18th Century and Earlier Still-life Paintings

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...

Bonaventura Bettera (Bergamo, 1663 - documented until 1718) Still Life with Musical Instruments (LINK) Oil on canvas 90 x 116 cm - Framed 105 x 131 cm. The pendenat of this paintin...

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

This exquisite early 18th-century French still life depicts a bouquet of vivid blooms set in an urn-shaped glass vase. It’s reminiscent of flower pieces by the French painter, Charle...

Portrait of Mrs Emma Burward, 19th Century by Sir JOHN HOPPNER (1758-1810) Large 18th century portrait of Mrs Emma Burward, oil on canvas by Sir John Hoppner. Excellent quality and...

James Shaw (fl.1769-1784) Still life of fruit and nuts Oil on canvas Canvas Size - 13 1/2 x 17 3/4 in Framed Size - 16 1/4 x 20 1/2 in Born in Sedgley in Staffordshire, it is unclea...

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...

Extraordinary in its beauty and rarity, this early 16th-century German painting of an illuminated manuscript showcases a masterful trompe l’oeil effect. Unequivocally among the finest of only 17 known works of its kind, the oil on panel is both rare and captivating. With illusory pages that appear to leap from the panel, this virtuosic painting of a hand-colored book suspended into space is exceptional. Created more than four centuries ago, the composition evokes a strong sense of realism. Executed by a masterful Northern Renaissance artist of the German school, the illuminated manuscript pictured shows the astonishing splendor of the historical books of the period. Sumptuously decorated with scrolling floral motifs in the margins, the manuscript appears before a deep black background, heightening the trompe l’oeil illusion of depth through its strong contrast and the naturalistic shadows falling across the fluttering pages. It has been said that of the 17 known versions of this composition, ours stands alone in its precision in both perspective and the play of light and shadow. The visible folios feature choral arrangements and other texts, indicating the pictured manuscript likely served a role in the celebration of church services. In fact, other examples of manuscript paintings...

Huile sur panneau de pin Dim sans cadre 60/52 Dim avec cadre 68/59 Ecole italienne Entourage de Margherita Caffi Margherita Caffi (Milan, 1648 - Milan, 20 septembre 1710), est une ...

This superb 18th century Old Master floral still life oil painting is attributed to Flemish artist Pieter Casteels III. Painted circa 1730 it is a garland or swag of flowers, somethi...

Felice Boselli (Piacenza 1650 - Parma 1732) - Shepherd with flock and game. 155 x 112 cm without frame, 170 x 126 cm with frame. Oil on canvas, in a faux marble lacquered wooden frame. The painting has stylistic affinities with "Game with children playing with a dog" (Parma, Galleria Nazionale) and with the pair of paintings "Old man and girl...

Giacomo Nani (Porto Ercole 1698 - Naples 1770) Still life with flowers, riser with crystals and liqueurs, icebox, china and basket with biscuits (LINK) Oil on canvas cm. 64 x 73 - Framed cm. 83 x 93 Provenance (see images): - Dorotheum (April 14, 2005) Vienna, Lot 37 Est: €20,000 EUR - €30,000 EUR - Dorotheum (October 15, 2008), Lot 281 East: €18,000 EUR - €25,000 EUR The proposed painting is a work by the Neapolitan painter Giacomo Nani (Porto Ercole 1698 - Naples 1770) and delights us with a selection of his favourite elements in the creation of his precious still lifes; On a stone shelf, on which an embroidered carpet is laid, we see a series of objects, including two painted porcelain cups, a riser with two liqueur bottles and crystal goblets; then there is a transparent glass vase filled with flowers, and finally some foodstuffs, a basket with biscuits, a wrapped Neapolitan aubergine and an icebox with an oyster. Everything is arranged to create a refined and elegant ensemble. A pupil of Gaspare Lopez (Naples - Venice ca. 1732), one of the leading generalists of the time, Giacomo Nani developed an autonomous personality over time, much appreciated by 18th century nobles and collectors, including the Duchess of Terranova and the Duke of Limatola, as well as the Bourbons. Numerous in particular were his paintings owned by King Charles of Bourbon, which are now preserved in Naples and Caserta at the picture gallery of the Royal Estate of Carditello. Twenty-four canvases by Giacomo Nani were sent to Spain by Charles of Bourbon as gifts for his mother, Elisabeth Farnese, and are today kept at the Royal Palace of Riofrío, one of the residences of the Spanish royal family, and at the Royal Palace of the Granja de San Ildefonso, in Segovia. A painter of still lifes, his works were often devoted to a wide variety of foodstuffs. In his compositions, foodstuffs of the period appear and, in particular, in the series conserved in Spain, most of the dishes that were served on the tables of the Neapolitans in those years are depicted as in a select menu. He sometimes depicted objects typical of Neapolitan tradition, as in the present painting, the typical rosolio wine, Capodimonte ceramics...

Francesca Volò Smiller, called Vincenzina (Milan, 1657 - 1700) - circle of Floral composition Oil on canvas (97 x 72 cm. - in octagonal frame 100 x 84 cm.) A rich floral compositio...

- 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...

Luca Forte (Naples, 1615 ca. - 1670 ca.) Title: Walnuts, Chestnuts, a Bunch of Grapes and a Quince Medium: Oil on walnut panel Dimensions: 12.5 x 22 cm Expertise by Nicola Spinosa, ...

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...

Great Italian painting from the first half of the 18th century. Oil on canvas artwork from the Lombard school depicting a splendid musical still life, of notable pictorial quality. W...

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...

This dramatic painting, attributed to Paul de Vos, captures a nocturnal assault on a chicken coop. At the center of the composition, an owl has already seized a hen in its powerful t...

Flower garland with a portrait of the Virgin Francesco Trevisani (Capodistria 1656 - Rome 1746) and Niccolò Stanchi (Rome 1623 - 1690), attributable Oil on canvas 66 x 49 cm. - In f...

Gaspar Peeter Verbruggen 1664-1730 Still Life of Fruit in a Wicker Basket with Bird Oil on oak panel Image size: 8 1/4 x 7 1/2 inches (21 x 19 cm) Contemporary Dutch ebonised style f...

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...

Still Life Of Flowers in a Glass Vase including, Roses Chrysanthemums, Pinks 17th Century Large 18th Century Dutch old Master still life study of various flowers in a vase, oil on canvas. Magnificent study of various flowers including Roses Chrysanthemums, and Pinks in a glass vase beside peaches and grapes in a stone niche...

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...

Abstract Yellow and Green (Yellow, Green and Black Tablescape Oil Painting) by New York School Painter and WPA artist, Lionel Gilbert Signed, lower left This horizontal painting was...

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...

Early 18th Century still life, very close to Pedro de Camprobín.

Great Italian still life from the first half of the 17th century. Artwork oil on canvas depicting an amazing vase with flowers of excellent pictorial quality. Painting of exceptional...

Pair of hand-painted, oil on canvas paintings from a boiserie room. Gilding detail on hand-painted frames.

SPANISH SCHOOL 18th CENTURY STILL LIFE WITH WALNUTS, MELON, GRAPES AND ORANGE unsigned oil on canvas 15-3/4 x 21 inches (40 x 53 cm.) framed: 24-1/2 x 28-3/4 inches (62 x 72.5 cm.) ...

Still Life Of Fruit, Wine, Bread & Nuts, 17th Century circle of FLORIS CLAESZ VAN DYCK (1575-1671) 17th century Dutch Still life of fruit, oil on panel. Excellent quality and condi...

Antonio Tibaldi (Rome, c. 1635 - post 1675) Workshop of Still Life with Armour, Curtains and Sculpture Oil on canvas 53 x 77 cm. - in frame 65 x 89 cm. Beautifully scenic painting ...

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...

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...

Still Life Of A Book Featuring A "Monastic Ode", 18th Century English School - Unique Still Life - Signed W. J. Fine large 18th Century English still life study of an opened book l...

Vanitas 18th century French School Oil on canvas Old frame gilded with gold leaves Dim canvas : 73 X 60 cm Dim frame : 93 X 80 cm Certificate of authenticity

Panfilo Nuvolone (Cremona, Italy, 1581 - Milan, Italy, 1651) Title: Still life Medium: Oil on slate Dimensions: without frame cm. 17 x 19.5 - with frame cm. 31.5 x 37.5 Expertise by...

Bonaventura Bettera (Bergamo, 1663 - documented until 1718) Still Life with Musical Instruments (LINK) Oil on canvas 90 x 116 cm - Framed 105 x 131 cm. The merit of the 17th centur...

STILL LIFE WITH BIRDS AND RAISINS, WORKSHOP OF FRANS SNYDERS (1579-1657) An exquisite and attractive work, our painting with its rich and harmonious composition is one of the remarkable examples of the passion of art lovers of the 17th century for still lifes, the genre in full ferment in Antwerp in early 17th century, long before its arrival to Paris in the 1630s & 40s. Our painting presents on an entablature covered with wine-colored velvet cloth, various objects in an artistic arrangement which is intended to be spontaneous. The tight framing, like an extract and the piled up objects suggest a plenitude and an infinite richness of what nature can offer and reinforce the feeling of prosperity. The wicker basket overflowing with translucent bunches of grapes in green and purplish hues with icy reflections dominates the right side of the painting. In the center is the game birds, partridge, snipe, sparrow, pincon and others, each bird with a fine and precise design, transparent plumage, the meticulous rendering of the different beak or leg parts, zebrures and streaks of the down. On the left, two stacked white and blue Chinese...

Franz Werner Von Tamm known as Monsieur Daparait (Hamburg 1658-Vienna 1754) Attributed to Still life of fruit with lizard Oil on canvas, 58 x 74 cm. Framed 76 x 92 cm. This magnifi...

Painting oil on canvas measuring 67 x 45 cm without frame and 82 x 60 depicting a vase of flowers by the painter Niccolò Stanchi ( Rome 1626 - 1690 ). The Stanchi brothers (Giovanni...

Still life Of Flowers In A Classical Urn, 18th Century Dutch School Huge 18th Century Dutch School Old Master Still Life of flowers...

Oil on panel, monogrammed mid left Image size: 15 x 12 1/4 inches (38 x 31 cm) Dutch ripple style frame Loeding was born in Leiden in around 1637 and was admitted into the Leiden Guild of St Luke in 1664. Like other Dutch cities, Leiden required membership in the guilds in order to sell wares falling under the various specifications. There is no record of his artistic training or influences, but he likely belonged to the circle of artists including Pieter de Ring and Gerrit Dou, who founded and maintained the Guild.  Loeding is last registered as a member in 1673. One of the most versatile genres that emerged from Dutch 17th Century artistic specialisms is that of 'pronkstilleven'; a laden table with a variety of rich textures, like ornate glassware, gilded goblets, exquisite nautilus cups...

Flemish school of the 17th century Oil on canvas 52 x 60 cm (66 x 76 cm with the frame) Very beautiful old frame in gilded wood Good condition (a few repaints and craquelures) The style of our painting reminds the first period of Flemish still life of the 17th century, very descriptive and meticulous. We think of painters such as Osias Beert, Jacob van Es and Clara Peeters...

Giovanni Stanchi (Rome 1608 - 1675) or Niccolò Stanchi (Rome 1623 - 1690), workshop of GARLAND OF FLOWERS WITH PORTRAIT OF THE VIRGIN Rome, First half of the Seventeenth century o...

This painting depicts a fascinating allegory of winter, attributed to Francesco Zucchi, an 18th-century Venetian artist. The work depicts an anthropomorphic figure composed of fruits...

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...

17th Century Dutch Maestro Title: Still life with bird, carp & lobster Medium: Oil on canvas Dimensions: without frame 116 x 97 cm - with frame 153 x 133,5 cm Antique frame "a casset...

Nicolas Van Houbraken (Messina, Italy, 1668 - Pisa, Italy, 1733) Title: Still life with mushrooms Medium: Oil on canvas Dimensions: without frame 26 x 32 cm - with frame 38.5 x 33.5...

Oil on Canvas. The composition features the following in the center a hanging hare, flanked by some quail and a pigeon; on the destr side, a wicker basket containing chestnuts and p...

Painting, oil on canvas, measuring 74 x 108 cm without frame and 93 x 125 cm with a wonderful coeval frame, depicting a 'posed' still life with flowers, fruit and mushrooms by the painter Nicola Casissa ( Naples 1680 - 1731 ). This sparkling posed still life gives an account of the richness and scenography that such images achieved in Naples in the late Baroque period: we know from inventories how the still life genre reached unprecedented heights. This delicate canvas, of exquisite workmanship and appreciable for its excellent state of preservation, shows us definite influences of the work of Andrea...

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

Francesco Lavagna (active in Naples in the mid-18th century) Title: Pair of Flower Vases Medium: Oil on canvas Dimensions: without frame 98 x 36 cm each - with frame 112 x 50 cm each...

"Cassetta" frame in sculpted, carved, gilded wood. Expertise by Gianluca Bocchi.

Still Life Of Pears, Apples and Grapes in an upturned basket, 17th Century circle of BARTHOLOMEUS ASSTEYN (1607-1667) Huge 17th Century Dutch Still Life of apples, pears and grape...

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...

Floris van Schooten (1585/88-1656) Still Life Oil on canvas, 121 x 85 cm Provenance: Private Collection Floris van Schooten, a Dutch painter mainly active in Haarlem, is renowned ...

Giovanni Paolo Castelli known as Spadino (Rome, Italy, 1659 - 1730) Title: Still life Medium: Oil on canvas Dimensions: without frame 81 x 31 ...