (1666-174 5), a union that was blessed with ten children. In 1701, the couple moved to The Hague, where they joined the guild. In 1708, Juriaen and Rachel were appointed court painters of the Elector Palatine Johann Willem in Düsseldorf, who, until his death in 1716, purchased all the work they produced there. In 1716, the family returned to Amsterdam. Ruysch continued to paint until a ripe old age, although her production gradually dwindled. Overall Size: 35 x 42 in. Sight Size: 27 1/2 x 34 in. #1502 Location A

          Sarasota Estate Auction
        • Rachel RUYSCH La Haye, 1664 - Amsterdam, 1750 Vase de fleurs et épis de maïs dans une niche Huile sur toile
          Nov. 09, 2022

          Rachel RUYSCH La Haye, 1664 - Amsterdam, 1750 Vase de fleurs et épis de maïs dans une niche Huile sur toile

          Est: €50,000 - €80,000

          Rachel RUYSCH La Haye, 1664 - Amsterdam, 1750 Vase de fleurs et épis de maïs dans une niche Huile sur toile Signée et datée 'Rachel Ruysch / 1742' en haut à gauche (Ancien rentoilage fort, restaurations) Vase of flowers and corncobs in a niche, oil on canvas, signed and dated, by R. Ruysch h: 50,50 w: 40 cm Provenance : Collection baron et baronne Vaxelaire, Bruxelles ; Puis par descendance Commentaire : Ce bouquet de fleurs de 1742 est une belle œuvre de maturité de Rachel Ruysch, l'une des plus célèbres femmes peintres et des plus importantes peintres de fleurs de l'Age d'or hollandais. Au cours d'une remarquable carrière de plus de six décennies, elle se distingua dans la peinture de natures mortes variées, de simples jetés de fleurs à des sous-bois peuplés de reptiles et d'amphibiens, et de sobres bouquets dans des vases à d'extravagants arrangements floraux agrémentés d'insectes et souvent de fruits. Ses tableaux de fleurs les plus ambitieux datent des années 1700 à 1720, pendant lesquelles elle répondit à des commandes de prospères hommes d'affaires hollandais ou de princes étrangers comme le prince d'Anhalt-Koethen (également protecteur de Jean-Sébastien Bach), l'électeur palatin et le grand-duc de Florence. De tels commanditaires désiraient de Rachel Ruysch le meilleur de ses productions, d'une grande complexité et d'un fini méticuleux, obtenu à l'aide de délicats glacis, d'une observation assidue et d'une touche appliquée avec une assurance sans pareille. Ces dernières années, le marché de l'art a fait ressurgir un certain nombre d'œuvres de maturité de l'artiste, permettant une meilleure perception de l'évolution de son art à la fin de sa carrière, et ce tableau en est un magnifique exemple. Comme le montrent ce tableau et d'autres produits au cours de sa dernière décennie d'activité, Rachel Ruysch embrassa le goût du XVIIIe siècle alors en vogue pour une palette plus brillante. Sa production augmenta également à cette période, réalisant au moins un tableau par an malgré son âge avancé. La plupart comporte à la fois l'indication de la date et de son âge, comme pour montrer avec une fierté non dissimulée ses capacités non diminuées. Utilisant des supports de plus petit format, nécessitant moins de temps, elle peignait alors volontiers des tableaux en paires, ce qui semble être devenu l'une de ses spécialités. Deux autres tableaux datés de 1742 - année de ses 79 ans - sont répertoriés. L'un d'eux n'est connu que par sa description dans le catalogue de la vente du cabinet de la vicomtesse de Buisseret qui eut lieu à Bruxelles le 29 avril 18911. Comme notre bouquet de fleurs, il était signé et daté en haut à gauche, peint sur toile et mesurait 49 x 40 cm. Il représentait un bouquet de fleurs variées dans un vase en verre près duquel était placé un ananas sur un entablement. Format, date, médium, description du bouquet et présence d'un motif particulier à côté du vase, ces éléments nous permettent de penser que ce bouquet aujourd'hui non localisé pouvait être le pendant du nôtre. Nous ne connaissons pas d'autre bouquet de Rachel Ruysch au côté duquel se trouve un épi de maïs. Ces motifs, appelés bijwerk en néerlandais, mettant en valeur la composition, permettaient également de témoigner que le talent du peintre ne s'arrêtait pas aux fleurs. Jusqu'ici relégué dans ses luxuriantes compositions de fruits2, cet épi de maïs témoigne de son adoption du goût du XVIIIe siècle pour les images brillantes, claires et décoratives, comme celles proposées par le peintre de fleurs Jan van Huysum, faisant surgir ses bouquets lumineux sur des arrière-plans sombres, permettant aux fleurs, aux feuilles et aux tiges de gagner en relief, et ainsi en vraisemblance. Van Huysum et ses émules introduisirent aussi des supports sculptés et des urnes élaborés supportant leurs bouquets, les agrémentant de bijwerk de toutes sortes, notamment des fruits exotiques. En choisissant de peindre un épi de maïs sur ce tableau, Rachel Ruysch propose une œuvre suivant les goûts de son temps, et parvient à un tour de force décoratif notamment dans le rendu des textures, comme par exemple l'aspect papier des feuilles de l'épi. Celles-ci sont à demi ouvertes et, parce ce qu'elles sont sèches, forment des courbes et des arabesques laissant apparaitre le fond. Puis, dans un effet brillant démontrant l'illusionnisme qui fit sa renommée, elle dispose la tige d'une rose de telle manière qu'elle semble tomber du bouquet devant l'épi, directement dans l'espace du spectateur. Nous remercions le Dr. Marianne Berardi pour son aide à la rédaction de cette notice. Sa notice complète en anglais est disponible sur artcurial.com. Ce tableau sera inclus dans son catalogue et sa monographie de Rachel Ruysch actuellement en préparation. 1. Lot 96 de la vente. Le second bouquet daté de 1742 a été présenté en vente chez Christie's à New York (15 janvier 1983, n° 50), puis chez Johnny Van Haeften et Rafael Valls. 2. Des exemples sont visibles dans les collections du Palais Pitti, Florence, à Karlsruhe, à Dudmaston House, Shropshire et dans les collections bavaroises à Munich. This floral bouquet of 1742 is a lovely late-career work by Rachel Ruysch (1664-1750), Holland's most famous Dutch woman painter, and one of the preeminent flower painters of the Dutch Golden age. Over the course of her long and distinguished career spanning over six decades, Ruysch excelled in painting several types of still lifes, ranging from quite simple sprays of flowers without any sort of container, to woodland scenes with reptiles and amphibians in the underbrush, to medium-sized bouquets in a vase, to truly magnificent large floral extravaganzas crawling with insect life, often with pendant fruit pieces to match. Ruysch's most ambitious flower paintings date roughly from 1700 to 1720. During these years she produced commissioned paintings for a host of wealthy Dutch businessmen, such as the Leiden textile merchant Allard de la Court van der Voort. She also counted among her patrons foreign nobles and aristocrats such as the Prince of Anhalt-Koethen (an early patron of Johann Sebastian Bach), the Elector Palatine of Dusseldorf and the Florentine Grand Duke, Cosimo III de Medici. The paintings such discerning collectors desired from Ruysch were the finest she produced - of tremendous compositional complexity and meticulous finish, achieved through layers of delicate glazing, keen observation, and an astonishing assurance of touch. These were understandably canvases that demanded a full year, if not two or more, to complete. Today, most of these works are in museum collections. In recent years, a number of previously untraced late-career works by Ruysch (circa 1738-1749) have appeared on the art market, and the present painting is another wonderful example of this reemergence-enabling a much clearer picture of how the artist's work continued to evolve towards the end of her career. What this and other works from her last decade of production have demonstrated is that in her later work Ruysch began embracing the more modern 18th-century Rococo taste for a brighter palette. Interestingly, her remarkable resurgence of productivity followed directly on the heels of a period of slowed production (circa 1725-1735). While the reasons for this phase of lower productivity remain speculative, one significant factor for it was likely the enormous financial windfall she received in 1723. That year, the artist, her husband (portraitist Jurriaen Pool II) and her son Georgio won the jackpot in the Holland lottery amounting to 60,000 guilders-a considerable fortune that would have removed the necessity painting for a living. As it turns out, from 1738 to 1748-9 (the latter being the year of her last known work), Ruysch produced at least one painting every year, excepting 1744, despite her advancing age. In both 1746 and 1747, for example, she is known to have painted pairs of companion flowerpieces (one pair in the Musée des Beaux-Arts, Lille, and the other in the Kurpfälzischen Museum der Stadt Heidelberg which features oranges to one side of each bouquet)1. Most she signed and inscribed with both the date and her age as if to stress, with unabashed pride, that she was still going strong into the sixth decade of her career. In general, since the works from her late career are smaller in scale than her earlier paintings, she was able to paint pairs of pictures within a much shorter period of time than her large-format canvases allowed. As such they seem to have become something of a specialty late in her life. Ruysch turned 79 in June of 1742, and at this writing we know of two other paintings by her hand dated to this year. One, a smaller and more compact bouquet than the present work, also set in a niche and placed on a marble table is on panel, and measures 25.4 x 20 cm (10 x 8 inches) [Private collection, formerly Christie's, New York, January 15, 1983 lot 50 and subsequently with Johnny Van Haeften and Rafael Valls, London]. It has a very similar palette featuring a rather light greenish background, and a cluster of flowers that are generally warm in hue (creamy white, pink, yellow and orange), with strategic bright blue accents provided by the forget-me-nots. Some of the artist's favorite floral varieties can be seen in both paintings: the white double hyacinth with pinkish centers rising up in a graceful arc from the center, a white rose and pink cabbage rose close together in the heart of the bouquet, an orange poppy anemone on the right, forget-me-nots in bright Prussian blue. Both the hyacinths and poppy anenomes were very popular 18th-century flowers. The other recorded painting by Ruysch dated 1742 is known only through a quite detailed written description in the auction catalogue from the sale of the impressive Viscount de Buisseret Cabinet held in Brussels, Belgium, April 29, 1891, lot 96 (which sold for a very substantial 800 francs to Belgian industrialist Barbauson). It was signed just as the present work is signed, at upper left, dated 1742, was on canvas, and measured a nearly identical 49 x 40 cm. Like the present work, the bouquet was composed of a variety of flowers (roses, marigolds, tulips, peonies) in a glass vase on a marble table, beside which was placed a pineapple. The size, date, support, description of the bouquet, and the fact that there is a notable object on the ledge beside the vase, just as there is a very prominent ear of corn in the present work, creates the strong potential for this untraceable painting to have been this work's original pendant. The present work is the only known flower painting by Rachel Ruysch which includes an ear of corn on the ledge beside the vase. Known in Dutch as bijwerk, such items placed on the table beside the vase served as "enhancements" to the composition, and also often showed the artist's skill painting something besides the flowers themselves. In the case of the corn, this was an object that Ruysch painted frequently, but in another context altogether. She routinely included ears of corn as part of the bounty of fruits and vegetables spilled onto the ground of outdoor grotto settings which she painted as pendants to her most elaborate floral bouquets. Well-known examples can be seen in the collections of the Pitti Gallery, Florence, Italy; Karlsruhe, Germany; Dudmaston House, Shropshire, England (National Trust); and the Bavarian State Picture collection, Munich, Germany. It is interesting to speculate about what would have influenced Ruysch, at this point in her career, to place a very conspicuous ear of corn, formerly relegated to her outdoor fruit pieces, as bijwerk beside a vase of flowers. A primary reason almost certainly has to do with the prevailing Rococo trend for imagery that was brighter, blonder, and as decorative as possible. Flower painter Jan van Huysum (1682-1749), Ruysch's younger contemporary, set the model for this brighter style in Dutch flower painting which did away with the rich dark backgrounds Ruysch herself had embraced for most of her career. That inky backdrop was a convention most flower painters of the 17th-century embraced since its contrast with the illuminated bouquet enabled the flowers, leaves, and stems to stand in high relief, thereby creating the greatest effect of verisimilitude. Van Huysum and his many followers also keyed up their palettes and introduced elaborate sculptural ledges and urns for their painted bouquets, ornamenting them with bijwerk of all kinds, including mounds of exotic fruit. In choosing to paint the ear of corn in this painting, which is otherwise all about flowers, Ruysch saw an opportunity to create a work of art that was au courant, and at the same time fashion a very decorative tour-de-force of texture and draftsmanship by showcasing the corn husk's papery sheath. In the painting, she half-stripped the cob of its husk which, because it is dry, forms a series of papery curls and arabesques in the negative space above it. Then in a brilliant touch to show off a feat of illusionism she was famous for all her life, Ruysch painted a stem of a rose so that it appears to be falling out of the bouquet in front of the ear of corn. The corn is brighter in hue and tonality than the stem of rose leaves passing in front of it, thereby creating the effect of the rose falling directly into the viewer's space. When Ruysch created the present work, her shift to the brighter Rococo style is quite apparent. Indeed, her effort to shift to this Rococo effect probably accounts for the burst of creativity in her later years: she was trying to do something new. In the present still life one can see how the blossoms are lit more evenly with less turning into and away from the light source as they did in Ruysch's earlier bouquets which had yielded a darker effect overall. Described another way, Ruysch reduced the intensely contrasting chiaroscuro to differentiate the plants from one another in space. Instead, she relied more heavily upon chromatic contrasts to describe the flowers' relationships to one another: pink sits against white, white against yellow, yellow against pink and orange, green against blue. For the most part, the judicious color contrasts are enough to carry off the illusion, relying on tiny spots of darkness in the negative spaces only when necessary, such as between the two central roses she needed to push forward spatially to create roundness in the front of the bouquet. The painting will be included in the forthcoming catalogue and monograph of Rachel Ruysch by Dr. Marianne Berardi, currently in preparation. Dr. Marianne Berardi 1. See M.H. Grant, 'Rachel Ruysch 1664-1750', Leigh-on-Sea 1956: Lille paintings, p. 43, nos. 197 and 198; Heidelberg paintings, p. 43, nos. 201 and 202. Estimation 50 000 - 80 000 €

          Artcurial
        • RUYSCH, RACHEL, In der Art - Manner of: Blumenstillleben.
          Nov. 06, 2021

          RUYSCH, RACHEL, In der Art - Manner of: Blumenstillleben.

          Est: CHF600 - CHF1,000

          RUYSCH, RACHEL (Den Haag 1664 - 1750 Amsterdam); In der Art - Manner of : Blumenstillleben; Öl auf Leinwand, doubliert; 46x38 cm; verso a. Etikett bez. "Hardime"

          Dobiaschofsky Auktionen AG
        • RACHEL RUYSCH (THE HAGUE 1664-1750 AMSTERDAM) Peaches, grapes and plums wit
          Oct. 14, 2021

          RACHEL RUYSCH (THE HAGUE 1664-1750 AMSTERDAM) Peaches, grapes and plums wit

          Est: $80,000 - $120,000

          RACHEL RUYSCH (THE HAGUE 1664-1750 AMSTERDAM) Peaches, grapes and plums with a dragonfly, snail, caterpillar, butterfly and... oil on canvas, laid down on panel 20 7/8 x 16 5/8 in. (53 x 42.2 cm.)

          Christie's
        • Pair of still lives
          Sep. 29, 2021

          Pair of still lives

          Est: €36,000 - €49,500

          Rachel Ruysch is one of only three women protagonists of the Dutch Golden Century whose exceptionality deserves to be praised. When she was only three years old, she moved from The Hague to Amsterdam, where her father, an anatomist, and botanist, received a tenure; Rachel often helped him with his depictions of plants and insects. Her father, recognising her artistic talent, sent her to Delft as an apprentice to Willem van Aelst at the age of fifteen. The end of the century marked a period of great recognition for her: in 1699, she was invited to the Brotherhood of Painters in The Hague. Her best-known work, now in the Uffizi, was a gift from her highest patron - Giovanni Guglielmo del Palatinato - for Cosimo III de’ Medici. Ruysch remained at the service of Giovanni Guglielmo until he died in 1716, but even after the death of her greatest patron, she painted until her death, at the age of 85. This graceful pendant exemplifies the artist’s style: refined, attentive, scrupulous. But these canvases are also fresh, vivid, and bright, despite the dark background to which the painter was so attached.

          Telearte
        • Rachel Ruysch (1664-1750)- circle
          Jul. 07, 2021

          Rachel Ruysch (1664-1750)- circle

          Est: €360 - €720

          Rachel Ruysch (1664-1750)-circle. Flower still life in basket on marble print surrounded by insects and butterflies. Oil on wooden panel, framed. Oval 60x50cm

          Deutsch Auktionen
        • Rachel Ruysch, 1664 Amsterdam – 1750 ebenda
          Jun. 24, 2021

          Rachel Ruysch, 1664 Amsterdam – 1750 ebenda

          Est: €80,000 - €100,000

          STILLLEBEN MIT WEISSER KAMELIE, RINGELBLUMEN, VERGISSMEINNICHT, EINEM FALTER UND INSEKTEN Öl auf Leinwand. Doubliert. 32,6 x 28,2 cm. Rechts unten signiert und datiert „MDCXC“ (1640). Verso 5 Auktionsaufkleber. Das Stillleben ist in mittelgroßem angenehmem Format gehalten. Wie fast immer im Werk der Künstlerin, ziehen einige hell leuchtende Blüten den ersten Blick an. Hier ist es eine weiße Kamelie, umgeben von ocker- bis orangefarbenen Ringelblumen mit Blattwerk, dahinter ein im Schwung hochziehender Stiel mit herabschwingenden schlanken Blättern. Eine fein gemalte Schnur, die rechts über den Rand der Steinplatte herabhängt, macht deutlich, dass es sich bei dem Arrangement um einen gebundenen Strauß handelt. Eine bereits welke Blüte am Unterrand, vor allem aber die vielen Insekten wie Hummel, Marienkäfer, eine kleine Kreuzspinne sowie Ameisen an der zentralen Blüte vermitteln den in der Barockmalerei üblichen Memento mori-Gedanken. A. R. Provenienz: Phillips, London, 07. Dezember 1982, Anonymer Verkauf, Lot 113 (an van Haeften). Johnny Van Haeften, Ltd., London. Sotheby‘s, London, April 2013, Lot 113.   Biografie: Rachel Ruysch zog mit den Eltern bereits dreijährig nach Amsterdam, wo sie von ihrem Vater Frederik Ruysch, einem Professor für Anatomie, mit Kuriositätensammlung, schon früh sowohl an die Botanik als auch in die Malerei herangeführt wurde. Im Alter von 15 Jahren durfte sie bei dem berühmten Stillebenmaler Willem van Aelst (1627-um 1683) in die Lehre gehen. Zusammen mit ihrem Mann, einem Portraitisten, wurde sie 1701 Mitglied der Lukasgilde in Den Haag, 1708 bis 1716 Düsseldorfer Hofmalerin, protegiert durch Kurfürst Johann Wilhelm von der Pfalz, der sich im Gegenzug Rechte an ihrer Produkion erwarb. Dies erklärt den Bestand von Bildern ihrer Hand im Schloss Bayreuth sowie in der Alten Pinakothek München. Der Kurfürst übernahm auch die Patenschaft eines ihrer sechs von zehn Kindern, die das Erwachsenenalter erreicht haben, schenkte darüberhinaus auch zwei ihrer Werke an seinen Schwager Cosimo III. de‘ Medici. Ihr frühestes datiertes Bild entstand 1681, das letzte 1747. Bereits zu ihren Lebzeiten erzielten ihre Werke ungewöhnlich hohe Preise. Charakteristisch für ihre Stillleben ist der Kontrast von hell beleuchteten Blüten zu nahezu schwarzem Hintergrund. Der Aufbau der Arrangements ist stets von hoher Eleganz und harmonischer Ausgewogenheit. Ihr Werk galt vorbildhaft für eine Reihe von Malern wie Jacoba van Nickelen (um 1690-1749) und noch späteren Generationen. So finden sich ihre Werke in zahlreichen bedeutenden öffentlichen und privaten Sammlungen, wie etwa National Gallery London, Städelsches Kunstinstitut Frankfurt, Akademie der Bildenden Künste Wien, Uffizien Florenz, Rijksmuseum Amsterdam, Kunsthalle Hamburg, um nur bedeutendste zu nennen. Literatur: Erika Gemar-Költzsch, Holländische Stilllebenmaler im 17. Jahrhundert, Lingen 1995. Marianne Berardi, Science into Art. Rachel Ruysch‘s early development as a still-life painter, Pittsburgh 1998, S. 359. (12701517) (11) Rachel Ruysch, 1664 Amsterdam – 1750 ibid. STILL LIFE WITH WHITE CAMELIA, MARIGOLDS, FORGET-ME-NOTS, A BUTTERFLY AND INSECTS  Oil on canvas. Relined. 32.6 x 28.2 cm. Signed and dated “MDCXC” (1640) lower right. Five auction labels on reverse. Provenance: Phillips, London, 7 December 1982, Anonymous sale, lot 113 (to van Haeften). Johnny Van Haeften, Ltd., London. Sotheby’s London, April 2013, lot 113. Literature: E. Gemar-Költzsch, Holländische Stilllebenmaler im 17. Jahrhundert, Lingen 1995. M. Berardi, Science into Art. Rachel Ruysch’s early development as a still-life painter, Pittsburgh 1998, p. 359.

          Hampel Fine Art Auctions
        • RACHEL RUYSCH (THE HAGUE 1664-1750 AMSTERDAM) Tulips, rose, honeysuckle, ap
          Dec. 15, 2020

          RACHEL RUYSCH (THE HAGUE 1664-1750 AMSTERDAM) Tulips, rose, honeysuckle, ap

          Est: £100,000 - £150,000

          RACHEL RUYSCH (THE HAGUE 1664-1750 AMSTERDAM) Tulips, rose, honeysuckle, apple blossom, poppies and other flowers in a glass... oil on canvas 30 x 24 ¾ in. (76.3 x 62.8 cm.)

          Christie's
        • Rachel Ruysch (attrib.), oil on canvas, 18th c.
          Dec. 11, 2020

          Rachel Ruysch (attrib.), oil on canvas, 18th c.

          Est: $2,000 - $3,000

          Attributed to Rachel Ruysch (Dutch, 1664-1750), Floral Still Life with Gourds, Fruit and Dog, no signature observed, old label verso, 48"h x 40"w (sight), 53"h x 45"w (frame)

          Millea Bros Ltd
        • Rachel Ruysch (1664-1750)-attributed
          Dec. 10, 2020

          Rachel Ruysch (1664-1750)-attributed

          Est: €750 - €1,500

          Rachel Ruysch (1664-1750)-attributed, Still life with flowers and insects in basket on a stone plinth; oil on oval wooden panel, framed.

          Deutsch Auktionen
        • Porzellangemälde mit prachtvollem Blumenstillleben
          Nov. 28, 2020

          Porzellangemälde mit prachtvollem Blumenstillleben

          Est: -

          Rechteckige Bildplatte. Kopie eines prachtvollen altniederländischen Blumenstilllebens von Rachel Ruysch (1664-1750). In altmeisterlicher Feinmalerei ausgeführt von dem renommierten zeitgenössischen Meissen-Maler Horst Bretschneider (geb. 1952). Rücks. orig. Meissner Porzellanplakette mit Goldschrift. Sign. und dat. (19)89; Schwertermarke auf der Bildseite. 31 x 23 cm. Handvergoldeter Conzen-Rahmen. A porcelain flower still life painting after Rachel Ruysch by the Meissen painter Horst Bretschneider. Signed and dated; crossed swords mark. Meissen. 1989.

          Kunstauktionshaus Schloss Ahlden
        • RUYSCH Rachel (1664 - 1750) Huile sur toile marouflée sur toile "Nature morte au bouquet de fle
          Oct. 06, 2020

          RUYSCH Rachel (1664 - 1750) Huile sur toile marouflée sur toile "Nature morte au bouquet de fle

          Est: €6,000 - €8,000

          RUYSCH Rachel (1664 - 1750) Huile sur toile marouflée sur toile "Nature morte au bouquet de fleurs". Attribué à Rachel Ruysch. Ecole hollandaise. (Voir au dos une étiquette. Oeuvre vendue à la vente Ponthière à Lille en 1873 et à la vente Armand Hessel en 1933). Dim.:89x70,5cm.

          Vanderkindere
        • RACHEL RUYSCH (1664-1750), Entourage Nature morte de fleurs sur un entablement
          Aug. 06, 2020

          RACHEL RUYSCH (1664-1750), Entourage Nature morte de fleurs sur un entablement

          Est: €1,500 - €2,000

          RACHEL RUYSCH (1664-1750), Entourage Nature morte de fleurs sur un entablement Huile sur toile rentoilée Dimensions : 61 x 49 cm Flowers on an entablature, oil on relined canvas. Rachel Ruysch (1664-1750) circle.

          Accademia Fine Art
        • RACHEL RUYSCH (1664-1750), Entourage Nature morte de fleurs sur un entablement
          Jun. 03, 2020

          RACHEL RUYSCH (1664-1750), Entourage Nature morte de fleurs sur un entablement

          Est: €2,000 - €3,000

          RACHEL RUYSCH (1664-1750), Entourage Nature morte de fleurs sur un entablement Huile sur toile rentoilée Dimensions : 61 x 49 cm Flowers on an entablature, oil on relined canvas.

          Accademia Fine Art
        • Oil painting on copper. Flemish painter from the eighteenth century. Rachel Ruysch School
          May. 16, 2020

          Oil painting on copper. Flemish painter from the eighteenth century. Rachel Ruysch School

          Est: -

          Oil painting on copper. Flemish painter from the eighteenth. Rachel Ruysch School (The Hague 1664 - Amsterdam 1750). Still life of flowers with insects and butterflies. 30x20, 45x35 framed.

          ArtLaRosa
        • RACHEL RUYSCH (1664-1750), Entourage
          Dec. 08, 2019

          RACHEL RUYSCH (1664-1750), Entourage

          Est: €2,500 - €3,500

          RACHEL RUYSCH (1664-1750), Entourage Nature morte de fleurs sur un entablement Huile sur toile rentoilée Dimensions : 61 x 49 cm

          Accademia Fine Art
        • Entourage de Rachel RUYSCH (La Haye 1664 - Amsterdam 1750)
          Oct. 17, 2019

          Entourage de Rachel RUYSCH (La Haye 1664 - Amsterdam 1750)

          Est: €3,000 - €4,000

          Nature morte aux fleurs, à la carafe et au verre de vin Huile sur toile. Dim : 46 x 57 cm

          Hotel des Ventes Mosan
        • RACHEL RUYSCH | Still life of flowers in a glass vase on a marble ledge
          Jul. 04, 2019

          RACHEL RUYSCH | Still life of flowers in a glass vase on a marble ledge

          Est: £100,000 - £150,000

          oil on canvas, unlined

          Sotheby's
        • Rachel Ruysch (The Hague 1664-1750 Amsterdam) - Forest Floor with a classical façade beyond
          Dec. 06, 2018

          Rachel Ruysch (The Hague 1664-1750 Amsterdam) - Forest Floor with a classical façade beyond

          Est: £150,000 - £250,000

          Rachel Ruysch (The Hague 1664-1750 Amsterdam) Forest Floor with a classical façade beyond oil on canvas 36 x 26 ¾ in. (91.5 x 68 cm.)

          Christie's
        • RACHEL RUYSCH (THE HAGUE 1664-1750 AMSTERDAM) - A swag of grapes, hollyhocks, irises, mallow, African marigolds,
          Oct. 30, 2018

          RACHEL RUYSCH (THE HAGUE 1664-1750 AMSTERDAM) - A swag of grapes, hollyhocks, irises, mallow, African marigolds,

          Est: $80,000 - $120,000

          RACHEL RUYSCH (THE HAGUE 1664-1750 AMSTERDAM) A swag of grapes, hollyhocks, irises, mallow, African marigolds, clematis, a horse chestnut and blackberries with butterfies and other insects suspended before a stone arch signed and dated 'Rachel Ruysch / 1681' (lower right) oil on canvas 25 7/8 x 20 in. (65.7 x 50.8 cm.)

          Christie's
        • Rachel Ruysch (1664-1750) Antique Print On Canvas
          Aug. 04, 2018

          Rachel Ruysch (1664-1750) Antique Print On Canvas

          Est: -

          Flowers and fruit still life. Some wear from age. Frame Measures approximately 24.5” x 20.5” and canvas Measures approximately 20” x 16”. Nr8747

          EJ'S Auction & Appraisal
        • †In the Manner of Rachel Ruysch (1664-1750, Dutch) , "Still Life of Flowers in a Brown Vase,", watercolor, unsigned, presented in a s..
          Jul. 22, 2018

          †In the Manner of Rachel Ruysch (1664-1750, Dutch) , "Still Life of Flowers in a Brown Vase,", watercolor, unsigned, presented in a s..

          Est: $300 - $500

          In the Manner of Rachel Ruysch (1664-1750, Dutch) , "Still Life of Flowers in a Brown Vase,", watercolor, unsigned, presented in a silvered frame, H.- 15 7/8 in., W.- 10 7/8 in.

          Crescent City Auction Gallery
        • †In the Manner of Rachel Ruysch (1664-1750, Dutch) , "Still Life of Flowers in a Brown Vase,", watercolor, unsigned, presented in a s..
          Mar. 24, 2018

          †In the Manner of Rachel Ruysch (1664-1750, Dutch) , "Still Life of Flowers in a Brown Vase,", watercolor, unsigned, presented in a s..

          Est: $400 - $600

          In the Manner of Rachel Ruysch (1664-1750, Dutch) , "Still Life of Flowers in a Brown Vase,", watercolor, unsigned, presented in a silvered frame, H.- 15 7/8 in., W.- 10 7/8 in.

          Crescent City Auction Gallery
        • Rachel Ruysch (1664-1750)-attributed, Flowers in a
          Sep. 27, 2016

          Rachel Ruysch (1664-1750)-attributed, Flowers in a

          Est: €1,600 - €3,800

          Rachel Ruysch (1664-1750)-attributed, Flowers in a glass vase on a stone plynth, in front of dark background; oil on canvas, framed; with old lable.

          Deutsch Auktionen
        • Studio of Rachel Ruysch (Amsterdam 1664-1750) Roses, a tul
          Dec. 09, 2015

          Studio of Rachel Ruysch (Amsterdam 1664-1750) Roses, a tul

          Est: -

          Studio of Rachel Ruysch (Amsterdam 1664-1750) Roses, a tulip, a poppy, nasturtiums, marigolds and other flowers in as vase, and a butterfly on a partly draped marble ledge

          Bonhams
        • Rachel Ruysch (1664-1750)-circle, Still live with flowers in a glass vase on a marble plinth with insects, oil on canvas.
          Nov. 24, 2015

          Rachel Ruysch (1664-1750)-circle, Still live with flowers in a glass vase on a marble plinth with insects, oil on canvas.

          Est: €4,500 - €7,500

          Rachel Ruysch (1664-1750)-circle, Still live with flowers in a glass vase on a marble plinth with insects, oil on canvas. 59x44cm

          Deutsch Auktionen
        • Circle of Rachel Ruysch (The Hague 1664-1750 Amsterdam)
          Dec. 02, 2014

          Circle of Rachel Ruysch (The Hague 1664-1750 Amsterdam)

          Est: £4,000 - £6,000

          Circle of Rachel Ruysch (The Hague 1664-1750 Amsterdam) Roses, carnations, poppies, lilies, morning glories, daisies and other flowers in a glass vase, in a niche with butterflies and snails oil on canvas 28 ¼ x 24 ¼ in. (71.5 x 62 cm.)

          Christie's
        • Follower of Rachel Ruysch (The Hague 1664 - Amsterdam 1750)
          Jun. 23, 2014

          Follower of Rachel Ruysch (The Hague 1664 - Amsterdam 1750)

          Est: €1,000 - €1,500

          Still life with roses, tulips and other flowers in a vase with fruit on a ledge - Oil on canvas, 76.5 x 60.6 cm - Provenance: - Collection H.B.N. Ledeboer, Enschede - Auction Christie's Amsterdam, 15 & 16 December 2009, lot 285 - Private collection, the Netherlands

          AAG Auctioneers
        • Rachel Ruysch, Flower Still Life with Tulips, Poppy, Viburnum, Bindweed and Chrysanthemums
          May. 17, 2014

          Rachel Ruysch, Flower Still Life with Tulips, Poppy, Viburnum, Bindweed and Chrysanthemums

          Est: €35,000 - €40,000

          Rachel Ruysch, Flower Still Life with Tulips, Poppy, Viburnum, Bindweed and Chrysanthemums Signed lower right: Rachel RuyshRachel Ruysch was not only one of the few female painters of her day, but also one of the most famous. She was born daughter of an anatomy professor and grand-daughter of the architecht Pieter Post, who among other buildings also designed the Huis ten Bosch. She was taught by the still life painter Willem van Aelst and married the portrait painter Juriaen Pool, with whom she became a court painter for Elector Palatinate Jan Willem, resident in Düsseldorf. Following the death of this regent, the couple returned to Amsterdam, where Rachel Ruysch died at a ripe old age following a long and successful life.The present still life was painted by the artist in around 1685, but displays the strong contrasts in light and shadow typical of this artist's entire oeuvre. The center of her compositions are generally most brightly lit, and the receeding shadows and more subtle colour towards the outer edges create a feeling of depth and perspective. Several copies of this motif are known to exist, although Fred Meijer of the RKD (The Hague) considers this to be the first version. 63 x 51 cm

          Kunsthaus Lempertz KG
        • RUYSCH, RACHEL (NACHFOLGER DES 18. JAHRHUNDERTS)
          Mar. 28, 2014

          RUYSCH, RACHEL (NACHFOLGER DES 18. JAHRHUNDERTS)

          Est: CHF20,000 - CHF30,000

          RUYSCH, RACHEL (NACHFOLGER DES 18. JAHRHUNDERTS) (1664 Amsterdam 1750) Blumenstillleben. Öl auf Holz. Unten rechts bezeichnet: Rachel Ruysch. 44,5 x 34 cm. Provenienz. - Sammlung Thurn und Taxis (gemäss Wachssiegel mit Wappen verso: Fürstl. Thurn u. Taxisches Hofmarschalamt). - Deutsche Privatsammlung.

          Koller Auctions
        • Naar Rachel Ruysch (1664-1750), 'Bloemstilleven',
          Dec. 10, 2013

          Naar Rachel Ruysch (1664-1750), 'Bloemstilleven',

          Est: €2,500 - €3,500

          Naar Rachel Ruysch (1664-1750), 'Bloemstilleven', niet gesigneerd, 18e eeuw, doek, afm. 25,5 x 21 cm. Het werk is een vroeg 18e eeuwse kopie naar een schilderij van R. Ruysch. Het originele, gesigneerde werk bevindt zich in het Norton Simon Museum te Pasadena (Los Angeles), inventarisnummer F.72.43.I.P. Naar dat werk bestaat een ets van Noach van der Meer de Oude. Provenance: Glerum veiling december 2009, lotnr. 376.

          Zeeuws Veilinghuis
        • After Rachel Ruysch (1664-1750) Still life of flowers in a vase, 16.5 x 10.5in.
          Dec. 05, 2013

          After Rachel Ruysch (1664-1750) Still life of flowers in a vase, 16.5 x 10.5in.

          Est: £300 - £500

          After Rachel Ruysch (1664-1750) oil on copper, Still life of flowers in a vase, 16.5 x 10.5in.

          Gorringes
        • RACHEL RUYSCH
          Jul. 03, 2013

          RACHEL RUYSCH

          Est: £1,000,000 - £1,500,000

          PROPERTY  FROM  A  PRIVATE  COLLECTION THE  HAGUE  1664  -  1750  AMSTERDAM STILL  LIFE  OF  ROSES,  TULIPS,  A  SUNFLOWER  AND  OTHER  FLOWERS  IN  A  GLASS  VASE  WITH  A  BEE,  BUTTERFLY  AND  OTHER  INSECTS  UPON  A  MARBLE  LEDGE signed  and  dated  lower  right:  Rachel  Ruysch/1710 oil  on  canvas,  in  a  fine  French  carved  and  gilt  wood  frame,  Régence,  early  18th  Century. 88.9  by  71.1  cm.;  35  3/8    by  28  in.

          Sotheby's
        • Rachel Ruysch Amsterdam, 1664 - 1750
          Apr. 10, 2013

          Rachel Ruysch Amsterdam, 1664 - 1750

          Est: €400,000 - €600,000

          Rachel Ruysch Amsterdam, 1664 - 1750 Vase de fleurs sur un entablement, nid et insectes Huile sur toile Signée et datée 'Rachel Ruysch 39 / AE.76' en haut à gauche 'VASE OF FLOWERS ON AN ENTABLATURE', OIL ON CANVAS, SIGNED AND DATED, BY R. RUYSCH h: 52 w: 41,50 cm Provenance : Ancienne collection Six, Amsterdam ; Sa vente ; Amsterdam, Frederic Muller, 16 octobre 1938, n° 39 ; Vente anonyme ; Amsterdam, Frederic Muller, 29 novembre 1939, n° 979, repr. ; Chez G. Douwes, Amsterdam, 1939 ; Ancienne collection E. Vinke-Dreesmann, Amsterdam, entre 1970 et 1990 ; Vente anonyme ; Amsterdam, Christie's, 13 novembre 1990, n° 160 ; Chez Richard Green, Londres, en 1991 ; Collection particulière du Nord de la France Expositions : 'Douwes 150th Jubilee Exhibition', Amsterdam, 1955 'Boeket in Willet : Nederlandse bloemstillevens in de achttiende en de eerste helft van de negentiende eeuw', Amsterdam, Museum Willet-Holthuysen, 29 mai - 9 septembre 1970, n° 32, repr. 'Boeketten uit de Gouden Eeuw. Bouquets from the Golden Age. The Mauritshuis in Bloom', La Haye, Mauritshuis, avril - juillet 1992, p. 94, n° 22, repr. Bibliographie : Maurice Harold Grant, 'Rachel Ruysch 1664-1750', Leigh-on-Sea, 1956, p. 38, n° 143, repr. pl. 37 Commentaire : D'abord stupéfait par cet impressionnant bouquet de fleurs, l'œil du spectateur s'accroche à l'aile d'une libellule, glisse sur le velouté d'un pétale de tulipe avant de descendre le long d'une tige vert tendre. Circulant dans une multitude de couleurs, il termine son voyage en frôlant l'élytre d'un scarabée et en découvrant quatre œufs délicatement déposés dans un nid d'oiseau. L'auteur de cette spectaculaire nature morte a indiqué son âge en dessous de sa signature : 76 ans ! Rachel Ruysch est alors au sommet de son art, maîtrisant parfaitement tous les ressorts de la peinture de fleurs qui fit sa renommée. Fille du botaniste Frederik Ruysch, Rachel grandit à Amsterdam avant de rejoindre l'atelier de Willem van Aelst à Delft entre 1679 et 1683. Elle épousa le portraitiste Juriaen Pool en 1693 et les époux s'installèrent à La Haye. Sa réputation était telle qu'elle fut appelée à devenir peintre de cour de l'électeur palatin Johann Wilhelm à Düsseldorf. Amateur éclairé, ce prince avait un goût très sûr pour la peinture hollandaise du Siècle d'Or, la collectionnant avec science et appelant auprès de lui plusieurs peintres de renom. Ses collections constituent aujourd'hui encore le fond de l'Alte Pinakothek de Munich. De retour à Amsterdam en 1716, Rachel Ruysch continua à peindre jusqu'à un âge avancé et s'éteignit en 1750. Sa biographie écrite par Jan van Gool fut publiée dès 1750 ainsi qu'un recueil de onze poèmes faisant son éloge. Rachel Ruysch s'inscrit dans la tradition des peintres de fleurs hollandais particulièrement admirés pour la précision de leur pinceau et leur sens de l'harmonie. L'artiste fait ici preuve d'une véritable science de la composition. Posé sur un entablement de marbre, dans une niche d'une grande sobriété, ce bouquet de fleurs luxuriant est exemplaire dans l'équilibre des masses et des couleurs. Les espèces représentées n'étaient pas toutes épanouies à la même saison et cet agencement provient sans doute directement de l'imagination de Rachel Ruysch. Contrairement aux natures mortes du XVIIe siècle, l'artiste délaisse ici la dimension allégorique et la notion de vanité illustrée par les fleurs éphémères au profit de l'effet décoratif. Chef d'œuvre de délicatesse et de précision, ce tableau est l'un des plus ambitieux de l'artiste et révèle l'immense talent de Rachel Ruysch. Présenté dans un vase discret, ce bouquet est présenté pour lui-même, sans autre élément de parure que ses quelques insectes et perles de rosée dans une éclatante harmonie de couleurs. Un certificat de Monsieur Louis Ryaux en date du 9 décembre 1991 sera remis à l'acquéreur.

          Artcurial
        • RACHEL  RUYSCH
          Apr. 10, 2013

          RACHEL  RUYSCH

          Est: £40,000 - £60,000

          PROPERTY  FROM  A  EUROPEAN  PRIVATE  COLLECTION THE  HAGUE  1664  -  1750  AMSTERDAM STILL  LIFE  WITH  MARIGOLDS,  MORNING  GLORY,  A  PASSION  FLOWER  AND  OTHER  ASSORTED  FLOWERS,  TOGETHER  WITH  INSECTS  ON  A  STONE  LEDGE signed  and  dated  lower  right:  Rachel  .  Ruysch  /  MDCXC oil  on  canvas,  in  a  tortoiseshell  frame 32.6  by  28.2  cm.;  12  3/4    by  11  in.

          Sotheby's
        • RUYSCH, RACHEL (UMKREIS)(1664 Amsterdam
          Mar. 22, 2013

          RUYSCH, RACHEL (UMKREIS)(1664 Amsterdam

          Est: CHF10,000 - CHF15,000

          RUYSCH, RACHEL (UMKREIS) (1664 Amsterdam 1750) Blumenstillleben. Öl auf Leinwand. 63 x 54,5 cm. Provenienz: - Auktion Sotheby's, London, 1981, Los 81 (als Verelst). - Auktion Christie's, London, 5.7.2000, Los 347. - Sammlung Wolfgang Joop. Dieses Gemälde ist im RKD, Den Haag, unter der Nummer 63159 als gute freie Kopie nach Rachel Ruysch vermutlich aus ihrem direkten Umkreis archiviert und dort aus stilistischen Gründen um 1683-1690 datiert. Circle of RUYSCH, RACHEL (1664 Amsterdam 1750) Still life of flowers. Oil on canvas. 63 x 54.5 cm. Provenance: - Sotheby's, London, 1981, Lot 81 (as Verelst). - Christie's, London, 5.7.2000, Lot 347. This painting has been registered at the RKD, The Hague, under number 63159 as a good copy after Rachel Ruysch presumably from his direct circle.

          Koller Auctions
        • Circle of Rachel Ruysch (Amsterdam 1664-1750)
          Nov. 01, 2012

          Circle of Rachel Ruysch (Amsterdam 1664-1750)

          Est: -

          A still life with tulips, roses and other flowers in a vase resting on a ledge oil on canvas 25 x 20 3/4in (63.5 x 52.7cm)

          Bonhams
        • Circle of Rachel Ruysch (The Hague 1664-1750 Amsterdam)
          Jan. 26, 2012

          Circle of Rachel Ruysch (The Hague 1664-1750 Amsterdam)

          Est: $10,000 - $15,000

          Circle of Rachel Ruysch (The Hague 1664-1750 Amsterdam) A rose, tulip, carnation, poppy and other flowers in a vase on a ledge, with a butterfly oil on canvas 22¼ x 17 7/8 in. (56.5 x 45.4 cm.)

          Christie's
        • RACHEL RUYSCH 1664 - Amsterdam - 1750 Stilleben
          Nov. 05, 2011

          RACHEL RUYSCH 1664 - Amsterdam - 1750 Stilleben

          Est: -

          RACHEL RUYSCH 1664 - Amsterdam - 1750 Stilleben mit Aprikosen, Pfirsichen, Trauben, Kirschen, Johannis- und Erdbeeren. Oel auf Holz 1715. - Signiert und datiert. 54,5 x 39,5 cm. Stellenweise retuschiert und mit restaurierter Bereibung im Bereich der Signatur. Durchgehender vertikaler Sprung in der rechten Hälfte restauriert sowie mit leichten Randbereibungen. Rachel Ruysch, Tochter eines Botanikprofessors, war Schülerin von Willem van Aelst und wurde 1708 durch den Kurfürsten Johann Wilhelm von der Pfalz zur Hofmalerin ernannt. Gerahmt. [ms] geschätzter Preis: 12800,00 EUR

          Winterberg-Kunst
        • Oil Paintings: R. RUYSCH (1664-1750) DUTCH Still
          May. 28, 2010

          Oil Paintings: R. RUYSCH (1664-1750) DUTCH Still

          Est: £500 - £1,000

          Oil Paintings: R. RUYSCH (1664-1750) DUTCH Still Life, an array of flowers in an urn. Oil on canvas. 31 x 22ins.

          John Nicholson's Fine Art Auctioneers & Valuers
        • Circle of Rachel Ruysch (The Hague 1664-1750 Amsterdam)
          Apr. 28, 2010

          Circle of Rachel Ruysch (The Hague 1664-1750 Amsterdam)

          Est: £2,000 - £3,000

          Circle of Rachel Ruysch (The Hague 1664-1750 Amsterdam) Parrot tulips, carnations, narcissi and other flowers in a glass vase on a ledge oil on canvas, unframed 17 x 13 in. (43.2 x 33 cm.)

          Christie's
        • RACHEL RUYSCH
          Jan. 28, 2010

          RACHEL RUYSCH

          Est: $150,000 - $200,000

          A STILL LIFE OF ROSES, A TULIP, HYACINTHS, MORNING GLORIES AND OTHER FLOWERS IN A VASE, RESTING ON A STONE LEDGE signed upper right: Rachel Ruysch

          Sotheby's
        • RACHEL RUYSCH , Nachfolge 1664 Amsterdam - 1750
          Oct. 01, 2009

          RACHEL RUYSCH , Nachfolge 1664 Amsterdam - 1750

          Est: €4,000 - €4,500

          RACHEL RUYSCH , Nachfolge 1664 Amsterdam - 1750 Amsterdam BLUMENSTILLLEBEN Öl auf Leinwand (doubliert). 59 x 55 cm.

          Kunsthaus Lempertz KG
        • Navolger van Rachel Ruysch Den Haag 1664 -
          May. 05, 2009

          Navolger van Rachel Ruysch Den Haag 1664 -

          Est: €800 - €1,200

          Navolger van Rachel Ruysch Den Haag 1664 - Amsterdam 1750 Bloemstilleven Olieverf op paneel, 29,5 x 24 cm.

          AAG Auctioneers
        • Circle of Rachel Ruysch (The Hague 1664-1750 Amsterdam)
          Oct. 29, 2008

          Circle of Rachel Ruysch (The Hague 1664-1750 Amsterdam)

          Est: £3,000 - £5,000

          Circle of Rachel Ruysch (The Hague 1664-1750 Amsterdam) Roses, marigolds and snap dragons on a ledge with a red admiral butterfly oil on panel 14 1/8 x 11 5/8 in. (35.9 x 29.6 cm.)

          Christie's
        • Ruysch, Dutch, oil, still life with bird, nest, fruit
          Mar. 16, 2008

          Ruysch, Dutch, oil, still life with bird, nest, fruit

          Est: $1,500 - $2,000

          Still Life with Bird, Nest, Fruit and Plants Oil on two panels RACHEL RUYSCH (After) (Dutch 1664 - 1750 ) 25.5" x 20.75" (64.77 x 52.71cm.)

          Westbridge Fine Art Auction House
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