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Old Master Paintings and Drawings, Sculptures

by Lempertz

Platinum House

253 lots with images

November 16, 2013

Live Auction

Neumarkt 3

Cologne, 50667 Germany

Phone: +49 221 92 572917

Fax: +49 221 92 57296

Email: info@lempertz.com

253 Lots
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UMBRIAN SCHOOL, late 15th century, THE VIRGIN WITH CHILD

Lot 1200: UMBRIAN SCHOOL, late 15th century, THE VIRGIN WITH CHILD

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Description: UMBRIAN SCHOOL, late 15th century, THE VIRGIN WITH CHILD THE VIRGIN WITH CHILD This way of depicting the Virgin, which was developed in Umbria and spread to central Italy, points to the likely origin of this painting being Latium or perhaps Viterbo. In a newer frame.

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FRA FILIPPO LIPPI, THE VIRGIN WITH CHILD

Lot 1201: FRA FILIPPO LIPPI, THE VIRGIN WITH CHILD

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Description: FRA FILIPPO LIPPI, THE VIRGIN WITH CHILD THE VIRGIN WITH CHILD Berenson, Valentiner, Gronau and lastly Jeffrey Ruda in his catalogue raisonné have all confirmed this piece as an original work of Filippo Lippi. Pudelko and Pittaluga however suppose it to be a workshop piece. According to Ruda, the beauty of the figural group, of which a 15th century copy is known to exist (Pittaluga, op. cit., p. 214), speaks for Lippi's authorship. The doubts as to the status of this work are probably grounded in its lesser artistic impact when compared to other, more well preserved pieces by this artist. Ruda assumes that the piece must once have been damaged. Two 20th century restorations are recorded - the first from 1934/35 and the second from 1970, carried out by Marco Grassi (J. Ruda op. cit.). The experts all agree that the piece can be dated to the 1450s. As one of the greatest and most prolific Florentine painters of the 15th century, Filippo Lippi was able to gather a multitude of pupils and assistants around him to help carry out his commissions. Some of them are even known by name, such as his son Filippino or Fra Diamante.

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FRANCESCO BONSIGNORI, in the manner of, PIETÀ

Lot 1202: FRANCESCO BONSIGNORI, in the manner of, PIETÀ

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Description: FRANCESCO BONSIGNORI, in the manner of, PIETÀ PIETÀ This pieta employs a composition which the Bellini family used very successfully in Venice during the quattrocento. It also experienced great popularity outside of Venice and was received by numerous artists on the Venetian-occupied mainland, such as in Padua and Verona. Thus, the author of this panel was presumably active in one of these cities in the second half of the 15th century. The piece was previously attributed to the Verona artist Francesco Bonsignori, who was active in his hometown and in Mantua.

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SPANISH SCHOOLcirca 1500, THE FLAGELLATION OF CHRIST

Lot 1203: SPANISH SCHOOLcirca 1500, THE FLAGELLATION OF CHRIST

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Description: SPANISH SCHOOLcirca 1500, THE FLAGELLATION OF CHRIST THE FLAGELLATION OF CHRIST Christ stands in a gentle contrapposto bound to a column in the centre of a Renaissance architectural setting, and is shown being flogged with whips and birches by three dynamically posed henchmen. To the left, Pilate and Caiaphas are depicted in lively discussion.

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MASTER OF THE SINZIG CALVARY, THE CRUCIFIXION

Lot 1204: MASTER OF THE SINZIG CALVARY, THE CRUCIFIXION

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Description: MASTER OF THE SINZIG CALVARY, THE CRUCIFIXION THE CRUCIFIXION This work depicts a scene of calvary with a plethora of figures, and was considered to be the work of a master from the Lower Rhine Region until 1480. Alfred Stange attributed the panel to the Master of the Sinzig Calvary, whose name derives from a triptych in the late Romanic church of St. Peter in Sinzig. According to Stange (Deutsche Malerei der Gotik, vol. 5, München und Berlin 1952, pg. 49) the Master of the Sinzig Calvary was mainly influenced by the Master of the Life of Mary, who was active in Cologne. Characteristic for this painter are said to be "hard, metallic folds" and "overly long hands with pointed fingers". Some of the works attributed to this master by Stange have since been attributed to other artists, for example two panels in the Rheinisches Landesmuseum in Bonn are now considered to be the work of a Rheinish (Cologne?) master, and a work in the Hessisches Landesmuseum in Darmstadt has been attributed to a master named after the work in question, the Master of the Darmstadt Tree of Jesse.

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UPPER RHINE-REGION, circa 1490/1500, ADORATION OF THE MAGIDEATH OF THE VIRGIN

Lot 1205: UPPER RHINE-REGION, circa 1490/1500, ADORATION OF THE MAGIDEATH OF THE VIRGIN

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Description: UPPER RHINE-REGION, circa 1490/1500, ADORATION OF THE MAGI DEATH OF THE VIRGIN ADORATION OF THE MAGI DEATH OF THE VIRGIN 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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SWABIAN SCHOOL, circa 1500, THE ENTOMBMENT

Lot 1206: SWABIAN SCHOOL, circa 1500, THE ENTOMBMENT

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Description: SWABIAN SCHOOL, circa 1500, THE ENTOMBMENT THE ENTOMBMENT The body of Christ is shown being lain in a stone sarcophagus in a rocky landscape in front of a hill where the cross is visible. The figures of Mary and John are depicted in the foreground with their backs to the viewer, and Nicodemus and Mary Magdalene can be seen amongst the further supporting figures. The composition of the painting follows a copperplate engraving by Martin Schongauer (Bartsch 18) dated 1480 almost exactly, the halos represent the only addition.

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KATHARINA VAN HEMESSEN, REST ON THE FLIGHT INTO EGYPT

Lot 1207: KATHARINA VAN HEMESSEN, REST ON THE FLIGHT INTO EGYPT

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Description: KATHARINA VAN HEMESSEN, REST ON THE FLIGHT INTO EGYPT REST ON THE FLIGHT INTO EGYPT Signed lower left: CATERINA DE HEMESSEN PINGEBAT The present work, which is so far unknown in literature on this artist, is one of Katharina van Hemessen's few religious works. The painter was the daughter of Jan van Hemessen, who began his apprenticeship in Antwerp in 1519 and was active mainly in Antwerp, but also in Haarlem, until circa 1575. Around the time that his daughter was being taught in 1545/1550, his was among the leading workshops in Antwerp. Katharina van Hemessen is most well known for her portraits, but she also painted religious works, in which she apparently remained stylistically close to her father's precursors. Thus the coloration, composition and fine depiction of details in the landscape, trees and plants allow this work to be dated to 1544, at the same time as Jan van Hemessen's "Virgin with Child" (Stockholm, Nationalmuseum, Inv. Nr. 2140), which is comparable to this work and also signed similarly to this one on a stone in the foreground. We would like to thank Hélène Mund, Brussels, for her kind support in cataloguing this work.

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NETHERLANDISH SCHOOL, circa 1515/1520, REST ON THE FLIGHT INTO EGYPT

Lot 1208: NETHERLANDISH SCHOOL, circa 1515/1520, REST ON THE FLIGHT INTO EGYPT

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Description: NETHERLANDISH SCHOOL, circa 1515/1520, REST ON THE FLIGHT INTO EGYPT REST ON THE FLIGHT INTO EGYPT This composition, in which the Virgin is depicted seated beneath a tree with the Child and holding a pear in her right hand, follows Albrecht Dürer's copperplate engraving "Maria mit der Birne" of 1511 almost exactly. The main exception being that Saint Joseph is depicted to the left, identifying this work as a scene of the "Flight into Egypt". The style of painting and the use of an oak panel both indicate the author to be a Dutch painter.

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LORENZO SABATINI, THE HOLY FAMILY WITH ELISABETH, THE INFANT JOHN THE BAPTIST AND TWO ANGELS

Lot 1209: LORENZO SABATINI, THE HOLY FAMILY WITH ELISABETH, THE INFANT JOHN THE BAPTIST AND TWO ANGELS

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Description: LORENZO SABATINI, THE HOLY FAMILY WITH ELISABETH, THE INFANT JOHN THE BAPTIST AND TWO ANGELS THE HOLY FAMILY WITH ELISABETH, THE INFANT JOHN THE BAPTIST AND TWO ANGELS

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JOACHIM BEUCKELAER, attributed to, NATIVITY

Lot 1210: JOACHIM BEUCKELAER, attributed to, NATIVITY

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Description: JOACHIM BEUCKELAER, attributed to, NATIVITY NATIVITY This composition by the Antwerp painter Joachim Beuckelaer is known in two further versions. One monogrammed piece dated 1564 which was owned by the art dealership Goudstikker in the 1930s, and by Jack Kilgore in 2006. A third version dated 1562 was auctioned in London in 1981 (Sotheby´s 9.12.1981, lot 20). As a pupil of his uncle Pieter Aertsen, Beuckelaer mainly painted opulent kitchen still lifes and market scenes. He first began to create more religious paintings in the 1550s.

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HANS BOL, WINTER LANDSCAPE

Lot 1211: HANS BOL, WINTER LANDSCAPE

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Description: HANS BOL, WINTER LANDSCAPE WINTER LANDSCAPE To the reverse of the thin wooden board backing the copper plate is a sheet of paper with the arms of the earl of Perrée de la Villestreux with the motto "MARE NASCITUR FORTITUDO / EX MUSEO DE LA VILLESTREUX". In a round composition, barely larger than the palm of a hand, Hans Bol has created a lively miniature landscape capturing the atmosphere of a cold winter's day in fine brushstrokes. A group of figures facing away from the viewer stand and look down on a frozen canal on which skaters frolick alone or in groups, one is even shown slipping over. A blanket of snow covers the landscape, in which a cityscape can be seen in the distance, dominated by the outline of a Gothic church. Hans Bol skillfully employs few techniques to express the vastness of the landscape: The back-views of the figures in the foreground, which form a contrast to the city in the distance painted in blue in aerial perspective. The colours blue and white generally dominate the piece, and express the cold of the winter's day. The only divergence from this palette is formed by the figures in the foreground, which further enhances the spacial effect. This is a landscape to be viewed up close and admired. Hans Bol demonstrates his ability to display on a small scale all the qualities which characterise large-scale landscapes: The depiction of atmosphere, near and far, weather and the seasons. Hans Bol belongs to the generation of Flemish landscape painters of the second half of the 16th century who, as successors of Pieter Brueghel, brought this genre to high renown in the southern Netherlands. He was born in Mechelen, a town housing a great many watercolour workshops, and it was in one of these workshops in which he probably learnt his trade under his uncle. Following a stay in Germany, he first returned to Mechelen and later moved to Antwerp. Here he specialised in small scale landscapes, of which this winter scene is a perfect example. The depiction of the seasons was part of the fixed repertoire of landscape painting at the time, and there was possibly a pendant to this painting which may have shown a summer scene (for example Sotheby's, London, 3.7.2013, lot 23).

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FREDERICK VAN VALCKENBORCH, LANDSCAPE WITH HUNTSMEN

Lot 1212: FREDERICK VAN VALCKENBORCH, LANDSCAPE WITH HUNTSMEN

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Description: FREDERICK VAN VALCKENBORCH, LANDSCAPE WITH HUNTSMEN LANDSCAPE WITH HUNTSMEN

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GILLIS VAN VALCKENBORCH, A NIGHTLY FEAST

Lot 1213: GILLIS VAN VALCKENBORCH, A NIGHTLY FEAST

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Description: GILLIS VAN VALCKENBORCH, A NIGHTLY FEAST A NIGHTLY FEAST This painting is to be included in Dr. Alexander Wied's monograph on Gillis van Valckenborch, which is currently under preparation.

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GILLIS VAN VALCKENBORCH, THE MARRIAGE OF PELEUS AND THETIS

Lot 1214: GILLIS VAN VALCKENBORCH, THE MARRIAGE OF PELEUS AND THETIS

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Description: GILLIS VAN VALCKENBORCH, THE MARRIAGE OF PELEUS AND THETIS THE MARRIAGE OF PELEUS AND THETIS Signed lower right: Gilis v Valk.. This signed and previously unknown work of Gillis van Valckenborch forms a fine addition to the oeuvre of this artist, who moved to Frankfurt with his father for religious reasons and stayed there until the end of his life. Apart from a trip to Italy in 1590/91, it is not known whether he visited any other places. Gillis was a nephew of Lucas, son of Marten and brother of Frederick van Valckenborch. Whilst these artists mainly concentrated on landscapes with staffage, Gilles' compositions are mainly figural. His partially large-scale paintings are characterised by the same unbelievable abundance of dynamic figures that astounds the observer of this work. Appropriately, the so-called Feast of the Gods is one of his most depicted motifs, the most famous of these depictions is kept in the collection of Count Schönborn-Wiesentheit in Pommersfelden castle. The scene depicted here is the marriage of King Peleus to the sea-nymph Thetis. All of the Gods were invited to the wedding, except Eris, the Goddess of discord. She appeared nonetheless and, in a fit of rage, threw the famous "apple of discord" among the guests, and the consequences of this action are well known: The dispute among the Godesses, the judgement of Paris and eventually the Trojan war. The motif was painted particularly often by comtemporaries of the artist, for example Hans Rottenhammer, Hendrick de Clerck, Joachim Wtewal, van Balen, Rubens or Jordaens. Dr. Alexander Wied confirms the attribution to Gillis van Valckenborch.

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JAN BRUEGHEL THE ELDER, LANDSCAPE WITH VENUS AND ADONIS

Lot 1215: JAN BRUEGHEL THE ELDER, LANDSCAPE WITH VENUS AND ADONIS

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Description: JAN BRUEGHEL THE ELDER, LANDSCAPE WITH VENUS AND ADONIS LANDSCAPE WITH VENUS AND ADONIS This large format landscape represents one of Jan Brueghel's successful "Nah-Fern" (near-far) landscapes, in which a near foreground contrasts with the faraway background to the right. Klaus Ertz dates this landscape to the first decade of the 17th century, as it contains stylistic and compositional elements similar to works dated around this time. For example a painting kept in Hampton Court dated around 1600 (Ertz op. cit. vol. I no. 60), another work showing a rural road dated 1605 and kept in the Alte Pinakothek in Munich (no. 112) and the work "Diana and Actaeon" in the Narodni gallery in Prague (no. 146). The latter piece was made in cooperation with Hendrick de Clerck, to whom Brueghel held close contact at this time. Ertz attributes the figures in this work to a member of le Clerck's workshop. They cannot be iconographically identified with complete certainty, and are either a depiction of Venus mourning Adonis, who was killed by a boar whilst hunting, or Angelica and Medoro from Ariost's "Orlando Furioso". In this, Angelica heals her wounded lover with a secret medicine which she learnt how to make in India. In Bruegel's paintings of this time, the viewer looks down upon the figures as from a raised platform. Characteristic for his highly detailed works are the layers of glaze which give his paintings an unmistakable three-dimensional quality.

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GEORG FLEGEL, studio of, FRUIT STILL LIFE WITH MOUSE AND STAG BEETLE

Lot 1216: GEORG FLEGEL, studio of, FRUIT STILL LIFE WITH MOUSE AND STAG BEETLE

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Description: GEORG FLEGEL, studio of, FRUIT STILL LIFE WITH MOUSE AND STAG BEETLE FRUIT STILL LIFE WITH MOUSE AND STAG BEETLE Georg Flegel was among the most renowned still life painters of the 17th century in Germany. Accordingly, his Frankfurt studio was arranged like a well organised business, with numerous changing pupils and employees (see: C. Grimm, op. cit.). The present work is likely to have been made here, as it displays a number of motifs typical of a group of Georg Flegel's small scale works: A mouse, a Chinese bowl with figs, dates, hazelnuts, walnuts, sweets and a rummer. The central work of this group is kept in the Alte Pinakothek in Munich, and further similar compositions can be found in private collections (see: Ketelsen-Volkhardt op. cit., pg. 174-181).

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ANTHONIE MIROU, A LANDSCAPE WITH TRAVELLERS

Lot 1217: ANTHONIE MIROU, A LANDSCAPE WITH TRAVELLERS

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Description: ANTHONIE MIROU, A LANDSCAPE WITH TRAVELLERS A LANDSCAPE WITH TRAVELLERS According to Luuk Pijl, this fine, very well-preserved and previously unknown work on copper is a relatively early work of Anton Mirou. Luuk Pijl presents a convincing comparison to numbers 1 (1608), 14 (1607) and 16 (1607) in Jörg Diefenbacher's catalogue raisonné and dates it to around 1608. Depicted is a wooded, mountainous landscape with travellers - some on foot and some on horseback - following a path along a bridge. The view opens in the centre of the work to reveal a wide valley with a church spire, and the so-called Temple of the Sibylle of Tivoli in the upper left. This depiction is unusual for the fact that the artist is not recorded as having travelled over the Alps. It could therefore be a motif borrowed from the works of Paul Bril (cf. Diefenbacher, op. cit. illus. 7). It is not known who taught Anton Mirou, but he would have known the Flemish schools of Jan Brueghel and Paul Bril either directly or indirectly. He uses abrupt changes in light and shadow to create adjoining, yet differentiated, spaces. He has also taken every opportunity to introduce decorative elements to his painting, and the observant viewer can discover numerous small animals and birds among the leaves and undergrowth.

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HANS ROTTENHAMMER, THE RESURRECTION OF LAZARUS

Lot 1218: HANS ROTTENHAMMER, THE RESURRECTION OF LAZARUS

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Description: HANS ROTTENHAMMER, THE RESURRECTION OF LAZARUS THE RESURRECTION OF LAZARUS Inscribed to the reverse: "Johan Rottenhamer/pinxit" This copper panel presents the only known painted version of a composition by Hans Rottenhammer which was previously only seen in two drawings (Pierpont Morgan Library, New York; Albertina, Vienna). Rottenhammer depicts the story from the Gospel of John (John XI, 1-44) in which Jesus awakens Lazarus, brother of Mary and Martha, from the dead. He shows the scene as a crowded, figural composition in which Jesus is depicted on the right with his hand raised in a blessing gesture, flanked by the two sisters who are turned towards him in an aspect of wonder and gratitude upon the awakening of their brother. Jesus looks upon Lazarus, who is clothed in a burial shroud and supported by two men as he arises from the grave. A crowd surrounds the protagonists and stands in amazement, watching and discussing the miracle they have witnessed. The composition follows the design in the Albertina almost exactly, and several elements of it differ from the other versions of this theme (i.e. in the Kunsthistorisches Museum, Vienna, and Lempertz Auction, 20.5.2006, lot 1148). Both the general composition and the individual figures of these other versions are more dynamically arranged than in the more calm scene depicted here. The grave from which Lazarus arises is located on a small slope, so that the saint is shown in the upper left edge of the painting, and Jesus looks up to him, forming a diagonal composition. The composition and motif of this Ressurection of Lazarus reflects the artist's preoccupation with both Venetian and Roman art, namely that of Taddeo Zuccari and Giuseppe di Cesari. (For the sketches in the Albertina and the other variations, see: Exhib.cat. Brake/Prag 2008/2009: Hans Rottenhammer. begehrt - vergessen - neu entdeckt. München 2008, pg. 114-116).

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KERSTIAEN DE KEUNINCK, LANDSCAPE WITH SHIPYARD

Lot 1219: KERSTIAEN DE KEUNINCK, LANDSCAPE WITH SHIPYARD

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Description: KERSTIAEN DE KEUNINCK, LANDSCAPE WITH SHIPYARD LANDSCAPE WITH SHIPYARD

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GILLIS VAN CONINXLOO, attributed to, RIVER LANDSCAPE WITH A WOODEN BRIDGE

Lot 1220: GILLIS VAN CONINXLOO, attributed to, RIVER LANDSCAPE WITH A WOODEN BRIDGE

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Description: GILLIS VAN CONINXLOO, attributed to, RIVER LANDSCAPE WITH A WOODEN BRIDGE RIVER LANDSCAPE WITH A WOODEN BRIDGE

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LEANDRO BASSANO, PORTRAIT OF A MAN

Lot 1221: LEANDRO BASSANO, PORTRAIT OF A MAN

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Description: LEANDRO BASSANO, PORTRAIT OF A MAN PORTRAIT OF A MAN Hand-signed "Colonna" on the reverse beneath the stretcher and with the brandmark "Fideikommiss Wesendonk". The painter Leandro Bassano came from a large family of artists and, like three of his brothers, apprenticed under his father Jacopo. Following the death of his father and older brother Francesco in 1592, Leandro perpetuated the typically "bassanesque" manner, but was the only one of Jacopo's sons to develop his own style, which was marked by clear contours and a lighter palette. Leandro resided in Venice from at least 1588, where among his other work he also took up commissions to decorate the Doge's palace. Leandro also painted altar paintings, religious history paintings and portraits. Unfortunately neither the identity of the man depicted in this work nor the significance of the small bell with the indistinct inscription "[..] van / [... (Dat.?)] Benedict" have so far been discovered, although the pointing gesture towards it identifies the bell as an indication of his rank or profession. In a similar painting of Tiziano Aspetti by Bassano in the Royal Collection, London, the Venetian sculptor is shown gesturing towards a model for his sculpture of Hercules. In both paintings, the light is concentrated primarily on the faces and hands of the sitters, who are depicted in front of a dark background. Both figures are portrayed in elegant clothing, standing in front of a table covered with an opulent oriental carpet. As opposed to the work in the Royal Collection, the interior of this work is defined more closely by the introduction of walls, a ceiling and a chair upholstered in green cloth. In the 19th century, this portrait was in the collection of the merchant Otto Wesendonck and his wife Mathilde, who is mainly known for being Richard Wagner's mistress. According to her texts, Wagner set the five most well known songs of Wesendonck to music. We would like to thank Prof. Bernard Aikema, Verona, for confirming the authenticity of the work from a photograph.

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ITALIAN SCHOOL, early 17th century, MARIA IMMACULATA

Lot 1222: ITALIAN SCHOOL, early 17th century, MARIA IMMACULATA

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Description: ITALIAN SCHOOL, early 17th century, MARIA IMMACULATA MARIA IMMACULATA This image follows traditional Christian iconography, depicting the Virgin standing on a crescent moon with clasped hands, but the background is formed by the pattern of the amethyst on which the work is painted. This follows a practice that was relatively common in central Italy in the first half of the 17th century, in which devotional images were painted on stone and the surfaces of which became part of the compositions. To the reverse is a copper sheet with an engraved depiction of the Christ child as "Salvator Mundi".

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FRANS FRANCKEN THE YOUNGER, APELLES AND PANCASPE

Lot 1223: FRANS FRANCKEN THE YOUNGER, APELLES AND PANCASPE

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Description: FRANS FRANCKEN THE YOUNGER, APELLES AND PANCASPE APELLES AND PANCASPE According to ancient literary sources, Apelles was the most important painter of antiquity. He lived in the second half of the 4th century B.C. and was the favourite painter of Alexander the Great, who specified that only Apelles should paint portraits of him. This esteem from the famous conqueror predestined the painter as an archetype for the artists of the Renaissance, wishing to legitimise their place in society. The scene depicted here is recalled in Pliny the Elder's "Historia Naturalis": "As he (Alexander) requested that Apelles paint Pancaspe, one of his most treasured concubines, nude, due to her particularly beautiful form, he noticed that Apelles himself began to burn with love with her whilst carrying out Alexander's wish. Noticing this, the ruler gave the woman away as a gift to the painter - showing him (Alexander) to be great in his nobleness, greater still in his self control and no lesser in this act than in any other victory." This work is a variation on a signed work dated 1617 kept in Chatsworth castle (U. Härting:Frans Francken II, 1989, Nr. 309). Certificate Ursula Härting, Hamm, 11.6.1999. - Raffaela Colace, Cremona 12.7.2011.

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JOSSE DE MOMPER, WIDE MOUNTAIN LANDSCAPE WITH RETURNING HERD

Lot 1224: JOSSE DE MOMPER, WIDE MOUNTAIN LANDSCAPE WITH RETURNING HERD

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Description: JOSSE DE MOMPER, WIDE MOUNTAIN LANDSCAPE WITH RETURNING HERD WIDE MOUNTAIN LANDSCAPE WITH RETURNING HERD Von Josse de Momper the Younger was one of the most significant Flemish landscape artists around 1600. However, only one signed work of his has survived, the others are - like this piece - unsigned. Klaus Ertz dates this large scale work to the 1620s, putting it in the painter's later phase. The loose brushwork used in this image to create its painterly style simply wasn't used yet in the middle of the artist's career. The new form of colouration also speaks for a later date: Whilst in the 16th century, de Momper still stood firmly in the Flemish tradition of using three colour zones - brown for the foreground, green for the mid ground and blue for the background - this work already shows the reduction to two zones of colour, whereby in this case the mid ground blends into the foreground. Whilst the landscape stems from the late period of Josse de Momper, Ertz attributes the figures and animals to an artist from the circle of Sebastian Vrancx (1573-1647). The theme of the painting is autumn, with all the typical activities it entails in a village: The grape harvest, the recovery of the winter grain and driving the herds from the fields to the stalls. The three astrological signs of autumn - libra, scorpio and sagittarius - are depicted in the sky in the upper edge of the image. This indicates that the work was originally part of a series of the four seasons.

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FRANS FRANCKEN THE YOUNGER, circle of, THE TAKING OF CHRIST WITH THE KISS OF JUDAS

Lot 1225: FRANS FRANCKEN THE YOUNGER, circle of, THE TAKING OF CHRIST WITH THE KISS OF JUDAS

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Description: FRANS FRANCKEN THE YOUNGER, circle of, THE TAKING OF CHRIST WITH THE KISS OF JUDAS THE TAKING OF CHRIST WITH THE KISS OF JUDAS The composition and individual motifs of this image all originate from Francken's painting in the Wilhelmshöhe Museum in Kassel.

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JOSSE DE MOMPER, A MOUNTAINOUS LANDSCAPE WITH TWO HERMITS

Lot 1226: JOSSE DE MOMPER, A MOUNTAINOUS LANDSCAPE WITH TWO HERMITS

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Description: JOSSE DE MOMPER, A MOUNTAINOUS LANDSCAPE WITH TWO HERMITS A MOUNTAINOUS LANDSCAPE WITH TWO HERMITS Klaus Ertz dates this landscape to circa 1630. It represents a mature work by this highly productive Antwerp painter. Josse de Momper here touches once again on subjects which he covered throughout his life: The contrast between near and far, between the panoramic landscape and the cramped hovel of the hermits with its small cosmos defined by their reclusive lifestyle.

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JOSSE DE MOMPER, HARBOUR SCENE WITH FISHERMEN

Lot 1227: JOSSE DE MOMPER, HARBOUR SCENE WITH FISHERMEN

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Description: JOSSE DE MOMPER, HARBOUR SCENE WITH FISHERMEN HARBOUR SCENE WITH FISHERMEN and JAN BRUEGHEL THE YOUNGER. 1601 Antwerp - 1678 Antwerp This painting is the result of a cooperation between the Antwerp painter Josse de Momper the Younger and Jan Brueghel the Younger. The former painted the landscape, and the latter the figures. Depicted is a bay protected by a peninsula on which a fort has been built. Fishermen have rolled up their sails, laid their nets out to dry and moored their boats, and further small figures of fishermen can be seen selling their latest catch on a harbour in the foreground. The composition opens up towards the sea, and to the right a small strip of coast with a distant town is visible in the background. The picture belongs to the small group of Josse de Momper's coastal landscapes, which Dr. Klaus Ertz has summarised under the title "Befestigungsanlagen" (fortifications) in his monograph on the artist. He plans to include and illustrate this painting as a work by the artist and Jan Brueghel the Younger in the additional volume of his catalogue raisonné, dated circa 1630.

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GERARD SEGHERS, THE ANNUNCIATION

Lot 1228: GERARD SEGHERS, THE ANNUNCIATION

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Description: GERARD SEGHERS, THE ANNUNCIATION THE ANNUNCIATION This "Annunciation" is a masterpiece by the Flemish Baroque painter Gerard Seghers, which first appeared at the turn of the millenium in a Dutch private collection and was written about in great detail by Jan Vaes in two essays in 2004/5. The work was created in the 1620s, presumably commissioned by Antoon Triest (1577-1657), the Bishop of Bruges (1616-1622) and Ghent (from 1622), whose coat-of-arms can be seen in the lower right corner, and who also commissioned works by Rubens and van Dyck. It is unclear whether the painting was originally intended for the altar dedicated to the Virgin in the Jesuit Church of St. Michael in Kortrijk, consecrated in 1620, or whether it was brought there later - in the 18th century at the latest. The "Tydscronyck" of Jan Baptist Filleul (1775-1855), which is kept in the town library of Kortrijk, certainly confirms that the painting was sold for 15 francs on 11th February 1800 during the time of occupation by the French revolutionary troops and was removed from the church then. After this, the whereabouts of the important altar painting were unknown until it was rediscovered in the Dutch private collection in which it was kept since 1980. Alongside Rubens, van Dyck and Jordaens, Gerard Seghers was among the most significant representatives of Flemish Baroque painting. Born in Antwerp, he is already recorded as a "free master" of the Guild of St. Luke there from the age of 17. He resided in Italy and Spain from 1611 to 1620, where he was primarily influenced by Caravaggio and his pupil Bartolomeo Manfredi. From the late 1620s, his palette became lighter, and he welcomed the influence of Peter Paul Rubens. The composition of this work strongly displays the Caravaggesque style, for example in the prominent foot of the Virgin on the lower edge of the painting. It is dominated by the two protagonists of the annunciation, the Virgin on the right, who is depicted from below, and the deeply bowing angel on the left with its wings outstretched and dressed in opulent brocade robes. A vase of flowers is shown between the figures, whereby the lilies represent the Virgin's purity and the vase symbolises her function as the vessel in which Christ was made man. A beam of light from the upper left illuminates the otherwise dark scene, and adoring putti and cherubs close the composition in the upper edge.

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CASPAR DE CRAYER, THE LAMENTATION

Lot 1229: CASPAR DE CRAYER, THE LAMENTATION

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Description: CASPAR DE CRAYER, THE LAMENTATION THE LAMENTATION Gasper de Crayers oeuvre was influenced by three of important aspects of Flemish art in the first half of the 17th century: The Counter-Reformation, the works of Peter Paul Rubens and the patronage of the Spanish court in the Southern Netherlands. Born 1584 in Antwerp, he was taught in Brussels under Raphael Coxie and was recorded there as a master in 1607. He later moved to Ghent, where he died in 1669 following a highly successful and productive artistic career. He became court painter for the Cardinal-Infante Ferdinand and took commissions from the Habsburgs, for example portraits, religious works and decorative work, for example for the arrival of the Cardinal-Infante in Ghent. His style mainly orientated towards that of Rubens, and he occasionally worked for the same patrons, such as Afflingen abbey. The figural composition in this Lamentation is dominated by the figure of Christ lain on a burial shroud. Three angels are depicted kneeling over him and lamenting his death. A column closes the composition to the left, lending it stability. Comparison to the Lamentation in the Kunsthistorisches Museum in Vienna shows that Gaspar de Crayer has here created a more monumental figural composition - although both the Virgin and three angels surround Christ in the work in Vienna, they are grouped around him more loosely. Two small angels are also shown to the right edge of the work washing the body with a sponge, and a panoramic landscape can be seen to the right. Both these two small angels and the Virgin are lacking in this composition, making the three angels the main protagonists of the scene. They are arranged more closely together and fill almost the entire height of the painting, whereas Christ - in contrast to the work in Vienna - dominates the entire horizontal plane. The monumentality of the figures and their reduced number cause the scene to become compacted and more dramatic. The composition shows the influence of Peter Paul Rubens, whose Italian style monumental altar paintings shaped the Flemish art of the Counter-Reformation in the first half of the 17th century like no other. The heroic conception of Christ - his expression of suffering, pose and flesh-tone - are all inspired by Ruben's depictions of the Passion, Bearing of the Cross, Descent from the Cross and by the Lamentation of Christ in the Kunsthistorisches Museum and the Liechtenstein Museum in Vienna. Hans Vlieghe dates this painting to the 1650s/60s, and thus to the artist's late period in Ghent.

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CORNELIS DE VOS, PORTRAIT OF A LADY

Lot 1230: CORNELIS DE VOS, PORTRAIT OF A LADY

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Description: CORNELIS DE VOS, PORTRAIT OF A LADY PORTRAIT OF A LADY Van der Stighelen dates this portrait to around 1635.

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HENDRICK GERRITSZ. POT, circle of, PORTRAIT OF A MANPORTRAIT OF A LADY

Lot 1231: HENDRICK GERRITSZ. POT, circle of, PORTRAIT OF A MANPORTRAIT OF A LADY

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Description: HENDRICK GERRITSZ. POT, circle of, PORTRAIT OF A MAN PORTRAIT OF A LADY PORTRAIT OF A MAN PORTRAIT OF A LADY The portrait of the man inscribed upper right: AE SUAE 24 / A 1634. The portrait of the lady inscribed upper right: AE SUAE 18 / A 1634.

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ANTHONY JANSZ VAN DER CROOS, FOREST WITH NYMPHS

Lot 1232: ANTHONY JANSZ VAN DER CROOS, FOREST WITH NYMPHS

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Description: ANTHONY JANSZ VAN DER CROOS, FOREST WITH NYMPHS FOREST WITH NYMPHS Signed and dated lower centre: A vand Croos 1636 Two years prior to this painting's creation, Anthony van der Croos moved from Alkmaar to The Hague, where his colleague Jan van Goyen also lived. For a time, the works of Croos and Goyen were stylistically so close that they are occasionally confused. However, the landscape in this early work especially shows the characteristic style of van der Croos in the delicate, web-like and almost translucent treatment of the trees. The figures also differ from van Goyens lively and rustic staffage.

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BARTHOLOMÄUS VAN BASSEN, in the manner of, CHURCH INTERIOR WITH FIGURES

Lot 1233: BARTHOLOMÄUS VAN BASSEN, in the manner of, CHURCH INTERIOR WITH FIGURES

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Description: BARTHOLOMÄUS VAN BASSEN, in the manner of, CHURCH INTERIOR WITH FIGURES CHURCH INTERIOR WITH FIGURES

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FLEMISH SCHOOL Umkreis, BACCHUS IN A WIDE LANDSCAPE

Lot 1234: FLEMISH SCHOOL Umkreis, BACCHUS IN A WIDE LANDSCAPE

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Description: FLEMISH SCHOOL Umkreis, BACCHUS IN A WIDE LANDSCAPE BACCHUS IN A WIDE LANDSCAPE

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PIETER LASTMAN, circle of, JOSEPH SOLD BY HIS BROTHERS

Lot 1235: PIETER LASTMAN, circle of, JOSEPH SOLD BY HIS BROTHERS

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Description: PIETER LASTMAN, circle of, JOSEPH SOLD BY HIS BROTHERS JOSEPH SOLD BY HIS BROTHERS After an etching by Rembrandt from 1639.

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JACQUES DES ROUSSEAUX, THE APOSTLE PAUL

Lot 1236: JACQUES DES ROUSSEAUX, THE APOSTLE PAUL

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Description: JACQUES DES ROUSSEAUX, THE APOSTLE PAUL THE APOSTLE PAUL Monogrammed and dated lower right: JR (ligatured) Ao 1636 Little of Jacques des Rousseaux's life has been recorded, but it is known that he had a short artistic career in Leiden and was influenced by the work of Rembrandt and Jan Lievens. He was presumably born around 1600 in Flanders, travelled to Italy and moved to Leiden thereafter. He died early, in 1638, and his oeuvre contains little more than one and a half dozen works (Sumowski 1983, p. 2501 - 2508). These mainly depict single figures, some portraits, old men and women, saints and one self-portrait of the artist in a fantasy costume. The present work shows Saint Paul wearing glasses and leaning his sword against his right shoulder. His right hand turns the pages of a book, and with his left he fingers his long white beard. He is shown thoroughly engrossed in the reading of the Holy Scriptures which lay open before him. A bright ray of light from the left illuminates the saint's head and the book, and the shadow cast by his robed body defines the space within the image. Jacques des Rousseaux painted Saint Paul at least three times in various poses, sometimes reading, sometimes meditating. Whilst these depictions of the saint were conceived as half-figure works, most of his other pieces are busts. They have often been attributed to Jan Lievens, and one work has since been attributed to Rembrandt. This shows the influence that both artists must have had on Jacques des Rousseaux, thus it has also been postulated that he was taught either by Rembrandt or Lievens. Their influence, also evident in this painting, becomes clear in the physiognomies and the use of single-figure depictions. This type dates back to the "Tronies", studies of heads created by the circle of Peter Paul Rubens, made popular by Rembrandt and Lievens and which became an independent genre in Leiden.

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NOVELLI, called Il MONREALESE, SAINT JOHN THE EVANGELIST

Lot 1237: NOVELLI, called Il MONREALESE, SAINT JOHN THE EVANGELIST

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Description: NOVELLI, called Il MONREALESE, SAINT JOHN THE EVANGELIST SAINT JOHN THE EVANGELIST 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 of style; the elegance of his drawing and the harmony of his compositions and palette.

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TOMÁS YEPES, A PAINTED CERAMIC VASE WITH AN ORANGE TREE

Lot 1238: TOMÁS YEPES, A PAINTED CERAMIC VASE WITH AN ORANGE TREE

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Description: TOMÁS YEPES, A PAINTED CERAMIC VASE WITH AN ORANGE TREE A PAINTED CERAMIC VASE WITH AN ORANGE TREE Tomás Yepes is one of the great Spanish still life painters of the 17th century. Not much is known about his life, except that he attended the "Colegio de Pintores" (painter's school) in Valencia. Following this, he remains traceable in the same town, where he also died in 1674. The current work is characterised as an early piece by this artist through the frontality and concentration on a single motif. His oeuvre and development as an artist can best be observed in the Prado in Madrid, as this museum holds the most substantial group of his dated paintings. Over the course of time, the radical simplicity of Yepes' compositions changes, and the number of depicted objects increases.

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FLEMISH SCHOOL, 17th century, WIDE LANDSCAPE WITH CASTLE AND HORSEMEN

Lot 1239: FLEMISH SCHOOL, 17th century, WIDE LANDSCAPE WITH CASTLE AND HORSEMEN

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Description: FLEMISH SCHOOL, 17th century, WIDE LANDSCAPE WITH CASTLE AND HORSEMEN WIDE LANDSCAPE WITH CASTLE AND HORSEMEN

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ANTWERP SCHOOL, 17th century, THE ANNUNCIATION

Lot 1240: ANTWERP SCHOOL, 17th century, THE ANNUNCIATION

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Description: ANTWERP SCHOOL, 17th century, THE ANNUNCIATION THE ANNUNCIATION

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JAN BRUEGHEL THE YOUNGER, VILLAGE LANDSCAPE WITH HORSE WATERING PLACE

Lot 1241: JAN BRUEGHEL THE YOUNGER, VILLAGE LANDSCAPE WITH HORSE WATERING PLACE

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Description: JAN BRUEGHEL THE YOUNGER, VILLAGE LANDSCAPE WITH HORSE WATERING PLACE VILLAGE LANDSCAPE WITH HORSE WATERING PLACE Signed lower left: to the jetty: J. BRUEGHEL This "Village Landscape" by Jan Brueghel the Younger and was part of a private collection in Cologne in 1956, as proven by the Lempertz storage number still visible on the reverse. However, the piece was never sold at auction, but was rather returned to the owner along with the rest of their consigned possessions, explaining why the work was never photographed. It was recently rediscovered in the Rhineland. This piece is one of three very similar compositions from Jan Brueghel the Younger's late period, which Ertz dates to circa 1640 (K. Ertz, op. cit., no. 74 and 75 and his current expertise). Although the dimensions and motifs of the paintings are almost identical, the present work is more richly detailed, for example the extra geese that the painter has added to the edge of the pond and the jetty, and two sailing boats in the distance to the right. The view shown in the painting is also slightly wider when compared to the other two known versions. The house on the left is not cut off by the edge of the painting, and the large oaks are slightly further away from it. Thus, the busy village scene is surrounded by more of the sky, which is scattered with fluffy summer clouds accenting the pastoral atmosphere of the piece. Although the detail of the shepherd watering his horse at the pond is a motif from Jan Brueghel the Elder (K. Ertz: Jan Brueghel I, vol. I, p. 363), the general feel of this work, painted 15 years after his death, is entirely different. The composition is lighter, less detailed and more picturesque.

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JAN BRUEGHEL THE YOUNGER, AN ALLEGORY OF WATER

Lot 1242: JAN BRUEGHEL THE YOUNGER, AN ALLEGORY OF WATER

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Description: JAN BRUEGHEL THE YOUNGER, AN ALLEGORY OF WATER AN ALLEGORY OF WATER Signed and dated lower centre: J. Brueghel 16(4)1 According to an inscription on the reverse of the work, this painting was owned by the Duke of Palmella in Lissabon in the 19th century, who owned a full series of the four elements (cf. G. Pereira: A Colleccao de Pinturas do S. Duque de Palmella, Lisboa 1903, p. 5). However, the whereabouts of the other three paintings from this series is unknown. At least two further versions of this motif by Jan Brueghel the Younger are known to exist. The individual paintings are free copies based on the original painting by his father Jan Brueghel the Elder from the Doria Pamphili collection. Ertz dates the earliest of these series, which is kept in its entirety in the Musée des Beaux-Arts in Lyon, to circa 1620, and the second, which is scattered throughout several private collections, to 1628. In contrast to the current work, both of these series are painted on wood and their figures are attributed to Hendrik van Balen. The latest series, dated 1640 and to which this work belongs, is probably the latest, and Ertz attributes the figures to a follower of van Balen. The work depicts Amphritrite, the Roman water Goddess, amid a landscape of water and trees and surrounded by reeds, flowering water plants and a variety of creatures associated with this element.

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JAN BRUEGHEL THE YOUNGER, ALLEGORY OF  WAR

Lot 1243: JAN BRUEGHEL THE YOUNGER, ALLEGORY OF WAR

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Description: JAN BRUEGHEL THE YOUNGER, ALLEGORY OF WAR ALLEGORY OF WAR Signed lower left: J. Breughel The weapons, the fighting animals, the zodiac symbols of ill luck in the heavens, the furies, the burning city, the god of war and the battling garrisons in the background all illustrate the theme of this painting, which can be summarised as "the horrors of war". This was a subject that especially occupied Jan Brueghel in the 1640s, a time when Europe, after being bled dry and exhausted by the thirty years war, was finally emerging into peace. The long desired end was provided by the Peace of Westphalia, concluded in 1648, and it is against this backdrop that the present work is to be interpreted. Many of the motifs, as well as the composition and size, show great similarity to a second "Allegory of War" dated by Klaus Ertz to around 1647 (K. Ertz, op. cit., Nr. 223). In works such as these, Jan Brueghel the Younger distanced himself from his father's precursors to create his own visual language, reflecting the new art and atmosphere of his time.

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DANIEL VAN HEIL, WINTER LANDSCAPE WITH FROZEN CANAL

Lot 1244: DANIEL VAN HEIL, WINTER LANDSCAPE WITH FROZEN CANAL

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Description: DANIEL VAN HEIL, WINTER LANDSCAPE WITH FROZEN CANAL WINTER LANDSCAPE WITH FROZEN CANAL

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ISAAC VAN OSTADE, VILLAGE STREET WITH ORGAN GRINDER

Lot 1245: ISAAC VAN OSTADE, VILLAGE STREET WITH ORGAN GRINDER

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Description: ISAAC VAN OSTADE, VILLAGE STREET WITH ORGAN GRINDER VILLAGE STREET WITH ORGAN GRINDER Signed and dated lower centre: IvonOstade 1641 Our painting is a characteristic and fine early work by Isaac van Ostade, as confirmed by Bernhard Schnackenburg in his expertise. The sketchy style, the quick hand in executing single motifs, is typical of his work in 1640/1641. The painting can be compared with a slightly smaller one of the same year in the Niedersächsiches Landesmuseum Hannover (B. Schnackenburg, op. cit., ill. 55). That work also features a village fair with crowds of people in the foreground. While here the activity concentrates solely in the foreground, the atmosphere of our painting, opening to the left into the distance, is more farsighted. It points the way to the forthcoming development of this great painter who lived to the age of twenty-eight years only.

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NORTHERN NETHERLANDS, 17th century, PORTRAIT OF A YOUNG MAN

Lot 1246: NORTHERN NETHERLANDS, 17th century, PORTRAIT OF A YOUNG MAN

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Description: NORTHERN NETHERLANDS, 17th century, PORTRAIT OF A YOUNG MAN PORTRAIT OF A YOUNG MAN

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JOOS VAN CRAESBEECK, PEASANT WHITH HIS DOG

Lot 1247: JOOS VAN CRAESBEECK, PEASANT WHITH HIS DOG

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Description: JOOS VAN CRAESBEECK, PEASANT WHITH HIS DOG PEASANT WHITH HIS DOG Small depictions of peasants after Adrian Brouwer are typical of Craesbeeck. He first worked in Antwerp, then moved to Brussels in 1650, where he is mentioned as a member of the Guild of St. Luke in March 1651. After a painting by Adriaen Brouwer (Hofstede de Groot Nr. 219).

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PIETER CLAESZ, circle of, STILL LIFE WITH CLAY JUG, RUMMER AND CANDLE

Lot 1248: PIETER CLAESZ, circle of, STILL LIFE WITH CLAY JUG, RUMMER AND CANDLE

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Description: PIETER CLAESZ, circle of, STILL LIFE WITH CLAY JUG, RUMMER AND CANDLE STILL LIFE WITH CLAY JUG, RUMMER AND CANDLE

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JAN BOTH, SOUTHERN LANDSCAPE

Lot 1249: JAN BOTH, SOUTHERN LANDSCAPE

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Description: JAN BOTH, SOUTHERN LANDSCAPE SOUTHERN LANDSCAPE Signed lower left: JBoth f.

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