Gaspard de Crayer Paintings & Artwork for Sale | Gaspard de Crayer Art Value Price Guide

Jun. 18, 2026
Workshop of GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Cleric of Flanders". Oil on canvas. Relined.
Est: €5,000 - €6,000
Workshop of GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Cleric of Flanders". Oil on canvas. Relined. Measurements: 118 x 97 cm. The work represents a high Flemish ecclesiastical dignitary, probably linked to the administrative and religious circles of Brussels, the nerve center of the power of the Habsburgs in Flanders. The medal on his chest, an element carefully emphasized by the artist, seems to allude to an honorific or governmental function, reinforcing the image of authority and prestige of the portrayed. The composition fully responds to the models of court portraits developed in the court of Brussels. The personage appears seated in a high-backed armchair, dressed in austere black clothing that contrasts with the refined white collar and cuffs. The economy of decorative elements and the predominance of dark tones concentrate the attention on the face, treated with remarkable psychological penetration. The attribution to the workshop of Gaspar de Crayer is fully consistent both for the quality of execution and for the stylistic characteristics of the work. Crayer was one of the most outstanding figures of Flemish painting in the 17th century and developed a large part of his career in Brussels in the service of the governors of the Spanish Netherlands. Chamber painter to Archdukes Albert and Isabella Clara Eugenia, Cardinal-Infante Ferdinand and later to Leopold William of Austria, he became one of the main visual interpreters of the ideology of the Counter-Reformation in Flanders. His artistic career reflects the evolution of Flemish Baroque painting. After beginnings marked by the influence of Martin de Vos and Hendrick de Clerck, he assimilated the innovations of Rubens, especially in the monumentality of the figures and the harmonious construction of the compositions. From the 1630s onwards, Van Dyck's influence became particularly visible in his portraits, characterized by a greater formal elegance, a more pronounced psychological refinement and a chromatic softness that would become distinctive features of his mature production. It was precisely in the field of portraiture that he achieved some of his greatest achievements. He worked for prominent members of the nobility and the Spanish Habsburg administration, creating images intended to exalt social rank, virtue and loyalty to the Crown. This portrait participates in that same tradition, in which the individual representation transcends mere physical description to become a visual affirmation of authority, prestige and moral rectitude. The presence of a high-ranking clergyman is also particularly significant in the context of Brussels during the 17th century. The city was home to numerous ecclesiastics from both Flanders and the Hispanic territories, integrated into a complex political and religious network that articulated the administration of the Spanish Netherlands. In this sense, the work is not only an individual portrait, but also a valuable historical document that illustrates the close relationship between political power, institutional representation and religious culture in Baroque Europe.
Setdart Auction House
May. 20, 2026
Flemish School, Saint Cecilia playing the pipe organ, accompanied by an angel, oil on canvas 92 x 52 cm. (36.21 x 20.46 in.), Frame: 112 x 70 cm. (44.09 x 27.55 in.)
Est: €1,200 - €1,500
Flemish School, Saint Cecilia playing the pipe organ, accompanied by an angel, oil on canvas The plaque on the frame attributes the work to Gaspard De Crayer (1584-1669).
Carlo Bonte Auctions
Mar. 23, 2026
WILLIAM VAN HERP (Amberes, h. 1614-1677). 1635 -1645, Ángel
Est: €9,000 -
WILLIAM VAN HERP (Amberes, h. 1614-1677). 1635 -1645 "Ángeles preparando a la Virgen para la Presentación en el Templo". Óleo sobre cobre El cobre se basa en la pintura original de Gaspar de Crayer (1584 - 1669), conservada en los Museos Reales de Bellas Artes de Bélgica Medidas:115 x 98 cm.
Magna Art Auctions
Feb. 25, 2026
Exceptional copper from Inmaculada - Attributed to Gaspar de Crayer (1584-Ghent, 1669)
Est: €12,000 - €15,000
Oil on copper. Dimensions: 84 x 67 cm and 100 x 94 cm. Undoubtedly the work of a Flemish master active in the Spanish Habsburg court. Exquisite detail and quality. A devotional composition centered on the figure of the Immaculate Virgin, elevated above the terrestrial sphere and the crescent moon, surrounded by a retinue of angels and cherubs arranged amidst dense cloud formations. The Virgin appears enveloped in a blue-green mantle and a pink tunic, with her hands crossed over her chest and her face inclined in a gesture of spiritual contemplation, radiating a starry halo that reinforces her celestial nature. The angels carry symbolic attributes such as flowers, palms, and stars, articulating an iconographic discourse fully linked to the doctrine of the Immaculate Conception. The lower landscape, with its architecture and natural elements, lends depth and balance to the scene. The work stands out for the delicacy of the drawing, the chromatic harmony and the refined treatment of light on the metal support, characteristic features of Hispanic painting of the 17th century, where the baroque tradition is put at the service of Marian exaltation with a careful technical and expressive quality.
Templum Fine Art Auctions
Feb. 07, 2026
Gaspar de Crayer, Circa 1585 Etching
Est: $200 - $300
Gaspar de Crayer (1584-1669), circa 1585 etching, 7" x 4 1/2", framed 15" x 13". Provenance: Brookline, Massachusetts collection.
Kaminski Auctions
Dec. 17, 2025
Gaspard de Crayer (Atribuído). San Lorenzo
Est: -
Óleo sobre lienzo. Reentelado.
Duran Arte y Subastas
Dec. 09, 2025
Gaspard De Crayer (1582-1669) - The circumcision
Est: €800 - €1,800
Large drawing attributed to the famous Flemish baroque artist Gaspard de Crayer. Brown ink with grey brown wash over underdrawing in pencil. The attribution to De Crayer has been confirmed in the past by an expert (Dadiakolsky) based on the strong similarity with other works by De Crayer. I added some examples from the collection of the Museum of Fine Arts Ghent.
Old Master Print
Nov. 04, 2025
GASPAR DE CRAYER Antwerp, Belgium (1584) / Ghent, Belgium (1669) "Portrait of a lady dressed in black"
Est: €60,000 - €80,000
Oil on canvas. Provenance: Collection of the Marquis of Leganes; Collection of the Count of Altamira; Collection of the Duke of Baena; Collection of the Marquis of Astorga; Collection of the Marquis of Asprillas; Collection of the Countess of Melgar; from there by succession to its current owners. Bibliography: Diaz Padron, M., “Gaspar de Crayer: That passage through Burgos and three new unpublished paintings for its catalogue”, in Proceedings of the XXII National Congress of Art History, vol. I, Burgos, 2019, pp. 717-722, fig. 3. Gaspar de Crayer was one of the most important painters who developed his production in the Spanish Netherlands, standing out in his facet as a portrait painter. His early works include portraits of the kings of Spain and some Spanish governors and officials who held important positions there, as well as members of the Brussels city council. An example is the Portrait of the Marquis of Leganes, painted by Crayer between 1627 and 1628. Crayer, a soldier, politician, and great collector, was among the works. The portrait shown here comes from his important collection of paintings, in which the number 485 can still be seen, corresponding to the postmortem inventory of Vicente Joaquin Osorio de Moscoso, 15th Count of Altamira, heir to the Marquis's collection. The identity of the lady is unknown. Depicted full-length, she stands out for her beautiful features and distinguished bearing, her gaze directed directly at the viewer and standing out against a shadowy gold background. She is unusual in that her arms hang casually at her sides; an unusual technique among contemporary painters, who preferred to rest their subjects' hands on armchairs or carry some kind of object, such as handkerchiefs or fans. She is wearing a black silk dress with a "conque" (a kind of cape collar) worn on women's dresses, very fashionable in the early 17th century, which rose in the back above the shoulders and framed the face. The enormous collar with white tips, matching the sleeves, also enhances this effect, contributing to an image of elegance and distinction, which is completed by the necklace and pear-shaped pearl earrings. The dress's decoration is complemented by a black and a red flower closing the neckline, as well as by a black headdress, adorned with a floral bouquet, which extends behind the neck like a cape. Without a doubt, the source of inspiration for this work is the Portrait of Marie de Medicis painted by Frans Pourbus the Younger (Museo del Prado (P001624), in which the figure adopts the same position in a similar composition, also wearing the same type of clothing. This fact led to her identity being confused with that of the French sovereign in some old inventories.This work was assigned to the work of Gaspar de Crayer by Matias Diaz Padron, highlighting its elegant bearing and singular distinction, as well as the enveloping atmosphere and rosy tones typical of the Flemish painter, whose portraits reveal the influence of Rubens and Van Dyck. Something not mentioned by the renowned specialist in Flemish painting is the formal dependence of this work on the aesthetic ideals and models of Frans Pourbus the Younger (1569-1622). Evidence of this is the appearance in the trade (Lempertz, Germany, Auction of May 20, 2023, lot 2026) of a three-quarter-length portrait by Pourbus of the same lady, from a private Belgian collection. In both paintings, she wears the same dress, jewelry, and headdress, with the exception that in this last work, which appeared on the art market, a small gold pendant with the anagram of the Name of Jesus hangs from her chest. Its provenance once again reinforces the theory that the work shown here must have been acquired by the Marquis of Leganes on his last trip to the Netherlands, around 1634. Measurements: 220 x 127 cm.
Ansorena
Jun. 26, 2025
Gaspard de Crayer, 1584 Antwerpen – 1669 Gent
Est: €6,000 - €9,000
JESUS FÄLLT UNTER DER LAST DES KREUZES Öl auf Leinwand. Doubliert. 113 x 89 cm. Rechts unten signiert und datiert „G. de Crayer 1617“. Beigegeben eine Expertise von Gilles Perrault, in Kopie. Christus wird von Soldaten in Rüstung und Speeren, die auf dem Bild deutlich dargestellt sind, durch die Straßen Jerusalems getrieben. Unter der Last des schweren Holzkreuzes bricht er zusammen. Auf dem Gemälde sieht man, neben den gerüsteten Soldaten auf der linken Seite, die Mauern der Stadt und im Mittelpunkt, am Boden liegend, mit Dornenkrone im braunen Gewand, Jesus. Er begegnet dabei seiner Mutter, die am Straßenrand steht und links, in einem langen blauen Mantel, mit gefalteten Händen dargestellt wird. Er blickt sie innig an und erwidert ihren traurigen Blick. In der Mitte ein Soldat mit glänzendem Helm und Brustpanzer, der ihn mit eindringlicher Bitte auffordert aufzustehen und zum Weitergehen anspornt. Links ein bärtiger Mann mit rotem Mantel, Simon von Cyrene, hilft ihm das Kreuz hochzuheben. Maria gibt durch ihre Nähe und Liebe Christus Kraft, aufzustehen und das Kreuz weiterzutragen. Kreuzwegdarstellung in klaren frischen Farben und ausdrucksstarken Gesten. Dasselbe Motiv lässt sich auch bei Anthonius van Dyck (1599-1641) finden. (1191961) (18)
Hampel Fine Art Auctions
Jun. 21, 2025
Italienisch, 17. Jh.
Est: €800 - €950
Aufblickender Mönch. Kreide/graues Bütten (l. Altersspuren), verso Hinweis auf Gaspard De Crayer (1584-1669), (Frau Semplice da Verona?), ca. 29,1x 23,8 cm.
Dannenberg
Mar. 12, 2025
Gaspar de Crayer (1584-1669)
Est: €700 - €1,000
Angel pleating to a holy figure to allow a man into heaven, brown ink, heightened in white, on paper, 28x18 cm (49,5x39,5 cm incl. frame),
Venduehuis der Notarissen
Dec. 17, 2024
GASPAR DE CRAYER Antwerp 1584 - Ghent 1669 Portrait of Don J
Est: -
GASPAR DE CRAYER Antwerp 1584 - Ghent 1669 Portrait of Don Juan de Velasco Oil on canvas Titled Measurements 200 x 119 cm Inscription: “PORTRAIT OF JVAN DE VELASCO SECRETARY OF THE CATHOLIC MAJESTY OF / KING DON PHELLIPE QVARTO WHOSE PROPERTY WAS INHERITED BY LICENSED JOSEPH / DE VELASCO HIS/HER BENEFICIAL BROTHER OF THIS HOLY CHURCH OF OUR/HER LADY THE IMPERIAL OF THE PALACE / THE QVAL IN HIS/HER MVERTE LEFT THEM FOR / PIOUS WORKS AND SERVICE OF HER IN CVIO / IN GRATITUDE THE SAID HOLY CHURCH ORDERED THIS MEMORY TO BE PLACED HERE”. Provenance: - Collection of Don Juan de Velasco, Brussels, ca. 1621 - Church of Santa María de Palacio, Logroño, ca. 1623. - Collection of Fernando Fernández de Velasco, Palace of Soñanes, Villacarriedo, ca. 1890. - Private collection, Santander. Don Juan de Velasco (1574-1621) was first personal secretary to Ambrosio Espínola and later royal secretary to Philip III and Philip IV. The son of a farrier from Logroño, he began a military career at an early age in the service of General Espínola in Genoa and Flanders. In 1618 he was appointed royal secretary but three years later he died of typhus in Wesel during the military campaign in the Lower Palatinate, at the beginning of the Thirty Years' War, thus cutting short a promising career. After his death, his brother José de Velasco, beneficiary of the church of Santa María de Palacio, left for Brussels to bring back to Logroño all the goods left by his late brother. In 2014, researchers Miguel Ángel Aramburu-Zabala and Aurelio Á. Barrón published an interesting article in which they revealed the fate of some of the paintings that arrived in Logroño, among which is this portrait of Juan de Velasco attributed to the Antwerp painter Gaspar de Crayer. The personality of Gaspar de Crayer is linked to the city of Brussels, where he worked as a painter at the court of the Archdukes until the death of Isabel Clara Eugenia, when he moved to Ghent to work in the service of Cardinal-Infante Ferdinand of Austria. As a portrait painter, he worked on numerous commissions from the House of Austria as well as for high-ranking Spanish officials who were stationed in the southern Spanish Netherlands. His pictorial production shows the influence of Rubens and Van Dyck through compositions of great theatricality and soft Venetian colouring. Against a background of red curtains, the elegant figure of Juan de Velasco stands out next to a buffet of the same colour on which rests his hat, which alludes to the royal privilege reserved for high dignitaries to remain uncovered in the presence of the monarch. The fine white lace of the ruff and cuffs contrast with the sober black suit consisting of a doublet, tights and a cape. Complementing this are luxurious gold buttons, a chain and a sword that he girds around his waist. The aforementioned authors have placed the execution of this work in Brussels coinciding with the days after his appointment as royal secretary. This type of portrait responds to the model imposed in the Brussels court during the government of the Archdukes Albert and Isabel Clara Eugenia, sovereign princes of the southern Netherlands. Starting from prototypes devised by Frans Pourbus the Younger and Otto van Veen, Rubens composed the official portrait of the Archdukes on a highly successful model which was engraved by the artist Jan Muller in 1615 (fig. 1). Years later Gaspar de Crayer painted a portrait of Archduke Albert, now in the Museu de Arte de Sâo Paulo (fig. 2), which had been acquired by Don Diego de Mexía, Marquis of Leganés, in Flanders around 1615-1618, which could well have served as inspiration for the portrait of Don Juan de Velasco. We would like to thank Dr. Hans Vlieghe for his help in cataloguing this work. Bibliography: - Aramburu-Zabala Higuera, Miguel Ángel and Barrón García, Aurelio Á., The painting collection of José de Velasco and his brother Juan, secretary of Ambrosio Espínola, BBSAA Arte (Bulletin of the Seminar of Art Studies), 2014 (no. 80), pp. 139-164. - "The house of Velasco in Flanders, relationships and collecting" in Fortea Pérez, José Ignacio, Gelabert González, Juan Eloy, López Vela, Roberto, Postigo Castellanos, Elena (coords.), Monarchies in conflict. Lineages and nobility in the articulation of the Hispanic monarchy, Madrid, 2018, pp. 387-402.
Subastas Segre
Nov. 27, 2024
GASPAR DE CRAYER (attr. a)
Est: €3,000 - €5,000
(Anversa, 1582 - Gand, 1662) Adorazione dei pastori Olio su tela, cm 130X123 L'opera trova confronto con la tela riferita a Gaspar de Crayer conservata al Residenzmuseum di Monaco (inv. n. 49; cfr. https://rkd.nl/imageslite/36907) e il soggetto raffigurato ha caratteri rubensiani. Questi indizi di stile sembrano convalidare il riferimento a Gaspar de Crayer, allievo di Michel e membro dell'Accademia di San Luca di Bruxelles nel 1607.
Wannenes Art Auctions
Oct. 29, 2024
ÉCOLE FLAMANDE DU XVIIe SIÈCLE, SUIVEUR D'ANTOINE VAN DYCK. Portrait de Gas
Est: €4,000 - €6,000
ÉCOLE FLAMANDE DU XVIIe SIÈCLE, SUIVEUR D'ANTOINE VAN DYCK. Portrait de Gaspard de Crayer (1584-1669), en buste, en grisaille. huile sur panneau 18,5 x 12,7 cm (7 ¼ x 5 in.).
Christie's
Oct. 07, 2024
Gaspar de Crayer (1584-1669) - Attributed
Est: €3,000 - €5,000
Mary with Child and St Mary Magdalene, St Cecilia, St Dorothea, St Catherine and St Augustine. In this portrayal, Mary is seated on a throne with the infant Jesus, while various female saints approach from the left to pay homage. A basket of grapes and fruit rests at her feet. St. Catherine of Alexandria kneels on the lower steps, dressed in white silk and holding a palm branch, symbolizing martyrdom. A putto on the foreground steps holds her symbolic sword and offers a wreath of flowers. Partially visible at the bottom left is the wheel, another attribute of St. Catherine. Positioned above her is St. Dorothea, extending a basket of paradise flowers to the infant Jesus, referencing an event from her legend. Behind Dorothea on the left are St Mary Magdalene and St Cecilia with a small organ. On the front right, St. Augustine, Bishop of Hippo, holds a flaming heart symbolizing love for God. Two putti lift the red curtain at the upper edge, revealing the scene. Oil on canvas, 36 × 27 cm
Fine Antiques Prague s.r.o.
Sep. 26, 2024
GASPARD DE CRAYER, 1584 ANTWERPEN – 1669 GENT, ZUGESCHRIEBEN/ KREIS DES
Est: €20,000 - €30,000
PORTRAIT VON KÖNIG PHILIPP IV VON SPANIEN Öl auf Leinwand. Doubliert. 114 x 81 cm. In teilvergoldetem Prunkrahmen. In einen Innenraum vor einem schweren roten Vorhang, vom dem rechts eine goldfarbene Quaste herabhängt, das Dreiviertelportrait des Königs in einem faltenreichen schwarzen Gewand mit goldenen Knopfreihen und einem weißem Stehkragen, der mit Spitze besetzt ist, die auch an den Armenden des Gewandes hervorsticht. Dazu trägt er den Orden vom Goldenen Vlies (der König war von 1621 bis 1665 Großmeister dieses Ritterodens). Vor ihm ein Tisch, auf dem auf einer Brokatdecke die Insignien seiner Macht liegen: die goldene, reich mit Edelsteinen verzierte Krone und das Zepter, auf die er mit dem Zeigefinger seiner linken Hand weist. Er hat ein feines Gesicht, einen rötlichen Mund und mit seinen glänzenden Augen blickt er würdevoll aus dem Bild heraus. Anmerkung: Gaspar de Crayer war ein flämischer Maler, der bekannt ist für seine vielen Altarbilder und Porträts. In den Akten der Lukasgilde ist er 1587 und 1589 als Lehrer eingetragen und in den Jahren 1608 und 1621 als Dekan. Durch den Kardinalerzbischof von Toledo, Ferdinand von Spanien, Sohn von König Philipp III von Spanien, wurde Crayer zum Hofmaler ernannt. Diese Stellung am Hofe wurde ihm nach Ferdinands Tod von Philipp IV von Spanien bestätigt. (14007616) (18) Gaspard de Crayer, 1584 Antwerp – 1669 Ghent, attributed/ circle of PORTRAIT OF KING PHILIP IV OF SPAIN Oil on canvas. Relined. 114 x 81 cm.
Hampel Fine Art Auctions
Jun. 27, 2024
Gaspard de Crayer, 1584 Antwerpen – 1669 Gent, zugeschrieben
Est: €10,000 - €12,000
HEILIGER HIERONYMUS Öl auf Leinwand. Doubliert. 108 x 91 cm. Ungerahmt. Wie in der Komposition, die bisher Gaspard de Crayer zugeschrieben ist und beim RKD in Den Haag unter Nr. 59273 verzeichnet wird, ist auch hier - wenngleich im Hochformat - der Heilige Hieronymus im Studium der Heiligen Schrift zu sehen mit emporgerichtetem Blick. Da die Umschreibung des RKD auf wackligen Füßen steht, besteht auch die Möglichkeit, eine Zuschreibung in Richtung des Matthias Stomer zu eröffnen. (13908165) (13) Gaspard de Crayer, 1584 Antwerp – 1669 Ghent, attributed SAINT JEROME Oil on canvas. Relined. 108 x 91 cm.
Hampel Fine Art Auctions
May. 22, 2024
Portrait of Don Ferdinand of Austria
Est: $20,000 - $30,000
Property from a Private American Collection, Sold Without Reserve Gaspar de Crayer Antwerp 1584 - 1669 Ghent Portrait of Don Ferdinand of Austria inscribed lower left: 480 (inventory number of the Marquis de Léganès) oil on canvas canvas: 79 ½ by 46 ⅞ in.; 201.5 by 119.0 cm. framed: 86 by 53 ⅛ in.; 218.4 by 134.9 cm.
Sotheby's
Apr. 15, 2024
Gaspar de Crayer (1584-1669) - Attributed
Est: €6,000 - €8,000
Mary with Child and St Mary Magdalene, St Cecilia, St Dorothea, St Catherine and St Augustine. In this portrayal, Mary is seated on a throne with the infant Jesus, while various female saints approach from the left to pay homage. A basket of grapes and fruit rests at her feet. St. Catherine of Alexandria kneels on the lower steps, dressed in white silk and holding a palm branch, symbolizing martyrdom. A putto on the foreground steps holds her symbolic sword and offers a wreath of flowers. Partially visible at the bottom left is the wheel, another attribute of St. Catherine. Positioned above her is St. Dorothea, extending a basket of paradise flowers to the infant Jesus, referencing an event from her legend. Behind Dorothea on the left are St Mary Magdalene and St Cecilia with a small organ. On the front right, St. Augustine, Bishop of Hippo, holds a flaming heart symbolizing love for God. Two putti lift the red curtain at the upper edge, revealing the scene. Oil on canvas, 36 × 27 cm
Fine Antiques Prague s.r.o.
Apr. 10, 2024
Old attribution to GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Sacred Family". Oil on canvas. Keep the original fabric. Presents restorations and perforations.
Est: €22,000 - €24,000
Old attribution to GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Holy Family. Oil on canvas. The original canvas is preserved. It presents restorations and perforations. Measurements: 178 x 240 cm. In the centre of the image the Virgin and the Child embrace each other tenderly without the spectator's gaze. Their strategic position and the way in which the author enthroned them in a higher position indicate the relevance of the protagonists. Far removed from the traditional aesthetic of the representation of the Holy Family, the scene is completed by the presence of Saint Joseph, who is in the background in profile as is usual in representations of the Holy Family. It is interesting to note the presence of a circle of small angels surrounding the main figures, giving the scene a certain dynamism and decorative sense that harmonises with the powdered, vaporous technique used by the artist to compose the image. The scene takes place in an interior of great opulence inspired by classical architecture, which is open to the outside on the left, allowing a glimpse of a landscape that gives the work spatiality. Due to its technical characteristics, this work is aesthetically similar to the work of Gaspar de Crayer, a painter and draughtsman of Dutch origin. In 1607 he became a member of the painters' guild in Brussels, where he spent much of his career. His painting was widely recognised by the aristocracy of the day and he was soon closely associated with the court. Gaspar de Crayer's early works include portraits of the kings of Spain and the Spanish governors and officials who were stationed in the Spanish Netherlands, as well as members of the Brussels city council. For example, the equestrian portrait of Don Diego Messia Felipe de Guzmán (Kunsthistorisches Museum, Vienna) was painted by De Crayer in 1627-1628. In addition, from the beginning of his career, de Crayer received commissions for altarpieces to decorate various churches and monasteries around Brussels. It was not until 1635 that Cardinal-Infante Ferdinand of Austria, brother of King Philip IV of Spain and governor of the Spanish Netherlands after the death of his aunt Isabella Clara Eugenia in 1633, made him his first court painter. He later worked as court painter for Archduke Leopold Wilhelm of Austria, who became governor in 1647.
Setdart Auction House
Nov. 15, 2023
Old attribution to GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Sacred Family". Oil on canvas. Keep the original fabric. Presents restorations and perforations.
Est: €27,000 - €29,000
Old attribution to GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Holy Family. Oil on canvas. The original canvas is preserved. It presents restorations and perforations. Measurements: 178 x 240 cm. In the centre of the image the Virgin and the Child embrace each other tenderly without the spectator's gaze. Their strategic position and the way in which the author enthroned them in a higher position indicate the relevance of the protagonists. Far removed from the traditional aesthetic of the representation of the Holy Family, the scene is completed by the presence of Saint Joseph, who is in the background in profile as is usual in representations of the Holy Family. It is interesting to note the presence of a circle of small angels surrounding the main figures, giving the scene a certain dynamism and decorative sense that harmonises with the powdered, vaporous technique used by the artist to compose the image. The scene takes place in an interior of great opulence inspired by classical architecture, which is open to the outside on the left, allowing a glimpse of a landscape that gives the work spatiality. Due to its technical characteristics, this work is aesthetically similar to the work of Gaspar de Crayer, a painter and draughtsman of Dutch origin. In 1607 he became a member of the painters' guild in Brussels, where he spent much of his career. His painting was widely recognised by the aristocracy of the day and he was soon closely associated with the court. Gaspar de Crayer's early works include portraits of the kings of Spain and the Spanish governors and officials who were stationed in the Spanish Netherlands, as well as members of the Brussels city council. For example, the equestrian portrait of Don Diego Messia Felipe de Guzmán (Kunsthistorisches Museum, Vienna) was painted by De Crayer in 1627-1628. In addition, from the beginning of his career, de Crayer received commissions for altarpieces to decorate various churches and monasteries around Brussels. It was not until 1635 that Cardinal-Infante Ferdinand of Austria, brother of King Philip IV of Spain and governor of the Spanish Netherlands after the death of his aunt Isabella Clara Eugenia in 1633, made him his first court painter. He later worked as court painter for Archduke Leopold Wilhelm of Austria, who became governor in 1647.
Setdart Auction House
Oct. 03, 2023
Gaspar de Crayer (Anversa, 1582 – Gand, 1662), attr.a, Ritratto di Filippo IV di Spagna
Est: €65,000 - €70,000
Olio su tela, dimensioni 115x80 cm.
Telearte
Sep. 25, 2023
FOLLOWER OF GASPARD DE CRAYER (1584-1669), THE DESCENT FROM ...
Est: €3,000 - €4,250
Follower of Gaspard de Crayer (1584-1669), The Descent from the Cross, oil on canvas, 18th century, 104 x 85 cm. (the original is included in the Rijksmuseum Amsterdam collection inv./cat.nr SK-A-75)
Van Zadelhoff Veilingen en Taxaties
Sep. 19, 2023
Old attribution to GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Sacred Family". Oil on canvas. Keep the original fabric. Presents restorations and perforations.
Est: €30,000 - €35,000
Old attribution to GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Holy Family. Oil on canvas. The original canvas is preserved. It presents restorations and perforations. Measurements: 178 x 240 cm. In the centre of the image the Virgin and the Child embrace each other tenderly without the spectator's gaze. Their strategic position and the way in which the author enthroned them in a higher position indicate the relevance of the protagonists. Far removed from the traditional aesthetic of the representation of the Holy Family, the scene is completed by the presence of Saint Joseph, who is in the background in profile as is usual in representations of the Holy Family. It is interesting to note the presence of a circle of small angels surrounding the main figures, giving the scene a certain dynamism and decorative sense that harmonises with the powdered, vaporous technique used by the artist to compose the image. The scene takes place in an interior of great opulence inspired by classical architecture, which is open to the outside on the left, allowing a glimpse of a landscape that gives the work spatiality. Due to its technical characteristics, this work is aesthetically similar to the work of Gaspar de Crayer, a painter and draughtsman of Dutch origin. In 1607 he became a member of the painters' guild in Brussels, where he spent much of his career. His painting was widely recognised by the aristocracy of the day and he was soon closely associated with the court. Gaspar de Crayer's early works include portraits of the kings of Spain and the Spanish governors and officials who were stationed in the Spanish Netherlands, as well as members of the Brussels city council. For example, the equestrian portrait of Don Diego Messia Felipe de Guzmán (Kunsthistorisches Museum, Vienna) was painted by De Crayer in 1627-1628. In addition, from the beginning of his career, de Crayer received commissions for altarpieces to decorate various churches and monasteries around Brussels. It was not until 1635 that Cardinal-Infante Ferdinand of Austria, brother of King Philip IV of Spain and governor of the Spanish Netherlands after the death of his aunt Isabella Clara Eugenia in 1633, made him his first court painter. He later worked as court painter for Archduke Leopold Wilhelm of Austria, who became governor in 1647.
Setdart Auction House
Jul. 06, 2023
Important Portrait of the Count-Duke of Olivares, in the manner of Gaspar de Crayer (Antwerp, 1584 - Ghent, 1669)
Est: €12,000 - €14,000
Oil on canvas. Measurements: 65 x 50 cm. Framed measurements: 77 x 67 cm. Origin: important private collection, Madrid. Property of a Gentleman.
Templum Fine Art Auctions
Jun. 03, 2023
Crayer, Gaspard de (Antwerpen 1584 - 1669 Gent) nach,
Est: -
Crayer, Gaspard de (Antwerpen 1584 - 1669 Gent) nach, "Bärtiger Eremit", Öl auf Leinwand, 55 x 45 cm. Provenienz: um 1900 als Caspard de Crayer in der Kunsthandlung M. Lempertz, Aachen (später umbenannt zu Kunsthandlung Anton Creutzer) angeboten; erworben 1939 als Caspar de Crayer im Kunst und Auktionshaus Franz A. Menne bei der Versteigerung der Inneneinrichtung der Genovevaburg in Mayen (Zuschreibung zu dem Künstler erfolgte hier auf ausdrücklichen Wunsch des Besitzers der Genovevaburg)
Auktionshaus Plückbaum
Feb. 11, 2023
Crayer, Gaspard de (Antwerpen 1584 - 1669 Gent) nach,
Est: -
Crayer, Gaspard de (Antwerpen 1584 - 1669 Gent) nach, "Bärtiger Eremit", Öl auf Leinwand, 55 x 45 cm. Provenienz: um 1900 als Caspard de Crayer in der Kunsthandlung M. Lempertz, Aachen (später umbenannt zu Kunsthandlung Anton Creutzer) angeboten; erworben 1939 als Caspar de Crayer im Kunst und Auktionshaus Franz A. Menne bei der Versteigerung der Inneneinrichtung der Genovevaburg in Mayen (Zuschreibung zu dem Künstler erfolgte hier auf ausdrücklichen Wunsch des Besitzers der Genovevaburg)
Auktionshaus Plückbaum
Nov. 15, 2022
Tableaux DE CRAYER Gaspar (1584 - 1669). Suiveur de. Huile sur toile "Ecce homo". Attribué à u
Est: €400 - €600
Tableaux DE CRAYER Gaspar (1584 - 1669). Suiveur de. Huile sur toile "Ecce homo". Attribué à un suiveur de Gaspar de Crayer. Ecole flamande. Epoque : XVIIème. Dim. : +/- 83x62 cm.
Vanderkindere
Nov. 09, 2022
Gaspard de Crayer
Est: €20,000 - €30,000
(Antwerp 1584–1669 Gent) Saint John the Evangelist, signed upper left: ... E Crayer, oil on canvas, 114 x 90 cm, framed Provenance: Collection of the artist Romain Eugène van Maldeghem (1813–1867), Brussels; his sale, Brussels, 26 March 1874; Private collection, Belgium The present composition is accompanied by Hans Vlieghe’s certificate of authenticity (in copy), dated 10 August 2022. He writes: ‘This painting represents Saint John the Evangelist receiving the vision of the Apocalypse he is believed to have had on the island of Patmos. He is shown to the waist, while sitting against a rock. In his right hand he holds a quill, in order to write down the details of his apocalyptic visions on the still white pages of the biblical book of Revelation he is holding with his left hand. The here described painting is an exact albeit slightly smaller replica of a painting by Gaspard de Crayer of the same subject, now belonging to the Museum voor Schone Kunsten in Ghent. The overall painterly quality of the two paintings is exactly similar, which means that also the here discussed painting can be attributed to De Crayer. St. John’s face has an ecstatical expression and is modelled after that of the same saint appearing on the right wing of Rubens’s Michielsen triptych (Antwerp, Koninklijk Museum voor Schone Kunsten). However, the emotionality in the saint’s face is more emphasized in De Crayer’s representation and this is due to the fact that De Crayer’s style from circa 1650 onward was gradually also coming under the influence of Van Dyck’s late works…’.
Dorotheum
Sep. 07, 2022
DE CRAYER Gaspar (1584 - 1669) - Huile sur toile marouflée sur toile "L'Apparition". Suiveur de Gaspar de Crayer. Voir au dos sept cachets à la cire rouge. Ecole flamande. Epoque: début XVIIIème. Dim.
Est: €600 - €800
Huile sur toile marouflée sur toile "L'Apparition". Suiveur de Gaspar de Crayer. Voir au dos sept cachets à la cire rouge. Ecole flamande. Epoque: début XVIIIème. Dim. : +/-59x50 cm.
Vanderkindere
Dec. 18, 2021
Crayer, Gaspar de
Est: €200 - €300
(1584 Antwerpen - Gent 1669), zugeschrieben. Marienkrönung mit vielen Heiligen. Federzeichnung auf Bütten. Ca. 40 x 26,8 cm. Leicht braunfleckig. Oberer Rand hinterlegt. Seitlich punktuell fixiert. Unter Passep. R
Kiefer Buch- und Kunstauktionen
Nov. 24, 2021
GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Portrait of Philip IV. Oil on canvas. Relined.
Est: €35,000 - €40,000
GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Portrait of Philip IV. Oil on canvas. Relined. Measurements: 114 x 80,5 cm; 130 x 99 cm (frame). We are before a portrait of the king Felipe IV that follows the models imposed by the official portrait painting of the time, with the monarch located next to a table where the royal attributes of the mime are found as, for example; the crown and the baton of command, that the king himself points with one of his fingers. In the work we observe an insistence on the detail of Flemish lineage, which can be seen in the brocade of the table cloth, and in the care with which the jewels have been modeled, such as the ring or the toisón hanging from his neck. On the other hand, the composition, as we have already mentioned, does not represent an advance with respect to the model of representation of the monarchs, maintaining the forms of the previous models. Thus, here we see the ideal of the previous generation: the character is represented erect and almost rigid, in an interior of neutral tonality that is hardly endowed with depth with the artifice of a gathered curtain that is, at the same time, a symbol of authority and majesty. Likewise, always following models established in the time of Philip IV, the costume is treated with a meticulousness that reproduces all its details, and the character appears wrapped in clothes that appear rigid. Due to its technical characteristics, this work is aesthetically similar to the work of Gaspar de Crayer, a painter and draftsman of Dutch origin. In 1607 he became a member of the painters' guild in the city of Brussels, where he developed a large part of his career. His painting was highly recognized by the aristocracy of the time, so he was soon closely linked to the court. Gaspar de Crayer's early works include portraits of the kings of Spain and the Spanish governors and officials who were stationed in the Spanish Netherlands, as well as members of the Brussels city council. For example, the equestrian portrait of Don Diego Messia Felipe de Guzmán (Kunsthistorisches Museum, Vienna) was painted by De Crayer in 1627-1628. In addition, from the beginning of his career, de Crayer received commissions for altarpieces to decorate various churches and monasteries around Brussels. It was not until 1635 that Cardinal-Infante Ferdinand of Austria, brother of King Philip IV of Spain and governor of the Spanish Netherlands after the death of his aunt Isabella Clara Eugenia in 1633, made him his first court painter. He later worked as court painter for Archduke Leopold Wilhelm of Austria, who became governor in 1647.
Setdart Auction House
Oct. 16, 2021
Crayer, Gaspar de
Est: €280 - €400
(1584 Antwerpen - Gent 1669), zugeschrieben. Marienkrönung mit vielen Heiligen. Federzeichnung auf Bütten. Ca. 40 x 26,8 cm. Leicht braunfleckig. Oberer Rand hinterlegt. Seitlich punktuell fixiert. Unter Passep. R
Kiefer Buch- und Kunstauktionen
Jul. 11, 2021
GASPAR de CRAYER (Belgian, 1584-1669)
Est: $5,000 - $10,000
Putti gathering fallen fruit, c. 1635 oil on canvas With old paper label on verso, "Boys Selling Fruit... 1582"; in a very fine gilt carved frame h. 19 w. 15 in. (sight) overall: 29-1/2 x 25-1/2 in. (frame) Limited Preview: Please note that this auction has a limited in-person preview. Not all items may be on display in the saleroom, if you wish to view a particular item in-person we strongly suggest contacting the gallery in advance of your visit.
Butterscotch Auction Gallery LLC
Mar. 25, 2021
Gaspard de Crayer, 1584 Antwerpen - 1669 Gent
Est: €8,000 - €12,000
JESUS FÄLLT UNTER DER LAST DES KREUZES Öl auf Leinwand. Doubliert. 113 x 89 cm. Rechts unten signiert und datiert „G. de Crayer 1617“. Beigegeben eine Expertise von Gilles Perrault. Christus wird von Soldaten in Rüstung und Speeren, die auf dem Bild deutlich dargestellt sind, durch die Straßen Jerusalems getrieben. Unter der Last des schweren Holzkreuzes bricht er zusammen. Auf dem Gemälde sieht man, neben den gerüsteten Soldaten auf der linken Seite, die Mauern der Stadt und im Mittelpunkt, am Boden liegend, mit Dornenkrone im braunen Gewand, Jesus. Er begegnet dabei seiner Mutter, die am Straßenrand steht und links, in einem langen blauen Mantel, mit gefalteten Händen dargestellt wird. Er blickt sie innig an und erwidert ihren traurigen Blick. In der Mitte ein Soldat mit glänzendem Helm und Brustpanzer, der ihn mit eindringlicher Bitte auffordert aufzustehen und zum Weitergehen anspornt. Links ein bärtiger Mann mit rotem Mantel, Simon von Cyrene, hilft ihm das Kreuz hochzuheben. Maria gibt durch ihre Nähe und Liebe Christus Kraft, aufzustehen und das Kreuz weiterzutragen. Kreuzwegdarstellung in klaren frischen Farben und ausdrucksstarken Gesten. Dasselbe Motiv lässt sich auch bei Anthonius van Dyck (1599-1641) finden. (1191961) (18)
Hampel Fine Art Auctions
Jan. 19, 2021
"Charles Quint saisissant l’Afrique", pierre noire, plume d'encre brune, la
Est: €1,000 - €1,500
"Charles Quint saisissant l’Afrique", pierre noire, plume d'encre brune, lavis d'encre brune et grise, rehaussé de blanc sur papier brun mis au carreau collé sur papier. Par Jacob Neefs et l'atelier de Gaspar de Crayer. Ecole flamande. Epoque: vers 1635 - 1636. Voir en bas à gauche le cachet de collection du comte Moriz von Fries ainsi que l'inscription "1206" en bas à gauche. Modèle pour la gravure d’après l’un des 8 tableaux peints par Gaspar de Crayer pour les arcs de triomphe érigés à Gand à l’occasion de la Joyeuse Entrée du cardinal-infant Ferdinand d’Espagne en 1635, tableau aujourd’hui conservé à Gand (STAM, inv. 1108). La gravure en question fut publiée l’année suivante dans un volume commémorant l’événement: Guillielmus BECANUS, Serenissimi Principis Ferdinandi Hispaniarum Infantis S.R.E. Cardinalis Introitus in Flandriae Metropolim Gandavum, Anvers, 1636, planche 23. Les dimensions du dessin sont en quasi parfaite correspondance avec la gravure (cf. e.g. 372 × 277 mm pour l’exemplaire conservé à New York, MET, inv. 51.501.7423). La gravure présente la même orientation que le dessin et le tableau. La présence d’une mise au carreau suggère un accès du dessinateur à une esquisse provenant directement de l’atelier de Gaspar de Crayer. Le fait que les traits dessinés au crayon ont été repassés à l’encre, visiblement par une autre main, suggère à nouveau une première intervention sur ce dessin par l’atelier de Gaspar de Crayer, avant d’être achevé selon les standards d’un modèle à graver par Jacob Neefs. Provenance: Ancienne collection José T. On y joint une documentation. (Légères déchirures). Dim.:+/-374x272mm.
Vanderkindere
Nov. 17, 2020
DE CRAYER Gaspar (1584 - 1669) - Huile sur toile de lin marouflée sur toile "L'Assomption de la s
Est: €3,000 - €4,000
DE CRAYER Gaspar (1584 - 1669) Huile sur toile de lin marouflée sur toile "L'Assomption de la sainte Vierge". Esquisse reflétant la technique de la mise au carreau. Par Gaspar de Crayer. Ecole flamande. Oeuvre à rapprocher de l'Assomption de l'église Notre-Dame-de-Watervliet. On y joint une copie d'un avis du Rubenanium datant de 1999. Dossier de restauration consultable durant l'exposition. Dim.:+/-66x42,5cm.
Vanderkindere
Sep. 26, 2020
DE CRAEYER GASPARD (1584 - 1669) zeventiende eeuws…
Est: €300 - €500
DE CRAEYER GASPARD (1584 - 1669) zeventiende eeuws olieverfschilderij op paneel : "Portret van een abt" - 62 x 51 toegeschreven aan English Translation 17th Cent. Flemish oil on panel - attributed to Gaspard De Craeyer
DVC
Sep. 08, 2020
Dessins
Est: €600 - €800
"La Flagellation du Christ" crayon sanguine rehaussé de gouache sur papier. Attribué à Gaspard de Crayer. Ecole flamande. Voir au dos, une ancienne étiquette de chez Jean Willems à Bruxelles et de chez Galerie Moderne. (Un coup et une déchirure). Dim.:345x210mm.
Vanderkindere
Jul. 03, 2020
Maler der zweiten Hälfte des 19. Jahrhunderts, Kopie nach Gaspar de Crayer (1584 - 1669)
Est: €700 - €900
DIE JUNGFRAU MIT DEM ROSENKRANZ ZU ST. DOMINIC Öl auf Leinwand. 80 x 60,5 cm. Links unten beschriftet, signiert und datiert „D'APRES GRAYER M. Doutriaux.1899.“ Ungerahmt. Auf einem steinernen Thron sitzend, bekrönt von einem roten Vorhang, der von einem Putto links zur Seite gezogen wird, Maria in rot-blauem Gewand, den nur mit einem weissen Lendenschurz bekleideten Christusknaben in ihrem Schoss haltend. Dieser wendet sich dem Heiligen Dominic zu, um ihm einen Rosenkranz zu überreichen. Drei weitere weibliche Figuren, darunter links unten die Heilige Cäcilia mit der Orgel, und ein weiterer Putto wohnen diesem Ereignis bei. An den Rändern teils berieben. Anmerkung: Das Original Ölgemälde von Gaspar de Crayer (The virgin offering the rosary to St. Dominic) stammt von 1641 und befindet sich im Musee des Beaux-Arts, Valenciennes, Frankreich. (1230665) (18)
Hampel Fine Art Auctions
Jun. 09, 2020
Gaspar de Crayer (-)
Est: €30,000 - €40,000
- The lot is subject to full taxation (13%) Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Antwerp 1584–1669 Ghent) Saint Catherine of Siena, oil on canvas, 249 x 153 cm, unframed Provenance: Private collection, Rome We are grateful to Professor Hans Vlieghe, who, after having examined the present painting in the original, has confirmed the attribution to Gaspar de Crayer, specifically pointing out the quality of the drapery and the rendering of the face. He has dated it to circa 1655. This newly discovered, hitherto unknown altarpiece follows the type of saint representation typical for De Crayer, perhaps best known from the series he painted for the Monasterio de San Francisco in Burgos, six of which are now in the Museo del Prado.
Dorotheum
Mar. 05, 2020
GASPAR DE CRAYER (seguace di)
Est: €1,500 - €2,000
(Anversa, 1582 - Gand, 1662) Adorazione dei pastori Olio su tela, cm 116X82 La tela si attribuisce a un artista fiammingo influenzato dalla pittura italianizzante della scuola di Anversa divulgata da Pietro Paolo Rubens e Antoon van Dyck. Questi aspetti stilistici conducono, grazie anche alla composizione, a riconoscere quale ispiratore del nostro autore Gaspar de Crayer che allievo di Michel Coxcie è registrato all'Accademia di San Luca di Bruxelles nel 1607. Con maggior precisione possiamo asserire che l'opera di riferimento è la tela conservata al Residenz Museum di Monaco di Baviera (Olio su tela, cm 139X110- inv./cat.nr 49- https://rkd.nl/explore/images/106786).
Wannenes Art Auctions
Feb. 04, 2020
Attribué à Gaspard de CRAYER Anvers, 1584 - Gand, 1669 La Vision de saint Augustin Huile sur toile
Est: €2,000 - €3,000
Attribué à Gaspard de CRAYER Anvers, 1584 - Gand, 1669 La Vision de saint Augustin Huile sur toile h: 34,50 w: 31 cm Estimation 2 000 - 3 000 €
Artcurial
Nov. 13, 2019
Gaspard de CRAYER Anvers, 1584 - Gand, 1669 La Pentecôte Huile sur toile
Est: €20,000 - €30,000
Gaspard de CRAYER Anvers, 1584 - Gand, 1669 La Pentecôte Huile sur toile Un cachet de collection à la cire rouge et annoté 'C De Crayer' sur le châssis au verso Pentecost, oil on canvas, inscribed, by G. de Crayer h: 72 w: 55 cm Provenance : Collection privée, Lille ; Vente anonyme ; Monaco, Christie's, 15 juin 1990, n° 28 ; Collection particulière, Paris Bibliographie : Hans Vlieghe, "Gaspar de Crayer : addenda et corrigenda", in 'Gentse Bijdragen tot de Kunstgeschiedenis', n° 25, 1979-1980, p. 194-195, fig. 38 Commentaire : " Jamais il ne vit l'Italie, ne copia point les grands modèles, et pourtant il égala presque Rubens pour la couleur, le surpassa dans le dessin, et on le place à côté de Vandick qui fut son ami (…) " Cet éloge, de la plume du peintre Amaury-Duval, élève d'Ingres, fut écrit en 1829 et témoigne du prestige et de la renommée qu'avait encore Gaspard de Crayer en Europe au début du XIXe siècle. Surtout lorsqu'il est mis en perspective avec la faible considération que pouvait avoir le maître de Montauban pour les toiles flamandes du XVIIe siècle, lui qui demandait à ses disciples de se bander les yeux lorsqu'ils passaient devant les toiles de Rubens au Louvre. Car Gaspard de Crayer ne fait pas partie de ces artistes oubliés après leur mort, puis renaissant au cours d'un XIXe siècle féru de redécouvertes prestigieuses, dont Vermeer et La Tour sont les meilleurs exemples. A côté de l'iconique triade anversoise de la première moitié du XVIIe siècle composée de Rubens, Van Dyck et Jordaens, Gaspard de Crayer fait office de " quatrième mousquetaire ", tant son talent fut unanimement apprécié et reconnu de son vivant. Il appartient alors à l'aristocratie de sa profession, celle des peintres de cour. Les commandes affluent. Portraits et surtout sujets religieux deviennent les moyens d'expressions de son pinceau vibrant, heureuse combinaison de la fougue rubénienne et de la rigueur van dyckienne. Mais c'est bien au cours de ce XIXe siècle, véritable laboratoire de l'Histoire de l'art, que son nom fut un temps mis en retrait. Alors que la critique lui reconnaissait des vertus bien distinctives, telles que la science de la composition, de judicieuses inspirations ou encore la qualité technique de ses huiles, ces dernières semblent s'être retournées contre lui à une époque où l'on ne jure que par la capacité à rompre, la singularité ou l'expressivité. Il lui est alors arbitrairement reproché de ne pas être un grand inventeur. C'est après la Seconde Guerre mondiale que la lumière revint peu à peu. De nombreuses toiles majeures lui sont réattribuées au fil des années et le travail magistral de l'historien Hans Vlieghe contribua à rendre ses lettres de noblesse à notre artiste, de la parution du catalogue raisonné en 1972, à la superbe exposition organisée au musée de Flandre à Cassel il y a quelques mois1. Notre toile, traitée dans un quasi-camaïeu gris bleu caractéristique qui rappelle la 'Résurrection du Christ' de Gand², constitue un brillant témoignage de l'importante production religieuse de l'artiste. Nous retrouvons dans cette œuvre, figurant l'épisode biblique de la Pentecôte, la singulière touche de notre artiste : ces visages ronds où les habiles rehauts de blanc librement inspirés de Rubens permettent la traduction des expressions, la douceur féminine s'opposant à l'exaltation masculine ; la chaleur de ces drapés à la fois fins et lourds, intelligemment détourés de bruns puissants donnant les volumes, ou encore ces touches de couleurs nuancées qui guident le regard du spectateur et donnent un sens de lecture à la composition. 1. 'Entre Rubens et Van Dyck. Gaspar de Crayer (1584-1669)', Cassel, musée départemental de Flandre, 30 juin - 4 novembre 2018 2. 'op. cit.', cat. exp., p. 108-109, n° 4.12 Estimation 20 000 - 30 000 €
Artcurial
May. 29, 2019
TABLEAUX
Est: €1,200 - €1,500
Huile sur toile "Portrait d'une dame à la fraise" ou "Portrait présumé de Marguerite d'Autriche" (?). D'après Gaspard de Crayer. Epoque: XIXème. Dim.:80,5x65cm.
Vanderkindere
May. 06, 2019
ANTWERPSE SCHOOL / ECOLE ANVERSOISE midden/milieu XVII
Est: €2,500 - €3,500
ANTWERPSE SCHOOL / ECOLE ANVERSOISE midden/milieu XVII Heilige Drievuldigheid. Paneel. Oude toeschrijving aan Gaspar de Crayer (1584-1669). De compositie gaat deels terug op een origineel van P.P. Rubens, Schlossmuseum weimar, Inv.Nr. G88. 62.5 x 48.5 French Translation ANTWERPSE SCHOOL / ECOLE ANVERSOISE midden/milieu XVII Sainte Trinité. Panneau. Jadis attribué à Gaspar de Crayer (1584-1669). La composition remonte partiellement à une oeuvre de Rubens gravée par Lucas Vosterman II (Schlossmuseum weimar, Inv.Nr. G88). 62.5 x 48.5 English Translation ANTWERPSE SCHOOL / ECOLE ANVERSOISE midden/milieu XVII ANTWERP SCHOOL mid XVII Holy Trinity. Panel. Formerly attributed to Gaspar de Crayer (1584-1669). The composition is partly based on a painting by P.P. Rubens in the Schlossmuseum in Weimar, inv. nr. G88. 62.5 x 48.5
Bernaerts Auctioneers
May. 06, 2019
*ANTOON VAN DYCK (1599-1641) (kopie naar)
Est: €4,000 - €6,000
*ANTOON VAN DYCK (1599-1641) (kopie naar) laat/fin XVII/vroeg/début XVIII Het mystiek huwelijk van de heilige Catharina. Doek. Restauraties. Mogelijk dient de kunstenaar gezocht te worden in de omgeving van Gaspar de Crayer (1584-1669). Het origineel bevindt zich in de collectie van H.M. Queen Elizabeth (doek, circa 1630, 126.2 x 119.5, Royal Collection Trust, Londen, inv. nr. RCUB 405332). Met begeleidend schrijven van H.Vlieghe, 31.3.1987, waarin hij het werk omschrijft als een 'goede kopie, mogelijk atelierwerk' en van Carl de Pauw, als 'getrouwe kopie, heel wellicht uit de tijd'. 128 x 117 French Translation *ANTOON VAN DYCK (1599-1641) (copie d'après) Le mariage mystique de sainte Catherine. Toile. Restaurations. L'oeuvre originale se trouve dans la collection de la reine Elisabeth (toile, circa 1630, 126.2 x 119.5; Royal Collection Trust, Londres, nr. RCUB 405332). Il faut probablement situer l'artiste dans l'entourage de Gaspar de Crayer (1584-1669). On joint une lettre de H. Vlieghe datant de 31.3.1987 décrivant l'oeuvre comme 'une bonne copie, probablement travail de l'atelier' et une lettre de Carl de Pauw comme 'copie fidèle, très probablement de l'époque'. 128 x 117 English Translation *ANTOON VAN DYCK (1599-1641) (copie of) The mystical marriage of Saint Catherine. Canvas. Restorations. The artist can probably be found in the circle of Gaspar de Crayer (1584-1669). The original is being held in the collection of the H.M. Queen Elisabeth (canvas, circa 1630, 126.2 x 119.5, Royal Collection Trust, Londen, inv. nr. RCUB 405332). With letter from H. Vlieghe, 31.3.1987, describing the painting as a 'good copy, probably workshop' and from Carl de Pauw as a 'faithful copy, very likely from the period'. 128 x 117
Bernaerts Auctioneers
Mar. 21, 2019
Gaspar. DE CRAYER (Anvers 1587 - Gand 1669)
Est: €6,000 - €8,000
La Sainte Trinité Huile sur panneau. Accidents, à restaurer. Il s’agit, ici, d’une version sur panneau d’un tableau de Gaspar de CRAYER conservé au château de Pommersfelden en Bavière (repris dans VLIEGHE H., « Gaspar de Crayer. Sa vie et ses œuvres », Bruxelles 1972, no. A16, fig. 19). Selon Hans Vlieghe, ces deux tableaux sont indubitablement de la main de l’artiste et ce tableau serait datable de 1620 (ou légèrement plus tardif). Dim : 143 x 110 cm Expert : Hans VLIEGHE Bibliographie : VLIEGHE H., « Gaspar de Crayer. Sa vie et ses œuvres », Bruxelles 1972, no. A16, fig. 19
Hotel des Ventes Mosan