(Antwerp 1623 – circa 1670)
A still life of fruit
signed lower left, on the table: Cars. Luckx. fe,
oil on panel, 35 x 49.4 cm, framed

Provenance:
with Galleria Lorenzelli, Bergamo (1971);
with Galerie J. Rosenthal, Amsterdam (1973);
Private collection, France; Galerie Enneking (before 1983);
Lillemor and Karl Herweg Collection, Recklinghausen;
European Private Collection

Exhibited:
Galerie Lorenzelli, Bergamo, La Natura in Posa, 1971, no. 10;
Galerie P. de Boer, Amsterdam, De vrucht van het verleden, 1983;
Herzog-Anton-Ulrich-Museum, Braunschweig, Niederländische Stillleben von Breughel bis van Gogh, 1983, no. 32, pp. 72 and 124, ill.;
Centraal Museum, Utrecht, Jan Davidsz. de Heem en zijn Kring, 1991, no. 42

Literature:
I. Bergström, in: Natura in Posa, Bergamo 1971, no. 10; E. Greindl, Les Peintures Flamandes de Nature Morte au XVIIème Siècle, Sterrebeeck, 1983, p. 368, no. 1;
A Fruitful Past, exhib. cat., ed. by S. Segal, Amsterdam, 1983, no. 32, pp. 67 and 118;
Niederländische Stillleben von Breughel bis van Gogh, exhib. cat., Braunschweig, 1983, pp. 72 and 124;
Jan Davidsz. de Heem en zijn Kring, exhib. cat., ed. by S. Segal and L. Helmus, Utrecht, 1991, pp. 111 and 209, fig. 42

The present painting is an example of how Luyckx was influenced by the work of Jan Davidsz. de Heems. However, like his Antwerp colleague Willem Gabron, he developed his own artistic identity instead of imitating him. Carstiaen Luyckx was trained by Philips de Marlier and Frans Francken III and became a master in the Antwerp Guild of Saint Luke in 1645. Some of his paintings are inscribed in French, so it can be assumed that the artist sojourned in France for a certain period of time. As only two of his paintings are dated, it is difficult to establish a chronology of works. Luyckx painted hunting still lifes in the manner of Frans Snyders and Jan Fyt, as well as flower still lifes.

Provenance:
with Galleria Lorenzelli, Bergamo (1971);
with Galerie J. Rosenthal, Amsterdam (1973);
Private collection, France; Galerie Enneking (before 1983);
Lillemor and Karl Herweg Collection, Recklinghausen;
European Private Collection

Exhibited:
Galerie Lorenzelli, Bergamo, La Natura in Posa, 1971, no. 10,;
Galerie P. de Boer, Amsterdam, De vrucht van het verleden, 1983;
Herzog-Anton-Ulrich-Museum, Braunschweig, Niederländische Stillleben von Breughel bis van Gogh, 1983, no. 32, pp. 72 and 124, ill.;
Centraal Museum, Utrecht, Jan Davidsz. de Heem en zijn Kring, 1991, no. 42

Literature:
I. Bergström, in: Natura in Posa, Bergamo 1971, no. 10; E. Greindl, Les Peintures Flamandes de Nature Morte au XVIIème Siècle, Sterrebeeck, 1983, p. 368, no. 1;
A Fruitful Past, exhib. cat., ed. by S. Segal, Amsterdam, 1983, no. 32, pp. 67 and 118;
Niederländische Stillleben von Breughel bis van Gogh, exhib. cat., Braunschweig, 1983, pp. 72 and 124;
Jan Davidsz. de Heem en zijn Kring, exhib. cat., ed. by S. Segal and L. Helmus, Utrecht, 1991, pp. 111 and 209, fig. 42

The present painting is an example of how Luyckx was influenced by the work of Jan Davidsz. de Heems. Like his Antwerp colleague Willem Gabron, however he developed his own artistic identity instead of imitating him. Carstiaen Luyckx was trained by Philips de Marlier and Frans Francken III and became a master in the Antwerp Guild of Saint Luke in 1645. Some of his paintings are inscribed in French, so it can be assumed that the artist sojourned in France for a certain period of time. As only two of his paintings are dated, it is difficult to establish a chronology of works. Luyckx painted hunting still lifes in the manner of Frans Snyders and Jan Fyt, as well as flower still lifes.