Executed with the meticulous precision and luminous palette characteristic of Jan van Kessel’s mature still lifes, this composition presents an opulent assemblage of fruit, shellfish, fine ceramics, and glassware, enlivened by the presence of a vibrantly plumed parrot. The arrangement unfolds within a clearly defined pictorial space, where overlapping layers of grapes, quinces, artichokes, dates, and opened oysters are rendered with masterful attention to texture and chromatic nuance. Each element is bathed in a warm, golden light—a hallmark of van Kessel’s still-life production—enhancing the interplay between the tactile realism of the objects and the harmonious orchestration of form and colour.

The carefully observed ceramic and glass vessels in this work point to a date of execution around 1640, a period in which van Kessel’s still lifes reveal a refined balance between illusionistic detail and compositional clarity. The painting’s subtle atmospheric unity and its interplay of natural and man-made objects echo the influence of Frans Snyders and Daniel Seghers, while affirming van Kessel’s distinctive contribution to Flemish still-life painting.

Jan van Kessel the Elder, a scion of the celebrated Brueghel dynasty, was the grandson of Jan Brueghel the Elder and great-grandson of Pieter Bruegel the Elder. Trained initially within the family circle—under his father Hieronymus van Kessel the Younger and his uncle Jan Brueghel the Younger—he also studied with Simon de Vos. Admitted to the Antwerp Guild of Saint Luke in 1644 as a blomschilder (flower painter), van Kessel proved a versatile artist, producing insect studies, floral bouquets, allegorical cycles, marine views, and “paradise landscapes” alongside sumptuous still lifes such as the present work. His meticulous craftsmanship and refined compositions commanded high prices in his lifetime, earning him both commercial success and a distinguished position within Antwerp’s artistic community.