Dead Wildfowl
Jacob Biltius rendered Dead Wildfowl in oil on canvas. The work dates to about 1674. It measures 79.5 x 61.0cm. A heavy silence rests within the frame, held by the stillness of the subjects.
In short
Dead Wildfowl (1674) is the Jacob Biltius painting that draws the most eyes; the original belongs to the Statens Museum For Kunst, Copenhagen. After it, the eye goes to Dead Birds (1670) and Snip, hanging (1663). Among the 10 works of Jacob Biltius in our catalog, these 10 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
Jacob Biltius rendered Dead Wildfowl in oil on canvas. The work dates to about 1674. It measures 79.5 x 61.0cm. A heavy silence rests within the frame, held by the stillness of the subjects.
The stillness of Dead Birds meets the viewer through the meticulous hand of Jacob Biltius. This somber still life captures a quiet moment following a hunt, where the subjects rest in a heavy, atmospheric silence. The work carries the weight of the Dutch Golden Age, presenting a scene that feels both immediate and deeply still. Every feather and wooden grain exists in a space defined by shadow and light.
The four subjects that come back most often in these originals, each with its finest example.
The 3 museums that hold the most of the paintings on this page.
| Museum | City | Works by Jacob Biltius | Paintings from this list |
|---|---|---|---|
| Copenhagen | 5 | Dead Wildfowl, Dead Birds, Wildfowl on a Wooden Table | |
| Leeuwarden | 2 | Snip, hanging, Dead Partridge, Hanging | |
| 1 | Trompe-l'oeil of an arms rack with a leading staff, a partizan, a matchlock musket, a longbow, a fowling piece with pistols, game bags, dead game and other instruments of the chase hanging on a wall |
A long career of 17 years, 1663 to 1679: Jacob Biltius's most famous originals, shown year by year.
Pick a year to see its originals.
More from 1666
The stillness of Dead Birds meets the viewer through the meticulous hand of Jacob Biltius. This somber still life captures a quiet moment following a hunt, where the subjects rest in a heavy, atmospheric silence. The work carries the weight of the Dutch Golden Age, presenting a scene that feels both immediate and deeply still. Every feather and wooden grain exists in a space defined by shadow and light.
More from 1670
Jacob Biltius rendered Dead Wildfowl in oil on canvas. The work dates to about 1674. It measures 79.5 x 61.0cm. A heavy silence rests within the frame, held by the stillness of the subjects.
Dead Wildfowl (1674), Statens Museum For Kunst, Copenhagen. Dead Birds (1670) and Snip, hanging (1663) come next.
41 years old: Dead Wildfowl dates from 1674, and Jacob Biltius was born in 1633.
Dead Wildfowl, Dead Birds, Snip, hanging, Dead Partridge, Hanging, Wildfowl on a Wooden Table, A Dead Hare, A hunting still life with a partridge, a grouse, a hare and hunting paraphernalia, A still life of game and hunting acoutrements, on a stone ledge, Trompe-l'oeil of an arms rack with a leading staff, a partizan, a matchlock musket, a longbow, a fowling piece with pistols, game bags, dead game and other instruments of the chase hanging on a wall and Dead Wildfowl and a Huntsman's Net. Trompe l'oeil. The ranking above gives each one's year and museum.
Our catalog holds 10 works by Jacob Biltius, dated from 1663 to 1679.
Mostly in Statens Museum For Kunst (Copenhagen), Fries Museum (Leeuwarden) and Kunsthandel P. de Boer. The museum table above lists them all.
In 1663: 2 of the 10 works on this page were made then, Snip, hanging among them.
On this page, the earliest is Snip, hanging (1663) and the latest Dead Wildfowl and a Huntsman's Net. Trompe l'oeil (1679).
Feathers (2) and Dark background (2), across the 10 works on this page.
Oil On Canvas, for 2 of the 10 works on this page.
Dead Wildfowl, Dead Birds and Wildfowl on a Wooden Table: the Statens Museum For Kunst, Copenhagen holds 5 of the works on this page.
Jacob Biltius was a Dutch still life painter born in The Hague. He began his artistic training in The Hague, studying under the French painter Carel Hardy around 1651, and later trained with Pieter de Putter, who was known for his fish still lifes. His career saw him active in various locations, including The Hague, Amsterdam, Maastricht, Antwerp, Leeuwarden, and Bergen op Zoom. In 1660, he was admitted to the Confrerie Pictura.
Biltius married Adriana Proot van der Jeucht in 1653, and they had eight children, including two sons, Cornelis and Bartholomeus, who both became painters. His movements took him from Amsterdam to Maastricht, and eventually to Flanders, where he settled in Antwerp. While living in Antwerp, he and his wife were members of a secret society of local Calvinists known as de Consistorie van de Brabantsche Olijfberg. He was admitted to the Antwerp Guild of St Luke in the 1672–1673 guild year. He eventually moved to Bergen op Zoom, where he died.
The work of Jacob Biltius is characterized by his focus on still life subjects. He was specifically known for his:
Between 1663 and 1677, Biltius created many trompe-l'œil compositions, acting as a pioneer in the creation of the illusion of three-dimensional objects. His works are noted for a very accurate and precise representation of nature. Some of these compositions were of a large size, which contributed to their realism and illusionistic impact.