Still Life Allegory of the Arts Details Luttichuys Details

Display gallery

Dead Continuing Things: withal life 1660-1740

The paintings are listed in the social club that they appear in the display at Tate Britain.

 Paintings i-iv:  Walton / van Roestraten / van Roestraten / Ferguson

1. Parry Walton d.1702.
Still Life before 1686.Oil on canvas.
Lent past the Trustees of Dulwich Picture Gallery, London
Parry Walton was a dealer, restorer, copyist and however life painter.  This is his merely known surviving work, attributed to him in the inventory of the Cartwright drove which was bequeathed to Dulwich Higher in 1686.  The composition and fashion is reminiscent of the Dutch artist Simon Luttichuys (1610-61) who was agile in U.k. in the 1630s (where he was known every bit 'Littlehouse') before returning to Amsterdam.  This is mayhap a copy by Walton of a still life past Luttichuys, the original of which is now unknown.

2. Pieter van Roestraten 1630-1700
A Porringer, German language Cup and Oysters c.1680
Oil on canvass
Lent by the Victoria and Albert Museum, London. Bequeathed past Lionel A. Crichton 1939
Pieter van Roestraten was a pupil of Frans Hals (c.1580-1666), later marrying his principal's daughter.  He established himself as a nonetheless life painter in London in the 1660s and is best known for his depictions of silverware - painting 'portraits' of luxury objects.  The centrepiece of this motion-picture show is a German tinned and gilt copper 2-handled cup and cover (c.1650). Next to this is an English language two-handled argent cup or 'porringer' (c.1650-lxxx), lying on its side.  This object appears in other works by Roestraten, so was probably a stock item owned by the artist.

3. Pieter van Roestraten 1630-1700
Yet Life with Silver Wine Decanter, Tulip, Yixing Teapot and Globe c.1690
Oil on canvas
Lent by the Victoria and Albert Museum, London. Bequeathed by Lionel A. Crichton 1939
Silver decanters were used to serve wine, only by the 1690s had been superseded past the employ of lead drinking glass. The role now redundant, their value laid in their brandish of fabric wealth.  The example shown every bit the centrepiece of this motion picture is probably Dutch from around 1690.  A red stoneware teapot is prominently positioned aslope it, the drinking of tea becoming fashionable among the wealthy at this time.  The earth in the groundwork reminds us that many of these exotic new and expensive items were arriving via merchandise from distant places, including tea from China.

4. William Gow Ferguson c.1633-1695
All the same Life 1684
Oil on canvas
Tate. Purchased 1955
William Ferguson is thought to have been born in Scotland but was active as a painter in the Netherlands. This film is an example of his many arrangements of expressionless birds and animals – known every bit the 'gamepiece'. The 2 principal specimens in the centre of the composition are a partridge (left) and magpie (right), both birds commonly eaten in the 17th century.  The hunting equipment on the left remind usa that this is a statement of wealth and social status, hunting being the preserve of the elite.

Paintings v-7:  Collier / Collier / Collier

5. Edward Collier c.1642-1708
Still Life with a Book of Wither's 'Emblemes' 1696
Oil on canvas
Tate. Purchased 1949
The Dutch painter Edward Collier lived in Leiden and Amsterdam, but was active in London from 1693. He is peculiarly known for his vanitas still lifes which warn against the lure of textile wealth and earthly desire. While the musical instruments, wine and jewels represent the fleeting pleasures of life, the skull and hr-drinking glass symbolise the inevitability of death. In the summit left corner a funerary urn holds in identify a piece of newspaper with a Latin inscription which comes from the Old Testament book of Ecclesiastes: 'Vanity of vanities, all is vanity'.

6. Edward Collier c.1642-1708
An Allegory of Wealth and Temporal Power: a vanitas all the same life of courtroom jewels in a casket, a world, sword, and a miniature of Charles I, all resting on a fabric-covered table 1705
Oil on sheet
Lent from a private drove
This large vanitas still life is a brandish of wealth and worldy goods, but also a warning that such pleasures are only temporary.  The open volume has the Latin phrase: 'no one can call himself blessed before decease'. Like about painters of all the same life, Collier had a collection of stock items that he re-used in his paintings.  The ornate golden goblet in the eye of the composition can exist seen in his Still life with a Volume of Wither's 'Emblemes' (hanging to the left of this picture) and the globe is repeated in his Still Life (displayed to the right).

7. Edward Collier c.1642-1708
Nevertheless Life 1699
Oil on canvas
Tate. Purchased 1948
This still life featuring a globe and a book with a description of the globe reminds usa of the global trade and exploration that led to the wealth and opulence that tin exist seen in many still life pictures. This is ane of a number of similar compositions by Collier, some near identical but with the add-on or subtraction of some items.  It suggests that he is not producing works individually for a specific patron, but is painting speculatively and selling his works via auctions that were held in taverns, coffee houses and commercial exchanges.

Paintings 8-10: Collier / Collier / Warrender

eight. Edward Collier c.1642-1708
A Trompe fifty'Oeil of Newspapers, Letters and Writing Implements on a Wooden Board c.1699
Oil on canvass
Tate. Purchased 1984
T03853
Collier was particularly noted for his trompe l'oeil pictures, painted to demonstrate the creative person's ability to create in paint the illusion of real, tangible objects. A alphabetic character rack with a newspaper, letter of the alphabet, quill pen, sealing wax and comb was one of Collier'due south favourite subjects. He painted many variations of it, often using the same objects though arranging them slightly differently.  Although this picture bears no date, a clue is given by the folded London newspaper at the tiptop of the rack which is dated 'Monday, May xv ...': the most likely Monday to fall on this appointment was in 1699.

9. Edward Collier c.1642-1708
Trompe l'Oeil with Writing Materials c.1702
Oil on canvas
Lent by the Victoria and Albert Museum, London
X41247
This picture show displays objects used in correspondence, including sticks of sealing wax, a sealing postage and a paper knife.  The quill pen and newspaper are shown in near identical class to the painting displayed to the left, the paper with near exactly the same creases and curls. There is also a folded news canvas, a copy of the Apollo Anglicanus annual and a medal representing Charles I. These three items allude to the accession of Queen Anne, which occurred in 1702. The creative person has signed the painting by including his proper name on the letter: 'for Mr E Collier, Painter at London'.

x. Thomas Warrender fl.1673-1713
Even so Life 1708
Oil on canvas
Lent by the Scottish National Gallery, Edinburgh. Purchased 1980
X41509
This trompe l'oeil letter of the alphabet rack is the simply known work by the Scottish painter Thomas Warrender.  The limerick is very shut to the alphabetic character rack paintings past Edward Collier, which he must have known.  Warrender infuses his piece of work with coded political references.  The Act of Union betwixt England and Scotland (1707) is symbolised by the overlapping playing cards with the royal coats of arms of each nation.  Scottish Presbyterians subscribed to the National Covenant (shown top centre) and saw the Union equally a means of protection against Catholicism and the 'dangers of Popery' (acme right).

Painting 11: Collins

11. Charles Collins c.1680-1744
Lobster on a Delft Dish 1738
Oil on canvass
Tate. Purchased 1981
T03301
The cooked lobster is a recurrent motif of still life paintings of the 17th century.  They are frequently shown alongside other luxury foods on table settings known as banketjes ('footling banquet pieces') and feature regularly in paintings by artists such as Willem Kalf (1619-93). This depiction of a cooked lobster on a Delftware dish, resting in an architectural niche, is 1 of only two known works of this nature produced past the Irish-born artist Charles Collins.  He is amend known for his decorative arrangements of birds, often in watercolour.

Paintings 12-14: Verelst / Verelst / Monnoyer

12. Simon Verelst 1644-c.1710/17
Vase of flowers
Oil on canvass
Lent by the Syndics of the Fitzwilliam Museum, Cambridge
X41501
Simon Verelst moved to London from the netherlands in 1669 and became the leading flower painter in United kingdom of great britain and northern ireland.  His mastery at realism amazed viewers of his works.  The famous diarist Samuel Pepys noted how he felt drawn to touch 1 of his paintings to convince himself that the dew drops he saw were non real.  The inclusion of the pocket watch on the ledge by the base of operations of the vase may refer to the ability of the creative person to freeze time, and capture the beauty of the flowers for the viewer all year circular.

13. Simon Verelst 1644-c.1710/17
A vase of flowers
Oil on sail
Lent past the Syndics of the Fitzwilliam Museum, Cambridge
X41502
Given the easy availability of flowers today, it is difficult to appreciate the wealth and novelty that certain varieties represented to the seventeenth century viewer of these paintings. Tulips were exotic bulbs from the due east introduced in Europe in the mid-sixteenth century and available simply to the few.  In the Netherlands in the early seventeenth century 'tulip mania' caused the price of a single bulb to soar to every bit much as a house, and despite the crash in prices in 1637 they remained expensive plants.  Striped varieties, such as those shown here past Verelst, were the most coveted.

14. Jean-Baptiste Monnoyer 1636¬1699
All the same life of mixed flowers in a vase on a ledge
Oil on canvas
Lent by the Syndics of the Fitzwilliam Museum, Cambridge
X41503
The French painter Monnoyer settled in United kingdom of great britain and northern ireland in the early on 1690s after a successful career in Paris, his works collected in large number by the French male monarch Louis XIV.  He was particularly noted for his large-calibration paintings of flowers, which were considered so existent that the only thing they lacked was olfactory property.  He was brought to Britain to work for the Duke of Montagu, and connected to exist commissioned past aristocrats to produce works for their grand houses. He also painted the flowers in the background of works by the leading portrait painter, Godfrey Kneller.

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Source: https://www.york.ac.uk/history-of-art/court-country-city/display2012/display-gallery/