Old Masters Still-life Paintings

Master of the Grotesque Vase (active in Rome and Naples in the first quarter of the 17th century) Still life of flowers in a classic vase oil on canvas 66 x 51 cm, In frame cm. 82 x...

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...

Johann Baptist Drechsler (Vienna 1756 - 1811) Signature and date - barely legible - bottom right Joh Drechsler f. 1789 Still Life with Flowers Oil on canvas (67 x 54 cm. - In perio...

Antonio Gianlisi II, called the Cremonese (Rizzolo San Giorgio, 1677 - Cremona, 1727) - Vase of flowers with architectural foreshortening and gardens Oil on canvas (78 x 116 cm. - F...

A Rare and Significant Discovery. We are pleased to offer this newly discovered vanitas still life by the enigmatic German artist Johann Andreas von Düwens (?-1716). Titled "Vanitas...

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...

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...

Classical Still Life of Flowers by the Miguel Canals Studio, Spain oil on canvas, unframed canvas: 23.5 x 18 inches Provenance: Private collection Condition: very good condition Fo...

Jacob van Huysum (Amsterdam, 1687 - London, 1746) Attributable Still Life with Flowers Oil on canvas (40 x 30 cm. - Framed 61 x 51 cm.) In this sumptuous still life we see a class...

Classical Still Life of Flowers Studio of Miguel Canals, Spanish 1925-1995 stamped with the studio mark verso oil on canvas, unframed canvas: 23.5 x 18 inches Provenance: private col...

Classical Still Life J De Jost (European, 20th Century) oil on board, framed framed: 32.5 x 41 inches board: 25 x 34 inches provenance: private collection, UK condition: very good a...

Follower of Giuseppe Arcimboldo (19th-20th century) - Autumn. 144.5 x 97 cm. Oil painting on canvas transferred to a panel, without frame. - The work is based on the painting by G...

This superb German Old Master still life oil painting is attributed to circle of Johann Amandus Winck and also shows the influences of the Dutch Old Masters. Painted circa 1780 the p...

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...

Complete with chalk and chalkboard frame, this small, highly detailed painting is a delight for the eyes. A school primer, sharpened pencil, some jacks and a bumble bee complete the...

17th century Dutch Still-life, An opulent table with a roemer, oysters and wine attributed to Pieter Van Berendrecht The present painting is a beautiful and characteristic example of the 17th century Dutch genre of "Monochrome Banketjes". An opulent meal is depicted on a large table, which has been covered by a dark grey tapestry and a white table cloth. On luxurious silver plates, several delicacies are being presented amongst which are a large ham, bread, oysters and a lemon. A roemer, surrounded by an elegant vine and a wine flute have been delicately placed between these plates. An intricately decorated silver cup, a salt cellar, an earthenware mustard cup and other accroutements further enrich the composition, creating a feast for all senses. The painter wonderfully captured how each of these objects reflect the light in their own distinct way, it is a testament to his skill that the painting looks so realistic, almost like a 17th century photograph. Pieter van Berendrecht or Pieter Jansz. van Beerendrecht (Haarlem, 1616 - Weesp, 1672) was a painter active in the Dutch Golden Age, who specialized primarily in still-lifes and monochrome banquet scenes. His paintings are known for their monochrome style, influenced by Haarlem painters Willem Claeszoon Heda and Pieter Claesz. The monochrome banquet scenes he specialized in often featured a limited palette, emphasizing subtle variations in tone and texture, which required a high level of skill to execute effectively. A precious pack of black peppers can be seen to the far right, this was a very expensive and coveted possession. These works commonly depicted tables set with an array of foods, drinking vessels, and other dining accoutrements, arranged with a keen sense of composition and lighting. Van Berendrecht was born on May 5th, 1616, in Haarlem as the son of Johannes Pietersz. Berendrecht. He became a member of the local Saint Luke's Guild in 1632. Van Berendrecht's association with the Saint Luke's Guild in Haarlem suggests he was well integrated into the artistic community of his time. The Guild was an important institution for artists, providing them with support and promoting their work. His status as a master painter by 1642 indicates his recognition and respect within this community. Pieter married in Haarlem in 1644 and remarried in Amsterdam in 1653. In 1662, he was a witness at the wedding of his son Pieter in Weesp, who would later follow him in his footsteps as a painter. Van Berendrecht is also mentioned by his contemporary and fellow painter Vincent van der Vinne...

Inscription on back of drawing: Laughter is mad, and reckless mirth— What does she in this weary earth? Should Wealth, or Fame, Our life employ. Death comes, our labour to destroy; ...

Mockery and Hate are the English translations of Sköll and Hati, the Norse mythological wolves that chase the Sun and Moon across the sky and ultimately devour them at Ragnarok. They...

Matthew Cook Ophelia Oil & Acrylic on Aluminum 24 x 24w in 38.25h x 38.25w x 1d in (framed) 97.16h x 97.16w x 2.54d cm MLC021 Bio: Matthew Cook is a realist painter, born in Toledo...

Margherita Caffi (Cremona 1647 - Milan 1710) circle Pair of still life paintings of flowers Late 17th century oils on canvas 60 x 76 cm with frame 70 x 86 cm This pendant of stil...

"The chief difficulty Alice found at first was in managing her flamingo: she succeeded in getting its body tucked away, comfortably enough, under her arm, with its legs hanging down,...

This exquisite floral still life, likely created in the late 17th century, is attributed to a follower of Daniel Seghers. The painting showcases a vivid...

Luca Forte (Naples, 1615 ca. - 1670 ca.) Two Pomegranates and a Flying Butterfly Oil on poplar panel, 12.5 x 22 cm Expertise by Nicola Spinosa, art historian Publications: unpubli...

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

Italian master (early 17th century) - Still life with fruit, vegetables and game. 108 x 133 cm without frame, 118.5 x 144.5 cm with frame. Oil on canvas, in a gilded wooden frame. ...

Italian master (early 17th century) - Still life with fruit, vegetables and game. 108 x 133 cm without frame, 118.5 x 144.5 cm with frame. Oil on canvas, in a gilded wooden frame. ...

Panfilo Nuvolone (Cremona, Italy, 1581 - Milan, Italy, 1651) Still life Oil on slate, without frame cm. 17 x 19.5 - with frame cm. 31.5 x 37.5 Expertise by Prof. Sandro Bellesi and ...

Exotic Birds with Still Life of Abundant Fruit Italian artist, 18th century oil on canvas, framed in Rococo period scrolled frame framed: 24 x 38 inches canvas: 22 x 35 inches proven...

Dead Game Still Life with Still Life of Flowers French partridges and hare. Italian artist, 18th century oil on canvas, framed in Rococo period sc...

Still life with a crystal goblet and a painted ceramic jug Hubert van Ravesteyn (Dordrecht 1638-1683) workshop/cerchia Flemish painter, mid 17th century Oil on canvas 59 x 74 cm. - Framed 74 x 88 cm. Provenance: Hampel Munich, 29.06.2023, lot 1017 € 8.000-12.000 The composition offers us a typical Flemish still life of the 17th century where, carefully arranged starting from the left edge of the table partially covered by a cloth, we can admire, in order, a magnificent Venetian crystal goblet...

Josè de Arellano (Madrid, 1653 - c. 1714) attributable Pair of still lifes of flowers Oil on canvas 37 x 45 cm. - In period frames 50 x 59 cm. Pair of still lifes, each depicting a...

17th Century Neapolitan Maestro Still Life with Cuttlefish Oil on canvas, without frame cm. 48.5 x 63 - with frame cm. 59 x 73.5 Antique shaped and gilded wooden box frame. This bea...

'Summer Flowers' by Margaret Ryder (British b. 1908) signed oil on canvas, framed frame: 33 x 26 inches canvas: 27 x 20 inches provenance: private collection, UK Exhibited at the Roy...

Floral with Urn is in a classical Dutch style that dates to the 17th century. The bright flowers drape the urn in whites, crimsons and pinks, standing out against the darker foliage and flowers on a dark background. The artist is unknown and the age is unknown, but the beauty is unmistakable. Oil on canvas, the petals stand out with brushstrokes heavy with paint. The background paint is rough. In the 17th century paint was mixed with gesso or chalk, with particles forming an uneven surface. This background is in the same style in shades of black and brown. THe painting presents well on canvas stretched over an aged wooden stretcher. The painting has been restored and relined at some point, obscuring the back of the original canvas. The flower colors remain bright. Canvas sight is 30" wide and 50" high. There is no frame. There are small nicks and wear consistent with age. The precise date is unknown but aspects of the work suggest a date later than 19th century, and possibly 17th century that is more typical of this style. Dutch flower still life painting...

17th Century Dutch Maestro Still life with bird, carp & lobster Oil on canvas, without frame 116 x 97 cm Antique frame "a cassetta" in carved, sculpted and gilded wood. Publications...

Francesco Lavagna (active in Naples in the mid-18th century) Pair of Flower Vases Oil on canvas, without frame 98 x 36 cm each - with frame 112 x 50 cm each Antique gilded and shaped...

17th Century Still-life Italian painter Still life Oil on canvas, without frame 58 x 136 cm - with frame 71.5 x 150 cm Antique shaped and gilded wooden box frame Publications: unp...

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

This painting is reproduced in the reference book on Roman still life "Pittori di nature morta a Roma - artisti italiani 1630 -1750" by Gianluca and Ulisse Bocchi - Arti Grafiche Castello 2005 (page 250 figure FS5), where it is mentioned as one of the few paintings that can be given with certainty to Giovanni Stanchi. This highly decorative flower garland reveals a very strong Flemish influence, enabling us to attribute it with certainty to Giovanni Stanchi, the eldest of a sibling group of painters active in the production of still lifes in 17th century Rome. Probably painted before 1640, our garland conceals a mystical message beneath its decorative opulence, which we're about to reveal ... 1. Giovanni, Niccolò and Angelo Stanchi, a brotherhood of still-life painters in 17th-century Baroque Rome The three Stanchi brothers, Giovanni (1608 - after 1675), Niccolò (ca. 1623 - 1690) and Angelo (1626 - after 1675) lived and worked together (like the Le Nain brothers), making identification of the different hands perilous. Giovanni Stanchi's name is first mentioned in 1634, in the register of the painters' guild of the "Accademia di San Luca". Paid membership of the painters' guild provided not only a social network, but also commissions from important Roman families. In 1638, Giovanni Stanchi painted a picture for the Barberini family depicting their coat of arms surrounded by flowers. In 1660, he was commissioned by Cardinal Flavio Chigi to decorate a gallery with still lifes of flowers and fruit. The Chigis remained his principal patrons until after 1673. Thereafter, he received commissions from almost every important family in Rome. An invoice dated 1670 identifies Giovanni Stanchi and Mario Nuzzi as the painters responsible for the still lifes that decorated the famous mirrors in Palazzo Colonna. In 1675, Giovanni Stanchi's name appears for the last time in connection with a project in which he was engaged, together with Andries Bosman and the figure painter Ciro Ferri, to decorate the mirrors of the Palazzo Borghese on Campo Marzio. Although all three brothers were active as painters, the records of their commissions always refer to Giovanni, since, as eldest brother, he was responsible for invoices and contracts. Only in a few cases is the name of one of the younger brothers mentioned. Only paintings with a strong Flemish influence dating from the first four decades of the 17th century, such as this one, can be attributed with certainty to Giovanni, as he was the only painter in the family at the time. 2. History of a genre: the flower garland Jan Brueghel the Elder (Brussels 1568 - Antwerp 1625) is credited with inventing the flower garland theme during his stay in Rome in 1592. Such garlands were originally used to surround a religious subject, often a Marian one. This religious scene could sometimes be painted by another artist, as in the painting acquired in 1608 by Cardinal Borromeo, featuring a Madonna (painted by Henry van Balen), surrounded by a garland painted by Jan Brueghel. This theme was taken up and developed in Rome from 1625 onwards by Daniel Seghers, before the young Giovanni Stanchi made it his own, reinforcing its symbolic dimension (to which we shall return) and moving away from the naturalistic approach of Jan Brueghel to develop a certain idealization of each flower, closer to the style of Mario Nuzzi (Rome 1603 - 1673). Giovanni Stanchi's garlands, of which he was the best Italian interpreter in the 17th century, also reveal him to be one of the most faithful to the Flemish tradition. The book by Gianluca and Ulisse Bocchi lists nine still lifes very similar to ours, all executed on a black background (including the one reproduced as the last photo in the gallery, which belongs to the Pinacoteca Nazionale in Bologna). Because of their proximity to Flemish works, they can be attributed with certainty to Giovanni Stanchi. Four of them belong to private collections, while the others are all in public institutions (Anhaltische Gemäldegalerie, Dessau; Galeria del Palazzo Bianco, Genoa; Musée des Beaux-Arts, Bordeaux; Pinacoteca Nazionale, Bologna; Palazzo Chigi-Saraceni, Siena). Like those in Flemish still lifes, the flowers depicted by Giovanni Stanchi bloom at different times of the year, ruling out any representation of a real bouquet. Alongside the more traditional flowers of our gardens (roses, tulips, hyacinths, daffodils, irises), it is also interesting to note the frequent inclusion of more exotic flowers such as jasmine and blue bindweed (ipomoea indica), which had been recently introduced to Europe from Mexico. Each flower painted by Giovanni Stanchi seems to have its own individuality, a trait characteristic of Flemish painting, of which Stanchi was the best interpreter in Italy. One could say that Stanchi does not depict garlands of flowers, but flowers in a garland, each with its own identity and specificity, making it unique and different from the others. Captured in a low-angled light that seems to have captured them for eternity, they are drawn with clear, precise lines. As if they had been freshly cut, they emerge from the darkness in geometric figures that reinforce the tactile quality of their representation. One of Giovanni Stanchi's distinctive features is to have substituted the central religious representation traditionally associated with Flemish flower...

Classical Still Life of Flowers English artist, 20th century signed oil on board, unframed dated 1980 board: 14.5 x 11.5 inches provenance: private collection, UK condition: overall ...

Classical Still Life of Fruit in Basket with other objects Italian artist, 18th century oil on canvas, unframed canvas: 24.5 x 33 inches provenance: private collection, UK condition:...

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...

Classical Still Life of Fruit in Basket with other objects Italian artist, 18th century oil on canvas, unframed canvas: 24.5 x 33 inches provenance: private collection, UK condition:...

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...

Charming work in the Regency style, mid 19th Century after Sir Thomas Lawrence. High quality painting. Old Christie's Stencil to verso. Would grace any home, suitable for contempor...

Profusion of Flowers by Thomas Webster, British contemporary artist, late 20th century signed oil on board, unframed board: 30 x 18 inches provenance: private collection, UK conditi...

Classical Still Life of Flowers by Thomas Webster, British contemporary artist late 20th century signed oil on board, unframed board: 30 x 18 inches provenance: private collection, U...

German School (18th century) A German Pointer with hunting Equipment Oil on canvas Canvas Size 42 x 35 in Framed Size 48 x 41 in

Profusion of Flowers Classical Still Life Dutch School, 19th century oil on canvas, unframed canvas : 32 x 21 inches provenance: private collection condition: very good and sound con...

Jacob De Wit (Amsterdam, 1695 - 1754) attributable/ workshop Pair of Cupids with Garland of Flowers Oil on canvas 91 x 103 cm. - Framed 104 x 115 cm. Provenance: Christie's (London, Old master Painting 12.12.1996) lot 82 This magnificent composition depicts two cupids holding a garland of flowers, placed on a fine architecture with bas-reliefs and masks, presumably the top of a fountain. One of the two cupids sympathetically holds a part of it with his hands, while his head turns towards the viewer; the second cupid, on the other hand, must have clumsily broken the thread holding its end, and is sitting sullenly with a torch and a tear streaking his chubby cheek. The work, given its stylistic features and compositional taste, can be attributed to the Flemish artist Jacob de Wit (Amsterdam, 1695 - 1754), or to an artist from his workshop, with his typical triumphal and opulent style, which reveals clear influences from Rubens and Van Dijck, but also from Gerard de Lairesse...

This superb vibrant Dutch 18th century Old Master floral oil painting is attributed to circle of Gerard Van Spaendonck. Painted circa 1790, it is a beautiful mixed floral still life flower arrangement in an ornate urn on a marble ledge against a landscape. The flowers include roses, tulips, blue iris and trailing blue morning glory. The carved ornate grey/blue urn on the cream marble ledge create a strong textural contrast with the soft petals and leaves. This is a wonderful example of Dutch 18th century floral oil paintings with fine detail and brushwork. Provenance. Private Collection, UK (by descent). Condition. Oil on canvas, 30 inches by 25 inches unframed and in good condition. Frame. Housed in an ebonised frame, 39 by 34 inches framed and in good condition. Gerard van Spaendonck (1746-1822) was a Dutch painter. Gerard was born in Tilburg, an older brother of Cornelis van Spaendonck...

Ornate Classical Fruit Still Life Italian School, 17th century oil on canvas, unframed canvas: 22 x 27 inches provenance: private collection, UK condition: very good and sound condi...

A rare and most attractive still life by William Smith of Chichester. The sumptuous textures of the peaches and grapes contrasting with the dark ba...

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

This stunning 17th century Dutch Old Master Golden Age floral oil painting is by noted Dutch artist Simon Pietersz Verelst. The full attribution...

Classical Still Life of Flowers by Robert Dumont-Smith, British 1908-1994 signed oil on copper, framed inscribed verso framed: 9 x 11 inches board: 6.5 x 8.25 inches provenance: priv...

Still Life of Fruit French School, mid 19th century indistinctly signed lower right corner oil on canvas laid on board, framed framed: 27 x 35 inches board: 25 x 33 inches provenance...

Outstanding early 18th-century portrait of a seated Spaniel dog in a landscape with an array of fruits. Attributed to the work of Tobias Stranover. ...