Flemish School, 17th Century

Flemish Old Master oil painting of a still life with flowers in a vase

Maurice Potier (French, 1926 – 2002) Vase bleu et fruits (Blue vase and fruits) Oil on canvas Signed ‘M Potier’ (lower right) 27.1/2 x 23.5/8 in. (70 x 60 cm.)

R. Bazin (French, 20th Century) Still life with kettle, cup and jug Oil on canvas Signed ‘R BAZIN’ (lower left) 15 x 18 in. (38 x 46 cm.)

Louise-Jeanne Cottard-Fossey (French 1902-1983) Still life with apples and wine bottle Oil on canvas, Signed ‘L COTTARD-FOSSEY’ (lower right) 18.1/8 x 21.1/2 in. (46 x 54.7cm.) Exh...

Jean Claude Aujame (French, 1905 – 1965) Nature Morte aux pommes Signed and dated ‘Aujame 62’ (lower right) Oil on canvas 23.1/2 x 32 in. (60 x 81.3 cm.)

Henri Clement-Serveau (French, 1892-1972) Nature morte aux fruits Oil on canvas Signed ‘Clement Serveau’ (upper right) 10.1/2 x 16 in. (26.8 x 40.5 cm.)

Serra (French, 20th Century) Still life with peaches and bottles Oil on canvas Signed ‘SERRA’ (lower right) 18 x 24 in. (45.7 x 61 cm.)

J. Clays (British, 19th-20th century) - Still life with fruit basket. 61 x 51 cm without frame, 67.5 x 58 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. ...

This unpublished composition is a recent addition to Adeodato Zuccati’s catalog. The study of this painting by Gianluca Bocchi, an Italian art historian specializing in Italian still lives, is available upon request. This composition is typical of the productions of Adeodato Zuccati, an Emilian painter...

Suiveur De Cornelis De Heem (1631-1695) Bouquet de fleurs dans un vase, huile sur toile. 69x56,5 cm

Wonderful Early 19th-century Still life of different fruits on an earth bank. Very much painted in the same way as George William Sartorius painted his still lives this piece has al...

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...

Pair of large floral still lifes in the Old Master style Continental, Early 20th Century Canvas: Height 120cm, width 90cm Frame: Height 141cm, width 111cm, depth 6cm This pair of b...