Tulip (De Groote Brabantson) - Judith Leyster
Archival giclée
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Description
A precise 1643 botanical study of a 'De Groote Brabantson' tulip by Dutch Golden Age artist Judith Leyster, rendered in watercolour and gouache.
This botanical study by Judith Leyster, dated 1643, captures a single tulip specimen with precision. Known primarily for her genre paintings and portraits, Leyster produced a series of floral studies that reflect the intense interest in botany during the Dutch Golden Age. The work depicts the 'De Groote Brabantson' variety, a tulip characterised by its flamed, variegated petals. The artist employs a delicate application of watercolour and gouache on vellum, a medium favoured for its ability to hold fine detail and maintain colour clarity over time.
The composition is minimalist, placing the flower against a plain background to focus entirely on its physical structure. The stem rises vertically, supporting the bloom, while the leaves curve with naturalistic movement. Leyster demonstrates a keen eye for the subtle variations in colour, from the deep crimson streaks on the petals to the muted, earthy tones of the foliage. The inscription at the base provides both the name of the cultivar and the artist's signature, which includes her characteristic star motif.
Such studies were often commissioned by collectors or botanists who wished to document rare or prized specimens. During the seventeenth century, the tulip trade in the Netherlands reached a peak, and these illustrations served as both scientific records and status symbols. Leyster's approach is objective, prioritising the accurate rendering of the plant's anatomy over decorative embellishment. The work remains a clear example of the intersection between art and natural history in the seventeenth-century Netherlands, providing a glimpse into the period's fascination with the natural world.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Tulip (De Groote Brabantson) - Judith Leyster
Artist Biography
Judith Leyster
She was one of the first women admitted to the Haarlem Guild of St Luke, in 1633, at twenty-four. She ran her own workshop and trained students. When one of her apprentices left to join Frans Hals's workshop without Guild permission, she sued Hals. The case was settled: the student's mother paid four guilders in damages. Leyster had asked for eight.
Her best paintings were made in the seven years between 1629 and 1636. The Jolly Toper, Self-Portrait, The Proposition: they are warm, confident, technically assured, painted in a style close to Hals's but with a subtlety of expression that is entirely her own. The Proposition, showing a woman by lamplight being offered money by a man leaning over her shoulder, is one of the most psychologically complex genre paintings of the Dutch Golden Age.
In 1636 she married the painter Jan Miense Molenaer. After the marriage, painting gave way to children and household management. She probably contributed to her husband's workshop, but she stopped signing work in her own name. The solo career lasted seven years.
After her death in 1660 her work was systematically attributed to Hals. The misattribution lasted until 1893, when a painting that had been admired for over a century as a Hals was recognised as hers.
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