Daniel Seghers Paintings & Artwork for Sale | Daniel Seghers Art Value Price Guide

Sep. 24, 2026
Daniel Seghers, 1590 Antwerpen – 1661 ebenda, Kreis des
Est: €6,000 - €8,000
BLUMENKRANZKARTUSCHE MIT MARIA, JESUSKIND UND JOHANNES DEM TÄUFER Öl auf Holz. 48 x 37 cm. Blick auf eine steinerne Kartusche, die im oberen Bereich und in den unteren beiden Ecken jeweils mit einem kleinen farbenfrohen Blumengebinde geschmückt ist. Im Mittelpunkt jedoch ein umrahmtes Gemälde mit Maria in rot-blauem Gewand, die in ihrem Arm auf einem weißen Tuch das nackte Jesuskind hält, das sich nach rechts unten dem Johannesknaben zuwendet. Malerei bei der besonders die Blumen – wie Rosen, geflammte Tulpen und Nelken – hervorgehoben werden, wobei die Darstellung der Figuren wohl von anderer Hand ausgeführt wurde. Vertikal rest. (14901016) (18)
Hampel Fine Art Auctions
Apr. 13, 2026
Attributed to SEGHERS DANIEL (1590 - 1661) - Bust of a Boy within a Garland of Flowers
Est: €5,000 - €7,000
Attributed to SEGHERS DANIEL (1590 - 1661). Bust of a Boy within a Garland of Flowers. Reference literature: M. L. Hairs, Les peintres flamands de fleurs au XVII siècle, 1985. The painting, presented here as previously unpublished, fits fully within the mature production of Daniel Seghers, offering a testimony of particular quality within his work in the genre of floral garlands with cartouches. The composition is organized around a monumental architectural apparatus in grisaille, within which a classically inspired bust is placed, following a formula that the Jesuit painter helped to define in an original way, introducing a sculptural element into flower painting conceived as a plastic decorative feature. The design is distinguished by its balance and measured construction, based on controlled symmetry and a calibrated use of the cartouche’s volutes, free from the dynamic excesses that characterize other interpreters of the genre, in accordance with the “type déterminé, symétrique, sans excès de courbes et de contre-courbes” typical of the artist. Rather than developing in a tightly continuous garland, the flowers are arranged in distinct groups, with a skillful alternation of positive and negative space, following a compositional principle based on juxtaposition rather than interlacing, leaving a neutral background visible between the stems that provides airiness and clarity to the whole. The selection and treatment of the flowers reveal a sensitivity typical of the artist, oriented toward a depiction of nature as young and vital, deliberately avoiding overly open blossoms. The corollas, often still closed or only partially open, attest to his preference for intermediate stages of flowering, one of the artist’s most recognizable traits. This approach contributes to a sense of freshness and naturalism that distinguishes his work from the more analytical or spectacular production of other Flemish masters. The foliage, crisp and structurally significant, with a notable presence of ivy, integrates harmoniously with the floral mass without ever overwhelming it. Similarly, the presence of insects, such as butterflies, introduced sparingly within the composition, constitutes a recurring and distinctive element, reinforcing the overall naturalism. The central bust, rendered as an ancient sculpture set within a niche, further introduces a dialogue between nature and artifice, between painting and sculpture, which represents one of the most learned and characteristic aspects of Seghers’ production. In this respect, the work is connected to the tradition of cartouches that the artist developed especially in Jesuit contexts, where the central image, often executed by collaborators, is framed by the floral garland as an element of visual meditation and symbolic celebration. Overall, the quality of the composition, the balance between floral elements and the central structure, and the technical and stylistic coherence place the work among the most successful achievements of the artist, attributable to his mature phase, likely within the fourth and fifth decades of the seventeenth century, in proximity to the core of authenticated works dating between 1635 and 1651.. 58,50 x 76 cm.
Capitolium Art
Feb. 17, 2026
Daniel Seghers (Anversa 1590 - 1661) bottega/cerchia di
Est: €6,000 - €9,000
Daniel Seghers (Anversa 1590 - 1661) bottega/cerchia di Ghirlanda di fiori con ritratto di uomo di profilo Olio su tavola 64 x 49 cm L'opera reca una firma I. Breughel in basso a destra. Daniel dopo i primi studi, andò ad Anversa nel 1611, dove entrò nella bottega di Jan Brueghel de Velours. Nel 1614 entrò dai Gesuiti a Mechelen come laico, nel 1625 prese i voti, da questo momento in poi si firmò "Daniel Seghers Societatis Jesu". Dal 1625 al 1627 visse a Roma, poi tornò ad Anversa dove rimase per sempre nel suo monastero operando come pittore di fiori. Collaborò con altri pittori, i quali dipinsero le figure entro le sue ghirlande, tra questi: Thomas Willeboirts Bosschaert, Cornelis Schut, González Coques e Domenichino. Daniel Seghers (Antwerp 1590 - 1661) workshop/circle of Garland of Flowers with Portrait of a Man in Profile Oil on panel 64 x 49 cm The work bears the signature I. Breughel in the lower right corner.
Lucas Aste
Feb. 10, 2026
‡ DANIEL SEGHERS (1590-1661), SWAGS OF FLOWERS SURROUNDING A CARTOUCHE WITH THE VIRGIN AND CHILD
Est: £30,000 - £40,000
‡ DANIEL SEGHERS (1590-1661) SWAGS OF FLOWERS SURROUNDING A CARTOUCHE WITH THE VIRGIN AND CHILDOil on panel Inscribed and dated 'D. Seghers. Soc.te Jesú 1643' (lower right)68.5 x 54cm (26¾ x 21¼ in.)Provenance:Silvano Lodi, MunichDr. Gustav Rau (1922-2002), Stuttgart (acquired from the above)The Foundation of the German Committee for UNICEF (by bequest from the above)Sale, Sotheby's, London, 4 July 2013, lot 157Jack Kilgore, New YorkPrivate collection, New York (acquired from the above in 2013)Sale, Christie's New York, 29 October 2019, lot 615Acquired at the above sale by the present owner
Dreweatts 1759 Fine Sales
Dec. 06, 2025
Circle of Daniel Seghers (Flemish, 1590-1661)
Est: $800 - $1,200
Circle of Daniel Seghers (Flemish, 1590-1661) Madonna and Child Surrounded by a Garland of Flowers, Oil on canvas, Unsigned. H: 31 3/4 W: 25 3/4 in.
Gray's Auctioneers
Sep. 19, 2025
DANIEL SEGHERS
Est: CHF10,000 - CHF15,000
DANIEL SEGHERS (1590 Antwerp 1661) Garland of flowers with roses, tulips and narcissi. Oil on canvas. 45.4 × 88.2 cm. Provenance: European collection. Our thanks to Dr Fred G. Meijer who has confirmed the authenticity of this work on the basis of a photograph. ------------------------------------------------- DANIEL SEGHERS (1590 Antwerpen 1661) Blumengirlande mit Rosen, Tulpen, und Narzissen. Öl auf Leinwand. 45,4 × 88,2 cm. Provenienz: Europäischer Besitz. Dr. Fred G. Meijer bestätigt die Eigenhändigkeit dieses Werkes anhand einer Fotografie, wofür wir ihm danken. Die dargestellte Blumengirlande dürfte ursprünglich als Teil einer grösseren Komposition konzipiert worden sein.
Koller Auctions
Aug. 26, 2025
PENCIL SKETCH OF DANIEL SEGHERS
Est: $400 - $600
A portrait of Daniel Seghers (1590-1661) double signed, lable on the back "hieronymus van alphen"
A. H. Wilkens Auctions & Appraisals
Jul. 10, 2025
Circle of DANIEL SEGHERS (Antwerp, 1590-2 1661); 17th century. "Orla de flores y Dolorosa". Oil on copper.
Est: €1,800 - €2,000
Circle of DANIEL SEGHERS (Antwerp, 1590-2 1661); 17th century. "Orla de flores y Dolorosa". Oil on copper. Measurements: 40,5 x 28 cm; 51 x 37,5 cm (frame). In this devotional scene the author plays with the idea of trompe l'oeil by combining the border of lores with a frame of acanthus leaves that seem to be carved in the stone, located on a parapet. It should be noted that, in this type of composition, the flowers are not simply a secondary element, or accessory, but are worked with the same care, and with the same quality as the central image. In fact, sometimes they even show a more skillful hand, since often these works were the result of the collaboration of a painter of flowers and another specialized in the human figure. Aesthetically the work is close to the models established by the Baroque painter David Seghers. The son of a silk merchant, Seghers soon emigrated with his family to the Northern Netherlands, where he converted to Calvinism. He studied painting from 1605 and in 1611, on his return to Antwerp, he joined the Guild of St. Luke, after a period of apprenticeship with Jan Brueghel the Elder. In 1614 he again embraced the Catholic faith while entering the Jesuits in Mechelen as a layman, taking vows in 1625. From then on he signed himself as "Daniel Seghers societatis Iesu". From 1625 to 1627 he lived in Rome, and on his return to Antwerp he remained in his monastery, as a flower painter, until the day of his death. It is difficult to establish an evolution of his style, although a development from the simplest to the most complicated garlands is evident. The use of flowers and plants from the Netherlands grown in gardens relates him to painters such as Jan Brueghel, although unlike the latter he pays less attention to contours and more to transparencies and the combination of light and shadow. His floral arrangements always denote a previous preparation, while his garlands show a brilliant use of symmetry as a clarifying element of the composition. Common in his production are the garlands surrounding devotional images based on the work of Rubens.
Setdart Auction House
Jul. 10, 2025
Circle of DANIEL SEGHERS (Antwerp, 1590-2 1661); 17th century. "Orla of flowers and the Holy Family". Oil on copper.
Est: €1,800 - €2,000
Circle of DANIEL SEGHERS (Antwerp, 1590-2 1661); 17th century. "Orla of flowers and the Holy Family". Oil on copper. Measurements: 40,5 x 28 cm; 51 x 37,5 cm (frame). We see in this copper a typical composition of the baroque period. It is a scheme that combines a garland with a representation of devotional type in the interior. The author combines the genres of painting looking for a greater sumptuousness and a theatrical sense, almost trompe l'oeil, very much to the taste of Baroque painting. It should be noted that, in this type of composition, the flowers are not simply a secondary or accessory element, but are worked with the same care and quality as the central image. In fact, sometimes they even show a more skilled hand, since these works were often the result of the collaboration of a painter of flowers and another specialized in the human figure. The son of a silk merchant, Seghers soon emigrated with his family to the Northern Netherlands, where he converted to Calvinism. He studied painting from 1605 and in 1611, on his return to Antwerp, he joined the Guild of St. Luke, after a period of apprenticeship with Jan Brueghel the Elder. In 1614 he again embraced the Catholic faith while entering the Jesuits in Mechelen as a layman, taking vows in 1625. From then on he signed himself as "Daniel Seghers societatis Iesu". From 1625 to 1627 he lived in Rome, and on his return to Antwerp he remained in his monastery, as a flower painter, until the day of his death. It is difficult to establish an evolution of his style, although a development from the simplest to the most complicated garlands is evident. The use of flowers and plants from the Netherlands grown in gardens relates him to painters such as Jan Brueghel, although unlike the latter he pays less attention to contours and more to transparencies and the combination of light and shadow. His floral arrangements always denote a previous preparation, while his garlands show a brilliant use of symmetry as a clarifying element of the composition. Common in his production are the garlands surrounding devotional images based on the work of Rubens.
Setdart Auction House
Mar. 28, 2025
Daniel Seghers, Antwerp 1590 - 1661 Antwerp
Est: €2,000 - €4,000
Daniel Seghers Antwerp 1590 - 1661 Antwerp Attributed Madonna in a garland of flowers Oil on canvas, relined 85 x 60 cm, with frame 96 x 72 cm
Tiberius Auctions
Mar. 27, 2025
Daniel Seghers, 1590 Antwerpen – 1661 ebenda, Kreis des
Est: €1,000 - €1,500
BLUMENKRANZKARTUSCHE MIT ANTIKENKOPF IN CAMAIEU Öl auf Holz. 27,5 x 21,5 cm. Rahmen mit Sammlungsnummer „121“ und Namensnennung des Daniel Seghers. Verso mit altem schwer leserlichem Etikett. In gekehltem ebonisiertem Rahmen mit Goldleiste. En Grisaille dargestellte Architekturkartusche in Steingrau. Darüber, fein ausgeführte Blüten in Blau, Rot und Weiß. Zentrale vom Profil gerahmte Ovalkartusche mit nach rechts gerichtetem Imperatorenkopf in gold-braunem Camaieu. Seghers malte fast ausschließlich Blumenstillleben, seine Kartuschen ließ er gerne von Malerkollegen wie Erasmus Quellinus d. J. (1607-1678), Cornelis Schut d. Ä. (1597-1655) und Johan Boeckhorst (1605-1668) füllen. Oft orientierte sich Seghers an Blumenkränzen und Gebinden von Jan Brueghel d. Ä. (1568-1625). (13501513) (13)
Hampel Fine Art Auctions
Feb. 25, 2025
Circle of DANIEL SEGHERS (Amberes, 1590-1661). "Saint John Baptist". Oil on canvas. Relined in the 19th century.
Est: €4,500 - €5,000
Circle of DANIEL SEGHERS (Amberes, 1590-1661). "Saint John the Baptist. Oil on canvas. Re-coloured in the 19th century. Measurements: 67 x 50 cm; 95 x 80 cm (frame). The tenderness of the childish face of Saint John, the modelling of soft forms of his body and his serene and kind gesture create a great harmony between the representation of the figure of Saint John and the colourful border of flowers. The piece stands out for its great precision and detail in the conception of both the religious theme and the floral wreath that envelops the main scene. The short, precise brushstrokes give way to an extreme care for truthful representation, although not without a lack of idealisation of all the elements that make up the scene. In the first quarter of the 17th century a new form of flower painting developed in Flemish painting, which was recreated by a large group of artists and workshops and achieved considerable success throughout the century in much of Europe: the garland of flowers as a frame and an element that enhanced a central religious theme. Brueghel de Velurs was the initiator of this type of composition, particularly linked in his work to the depiction of the Virgin and Child. However, it was his disciple, the Jesuit Daniel Seghers, who was the dominant figure in this specialised production and the creator of a prototype that would serve as a model for the numerous artists who followed in his footsteps. Aesthetically the work is close to that of Gerard Seghers, one of the foremost Caravaggists of the southern Low Countries, who produced historical and mythological paintings, although he was primarily a religious painter. Initially trained with his brother Jan Baptista Seghers, his principal teacher was Gaspr de Crayer. Other sources indicate that he trained with Abraham Janssen and Hendrick van Balen. A master from 1608, in 1613 he was in Italy, probably for commercial reasons. There he came into contact with the followers of Caravaggio, particularly the Dutch circle, although it was Bartolomeo Manfredi who had the greatest influence on his work. Seghers also travelled to Spain where he worked for Philip III. In the 1620s he returned to Antwerp and after a period of strong Caravaggism evolved towards a more moderate, mature style of more homogeneous light, richer settings and more varied colouring, as well as a more marked linearity. He is currently represented in the Museo del Prado, the Galleria Nazionale d'Arte Antica in Rome, the Hermitage in Saint Petersburg, the Louvre in Paris, the Rijksmuseum in Amsterdam and many other important collections.
Setdart Auction House
Dec. 05, 2024
Daniel Seghers, 1590 Antwerpen – 1661 ebenda, Kreis des
Est: €1,000 - €1,500
BLUMENKRANZKARTUSCHE MIT ANTIKENKOPF IN CAMAIEU Öl auf Holz. 27,5 x 21,5 cm. Rahmen mit Sammlungsnummer „121“ und Namensnennung des Daniel Seghers. Verso mit altem schwer leserlichem Etikett. In gekehlten, ebonisierten Rahmen mit Goldleiste. En Grisaille dargestellte Architekturkartusche in Steingrau. Darüber fein ausgeführte Blüten in Blau, Rot und Weiß. Zentrale vom Profil gerahmte Ovalkartusche mit nach rechts gerichtetem Imperatorenkopf in goldbraunem Camaieu. Seghers malte fast ausschließlich Blumenstillleben, seine Kartuschen ließ er gerne von Malerkollegen wie Erasmus Quellinus d. J. (1607-1678), Cornelis Schut d. Ä. (1597-1655) und Johan Boeckhorst (1605-1668) füllen. Oft orientierte sich Seghers an Blumenkränzen und Gebinden von Jan Brueghel d. Ä. (1568-1625). (13501513) (13)
Hampel Fine Art Auctions
Nov. 16, 2024
Daniel Seghers, A Garland of Roses and Ivy Hanging from Green Ribbons and a Butterfly
Est: €25,000 - €35,000
He was known as the ‘Jesuit from Antwerp’; in fact, Daniel Seghers was both a painter and a member of the order. He almost exclusively created flower paintings, often as garlands around a central figurative motif that was executed by another painter. Rarer are the pure still lifes such as the present painting. Here, Daniel Seghers isolates a limited number of flowers against a blue-black background, which makes the luminous clarity of the colours and the precision of his outlines stand out all the more clearly. However, it is also known that Daniel Seghers chose his flowers not only ‘decoratively’, but also always considered their Marian or Christological symbolic meaning in his compositions and that the flower garlands themselves are to be understood in the context of Jesuit Spiritual Exercises. The white rose is a symbol of Mary's purity, the pink one of Her love and the butterfly symbolises Christ's resurrection. With connotations such as these, Daniel Seghers' delicately painted flowers, bouquets and garlands are primarily intended for private meditation. The present unsigned painting was long thought to be the work of Daniel Seghers' pupil Jan Philip van Thielen. On the basis of a high-resolution photograph, Fred Meijer now recognises it as a unquestionable work by Daniel Sehers.
Kunsthaus Lempertz KG
Sep. 14, 2024
DANIEL SEGHERS AUCH ZEGHERS (WAHRSCHEINLICH WERKSTATT) BLUM
Est: €800 - €1,600
PROBABLY WORKSHOP OF DANIEL SEGHERS ALSO ZEGHERS December 1590 Antwerp - 2 November 1661 ibid GARLAND OF FLOWERS WITH THE VIRGIN AND CHILD IN A STONE CARTOUCHE Oil on canvas, old relined. 85 x 60 cm (F. 97 x 73 cm). Part. slightly old rest., old retouching. Frame. Provenance: South German private collection. DANIEL SEGHERS AUCH ZEGHERS (WAHRSCHEINLICH WERKSTATT) Dezember 1590 Antwerpen - 2. November 1661 ebenda BLUMENGIRLANDE MIT DER JUNGFRAU UND DEM KINDE IN EINER STEINKARTUSCHE Öl auf Leinwand, doubliert (?). 85 x 60 cm (R. 97 x 73 cm). Part. leicht altrest., Altretuschen. Rahmen. Provenienz: Süddeutsche Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Sep. 07, 2024
Daniel Seghers
Est: €12,000 - €24,000
(1590 Antwerpen - 1661 ebenda) attr.; Stillleben mit zwei Blumengirlanden An einem plastischen Rollwerk drapierte Girlanden aus unterschiedlichen Frühlings- und Sommerblumen mit duftig gemalten Blüten - vor hellbraunem, neutralem Hintergrund; als belebende Elemente ein prächtiger Schwalbenschwanz-Tagfalter und ein auf einem Rosenstängel sitzender Distelfink (Stieglitz). Durch den Schmetterling und den Vogel erhält das Stilleben eine zusätzliche, tiefere Bedeutungsebene: der Distelfink gilt u. a. als Symbol für die Passion Christi und die Erlösung, aber auch als Anspielung auf die davonfliegende Seele des Menschen; in diesem Zusammenhang dürfte auch der Schmetterling gesehen werden, der überdies für Transformation und Verwandlung steht. Der flämische Künstler Daniel Seghers, ein Schüler von Jan Brueghel d. Ä., gehört zu den herausragendsten, bedeutendsten und einflussreichsten Blumenmalern des 17. Jhs., bewundert in ganz Europa. Bereits 1611 wurde er als Meister in die Antwerpener Malergilde und, obgleich er 1614 in den Jesuitenorden eintrat, war er weiter als Maler tätig. 1625 schuf er im Jesuitenkolleg zu Brüssel zwei große Girlandenbilder für die Kathedrale St. Michel. Solche Blumengirlandenbilder wurden zu einer Spezialität des Malers. Hierbei kam es oft zu kongenialer Zusammenarbeit - die zentralen, von Blumenkränzen und -girlanden umrahmten figürlichen Darstellungen (u. a. Madonnen, Putten und Porträts) schufen hierbei andere bedeutende Maler wie Nicolas Poussin, Domenichino, Abraham van Diepenbeeck, Cornelis Schut, Erasmus Quellinus II., Theodor van Thulden, Simon de Vos, Thomas Willeboirts Bosschaert, Gonzales Coques, Jan van Balen und Gerard Seghers, J. van den Hoecke, Jan Boeckhorst etc.; Seltener in Seghers' Oeuvre sind hingegen reine Stillleben von einfachen kleinen Blumenfestons oder mit kleinen Sträußen in gläsernen Vasen. Öl/Lwd.; 54 cm x 69 cm. Original-Flammleisten-Rahmen des 17. Jhs. Attributed to Daniel Seghers (1590 - 1641). Oil on canvas. Original frame.
Kunstauktionshaus Schloss Ahlden
Jun. 29, 2024
DANIEL SEGHERS (1590-1661), IN THE MANNER OF
Est: CHF200 - CHF400
Flower still life Oil on canvas, relined, new stretcher, probably late 17th/early 18th c. 25 x 32 cm, frame: 38 x 46 cm
Galerie Moenius
Jun. 27, 2024
Daniel Seghers, 1590 Antwerpen – 1661 ebenda, Kreis des
Est: €1,300 - €1,500
BLUMENKRANZKARTUSCHE MIT ANTIKENKOPF IN CAMAIEU Öl auf Holz. 27,5 x 21,5 cm. Rahmen mit Sammlungsnummer „121“ und Namensnennung des Daniel Seghers. Verso mit altem schwer leserlichem Etikett. In gekehltem ebonisiertem Rahmen mit Goldleiste. En Grisaille dargestellte Architekturkartusche in Steingrau. Darüber fein ausgeführte Blüten in Blau, Rot und Weiß. Zentrale vom Profil gerahmte Ovalkartusche mit nach rechts gerichtetem Imperatorenkopf in goldbraunem Camaieu. Seghers malte fast ausschließlich Blumenstillleben, seine Kartuschen ließ er gerne von Malerkollegen wie Erasmus Quellinus d. J. (1607-1678), Cornelis Schut d. Ä. (1597-1655) und Johan Boeckhorst (1605-1668) füllen. Oft orientierte sich Seghers an Blumenkränzen und Gebinden von Jan Brueghel d. Ä. (1568-1625). (13501513) (13)
Hampel Fine Art Auctions
May. 29, 2024
Daniel Seghers (Antwerp 1590 - 1661) "Wreath of flowers with a relief of little flowers"
Est: €15,000 - €20,000
Daniel Seghers (Antwerp 1590 - 1661) "Wreath of flowers with a relief of little flowers" Oil on canvas With original carved and gilded frame 85 x 63 cm 15.000 - 20.000 €
Greco Subastas
May. 25, 2024
P. JODE (*1604) after LIEVENS (*1607), Portrait of Daniel Seghers, around 1649, Copper engraving
Est: €450 - €600
Pieter de Jode jun. (around 1604 Antwerp - 1674 England) after Jan Lievens (1607 Leiden - 1674 Amsterdam): Portrait of the Flemish painter Daniel Seghers (1590 Antwerp - 1661 ibid), c. 1649, Copper engraving Technique: Copper engraving on Paper Stamp: Verso Unbekannt. 18th century Inscription: At the lower part signed in the printing plate: "I.Luvens pinxit. / I.Meyssens excudit.". At the lower part inscribed in the printing plate: "Daniel Segers Frere Iesuite [..]". Date: c. 1649 Description: Portrait by the Flemish painter Daniel Seghers (also Zegers), who is particularly known for his paintings of saints and flowers. The present sheet belongs to Johannes Meyssen's work "Image de divers hommes d'esprit sublime" published in 1649 with portraits of important personalities, under each of which a short description of the person can be read in French. The portrait was reprinted in Cornelis de Bies' "Het Gulden Cabinet" of 1661-1662. Person: Depicted: Daniel Seghers (1590 Antwerp - 1661 Antwerp) Keywords: Printmaking, Artist, Portrait, Portrait, Painter, Flemish, Jesuit, 17th century, Baroque, Portraits, Netherlands, Size: Paper: 14,4 cm x 11,2 cm (5,7 x 4,4 in)
Fichter Kunsthandel
May. 18, 2024
DANIEL SEGHERS DETTO IL GESUITA D'ANVERSA - (attribuito a)
Est: -
(attribuito a) Ghirlanda di fiori con cartiglio Olio su tela, 101x88 cm Provenienza: Già asta Christie's, dicembre 2012 Collezione privata, Veneto
Meeting Art Casa D'Aste
May. 16, 2024
Daniel Seghers Cornelius Schut, Image of the Virgin and Child borne aloft by Cherubim and Adorned with Garlands
Est: €50,000 - €60,000
This painting is unique among Segher's numerous depictions of garlands surrounding a central cartouche. The action of the angels creates a certain dynamism. Four cherubim are in the process of attaching two festoons to an image of the Madonna in a carved, oval frame. Seghers, who after the death of his teacher Jan Brueghel the Elder became his most important successor in the field of Antwerp flower painting, created this work together with the figure painter Cornelis Schut. Schut's free, Rubenesque figuration finds its counterpart in Segher's detailed realism in the flowers and plants depicted and his vibrant use of colour. This extraordinary collaborative work is known through numerous exhibitions and publications. The painting was identified by M.-L. Hairs in Cornelis Schut's own inventory under no. 135 (see Couvreur, 1967, p. 112, no. 135). The buyer was probably Willem de Blasere, Lord of Hellebus, representative for Flanders to the States General and one of the plenipotentiaries for the peace negotiations in Maastricht and The Hague in 1632/33, whose father Gerard de Blasere was a benefactor of the Jesuit order to which the "painting monk" Seghers belonged. Seghers, who lived in the Jesuit convent in Antwerp until his death in 1661, became a celebrity in the care of the order. Princes and sovereigns visited him in his studio and showed their appreciation for his work with valuable gifts, as he was not allowed to receive any income. On 20th April 1635, Cardinal-Infant Ferdinand visited him and purchased a more square version of the present composition. It includes the addition of an imperial crown, which hovers over the image of the Virgin like a small canopy (Couvreur, 1967, p. 110, no. 119). This painting was in the Galerie R. Finck in Brussels in 1961 (see Hairs, 1985, fig. 32). It can be assumed that the present work was painted a little later in the same year, 1635.
Kunsthaus Lempertz KG
Mar. 21, 2024
Daniel Seghers, 1590 Antwerpen – 1661 ebenda, Kreis des
Est: €1,500 - €2,500
BLUMENKRANZKARTUSCHE MIT ANTIKENKOPF IN CAMAIEU Öl auf Holz. 27,5 x 21,5 cm. Rahmen mit Sammlungsnummer „121“ und Namensnennung des Daniel Seghers. Verso mit altem schwer leserlichem Etikett. In gekehltem ebonisiertem Rahmen mit Goldleiste. En Grisaille dargestellte Architekturkartusche in Steingrau. Darüber fein ausgeführte Blüten in Blau, Rot und Weiß. Zentrale vom Profil gerahmte Ovalkartusche mit nach rechts gerichtetem Imperatorenkopf in goldbraunem Camaieu. Seghers malte fast ausschließlich Blumenstillleben, seine Kartuschen ließ er gerne von Malerkollegen wie Erasmus Quellinus d. J. (1607-1678), Cornelis Schut d. Ä. (1597-1655) und Johan Boeckhorst (1605-1668) füllen. Oft orientierte sich Seghers an Blumenkränzen und Gebinden von Jan Brueghel d. Ä. (1568-1625). (13501513) (13)
Hampel Fine Art Auctions
Feb. 01, 2024
Still Life of Flowers in a Glass Vase
Est: $250,000 - $350,000
Property from the Estate of Marilyn Schiff Daniel Seghers Antwerp 1590 - 1661 Still Life of Flowers in a Glass Vase signed lower right: DS. Soc.tis JESS oil on copper copper: 11 ⅝ by 8 ¼ in.; 29.5 by 21.0 cm. framed: 16 ⅜ by 13 ⅛ in.; 41.6 bv 33.3 cm.
Sotheby's
Dec. 07, 2023
Daniel Seghers, 1590 Antwerpen – 1661 ebenda, Kreis des
Est: €1,500 - €2,500
BLUMENKRANZKARTUSCHE MIT ANTIKENKOPF IN CAMAIEU Öl auf Holz. 27,5 x 21,5 cm. Rahmen mit Sammlungsnummer „121“ und Namensnennung des Daniel Seghers. Verso mit altem schwer leserlichem Etikett. In gekehltem ebonisiertem Rahmen mit Goldleiste. En Grisaille dargestellte Architekturkartusche in Steingrau. Darüber fein ausgeführte Blüten in Blau, Rot und Weiß. Zentrale vom Profil gerahmte Ovalkartusche mit nach rechts gerichtetem Imperatorenkopf in goldbraunem Camaieu. Seghers malte fast ausschließlich Blumenstillleben, seine Kartuschen ließ er gerne von Malerkollegen wie Erasmus Quellinus d. J. (1607-1678), Cornelis Schut d. Ä. (1597-1655) und Johan Boeckhorst (1605-1668) füllen. Oft orientierte sich Seghers an Blumenkränzen und Gebinden von Jan Brueghel d. Ä. (1568-1625). (13501513) (13)
Hampel Fine Art Auctions
Dec. 07, 2023
Daniel Seghers, 1590 Antwerpen – 1661 ebenda, Kreis des
Est: €20,000 - €30,000
DER JUNGE JOHANNES DER TÄUFER IN PRACHTVOLLER BLUMENGIRLANDE Öl auf Leinwand. Doubliert. 140 x 108 cm. Umrahmt von einer gemalten oktagonalen Goldleiste der im Zentrum in abendlicher Landschaft sitzende junge Johannes der Täufer mit Nimbus, Fellumhang, einem Kreuzstab mit Rotulus in seiner linken Hand und mit seiner Rechten ein junges Schaf streichelnd, die typischen Attribute des Dargestellten. Mit seinen glänzenden braunen Augen blickt er aufmerksam aus dem Bild heraus. Umgeben wird die Darstellung von einer Girlande mit überwiegend leuchtenden weißen, rot-weißen, roten und rosafarbenen Blumen, darunter Nelken, Rosen, Schneeball, Chrysanthemen, Anemonen, Tulpen sowie kleinen Narzissen, die sich besonders gut gegenüber dem dunklen, fast schwarzen Hintergrund abheben. Ausführung in hoher künstlerischer Qualität. (1380021) (18) Daniel Seghers, 1590 Antwerp – 1661 ibid., circle of YOUNG SAINT JOHN THE BAPTIST IN MAGNIFICENT FLORAL WREATH Oil on canvas. Relined. 140 x 108 cm.
Hampel Fine Art Auctions
Nov. 24, 2023
Seghers, Daniel (Attrib.): Drei Putten in Blütenkranz
Est: €25,000 - €50,000
Seghers, Daniel (Attribution) - Three putti in floral wreath (Antwerp 1590-1661 ibid.) In the centre an illusionistic stone cartouche painted in brown camaieu with three putti figures, one of them with a fruit basket, framed by three luxuriantly blooming flower arrangements. Oil on canvas. 85 x 63 cm. - Signs of age. // Seghers, Daniel (Attrib.) Drei Putten in Blütenkranz (Antwerpen 1590-1661 ebd.) Im Zentrum eine illusionistische, in Brauncamaieu gemalte steinerne Kartusche mit drei Puttenfiguren, eine davon mit Früchtekorb, gerahmt von drei üppig aufgeblühten Blumengebinden. Öl/Lwd. 85 x 63 cm. - Altersspuren.
Kunstauktionshaus Schlosser
Sep. 28, 2023
Daniel Seghers, 1590 Antwerpen – 1661 ebenda, Kreis des
Est: €2,000 - €3,000
BLUMENKRANZKARTUSCHE MIT ANTIKENKOPF IN CAMAIEU Öl auf Holz. 27,5 x 21,5 cm. Rahmen mit Sammlungsnummer „121“ und Namensnennung des Daniel Seghers. Verso mit altem schwer leserlichem Etikett. In gekehltem ebonisiertem Rahmen mit Goldleiste. En Grisaille dargestellte Architekturkartusche in Steingrau. Darüber fein ausgeführte Blüten in Blau, Rot und Weiß. Zentrale vom Profil gerahmte Ovalkartusche mit nach rechts gerichtetem Imperatorenkopf in goldbraunem Camaieu. Seghers malte fast ausschließlich Blumenstillleben, seine Kartuschen ließ er gerne von Malerkollegen wie Erasmus Quellinus d. J. (1607-1678), Cornelis Schut d. Ä. (1597-1655) und Johan Boeckhorst (1605-1668) füllen. Oft orientierte sich Seghers an Blumenkränzen und Gebinden von Jan Brueghel d. Ä. (1568-1625). (13501513) (13)
Hampel Fine Art Auctions
Jul. 26, 2023
Exceptional Large Flemish Garland with Holy Family, attributed to Erasmus Quellinus II (Antwerp, 1607-1678) and Daniel Seghers (Antwerp, 1590-1661), 17th century Flemish School
Est: €35,000 - €45,000
Oil on canvas. Measurements: 135 x 166 cm. Framed measurements: 145 x 176 cm. Origin: important private collection, Northern Spain. Erasmus Quellinus II, also called Erasmus the Younger (Antwerp, 1607-1678), was a Flemish painter and draftsman, member of a family of artists, mainly sculptors, a trade carried out by his father Erasmus Quellinus I and his brother, Artus Quellinus. Daniel Seghers (Antwerp, December 3, 1590 – November 2, 1661) was a Jesuit and Flemish Baroque painter. A disciple of Jan Brueghel the Elder, Seghers specialized in flower painting, particularly in the form of cartouches surrounded by garlands, a genre that he helped to establish with his highly appreciated paintings by European courts. Spanish painting of still lifes and vases from 1600 to Goya, Museo del Prado, exhibition catalogue, Madrid, 1983-1984, pp. 116 and 218, ISBN 84-500-9335-X
Templum Fine Art Auctions
Jun. 29, 2023
Daniel Seghers, 1590 Antwerpen – 1661 ebenda , Kreis des
Est: €2,500 - €3,500
BLUMENKRANZKARTUSCHE MIT ANTIKENKOPF IN CAMAIEU Öl auf Holz. 27,5 x 21,5 cm. Rahmen mit Sammlungsnummer „121“ und Namensnennung des Daniel Seghers. Verso mit altem schwer leserlichem Etikett. In gekehltem ebonisiertem Rahmen mit Goldleiste. En Grisaille dargestellte Architekturkartusche in Steingrau. Darüber fein ausgeführte Blüten in Blau, Rot und Weiß. Zentrale vom Profil gerahmte Ovalkartusche mit nach rechts gerichtetem Imperatorenkopf in goldbraunem Camaieu. Seghers malte fast ausschließlich Blumenstillleben, seine Kartuschen ließ er gerne von Malerkollegen wie Erasmus Quellinus d. J. (1607-1678), Cornelis Schut d. Ä. (1597-1655) und Johan Boeckhorst (1605-1668) füllen. Oft orientierte sich Seghers an Blumenkränzen und Gebinden von Jan Brueghel d. Ä. (1568-1625). (13501513) (13)
Hampel Fine Art Auctions
Mar. 30, 2023
ATTRIBUTED TO DANIEL SEGHERS (ANTWERP, 1590 - 1661) AND ERASMUS QUELLINUS, THE YOUNGER (ANTWERP, 1607 - 1678).
Est: €12,500 - €15,000
Attributed to Daniel Seghers (Antwerp, 1590 - 1661) and Erasmus Quellinus, the Younger (Antwerp, 1607 - 1678). "Holy Family with floral border" Oil on copper. 61 x 80 cm. It is in an imposing carved, gilded and polychromed wooden period frame. Seghers was a successful painter, prized among such influential collectors as "Federico Enrique de Orange-Nassau, Cristina de Suecia or Carlos I de Inglaterra", according to the Museo del Prado. Notes in the database of the Royal Academy of Fine Arts of San Fernando (RABASF) explain that "he is considered the great master of flower paintings [...] linked to Spanish patrons, such as Cardinal Infante, Fernando de Austria, son of Felipe III”. He painted flowers in paintings by Rubens, and is related to Jan Brueghel, although he pays more attention, according to El Prado, "to transparencies and the combination of light and shadow". Quellinus, for his part, is outstanding in the dynamism of his figures, which look like painted sculptures, and have a style close to Rubens, with whom he collaborated on various occasions during the 1630s, as reported by the Prado in their file on the painter. In his years of greatest fame, he made many altarpieces for churches and monasteries in Flanders and abroad and participated in the decoration of the new Amsterdam City Hall together with his sculptor brother Artus Quellinus. The two artists collaborated on numerous occasions since they became friends in Rubens's workshop, as reported by RABASF, the museum in which the "Garland of Flowers with the Virgin, the Christ Child and Saint John" (inv. 1394) is kept, described as "one of the best flower garlands painted by Seghers." It is very similar to another canvas made by the painters which can be found in the Museo del Prado (inv. 1994). On the Prado website, it is described as “one of many examples of the collaboration between the painter and Jesuit Daniel Seghers, specializing in still lifes and flowers, with Erasmus Quellinus, a figure painter. Their joint works achieved great success among European Baroque collectors.” Reference bibliography: - Museo del Prado (s.f.). “Seghers, Daniel”. https://www.museodelprado.es/aprende/enciclopedia/voz/seghers-daniel/e0602810-14f3-4d8d-9d0f-133d2ac40f69 - Museo del Prado (s.f.). “Quellinus, Erasmus”. https://www.museodelprado.es/coleccion/artista/quellinus-erasmus/3dd6b43a-9d70-4ebb-b3b8-779ec1d7f843 - Seghers, D. y Quellinus, E. (Primera mitad del siglo XVII). [Óleo sobre tela]. Museo del Prado. https://www.museodelprado.es/coleccion/obra-de-arte/guirnalda-de-flores-con-la-virgen-el-nio-y-san/3582675b-cb97-4560-881b-7ec6d35ac146 - Seghers, D. y Quellinus, E. (Primera mitad del siglo XVII). “Garland of Flowers with the Virgin, the Christ Child and Saint John” [Oil on canvas]. Museo RABASF. https://www.academiacolecciones.com/pinturas/inventario.php?id=1394
La Suite Subastas
Mar. 30, 2023
Daniel Seghers, 1590 Antwerpen – 1661 ebenda, Kreis des
Est: €3,000 - €5,000
BLUMENKRANZKARTUSCHE MIT ANTIKENKOPF IN CAMAIEU Öl auf Holz. 27,5 x 21,5 cm. Rahmen mit Sammlungsnummer „121“ und Namensnennung des Daniel Seghers. Verso mit altem schwer leserlichem Etikett. In gekehltem ebonisiertem Rahmen mit Goldleiste. En Grisaille dargestellte Architekturkartusche in Steingrau. Darüber fein ausgeführte Blüten in Blau, Rot und Weiß. Zentrale vom Profil gerahmte Ovalkartusche mit nach rechts gerichtetem Imperatorenkopf in goldbraunem Camaieu. Seghers malte fast ausschließlich Blumenstillleben, seine Kartuschen ließ er gerne von Malerkollegen wie Erasmus Quellinus d. J. (1607-1678), Cornelis Schut d. Ä. (1597-1655) und Johan Boeckhorst (1605-1668) füllen. Oft orientierte sich Seghers an Blumenkränzen und Gebinden von Jan Brueghel d. Ä. (1568-1625). (13501513) (13)
Hampel Fine Art Auctions
Jan. 25, 2023
DANIEL SEGHERS (ANTWERP 1590-1661) A festoon of flowers surrounding an image of the Annunciation
Est: $60,000 - $80,000
DANIEL SEGHERS (ANTWERP 1590-1661) A festoon of flowers surrounding an image of the Annunciation oil on copper 39 3/4 x 29 3/4 in. (101.2 x 73 cm.)
Christie's
Dec. 10, 2022
P. JODE (*1604) after LIEVENS (*1607), Portrait of Daniel Seghers, around 1649, Copper engraving
Est: €450 - €600
Pieter de Jode jun. (around 1604 Antwerp - 1674 England) after Jan Lievens (1607 Leiden - 1674 Amsterdam): Portrait of the Flemish painter Daniel Seghers (1590 Antwerp - 1661 ibid), c. 1649, Copper engraving Technique: Copper engraving on Paper Stamp: Verso Unbekannt. 18th century Inscription: At the lower part signed in the printing plate: "I.Luvens pinxit. / I.Meyssens excudit.". At the lower part inscribed in the printing plate: "Daniel Segers Frere Iesuite [..]". Date: c. 1649 Description: Portrait by the Flemish painter Daniel Seghers (also Zegers), who is particularly known for his paintings of saints and flowers. The present sheet belongs to Johannes Meyssen's work "Image de divers hommes d'esprit sublime" published in 1649 with portraits of important personalities, under each of which a short description of the person can be read in French. The portrait was reprinted in Cornelis de Bies' "Het Gulden Cabinet" of 1661-1662. Person: Depicted: Daniel Seghers (1590 Antwerp - 1661 Antwerp) Keywords: Printmaking, Artist, Portrait, Portrait, Painter, Flemish, Jesuit, 17th century, Baroque, Portraits, Netherlands,
Fichter Kunsthandel
Nov. 07, 2022
Daniel Seghers (1590-1661), s
Est: -
Daniel Seghers (1590-1661), successor of the 17th/18th century, bust of a young woman surrounded by a lush floral wreath, looking to the left, oil on canvas, unsigned, doubled, restored and retouched, 80 x 60 cm, framed 98 x 78 cm
Historia Auctionata
Oct. 26, 2022
"Swags of flowers surrounding a cartouche with the Virgin and cherubs"
Est: €12,000 - €18,000
Daniel Seghers (Antwerp 1590 - 1661) "Swags of flowers surrounding a cartouche with the Virgin and cherubs" Oil on canvas 108 x 92 cm 12.000 - 18.000 €
Greco Subastas
Jun. 20, 2022
Daniel Seghers (1590-1661), su
Est: -
Daniel Seghers (1590-1661), successor of the 17th/18th century, bust of a young woman surrounded by a luxuriant floral wreath, looking to the left, oil on canvas, unsigned, doubled, restored and retouched, 80 x 60 cm, framed 98 x 78 cm
Historia Auctionata
Jun. 15, 2022
An exceptional pair of pendant works, in the manner of Daniel Seghers (1590-1661), oil on canvas, 66 x 78 cm
Est: €8,000 - €12,000
An exceptional pair of pendant works, in the manner of Daniel Seghers (1590-1661), oil on canvas, 66 x 78 cm A fine pair of trompe l'oeil paintings in the typical manner and quality of the Antwerp Jesuit master Daniel Seghers. The central cartouches, most probably the work of another hand, depict scenes of the Annunciation, and the Nativity. Both works are abundantly surrounded by flower garlands, and topped by a trompe l'oeil of a sculpted satyr head. The work with the Nativity scene is indistinctly and hardly visibly signed to the bottom edge. Only the word 'Fecit' is readable. Daniel Seghers was born in Antwerp, but after his father's death he was taken by his mother to live in Utrecht, where his artistic training began. In 1609 or 1610 he returned to Antwerp where he completed his training under Jan Brueghel I, before being accepted as an independent master in the local guild in 1611. Breughel is thought to have effected his reversion to the Catholic faith (he had been raised as a Protestant in Utrecht), and in 1614 he was admitted to the Jesuit Order, taking his final vows in 1625. Thereafter he was sent to the Jesuit Order in Rome, where he stayed until 1627 before returning to Antwerp where he remained for the rest of his life. Seghers was already held in the highest regard for his flower painting during his own lifetime and his popularity is attested to by the existence of the artist's own inventory of 239 of his pictures.
Carlo Bonte Auctions
Jun. 11, 2022
Daniel Seghers (1590–1661), Bouquet of Flowers in a Glass Vase
Est: €15,000 - €17,000
Daniel Seghers was a student of Jan Brueghel, became a master in Antwerp in 1611 and joined the Jesuit order in 1614. From 1625 to 1627 he was in Rome with the Jesuits. For him, flowers embodied the beauty of divine creation. He painted bouquets of flowers in vases as well as flower garlands and wreaths around painted stone cartridges in which colleagues painted figurative scenes and saints. In a glass vase are tulips, roses, white and blue lilies and other flowers, the leaves and stems of which draw arabesques against the dark background. While the bouquets of his teacher Jan Brueghel combine an unrealistic number of flowers in one bouquet, Seghers paints relatively few flowers in one bouquet and attaches great importance to emphasizing the shapes of each flower in an artful, elegant arrangement. The majority of the flowers form a dense bouquet directly above the opening of the vase, some magnificent tulips and lilies protrude and create striking accents in the composition. According to Klaus Ertz, the picture was painted in Antwerp in the early 1640s.
Fine Antiques Prague s.r.o.
Apr. 12, 2022
Follower of Daniel Seghers (Antwerp 1590-1661) A swag of flowers
Est: £3,000 - £5,000
Follower of Daniel Seghers (Antwerp 1590-1661) A swag of flowers oil on canvas, a fragment 89 x 75.8cm (35 1/16 x 29 13/16in). For further information on this lot please visit the Bonhams website
Bonhams
Apr. 04, 2022
Daniel Seghers (1590-1661), su
Est: -
Daniel Seghers (1590-1661), successor of the 17th/18th century, bust of a young woman surrounded by lush floral wreath looking to the left, oil on canvas, unsigned, doubled, restored and retouched, 80 x 60 cm, framed 98 x 78 cm
Historia Auctionata
Mar. 16, 2022
Daniel Seghers (Antwerp 1590 - 1661). "Swags of flowers surrounding a cartouche with the Virgin and cherubs"
Est: €18,000 - €25,000
Daniel Seghers (Antwerp 1590 - 1661) "Swags of flowers surrounding a cartouche with the Virgin and cherubs" Oil on canvas 108 x 92 cm 18.000 - 25.000 €
Greco Subastas
Mar. 15, 2022
Garland of Flowers with Madonna and Child, on the crescent moon, 17thC, oil on panel, 23 x 30,5 cm
Est: €1,000 - €1,500
Garland of Flowers with Madonna and Child, on the crescent moon, 17thC, oil on panel, 23 x 30,5 cm Typical work in the manner of the Antwerp Jesuit master Daniel Seghers (1590-1661). The back of the panel contains an unidentified panel maker's mark ('H'). The work is presented in a possibly original Baroque gilt decorated framing.
Carlo Bonte Auctions
Dec. 07, 2021
OIL PAINTING BY DANIEL SEGHERS, manner of
Est: €1,000 - €1,500
DANIEL SEGHERS, maniera di (Anversa 1590 - 1661) FIGURA ALLEGORICA INCORONATA DA PUTTI E GHIRLANDA DI FIORI Olio su tela, cm. 132 x 116 PROVENIENZA Famiglia romana CONDIZIONI DEL DIPINTO Rintelo, cadute di colore sparse, vernice postuma
Casa d'Aste Babuino
Jul. 14, 2021
SEGHERS, DANIEL (attr.)
Est: €10,000 - €15,000
SEGHERS, DANIEL (attr.) Antwerp 1590 - 1661 82,5 x 71 cm The Virgin with Christ Child in a stone cartouche, framed by a garland of flowers. Oil/cradled panel, remaining monogram. From a German collection. With an expert report by Dr. Jean-Pierre De Bruyn supporting an attribution as a collaboration of Jacob Jordaens and Frans Ykens.
Nagel Auction
Jul. 09, 2021
DANIEL SEGHERS (ANTWERP 1590-1661) A garland of roses and ivy suspended by
Est: £40,000 - £60,000
DANIEL SEGHERS (ANTWERP 1590-1661) A garland of roses and ivy suspended by ribbons, with a cabbage white and a... oil on panel 22 x 32 5/8 in. (55.8 x 82.9 cm.)
Christie's
Jul. 09, 2021
DANIEL SEGHERS (ANTWERP 1590-1661) A cartouche with the Virgin and Child su
Est: £60,000 - £80,000
DANIEL SEGHERS (ANTWERP 1590-1661) A cartouche with the Virgin and Child surrounded by swags of flowers oil on panel 27 x 21 ¼ in. (68.5 x 54 cm.)
Christie's
Jun. 24, 2021
Daniel Seghers, 1590 Antwerpen – 1661 ebenda
Est: €12,000 - €15,000
GROSSER BLÜTENKRANZ MIT ZENTRALER PFERDEDARSTELLUNG Öl auf Leinwand. Doubliert. 107 x 83 cm. Beigegeben eine Expertise von Dr. Klaus Ertz, Lingen, 5. März 2021, das Gemälde dem genannten Künstler zuschreibend sowie in die 1640er datierend. Das großformatige Gemälde im Aufbau eines Stilllebens, das in der Tradition der Brueghel-Bilder steht, wobei auch hier das Zentrum in Art eines Steinreliefs umgeben ist von Blumengebinden, Efeublättern und Strauchblüten. Im dunklen Hintergrund lässt sich eine große steingemeißelte Kartusche erkennen mit seitlichen Voluten oben sowie einem Sockel am Bildunterrand. Die Blüten erscheinen in fünf Gestecke zusammengefasst, symmetrisch um das Mittelbild gruppiert. Es sind überwiegend Frühsommerblüten wie geöffnete rosafarbene Rosen, weiße Malven, Anemonen und Nelken, dazwischen aber auch Distelblätter, die Blüte eines Zwiebelgewächses, Brombeeren und Efeublätter, die einen gedanklichen Kontrast zur Blütenpracht bilden. Die helleren Blüten leuchten auf, überwiegend in dem farblichen Gegensatz von Weiß und Rot, während das mittlere Oval ein wie in Stein gemeißeltes Relief in Form eines nach rechts stehenden Pferdes bildet. In der Regel sind solche Gemälde von der Hand zweier Maler, wie auch hier in der Pferdedarstellung eine andere Hand vermutet werden darf. Anmerkung: Daniel Seghers bildete sich unter Jan Brueghel d. Ä. (1568-1625) zum Blumenmaler aus und trat 1611 in die Malergilde von Antwerpen ein. Sein Eintritt in den Jesuitenorden führte ihn zu seiner Ausbildung und zu einem längeren Aufenthalt in Rom. Es ist bekannt, dass er auch mit anderen Malern zusammengearbeitet hat, vor allem auch bei seinen Blumenstillleben mit Steinrelief im Hintergrund, wie etwa das Gemälde im Kunsthistorischen Museum in Wien, bei dem das Relief von Simon de Vos (1603-1676) stammt. Gemälde seiner Hand finden sich in zahlreichen, bedeutenden, öffentlichen Museen und Sammlungen. (1260282) (11) Daniel Seghers, 1590 Antwerpen – 1661 ibid. LARGE FLORAL WREATH WITH CENTRAL HORSE ILLUSTRATION Oil on canvas. Relined. 107 x 83 cm. Accompanied by an expert’s report by Dr Klaus Ertz, Lingen, 5. March 2021, attributing the painting to the artist and dating the work to the 1640s.
Hampel Fine Art Auctions