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Vincent Adriaenssens Sold at Auction Prices

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    • "Alea iacta est" Julius Caesar crosses the Rubicon.
      Dec. 20, 2023

      "Alea iacta est" Julius Caesar crosses the Rubicon.

      Est: €12,000 - €13,000

      "Alea iacta est" Julius Caesar crosses the Rubicon.   Attributed to Vincent Adriaenssen (Antwerp, 1595 - Rome, 1675)   The painting, attributable to the production of Vincent Adriaenssen, depicts the historic crossing of the Rubicon bridge that took place in January 49 B.C., marking Julius Caesar as an enemy of the Res Publica. As such, he faced opposition and attacks from Pompey's troops. The composition, with its broad scope, combines a pictorial style where strong Mannerist impulses intertwine with naturalistic landscape realizations of Central European breadth. The style appears as a perfect blend of the refined and static compositional choices of the Cavalier D'arpino, balanced by the landscape openings of Tempesta, culminating in the extreme torsions of Rubensian manner.   The painting strikes the viewer as a frenetic theatrical scene, where vivid colors and sharp juxtapositions evoke the ever-changing desires of the costumes.   Epoch: Early 17th century   Provenance: Private collection in Naples   Technique: Oil on canvas   Dimensions: Unframed, 100 x 73.5 cm   Condition: The painting is in excellent state of preservation.   Frame included as a gift.

      De Francesco Casa D'Aste e Galleria
    • Vincent Adriaenssen, genannt „Il Manciola“, 1595 Antwerpen – 1675 Rom, zug.
      Jun. 29, 2023

      Vincent Adriaenssen, genannt „Il Manciola“, 1595 Antwerpen – 1675 Rom, zug.

      Est: €9,000 - €12,000

      ANTIKE SCHLACHT ZWISCHEN RÖMERN UND BARBAREN Öl auf Leinwand. 73 x 92 cm. Gerahmt. Beigegeben eine Expertise von Dott. Cav. Arabella Cifani, Perito d‘Arte Tribunale di Torino, mit Vergleichsverweisen und ausführlichen Literaturangaben, in Kopie. Der flämische Maler war der Bruder von Alexander Adriaenssen, einem Stilllebenmaler, und Niclaes Adriaenssen, einem Porträtisten. Während er hielt sich mehrere Jahre, zwischen 1625/1645 und 1661/1675 in Rom auf, arbeitete 1642/1645 und im Jahr 1648 in Paris, wo er für seine großen Schlacht- und Jagdszenen geschätzt wurde. Seine Schlachtenbilder und Kampfszenen weisen stets eine Dynamik auf, was den Darstellungen höchste Lebendigkeit verleiht. Auch in dieser Szene werden die Kämpfenden aufgetürmt dargestellt, mit Fellen als Barbaren erkennbar umringen sie einen römischen Reiter, während sich der Kampf im niedrigeren Gelände unterhalb eines Burgberges im Hintergrund fortsetzt. Rest. A.R. (1361841) (11)

      Hampel Fine Art Auctions
    • VINCENT ADRIAENSSEN (attr. a)
      May. 25, 2023

      VINCENT ADRIAENSSEN (attr. a)

      Est: €500 - €800

      (Anversa, 1595 - Roma, 1675) Bozzetto raffigurante una scena di battaglia Olio su tela, cm 35X60 Vincent Adriaenssen fu autore qualificato nell'esecuzione di raffinate scene belliche la cui precisa identità pittorica si è delineata grazie al pioneristico contributo di Elena Fumagalli pubblicato nel 1969, dove innumerevoli tele conservate nelle collezioni Borghese, Colonna, Pallavicini e Rospigliosi trovano adeguate conferme documentarie. Il percorso critico proseguì con Federico Zeri nel saggio La nascita della Battaglia come genere e il ruolo di Cavalier D'Arpino, che introduceva il volume curato dalla Consigli nel 1994 intitolato La Battaglia nella Pittura del XVII e XVIII secolo. Questi studi aprirono la strada al Sestieri che ne ha messo a fuoco la personalità e il catalogo con il saggio: Antico e Moderno nella pittura di battaglia. Contributi al Manciola, a Michelangelo Cerquozzi e al Borgognone del 2002. Il gusto pittorico del Manciola ha negli esempi rubensiani un precedente importante, che tuttavia si miscela con nordica sensibilità ai moduli iconografici tardo manieristici dell'Arpino e di Antonio Tempesta. Giunto a Roma attorno al 1625 le sue creazioni dal carattere surreale, dinamiche e smaglianti di colore trovarono un immediato apprezzamento. Sorprende, tuttavia, come il Manciola rimase concettualmente vincolato a posizioni tarde manieriste sia pur trasposte con vivace fantasia e scioltezza pittorica. Per comprendere questo assunto si osservi ad esempio la tela già di collezione Pagano a Genova (Sestieri 2002, tav. LXXVIII), in cui il collegamento con le costruzioni illustrative desunte da Antonio Tempesta è inequivocabile e la modernità si esplica nell'interpretazione luministica, cromatica e nella spettacolarizzazione scenica. Una plausibile risposta a questa dicotomia si può conseguire analizzando gli intenti espressivi che l'artista mette in atto contrapponendosi al naturalismo primo seicentesco, naturalismo che elude confrontandosi con l'esuberanza narrativa di Pietro da Cortona e le contiguità ideative della sua origine rubensiana. Bibliografia di riferimento: G. Sestieri, Antico e Moderno nella pittura di Battaglia. Contributi al Manciola, Michelangelo Cerquozzi e il Borgognone, in Studi in onore di Maurizio Fagiolo dell'Arco. Milano 2002, tav. LVI 2, pp. 219-229 G. Sestieri, I Battagliasti. La pittura di battaglia dal XVI al XVIII secolo, Roma 2011, pp. 22-23, n. 2

      Wannenes Art Auctions
    • Manciola Vincent Adriaenssen (attribuito a) (Anversa, 1595 - Anversa, 1675) Scena di Battaglia olio su tela cm 114x150,5; con cornice cm 128x168
      Mar. 17, 2023

      Manciola Vincent Adriaenssen (attribuito a) (Anversa, 1595 - Anversa, 1675) Scena di Battaglia olio su tela cm 114x150,5; con cornice cm 128x168

      Est: €2,500 - €3,200

      Manciola Vincent Adriaenssen (attribuito a) (Anversa, 1595 - Anversa, 1675) Scena di Battaglia olio su tela cm 114x150,5; con cornice cm 128x168

      Gliubich Casa d'Aste
    • Vincent Adriaenssen, 1595 Antwerpen – 1675 Rom, Umkreis des
      Sep. 22, 2022

      Vincent Adriaenssen, 1595 Antwerpen – 1675 Rom, Umkreis des

      Est: €6,000 - €8,000

      Schlachtengemälde Öl auf Leinwand. Doubliert. 80 x 100 cm. In profiliertem Holzrahmen mit Goldinnenleiste. Ganz nah an den Betrachter gerückt sind auf dem unruhigen Boden liegende Rüstungselemente und sich aufbäumende Pferde zu sehen, deren Reiter anhand ihrer Bekleidung als Osmanen und Europäer auszumachen sind. Ein außergewöhnliches Element befindet sich hier oben rechts, wo eine offenbar christliche Anbetung zu sehen ist. Rest. Besch. (1330092) (13)

      Hampel Fine Art Auctions
    • VINCENT ADRIAENSSEN (cerchia di)
      Feb. 08, 2022

      VINCENT ADRIAENSSEN (cerchia di)

      Est: €200 - €500

      (Anversa, 1595 - Roma, 1675) Cristo benedicente Olio su tavola, cm 71X35,5

      Wannenes Art Auctions
    • Vincent Adriaenssen (zugeschr. oder nach), Die Schlacht der Israeliten gegen die Amalekiter bei Rephidim. 2. H. 17./ 1st half 18th cent.
      Dec. 04, 2021

      Vincent Adriaenssen (zugeschr. oder nach), Die Schlacht der Israeliten gegen die Amalekiter bei Rephidim. 2. H. 17./ 1st half 18th cent.

      Est: €6,000 - €7,000

      Vincent Adriaenssen vor 1595 Antwerpen – 1675 Rom Öl auf Leinwand. Unsigniert. Verso auf dem Keilrahmen o.li. in Farbstift nummeriert "20459", auf der Leinwand o.re. "3" sowie o.re. auf dem Keilrahmen "305CD". In einer profilierten dunkelbraunen Holzleiste mit goldfarbener Zierleiste gerahmt. Als Vorlage zum Gemälde dienten dem Künstler wohl Kupferstiche der Serie "Schlachten und andere Kampfhandlungen des Alten Testaments" von Antonio Tempesta (1555–1630). Einzelne Elemente dieser Serie wurden in vorliegendem Gemälde zu einer Neukomposition vereint. Die Darstellung geht motivisch auf die biblische Erzählung aus dem Buch Exodus zurück, in welchem der Auszug der Israeliten aus Ägypten unter der Führung des Mose geschildert wird: Als das Volk Israel bei Rephidim lagert, wird es von den Amalekitern überfallen und es kommt zum Kampf. Auf Weisung des Mose werden die Israeliten durch Josua angeführt. Mose selbst begibt sich mit Aaron und Hur auf einen nahegelegenen Hügel, von wo aus er die Arme gen Himmel reckte, um Gottes Beistand zu erhalten. Er merkt, dass, sobald seine Arme schwach werden und absinken, die Gegner die Oberhand gewinnen und dass, sobald er sie wieder anhebt, die israelitischen Kämpfer erstarken. So bemüht sich Mose, seine Arme betend aufrecht zu halten und verharrt. Als er ermüdet, wird er von Aaron und Hur gestützt, so dass schließlich der Sieg für Israel errungen wird. Die Figurengruppe des Mose mit erhobenen Armen, Aaron und Hur auf der Anhöhe ist hier im Hintergrund oben rechts ins Bild gesetzt. Um ein zeitgenössisches Verständnis der Szene zu erzielen, wählte der Künstler für die amalekitischen Krieger türkische Gewänder und Turbane, während die Israeliten in antik anmutenden Rüstungen dargestellt sind. Die auf den Bibeltext verweisende spezifische kriegerische Auseinandersetzung wird somit auf einen religiösen Gegensatz zwischen Islam und Christentum modifiziert und generalisiert. Wir danken Nathalie Lallemand-Buyssens, Clermont-Ferrand, für freundliche Hinweise. Lit.: Christiane de Aldecoa: ''Vincent Adriaenssen Leckerbetien dit il Manciola ou le Manchole: Anvers 1595 – Rome 1765 , un peintre connu mais oublié'', in: Bulletin de l''Association des Historiens de l''Art Italien, nr. 7, October 2001, p. 1–16.

      Schmidt Kunstauktionen Dresden OHG
    • Vincent Adriaenssen, genannt „Il Manciola“, 1595 Antwerpen – 1675 Rom, zugeschrieben
      Sep. 23, 2021

      Vincent Adriaenssen, genannt „Il Manciola“, 1595 Antwerpen – 1675 Rom, zugeschrieben

      Est: €9,000 - €12,000

      RefOld13921 DIE BEKEHRUNG DES SAULUS Öl auf Leinwand. Doubliert. 76 x 103 cm. In vergoldetem dekorativem Rahmen.Die Szene des Neuen Testaments schildert die Bekehrung des Christenverfolgers Saulus zum Apostel Paulus. Während des gemeinsamen Zugs mit seiner Gefolgschaft nach Damaskus fällt Saulus durch eine himmlische Lichterscheinung von seinem Pferd und erblindet kurzzeitig. Auf dem Gemälde dargestellt eine weite Landschaft, durch die ein Weg führt, auf dem Saulus gerade unterwegs war. Der Weg wird seitlich begrenzt von mit Bäumen bewachsenen Felsen, während im Hintergrund eine große steinerne Burganlage zu erkennen ist. Der Himmel, im Licht der untergehenden Sonne, reißt am oberen Bildrand auf und in der gelblichen Lichterscheinung ist Gott im leuchtend blauen Mantel mit Nimbus zu sehen, der in der Linken ein großes Holzkreuz hält und seinen rechten Arm nach unten in Richtung des Saulus ausgestreckt hat. Saulus ist von seinem prachtvollen Schimmel, der nur mit Mühe von einem Mann seines Gefolges gehalten werden kann, zu Boden gefallen und sein Kopf ist in Richtung der Lichterscheinung im Himmel gerichtet. Wiedergegeben wird er in prachtvoller, leuchtend blauer Kleidung mit vergoldeten Schulterstützen, rotem Mantel und am Boden liegenden Helm, Schild und Speer. Links und rechts des Weges, und des zu Boden gegangenen Saulus, die zahlreichen Männer seines Gefolges in prachtvollen farbigen, teils mit Gold ausgestatteten Rüstungen, auf edlen Pferden. Saulus hört zudem eine göttliche Stimme, die da sagt „Saulus, Saulus, warum verfolgst du mich?“. Nach dem Sturz vom Pferd, den er als göttliche Weisung empfunden hat, wurde Saulus zum Christentum bekehrt. Qualitätvolle figurenreiche Malerei in harmonischer Farbgebung, dabei durch rote und blaue Kleidungsstücke und den Schimmel bewusst farbliche Kontraste gesetzt. Wenige Retuschen. (1270268) (18)

      Hampel Fine Art Auctions
    • Vincent Adriaenssen, in der Art des, Antikisierende Reiterschlacht, Ölgemälde, gerahmt
      May. 28, 2021

      Vincent Adriaenssen, in der Art des, Antikisierende Reiterschlacht, Ölgemälde, gerahmt

      Est: €2,600 - €2,800

      Vincent Adriaenssen, in der Art des, Antikisierende Reiterschlacht, Ölgemälde, gerahmt Vincent Adriaenssen, 1595 - 1675, in Art von, Antikisierend gewandete (römische?) Reitersoldaten im Gefecht und beim Kampf um die Heeresflagge, Öl/Lw, 100 x 82 cm, doubliert, Löcher fachmännisch restauriert, weiteres Loch (2 x 3 cm) in der Leinwand am unteren Rand restaurierungswürdig, im braunen Holzrahmen,Anm.: aus dem Besitz der Familie Conrady, Miltenberg (Friedrich Gustav Habel, Wilhelm u. August Conrady)

      K&K – Auktionen in Heidelberg
    • VINCENT ADRIAENSSEN (attr. a)
      Sep. 24, 2020

      VINCENT ADRIAENSSEN (attr. a)

      Est: €200 - €500

      (Anversa, 1595 - Roma, 1675) Baccanale Olio su tela, cm 29X34

      Wannenes Art Auctions
    • VINCENT ADRIAENSSEN (attr. a)
      Dec. 03, 2019

      VINCENT ADRIAENSSEN (attr. a)

      Est: €1,000 - €2,000

      (Anversa, 1595 - Roma, 1675) La conquista di Troia Olio su rame, cm 24X37 Vincent Adriaenssen fu autore qualificato nell'esecuzione di raffinate scene belliche la cui precisa identità pittorica si é delineata grazie al pioneristico contributo di Elena Fumagalli pubblicato nel 1969, dove innumerevoli tele conservate nelle collezioni Borghese, Colonna, Pallavicini e Rospigliosi trovano adeguate conferme documentarie. Il percorso critico proseguìcon Federico Zeri nel saggio 'La nascita della Battaglia come genere e il ruolo di Cavalier D'Arpino', che introduceva il volume curato dalla Consigli nel 1994 intitolato 'La Battaglia nella Pittura del XVII e XVIII secolo'. Questi studi aprirono la strada al Sestieri, che ne ha messo a fuoco la personalità e il catalogo con il saggio: Antico e Moderno nella pittura di battaglia. Contributi al Manciola, a Michelangelo Cerquozzi e al Borgognone del 2002. Il gusto pittorico del Manciola ha negli esempi rubensiani un precedente importante, che tuttavia si miscela con nordica sensibilità ai moduli iconografici tardo manieristici dell'Arpino e di Antonio Tempesta. Giunto a Roma attorno al 1625, le sue creazioni dal carattere surreale, dinamiche e smaglianti di colore trovarono un immediato apprezzamento. Sorprende tuttavia, come il Manciola rimase concettualmente vincolato a posizioni tarde manieriste sia pur trasposte con vivace fantasia e scioltezza pittorica. Per comprendere questo assunto si osservi ad esempio la tela già di collezione Pagano a Genova (Sestieri 2002, tav. LXXVIII), in cui il collegamento con le costruzioni illustrative desunte da Antonio Tempesta é inequivocabile e la modernità si esplica nell'interpretazione luministica- cromatica e nella spettacolarizzazione scenica. Una plausibile risposta a questa dicotomia si puo'conseguire analizzando gli intenti espressivi che l'artista mette in atto contrapponendosi al naturalismo primo seicentesco, naturalismo che elude confrontandosi con l'esuberanza narrativa di Pietro da Cortona e le contiguità ideative della sua origine rubensiana. Bibliografia di riferimento: G. Sestieri, 'Antico e Moderno nella pittura di Battaglia. Contributi al Manciola, Michelangelo Cerquozzi e il Borgognone', in 'Studi in onore di Maurizio Fagiolo dell'Arco'. Milano 2002, tav. LVI 2, pp. 219 - 229, con bibliografia precedente G. Sestieri, 'I Battagliasti. La pittura di battaglia dal XVI al XVIII secolo', Roma 2011, pp. 22 - 23, n. 2

      Wannenes Art Auctions
    • 17th Century Oil Painting by Flemish Old Master Vincent Adriaenssen Leckerbetien (Il Manciola) CAVALRY BATTLE SCENE
      Jul. 27, 2019

      17th Century Oil Painting by Flemish Old Master Vincent Adriaenssen Leckerbetien (Il Manciola) CAVALRY BATTLE SCENE

      Est: $5,500 - $7,000

      Very Impressive 17th Century Oil Painting by the Flemish Old Master Vincent Adriaenssen (name variations: Vincent Adriaensz, Vincent Adriani, Vincenz Leckerbetien, Vincent Leckerbeetjen, nicknames: le Manchole, Il Manciola, Il Manciolla en Il Mozzo di Anversa) (1595, Antwerp – 1675, Rome) | Entitled “Calvary Battle Scene” | Oil on Canvas | Dimensions: 26.75″ x 34.5″ | Old inventory number on verso in lower left: 211 | Provenance: Purchased at Sotheby's London Old Masters Auction on April 27, 2016 Lot #761 from a Private London Collection for £4,375 ($5,469.84), exclusive of buyer' premium & shipping expenses to the U.S. (Has several Sotheby’s Labels on verso). Condition Report: The painting is in remarkable Condition for its age | Approx. Dimensions: 34.5" W x 26.75" H x 2" D | Vincent Adriaenssen Leckerbetien (Il Manciola) was a Flemish Baroque painter who spent the majority of his artistic career in Paris and Rome where he was especially renowned for his landscapes, battle and hunting scenes. Vincent Adriaenssen was a very productive battle painter. This genre was very popular around the middle of the 17th century in Rome. His style situates itself between that of the late Cavalier d’Arpino and Tempesta and the more Baroque touch of Rubens and the Baroque innovations of the leading battle painter in Rome, the Frenchman Jacques Courtois, known as “ll Borgognone”. These qualities are evident in his Battle with cavalry on a bridge (At Hampel on 1 July 2015 in Cologne lot 705). In this work Adriaenssen achieves a vivid portrayal of a cavalry engagement on a bridge. The numerous horses and riders in the scene have dynamism and a striking gesture as if they had been artificially brought to a standstill in their movement.

      Worthington Galleries
    • VINCENT ADRIAENSSEN (attr. a)
      Nov. 29, 2018

      VINCENT ADRIAENSSEN (attr. a)

      Est: €500 - €800

      (Anversa, 1595 - Roma, 1675) Battaglia Olio su tavola ovale, cm 24X31 Vincent Adriaenssen fu autore qualificato nell'esecuzione di raffinate scene belliche la cui precisa identità pittorica si è delineata grazie al pioneristico contributo di Elena Fumagalli pubblicato nel 1969, dove innumerevoli tele conservate nelle collezioni Borghese, Colonna, Pallavicini e Rospigliosi trovano adeguate conferme documentarie. Il percorso critico proseguì con Federico Zeri nel saggio 'La nascita della Battaglia come genere e il ruolo di Cavalier D'Arpino', che introduceva il volume curato dalla Consigli nel 1994 intitolato 'La Battaglia nella Pittura del XVII e XVIII secolo'. Questi studi aprirono la strada al Sestieri, che ne ha messo a fuoco la personalità e il catalogo con il saggio: Antico e Moderno nella pittura di battaglia. Contributi al Manciola, a Michelangelo Cerquozzi e al Borgognone del 2002. Il gusto pittorico del Manciola ha negli esempi rubensiani un precedente importante, che tuttavia si miscela con nordica sensibilità ai moduli iconografici tardo manieristici dell'Arpino e di Antonio Tempesta. Giunto a Roma attorno al 1625, le sue creazioni dal carattere surreale, dinamiche e smaglianti di colore trovarono un immediato apprezzamento. Sorprende tuttavia, come il Manciola rimase concettualmente vincolato a posizioni tarde manieriste sia pur trasposte con vivace fantasia e scioltezza pittorica. Per comprendere questo assunto si osservi ad esempio la tela già di collezione Pagano a Genova (Sestieri 2002, tav. LXXVIII), in cui il collegamento con le costruzioni illustrative desunte da Antonio Tempesta è inequivocabile e la modernità si esplica nell'interpretazione luministica - cromatica e nella spettacolarizzazione scenica. Una plausibile risposta a questa dicotomia si può conseguire analizzando gli intenti espressivi che l¿artista mette in atto contrapponendosi al naturalismo primo seicentesco, naturalismo che elude confrontandosi con l'esuberanza narrativa di Pietro da Cortona e le contiguità ideative della sua origine rubensiana. Bibliografia di riferimento: G. Sestieri, 'Antico e Moderno nella pittura di Battaglia. Contributi al Manciola, Michelangelo Cerquozzi e il Borgognone', in 'Studi in onore di Maurizio Fagiolo dell'Arco'. Milano 2002, tav. LVI.2, pp. 219 - 229, con bibliografia precedente G. Sestieri, 'I Battagliasti. La pittura di battaglia dal XVI al XVIII secolo', Roma 2011, pp. 22 - 23, n. 2

      Wannenes Art Auctions
    • Vincent Adriaenssen, detto il Manciola o il Mozzo d'Anversa (Anversa 1595 - Roma 1675)
      May. 24, 2018

      Vincent Adriaenssen, detto il Manciola o il Mozzo d'Anversa (Anversa 1595 - Roma 1675)

      Est: €12,000 - €18,000

      Scontro di cavalieri olio su tela originale, cm 98 x 130 Sullo sfondo di una città in fiamme, un'orda di cavalieri cristiani mette in fuga un esercito di mori allo sbaraglio. Il ponte di pietra, simbolica allusione a Ponte Milvio (precedente iconografico di tutte le battaglie) crea una quinta architettonica che spinge in primo piano il gruppo di soldati saraceni in fuga e permette all'artista di enfatizzare drammaticamente i dettagli dei cavalli che precipitano in acqua. Il grande dinamismo si irradia in tutta la composizione, a trecentosessanta gradi, senza un centro specifico e senza un reale protagonista. Si tratta in effetti di una "battaglia senza eroi", tanto da rendere il Manciola antesignano di quella tendenza caricata di istanze sociali e morali che troverà il suo compimento in Aniello Falcone e, suo tramite, in Salvator Rosa. Nelle loro battaglie infatti oltre ad enfatizzare, come nel Manciola, la rude violenza di una lotta acre e spietata, si assiste ad un ancor più marcato "anti-eroismo" che privilegia soggetti di importanza poetica e narrativa secondaria rispetto al tema principale (cfr. F. Saxl, The Battle Scene without a Hero: Aniello Falcone and His patrons, in Journal of the Warburg and Courtauld Institutes, vol. III, n. 1/2, ottobre 1939 - gennaio 1940, pp. 70-87). Vero e proprio precursore di questo nuovo modo di intendere la struttura compositiva del genere pittorico della battaglia, il Manciola stenta ad essere inquadrato all'interno di una tradizione che trova i suoi archetipi nel Tempesta e nel Cavalier d'Arpino. Ciò lo destinò a committenze illustri ma dal gusto esclusivo e fuori dagli schemi già consolidati. 1

      Finarte Roma
    • 17th Century Oil Painting by Flemish Old Master Vincent Adriaenssen Leckerbetien (Il Manciola) Entitled “Cavalry Battle Scene”
      May. 19, 2018

      17th Century Oil Painting by Flemish Old Master Vincent Adriaenssen Leckerbetien (Il Manciola) Entitled “Cavalry Battle Scene”

      Est: $8,000 - $15,000

      Very Impressive 17th Century Oil Painting by the Flemish Old Master Vincent Adriaenssen (name variations: Vincent Adriaensz, Vincent Adriani, Vincenz Leckerbetien, Vincent Leckerbeetjen, nicknames: le Manchole, Il Manciola, Il Manciolla en Il Mozzo di Anversa) (1595, Antwerp – 1675, Rome) | Entitled “Calvary Battle Scene” | Oil on Canvas | Dimensions: 26.75″ x 34.5″ | Old inventory number on verso in lower left: 211 | Provenance: Purchased from Private London Collection (Has previous Sotheby’s Label on verso). Condition Report: The painting is in remarkable Condition for its age. It has previously been professionally repaired and restored. Dimensions: 34.5" x 26.75" x 2" Artist or Maker: Vincent Adriaenssen Leckerbetien (1595, Antwerp – 1675, Rome), called le Manchole or Il Manciola Medium: Oil on Canvas Date: 17th Century Condition Report: Excellent Literature: Vincent Adriaenssen Leckerbetien (Il Manciola) was a Flemish Baroque painter who spent the majority of his artistic career in Paris and Rome where he was especially renowned for his landscapes, battle and hunting scenes. He was born into an artistic family in Antwerp. His father Emanuel Adriaenssen was a prominent lutenist and composer. His older brother Alexander Adriaenssen was a successful painter specializing in still lifes and his younger brother Niclaes Adriaenssen was a portrait painter. He later became the father-in-law of the painter Jan de Momper. It is believed that he received his first art training from his brother Alexander. He is traceable in Rome from 1625 to about 1645. He worked also on projects in Paris from 1642 to 1645 and then again in 1648 where he worked for Cardinal Mazarin and Cardinal Richelieu. He is recorded in Rome from 1661 onwards until his death. There are indications that he was missing his right arm and right hand from around 1663. This explains his French and Italian nicknames le Manchole, Il Manciola and Il Manciolla, which all mean ‘the cripple’. Why he is also called by the nicknames ‘’Leckerbeetjen’’or ‘’Leckerbetien’’ is unknown. These names mean gourmet or gourmand but may also be a reference to the nickname of the Brabantine hero Gerard van Houwelingen. It is unknown whether or not he joined the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome who had the custom of giving their members a nickname (the so-called bentname). The Flemish landscape painter Jan de Momper who was active in Rome married his daughter Agnes Vincentii (died in Rome on 19 April 1684). Adriaenssen was also Jan de Momper’s early mentor in Rome. He was the teacher of Michelangelo Cerquozzi in Rome and Luigi Garzi during his residence in Paris. Vincent Adriaenssen was a very productive battle painter. This genre was very popular around the middle of the 17th century in Rome. His style situates itself between that of the late Cavalier d’Arpino and Tempesta and the more Baroque touch of Rubens and the Baroque innovations of the leading battle painter in Rome, the Frenchman Jacques Courtois, known as “ll Borgognone”. These qualities are evident in his Battle with cavalry on a bridge (At Hampel on 1 July 2015 in Cologne lot 705). In this work Adriaenssen achieves a vivid portrayal of a cavalry engagement on a bridge. The numerous horses and riders in the scene have dynamism and a striking gesture as if they had been artificially brought to a standstill in their movement. Vincent Adriaenssen Biography - Calvary Battle Scene Painting Vincent Adriaenssen Biography - Calvary Battle Scene Painting Provenance: Purchased from Private London Collection through Sotheby’s London.

      Worthington Galleries
    • 17th Century Oil Painting by Flemish Old Master Vincent Adriaenssen Leckerbetien (Il Manciola) Entitled “Cavalry Battle Scene”
      Mar. 03, 2018

      17th Century Oil Painting by Flemish Old Master Vincent Adriaenssen Leckerbetien (Il Manciola) Entitled “Cavalry Battle Scene”

      Est: $10,000 - $15,000

      Very Impressive 17th Century Oil Painting by the Flemish Old Master Vincent Adriaenssen (name variations: Vincent Adriaensz, Vincent Adriani, Vincenz Leckerbetien, Vincent Leckerbeetjen, nicknames: le Manchole, Il Manciola, Il Manciolla en Il Mozzo di Anversa) (1595, Antwerp – 1675, Rome) | Entitled “Calvary Battle Scene” | Oil on Canvas | Dimensions: 26.75″ x 34.5″ | Old inventory number on verso in lower left: 211 | Provenance: Purchased from Private London Collection (Has previous Sotheby’s Label on verso). Condition Report: The painting is in remarkable Condition for its age. It has previously been professionally repaired and restored.

      Worthington Galleries
    • Vincent Adriaenssen Leckerbetien (Il Manciola) Oil Painting Entitled “Cavalry Battle Scene”
      Dec. 03, 2017

      Vincent Adriaenssen Leckerbetien (Il Manciola) Oil Painting Entitled “Cavalry Battle Scene”

      Est: $25,000 - $50,000

      Very Impressive 17th Century Oil Painting by Flemish Old Master Vincent Adriaenssen (name variations: Vincent Adriaensz, Vincent Adriani, Vincenz Leckerbetien, Vincent Leckerbeetjen, nicknames: le Manchole, Il Manciola, Il Manciolla en Il Mozzo di Anversa) (1595, Antwerp – 1675, Rome) | Entitled “Calvary Battle Scene” | Oil on Canvas | Dimensions: 26.75″ H x 34.5″ W | Old inventory number on verso in lower left: 211 | Provenance: Purchased from Private Collection through Sotheby’s London. Condition Report: The painting is in Excellent Condition for its age. It has previously been professionally repaired and restored | Vincent Adriaenssen Leckerbetien (Il Manciola) was a Flemish Baroque painter who spent the majority of his artistic career in Paris and Rome where he was especially renowned for his landscapes, battle and hunting scenes. He was born into an artistic family in Antwerp. His father Emanuel Adriaenssen was a prominent lutenist and composer. His older brother Alexander Adriaenssen was a successful painter specializing in still lifes and his younger brother Niclaes Adriaenssen was a portrait painter. He later became the father-in-law of the painter Jan de Momper. It is believed that he received his first art training from his brother Alexander. He is traceable in Rome from 1625 to about 1645. He worked also on projects in Paris from 1642 to 1645 and then again in 1648 where he worked for Cardinal Mazarin and Cardinal Richelieu. He is recorded in Rome from 1661 onwards until his death. There are indications that he was missing his right arm and right hand from around 1663. This explains his French and Italian nicknames le Manchole, Il Manciola and Il Manciolla, which all mean ‘the cripple’. Why he is also called by the nicknames ‘’Leckerbeetjen’’or ‘’Leckerbetien’’ is unknown. These names mean gourmet or gourmand but may also be a reference to the nickname of the Brabantine hero Gerard van Houwelingen. It is unknown whether or not he joined the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome who had the custom of giving their members a nickname (the so-called bentname). The Flemish landscape painter Jan de Momper who was active in Rome married his daughter Agnes Vincentii (died in Rome on 19 April 1684). Adriaenssen was also Jan de Momper’s early mentor in Rome. He was the teacher of Michelangelo Cerquozzi in Rome and Luigi Garzi during his residence in Paris. Vincent Adriaenssen was a very productive battle painter. This genre was very popular around the middle of the 17th century in Rome. His style situates itself between that of the late Cavalier d’Arpino and Tempesta and the more Baroque touch of Rubens and the Baroque innovations of the leading battle painter in Rome, the Frenchman Jacques Courtois, known as “ll Borgognone”. These qualities are evident in his Battle with cavalry on a bridge (At Hampel on 1 July 2015 in Cologne lot 705). In this work Adriaenssen achieves a vivid portrayal of a cavalry engagement on a bridge. The numerous horses and riders in the scene have dynamism and a striking gesture as if they had been artificially brought to a standstill in their movement.

      Worthington Galleries
    • Attribué à Vincent Adriaenssen dit Leckerbetien Anvers, 1595 - Rome, 1675 La bataille du Pont Milvius Huile sur toile
      Feb. 14, 2017

      Attribué à Vincent Adriaenssen dit Leckerbetien Anvers, 1595 - Rome, 1675 La bataille du Pont Milvius Huile sur toile

      Est: €1,500 - €2,000

      Attribué à Vincent Adriaenssen dit Leckerbetien Anvers, 1595 - Rome, 1675 La bataille du Pont Milvius Huile sur toile (Restaurations) h: 89 w: 120 cm

      Artcurial
    • Attribué à Vincent Adriaenssen dit Leckerbetien Anvers, 1595 - Rome, 1675 La bataille du Pont Milvius Huile sur toile
      Oct. 11, 2016

      Attribué à Vincent Adriaenssen dit Leckerbetien Anvers, 1595 - Rome, 1675 La bataille du Pont Milvius Huile sur toile

      Est: €3,000 - €4,000

      Attribué à Vincent Adriaenssen dit Leckerbetien Anvers, 1595 - Rome, 1675 La bataille du Pont Milvius Huile sur toile (Restaurations) h: 89 w: 120 cm

      Artcurial
    • Attributed to Vincent Adriaenssen Leckerbetien [15
      Oct. 04, 2016

      Attributed to Vincent Adriaenssen Leckerbetien [15

      Est: £4,000 - £6,000

      Attributed to Vincent Adriaenssen Leckerbetien [1595-1675]- The Battle of Lekkerbeetje (5th February 1600):- signed Leckerbetien bottom left inscribed S.Grobbendonk bottom right oil on canvas 92 x 110cm. * Provenance. Major W Halswell 1958 With Stacey Marks 1958 [where probably conserved] * Notes The battle was a planned cavalry duel in North Brabbant between 22 Brabantine Cavalrymen loyal to the Archduke of Austria and 22 Frenchmen serving in the Army of the Dutch Republic. Grobbendonk, Commander of the Brabantines, nominated a Knight called Lekkerbeetje as his deputy.

      Bearnes Hampton & Littlewood
    • Vincent Adriaenssen, 1595 - 1675, zug.
      Apr. 11, 2013

      Vincent Adriaenssen, 1595 - 1675, zug.

      Est: €18,000 - €22,000

      Vincent Adriaenssen, 1595 - 1675, zug. DIE AUFFINDUNG DES MOSES Öl auf Leinwand. Doubliert. 57 x 73 cm. Die biblische Legende ist in eine arkadische Landschaft versetzt, mit Baumgruppen sowie einem blau schimmernden Wasserlauf im Hintergrund, der als Nil zu deuten ist und die Fortsetztung des Uferwassers im Vordergrund darstellt, das jedoch schilfbewachsen wiedergegeben ist. In der linken unteren Bildhälfte eine Gruppe höfisch gekleideter Frauen, im Zentrum die Pharaonentochter mit rotem Umhang, der von zwei Knaben gehalten wird. Sie nimmt das Moseskind von einer Magd entgegen, während ein weiteres Mädchen am Ufer einer Begleiterin aus dem Wasser hilft, im Vordergrund ein Hündchen. Die Figurengruppe in heller Farbigkeit wiedergegeben, in nahezu pastelligen, weichen Farbtönen. Die betonte Blaufärbung einiger Gewänder korrespondiert zu dem stark blauen Wolkenhimmel, der zwischen den Laubkronen die obere Bildhälfte beherrscht. (890765) Vincent Adriaenssen, 1595 - 1675, attributed to The Finding of Moses Oil on canvas. Relined. 57 x 73 cm. The biblical legend shown in an Arcadian landscape.

      Hampel Fine Art Auctions
    • Christ in the House of Mary and Martha
      Jun. 25, 2011

      Christ in the House of Mary and Martha

      Est: €3,000 - €3,600

      Adriaenssen Vincent Antwerpen 1595 - Rom 1675 Christ in the House of Mary and Martha Oil/copper, 23,5 x 31 cm, min. rest. - Expert report: Dr. Ursula Härting, September 2010. According to Dr. Härting it is an early work from the Antwerp periof of the artist. - Lit.: Saur, Thieme-Becker, Bénézit u.a.

      Auktionshaus Stahl
    • Vincent Adriaenssen Leckerbetien, il Manciola (Anversa 1595-1675 Roma)
      May. 27, 2010

      Vincent Adriaenssen Leckerbetien, il Manciola (Anversa 1595-1675 Roma)

      Est: €5,000 - €7,000

      Vincent Adriaenssen Leckerbetien, il Manciola (Anversa 1595-1675 Roma) Battaglia tra cavalieri turchi e cristiani olio su tela 90x110 cm.

      Christie's
    • Battaglie
      May. 28, 2008

      Battaglie

      Est: €20,000 - €30,000

      Vincent Adriaenssen Leckerbieten, il Manciola o Mozzo d'Anversa (Anversa 1595-1675 Roma) Battaglie olio su tela 63.5 x 99 cm. reca etichetta 'Samuel Coombes/Dealer in Works of Art/Picture Framer, Carver & Gilder/175, Strand, London W.C.' (2)

      Christie's
    • Vincent Adriaensz, il Manciola o Mozzo d'Anversa (Anversa 1595-1675 Roma)
      Jun. 16, 2004

      Vincent Adriaensz, il Manciola o Mozzo d'Anversa (Anversa 1595-1675 Roma)

      Est: €8,000 - €10,000

      Orazio Coclite che difende il ponte sul Tevere olio su tela, senza cornice, in ovale 72.5 x 100 cm.

      Christie's
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