Alfons Peerboom

Floral Still Life

1920

Oil on canvas, signed on the reverse Image size: 19 1/2 x 23 1/4 inches (49.5 x 59 cm) Contemporary frame This still life provides an example of neo-impressionism, specifically of m...

Oil on canvas, signed and titled on reverse Image size: 12 x 16 inches (31 x 40 1/2 cm)

Oil on canvas Image size: 13 1/2 x 11 1/2 inches (34.25 x 29 cm) Original Giltwood frame It is likely that this work was inspired by Matthew Smith's wor...

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...

Oil on board Image size: 6 3/4 x 9 1/2 inches (17 x 24 cm) This delicate botanical study evokes the printed and painted flora that historically have been used as pattern books by artists and designers such as William Morris and Alexander MccQueen. This artwork paces emphasis on the aesthetic value of the plant while remaining scientifically and botanically correct. It reflects an intimate knowledge and understanding of the subject based on firsthand observation by the artist. Indeed, Sergeant has here sought out to understand the structure of the plant and to communicate it to her audience in an aesthetically pleasing manner. 'The greatest flower artists...

Oil on canvas Signed and inscribed on the reverse Image size: 23 1/4 x 19 1/4 inches (59 x 49 cm) Framed in a Watts frame This study by the Victorian artist Thomas Cooper Gotch cele...

Pair of very decorative Italian Still-life paintings of flowers with vases and classical figures . 18th century, oil on canvas, with original gilt-wood frames. This pair is an exce...

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...

- ANNA CATERINA GILLI or GILLI Anna Caterina Turin 1729- 1751 Her paintings recorded in Turin as a decorative artist for the Royal Palace and the Stupinigi, working in a simil...

This pair of excellent Italian still life oil on canvas with flowers and fruit with classical ruins on the background and colored drapes create harmony of the composition. Notable ...

Pair of very decorative Italian Still-life paintings of flowers with vases and classical figures . 18th century, oil on canvas, with original gilt-wood frames. This pair is an exce...

This pair of excellent Italian still life oil on canvas with flowers and fruit with classical ruins on the background and colored drapes create harmony of the composition. Notable ...