Fine Art Framed
From $220
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Vendor of Fowl - Pieter Aertsen
Regular price
$220.00 NZD
Sale price
$220.00 NZD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A detailed genre painting by Pieter Aertsen depicting a market vendor with a basket of eggs and fowl, rendered in the style of the Northern Renaissance.
Pieter Aertsen, a prominent figure in sixteenth-century Dutch painting, is recognised for his development of the genre scene. In this work, the artist presents a market vendor carrying a large bucket upon his head, accompanied by a younger figure. The composition focuses on the physical reality of the subjects, with a basket of eggs and a dead bird serving as the primary objects of the vendor's trade. Aertsen employs a realistic approach to the textures of the clothing, the wooden bucket, and the produce, reflecting the growing interest in everyday life that characterised the period. The lighting in the painting is directed to draw attention to the vendor's face and the goods within the basket. The background remains relatively simple, ensuring that the viewer's focus stays on the interaction between the two figures and the items they handle. Aertsen's technique involves a careful application of paint to define the contours of the figures and the weight of the objects they carry. This approach provides a clear view of the material culture of the time, documenting the appearance of market workers and their equipment. This work belongs to a series of market and kitchen scenes that Aertsen produced during his career. These paintings often combined religious or moral themes with secular subjects, though the primary visual interest lies in the depiction of the market environment. The figures are rendered with a sense of solidity, and the colour palette is dominated by earthy tones, which ground the scene in a tangible reality. The composition is balanced, with the vertical lines of the oars or poles in the background providing a structure that complements the rounded forms of the bucket and the basket. The work offers a direct observation of a specific social role, captured with the technical precision typical of the Northern Renaissance tradition.
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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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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
Complete The Look
Vendor of Fowl - Pieter Aertsen
Regular price
From $130.00 NZD
Sale price
From $130.00 NZD
Regular price
Fine Art Framed / A4 (21x29.7 cm) / Black frame
Artist Biography
Pieter Aertsen
Aertsen invented the inverted still life. In A Meat Stall with the Holy Family Giving Alms (1551), enormous joints of meat and sausages fill the foreground while the biblical scene is barely visible through a window in the background. It was a radical reversal of pictorial hierarchy: the sacred was pushed to the margin, and the everyday became monumental.
He was born in Amsterdam around 1508 and was known as "Lange Piet" (Tall Pete) because of his height. He apprenticed under Allaert Claesz in Amsterdam before moving to Antwerp, where he became a citizen in 1542 and worked for roughly fifteen years. His market and kitchen scenes placed food, cookware and domestic labour at enormous scale, transforming genre subjects into something approaching history painting's physical presence.
He married Kathelijne Beuckelaar, and three of their eight children became painters. His nephew and pupil Joachim Beuckelaer continued and developed his distinctive format. Many of Aertsen's later religious paintings were destroyed during the Beeldenstorm, the wave of Protestant iconoclasm in 1566. He returned to Amsterdam around 1556 and died there in 1575. His monumental kitchen and market scenes anticipate the still-life painting of the seventeenth century by half a century, and his compositional strategy of hiding the sacred behind the secular continues to generate scholarly argument about his intentions.
He was born in Amsterdam around 1508 and was known as "Lange Piet" (Tall Pete) because of his height. He apprenticed under Allaert Claesz in Amsterdam before moving to Antwerp, where he became a citizen in 1542 and worked for roughly fifteen years. His market and kitchen scenes placed food, cookware and domestic labour at enormous scale, transforming genre subjects into something approaching history painting's physical presence.
He married Kathelijne Beuckelaar, and three of their eight children became painters. His nephew and pupil Joachim Beuckelaer continued and developed his distinctive format. Many of Aertsen's later religious paintings were destroyed during the Beeldenstorm, the wave of Protestant iconoclasm in 1566. He returned to Amsterdam around 1556 and died there in 1575. His monumental kitchen and market scenes anticipate the still-life painting of the seventeenth century by half a century, and his compositional strategy of hiding the sacred behind the secular continues to generate scholarly argument about his intentions.
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Canvas
From $130
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
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