A Garland of Flowers - Jan van Kessel the Elder
Archival giclée
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Description
A detailed seventeenth-century floral still life by Jan van Kessel the Elder, featuring a precise arrangement of blossoms and insects against a dark ground.
Jan van Kessel the Elder was a Flemish painter known for his meticulous approach to natural history and floral subjects. This work, painted on a copper support, demonstrates the technical precision common to his practice. The composition features a structured arrangement of blossoms, including roses, tulips, and irises, suspended around a central cartouche. The dark background provides a stark contrast to the illuminated petals, allowing the viewer to observe the specific textures and colours of each botanical specimen.
Van Kessel often incorporated small insects, such as butterflies and beetles, into his floral arrangements. These additions provide a sense of scale and movement, suggesting a fleeting moment captured in time. The artist belonged to a family of painters, including his grandfather Jan Brueghel the Elder, who established the tradition of the floral garland in Flemish art. By using copper as a base, Van Kessel achieved a smooth surface that allowed for fine detail, which remains visible in the final print reproduction.
This piece reflects the scientific curiosity of the seventeenth century, where the study of nature was often combined with artistic display. The arrangement is not merely decorative, but functions as a catalogue of various species, rendered with accuracy. The balance between the structured frame and the organic forms of the flowers creates a sense of order. The work is representative of the period's fascination with the natural world, presented through a lens of careful observation and technical skill. The print captures the depth of the original oil painting, maintaining the clarity of the brushwork and the subtle transitions of light across the leaves and petals.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
A Garland of Flowers - Jan van Kessel the Elder
Artist Biography
Jan Van Kessel The Elder
He was born in Antwerp in 1626, the grandson of Jan Brueghel the Elder through his mother Paschasia. He studied under Simon de Vos and later received instruction from his uncle and godfather Jan Brueghel the Younger. He became a master in the Guild of Saint Luke in 1644 as a flower painter, though flowers were only one of his subjects. He painted garlands, bouquets, marines, river landscapes, paradise scenes, allegories and genre subjects, but he is best known for tiny, jewel-like paintings of insects and shells on copper, depicted against light backgrounds with scientific exactitude.
He worked from nature and from illustrated scientific texts, blending direct observation with published sources. His small insect panels were sometimes produced in pairs or as series designed to decorate the fronts of cabinet drawers where collectors stored actual specimens. The paintings served as both art and catalogue.
He used two different signatures depending on the size of the painting: a cursive, decorative version for larger formats and a more compact form for miniatures. The practice was later misinterpreted as evidence that two different painters were at work. He spent time in Spain as court painter to Philip IV and as a captain in the King's army, probably in the late 1640s. He married Maria van Apshoven in 1647; of their thirteen children, Ferdinand and Jan the Younger also became painters. He died in Antwerp in 1679.
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