Bunch of Flowers in a Stone Vase, 1677 Jacob van Walscapelle (1644-1727)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Jacob van Walscapelle also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting Bunch of Flowers in a Stone Vase is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

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The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

A stone ledge supports an ornate vase whose antique reliefs seem ghostly in the half-light, while a prodigal eruption of blossoms spills outward and downward in every direction. Roses, tulips, irises, peonies, marigolds and field daisies jostle for attention, their petals at differing stages of unfurling and decline. Below, ripened plums mottled with bloom, wild strawberries and crawling insects confirm that the bouquet is neither isolated nor timeless but part of a living - and dying - natural cycle.

Van Walscapelle orchestrates a chromatic drama that moves from the palest opalescent whites through buttery yellows and volcanic oranges to the deepest crimsons and violets, all set against a velvety ground that verges on black. The saturation of each hue is calibrated so that the eye darts from one flash of brilliance to another, yet always finds respite in the cool greens of the foliage. Subtle tonal transitions keep the arrangement from feeling decorative; instead it pulses with quiet vitality.

Close inspection reveals a discipline of layered glazes and infinitesimal strokes: veins on petals, moisture on fruit skin, the papery transparency of a wing. Pigments are laid down thinly, then heightened with pinpoint touches of impasto that catch stray light and mimic the sparkle of morning dew. Such technical finesse not only advertises the artist’s command but also animates the still life, suggesting movement where none can exist.

The composition is anchored by a serpentine stem that rises, arcs and then cascades, binding the bouquet into a loose pyramid. Secondary diagonals draw the gaze across the stone slab to the plums and back through the curling tendrils to the vase’s sculpted mask, a reminder of human artifice. The small creatures - butterfly, beetle, caterpillar - act as punctuation marks, accelerating the viewer’s reading of mortality. Even the hairline cracks in the pedestal become part of the narrative: all matter, whether organic or carved, submits to time.

Painted in 1677, the picture stands squarely within the Dutch Golden Age fascination with natural observation, yet it already hints at the moralising tenor of the later Vanitas. Prosperity in the young Republic had fueled a market for such luxury objects, but the artist tempers opulence with restraint, offering a meditation on impermanence rather than mere horticultural display. The result is an image that balances sensory pleasure with philosophical gravity.