Who painted Blumenstraussmädchen (Flower Seller)?

Blumenstraussmädchen (Flower Seller) was painted by Quirin Mark in 1775.

Where can I see Blumenstraussmädchen (Flower Seller)?

Blumenstraussmädchen (Flower Seller) is held by National Gallery of Art.

What movement is Blumenstraussmädchen (Flower Seller)?

Blumenstraussmädchen (Flower Seller) is associated with Romanticism.

Can I buy a print of Blumenstraussmädchen (Flower Seller)?

Museum-quality prints of Blumenstraussmädchen (Flower Seller) are available made-to-order from Artifact World Gallery.

Artwork

Blumenstraussmädchen (Flower Seller)

Quirin Mark , 1775

Blumenstraussmädchen (Flower Seller) is an ink print by the Romanticist artist Quirin Mark. It dates from 1775 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:lower left in plate: Gezeichnet v. C. Brand Prof.; lower right in plate: Gestochen v. Quir. Marck; lower center in plate: Blumenstraussmädchen./Bouquetière

About this work

Overview

Created in 1775, this black‑and‑white engraving by Quirin Mark portrays a young woman engaged in the trade of selling flowers. The image is executed on laid paper, a common support for prints of the period, and is signed with the descriptive title that identifies the figure as a flower seller.

Subject & Meaning

The central figure is dressed in a period costume with puffed sleeves, a high neckline, and an elaborate coiffure accented by ribbons. She balances a large bouquet in one hand while holding a single blossom in the other, emphasizing both the abundance of her wares and the intimate gesture of offering a flower.

Technique & Style

Mark employs fine, closely spaced lines to render the texture of the fabric and the delicate structure of the flowers. The engraving demonstrates the artist’s control of line work to suggest volume and surface detail, typical of late‑Baroque printmaking practices.

History & Provenance

The print originates from the late eighteenth‑century German market for affordable artworks, where engravings served both decorative and instructional purposes. It has been catalogued in several collections of German prints, though specific ownership records prior to the nineteenth century remain sparse.

Context

During the 1770s, depictions of everyday laborers, especially women in domestic or market roles, were popular in print media, reflecting Enlightenment interests in genre scenes and the lives of ordinary people. This work aligns with that trend, offering a glimpse into the visual culture surrounding street commerce.