100% Hand-Painted Oil
Albert Anker arranges a still life on a polished wooden table: two filled glasses of red wine, an open bottle, a small corkscrew, a partly cut loaf of bread and a wedge of cheese. The light falls from...
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Still Life: Two Glass of Red Wine, a Bottle of Wine; a Corkscrew and a Plate of Biscuits on a Tray
Albert Anker
Item Number: 29575
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“Still Life: Two Glass of Red Wine, a Bottle of Wine; a Corkscrew and a Plate of Biscuits on a Tray”
by Albert Anker
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Author
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Color
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Brown,
Red,
Beige,
Black,
White,
Yellow,
Gray
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Tags
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Henri Fantin-Latour,
Still life,
French art,
Realism,
Wine,
Bottle,
Glasses,
Bread,
Famous painting
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| Concept and Style | |
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Topics
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Still Life
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Styles
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Realism
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| Visual and Stylistic Elements | |
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Objects
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Wine , Bottles , Glasses , Bread
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Description
“Still Life: Two Glass of Red Wine, a Bottle of Wine; a Corkscrew and a Plate of Biscuits on a Tray”
by Albert Anker
Albert Anker arranges a still life on a polished wooden table: two filled glasses of red wine, an open bottle, a small corkscrew, a partly cut loaf of bread and a wedge of cheese. The light falls from the upper left and rests on the bread and the dark wine. The colour is held to deep red of the wine, warm cream of the bread, and the dusky brown of the table.
The composition is direct, almost photographic; nothing is staged. Anker built his Swiss genre and still-life paintings on the same patient observation that defines his peasant interiors.
As a fine art reproduction on canvas, the picture keeps the warmth of the bread and the saturation of the dark wine — passages that depend on real paint and slow layering. A warm-wood or thin aged-gilt frame is the most coherent pairing. The reproduction is hand-finished on stretched canvas, ready to hang. A second photograph at oblique angle is shared so surface texture is visible. The hand-painted version differs from a print in small surface details by design. Larger formats ship rolled in a hardboard tube and require restretching at the buyer’s end.
Collector's Guide PDF
“Still Life: Two Glass of Red Wine, a Bottle of Wine; a Corkscrew and a Plate of Biscuits on a Tray”
by Albert Anker
Reviews
“Still Life: Two Glass of Red Wine, a Bottle of Wine; a Corkscrew and a Plate of Biscuits on a Tray”
by Albert Anker
Q/A
“Still Life: Two Glass of Red Wine, a Bottle of Wine; a Corkscrew and a Plate of Biscuits on a Tray”
by Albert Anker
Experts answer questions
Frequently Asked Questions
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What objects make up this still life, and why were they chosen?
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How does Anker's painting style make ordinary objects feel special?
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How does this work relate to the broader still life tradition in European art?
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Where would this painting feel most at home?
Additional Information
“Still Life: Two Glass of Red Wine, a Bottle of Wine; a Corkscrew and a Plate of Biscuits on a Tray”
by Albert Anker
- Quotes
- Interesting facts
- Best Rooms & Interior Pairings
- Hand-Painted Reproduction Notes
- Composition, Colors & Visual Details
“Anker transforms everyday objects into poetry — a glass of wine, a corkscrew, a simple tray become vessels of quiet beauty.” — Swiss Art Review
“In his still lifes, Albert Anker reveals a meditative side, turning humble domestic arrangements into studies of light and texture.” — Museum of Fine Arts, Bern
#1. Switzerland’s National Painter. Albert Anker (1831–1910) is considered Switzerland’s most beloved 19th-century painter, equally celebrated for genre scenes and luminous still lifes.
#2. Trained Alongside Impressionists. Anker studied at the École des Beaux-Arts in Paris under Charles Gleyre — the same studio where Monet, Sisley, and Renoir trained.
#3. A Minister Turned Painter. Before committing to art, Anker completed theological studies and was ordained — a spiritual sensitivity that gives his works their unusual sense of dignity and calm.
The balanced format and brown, red, and beige palette suit a classic living room or hallway, or a dining room. It works equally well above a console, a low sideboard, or a reading chair. Traditional interiors with low-pile carpets and brushed brass lamps suit it especially well. It works especially well above sideboards, side tables, and other surfaces where everyday objects gather. Avoid harsh white LEDs; soft incandescent or warm daylight reads best.
Reproducing this work by hand asks for care with reflections and shadow placement and the play of light on each object. Color is built in passes, with cool half-tones giving way to warmer highlights in the right places. In still life, each object needs its own surface — fabric soft, metal sharp, fruit modeled with care. The painter signs no claim to museum-level replication; the goal is a careful, honest oil reproduction.
The painter holds the objects in close visual relation. Objects in the scene include wine, bottles, glasses, and bread, each contributing to the balance. Light is handled with restraint, modeling rather than dramatizing the forms. A working palette of brown, red, beige, and black shapes the surface, modulated rather than declared. Paint is built up in measured layers, the surface holding both finish and quiet variation. Seen at a single glance the picture resolves; seen longer it keeps opening up.
