Govaert Flinck Paintings & Artwork for Sale | Govaert Flinck Art Value Price Guide

Jun. 30, 2026
GOVERT FLINCK (KLEVE 1615-1660 AMSTERDAM). Head of a bearded man. oil on pa
Est: £150,000 - £250,000
GOVERT FLINCK (KLEVE 1615-1660 AMSTERDAM). Head of a bearded man. oil on panel23 3/8 x 19 7/8 in. (59.4 x 50.5 cm.).
Christie's
Jun. 02, 2026
Tronie of a Man, Possibly a Self-Portrait
Est: $80,000 - $120,000
Property from an American Private Collection Govaert Flinck and Workshop Kleve 1615 - 1660 Amsterdam Tronie of a Man, Possibly a Self-Portrait oil on panel panel: 26 ⅜ by 19 ¼ in.; 66.5 by 48.9 cm framed: 37 by 30 in.; 94 by 76.2 cm
Sotheby's
Apr. 12, 2026
After Govaert Flinck, Dutch 1615;1660- Portrait Of An Old Man With Beret And Chain Oil On Canvas. Image Measures 17cm x 13.5cm. With Frame 26.5cm x 23cm. Born In The German Town Of Cleves, Flinck Trained With Rembrand...
Est: -
After Govaert Flinck, Dutch 1615;1660- Portrait Of An Old Man With Beret And Chain Oil On Canvas. Image Measures 17cm x 13.5cm. With Frame 26.5cm x 23cm. Born In The German Town Of Cleves, Flinck Trained With Rembrandt In Amsterdam In The Mid 1630s. Like Rembrandt, He Painted Tronies, The Faces That Express A Certain Type Or Character, Often In Fancy Or Oriental Costume As In The Present Work.These Were Not Commissions And The Identities Of The Sitters Are Irrelevant.Here, The Artist Is Demonstrating Their Skill In Rendering The Hair, Skin, And Captivating Gaze Of The Old Man.
Pottle Auctions
Mar. 10, 2026
After Govaert Flinck, Dutch 1615-1660- An Arcadian landsc
Est: £200 - £300
After Govaert Flinck, Dutch 1615-1660- An Arcadian landscape with an elegant shepherdess listening to a shepherd playing the recorder; oil on canvas, 51 x 61.4 cm. Provenance: Private Collection, UK. Note: The present composition is a copy, executed in reverse, of Flinck's original painting, which is housed in the Leiden Collection [GF-101].
Roseberys
Feb. 17, 2026
FLINCK GOVAERT (1615 - 1660) - After.. Head of an old man with beard and hat
Est: €1,000 - €2,000
FLINCK GOVAERT (1615 - 1660). After.. Head of an old man with beard and hat. Provenance: Private Collection, Milan.. 37 x 44 cm.
Capitolium Art
Feb. 11, 2026
J.W. Von Molke. Govaert Flinck 1615-1660.
Est: €70 - €140
Amsterdam, Menno Hertzberger & Co, 1965. Illustrated with 70 full-page images. Linen-bound. 233 pages + 70 pages of plates. Standard work. and Hans -Ulrich Beck. Jan Van Goyen 1596-1656. Ein oeuvreverzeichnis. Deel Amsterdam, Van gendt & Co, 1972. With hundreds of images of his work. Linen bound with dust jacket. 354pages Standard work. (Total 2)
Hessink's
Dec. 07, 2025
Govaert Flinck
Est: €900 - €1,800
(1615 Kleve - 1660 Amsterdam) Nachfolger "Old Man leaning on a Balustrade". Originaltitel Feinmalerische, qualitätvolle Kopie des 1651 geschaffenen, bekannten Gemäldes von Govaert Flinck, das sich heute im Kunsthistorischen Museum in Wien befindet (Inv.-Nr. Gemäldegalerie, 380). Öl/Lwd.; 66 cm x 57,5 cm. Rahmen. After Govaert Flinck (1615 - 1660). Oil on canvas.
Kunstauktionshaus Schloss Ahlden
Dec. 04, 2025
Govert Flinck, Tronie of a Boy
Est: €140,000 - €180,000
Signed and dated lower right: G. Flinck 1641 This tronie by Govert Flinck, signed and dated 1641, was previously known only through a black-and-white photograph; now, as the painting reappears at auction for the first time in more than a century, the quality of its execution can once again be admired in the original. The work depicts a boy who looks at the viewer with lively eyes. He is shown almost en face, illuminated by a bright light that falls on the left side of his youthful face, while the right side remains in shadow. Despite his young age, he presents himself in elegant attire and a perfectly composed pose. His red beret, adorned with a white feather, harmonizes in colour with his jacket, over which he wears a black cloak. A gold chain, an open collar, and gloves complete his refined appearance. The face is modelled with delicate brushstrokes; the chiaroscuro is subtle, the soft rosy tone of the cheeks gently applied, while the jacket and gold chain are rendered with bold, rapid brushstrokes. In the same year, Govert Flinck created another tronie comparable in both style and figure type, now in the collection of the Counts of Schönborn in Pommersfelden (Van der Molen, op. cit., p. 279, no. 91). Van der Molen also associates the present painting with Jacob Backer’s Portrait of a Boy in the Koninklijk Museum voor Schone Kunsten, Antwerp (inv. no. 657). Thus, this tronie likewise reflects Govert Flinck’s close friendship with Jacob Backer. According to Van der Molen, the painting demonstrates Flinck’s tendency to abandon the impasto technique (the “rough manner”), he had learned from Rembrandt, in favour of a smoother, more polished style. Hirschfelder, on the other hand, in her fundamental study on tronies, has taken the handling of the paint in this work as evidence that it is in fact a portrait rather than a tronie (Hirschfelder, op. cit., p. 284). This raises the fundamental question of whether a clear distinction between tronies and portraits can truly be made, an issue complicated by the likelihood that artists at times deliberately blurred or shifted the boundaries between the two genres. As a result, several works (not only by Flinck) have alternately been interpreted as tronies or as portraits — for example, Govert Flinck’s Cologne Tronie/Self-Portrait, c. 1640 (fig. 1). As for the present work, recently rediscovered in a German private collection — whether one chooses to call it a tronie or a portrait — the quality of its painting is beyond question. Fig. 1: Govert Flinck, Tronie of a Man (Self-Portrait?), Cologne, c. 1640, Wallraf-Richartz-Museum, on long-term loan from a private collection.
Lempertz
Dec. 04, 2025
Govert Flinck, Tronie of a Young Man with a Beret, in Profile Facing Right
Est: €140,000 - €180,000
The young man gazes melancholically into the distance; he wears a beret and a breastplate. His dark brown curly hair frames his face, strikingly long and falling down to his back. The painting appears to be executed spontaneously, yet upon closer inspection, it reveals a masterful technique: how the melancholy mood in the man’s face is captured with just a few brushstrokes; how the reflection on the breastplate alone defines the upper body; how, despite the restrained use of colour—the red of the beret, the blue of the jacket—the materiality of the fabrics is conveyed and the picture animated; all this testifies to great painterly virtuosity. Tom van der Molen has identified the work, previously attributed to a follower of Rembrandt, as a tronie by Govert Flinck and included it in the recently published catalogue raisonné of Flinck’s paintings (Van der Molen, op. cit., p. 278, no. 90). Tronies were depictions of heads and half-length figures, often in fanciful costumes, painted spontaneously, quickly, and sketchily. They originated in Flemish workshop practice and were adopted by Dutch artists in the first half of the seventeenth century. Initially conceived as studies of figures and character types for larger compositions, they soon developed into an independent and highly successful genre on the art market. Rembrandt and Jan Lievens, in particular, produced numerous tronies, and Govert Flinck was among Rembrandt’s pupils who were profoundly influenced by them. The young man with the beret and breastplate follows the characteristic type already found in Rembrandt’s work. Van der Molen dates the present painting to around 1640 and connects it with a tronie by Jacob Backer, painted shortly before (fig. 1; Bayerische Staatsgemäldesammlungen, Alte Pinakothek, inv. no. 129). Flinck and Backer were close friends. Flinck met Backer in Leeuwarden, when, at the age of fourteen, he entered the workshop of the painter Lambert Jacobsz where the six years older Backer was also trained. The two friends met again later in Amsterdam, where Backer became a sought-after painter of histories, portraits, and tronies, and where Flinck, after completing his training with Rembrandt, likewise embarked on an impressive artistic career. Thus, this tronie stands as a testament to Govert Flinck’s relationship with the two artists who were likely the most important to him in Amsterdam: his master Rembrandt and his friend Jacob Backer. Abb. 1/Fig. 1: Jacob Backer, Brustbild eines Mannes, um 1638/39 / A Man in Profile, c. 1638/39 © Bayerische Staatsgemäldesammlungen, Alte Pinakothek.
Lempertz
Dec. 04, 2025
Landscape with a Tower
Est: £15,000 - £20,000
Bibliotheca Brookeriana: Property from the Collection of T. Kimball Brooker Govaert Flinck Kleve 1615–1660 Amsterdam Landscape with a ruined tower oil on oak panel unframed: 40.6 x 57.2 cm.; 16 x 22½ in. framed: 57.2 x 73 cm.; 22½ x 28¾ in.
Sotheby's
Nov. 22, 2025
Govert Flinck, Tronie of a Boy / 50 Lots – My Choice | Jubilee Auction Henrik Hanstein, 4.12.2025
Est: €140,000 - €180,000
Signed and dated lower right: G. Flinck 1641 Please note: This lot will be auctioned in the sale "50 Lots - My Choice | Jubilee Auction Henrik Hanstein” on 4th December 2025, 6 pm. This tronie by Govert Flinck, signed and dated 1641, was previously known only through a black-and-white photograph; now, as the painting reappears at auction for the first time in more than a century, the quality of its execution can once again be admired from the original. The work depicts a boy who looks at the viewer with lively eyes. He is shown almost en face, illuminated by a bright light that falls on the left side of his youthful face, while the right side remains in shadow. Despite his young age, he presents himself in elegant attire and a perfectly composed pose. His red beret, adorned with a white feather, harmonizes in colour with his jacket, over which he wears a black cloak. A gold chain, an open collar, and gloves complete his refined appearance. The face is modeled with delicate brushstrokes; the chiaroscuro is subtle, the soft rosy tone of the cheeks gently applied, while the jacket and gold chain are rendered with bold, rapid strokes. In the same year, Govert Flinck created another tronie comparable in both style and figure type, now in the collection of the Counts of Schönborn in Pommersfelden (Van der Molen, op. cit., p. 279, no. 91). Van der Molen also associates the present painting with Jacob Backer’s Portrait of a Boy in the Koninklijk Museum voor Schone Kunsten, Antwerp (inv. no. 657). Thus, this tronie likewise reflects Govert Flinck’s close friendship with Jacob Backer. According to Van der Molen, the painting demonstrates Flinck’s tendency to abandon the impasto technique (the “rough manner”) he had learned from Rembrandt, in favour of a smoother, more polished style. Hirschfelder, on the other hand, in her fundamental study on tronies, has taken the handling of the paint in this work as evidence that it is in fact a portrait rather than a tronie (Hirschfelder, op. cit., p. 284). This raises the fundamental question of whether a clear distinction between tronies and portraits can truly be made—an issue complicated by the likelihood that artists at times deliberately blurred or shifted the boundaries between the two genres. As a result, several works (not only by Flinck) have alternately been interpreted as tronies or as portraits—for example, Govert Flinck’s Cologne Tronie/Self-Portrait, c. 1640 (fig. 1). As for the present work, recently rediscovered in a German private collection — whether one chooses to call it a tronie or a portrait — the quality of its painting is beyond question. Fig. 1: Govert Flinck, Tronie of a Man (Self-Portrait?), Cologne, c. 1640, Wallraf-Richartz-Museum, on long-term loan from a private collection.
Lempertz
Nov. 22, 2025
Govert Flinck, Tronie of a Young Man with a Beret, in Profile Facing Right / 50 Lots – My Choice | Jubilee Auction Henrik Hanstein, 4.12.2025
Est: €140,000 - €180,000
Please note: This lot will be auctioned in the sale "50 Lots - My Choice | Jubilee Auction Henrik Hanstein” on 4th December 2025, 6 pm. The young man gazes melancholically into the distance; he wears a beret and a breastplate. His dark brown curly hair frames his face, strikingly long and falling down to his back. The painting appears to be executed spontaneously, yet upon closer inspection it reveals a masterful technique: how the melancholy mood in the man’s face is captured with just a few brushstrokes; how the reflection on the breastplate alone defines the upper body; how, despite the restrained use of colour—the red of the beret, the blue of the jacket—the materiality of the fabrics is conveyed and the picture animated; all this testifies to great painterly virtuosity. Tom van der Molen has identified the work, previously attributed to a follower of Rembrandt, as a tronie by Govert Flinck and included it in the recently published catalogue raisonné of Flinck’s paintings (Van der Molen, op. cit., p. 278, no. 90). Tronies were depictions of heads and half-length figures, often in fanciful costumes, painted spontaneously, quickly, and sketchily. They originated in Flemish workshop practice and were adopted by Dutch artists in the first half of the seventeenth century. Initially conceived as studies of figures and character types for larger compositions, they soon developed into an independent and highly successful genre on the art market. Rembrandt and Jan Lievens in particular produced numerous tronies, and Govert Flinck was among Rembrandt’s pupils who were profoundly influenced by them. The young man with the beret and breastplate follows the characteristic type already found in Rembrandt’s work. Van der Molen dates the present painting to around 1640 and connects it with a tronie by Jacob Backer, painted shortly before (fig. 1; Bayerische Staatsgemäldesammlungen, Alte Pinakothek, inv. no. 129). Flinck and Backer were close friends. Flinck met Backer in Leeuwarden, when, at the age of fourteen, he entered the workshop of the painter Lambert Jacobsz, where the six-years-older Backer was also trained. The two friends met again later in Amsterdam, where Backer became a sought-after painter of histories, portraits, and tronies, and where Flinck, after completing his training with Rembrandt, likewise embarked on an impressive artistic career. Thus, this tronie stands as a testament to Govert Flinck’s relationship with the two artists who were likely the most important to him in Amsterdam: his master Rembrandt and his friend Jacob Backer. Fig. 1: Jacob Backer, Bust of a Man, c. 1638/39, Bayerische Staatsgemäldesammlungen, Alte Pinakothek.
Lempertz
Nov. 18, 2025
PORTRAITS -- "GOVAERT FLINCK Celebris apud Amstelaedamenses Pictor". (c. 1660?). Fine mezzotint portr
Est: €80 - €100
PORTRAITS -- "GOVAERT FLINCK Celebris apud Amstelaedamenses Pictor". (c. 1660?). Fine mezzotint portr. by W. Vaillant after G.P. v. Zyl. 180 x 232 mm. Rare. Muller 1667. -- "THOMAS PERCY S.T.P. Decanus Carliolensis". 1778. Mezzotint portr. by W. Dickinson after J. Reynolds. 377 x 277 mm. (Right upper corner faintly stained). -- "ADOLPH WERNER BARON VAN PALLANDT, Heer van Zuitheim". (Between 1780 and 1810). Mezzotint portr. by (Luigi) Schiavonetti after A. de Lelie. 491 x 380 mm. (Lower margin trimmed w. some loss of text, smaller defects). -- (PIETER VLAMING). 1734. Mezzotint portr. by C. Troost. 168 x 152 mm. -- And 6 o. mezzotints, incl. 1 duplicate. (10).
Burgersdijk & Niermans
Sep. 17, 2025
Govert Flinck (Netherlands 1615-1660), Diana
Est: R300,000 - R500,000
oil on canvas
Aspire Art
Sep. 13, 2025
GOVERT (AUCH GOVAERT) FLINCK (ODER WERKSTATT) | PORTRAIT EINER VORNEHMEN JUNGEN DAME, WEINTRAUBEN IN
Est: €1,200 - €2,400
GOVERT (ALSO GOVAERT) FLINCK OR WORKSHOP 25 January 1615 Kleve - 2 February 1660 Amsterdam PORTRAIT OF A DISTINGUISHED YOUNG LADY HOLDING GRAPES IN HER RIGHT HAND Oil on oak panel (cradled). 54 x 43.5 cm (F. 76 x 64 cm) (high oval). Verso: Inscription on the reverse: ''Govert Flinck - Eléve de Rembrandt - ne en 1615 - mort en 1660''. Minor old rest., slight old retouching. Probably original hand-carved frame from the 17th/18th century. The physiognomy of the ''Young Lady with Grapes'' offered here appears to be identical to that in Govert Flinck's painting ''Portrait of a Lady'', which is kept at the Museum of Art in Raleigh, North Carolina. See also: Moltke, J.W. von: Govaert Flinck 1615-1660, Amsterdam 1965, p. 160, no. 449 (ill. plate 51). Provenance: Private collection, Rhineland. Previously: Private collection, South Germany.GOVERT (AUCH GOVAERT) FLINCK (ODER WERKSTATT) 25. Januar 1615 Kleve - 2. Februar 1660 Amsterdam PORTRAIT EINER VORNEHMEN JUNGEN DAME, WEINTRAUBEN IN IHRER RECHTEN HAND HALTEND Öl auf Eichenholztafel (parkettiert). 54 x 43,5 cm (R. 76 x 64 cm) (hochoval). Verso: Auf der Parkettierung bezeichnet: 'Govert Flinck - Eléve de Rembrandt - ne en 1615 - mort en 1660'. Part. min. altrest., leichte Altretuschen. Wahrscheinlich originaler handgeschnitzter Rahmen des 17./18. Jh.. Die Physiognomie der hier angebotenen 'Jungen Dame mit Weintrauben' scheint identisch mit der aus Govert Flincks Gemälde 'Portrait of a Lady', das vom Museum of Art in Raleigh, North Carolina aufbewahrt wird. Vgl. hierzu: Moltke, J.W. von: Govaert Flinck 1615-1660, Amsterdam 1965, S. 160, Nr. 449 (Abb. Tafel 51). Provenienz: Rheinische Privatsammlung. Zuvor: Süddeutsche Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
May. 21, 2025
Govert Flinck (1615-1660)
Est: €10,000 - €15,000
Portrait of a nobleman, signed and dated 'G. Flinck. f 1646' (upper right); annotated 'A 56' (upper left), oil on canvas, 72,5x58,5 cm, Literature:-Werner Sumowski, ‘Gemälde der Rembrandt-Schüler', Landau 1983-1994, Vol. VI, p. 3569.Provenance:-Auction, Bruun Rasmussen, Copenhagen, 19 November 1974, lot 21, where dated 1641.-Auction, Göteborgs Auktionsverk, Göteborg, February 1975 (according to an inscription at the RKD).-Private Collection, the Netherlands, After inspection of the original, Tom van der Molen has confirmed he believes the present painting to be by Govert Flinck. He will include it in the forthcoming new catalogue raisonné of the artist’s painted oeuvre to appear in 2025. We would like to thank him for his help in cataloguing this lot.Accompanied by a copy of a certificate of authenticity by Dr J.W. von Moltke stating that the painting is by Govert Flinck, Bielefeld, 1976.
Venduehuis der Notarissen
Mar. 28, 2025
Govaert Flinck, 1615 - 1660
Est: €1,000 - €2,000
Govaert Flinck 1615 - 1660 Attributed Portrait of a man Oil on wooden panel 20.5 x 15.5 cm This impressive portrait is attributed to Govaert Flinck (1615–1660), one of Rembrandt's most talented students. Flinck began his artistic career in Leeuwarden before joining Rembrandt's studio in Amsterdam and learning his dramatic chiaroscuro and expressive figure painting. While Rembrandt still cultivated a personal, often rough painting style in the mid-17th century, Flinck soon developed a more elegant, smoother style that made him one of the most sought-after portraitists of his time. This portrait of a man, which was probably painted in Rembrandt's circle, clearly bears his stylistic influences. The composition is that of a classical three-quarter portrait: the man is turned towards the viewer, but his body is slightly to the side, creating a subtle dynamic. His long, flowing auburn hair frames the face, while a lopsided black cap gives him a rakish, almost pensive look. Dressed in a simple brown jacket, the figure radiates a natural dignity. The depiction of the face is particularly fascinating: the shades of flesh tone, finely worked in shades of pink and blue, convey a lifelike skin texture, while delicate lines around the eyes and forehead hint at the man's advanced age. His prominent nose, determined mouth and, above all, his expressive almond-shaped eyes, framed by strong eyebrows, give him a penetrating presence. Flinck's portraits capture not only physical resemblance, but also an inner depth of character – a legacy of the Rembrandt school. The restrained color palette, the masterful play of light and shadow, and the expressive modeling of the face underscore the high artistic standards of this painting. Overall, the portrait conveys an aura of dignity and strength of character that is typical of Dutch Golden Age portraiture.
Tiberius Auctions
Mar. 22, 2025
GOVERT FLINCK (1615-1660) AFTER - "PORTRAIT OF SAR
Est: €600 - €1,000
Govert FLINCK (1615-1660) after - "Portrait of Sara van Baerle" Painting on porcelain. Goldfield ref: GFAD1487 Weight: 3200gr Measures: H 290MM X W235MM //H 490MM X W 440MM (WITH FRAME) Condition: Normal wear Weight: 3.20 kg Dimensions: H 290MM X L235MM //H 490MM X L 440MM (WITH FRAME)
Goldfield Auction
Nov. 12, 2024
Govert Flinck (1615-1660)
Est: €40,000 - €60,000
Tronie of a bearded old man looking down, his hands leaning on a stick, oil on canvas, 78x63 cm, Exhibited:-The Hague, Hoogsteder & Hoogsteder Gallery, ‘Rembrandt’s Academy', 4 February-2 May 1992, no. 15.Literature:-H. Schneider, ‘Jan Lievens: sein Leben und seine Werke', Haarlem 1932, p. 175, cat. no. XXIX, as: ‘Salomon Koninck'.-Paul Huys Janssen and Werner Sumowski, ‘The Hoogsteder Exhibition of Rembrandt’s Academy', The Hague 1992, p. 50, pp. 156 and 157, cat. no. 15, with ill. -Werner Sumowski, ‘Gemälde der Rembrandt-Schüler', Corrigenda und Addenda, Landau 1994, Vol. VI, p. 3709, no. 2283, ill. p. 3873, as: excellent work dating from the early 1650s.Provenance:-Collection Otto Held, Berlin; His Auction, Paul Cassirer, Berlin, 5 December 1929, lot 25, as: 'Salomon Koninck' (unsold). -Auction, Rudolph Lepke, Berlin, 28 March 1935, lot 13, as: ‘Salomon Koninck’. -In the collection of the family of the present owner since at least the 1950s, After inspection of the original, Tom van der Molen has confirmed he believes the present painting to be by Govert Flinck. He will include it in the forthcoming new catalogue raisonné of the artist’s painted oeuvre to appear in 2025. We like to thank him for his help in cataloguing this lot.
Venduehuis Auctioneers The Hague
Nov. 12, 2024
Govert Flinck (1615-1660)
Est: €20,000 - €30,000
Portrait of a nobleman , signed and dated 'G. Flinck. f 1646' (upper right); annotated 'A 56' (upper left), oil on canvas, 72,5x58,5 cm, Literature:-Werner Sumowski, ‘Gemälde der Rembrandt-Schüler', Landau 1983-1994, Vol. VI, p. 3569.Provenance:-Auction, Bruun Rasmussen, Copenhagen, 19 November 1974, lot 21, where dated 1641.-Auction, Göteborgs Auktionsverk, Göteborg, February 1975 (according to an inscription at the RKD-The Hague).-Private Collection, the NetherlandsWith a copy of a certificate of authenticity by Dr J.W. von Moltke stating that the painting is by Govert Flinck, Bielefeld, 1976, After inspection of the original, Tom van der Molen has confirmed he believes the present painting to be by Govert Flinck. He will include it in the forthcoming new catalogue raisonné of the artist’s painted oeuvre to appear in 2025. We like to thank him for his help in cataloguing this lot.
Venduehuis Auctioneers The Hague
Oct. 14, 2024
Portrait of a Man in Helmet, attributed to Govaert Flinck (1615-1660)
Est: $500 - $10,000
Attributed to Govaert Flinck (1615-1660). Oil on wood panel. Purchased 27 Jan 2017 at Sotheby's for a $7,500 hammer price. Inscribed center left: "Rembrandt." Old split or crack down the middle, crazing. Framed size: 29" x 36.5". Sight size: 18" x 24.5". Notes from the Sotheby's sale: "Oil on panel. A repaired vertical panel crack is visible running top to bottom. There are some minor, discolored retouches visible in the subject's proper right cheek and nose. Under UV light, the varnish fluoresces green and obscures the majority of the picture surface. There are minor retouches visible above and below the feather, as well as in the subject's helmet. Additional feathered retouching and strengthening in the subjects nose, cheeks, and chin, as well as in his hair at both left and right. Some strengthening to the subject's costume. Overall, the picture presents well and could be hung in its current condition. In a black wood frame with gold detail." Part two of a single-owner Lancaster, Ohio collection. We sold the first part of this collection last July. All sales final. Invoices above $2500 must be paid with cash, cashier's check or wire transfer. In-house shipping is available. Pickup is Tuesday, Oct. 15 from 1 pm to 3 pm in Carroll, OH or by appointment by Nov. 1. We can provide in-house shipping for this item. We pack once the lot is paid for. Once packed up we will send you an invoice for shipping and handling. Shipping questions: shipping@burnsbid.com Sales tax will be collected on all bidders. If tax exempt, make sure your certification is submitted with the bid platform.
Burns Auction & Appraisal, LLC.
Sep. 14, 2024
GOVAERT FLINCK (NACHFOLGER) ALTER MANN LEHNEND AUF EINER BA
Est: €420 - €840
GOVAERT FLINCK (FOLLOWER) 1615 Cleves - 1660 Amsterdam OLD MAN LEANING ON A BALUSTRADE Oil on canvas (relined). 95.5 x 78 cm (F. 115 x 98.5 cm). Part. min. rest., part. old retouching. Frame. Provenance: Rhenish private collection. GOVAERT FLINCK (NACHFOLGER) 1615 Kleve - 1660 Amsterdam ALTER MANN LEHNEND AUF EINER BALUSTRADE Öl auf Leinwand (doubl.). 95,5 x 78 cm (R. 115 x 98,5 cm). Part. min. rest., part. Altretuschen. Rahmen. Provenienz: Rheinische Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Sep. 14, 2024
GOVERT (AUCH GOVAERT) FLINCK (WAHRSCHEINLICH WERKSTATT ODER
Est: €1,000 - €2,000
PROBABLY WORKSHOP OR SCHOOL OF GOVERT (ALSO GOVAERT) FLINCK 25 January 1615 Cleves - 2 February 1660 Amsterdam YOUNG MAID AT THE GATE Oil on canvas (old relined). 46 x 32.5 cm (F. 58.5 x 47 cm). Verso: Attribution to Govert Flinck on canvas. Part. min. old rest., slightly old retouching. Frame. Provenance: Rhenish private collection. GOVERT (AUCH GOVAERT) FLINCK (WAHRSCHEINLICH WERKSTATT ODER SCHULE) 25. Januar 1615 Kleve - 2. Februar 1660 Amsterdam JUNGE MAGD AM TOR Öl auf Leinwand (altdoubl.). 46 x 32,5 cm (R. 58,5 x 47 cm). Verso: Rückseitig auf Leinwand Zuweisung an Govert Flinck. Part. min. altrest., leicht Altretuschen. Rahmen. Provenienz: Rheinische Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Jul. 03, 2024
The Vision of St Jerome
Est: £10,000 - £15,000
Govert Flinck (Kleve 1615 - 1660 Amsterdam) The Vision of St. Jerome Pen and brown ink 153 by 179 mm
Sotheby's
Apr. 19, 2024
Heindrick Gerritsz Pot (Dutch, 1585-1657) Oil on Wood Panel, Ca. 1611-1630, "Man with a Flute And Red Velvet Hat", H 12.25" W 10"
Est: $3,000 - $5,000
1/2 length portrait of a gentleman holding a flute in his right hand. Signed in the artist's monogram HP lower right. Period frame. For at least a century, this work was attributed to Govert Teuniszoon Flinck (Dutch, 1615-1660) due to its attribution as such on the period frame. However, upon removal of the painting's original varnish, the HP monogram of Heindrick Pot was then visible in the lower right. Provenance: From the Estate of Prominent Collector, Leon Zielinski, Macomb County, MI. Purchased DuMouchelles, 6-23-1991, lot #2059. Collection of Robert Gray Kales (1904-1992), Grosse Pointe Farms, MI. Captain Kales was a graduate of MIT and Harvard University. He served as a pilot in WWII and is best known as a Detroit, MI based philanthropist, industrialist and President of Kales Kramer Investment .
DuMouchelles
Apr. 11, 2024
PICTURE PLATE, KPM BERLIN, MARK B
Est: -
Picture plate, KPM Berlin, mark before 1945, smooth plate, mirrored portrait of the Great Elector after the painting by Govert Flinck (1615-1660), verso inscribed, rim with rich gold decoration, partly heightened, Ø 26.5 cm
Historia Auctionata
Feb. 11, 2024
ANTIQUE OIL PAINTING AFTER GOVERT FLINCK
Est: $400 - $600
Antique 19th century oil on canvas painting based on "Portrait of a Young Girl as a Shepherdess" by Govert Flinck (1615-1660). No apparent signature. Expected aged condition; old tear and repair at figure's left mid torso and old relining of the canvas with burlap. Canvas 29" x 23.5". Frame 36" x 31"x 2.75".
District Auction
Jan. 31, 2024
Study of a seated robed figure, gesturing
Est: $20,000 - $30,000
Govert Flinck Kleve 1615 - 1660 Amsterdam Study of a seated robed figure, gesturing Oiled charcoal, heightened with white, on blue paper; splashes of brown ink and wash, verso 255 by 208 mm; 10 by 8 ¼ in.
Sotheby's
Dec. 07, 2023
Venus and Cupid
Est: £30,000 - £50,000
Govert Flinck Kleve 1615–1660 Amsterdam Venus and Cupid oil on canvas unframed: 104.4 x 143.8 cm.; 41⅛ x 56⅝ in. framed: 119.6 x 157.9 cm.; 47⅛ x 62⅛ in.
Sotheby's
Nov. 14, 2023
Circle of Govert Flinck (1615-1660)
Est: €4,000 - €6,000
A portrait of a man, half length, in black costume with a white collar, oil on panel, 67,5x56 cm, Provenance:-With Daphne Alazraki Fine Arts, New York, 2003, as: ‘Govert Flinck (1615-1660)', where acquired by the previous owner in 2003, In a letter to Mr MacDonald from Prof. Werner Sumowski in Suttgart, dated the 20th of September 2002, Sumowski confirms the former attribution to Govert Flinck. Sumowski compares the present lot to a portrait dated 1645 in Bonn (see: W. Sumowski, ‘Gemälde der Rembrandtschüler', Landau/Pfalz 1983, Vol. II, no. 700).
Venduehuis der Notarissen
Jul. 05, 2023
Portrait of an old woman
Est: £250,000 - £350,000
The Property of a Gentleman of Title Govert Flinck Kleve 1615–1660 Amsterdam Portrait of an old woman oil on canvas 65.9 x 54.5 cm.; 26 x 21½ in.
Sotheby's
Jul. 05, 2023
Govaert Flinck (Cleves 1615-1660 Amsterdam) Portrait of Jan de Saint Gilles (1609-1664), half-length, in black
Est: £40,000 - £60,000
Govaert Flinck (Cleves 1615-1660 Amsterdam) Portrait of Jan de Saint Gilles (1609-1664), half-length, in black signed and dated 'G.Flinck. f/ 1645' (centre right) oil on canvas 75.1 x 63.2cm (29 9/16 x 24 7/8in).
Bonhams
Jun. 29, 2023
GOVERT FLINCK (Attr.le), Susanna e i vecchioni, Olio su tela
Est: €30,000 - €40,000
GOVERT FLINCK (Attr.le) (Kleve 1615 -Amsterdam 1660) Susanna e i vecchioni Olio su tela Cornice in legno intagliato e dorato ad oro zecchino. cm 128 x 101.
Benedetto Trionfante Auction House s.r.l
Jun. 29, 2023
Govaert Flinck, 1615 Kleve – 1660 Amsterdam
Est: €200,000 - €300,000
BILDNIS EINES HÖFISCHEN HERREN ALS APOLLO Öl auf Leinwand. 92,7 x 74, 6 cm. Um 1658. Gerahmt. In diesem Bildnis hat sich ein junger Herr – höchstwahrscheinlich aus dem flämischen Hochadel – als Apollo darstellen lassen. Die Malerei des 17. Jahrhunderts war die Blütezeit des raffinierten Spieles mit allegorischen Anspielungen. Herrscher und deren Angehörige ließen sich gerne als mythologische Gestalten darstellen. Stets hatte dies auch eine Aussage über Charakteristik und Vorlieben des Porträtierten. Das wurde im vorliegenden Fall sicher als Anspielung auf das besondere Interesse des Porträtierten für Kunst, Literatur, Musik und Theater verstanden. Flinck zeigt ihn im Halbbildnis von der Rückseite, mit entblößter Schulter, über die er dem Betrachter entgegenblickt. In seiner Rechten hält er den Bogen des Apollo, über die Schulter zieht der Riemen des mit rotem Samt bezogenen Pfeilköchers. Das lang herabfließende Lockenhaar weist in die Entstehungszeit der noch üblichen Allongeperückenmode. Der Lorbeerkranz auf dem Haupt lässt auch eine Deutung des Porträts zu, dass es sich um ein Mitglied des Hofes als gefeierten Sänger oder dergleichen handeln könnte. Die Maltechnik präsentiert neben der Porträtkunst auch das Stoffliche in gleicher Weise von höchster Qualität. Das Manteltuch leuchtet als goldfarbene, knittrige Seide auf, wie ebenso das Samtrot des Köchers. Um diese Wirkung zu wahren, hat der Maler den Hintergrund weitgehend ohne zusätzliche Effekte gestaltet, während die dunkle Wolke und die Andeutung einer Baumkrone Gesicht und Lorbeerkranz umso wirkungsvoller zur Geltung bringen. Es ist nicht zu übersehen, dass sich das auffallende Rot des Köchers in subtiler Weise auch in der Lippenrötung, wie in einem Teil des Bogens wiederfindet. Govaert Flinck wurde bereits zeitlebens hochgeachtet. Dass er alss Sohn eines Textilhändlers zunächst in Kleve das Seidengeschäft erlernt hatte, zeigt sich auch in vorliegendem Gemälde überdeutlich. 1629 wurde er von Lambert Jacobsz (1598-1636) in Leeuwarden in der Malerei ausgebildet. Nach Amsterdam zog er erst 1632, erhielt aber dort Malunterricht bei Rembrandt, und arbeitete für Hendrick van Uylenburgh. Dass seine Porträts neben dem Hochbürgertum bereits auch vom königlichen Hof in Auftrag gegeben wurden, beweist seine hohe Reputation. Kurfürst Friedrich Wilhelm von Brandenburg und Prinz Moritz von Nassau und deren Hof ließen sich von ihm porträtieren. Der spätere Einfluss von Anthonis van Dyck ist auch in vorliegendem Werk spürbar. Das Gemälde ist in den Werken über Govaert Flinck von den Autoren Joachim Wolfgang von Moltke (1965) und Werner Sumowski (1983) noch nicht enthalten (s. Lit.). Provenienz: Privatsammlung Genua. Christie´s, London 06.Juli 2018 (Lot 165, dort noch nicht als Govaerts erkannt). Anmerkung: Das Gemälde wird in das in Vorbereitung befindliche Werkverzeichnis von Tom van der Molen aufgenommen. Nach dessen Auskunft wird es in die letzten Schaffensjahre des Malers eingeordnet, also um 1658/59. Ferner werden dort Vergleiche mit weiteren Werken Flincks gezogen, auch was die Landschaft in seinen mythologischen Themen betrifft. Literatur: Tom van der Molen, Von Leeuwarden nach Amsterdam, In: Rembrandt & Saskia. Liebe im goldenen Zeitalter, Fries Museum, Leeuwarden 2018, S. 38-51. Tom van der Molen, Das Leben von Govert Flinck. In: Govert Flinck. Reflecting History. Museum Kurhaus Kleve - Ewald Mataré- Sammlung, Goch 2015, Werner Sumowski (Hrsg.), Gemälde der Rembrandt-Schüler. 6 Bände. Edition PVA, Landau 1983. Joachim Wolfgang Moltke, Govaert Flinck 1615-1660 (= Painters of the past). Menno Hertzberger, Amsterdam 1965. A.R. (1361921) (1) (11) Govaert Flinck, 1615 Cleves – 1660 Amsterdam COURTLY PORTRAIT OF A MAN AS APOLLO Oil on canvas. 92.7 x 74.6 cm. ca. 1658. Provenance: Private collection, Genoa. Christie’s, London 6 July 2018 (lot 165, not identified as Govaerts yet). Notes: The painting will be included in Tom van der Molen’s forthcoming catalogue raisonné. According to him this work was created in the last creative years of the artist, ca. 1658/59.
Hampel Fine Art Auctions
Jun. 29, 2023
Govaert Flinck, 1615 Kleve – 1660 Amsterdam
Est: €150,000 - €200,000
PORTRAIT EINER HÖFISCHEN DAME ALS HEILIGE CÄCILIA, UM 1659 Öl auf Leinwand. 67,9 x 54,1 cm. In diesem Bildnis hat der Maler eine junge Dame – wohl aus dem flämischen Hochadel – mit einer Orgel links im Bild dargestellt. Die Malerei des 17. Jahrhunderts war die Blütezeit raffinierter allegorischer Anspielungen. Herrscher und deren Angehörige ließen sich gerne als mythologische Gestalten darstellen, was auch als eine Aussage über Charakteristik und Vorlieben der Porträtierten zu verstehen ist. Das besondere Interesse der Porträtierten für Musik, möglicherweise ihr musikalisches Können, sollte gezeigt werden. Eine Identifikation als Hl. Cäcilia, die Patronin der Musik, liegt nahe. Es existieren zahlreiche Beispiele, von Rubens wie ebenso von kleineren Meistern wie Adriaen Lommelin usw., die musizierende Damen als Cäcilia thematisieren. Allerdings enthält das vorliegende Bild keinerlei religiöse Attribuierung. Das Porträt wirkt ausgesprochen lebensecht. Der hohe gesellschaftliche Rang der Dame zeigt sich in der Kleidung ebenso wie im Perlschmuck, den sie im Haar, im Ohrgehänge und am Hals trägt. Perlen sind auch ins Kleid eingenäht. Die Orgelpfeifen, oben wie unten durch vergoldete barocke Manschetten gefasst, verweisen zudem auf eine höfische Ausstattung. Die Körperhaltung und der auf den Bildbetrachter gerichtete offene Blick vermittelt den Eindruck, als sei die Orgelspielerin soeben abgelenkt worden. Eine Bildauffassung die den hohen Meister verrät. Govaert Flinck wurde bereits zeitlebens hochgeachtet. 1629 wurde er von Lambert Jacobsz (1598-1636) in Leeuwarden in der Malerei ausgebildet. Später arbeitete er für Hendrick van Uylenburgh. Nach Amsterdam zog er erst 1632, erhielt aber dort Unterricht bei Rembrandt, was sich auch hier in der Malweise, vor allem im textilen Bereich kundtut. Das Gesicht hingegen verrät den Einfluss des Van Dyck. Dass seine Porträts auch vom königlichen Hof in Auftrag gegeben wurden, beweist seine hohe Reputation. Kurfürst Friedrich Wilhelm von Brandenburg und Prinz Moritz von Nassau und deren Hof ließen sich von ihm porträtieren. Danach ist das Gemälde als ein hervorragendes Werk des Meisters zu würdigen, in dem sowohl das Wirken Rembrandts als auch des Van Dyck zum Ausdruck kommt. Provenienz: 1924 London, Kunsthandel Asscher, Koetser und Welker. 1926 London, Kunsthandel Agnews. 1974 London Kunsthandel. Petworth, Burton Park, Coll. Major John Sewill Courtauld; Vererbt an: Coll. Miss Jeanne Courtauld. GB, Privatsammlung, Bonhams, London 8. 7. 2015, Nr. 45. Anmerkung: Das Gemälde wird in das in Vorbereitung befindliche Werkverzeichnis von Tom van der Molen aufgenommen. Nach dessen Auskunft wird es in die letzten Schaffensjahre um 1659 eingeordnet. Anmerkung 2: In den kunsthistorischen Arbeiten der Autoren Joachim Wolfgang von Moltke (1965) und Werner Sumowski (1983). Literatur: Vgl. Tom van der Molen, Von Leeuwarden nach Amsterdam. In: Rembrandt & Saskia. Liebe im goldenen Zeitalter, Fries Museum, Leeuwarden 2018, S. 38-51. Vgl. Tom van der Molen, Das Leben von Govert Flinck. In: Govert Flinck. Reflecting History. Vgl. Museum Kurhaus Kleve – Ewald Mataré – Sammlung, B.O.S.S. – Druck und Medien, Goch 2015. Vgl. Werner Sumowski (Hrsg.): Gemälde der Rembrandt-Schüler. 6 Bände. Edition PVA, Landau 1983. Vgl. Joachim Wolfgang Moltke: Govaert Flinck 1615-1660 (= Painters of the past). Menno Hertzberger, Amsterdam 1965. (1361922) (1) (11) Govaert Flinck, 1615 Cleves – 1660 Amsterdam PORTRAIT OF A COURTLY LADY IN FRONT OF AN ORGAN, CA 1659 Oil on canvas. 67.9 x 54.1 cm. Notes: The painting will be included in the catalogue raisonné of Tom van der Molen, which is currently being prepared. According to his information, it belongs to the last period of creation around 1659.
Hampel Fine Art Auctions
Mar. 22, 2023
GOVERT FLINCK (CLÈVES 1615-1660 AMSTERDAM) Hommes jouant aux cartes autour
Est: €12,000 - €16,000
GOVERT FLINCK (CLÈVES 1615-1660 AMSTERDAM) Hommes jouant aux cartes autour d'une table dans un intérieur plume et encre brune, double trait d'encadrement à la plume et encre brune 11,1 x 14,2 cm (4 1/3 x 5 9/16 in.)
Christie's
Nov. 26, 2022
A LOT OF TWO ANTIQUE RELIGIOUS EMBROIDERY ITEMS
Est: $100 - $150
A lot of two antique 19th century religious art embroidery items including a work after the original 1638 painting titled Isaac Blessing Jacob by Govert Flinck (1615–1660) with a mounted on back short hand written inscription dated 1848, and an embroidered cross. Both framed. The present lot on auction forms part of the Kuranda's family estate. The provenance of items can be tracked back to Felix Kuranda in 19th century Austrian Empire, member of a well known family of bankers and politicians, directly related to the Karpeles, Wittelshofer, Milne and Lederer families. The most chronological recent lots are former belongings from USA veteran Major Thom Stellinger-Scott related through marriage with the Kuranda lineage. He was a veteran of Korean War as well as a reputed amateur photographer and artist. The Stellinger-Scott family resided for decades at Montauk Long Island NY.
Antique Arena Inc
Sep. 22, 2022
Govaert Flinck, 1615 – 1660, zugeschrieben
Est: €12,000 - €15,000
Junge auf einem Pony reitend Öl auf Leinwand. Doubliert. 75 x 59 cm. Vor beige-braunem Hintergrund ein Junge in edlem weiß-grauem Gewand und rot-braunem Mantel, dazu eine rote Kappe mit Federn tragend, auf einem Pony mit Augenklappe nach links reitend. Mit seiner linken Hand hält er fest die Zügel, während er seine rechte Hand mit einer kleinen Peitsche zum Antrieb des Tieres erhoben hat. Er hat ein rundliches Gesicht, rötliche Haare und rot leuchtende Pausbacken, mit seinen leuchtenden blauen Augen schaut er auf den Betrachter aus dem Bild heraus. Die Art der Darstellung erinnert an repräsentative Herrscherbildnisse zu Pferde. Malerei in zurückhaltender Farbgebung mit gekonnt gesetzten Hell-Dunkel-Partien. (1331105) (18) Govaert Flinck, 1615 – 1660, attributed BOY RIDING A PONY Oil on canvas. Relined. 75 x 59 cm.
Hampel Fine Art Auctions
Sep. 16, 2022
Follower of Govert Flinck
Est: $800 - $1,200
(Dutch, 1615-1660) Head of an Old Man, unsigned, oil on canvas, 14-3/8 x 11-1/8 in.; gilt wood frame, 18-1/4 x 15-1/4 in. Note: A frame plate attribution is given as Govert Flinck (Dutch, 1615-1660). Provenance: Presumed Chesrow-Cesario Collection, Chicago, Illinois (frame label 42-3-sm); Andres Vandam, circa 1990; Private South Carolina Collection
Brunk Auctions
Jul. 23, 2022
Goavert Flinck (1615 –1660) – attributed, Portrait of a Boy on a Rocking Horse
Est: €15,000 - €20,000
A blond boy sits on a rocking horse, holds the reins with his left hand and raises his right hand with the whip while playing. He looks at the viewer with a childishly serious look. He wears fancy clothes, popularized in Holland by Rembrandt's Tronies. Over a white shirt, the boy wears a blue-grey dress and some kind of coat with short sleeves. A gold chain hangs across the chest. The tonal colors, the lighting and the painterly conception also refer to the Rembrandt successor.
Fine Antiques Prague s.r.o.
Jun. 16, 2022
ATTRIBUTED TO GOVAERT FLINCK (CLEVES 1615-1660 AMSTERDAM) Head and shoulder
Est: $15,000 - $20,000
ATTRIBUTED TO GOVAERT FLINCK (CLEVES 1615-1660 AMSTERDAM) Head and shoulders of an elderly man oil on panel 9 1/2 x 7 1/2 in. (24 x 19 cm.)
Christie's
Jun. 11, 2022
Goavert Flinck (1615 –1660) – attributed, Portrait of a Boy on a Rocking Horse
Est: €15,000 - €17,000
A blond boy sits on a rocking horse, holds the reins with his left hand and raises his right hand with the whip while playing. He looks at the viewer with a childishly serious look. He wears fancy clothes, popularized in Holland by Rembrandt's Tronies. Over a white shirt, the boy wears a blue-grey dress and some kind of coat with short sleeves. A gold chain hangs across the chest. The tonal colors, the lighting and the painterly conception also refer to the Rembrandt successor.
Fine Antiques Prague s.r.o.
Jun. 03, 2022
Flinck, Govaert: Studie eines sitzenden Kavaliers mit hohem Hut
Est: €6,000 - €7,500
Studie eines sitzenden Kavaliers mit hohem Hut. -- Schwarze Kreide, weiß gehöht, auf blaubräunlichem Papier. 26,9 x 15,8 cm. Verso in schwarzer Kreide alt nummeriert "7". -- -- Werner Sumowski beschreibt unsere lebhafte und beredte Zeichnung als "schönes Beispiel für Flinks Spätstil nach 1650 in der Zweikreidentechnik unter Verwendung von blauem Papier [...] Das Blatt, anonym aufgetaucht und von Tilman Falk für flinckverdächtig gehalten, ist dem Stehenden jungen Mann mit Buch in Basel (S 933x) anzuschließen." (vgl. Werner Sumowski: Drawings of the Rembrandt School, Bd. 4, New York 1981). Mit einer handschriftlichen Expertise im Original von Werner Sumowski vom 20. Mai 1981. -- -- - Provenienz: Privatsammlung Schweiz. -- Jörg Stuker, Bern, Auktion am 20. November 1980, Los 3826 (als "Holländischer Meister, 17. Jahrhundert"). -- Nachlass Tilman Falk, Neusäss. -- -- - Literatur: Werner Sumowski, "Drei Zeichnungen von Govaert Flinck" in: Essays in Northern European Art, presented to E. Haverkamp-Begemann, Groningen 1983, S. 268 f. (Abb). -- -- - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
May. 21, 2022
A LOT OF TWO ANTIQUE RELIGIOUS EMBROIDERY ITEMS
Est: $100 - $150
A lot of two antique 19th century religious art embroidery items including a work after the original 1638 painting titled Isaac Blessing Jacob by Govert Flinck (1615–1660) with a mounted on back short hand written inscription dated 1848, and an embroidered cross. Both framed. The present lot on auction forms part of the Kuranda's family estate. The provenance of items can be tracked back to Felix Kuranda in 19th century Austrian Empire, member of a well known family of bankers and politicians, directly related to the Karpeles, Wittelshofer, Milne and Lederer families. The most chronological recent lots are former belongings from USA veteran Major Thom Stellinger-Scott related through marriage with the Kuranda lineage. He was a veteran of Korean War as well as a reputed amateur photographer and artist. The Stellinger-Scott family resided for decades at Montauk Long Island NY.
Antique Arena Inc
May. 18, 2022
GOVERT FLINCK (CLEVES 1615-1660 AMSTERDAM) Minerve contre-épreuve de pierre
Est: €6,000 - €8,000
GOVERT FLINCK (CLEVES 1615-1660 AMSTERDAM) Minerve contre-épreuve de pierre noire et blanch, craie blanche sur papier bleu 32,5 x 24,3 cm (12 3/4 x 9 5/8 in).
Christie's
May. 05, 2022
Cornelis Ploos van Amstel (1726-1798), after Govaert Flinck (1615-1660): Man at the Parapet
Est: $300 - $500
Chalk manner and roulette in black on laid paper, 1774. 10 x 7 1/4 in. (sheet), 21 1/4 x 19 1/4 in. (frame).
STAIR
Mar. 31, 2022
Niederländischer Maler des 17. Jahrhunderts
Est: €7,000 - €10,000
PORTRAIT EINES JUNGEN SOLDATEN MIT BRUSTPANZER UND MANTELÜBERWURF Öl auf Holz. 36 x 30 cm. Verso alter Aufkleber mit Nummer „47“ und Verweis auf Govaert Flinck (1615-1660) als den Maler dieses Gemäldes sowie zwei Wachssiegel. Das Brustbildnis des jungen Mannes nach rechts vor braunem Hintergrund. Er trägt eine silber glänzende Rüstung, die größtenteils durch einen braunen Mantel verdeckt wird. Um den Hals hat er ein oranges Tuch mit Goldfäden geknotet. In seiner am unteren rechten Bildrand sichtbaren Hand hält er einen glänzenden Schlachthammer. Auf seinem lockigen Haar trägt er ein rotes Samtbarett mit weißer und bläulicher Feder. Er hat den Kopf leicht gewendet und schaut mit seinen roten Lippen, der geröteten Nase und seinen dunklen Augen aufmerksam aus dem Bild auf den Betrachter hinaus. (1300662) (18) Dutch School, 17th century PORTRAIT OF A YOUNG SOLDIER WITH CHESTPLATE AND CLOAK Oil on panel. 36 x 30 cm. Old label numbered “47” on the back and artist‘s name Govaert Flinck (1615-1660) and two wax seals.
Hampel Fine Art Auctions
Mar. 22, 2022
After Govaert Flinck, Dutch 1615-1660- Portrait of an old man with a beret and chain; oil on c
Est: £400 - £600
After Govaert Flinck, Dutch 1615-1660- Portrait of an old man with a beret and chain; oil on copper, 16.7 x 14 cm. Note: A larger painting by Flinck, dated c.1642 and of the same composition, in reverse, is housed in the National Gallery of Ireland [NGI.254]. Known engravings in etching by Georg Friedrich Schmidt (1712-1775) are housed in Staatliche Kunstsammlungen Dresden [no.A 1889-212], National Galleries Scotland [no.P9637], and British Museum, London [no.1838,1215.307]. A later engraving in reverse was made by Lev Evgrafovich Dmitriev-Kavkazskii (1849-1916). Born in the German town of Cleves, Flinck trained with Rembrandt in Amsterdam in the midâ1630s. Like Rembrandt, he painted tronies, the faces that express a certain type or character, often in fancy or oriental costume â as in the present work. These were not commissions and the identities of the sitters are irrelevant. Here, the artist is demonstrating their skill in rendering the hair, skin, and captivating gaze of the old man. The copper sheet sits well in the frame. The paint surface is stable on the support. Minor marks, scuffs and ingrained dirt. Evidence of abrasion along the top edge of the sheet from contact with the frame. The details are fine and well preserved. Under UV light, minor scattered retouchings, particularly in the upper left corner, and to the vertical yellow section of the man's cloak. In good condition.
Roseberys