The 40 × 50 cm sheet: the painting reduced to 0.81×, 29.60 × 43.60 cm, with a white border

Jan Davidsz. de Heem – Still Life with Flowers in a Glass Vase, c. 1650–83 | Giclée Print

40 × 50 cm / 15.7 × 19.7 in — Reduced, 0.81× original
CHF 59.00
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The 40 × 50 cm sheet: the painting reduced to 0.81×, 29.60 × 43.60 cm, with a white border
  • The 40 × 50 cm sheet: the painting reduced to 0.81×, 29.60 × 43.60 cm, with a white border
  • Jan Davidsz. de Heem, Still Life with Flowers in a Glass Vase, c. 1650–83 — the full painting reproduced as a giclée print
  • De Heem's flower still life as a 50 × 70 cm giclée print, unframed, hung 25 cm above a 140 cm sideboard
  • Detail at actual print size: roses, morning glories and an insect on the leaf, in the paint of the copper panel
  • The 40 × 50 cm sheet: the painting reduced to 0.81×, 29.60 × 43.60 cm, with a white border
  • Jan Davidsz. de Heem, Still Life with Flowers in a Glass Vase, c. 1650–83 — the full painting reproduced as a giclée print
  • De Heem's flower still life as a 50 × 70 cm giclée print, unframed, hung 25 cm above a 140 cm sideboard
  • Detail at actual print size: roses, morning glories and an insect on the leaf, in the paint of the copper panel
Jan Davidsz. de Heem – Still Life with Flowers in a Glass Vase, c. 1650–83 | Giclée Print

Jan Davidsz. de Heem – Still Life with Flowers in a Glass Vase, c. 1650–83 | Giclée Print

CHF 59.00
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A bouquet crowded into a glass vase on a stone ledge: red and white tulips, a scarlet poppy, roses, carnations, a snake’s head fritillary, morning glories, honeysuckle, a pea pod, an ear of wheat. It is not a bouquet anyone could have picked — the flowers bloom in different months. De Heem painted them from studies, out of season, all at once.

Then look closer. A red admiral sits at the top left, a snail crosses the ledge at the bottom right, caterpillars and ants work their way through the leaves, and a spider waits in the shadow. The insects are the reason the picture is more than a bouquet: they are the clock inside it.

The support is copper, not canvas — a smooth plate that takes fine brushwork the way enamel does, which is why the highlights on the glass and the water hold at any distance and the paint shows no weave.

A false signature. The painting carries the name of Rachel Ruysch, added by a later hand at a time when her flower pieces sold for more. The Rijksmuseum records the signature as false and gives the picture to Jan Davidsz. de Heem. It prints with the painting — a wrong signature is part of an object’s history, not a blemish to remove.

What this is. A giclée reproduction printed with pigment inks from the Rijksmuseum’s own open-access photograph. It is not a painting and is not sold as one.

Scale
Original: 54.5 × 36.5 cm — oil on copper, Rijksmuseum, Amsterdam

  • 40 × 50 cm / 15.7 × 19.7 in — reduced, 0.81× original. Image 29.60 × 43.60 cm.
  • 50 × 70 cm / 19.7 × 27.6 in — original size, 1:1. Image 36.50 × 53.75 cm.

The print
Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, centred on the sheet. The colour of the museum’s file is kept, not corrected. Unframed. Shipped rolled in a tube.

Provenance
Jan Davidsz. de Heem (Dutch, 1606–1684), Still Life with Flowers in a Glass Vase, 1650–83, oil on copper. Rijksmuseum, Amsterdam, SK-C-214, on loan from the City of Amsterdam (A. van der Hoop Bequest).

Where this comes from
The museum file, the measurements, and what we are allowed to sell: the record for this sheet.

Further reading
Why This Print Is Not Bigger

The record behind this sheet — which impression we chose and why, what we measured, what we are allowed to sell, and the framing dimensions for this sheet.

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