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Old Masters & 19th Century Paintings, Drawings & Sculpture

by Lempertz

Platinum House

302 lots with images

November 17, 2012

Live Auction

Neumarkt 3

Cologne, 50667 Germany

Phone: +49 221 92 572917

Fax: +49 221 92 57296

Email: info@lempertz.com

302 Lots
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SPANISH SCHOOL, second half 15th Century, SAINT JOHN THE EVANGELIST, oil on panel, 146 x 46 cm

Lot 1100: SPANISH SCHOOL, second half 15th Century, SAINT JOHN THE EVANGELIST, oil on panel, 146 x 46 cm

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Description: A full length figure of the young Saint John holding a chalice and a dragon, his right hand held in benediction. He stands in front of a patterned wall with a view on to a rocky landscape to the right. Although not a pair, this painting is stylistically similar to the following lot.

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SPANISH SCHOOL, second half 15th Century, SAINT JUDE THADDAEUS AND SAINT BARTHOLOMEW, oil on panel, 52.5 x 79 cm

Lot 1101: SPANISH SCHOOL, second half 15th Century, SAINT JUDE THADDAEUS AND SAINT BARTHOLOMEW, oil on panel, 52.5 x 79 cm

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Description: A fragment of a former full length depiction of two Apostles, recognizable by their attributes, a halberd and a knife. They face each other, standing in a dark brown and a red gothic niche. Probably from a series of Apostles to which the following lot also belongs.

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SPANISH SCHOOL, second half 15th Century, SAINT ANDREW, oil on panel, 38 x 46 cm

Lot 1102: SPANISH SCHOOL, second half 15th Century, SAINT ANDREW, oil on panel, 38 x 46 cm

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Description: A fragment of a former full length depiction of a saint, an addition to the left side (1.5 cm). Probably from a series of Apostles, its style directly related to "Saint Judas Thaddaeus and Saint Bartholomew" (previous lot).

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CRISTOFORO DI BENEDETTO, SAINT PETRONIUS AND THE APOSTLE JAKOBUS MAJOR, Tempera on wood, 90.5 x 61.7 cm

Lot 1103: CRISTOFORO DI BENEDETTO, SAINT PETRONIUS AND THE APOSTLE JAKOBUS MAJOR, Tempera on wood, 90.5 x 61.7 cm

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Description: Lot 1103 and lot 1104 will first be auctioned separately, then together as one lot. This and the previous plate come from a South German private collection and were, up until now, two unknown works. Prof. Gaudenz Freuler has however, after an extensive study of the plates, attributed them to Cristoforo di Benedetto, an artist active in the 15th century in Bologna. The works provide an interesting alternative to what was previously understood about Bolognese painting. Each plate depicts two standing saints in a richly flowering, paradisial lawn: Petronius with a model of Bologna, the town he is protecting, and Jacobus Major to one, Jerome and St. Dominic to the other. Both plates were once part of a triptych, its central panel probably of a Madonna and Child. Freuler recognises in the plates traits of the Adriatic art of Giovanni Francesco da Rimini, the Paduan artists of the early Renaissance, and somewhat awkward similarities to Marco Zoppo who trained in Ferrara. These characteristics enable the attribution of Cristoforo di Benedetto to be concluded. Stylistically, the plates are closely related to works by the artist in the church of San Prospero in Bologna (today Pinacoteca Nazionale), and to a signed painting of the Madonna in the de Clemente collection in Florence (now lost). Besides the stylistic elements there are also important technical aspects that prove telling. For example, the golden background is similar to Cristoforo di Benedetto's Saint in St. Prospero, decorated with rich gold leaf, the simple rosette ornaments of the aureoles are executed identically. Iconographically, both scenes refer to Bologna: Domenicus is buried there, and Petronius is the city's patron. In our plate, he is holding a model of the city in his hands, clearly symbolising Bologna with the "Torre degli Asinelli" and the leaning tower of the Garisenda family. Freuler dates our Saints to circa 1460. They would have therefore been created prior to the paintings for San Prospero dated 1467. Based on the privileged position of Jacobus Major next to the possible former Madonna in the centre, the triptych may well have been an altarpiece for the Basilica San Giacomo Maggiore in Bologna. We thank Prof. Gaudenz Freuler for his assistance and the attribution of these works.

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CRISTOFORO DI BENEDETTO, SAINT JEROME AND SAINT DOMINIC, Tempera on panel, >>> 90.5 x 59.5 cm

Lot 1104: CRISTOFORO DI BENEDETTO, SAINT JEROME AND SAINT DOMINIC, Tempera on panel, >>> 90.5 x 59.5 cm

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Description: CRISTOFORO DI BENEDETTO, SAINT JEROME AND SAINT DOMINIC, Tempera on panel, >>> 90.5 x 59.5 cm

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BERNARDINO LUINI, studio of, THE VIRGIN WITH CHILD HOLDING A BRANCH OF LILIES, oil on panel (parqueted), 71 x 62.5  cm

Lot 1105: BERNARDINO LUINI, studio of, THE VIRGIN WITH CHILD HOLDING A BRANCH OF LILIES, oil on panel (parqueted), 71 x 62.5 cm

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Description: This painting depicts the standing Virgin with Child on a table. The Virgin is veiled and wears a red mantel over a blue undergarment. In her left hand she holds the hand of Christ who is turning away in order to reach out for the lily that she is holding in her right hand. The composition is characterised by the quiet grief of the Virgin who foresees the death of her Child. By turning towards the lily, Christ expresses his readiness to sacrifice himself. There are several versions of this composition, one in Apsely House, London, considered to be the original, and another in the Wallace Collection, London.

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PABLO DE AREGIO, attributed to, BAPTISM OF CHRIST, oil on panel, 82 x 94 cm

Lot 1106: PABLO DE AREGIO, attributed to, BAPTISM OF CHRIST, oil on panel, 82 x 94 cm

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Description: Pablo de Aregio, also known as Pablo de San Leocadio, is a Lombardian painter from Reggio who moved to Spain, and worked there in the late 15th and early 16th century. His key work consists of eight large and four small panels making up an altar piece in the parish church in Gandia, a donation from the Borja family. Works from this unusual artist are rarely found.

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AMBROGIO BORGOGNONE, attributed to, THE VIRGIN WITH CHILD, Fresco, 76 x 69 cm (oval)

Lot 1107: AMBROGIO BORGOGNONE, attributed to, THE VIRGIN WITH CHILD, Fresco, 76 x 69 cm (oval)

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Description: The Virgin, in half length, is depicted behind a parapet upon which the Child is sitting, vested in a short gown. Mary is depicted breastfeeding and holding an open prayer book in her left hand. Ambrogio di Stefano da Fossano, called Borgognone, was mainly active in Milan and was one of the most important fresco painters in Lombardy. The attribution of the present fresco to Borgognone stems from Wilhelm von Bode who advised the former owner and collector, Heinrich Vieweg.

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UPPER RHINE-REGION, circa 1490/1500, ADORATION OF THE MAGI  DEATH OF THE VIRGIN, oil on panel, 55 x 46 cm each

Lot 1108: UPPER RHINE-REGION, circa 1490/1500, ADORATION OF THE MAGI DEATH OF THE VIRGIN, oil on panel, 55 x 46 cm each

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Description: Two scenes from the life of the Virgin, taken from the wings of an altar. The stable is depicted in a hilly landscape with a river in the background. The interior and the bed in which the dying Virgin lies is surrounded by the mourning apostles and painted in perspective.

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GIROLAMO DA TREVISO, THE HOLY FAMILY WITH SAINT CATHERINE, oil on panel (parqueted), 96 x 76 cm

Lot 1109: GIROLAMO DA TREVISO, THE HOLY FAMILY WITH SAINT CATHERINE, oil on panel (parqueted), 96 x 76 cm

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Description: The origin of the painter Girolamo da Treviso is uncertain although Giorgio Vasari makes mention of him in his "Vite". It is possible that he descended from the artist family Pennacchi from Treviso since he is occasionally called Girolamo Pennacchi. His works are closely related to the Venetian tradition of "Giorgonismo", but they have their own style entirely, particularly recognisable by his figures. A painting comparable to ours is in the Lakeview Museum (Arizona, USA). Here we see a similar St. Catherine in profile. The view to the landscape at right is related. After his stays in Bologna and at the court of Mantua, Girolamo's life experienced an unexpected turn in 1538. That year he entered the services of King Henry VIII of England as a military engineer. In 1544, he participated in the first attack on Boulogne-sur-Mer where he was killed. We thank Bernard Aikema for the confirmation that this painting is a work by Girolamo da Treviso.

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NORTH ITALIAN SCHOOL(?) around 1500, DONOR WITH SAINT, oil on panel, 76 x 77 cm

Lot 1110: NORTH ITALIAN SCHOOL(?) around 1500, DONOR WITH SAINT, oil on panel, 76 x 77 cm

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Description: The painting depicts the half-length figure of a female donor, turning to the left and holding an open book. She is accompanied by a young saint, holding as his attribute a bow and possibly identified therefore as Saint Sebastian. The painting probably formed the right wing of a triptych and had as its counterpart a depiction of the husband. With regard to the garment of the sitter the origin of the painting can be established as Northern Italian.

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HISPANO-FLEMISH SCHOOL, 16th Century, THE VIRGIN WITH CHILD AND ANGELS, oil on panel, 51.5 x 33 cm

Lot 1111: HISPANO-FLEMISH SCHOOL, 16th Century, THE VIRGIN WITH CHILD AND ANGELS, oil on panel, 51.5 x 33 cm

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Description: HISPANO-FLEMISH SCHOOL, 16th Century, THE VIRGIN WITH CHILD AND ANGELS, oil on panel, 51.5 x 33 cm

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MASTER OF THE HOLY BLOOD, THE VIRGIN WITH CHILD, oak panel, 67,9 x 53 cm

Lot 1112: MASTER OF THE HOLY BLOOD, THE VIRGIN WITH CHILD, oak panel, 67,9 x 53 cm

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Description: The unknown artist was given the unusual name of the Master of the Holy Blood after the triptych he painted for the Fraternity of the Holy Blood in Bruges depicting the Deposition from the Cross. Native from Antwerp, this artist is a rare example of a painter who left the Scheldt city to establish himself in Bruges after 1510, a time when artistic establishments were forming in the opposite direction. Little is known about his training but his work generally reflects the influence of Quentin Metsys in his representation of figures, with an additional sensitivity to the art of Hans Memling, evident in certain stylistic elements. He seems to have developed a very productive workshop working more for the export market than for private clients, as only rarely can donor portraits be found in his altarpieces. The Madonna here is presented in a rocky landscape, stylistically similar to the work of Joachim Patenier. Elegantly dressed in a fur-lined red gown, she holds the Child on her lap with her right hand whilst presenting her bare breast with the left. The Child wears a coral necklace and holds an apple, a symbol of the original sin. The composition is closely related to the Virgin and Child in Hamburg (Kunsthalle, inv. n° 626); the same face is depicted, with a straight, thin nose, downcast eyes, a small half-moon shaped mouth, a round chin and long brown hair falling over both shoulders in waves of shimmering bronze. This depiction was typical of the artist and can be seen in other paintings such as the Virgin and Child with Saint Anne in Frankfurt (Städelsches Kunstinstitut, inv. n° 82) and the Triptych of the Virgin and Child with Saint Catherine and Saint Barbara (Bruges, Groeningemuseum, inv. n° 91.8). Considering Patenier's strong influence in the background a date of after 1515 seems fully justified. We thank Hélène Mund for this catalogue entry.

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FLEMISH SCHOOL, circa 1520/30, MAN OF SORROWS, oil on panel, 26 x 21 cm

Lot 1113: FLEMISH SCHOOL, circa 1520/30, MAN OF SORROWS, oil on panel, 26 x 21 cm

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Description: FLEMISH SCHOOL, circa 1520/30, MAN OF SORROWS, oil on panel, 26 x 21 cm

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FLEMISH SCHOOL, second half 16th Century, THE VIRGIN WITH CHILD, oil on panel, 30 x 22 cm

Lot 1114: FLEMISH SCHOOL, second half 16th Century, THE VIRGIN WITH CHILD, oil on panel, 30 x 22 cm

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Description: FLEMISH SCHOOL, second half 16th Century, THE VIRGIN WITH CHILD, oil on panel, 30 x 22 cm

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JAN MANDYN, follower of, AENEAS IN THE UNDERWORLD, oil on panel (parqueted), 63 x 87 cm

Lot 1115: JAN MANDYN, follower of, AENEAS IN THE UNDERWORLD, oil on panel (parqueted), 63 x 87 cm

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Description: JAN MANDYN, follower of, AENEAS IN THE UNDERWORLD, oil on panel (parqueted), 63 x 87 cm

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SCIPIONE PULZONE, PORTRAIT OF FERDINANDO DE' MEDICI AS CARDINAL, oil on canvas (relined), 49 x 39 cm

Lot 1116: SCIPIONE PULZONE, PORTRAIT OF FERDINANDO DE' MEDICI AS CARDINAL, oil on canvas (relined), 49 x 39 cm

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Description: Ferdinando de' Medici (1549-1609) was the 5th son of the Grand Duke Cosimo I of Tuscany. He became cardinal at the age of fourteen and followed his elder brother Francesco in becoming 3rd Grand Duke in 1587. Confirmed by Francesco Petrucci as an authentic work of Scipione Pulzone.

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MASTER OF THE WÜRZBURG BATTLE, follower of, BATTLE SCENE WITH LANDSQUENETS, oil on panel (parqueted), 112 x 128 cm

Lot 1117: MASTER OF THE WÜRZBURG BATTLE, follower of, BATTLE SCENE WITH LANDSQUENETS, oil on panel (parqueted), 112 x 128 cm

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Description: The painting depicts in its lower part another painting (oil on panel, 109 x 127 cm) by an unknown master, the original of which can be seen in the Martin von Wagner Museum in Würzburg, and painted by the Master of the Würzburg Battle. A date of 1514 should be approached with caution, in terms of style it has to be assigned to a South German artist circa 1525/1530. Similar to the original painting this work comprises of eight horizontal panels, it differs in its upper section however where it does not show a hilly landscape, but a landscape with a view of a town and castle with trees to the side that frame the composition. These elements reveal the hand of a painter from the Netherlands belonging to the circle of artists who went in exile to Frankenthal in the Palatinate (reference by Kurt Löcher, Cologne).

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MARTEN DE VOS, attributed to, ALLEGORY OF PATIENCE, oil on canvas (relined), 76 x 108 cm

Lot 1118: MARTEN DE VOS, attributed to, ALLEGORY OF PATIENCE, oil on canvas (relined), 76 x 108 cm

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Description: This previously lost painting can be seen in the 1935 catalogue of the 'Galerie Stern', Düsseldorf. In 1980 Armin Zweite only attributed the painting as a works by Martin de Vos due to the inability to view the original. He was, however, able to draw parallels between features such as the composition and the depiction of individual forms evident in other paintings of M. de Vos and thus dated it to circa 1585. The correct attribution of the painting is therefore credited to Zweite. Despite being titled 'Christ and the bound soul' in the 1935 catalogue, Zweite was able to demonstrate, due to several engravings from the time, that it was in fact an allegory of Patience. Patience is here depicted as a naked woman sitting on straw and chained to rocks. To her right is a dead baby and an empty shell. The presence of the infant John the Baptist, to her left, refers to the light of salvation. Features in the background include burning houses, a sinking ship and a robbery scene. With reference to the captions of etchings by Jacob de Backer and Marten de Vos, it is possible to understand the symbolism behind the allegory of Patience: the salvation of man is guaranteed if he remains patient and steadfast in times of misery. Combined with an awareness of the political and economic situation in the Netherlands at the end of the 16th Century, the subject is particularly poignant. In another sense, the allegory can also be viewed within the context of the 'horrors of war'. Martin de Vos was one of the most important and prolific painters working in Antwerp during the 16th Century, a time of great political upheaval and social and religious unrest. Stylistically, this painting can be associated with a small number of other compositions by the artist depicting a relatively large landscape, for example, 'The Repudiation of Hager' (Zweite Fig. 10), 'The Rape of Europa' (Zweite Fig. 55) and 'Saint Jerome in the Wilderness' (Zweite Fig. 82). According to a letter of verification of „The New York State Banking Department's Holocaust Claims Processing Office" (HCPO) in coordination with the „Max Stern Art Restitution Project " dated September 4, 2012, there is no restitution claim on this painting.

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LEANDRO BASSANO, ALLEGORY OF THE EARTH, oil on canvas, 136.5 x 180 cm

Lot 1119: LEANDRO BASSANO, ALLEGORY OF THE EARTH, oil on canvas, 136.5 x 180 cm

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Description: Leandro Bassano (dal Ponte) stemmed from an extensive family of artists and trained in the workshop of his father, Jacopo, along with his three brothers. Later, in 1588, Leandro travelled to Venice where he was involved in the decoration of the Doge´s Palace. After the death of both his father, Jacopo, and his eldest brother, Francesco, Leandro continued to work in the 'Bassano style' before progressing and developing his own style, recognisable through the use of sharper contours and a lighter colour palette. This large painting, of which a similar version exists in the Walters Art Museum, Baltimore, reflects characteristics which align it with the more general style of the Bassano family; the extensive use of chiaroscuro, the rich colour palette and the abundance of narrative detail, for example.

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PIER FRANCESCO MAZZUCCHELLI, CALLED IL MORAZZONE, attributed to, A BANQUET, oil on canvas (relined), 84.5 x 112 cm

Lot 1120: PIER FRANCESCO MAZZUCCHELLI, CALLED IL MORAZZONE, attributed to, A BANQUET, oil on canvas (relined), 84.5 x 112 cm

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Description: The present painting, for which Duke Ferdinand Gonzaga of Mantua probably commissioned Pier Francesco Mazzuchelli detto Il Morazzone, may have been a bozzetto for a larger painting or a fresco, but which was either never brought to fruition, or is now lost. One draft drawing from Morazzone, where the figures are almost identical but without the architectural background, is found in the J. Paul Getty Museum in Malibu (35,5 x 84,5 cm, Inv.-No. 90.GG.117, compare Nicholas Turner, Lee Hendrix und Carol Plazzotta: J. Paul Getty Museum. European Drawings 3. Catalogue of the Collections, Los Angeles 1997, p. 76, No. 29). Another version, found in a Roman private collection and of almost the same dimensions as our painting, was published by Mina Gregori in 1962 (oil on canvas, 86 x 115 cm, compare Mina Gregori: Exhibition Catalogue „Il Morazzone", Varese 1962, p. 102f, no. 81, ill. 219), although Gregori's attribution to Morazzone has recently been called again into question (compare Jacopo Stoppa: Il Morazzone, Mailand 2003, p. 85f). Various suggestions have been made about the subject matter of the work, although a truly convincing answer has not been found. Mina Gregori advocates the depiction of the 'wedding at Cana' whilst other suggestions include the mythological subject of 'the wedding of Thetis and Peleus'. However the Old Testament theme of 'Ahasuerus and Haman at the feast of Esther' seems most probable.

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JAN BRUEGHEL THE ELDER, RIVER LANDSCAPE WITH BATHING FIGURES AND BOATS, oil on copper, 17 x 23 cm

Lot 1121: JAN BRUEGHEL THE ELDER, RIVER LANDSCAPE WITH BATHING FIGURES AND BOATS, oil on copper, 17 x 23 cm

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Description: Jan Brueghel the Elder has tackled the charming motif of bathers alongside a river meandering through a Flemish village a total of three times (cf. Ertz, vo. 1, p. 290ff, no. 134 and 135). The imposing sailing boats link the present painting closer to the one sold at Sotheby's in London in 2009, than the third, found in a private Viennese collection, which does not include such voluminous sails. All three versions were probably produced in Antwerp shortly after the artist's return from Italy between 1595 and 1600 and demonstrate Breughel's development in pictorial imagery with the reduced division of fore-, middle- and background characterized by brown, green and blue tones, which points towards the breakthrough in landscape painting of around 1600. The narratively rich depiction of village life in Flanders makes the small copper plate particularly attractive. The thatched crofts, houses with northern stepped gables, late Gothic church halls and the lightly suggested windmills in the background provide the framework for a variety of characters going about their daily business. One can see a woman feeding her chickens, a man walking his dog and several figures in the hefty sailboats and smaller rowing boats. The most attractive motif must be however the villagers in the foreground having fun bathing.

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MASTER FROM PRAGUE, circa 1600, CHRIST AMONG THE DOCTORS, oil on panel, 47.4 x 29.5 cm

Lot 1122: MASTER FROM PRAGUE, circa 1600, CHRIST AMONG THE DOCTORS, oil on panel, 47.4 x 29.5 cm

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Description: MASTER FROM PRAGUE, circa 1600, CHRIST AMONG THE DOCTORS, oil on panel, 47.4 x 29.5 cm

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PAUL BRIL, LANDSCAPE WITH THE CALLING OF THE APOSTLES, oil on panel (parqueted), 36.5 x 53 cm

Lot 1123: PAUL BRIL, LANDSCAPE WITH THE CALLING OF THE APOSTLES, oil on panel (parqueted), 36.5 x 53 cm

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Description: PAUL BRIL, LANDSCAPE WITH THE CALLING OF THE APOSTLES, oil on panel (parqueted), 36.5 x 53 cm

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PIETER BRUEGHEL THE YOUNGER, follower of, CHRIST BEARING THE CROSS, oil on panel, 34 x 47 cm

Lot 1124: PIETER BRUEGHEL THE YOUNGER, follower of, CHRIST BEARING THE CROSS, oil on panel, 34 x 47 cm

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Description: Verso a label "Wallraf-Richartz-Museum Gemälde-Inventar 1925 Nr. 1491".

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ABEL GRIMMER, in the manner of, A VILLAGE KERMESSE, oil on panel (parqueted), 19.5 x 26 cm

Lot 1125: ABEL GRIMMER, in the manner of, A VILLAGE KERMESSE, oil on panel (parqueted), 19.5 x 26 cm

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Description: ABEL GRIMMER, in the manner of, A VILLAGE KERMESSE, oil on panel (parqueted), 19.5 x 26 cm

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JOHANN KÖNIG, THE ASCENSION OF CHRIST, oil on copper, 61.5 x 46 cm

Lot 1126: JOHANN KÖNIG, THE ASCENSION OF CHRIST, oil on copper, 61.5 x 46 cm

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Description: Whilst the apprenticeship of the Nuremberger Johann König in Augsburg can only be surmised, his stays in Venice (1609) and Rome (1610-1614) have been affirmed. In Italy König received important inspiration for his artistic development, as his junior painter colleagues Johann List and Johan Heinrich Schönfeld would do slightly later. The works of Adam Elsheimer, who died in the year of König's arrival in Rome, are particularly worth mentioning here. In 1614 Johann König moved from Rome to Augsburg, where it has been verified that he stayed until 1629, before spending the rest of his life in his birth town of Nuremburg. Whilst producing series of large format canvas pictures, for example for the decoration of the Augsburg town hall, the artists's oeuvre is particularly characterised by his small format copper pictures. His brilliant painting style and minute attention to detail had already attracted the admiration of his contemporaries. The present painting ''The Resurrection of Christ'' is comparable, also in terms of quality, to König's depiction of ''All Saints'', today held in the German Baroque Gallery of the Schaezler Palace in Augsburg. In both pictures, the dense composition is impressive, as well as the masterly depiction of twisting bodies and the rich, Mannerist-influenced atmosphere. The luminosity of the colours achieve a particular brilliance by König's use of copper plate, which he chose to use for many other of his works. We would like to thank Gode Krämer, Augsburg, for his assistance in the cataloguing of this painting which will be inlcluded in his upcoming catalogue raisonné of this artist.

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ADAM ELSHEIMER, copy after, TOBIAS AND THE ANGEL, oil on panel, 22.3 x 27 cm

Lot 1127: ADAM ELSHEIMER, copy after, TOBIAS AND THE ANGEL, oil on panel, 22.3 x 27 cm

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Description: The original painting from Adam Elsheimer with this image, and which Hendrick Goudts made a copper engraving of in 1613, is missing. The closest we have to it may be a contemporary copy which has been in the Statens Museum in Copenhagen since 1760. A second version is found in the National Gallery in London which varies slightly from both ours, the Copenhagen picture and Goudts' engraving in terms of the landscape (Andrews, op. Cit.). On the grounds of style, Andrews dates the small composition to around 1609, therefore one year before Elsheimer's death. One possible attribution for the Copenhagen picture which has been considered is that of Johann König. This however has not been proved, and neither for our high quality, perfectly preserved painting.

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HANS ROTTENHAMMER, follower of, ANGELICA AND MEDORO, oil on copper, 34.5 x 46 cm

Lot 1128: HANS ROTTENHAMMER, follower of, ANGELICA AND MEDORO, oil on copper, 34.5 x 46 cm

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Description: This painting on copper of high quality depicts a scene from Ariost´s "Orlando Furioso". It is based on an etching by Egidius Sadeler after a painting by Carlo Caliari, today in the Barbieri collection, Padua. The painting can be dated into the 17th century and is probably by an artist influenced by Hans Rottenhammer. We are grateful to Dr. Thomas Fusenig, Essen, for assistance for this catalogue entry.

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JASPER VAN DER LANEN, WOODED LANDSCAPE WITH FIGURAL STAFFAGE, oil on copper, 19.5 x 26.5 cm

Lot 1129: JASPER VAN DER LANEN, WOODED LANDSCAPE WITH FIGURAL STAFFAGE, oil on copper, 19.5 x 26.5 cm

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Description: Jasper van der Lanen was a Flemish landscape painter of the early 17th century who stood in the tradition of Gillis van Coninxloo. His landscapes do not show a clear separation of pictorial planes, as was common with the previous generation of landscape painters. Instead, they show a continuous pictorial space that links the fore-, middle-, and background. This feature brings with it the dissolution of the classical colour palette which traditionally divided the pictorial space using brown, green, and blue tones.

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JASPER VAN DER LANEN, circle of, WOODED LANDSCAPE WITH JOHN THE BAPTIST PREACHING  WOODED LANDSCAPE WITH NOBLEMEN, oil on panel, Diameter 27 cm each

Lot 1130: JASPER VAN DER LANEN, circle of, WOODED LANDSCAPE WITH JOHN THE BAPTIST PREACHING WOODED LANDSCAPE WITH NOBLEMEN, oil on panel, Diameter 27 cm each

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Description: JASPER VAN DER LANEN, circle of, WOODED LANDSCAPE WITH JOHN THE BAPTIST PREACHING WOODED LANDSCAPE WITH NOBLEMEN, oil on panel, Diameter 27 cm each

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FLEMISH SCHOOL, 17th Century, ELEVEN COPPER PLATES WITH DIFFERENT DEPICTIONS, oil on copper, Different sizes: 23.5 x 32.5 cm, 17 x 6 cm, 6,5 x 13 resp. 13,5 cm, the tondi diameter of 7 cm each

Lot 1131: FLEMISH SCHOOL, 17th Century, ELEVEN COPPER PLATES WITH DIFFERENT DEPICTIONS, oil on copper, Different sizes: 23.5 x 32.5 cm, 17 x 6 cm, 6,5 x 13 resp. 13,5 cm, the tondi diameter of 7 cm each

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Description: Probably painted by different hands, the copper plates, which perhaps once formed two decorative door panels for a cabinet, have since been joined together and mounted within a modern frame. The central panel depicts a vast river landscape featuring the scene of „Tobias bidding farewell to his father". In contrast to this narrative the four tondi contain allegories of the four seasons, whilst the two lateral panels feature architectural capricci. The four horizontal panels depict a harbour scene with the unloading of ships (probably a later addition), a mythological scene, a battle scene and the depiction of a peasant family within an agricultural landscape.

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ANTWERP SCHOOL, ealry 17th Century, MOUNTAIN LANDSCAPE, oil on copper, 20 x 27 cm

Lot 1132: ANTWERP SCHOOL, ealry 17th Century, MOUNTAIN LANDSCAPE, oil on copper, 20 x 27 cm

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Description: ANTWERP SCHOOL, ealry 17th Century, MOUNTAIN LANDSCAPE, oil on copper, 20 x 27 cm

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FLEMISH SCHOOL, early 17th Century, WOODED LANDSCAPE WITH RESTING WOMAN AND WANDERERS, oil on panel, 48.5 x 71 cm

Lot 1132A: FLEMISH SCHOOL, early 17th Century, WOODED LANDSCAPE WITH RESTING WOMAN AND WANDERERS, oil on panel, 48.5 x 71 cm

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Description: The landcape reveals characteristic elements of early Flemish wooded landscapes at the beginning of the 17th century. Tall trees dominate the composition, only a bit of light falls through the dense foliage and illuminates a resting woman at the left foreground. In the background a mountain range is depicted that probably represents the Alps.

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PETER PAUL RUBENS, studio of, THE CRUCIFIXION, oil on copper, 32.5 x 25 cm

Lot 1133: PETER PAUL RUBENS, studio of, THE CRUCIFIXION, oil on copper, 32.5 x 25 cm

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Description: The model for the copper plate from the studio of Rubens is an oil sketch by the master, today held in the Museum Rockoxhuis in Antwerp. This oil sketch assisted in the preparation of an altar painting for the Church of St. Michael in Gent which Rubens was unable to execute. The commission was instead taken over by van Dyck, one of his early pupils. The present copper plate took on Rubens composition in the oil sketch with only a few small variations. In a letter to the previous owner of the painting, Prisca Valkeneers from the Rubenianum, Antwerp, attributed it to the studio of Rubens. It will subsequently be registered in the forthcoming Addenda-volume of the Corpus Rubenianum.

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JACOB JORDAENS, THE HOLY FAMILY WITH THE INFANT SAINT JOHN AND HIS PARENTS, oil on canvas (relined), 112.5 x 148 cm

Lot 1134: JACOB JORDAENS, THE HOLY FAMILY WITH THE INFANT SAINT JOHN AND HIS PARENTS, oil on canvas (relined), 112.5 x 148 cm

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Description: Research on Jordeans has not had immediate proximity to this painting since it has been in private hands for more than 200 years. Michael Jaffé has identified it as a very early, approximately 1614, work by Jordeans' own hand based on an illustration in an exhibition catalogue from 1955, while R.A. D'Hulst considers it to be a workshop creation. This opinion is contradicted by Hans Vlieghe in a detailed expertise based on the fact that he was able to examine the original. His arguments in determining that the work is an original painting by Jacob Jordeans' own hand are based on its differences to two other versions of the work's motif. One is a signed picture in Raleigh (USA), and another, unsigned, in the National Gallery in London, also believed to be a work by the artist's own hand. The present painting differs insofar as a fourth person is depicted, St. Joseph, and the group around the children has been restructured. The figure of Zacharias also displays differences, here wearing a red priest's robe with a wide embroidered border, and the striped blanket on St. Mary's lap.These details, although varying from the other known versions, can be found in other works by Jordeans. The noticeable influence of Caravaggio in our picture, here the contrast between Joseph's head in the semi-dark and his brightly lit hand pointing towards the infant Jesus, his energetic realism, are - according to Vlieghe - singular indication of an early date for our painting, before 1620. He also states that there is no evidence of a workshop around Jordeans during that time. The particular attraction of the painting's theme is in the depiction of the two Holy Families and in certain details. The unusual wicker chair in which St. Mary is seated, or the cage holding the attention of the two children. A goldfinch is fastened with thread to the cage - a pleasing motif with deeper symbolism. It may have the meaning of freeing the human soul by the sacrifice of Christ, or as a metaphor for the education of the child (Vlieghe). The particular attraction of the painting, however, lies in the domestic and humane life of the two Holy Families.

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JUAN VAN DER HAMEN Y LEÓN, APPLES, QUINCES, PLUMS AND CHERRIES IN A BASKET, oil on canvas (relined), 51 x 53.8 cm

Lot 1135: JUAN VAN DER HAMEN Y LEÓN, APPLES, QUINCES, PLUMS AND CHERRIES IN A BASKET, oil on canvas (relined), 51 x 53.8 cm

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Description: Juan van der Hamen y Leon was born in Madrid, to a Fleming family of noble ancestry. Very little is known of his artistic training except that it may have taken place in Madrid. He possibly learned directly from court painters who also had experience working abroad. In 1516 he established himself as an independent artist with his own workshop. In 1619, at the age of 23, he was summoned to the court in Madrid, despite King Philipp III having already acquired a still life by van der Hamen in the previous year. His early adoption of this particular style reflects the ease at which he reacted to artistic developments in other areas of Europe. He, and the slightly older Juan Sanchez y Cotän, are the first Spanish artists that can be considered major still life painters, the importance of which increased circa 1600, especially in Flanders. Obviously, a certain rivalry existed between van der Hamen and the court painter Diego Velasquez who was three years his junior and concentrated largely on figural painting. Their contemporaries considered them to be of equal importance. Approximately 70 still lifes are known to exist by van der Hamen y Leon, who died at the age of 35. The most important works are in museums, particularly the Prado in Madrid where pieces from the royal collection are to be found. Characteristic and very "Spanish" in these paintings is the braided willow basket, appearing in many of his works. William B. Jordan who will include this painting in his catalogue raisonné, believes that it may be a detail from a larger composition. Similar fruit baskets can be found in larger works, the 130 cm wide painting in the Museum of Art, Williamstown, dated 1629 for example, as well as in single motif pictures such as ours.

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NOVELLI, called Il MONREALESE, SAINT JOHN, oil on canvas (relined), 134 x 97 cm

Lot 1136: NOVELLI, called Il MONREALESE, SAINT JOHN, oil on canvas (relined), 134 x 97 cm

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Description: The importance of Pietro Novelli in the development of South Italian painting, climaxing with the works of Cavallino, Carracciolo, Luca Giordano and Matía Preti, has only recently been acknowledged. Early on in his career Novelli became acquainted with the art of van Dyck who, in 1624, was working in Palermo. The elegance and ease with which his figures moved and the harmony of his compositions were characteristics of van Dyck's work that had a particular influence on Novelli. However, in accordance with the tradition of Sicilian Caravaggism, Novelli used a stronger colour palette. In Naples, this style begins to dominate in the 1630´s through an acquaintance with the work of Ribera. Novelli's main work is that depicting Saint Benedict in the monastery of Montreal, painted in 1635. Right up until his death Novelli maintained his certainty in style; the elegance of his drawing and the harmony of his compositions and palette.

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GUIDO RENI, THE PENITENT SAINT PETER, oil on canvas, 77.5 x 63 cm

Lot 1137: GUIDO RENI, THE PENITENT SAINT PETER, oil on canvas, 77.5 x 63 cm

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Description: Verso a collector´s seal (according to Stephen D. Pepper possibly from a member of the Bolognese family of the Sampieri). The present painting depicts the penitent Saint Peter with his hands clasped and gaze raised in repentance of his betrayal of Christ. The Saint wears a blue robe and ochre mantel. The drapery flows from his right shoulder and across his left forearm, giving the half-length figure of Saint Peter a monumental and dynamic appearance. D. Stephen Peppter dates the present painting to between 1625 and 1628 and thus the early period of the artist's career, entitled by Pepper as his "first manner" and based on "firm modeling, strong relief effects achieved through chiaroscuro and clear contours of the figures". Two further versions of this composition exist, one of which is in the Hermitage, Saint Petersburg, with the same depiction of Peter and of a very similar size. Pepper dated these two versions to the 1630s and thus later than the present painting. There exists also an engraving of a version that used to be in the collection of the Marchesi Gerini, Florence, in the 18th century.

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JEREMIAS VAN WINGHE, ALLEGORY OF THE PRINCLY EDUCATION, oil on canvas, 157.5 x 112.5 cm

Lot 1138: JEREMIAS VAN WINGHE, ALLEGORY OF THE PRINCLY EDUCATION, oil on canvas, 157.5 x 112.5 cm

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Description: Verso on the canvas inscribed: "des Villes et Chateaux de Namur les 19 et 30 Septembre 1746" This painting was part of the war booty taken from the Chateau de Namur by French soldiers under the command of Marshal de Saxe during the battle of Rocourt on September 30, 1746. A fragment of paper on the reverse of the canvas suggests it was also recently in a private Belgian collection. At first the subject seems mysterious, painted in the colours of later Northern mannerism, depicting a noble young man applying himself to various bodily and mental activities under the supervision of his teachers in an Italianate fantasy interior. A globe, several geometric implements and the scales refer to his humanistic education, while the exercise related to riding reflects his courtly duties. The young man's identity remains vague, his relationship to the house of Medici-Habsburg is evident through the double coat of arms clearly visible in the painting's centre, under the two columns next to the guards. It is known that the Medici and Habsburgs became related at the end of the 16th century. Lisa Goldenberg Stoppato argues that the present composition is a depiction of Prince Ferdinando II (1610-1670), son of Cosimo II de Medici and Maria Magdalena of Habsburg. The painting would therefore be an allegory of the education of the future Medici prince. She attributes the work to the Flemish painter Jeremias van Winghe. A drawing in the Albertina and the related painting in the Kurpfalz Museum Heidelberg, both allegories of the reign of Emperor Rudolf II, support this theory. Stylistically, the present painting is closely related to the Heidelberg composition: similar magical colours of pink, azure and shades of green evolve into figural forms. The composition is cut along the diagonal by the dominating stairway. The present painting, of clearly larger dimensions, features more open space and offers the viewer a sight into a fantastic interior. Although Winghe's presence at the Medici court is not documented, judging by the Florentine style of architecture, the painting would have been undertaken in relation to a trip to Italy according to Joachim von Sandrart and other authors. Father and son certainly had close relations to the court of Rudolf II of Habsburg and a commission would be entirely believable. His sojourn in Italy could have taken place between 1604 and 1616. The allegory could have been commissioned in honour of the prince born in 1610, or as a painting of ideal imagination; the theoretical education of the future prince.

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PALAMEDES PALAMEDESZ., A CAVALRY SKIRMISH, oil on panel, 31.5 x 32.5 cm

Lot 1139: PALAMEDES PALAMEDESZ., A CAVALRY SKIRMISH, oil on panel, 31.5 x 32.5 cm

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Description: PALAMEDES PALAMEDESZ., A CAVALRY SKIRMISH, oil on panel, 31.5 x 32.5 cm

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JAN PORCELLIS, STORMY SEA WITH SHIPS, oil on panel, 47.7 x 62.8 cm

Lot 1140: JAN PORCELLIS, STORMY SEA WITH SHIPS, oil on panel, 47.7 x 62.8 cm

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Description: Verso remains of a collector´s seal.

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JAN VAN GOYEN, LANDSCAPE WITH TWO CARTS, oil on panel, 30 x 52.5 cm

Lot 1141: JAN VAN GOYEN, LANDSCAPE WITH TWO CARTS, oil on panel, 30 x 52.5 cm

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Description: The painting shows travellers on carts resting in front of an inn. According to the shop sign the inn is named "The Swan". Van Goyen painted a number of variations of this motif. What obviously facsinated him was the representation of travellers that since Jan Brueghel´s time had a long tradition. It is the rendition of an everyday-life scene in a typical plain Dutch landscape. Two peasants sit by the wayside in the foreground, while on the right-hand side a sandy country road goes past the inn. At the horizon one can see a small church. The two horse and carts have halted, the horses are being fed and the travellers receive refreshments. Characteristic for van Goyen is the rendition of the atmosphere of the landscape in which sunlit and shady parts alternate.

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MATTHIAS STOMER, attributed to, AVARICE, oil on canvas (relined), 94 x 114.5 cm

Lot 1142: MATTHIAS STOMER, attributed to, AVARICE, oil on canvas (relined), 94 x 114.5 cm

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Description: Our painting is a minimally different version of a picture in the Kassel Gemäldegalerie depicting the "Avaritia", avarice. The work is part of a series on the theme of human vice, now dispersed. Some of the pictures are in St. Petersburg, others were in Schloss Schleissheim near Munich. Whether they were done by one painter and who that may have been, is still questioned by art historians. The Kassel painting,dated 1642 but unsigned, has had several attributions in the course of time, for example Joachim von Sandrart, Matthias Stomer, Flemish master. The Schleissheim pictures were even attributed to Jordaens. Stylistically, the works are close to the Utrecht school, Matthias Stomer being part of that. However, F. Fischbacher sees a resemblance to Stomer only in the depiction of avarice. Our version differs only slightly from the Kassel work in the background. The liveliness in the expression of the greedy faces lit from below by a lamp on a table, is here equally conspicuous.

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PHILIPS WOUWERMAN, LANDSCAPE WITH TRAVELLERS AND BRIDGE, oil on panel, 50 x 69 cm

Lot 1143: PHILIPS WOUWERMAN, LANDSCAPE WITH TRAVELLERS AND BRIDGE, oil on panel, 50 x 69 cm

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Description: This landscape is characteristic of the early works by Philps Wouwerman, resting travelers on a hilly terrain. Wowerman adopted this motif from his master Peter van Laer, with whom he studied after his return from Italy in the 1630's. Such depictions of travelers were popular in Italianate landscapes. The paintings reflect the experiences of travelers in a foreign country and are characterised by a rich artistic tradition, an exotic landscape and also the depiction of a different culture and religion. According to Birgit Schumacher the painting is an early work by Philips Wouwerman, painted circa 1645. The pale sky, green, brown, and beige tones of the landscape, the fine depiction of the figures and horses and their bright colours are all indicative of such a date. Dr. Birgit Schumacher will include this painting in the new edition of her catalogue raisoné as an authentic work by Philips Wouwerman.

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JOHANN WILHELM BAUR, ELEGANT SCENE IN THE VILLA D´ESTE, oil on panel, 69.5 x 63.5 cm

Lot 1144: JOHANN WILHELM BAUR, ELEGANT SCENE IN THE VILLA D´ESTE, oil on panel, 69.5 x 63.5 cm

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Description: Johann Wilhelm Baur travelled like many other artists of the early 17th Century to Italy, where he specialised in the depiction of monuments in the country. His work for the Colonna and Orsini, two of the noblest families of Rome, shows the recognition his work received in his new home. Later, he was to become a painter for the imperial court in Vienna. Today is the Strasbourg artist primarily known for his drawings; only a few of his paintings have been preserved. In this painting Baur depicts the famous Villa d'Este, Tivoli, that Pirro Liorio built for Cardinal Ippolito d'Este in the 16th Century and up until the 19th Century was used by artists as a motif in their landscapes.

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GERRIT VAN HONTHORST, circle of, PORTRAIT OF KARL LUDWIG OF THE PALATINATE AS SHEPHERD, oil on canvas (relined), 93 x 75 cm

Lot 1145: GERRIT VAN HONTHORST, circle of, PORTRAIT OF KARL LUDWIG OF THE PALATINATE AS SHEPHERD, oil on canvas (relined), 93 x 75 cm

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Description: Karl Ludwig von der Pfalz (1617-1680), son of the Palatine Elector Friedrich V. and Elisabeth Stuart grew up in exile in Holland after the defeat of his father, the so-called Winter King, against Kaiser Ferdinand II. Only after the Treaty of Westphalia in 1648 was he able to take over his father's position as Palatine Elector. The painting depicts the Prince, around the age of 16, as a shepherd with a crook, flute and crown of ivy in a ''portrait historié''. Mythological and historical roles were very popular in the Netherlands in the 17th century. Gerrit van Honthorst produced many likenesses of Karl Ludwig in costume, for example as Apollo. R. Judson and R.E.O. Ekkart reference a lost painting in their monograph of Honthorst (Gerrit van Honthorst 1592-1656, Doornspijk 1999, S. 267), which was described in the 18th century as an image of the Palatine Prince with a ''pike''. This may refer to the shepherd's crook depicted here

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FLEMISH SCHOOL, 17th Century, PORTRAIT OF A NUN IN A WHITE GOWN, oil on canvas (relined), 76 x 53.5 cm

Lot 1146: FLEMISH SCHOOL, 17th Century, PORTRAIT OF A NUN IN A WHITE GOWN, oil on canvas (relined), 76 x 53.5 cm

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Description: FLEMISH SCHOOL, 17th Century, PORTRAIT OF A NUN IN A WHITE GOWN, oil on canvas (relined), 76 x 53.5 cm

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CORNELIS STOOTER, COASTAL LANDSCAPE WITH FISHMONGERS AND STORMY SEA, oil on panel, 46 x 64.5 cm

Lot 1147: CORNELIS STOOTER, COASTAL LANDSCAPE WITH FISHMONGERS AND STORMY SEA, oil on panel, 46 x 64.5 cm

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Description: Cornelis Stooter, active in 1620 in Leiden and in 1648 the deacon of the guild there, was probably a pupil of Jan Porcellis´. The depiction of the figures and the stormy sea in the background is characteristic for his seascapes. The stormy sea contrasts with the calm at the shore. The church on the left symbolises the inner peace to be found through Christianity. (For a similar composition in the Willem Russell Collection, Amsterdam, cf. L. Bol: Die holländische Marinemalerei des 17. Jahrhunderts. Braunschweig 1973, p. 112).

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WILLEM ORMEAand ABRAHAM WILLAERTS, FISH STILL LIFE WITH STORMY SEA, oil on canvas (relined), 66.5 x 103.5 cm

Lot 1148: WILLEM ORMEAand ABRAHAM WILLAERTS, FISH STILL LIFE WITH STORMY SEA, oil on canvas (relined), 66.5 x 103.5 cm

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Description: Willem Ormea painted his large fish still lifes together with Abraham and Adam Willaerts, who added the seascapes in the background.

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