17th Century Still-life Paintings

Still Life of Game with Spaniels and Falcons in Landscape Setting Carstian Luyckx (Flemish, 1623 – c.1675) Oil on canvas Circa 1670 Unsigned 43 ½ x 59 1/8 in.; Frame 52 7/8 x 68 7/...

This previously unpublished painting was first securely attributed to Govert Dircksz Camphuysen in 1944, following an examination at the Nationalmuseum in Stockholm during which the ...

Outstanding still life Salami, Bread, Biscuits Glass and Glass Bottles, realized with the technique of Oil on Canvas and surrounded by a modern wooden frame. With its soft tones and...

This wonderful 17th-century French School vanitas painting is a meditation on mortality and the transience of earthly pleasures. The composition centers on a finely rendered human sk...

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...

Isaac Van Duynen (Dordrecht 1628-1679 The Hague) Freshwater fish, an eel and a frog, on a table Oil on canvas Canvas size 37 x 51 in Framed size 44 x 58 in Provenance with Simon Dic...

17th-century Flemish school Still life with flowers Oil on panel 33 x 25 cm In frame 50 x 42 cm The painting depicts a wonderful still life of flowers, where numerous colour...

Francesca Volò Smiller, called Vincenzina (Milan, 1657 - 1700) attributed Floral composition overflowing from an embossed vase (LINK) Oil on canvas 79 x 61 cm. Framed 89 x 70 cm. T...

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 ...

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...

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

17' century Still-life oil on canvas with Fruits and an amazing red parrot background with landscape and garden with architectural elements. Gilt painted frame . It is attribute...

Still life with fishes and oysters is an original oil on canvas realized in the 17th Century by Neapolitan School Master. Impressive in size as well as for its vivid representation o...

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...

Still Life with fruits is an original oil on canvas realized in the 16th Century by an Italian School Master. Original oil painting on Canvas. The painting represents a still life...

Antonio Tibaldi (Rome, c. 1633 - c. 1684) Still Life with Precious Objects, Brocade Fabrics and a Plate of Sweets c. 1650/1660 Oil on canvas, 96 x 130 cm In frame 115 x 150 c...

Francesco Noletti known as the Maltese (Malta 1611-Rome 1654) Workshop/circle of Still life with musical instruments, toys, armour, textiles and precious objects Oil on canvas (52 x 78 cm. - in frame 71 x 102) This painting, of beautiful scenic effect, depicts a still life composed of a rich display of precious objects, arranged with an apparent disorder, one part on a table and the other on the floor, all theatrically behind a hanging drape from which tassels swing. Among the objects, our author has reproduced we can see parts of a parade armour with gold borders, jugs and plates...

A fine Dutch still life Old Master by Leendert de Laeff which is signed and dated 1664. This oil on canvas on panel depicts a still life of fruit with insects and butterflies. A supe...

A magnificent oil on canvas representing a Vase of Flowers in a Metal Vase with a Mask, realized by an italian artist in the first half of 17th Century. In very good condition, it i...

This lovely 17th century Old Master floral oil painting is attributed to the circle of noted Franco Flemish artist Jean-Baptiste Monnoyer. Painted circa 1670 it is a still life of a ...

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...

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (2 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emi...

17th Century Italian School. A Still Life of Fruit on a Marble Ledge, with a Ewer to the side, Oil on Canvas, Unframed, 22" x 26.5" (56 x 67.3cm). Con...

Attributed to Giacomo Recco (1603-1653), still life "Glass jug with flowers," oil on canvas in gilt frame. This fine canvas depicts a glass pitcher filled with flowers resting on a ...

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (1 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emi...

Luca Forte (Naples, 1615 ca. - 1670 ca.) Title: Two Pomegranates and a Flying Butterfly Medium: Oil on poplar panel Dimensions: without frame 13 x 22.5 cm - with frame 31 x 40 cm Ant...

JUAN DE ARELLANO Spanish, 1614 - 1676 CESTA DE FLORES signed "Juan de Arellano" (lower lright) oil on canvas original period carved, gilt and polychro...

Floral Garland with Sacred Imagery Period: Likely 17th–18th century Medium: Oil on canvas Style: Flemish or Dutch Baroque Frame: Antique wooden frame This exquisite oil painting is a stunning example of the Flemish or Dutch Baroque tradition, featuring a richly detailed floral garland encircling a central religious scene. The technique and composition recall the collaborative works of Jan Brueghel the...

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...

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (2 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emi...

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 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...

Still Life is a superb original oil painting on panel, realized by the Italian artist Vincenzino Volò, best-known as Vincenzino dei Fiori (Rémondans, 1620-Milan, 1671) around 1640-1660. Original Title: Natura morta di fiori entro vasi biansati (Still life of Bouquet in two-handled vases). On the back of the panel, two labels are glued "da Milano", "A Piacenza", ("from Milan" "to Piacenza"). The labels indicate a transfer of the artwork, perhaps in the first half of the twentieth century, from Piacenza to Milan. While instead the style and technique make us understand the artwork was commissioned or created in the Milan of Federico Borromeo, archbishop of Milan from1595 to 1630. The author of the painting can be identified in the person of Vincenzo Volò, a talented artist who fell into oblivion, recently rediscovered and appreciated. Founder of the Vincenzini family, he was born in Franche-Comté in 1620 (in the past its birth was erroneously fixed to 1606). In the mid-forties of the seventeenth century he arrived to Milan, and held a leading artistic role: he was the founder of a family workshop that imposed his style and strongly influenced Milanese collecting with his still lifes and influenced generations and generations of painters. Vincenzino also was the first painter of still life to work on the Bella Island for Vitaliano VI Borromeo and collaborated with well-known figure painters such as Francesco Cairo, Scaramuccia, Nuvolone and Fumagalli. As regards the style, the archaic tendency of Lombard painting of still life from the early decades of the seventeenth century is clearly evident, looking at primitivism and the happy schematization of the composition of the artwork. The dating of this artwork could be fixed around the first half of the seventeenth century because it is confirmed by the type of support, a wooden panel, always used by Vincenzino. As for the subject, Volò generally painted bouquets of flowers in two-handled vases placed on transversal planes seen from the front. It is possible to compare this work with other Dei Fiori's artworks: the pair of Flower Vases...

Aniello Ascione (Naples, news from 1680 to 1708) Still life with festoon of flowers and fruit Oil painting on canvas 89 x 117 cm - in frame 104 x 132 cm. With expertise and attrib...

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...

Meiffren Conte or Comte (Marseille, France, 1630 – 1705) Title: A pair of paintings, still lifes with magnificent jugs and shell Year: 1690 ca. Medium: Oil on canvas Dimensions: wit...

Oil on canvas depicting a still life, a pantry with a table set with a copper basin and different kinds: hanging game, trays full of fruit and cutting boards with fish. On the left o...

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...

Stilllife with dead Birds, Fruits and Vegetables Oil on Canvas, 101 x 84 cm signed (upper left) „G Libald “ (G and L ligated) Provenance: Private Collection, Brussels; Private Coll...

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...

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...

Frans van Everbroeck (Antwerp, ca. 1628 - London or Antwerp 1676/1693) attributed A stone cartouche surrounded by garlands of flowers with tulips, roses, daffodils, peonies and daisi...

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 ...

Pair of 1600s Nature Morte di Fiori by 17th-century Italian school, unframed. Oil paintings on canvas with a dark background and finely defined flowers these Baroque still lifes of t...

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...

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...

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...

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...

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...

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 ...

Luca Forte (Naples, 1615 ca. - 1670 ca.) Title: Walnuts, Chestnuts, a Bunch of Grapes and a Quince Medium: Oil on walnut panel Dimensions: without frame 13 x 22.5 cm - with frame 31 ...

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...

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...

Lombard Artist of the 17th Century Title: Still life with birds and burning fuse Medium: Oil on canvas Dimensions: without frame 79 x 109 cm - 103 x 136 cm with frame "Cassetta" fram...

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 Not signed E...

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

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...

Il Mercato a Piazza del Popolo è opera del pittore olandese Jacob van Huchtenburgh, nato a Haarlem e presente, nel corso dei primi anni Sessanta del Seicento, a Roma, a stretto conta...

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...

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...