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Still Life with fish, a candle, artichokes, crab and prawns
Oil on panel. 1611
Peeters, Clara
Still Life with fish, a candle, artichokes, crab and prawns
Oil on panel. 1611
Peeters, Clara

On what appears to be a wooden table or ledge we see boiled crabs and shrimp, several freshwater fish (two carp, a roach, possibly several ide, and a northern pike), a dark glass goblet, a brass candlestick with a partially burnt but flameless candle, a copper strainer with a brass skimmer and two artichokes, and a Rhenish stoneware jug. Reflected on its lid is a self-portrait of the artist with a

Still Life with a Sparrow Hawk, Fowl, Porcelain and Shells
Oil on panel. 1611
Peeters, Clara
Still Life with a Sparrow Hawk, Fowl, Porcelain and Shells
Oil on panel. 1611
Peeters, Clara

This painting, together with Still life with Fish, Candle, Artichokes, Crabs and Shrimp, also in the Prado (P1621), is very likely identical to a picture first documented when it was in the Spanish royal collection in Madrid in 1666. The infrared image of the painting reveals some underdrawing in the shells, along the contour of the plate (near the signature), in the beaks of some of the birds and

Garland with a Landscape
Oil on canvas. 1680 - 1700
Ykens, Catharina II
Garland with a Landscape
Oil on canvas. 1680 - 1700
Ykens, Catharina II

Little is known regarding two artists called Catarina Ykens, both garland painters, and it is uncertain whether this painting is by Catarina Ykens I or Catarina Ykens II, to whom it is usually attributed. In either case, both were among the few women painters active in Early Modern Europe. Of the approximately 1,300 Flemish paintings in the Prado, only six were painted by women, four of them by Cl

Still Life with Flowers, a Silver-gilt Goblet, Dried Fruit, Sweetmeats, Bread sticks, Wine and a Pewter Pitcher
Oil on panel. 1611
Peeters, Clara
Still Life with Flowers, a Silver-gilt Goblet, Dried Fruit, Sweetmeats, Bread sticks, Wine and a Pewter Pitcher
Oil on panel. 1611
Peeters, Clara

It has often been stated that this painting is part of a series of four, all now in the Prado, but that is probably not the case. The dimensions of all four paintings (P1619, P1620, P1621, P1622) are similar, but their provenance is not. This, and Table with Cloth, Salt Cellar, Gilt Standing Cup, Pie, Jug, Porcelain Plate with Olives and Cooked Fowl (P1622), are first documented when they were inv

Table with a cloth, salt cellar, gilt tazza, pie, jug, porcelain dish with olives, and roast fowl
Oil on panel. Ca. 1611
Peeters, Clara
Table with a cloth, salt cellar, gilt tazza, pie, jug, porcelain dish with olives, and roast fowl
Oil on panel. Ca. 1611
Peeters, Clara

This painting was first recorded in 1746 in the Spanish royal collection, together with Still life with Flowers, Gilt Goblet, Almonds, Dried Fruits, Sweets, Biscuits, Wine and a Pewter Flagon (P1620). The two paintings remained in the royal collection until they entered the Prado. The suggestion made in the past that this and three other paintings in the Prado (P1619, P1620 y P1621) formed a serie

Flowers and fruits
Oil on canvas. 1887
Riva y Callol, María Luisa de la
Flowers and fruits
Oil on canvas. 1887
Riva y Callol, María Luisa de la

María Luisa de la Riva went to live in Paris in the late 1880s, attracted by the possibilities for training and the larger number of women artists in the French capital. From there she continued to send her canvases to the National Exhibitions in Madrid. One of them was this still life, where she displays great virtuosity in rendering the textures of a large variety of fruit and flowers. Gl

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