Margaretha Haverman

Flowers in Vase on Ledge - Dutch 18thC Old Master floral still life oil painting

Circa 1740

This simply stunning German 18th century Old Master oil painting is by noted artist C.L. Braun, signed lower right on the table edge. It was painted circa 1780 and has the look of a...

This stunning Dutch 17th century Old Master still life oil painting is attributed to the circle of Jan Davidsz de Heem. Painted circa 1660 it is a magnificent vibrant painting of gra...

This superb trompe l'oeil painting is in the typical manner and quality of the Antwerp Jesuit master Daniel Seghers. Painted circa 1650, the central ca...

This superb trompe l'oeil painting is in the circle and quality of the Antwerp Jesuit master Daniel Seghers. Painted circa 1650, the central cartouche,...

A luxury Still life with lobster, ham and fruits Studio of Jan Davidsz de Heem (Utrecht, 1606 - Anvers, 1683-84) 17th century Antwerp school Bears a signature J D D Heem lower left on the table Oil on canvas, dim. h. 78 cm, l. 109 cm (h. 30.70 in, w. 42.91 inch) An 18th century giltwood frame, framed: h. 97 cm, l. 130 cm (38.19 in. x 51.18 in) This is a studio version after the slightly larger original by Jan Davidsz. de Heem (1606-1683) c. 1645 in the Royal Collection at the Royal Palace, Stockholm. Provenance: Galerie Charpentier auction, May 1st 1965 Sumptuous still life in which precious silver, glass and delicious food are displayed on a truly grand scale. The painter invites a viewer to the feast of red cooked lobster, mouth-watering ham, ripe peaches and plums, and sumptuous bunches of grapes. All of this extravagant food is richly displayed on a wooden table elegantly covered with a dark green velvet tablecloth. Our eye is directly attracted to the big red boiled lobster in the middle on a larger silver dish, with a silver plate of crabs in front. Behind the lobster is a large wicker basket with a white napkin, draped over its front edge and supporting a large silver dish...

Still life with macaw, squirrel and dwarf spaniels Attributed to Reynaud LEVIEUX (Nîmes, 1613 – Rome, 1690) 17th century French School Oil on canvas, dimensions: h. 67 cm, l. 87 cm (26.38 in. x 34.25 in) Magnificent Louis XIV period giltwood frame, early 18th century Dimensions with frame: h. 95 cm, l. 115 cm (37.40 in. x 45.27 in) Like a magic trick, the illusionist power of our painter reveals to us a baroque world where in a theatrical setting, the southern light exalts the colors and materials. In the opulence and extravagance of this exhibition, the tight framing propels forward the earthly beauties against a luxurious background of precious dyes created by the hand of man. The tray laden with fruit is placed on an entablature covered with a sumptuous Persian carpet in shimmering colors. Offering figs, bunches of grapes, apples and burst pomegranate, it transports us to the south of France. A Macaw with red feathers seem to watch over the contents and courageously confront two small toy spaniels installed on a luxurious red velvet cushion generously embroidered with gold threads and decorated with pompoms. Captivated by this tense atmosphere, we barely see another intruder: a squirrel quietly nibbling a bunch of grapes. On the left in the foreground our eye is immediately drawn to two melons, one of which is half-open and ripe. The realistic rendering of his skin with its bumpy texture awakens our sense of touch, it seems that this rough surface created thanks to generous serifs can break the canvas, like a fruit ready to burst. Scattered warm lighting creating chiaroscuro betrays the Italian influence. This is how fruits and animals emerge from the darkness with aesthetic force and a three-dimensional appearance. Our work is a variant of the lost composition of Reynaud Levieux known through replicas and its publication in the catalog of Jean Wytenhove Reynaud Levieux and classical painting in Provence (Aix-en-Provence, 1990, p. 58, repr.), our painting wonderfully illustrates the fame of this composition in its time. Related works by Reynaud Levieux: • Still life – fruit, parrot, dogs and squirrel, Villa Vauban, Luxembourg City Art Museum, oil on canvas, sizes unknown. • Parrot confronting two spaniels on a trimmings cushion, oil on canvas, 76.2 x 96 cm, Christie's Paris, 12/19/2007, lot 489 • Still life with spaniel, oil on canvas, 75 x 90 cm, Inv .: L.83.2, Musée des Beaux-Arts de Marseille Reynaud Levieux, known above all for his religious production imbued with an austere classicism inherited from Raphael and Correggio, his model painters, produced during his long career subtle still lifes intended for a clientele of amateurs and the ornamentation of private mansions. This aspect of his production is less known today, and is an essential milestone for better understanding the talent he displays in this genre. As evidenced by his paintings, the painter was greatly influenced by the Italian master of the Roman Baroque still life Franceso Noletti or Fieravino active in Rome between 1636 and 1654, the period of Reynaud Levieux's first stay in Rome. This period corresponds to a turning point in the art of Italian still life. The first Italian still lifes, around 1600, are meticulous and precise, often with symbolic meanings, linked to religion, the vanity of earthly foods, and the transience of life. A few decades later, Italian still life adopted the baroque style, which suited it wonderfully: it always sought illusion, the faithful rendering of materials, but in abundance, heaps and luxury. Having become a decorative object, it gains in virtuosity and ease what it loses in spirituality. Reynaud LEVIEUX (Nîmes, 1613 – Rome, 1690) Son of a glass painter, Protestant from Uzès, settled around 1612 in Nîmes, Reynaud Levieux was born on January 6, 1613. After initial training in his father's workshop, of whom he will always keep the taste for smooth, contrasting painting and impeccable technique, he left for Rome in 1635. He was part of a team of six painters with Pierre Mignard, Jean le Maire, Charles Errard, Jean Nocret and Nicolas Chaperon. Under the direction of Nicolas Poussin, he copied Raphaël - two painters who would have a profound impact on him. His paintings from this period are not all known and we are beginning to discover them, sometimes hidden under illustrious names, such as Theseus discovering his father's arms which was attributed to Laurent de La Hyre...

Flowers on White Oil on Board 61 x 50.8 cm 24 x 20 in Regarded as one of Ireland’s most accomplished fine art painters, Martin Mooney was born in 1960, in Belfast, Northern Ireland....

Flemish or South German, c. 1700-1720 Hunting trophy with a deer and game, adorned with the accoutrements of the chase Oil on canvas In a period style moulded pine and ebony veneer...