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The opulence of Boel’s still lifes, their rich textures and colours and the occasional use of a satirical tone make him one of the most original still-life painters of the period. The boy’s enigmatic smile may have some now unknown meaning. The coat-of-arms on the armchair has also not been identified.
Boel probably trained with Frans Snyders and Jan Fyt in Antwerp, the city where he worked for most of his life. He also spent time in Italy and Paris, where he painted for Louis XIV. The man depicted here may be a cook while the donkey has arrived loaded with dead game.
