Two Persian Buttercups (<i>Ranunculus asiaticus</i>)

Executed in transparent watercolour, the petals glow with layered washes that capture their translucence and subtle gradients. Fine lines define the curl of petals and the delicate veins of leaves, while the absence of background or shadow focuses attention on the flowers’ form. The technique balances spontaneity with control, typical of preparatory studies meant to preserve colour fidelity across seasons.

Simon Verelst, born in The Hague in 1644, settled in London in 1669 and became a favoured artist among English aristocrats. He maintained a personal archive of floral sketches, reused in oil paintings commissioned by patrons including King Charles II. This study likely dates from his early decades in England, when he was building the visual library that underpinned his commercial success.

In late 17th-century England, floral painting flourished as a decorative art form, driven by aristocratic interest in exotic plants and cultivated gardens. Artists like Verelst compiled seasonal studies to overcome the limitations of nature’s timing. These sketches were practical tools, enabling the creation of lush, impossible bouquets that satisfied contemporary tastes for opulent, curated beauty.

Verelst’s watercolours contributed to a broader tradition of botanical illustration adapted for decorative arts. His method of reusing studies across multiple works influenced later flower painters and helped standardize the practice of maintaining visual reference collections. Though not scientific, these studies remain valuable records of horticultural preferences and artistic process in early modern England.