17th-century Italian School Still Life with Flowers - Antique Oil Painting

Name: 17th-century Italian School Still Life with Flowers - Antique Oil Painting
Brand: Antique
SKU: SA949027
Availability: SoldOut

17th century

Sold by Brave Fine Art

Description

This late 17th-century Italian still life painting depicts an urn with flowers, a dish of fruit, porcelain bottle and bird. It was previously in the collection of the National Trust.

Story

Imagine, if you will, that it’s 1680 and you’re the wife of an upcoming Italian merchant. Your home is nestled into the countryside around Turin and surrounded by picturesque flora. Every surface is awash with fineries, many imported to demonstrate new wealth - after all, your guests need to be impressed. And in the hall for dining, this large still life, which you acquired from the workshop of a local artist, proudly hangs alongside religious works and a pair of good portraits.

Context

Stylistically, this painting is unusual but aligns with certain Italian still lifes from the late 17th/early 18th centuries. It lacks the fine details of a well-trained hand but carries an abundance of charm. It probably originated from the workshop of an Italian master who understood the appeal of Dutch and Flemish works. One such master was Orsola Maddalena Caccia (1596-1676), a nun who began her artistic career at the Ursulines convent at Bianzè. Her father, Guglielmo Caccia, was also an artist.

Caccia produced a vast array of works throughout her life and created a studio with apprentices at a convent at Moncalvo. She’s regarded as a pioneer of still life painting in Italy. Her compositions are not dissimilar to this one and it’s plausible that the artist either worked at her studio or was trained by one of her apprentices.

Held within a 20th-century frame.

Learn more about Orsola Maddalena Caccia in our directory.

Medium: Oil on canvas

Overall size: 40” x 33” / 102cm x 84cm

Year of creation: c. 1680

Labels & Inscriptions: National Trust Scotland donation label.

Condition: Artwork presents well. Canvas relined. Craquelure but the paint is stable

Physical Dimensions

Height

84cm (33.07")

Width

102cm (40.16")

Depth

6cm (2.36")

Declaration

Brave Fine Art has dated this piece to the Before 1700 period.

Reference Numbers

Sellingantiques Reference

SA949027

Description

This late 17th-century Italian still life painting depicts an urn with flowers, a dish of fruit, porcelain bottle and bird. It was previously in the collection of the National Trust.

Story

Imagine, if you will, that it’s 1680 and you’re the wife of an upcoming Italian merchant. Your home is nestled into the countryside around Turin and surrounded by picturesque flora.

“

Every surface is awash with fineries, many imported to demonstrate new wealth - after all, your guests need to be impressed.

Brave Fine Art

And in the hall for dining, this large still life, which you acquired from the workshop of a local artist, proudly hangs alongside religious works and a pair of good portraits.

fig 1. 17th-Century Italian School Still Life With Flowers - Antique Oil Painting — fig 1. 17th-century Italian School Still Life with Flowers - Antique Oil Painting

Context

Stylistically, this painting is unusual but aligns with certain Italian still lifes from the late 17th/early 18th centuries. It lacks the fine details of a well-trained hand but carries an abundance of charm. It probably originated from the workshop of an Italian master who understood the appeal of Dutch and Flemish works. One such master was Orsola Maddalena Caccia (1596-1676), a nun who began her artistic career at the Ursulines convent at Bianzè. Her father, Guglielmo Caccia, was also an artist.

fig 2. 17th-Century Italian School Still Life With Flowers - Antique Oil Painting — fig 2. 17th-century Italian School Still Life with Flowers - Antique Oil Painting

Caccia produced a vast array of works throughout her life and created a studio with apprentices at a convent at Moncalvo. She’s regarded as a pioneer of still life painting in Italy. Her compositions are not dissimilar to this one and it’s plausible that the artist either worked at her studio or was trained by one of her apprentices.