A rare 17th-century still life by Dutch Golden Age painter Maria van Oosterwijck sold for €406,400 ($477,000) at Christie’s Paris, nearly three times its high estimate, during the auction of the Stern family collection. The painting, titled *A bunch of fruit, berries and flowers hanging in a niche*, achieved the second highest auction price ever for the artist, who is believed to have produced only about 30 works in her lifetime.
The Museum of Fine Arts (MSK) in Ghent has launched "Unforgettable," a landmark exhibition recovering the histories of over 40 women artists who were active in Belgium and the Netherlands between 1600 and 1750. The show highlights the professional success of figures like Princess Louise Hollandine and Maria Schalcken, while also acknowledging the anonymous working-class women who fueled the luxury economy through lacemaking. It challenges the long-held myth that female artists were rare exceptions during the Flemish Golden Age.
Sotheby’s London will auction what is believed to be the only known self-portrait by Clara Peeters, a pioneering Flemish still life painter from the early 17th century. The painting, a vanitas still life featuring a presumed self-portrait and a still life of flowers in a glass vase, carries a presale estimate of £1.2 million to £1.8 million ($1.6 million–$2.4 million) and will be offered in the “Old Master and 19th Century Paintings Evening Auction” on July 2. The work was previously downgraded to the artist’s circle but is now accepted as an autograph Peeters, with a provenance dating back to 1767.
The National Museum of Women in the Arts in Washington, D.C., has opened a new exhibition titled "Women Artists from Antwerp to Amsterdam, 1600-1750," which showcases works by largely forgotten female masters of the Dutch Golden Age, including Judith Leyster, Maria van Oosterwijck, Clara Peeters, and Rachel Ruysch. The show features over a dozen artists and highlights paintings rich in symbolism, such as van Oosterwijck's "Vanitas Still Life" and Leyster's "The Concert," while also addressing how many of these women were celebrated in their own time but later misattributed or omitted from art history.