“A letter always seemed to me like immortality because it is the mind alone without corporeal friend.”
— Emily Dickinson
“The Letter” is an original still life painting, created with oil on linen mounted to panel.
This quietly enigmatic composition offers a moment suspended in thought. A letter rests open beside a pen, its message partially revealed, while surrounding objects—a hand-thrown vessel, a marble egg on an Asian stand, and a timeworn shaving brush—form a tableau that feels deeply personal yet open to interpretation. Almost hidden to the side, a polished silver ball reflects the entire scene back upon itself, drawing the viewer into a world where memory, reflection, and narrative gently blur.
Measuring 8 × 10 inches (20 × 25 cm), the painting is set in a wide gold-leaf frame with a softly burnished finish. The outer dimensions are 13 × 15 inches (32 × 37 cm), offering a warm, timeless presentation that enhances the painting’s contemplative presence.
The Letter is a painting steeped in quiet narrative—an invitation to pause, to look closely, and to let a story unfold in the mind of the viewer. There is no single, fixed meaning here. Instead, it offers a constellation of objects that hint, suggest, and gently provoke.
At its center, a letter lies open—mid-thought, mid-conversation. The presence of a pen implies a reply in progress, or perhaps a message never sent. A marble egg, cradled in an Asian footed stand, adds a note of enigmatic symbolism—fragile yet enduring, ancient yet still. Nearby, a well-worn shaving brush rests like a relic of personal ritual, and its proximity to the other objects suggests absence, memory, or a life in transition.
All of this is seen again—distorted and miniaturized—in the curved surface of a silver ball, where the entire composition is reflected back upon itself. The reflection is not merely a technical flourish, but a metaphor in its own right. It becomes a symbol of inward gaze, of contemplation, of the way we see ourselves through the lens of the past.
The Letter doesn’t dictate. It listens. It invites the viewer into a moment where meaning is not given, but discovered—quietly, individually, and over time.
The Finest Materials
“The Letter” has been carefully crafted with the finest materials available, using traditional techniques that have been passed down from artist to artist for over six centuries.
The finest Belgian linen is used – woven from flax grown in the fields of Western Flanders. The linen was produced by a firm that has been run by the same family for over a century. Made in small batches according to a formula hundreds of years old, it is an exacting process taking several weeks to complete. When glued to the panel, it forms a solid, durable, and archival foundation – this painting is meant to be enjoyed for generations.
Only the best paints are chosen, often made with pigments from the furthest corners of the Earth: Bohemian Green… Chinese Vermillion… Lapis Lazuli from Afghanistan. Paints are chosen for richness of color, proper handling, and above all stability and durability. Again, this artwork is intended to last for a very long time.
Painstaking Process
This painting was created entirely by direct observation from life – photography was not used in the process. The arrangements of objects are often set up in a large shadow box next to the easel. This allows careful control of the lighting and precise positioning of the composition.
Several small “thumbnail” sketches are made in pencil first, determining the overall design and placement of objects. A “color study” follows. This is a small version of the painting done without much detail. It enables a deeper understanding of the main colors, and also serves as a sort of dress rehearsal for the main work.
Once the preparatory studies are complete, the composition is drawn onto the linen panel using light charcoal. The main shapes and placements are set down with as much precision as possible, but very little fine detail is recorded at this point.
A simplified version of the painting in black and white is then done on top of the charcoal sketch. This is known as an “underpainting”. It establishes significant forms and shapes in the composition, and works out important gradations of light and dark – known to artists as “value” – independent of the complexities of working with full color.
After several days, the underpainting is sufficiently dry for the color layer – this is what you see when you look at a finished painting. Color is applied directly on top of the underpainting, often in very thin transparent washes. Known as “glazing”, these washes can create a jewel-like depth and sparkling transparency of color that cannot be achieved in any other way.
"The Letter"
Ready for your collection today
“The Letter” measures 8 × 10 inches (20 × 25 cm) and is painted with oil on linen mounted to panel, following time-tested traditional methods.
It is set in a wide gold-leaf frame, with outer dimensions of 13 × 15 inches (32 × 37 cm), and is ready to hang on your wall.
A carefully selected frame brings a sense of cohesion and polish to a work of art, and the gold-leaf finish used here provides a warm, luminous complement to the painting’s quiet palette. Its broad profile and subtle sheen echo the glow of the silver ball at the painting’s center, enhancing the reflective quality of the scene and adding a sense of depth and richness.
Beyond its visual presence, the frame protects the edges of the panel and supports the painting’s long-term stability. The slight separation between the frame and the artwork allows for air circulation, preserving the surface while maintaining its clarity and detail. Elegant and enduring, this frame enhances both the visual experience and the longevity of the piece.
Scroll down to explore more details about this painting and see additional images.
Shipping
“The Letter” will ship via USPS Registered Mail with secure packaging and full insurance at no extra charge. Upon shipping, you will receive a tracking number and an estimated delivery date, allowing you to monitor the package’s location and progress. It will ship within two business days of purchase.
Every piece is carefully packed and fully insured for safe delivery. Should any issue arise in transit, I will work with you to resolve it promptly.
Guarantee
Your satisfaction is my highest priority. If for any reason you are not completely delighted with your painting, you may return it within 14 days for a full refund or exchange. The artwork must be returned in its original condition and packaging.
Invest with confidence—this painting is designed to bring lasting beauty and enjoyment to your collection.
Your satisfaction is completely guaranteed.
Purchasing This Painting
This painting is framed as shown and is ready for immediate hanging.
Payment may be made with major credit cards and PayPal.
Shipping within the United States is free. An additional charge will be added for shipments outside of the United States.
It will ship from my studio within 2 business days of purchase.
It will be carefully packaged for maximum protection during transit, and insured for the full purchase price. A signature will be required on delivery, so the package will not be left unattended.
You will be provided with a tracking number and estimated delivery date (due to the unpredictability of the customs process, an estimated delivery date cannot be provided for shipments outside of the United States).
Your satisfaction is completely guaranteed. Paintings may be returned for the full purchase price within 14 days of receipt.
About These Paintings
These paintings grow out of two sources: On the one hand, a deep love for the great still life tradition of the Dutch Golden Age, and on the other, a life-long interest in meditation.
For both viewer and artist, still life is the perfect opportunity to have that experience which all meditation seems to aim at: complete and total absorption in the present moment. Not the past. Not the future. Just what is in front of you. Right here. Right now.
That moment of quiet, intense connection – that sense of one-ness – is all the inspiration I need… and these paintings emerge from that source.
As such, this isn’t really a personal art. It’s not about me or my views or my ideas.
My role is to step aside, and let these silent moments speak through me.
The Letter
$2,500.00
“A letter always seemed to me like immortality because it is the mind alone without corporeal friend.”
— Emily Dickinson
“The Letter” is an original still life painting, created with oil on linen mounted to panel.
This quietly enigmatic composition offers a moment suspended in thought. A letter rests open beside a pen, its message partially revealed, while surrounding objects—a hand-thrown vessel, a marble egg on an Asian stand, and a timeworn shaving brush—form a tableau that feels deeply personal yet open to interpretation. Almost hidden to the side, a polished silver ball reflects the entire scene back upon itself, drawing the viewer into a world where memory, reflection, and narrative gently blur.
Measuring 8 × 10 inches (20 × 25 cm), the painting is set in a wide gold-leaf frame with a softly burnished finish. The outer dimensions are 13 × 15 inches (32 × 37 cm), offering a warm, timeless presentation that enhances the painting’s contemplative presence.
Available
Description
"The Letter" An Original Still Life Painting
The Inspiration
The Letter is a painting steeped in quiet narrative—an invitation to pause, to look closely, and to let a story unfold in the mind of the viewer. There is no single, fixed meaning here. Instead, it offers a constellation of objects that hint, suggest, and gently provoke.
All of this is seen again—distorted and miniaturized—in the curved surface of a silver ball, where the entire composition is reflected back upon itself. The reflection is not merely a technical flourish, but a metaphor in its own right. It becomes a symbol of inward gaze, of contemplation, of the way we see ourselves through the lens of the past.
The Letter doesn’t dictate. It listens. It invites the viewer into a moment where meaning is not given, but discovered—quietly, individually, and over time.
The Finest Materials
The finest Belgian linen is used – woven from flax grown in the fields of Western Flanders. The linen was produced by a firm that has been run by the same family for over a century. Made in small batches according to a formula hundreds of years old, it is an exacting process taking several weeks to complete. When glued to the panel, it forms a solid, durable, and archival foundation – this painting is meant to be enjoyed for generations.
Only the best paints are chosen, often made with pigments from the furthest corners of the Earth: Bohemian Green… Chinese Vermillion… Lapis Lazuli from Afghanistan. Paints are chosen for richness of color, proper handling, and above all stability and durability. Again, this artwork is intended to last for a very long time.
Painstaking Process
This painting was created entirely by direct observation from life – photography was not used in the process. The arrangements of objects are often set up in a large shadow box next to the easel. This allows careful control of the lighting and precise positioning of the composition.
Once the preparatory studies are complete, the composition is drawn onto the linen panel using light charcoal. The main shapes and placements are set down with as much precision as possible, but very little fine detail is recorded at this point.
A simplified version of the painting in black and white is then done on top of the charcoal sketch. This is known as an “underpainting”. It establishes significant forms and shapes in the composition, and works out important gradations of light and dark – known to artists as “value” – independent of the complexities of working with full color.
After several days, the underpainting is sufficiently dry for the color layer – this is what you see when you look at a finished painting. Color is applied directly on top of the underpainting, often in very thin transparent washes. Known as “glazing”, these washes can create a jewel-like depth and sparkling transparency of color that cannot be achieved in any other way.
"The Letter" Ready for your collection today
“The Letter” measures 8 × 10 inches (20 × 25 cm) and is painted with oil on linen mounted to panel, following time-tested traditional methods.
It is set in a wide gold-leaf frame, with outer dimensions of 13 × 15 inches (32 × 37 cm), and is ready to hang on your wall.
A carefully selected frame brings a sense of cohesion and polish to a work of art, and the gold-leaf finish used here provides a warm, luminous complement to the painting’s quiet palette. Its broad profile and subtle sheen echo the glow of the silver ball at the painting’s center, enhancing the reflective quality of the scene and adding a sense of depth and richness.
Beyond its visual presence, the frame protects the edges of the panel and supports the painting’s long-term stability. The slight separation between the frame and the artwork allows for air circulation, preserving the surface while maintaining its clarity and detail. Elegant and enduring, this frame enhances both the visual experience and the longevity of the piece.
Scroll down to explore more details about this painting and see additional images.
Shipping
“The Letter” will ship via USPS Registered Mail with secure packaging and full insurance at no extra charge. Upon shipping, you will receive a tracking number and an estimated delivery date, allowing you to monitor the package’s location and progress. It will ship within two business days of purchase.
Every piece is carefully packed and fully insured for safe delivery. Should any issue arise in transit, I will work with you to resolve it promptly.
Guarantee
Your satisfaction is my highest priority. If for any reason you are not completely delighted with your painting, you may return it within 14 days for a full refund or exchange. The artwork must be returned in its original condition and packaging.
Invest with confidence—this painting is designed to bring lasting beauty and enjoyment to your collection.
Your satisfaction is completely guaranteed.
Purchasing This Painting
About These Paintings
These paintings grow out of two sources: On the one hand, a deep love for the great still life tradition of the Dutch Golden Age, and on the other, a life-long interest in meditation.
For both viewer and artist, still life is the perfect opportunity to have that experience which all meditation seems to aim at: complete and total absorption in the present moment. Not the past. Not the future. Just what is in front of you. Right here. Right now.
That moment of quiet, intense connection – that sense of one-ness – is all the inspiration I need… and these paintings emerge from that source.
As such, this isn’t really a personal art. It’s not about me or my views or my ideas.
My role is to step aside, and let these silent moments speak through me.
And there isn’t anything more personal.
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