SÉBASTIEN STOSKOPFF (STRASBOURG, 1597 – IDSTEIN, 1657) Platter of tarts and a rammer glass with a vermeil goblet Oil on canvas 50 x 61.5 cm This painting, delicately bathed in subdued half-light, illustrates with great finesse the art of 17th-century Flemish still life. Arranged with an almost ceremonial precision, an assortment of refined delicacies occupies the centre of the composition: an elegant pyramid of small golden pâtés, a loaf of bread with a rustic crust, and a finely carved slice on a pewter plate, accompanied by a knife with a tapered blade. Around these delicacies, the eye is drawn to the subdued lustre of the ceremonial objects: a glass carafe with a slender neck, a richly engraved goblet and a chalice adorned with bunches of grapes, a discreet emblem of abundance and nobility. A half-filled glass of wine, with golden glints, adds a touch of warmth to this silent scene, whilst a pack of cards casually laid aside recalls the human presence through the pleasures of the table and leisure. The painter masters the art of chiaroscuro with remarkable precision, sculpting the light to bring textures to life — from crystal-clear glass to weathered metal, and from puff pastry to crusty bread. Each element contributes to a visual and symbolic harmony, celebrating the understated opulence and attention to detail characteristic of the Baroque spirit. This painting embodies a moment suspended in time, where the transience of the meal becomes an offering to timeless beauty. Sébastien Stoskopff was a still-life painter and, for a time, the tutor of Joachim von Sandrart (1606–1688), who wrote a short biography of him in the late 17th century. Born into a family originally from Strasbourg and of Protestant faith, Stoskopff was initially a pupil of the engraver and draughtsman Friedrich Brentel (1580–1651), whose influence is clearly evident in some of the artist’s compositions, where engraving blends with painting. He then trained in the studio of Daniel Soreau, a painter of history, portraits and still lifes, and an architect (active 1586–1619). During his career, Stoskopff also undertook numerous journeys: to Hanau, Paris, Venice, Troyes, Strasbourg and Idstein, which enabled him to rub shoulders with a wide variety of artistic circles before developing a more personal style. He drew inspiration from the work of artists such as Lucas van Valckenborch and Georg Flegel, borrowing motifs and arrangements of fruit and vegetables, which he isolated, thereby giving them a pictorial value of their own. Today, there are around sixty still lifes by Stoskopff, twenty-six of which are signed and around ten of which are dated.