Name: NICOLAES VAN VERENDAEL (ANTWERP 1640-1691)
Brand: Flowers in a glass vase, in a niche
Price: 35000.00 GBP
Availability: SoldOut

NICOLAES VAN VERENDAEL (ANTWERP 1640-1691)
Flowers in a glass vase, in a niche
oil on canvas
16 x 12³⁄₄ in. (40.8 x 32.7 cm.)
with the collector's mark of Fürst Wenzel Anton Kaunitz-Rietberg (lower right)

Fürst Wenzel Anton Kaunitz-Rietberg (1711-1794), Palais Kaunitz, Vienna.
Helena Rubinstein (1872-1965), New York; Sotheby's, London, 6 July 1966, lot 23, sold with its pendant, (£6,000 to Johnson).
with Galerie Robert Finck, Brussels, by November 1966, with its pendant.
with Dennis Vanderkar, London, by March 1967, with its pendant.
with E. Stacy-Marks Ltd, Eastbourne, by 1967.
with Richard Green, London, by 1995.
Anonymous sale; Sotheby's, London, 9 July 1998, lot 33.

This lot is offered without reserve.
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Please note this lot is the property of a consumer. See H1 of the Conditions of Sale.

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Lot Essay

Taught by his father, Willem van Veerendael, Nicholaes practiced as a painter in Antwerp, specialising in flower and vanitas still-lifes. He collaborated with other Flemish artists, including David Teniers the Younger, Erasmus Quellinus and Carstian Luyckx. The supposed pendant to this painting, with which it was sold during the 1960s, is recorded as having been signed and dated ‘1671’, which fits stylistically with the present work. While his early works were influenced by Daniel Seghers, his bouquets from the 1670s became increasingly informal in their arrangement, betraying his debt to Jan Davidsz. de Heem, with whom he collaborated on a flower still-life now in the Alte Pinakothek, Munich. Veerendael's choice of bold contrasting colours and his preference for mixing pinks and reds along with his outstanding use of whites, all present here, became hallmarks of his style. The format of the present canvas appears to have been reduced slightly in the past along the bottom edge, as addressed in the condition report.