17th Century Still-life Paintings

Stilllife with dead Birds, Fruits and Vegetables Oil on Canvas, 101 x 84 cm signed (upper left) „G Libald “ (G and L ligated) Provenance: Private Collection, Brussels; Private Coll...

Fred G. Meier, art historian, confirmed with the following comment, after a photographic examination of the work, that it belongs to the studio of Georg Flegel...

Oil on canvas depicting a still life, a pantry with a table set with a copper basin and different kinds: hanging game, trays full of fruit and cutting boards with fish. On the left o...

Still Life Of Grapes In The Vineyard, 17th Century Pierre Antoine Lemoyne (French 1605-1665) similar to $250,000 Huge 17th Century French Old Master study of grapes in the vineyard, oil on canvas by Pierre Antoine Lemoyne. Excellent quality and condition study of the vines and grapes growing before a rustic building. Exceptional detail and rare early work of art on the subject of wine making...

Indistinctly signed and dated In the first quarter of the 17th century a new form of flower painting was developed in Flemish painting, which, recreated by a large group of artists and workshops, would achieve considerable success throughout the century in much of Europe: the garland of flowers surrounding a central figure. Brueghel de Velurs was the initiator of this type of composition, however, it was his pupil, Daniel Seghers, who was the dominant figure in this specialised production and the creator of a prototype that would serve as a model for the numerous artists who followed in his wake. It seems undeniable that the artist of the present painting had seen the Garlands of Flowers Surrounding a Medallion Depicting the Triumph of Love by Daniel Seghers and Domenico Zampieri (now in the Musée du Louvre in Paris). In our painting, the present floral wreath encircles a carved cartouche within which sits Saint Dorothy of Caesarea and the attribute which often accompanies her in art, a basket of roses. The extremely delicate flowers have been rendered in meticulous detail, so that every species can be identified from exotic tulips to roses, irises and forget-me-nots; this obvious attention to naturalism is inherited from the Flemish manner. Each flower is so precise and refined that they are an individual study in their own right. The still-lifes are from the hand of Jan Anton van den Baren, with the central figures by another accomplished hand. Van den Baren’s arrangement of flowers would have delighted connoisseurs in both Flanders and in Vienna, where the impossibility of their all blooming at the same time of year would have been understood as a further statement of the wonder and beauty of the divine. Van den Baren worked first in Brussels, where he collaborated with Erasmus Quellinus II for the figures in his works, before moving with Archduke Leopold Wilhelm, his patron, to Vienna in 1656, where he instead worked with fellow Flemish émigré painter Nikolaus van Hoy. The iconography relates to an eighth century legend where she was presented a basket of roses by a child. In addition to the brilliance of his handling of still-lifes Van den Baren played an important art historical role as Director of Archduke Leopold Wilhelm’s Picture Gallery in Vienna, then one of the greatest collections in the world and the core of what was to become the present collection of the Kunsthistorisches Museum, Vienna. Van der Baren compiled an inventory of the collection in 1659, and his predecessor as Director of the Archduke’s Picture Gallery (when it was still housed in Flanders), David Teniers, depicted van der Baren (third from right) in his celebrated Archduke Leopold Willem in his gallery at Brussels, conserved at the Kunsthistorisches Museum. It is a shining example of the Flemish Baroque and is a very rare object indeed, considering there are only 14 paintings accepted as authentic works by this artist. We are grateful to Fred Meijer for confirming the attribution to Johannes Antonius van der Baren. A feature of this painting is its outstanding carved and gilded frame with a plethora of flowers and foliage. Titan Fine Art

Still Life with Silver, Porcelain and Fruit Desportes Alexandre François Champigneulles 1661 – 1743 Paris French School Signature: Not signed Medium: Oil on canvas Dimensions: Image size 53 x 42 cm, frame size 69,50 x 58,50 cm Biography: Desportes Alexandre François was born in 1661 in Champigneulle, France. At the age of twelve, Desportes was sent by his father to Paris to learn to paint. Desportes trained in Paris in the Flemish tradition of animal painting and learned to observe the nature thoroughly for his work. In 1695 he accepted an invitation from the French ambassador to paint in Poland Royal portraits at the Polish court. The painter decided that there was a more lucrative market for artists specialized in hunting scenes, studies of dogs, and still life pictures of fruit...

Oil on canvas depicting a still life composed of grapes, pomegranate and peaches placed on a pillar, the composition also features a silver tray; in the background a landscape with t...

Nicolas Van Houbraken (Messina, 1668 - Pisa, 1733) Still life with mushrooms Oil on canvas, cm. 26 x 32 - with frame cm. 38,5 x 33,5 Antique cassetta frame made of carved wood and ...

Still life of Summer Flowers in a Basket with Fruit. Circa 1730 Oil On Canvas 32 ¾ x 48 ¼ inches83.1 x 122.5 cm Presented in a 17th century Italian carved gilt frame. Acquired from The collection of the Late Edgar Wigan, Bradstone Brook, Shalford. ABOUT THE ARTIST:  The son of the Flemish painter Pieter Casteels II (referred to as Casteels the Younger) whom he studied under.  While Casteels II was best known for his capriccio harbour scenes and landscapes of his native Antwerp, Casteels III worked primarily in England, where he immigrated in 1708 at the age of 24 and began his career copying Old Master.  Casteels III painted still lives of flowers, and bird and game scenes, and in 1726 produced a volume of twelve plates of bird etchings. Following the success of the publication, he created similar volumes for both flowers and fruit. Pieter Casteels III...

FLEMISH SCHOOL 17th Century STILL LIFE WITH FRUITS unsigned oil on canvas 17-3/4 x 21-3/4 inches (45 x 55 cm.) framed: 22 x 27 inches (56 x 68 cm.) PR...

Oil painting on canvas. Lombard school of the late 17th-early 18th century. The rich composition offers a large bouquet of colorful flowers in an embossed vase, next to two large pumpkins and mixed fruit (grapes and peaches...

Oil on canvas Image size: 15 ½ x 19 ¼ inches (39.5 x 49 cm) 18th Century carved gilt frame Provenance Irish Country Estate This complex and convincing composition is painted from a...

Aniello Ascione (Naples, news from 1680 to 1708) Still life with festoon of flowers and fruit Oil painting on canvas, 89 x 117 cm in frame cm 109 x 137 With expertise and attributive study by Prof. Stefano Causa (University of Naples) '' This fruit composition with a festoon of flowers belongs to Aniello Ascione's brush and is a prominent addition to the final game of the Neapolitan still life - the most baroque and decorative one can imagine. The naturalistic work, still Caravaggesque, of the specialists of the early sixteenth century, from Luca Forte to Porpora, now seems a distant memory. The name of Ascione also comes from the comparison with the still life signed by the Civic Museum of Castello Ursini in Catania, against which the painting in question qualifies as a sixteenth version. On the other hand, it is not uncommon for easily repeatable patterns to recur in the workshops of still life painters. The melon on the right, the rush of flowers and, in the background, the profile of a column or a fountain. We could compare them to the normalized formal types used by great southern...

Still Life Of Flowers In An Urn, 17th Century Dutch School circa 1670 - FOLLOWER OF JEAN BAPTISTE MONNOYER (1636-1699) Large 17th Century Dutch Old Master still life of flowers...

Provenance: Selma Herringman, New York, ca. 1955-2013; thence by descent to: Private Collection, New York, 2013-2020 This seventeenth century Spanish still-life of a laden table, known as a bodegón, stands out for its dramatic lighting and for the detailed description of each object. The artist’s confident use of chiaroscuro enables the sliced-open squash in the left foreground to appear as if emerging out of the darkness and projecting towards the viewer. The light source emanates from the upper left, illuminating the array, and its strength is made apparent by the reflections on the pitcher, pot, and the fruit in the basket. Visible brush strokes accentuate the vegetables’ rough surfaces and delicate interiors. Although the painter of this striking work remains unknown, it is a characteristic example of the pioneering Spanish still-lifes of the baroque period, which brought inanimate objects alive on canvas. In our painting, the knife and the large yellow squash boldly protrude off the table. Balancing objects on the edge of a table was a clever way for still-life painters to emphasize the three-dimensionality of the objects depicted, as well a way to lend a sense of drama to an otherwise static image. The knife here teeters on the edge, appearing as if it might fall off the table and out of the painting at any moment. The shape and consistency of the squash at left is brilliantly conveyed through the light brush strokes that define the vegetable’s fleshy and feathery interior. The smaller gourds—gathered together in a pile—are shrouded partly in darkness and stand out for their rugged, bumpy exterior. The stoneware has a brassy glaze, and the earthy tones of the vessels are carefully modulated by their interaction with the light and shadow that falls across them. The artist has cleverly arranged the still-life in a V-shaped composition, with a triangular slice of cheese standing upright, serving as its pinnacle. Independent still-lifes only became an important pictorial genre in the first years of the seventeenth century. In Italy, and particularly through the revolutionary works of Caravaggio, painted objects became carriers of meaning, and their depiction and arrangement the province of serious artistic scrutiny. Caravaggio famously asserted that it was equally difficult to paint a still-life as it was to paint figures, and the elevation of this new art form would have profound consequences to the present day. In Spain Juan Sanchez Cotan...

Oil painting on canvas. Lombard school of the late 17th-early 18th century. The rich composition offers a large bouquet of colorful flowers in an embossed vase, next to a bowl full o...

The Market in Piazza del Popolo is a work by the Flemish painter Jacob van Huchtenburg, born in Haarlem and present, in the early 1660s, in Rome, in close contact with his compatriot...

Juan Sánchez Cotán (1560 - 1627) was one of the most important still life painters in Spain and beyond. He developed a certain type of still life with a ...

Giovanni Paolo Castelli called Spadino (Rome 1659 - Rome 1730) Still life Oil on canvas, cm. 81x31 - with frame cm. 92x41 Shaped and gilded wo...

Oil painting on canvas. Neapolitan school of the seventeenth-eighteenth century. The large composition is rich in numerous different elements: in the center stands a large floral com...

Roman school of the early 18th century Luigi Garzi (Pistoia 1638– Rome1721) attributed Still life of fruit supported by three angels Oil on oval canvas 116 x 91 cm., Framed 140 x 119 cm. Authentication on a photograph by Prof Giancarlo Sestieri, who attributes the work to the sphere of Luigi Garzi This magnificent canvas, depicting a sumptuous composition of fruit supported by three prosperous winged cherubs, from which comes a parchment bearing the Latin expression "Amor est vitae essentia", is to be placed in the production of a Roman author active between the second half of XVII century and the first of the following century. The iconography that sees represented cherubs with fruit or flowers is frequent in the Baroque period, especially in the Roman area, starting from the 1600s, with that particular depictional tendency aimed at illusionistic and frivolous images, to a type of paintings or frescoes of strong value decorative, intended for the private context and depicting jubilation of cherubs, angels or cherubs, and of which our canvas represents a perfect example. We can recall, among the most illustrious iconographic precedents, the elegant mirrors painted by Mario Nuzzi and Carlo Maratta that adorn the hall of Palazzo Colonna in Rome, and again the canvas preserved in the Rouen museum and the similar ones in Palazzo Chigi in Ariccia, with the collaboration for the figurative parts of Filippo Lauri. The commercial and furnishing success of similar works is also testified by authors such as Guglielmo Cortese known as Borgognone (1628 - 1679), Franz Werner Von Tamm (1658 - 1724), Giovan Battista Gaulli (1639 - 1709), Giovanni Paolo Castelli known as Spadino (Rome 1650 - 1740) and the aforementioned Carlo Maratta (1625 - 1713) The work, studied by Giancarlo Sestieri, was brought closer to the sphere of the eclectic Pistoian painter Luigi Garzi, one of the protagonists of Roman painting in the decades of transition between the seventeenth and eighteenth centuries. In our painting we can find the typical elements of his painting: the soft and delicately chiaroscuro light, the sculptural classicism of the figures as well as the stupendous luministic and chromatic effects. Luigi Garzi's training and artistic activity took place in the Eternal City and he was in effect a Roman artist. He moved to Rome from Pistoia, his hometown at a very young age, and joined the atelier of Andrea Sacchi, who directed his studies towards classicism, comparing himself with the works of Raphael, Domenichino and Nicolas Poussin, but also with the Emilian one. , with particular attention to the school of Guido Reni. But the Emilian examples were undoubtedly preceded, particularly by Giovani Lanfranco, who modeled his taste and style, together with a modulated cortonism, while those pre-eighteenth-century sensibilities are due to the lesson of Carlo Maratta. However, there is no doubt that the painter oriented his personality without ever bowing to imitation, reaching a refined elegance and autonomy of language, as the canvas in question clearly demonstrates in which the different influences find a refined amalgamation in perfect harmony with the baroque evolution between the seventeenth and eighteenth centuries, indicating a dating to its earliest maturity. These attitudes led the painter to obtain awards and prestigious commissions as soon as possible, such as the frescoes of Palazzo Borghese...

Oil painting on canvas. In the beautiful composition you can see, resting on an inlaid wooden sideboard, a basket full of cherries, some of which are scattered on the top, and a plat...

Still life in a landscape with fruit and game Work of the late Roman Baroque of the late seventeenth / eaarly eighteenth century attributable to Giovanni Paolo Castelli, known as Spadino (Rome, 1659 - 1730) oil on canvas 62 x 76 cm., Framed 90 x 109 cm. An open-air setting, with a hilly landscape gash that opens into the distance in the central part, surrounds our beautiful canvas, which showcases a rich selection of game and fruit, arranged in the foreground near the point of view of the observer, occupying a large part of the visual field with their bright and festive colors. The style and quality of the work, like the pictorial technique of this still life, characterized by subtle luminous vibrations and a lively chroma, make it attributable to the Roman Giovanni Paolo Castelli, known as Lo Spadino (Rome, 1659 - 1730), one of the most important specialists of this pictorial genre of late Baroque Rome, which had a very successful career between the 17th and 18th centuries. Analyzing the rich and heterogeneous catalog of the Roman master, in fact, our canvas can be included among his rare works which, alongside a selection of fruit - among which stand out large melons, ripe figs, dark grapes and plums - we see a game advert, presumably as requested by a patron who loves hunting. Next to various birds, spoils of a profitable hunting trip, there is also a small green woodpecker, with the characteristic red spot on the head, and a nice rodent that terminates from behind the trunk. The painter abandons himself to a skilful and brilliant chromatic texture of the surfaces, through a pictorial material rendered with exceptional vibration in its luminous and 'tactile' body, fully respecting the taste of the full Roman Baroque. The quality appears excellent, distinguished by a skilful and brilliant chromatic texture of the surfaces, which appear almost vibrant thanks to a skilful drafting of the pictorial material. Inevitable and evident are the Flemish suggestions, which had influenced the Roman Baroque still life, in particular the work of Abraham Brueghel...

Study of apples, pears, caterpillar, butterflies and mice, dated 1635 Johannes BOUMAN (1601-1658) 17th century Dutch master study of pear...

Cornelis Schut, atrributed to (1597 - Antwerp - 1655) Mary with Child, St. Elisabeth and John the Baptist en grisaille Oil on wood, 33,5 x 26,5 cm Co...

Pair of Antique 17th Century Floral Still Life Paintings, Attributed to Vincenzino Italian, second half 17th Century Dimensions: Frame height 111cm, width 170cm, depth 7cm; Canvas he...

Still life with fishes and oysters is an original oil on canvas realized in the 17th Century by Neapolitan School Master. Impressive in size as well as for its vivid representation o...

Still Life with fruits is an original oil on canvas realized in the 16th Century by an Italian School Master. Original oil painting on Canvas. The painting represents a still life...

Studio of Frans Snyders (Antwerp 1579-1657) A basket of grapes with a halved peach on a ledge oil on panel 18 1/8 x 27 3/8 in. (45.6 x 69.5 cm.) Provena...

Flemish school, 17th Century Narcissi and other summer blooms in a glass vase on a ledge Oil on canvas 18.7/8 x 14.3/4 in. (48 x 37.3 cm.)

17th Century Italian School. A Still Life of Fruit on a Marble Ledge, with a Ewer to the side, Oil on Canvas, Unframed, 22" x 26.5" (56 x 67.3cm). Con...

Flowers in A Basket by Jean-Baptiste Monnoyer. A Still Life of flowers in a basket including jasmine, honeysuckle, dahlias, parrot tulips, delphiniums and white carnations.

"The Fortune Teller" is an original oil painting on canvas by Abraham Willemsens, Maitre aux Beguins (Master of the Hats). It depicts a fortune tell...

A Still Life of Turtles, An Eel, Pike, Lobsters and other Fish on the Shore, A Ship in the Stormy Seas Beyond Signed and dated lower left 1640 Inscribed with inventory number lower right: no. 44 Oil on canvas Framed 29.5 x 37.9 inches Provenance Anonymous sale, London, Sotheby's, 15 April 1999, lot 87, (as 'Circle of Giuseppe...

JUAN DE ARELLANO Spanish, 1614 - 1676 Cesta de Flores signed Juan de Arellano (lower lright) oil on canvas original period carved, gilt and polychrome...

Beautiful pair of still lives ascribed to N. Stanchi, realized in the second half of 17th century. Both in very good conditions, they include a contemporary wooden gilded frame. Dime...

Still Life is a superb original oil painting on panel, realized by the Italian artist Vincenzino Volò, best-known as Vincenzino dei Fiori (Rémondans, 1620-Milan, 1671) around 1640-1660. Original Title: Natura morta di fiori entro vasi biansati (Still life of Bouquet in two-handled vases). On the back of the panel, two labels are glued "da Milano", "A Piacenza", ("from Milan" "to Piacenza"). The labels indicate a transfer of the artwork, perhaps in the first half of the twentieth century, from Piacenza to Milan. While instead the style and technique make us understand the artwork was commissioned or created in the Milan of Federico Borromeo, archbishop of Milan from1595 to 1630. The author of the painting can be identified in the person of Vincenzo Volò, a talented artist who fell into oblivion, recently rediscovered and appreciated. Founder of the Vincenzini family, he was born in Franche-Comté in 1620 (in the past its birth was erroneously fixed to 1606). In the mid-forties of the seventeenth century he arrived to Milan, and held a leading artistic role: he was the founder of a family workshop that imposed his style and strongly influenced Milanese collecting with his still lifes and influenced generations and generations of painters. Vincenzino also was the first painter of still life to work on the Bella Island for Vitaliano VI Borromeo and collaborated with well-known figure painters such as Francesco Cairo, Scaramuccia, Nuvolone and Fumagalli. As regards the style, the archaic tendency of Lombard painting of still life from the early decades of the seventeenth century is clearly evident, looking at primitivism and the happy schematization of the composition of the artwork. The dating of this artwork could be fixed around the first half of the seventeenth century because it is confirmed by the type of support, a wooden panel, always used by Vincenzino. As for the subject, Volò generally painted bouquets of flowers in two-handled vases placed on transversal planes seen from the front. It is possible to compare this work with other Dei Fiori's artworks: the pair of Flower Vases...

Still Life of Hunting, Monsù Aurora (1610-1675 or 1691), attributed. Oil on canvas. Dimensions: cm 78 x cm 60 FREE SHIPPING IN EUROPE If you are passionate about Baroque art this...

Olio su tela. La scena, piuttosto scura è ambientata in un rustico interno di cucina, con paioli di rame appoggiati su un tavolo insieme a due pesci e ad alcune verdure. Il dipinto ...

David Teniers, the Younger (1610, Antwerp – 1690, Brussels) A tavern interior with a dog and kitchen utensils in the foreground. Signed lower left: TENIERS F. Oil on panel. 28 x 36,2...

A tavern interior with a dog and kitchen utensils in the foreground. Signed lower left: TENIERS F. Oil on panel. 28 x 36,2 cm. Attribution RKD, the Hague Provenance Private collectio...