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Gerard Seghers Sold at Auction Prices

Altarpiece painter, Painter, Historical-scenes painter, Genre Painter, b. 1591 - d. 1651

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        • Gérard Seghers, 1591 Antwerpen – 1651 ebenda, Umkreis des
          Mar. 21, 2024

          Gérard Seghers, 1591 Antwerpen – 1651 ebenda, Umkreis des

          Est: €10,000 - €15,000

          DIE VERLEUMDUNG DES PETRUS Öl auf Kupfer, mit Holzplatte hinterlegt. ca. 40 x 55 cm. Das vorliegende Gemälde ist eine fast seitenverkehrte Kopie eines Werkes des Künstlers mit dem Titel „Die Verleumdung des Heiligen Petrus“, das sich im North Carolina Museum of Art befindet. Der Titel des Gemäldes bezeichnet die in allen vier kanonischen Evangelien des Neuen Testaments berichtete dreimalige Verleumdung von Jesus durch den Apostel Petrus. Das Thema wurde unter anderem von dem italienischen Maler Caravaggio in seinem 1610 fertig gestellten Ölgemälde „Negazione di San Pietro“ aufgegriffen. Als Jesu Verhaftung auf dem Ölberg bevorstand sagte er seinem Jünger Petrus voraus, dass dieser ihn noch in derselben Nacht, ehe der Hahn krähe, dreimal verleumden werde. Als Jesus verhaftet wurde, folgte ihm Petrus bis in den Hof des Hohepriesters. Er setzte sich zu den Dienern ans Feuer, um sich zu wärmen wurde aber dabei von einer Magd bezichtigt ein Gefolgsmann Jesu zu sein, was Petrus abstritt. Die Nachtszene zeigt die an einem Tisch sitzenden und Karten spielenden Diener, während rechtsseitig der im grünen Untergewand mit gold-gelbem Mantel und Nimbus stehende Petrus von einer Magd erkannt wird. Sie ist in Rückenansicht mit rotem Gewand und weißer Schürze zu erkennen, wie sie ihn gerade mit erhobener Hand anklagt. Ein Soldat in Rüstung und Helm hält Petrus fest und lauscht seinen Worten. Ein vom Tisch aufgestandener Mann hält die Hand des die Vorwürfe abstreitenden Petrus und scheint mit seiner rechten ausgestreckten Hand die im Hintergrund linkstehenden bewaffneten Soldaten zu rufen. Ausdrucksstarke Malerei mit starker Hell-Dunkel-Akzentuierung, die deutlich den Einfluss Caravaggios erkennen lässt sowie mit prachtvoller Glanzwiedergabe der Stoffe der dargestellten Figuren.  Gérard Seghers war ein flämischer Maler, Kunstsammler und Kunsthändler. Nach einer Studienzeit und einem Aufenthalt in Rom kehrte er nach Flandern zurück, wo er einer der führenden Vertreter der flämischen Caravaggisti-Bewegung wurde. (1390814) (18) Gérard Seghers, 1591 Antwerp – 1651 ibid., circle of THE DENIAL OF SAINT PETER Oil on copper. ca. 40 x 55 cm. In gilt frame. The painting on offer for sale here is an inverted copy of a painting by the artist titled “The Denial of Saint Peter“ held at the North Carolina Museum of Art.

          Hampel Fine Art Auctions
        • Spectacular large oil painting on copper with the Mourning Virgin Mary in front of The Passion of Christ, attribution to Gerard Seghers (Antwerp, 1591-1651), Flemish school of Antwerp, 17th century
          Feb. 28, 2024

          Spectacular large oil painting on copper with the Mourning Virgin Mary in front of The Passion of Christ, attribution to Gerard Seghers (Antwerp, 1591-1651), Flemish school of Antwerp, 17th century

          Est: €10,000 - €15,000

          Oil on copper, good condition, measurements: 90 x 70 cm. Provenance: important private collection from Madrid.

          Templum Fine Art Auctions
        • GERARD SEGHERS (Flanders, 1596 – 1651). “The Ecstasy of San Francisco.” Oil on oak panel. Presents restorations and some repainting.
          Dec. 13, 2023

          GERARD SEGHERS (Flanders, 1596 – 1651). “The Ecstasy of San Francisco.” Oil on oak panel. Presents restorations and some repainting.

          Est: €80,000 - €90,000

          GERARD SEGHERS (Flanders, 1596 – 1651). “The Ecstasy of San Francisco.” Oil on oak panel. Presents restorations and some repainting. Measurements: 102 x 70 cm; 110 x 77 cm (frame). In this magnificent painting, the Flemish painter Gerard Seghers represents Saint Francis of Assisi partially reclining, with his eyes closed and his mouth half open while listening to the heavenly music of the violin played by an angel next to his ear. At the same time Murillo had also used the violinist angel to represent the ecstasy of Saint Francis. However, Seghers' stylistic references are rather close to Caravaggio, due to the dramatic chiaroscuro that chisels the features and extracts extremely naturalistic qualities from the flesh. Like the Italian tenebrist, Seghers neglects the stigmata engraved on the saint's hands, according to legend, focusing instead on the mystical intensity of the revelation. The twill of the habit is folded with expressive drapes, the plump face of the musician shines with candor, in contrast to the olive tone of the dying saint. The chromatic plasticity of Seghers' paintings combine the colorist legacy of Rubens and Caravaggist tenebrism, which gives his works a unique stamp. The scene is inspired by a passage from the writings of Saint Bonaventure, biographer of the founder of the Franciscan Order. Being seriously ill, while praying he began to hear music so beautiful that he thought he had already crossed the threshold into the eternal kingdom. Gerard Seghers was one of the most prominent Caravaggists in the southern Netherlands, author of historical and mythological paintings, although he stood out mainly as a religious painter. Initially trained with his brother Jan Baptista Seghers, he had Gaspr de Crayer as his main teacher. Other sources point to his training with Abraham Janssen or Hendrick van Balen. A teacher since 1608, in 1613 he was in Italy, probably for commercial reasons. There he contacted Caravaggio's followers, especially the Dutch circle, although it was Bartolomeo Manfredi who most influenced his work. Seghers will also travel through Spain, where he worked for Philip III. In the 1620s he returned to Antwerp, and after developing a period of strong Caravaggism he would evolve towards a more moderate mature style, with more homogeneous light, richer settings and more varied colors, as well as a more marked linearity. It is currently represented in the Prado Museum, 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
        • GERARD SEGHERS (ANVERSA 1591 - 1651) ALLIEVO/CERCHIA DI
          Dec. 05, 2023

          GERARD SEGHERS (ANVERSA 1591 - 1651) ALLIEVO/CERCHIA DI

          Est: €1,100 - €2,000

          Gerard Seghers (Anversa 1591 - 1651) allievo/cerchia di Gesù incoronato con le spine Olio su tela 67,5 x 55 cm Gerard Seghers si formò probabilmente nelle botteghe di Hendrick van Balen il Vecchio e di Abraham Janssens. Nel 1608 fu ammesso nella Gilda di San Luca. Tra il 1611 e il 1620 soggiornò in Italia, prima a Roma e poi a Napoli, poi si spostò a Madrid dove operò presso la corte di Filippo III re di Spagna. Tornato ad Anversa nel 1620, nel 1637 divenne pittore alla corte del principe-cardinale Ferdinando; nel 1646 fu nominato decano della Gilda, succedendo a Rubens quale pittore più ricco e famoso del suo tempo. Il suo stile risente della permanenza in Italia, soprattutto di Caravaggio e dei caravaggisti, tra i quali, a sua volta, rientra a pieno titolo. Oltre a questa componente, dopo il suo ritorno ad Anversa la sua pittura risentì dell’influenza di Rubens, soprattutto nelle giunoniche figure femminili e nella monumentalità scenica. Nella sua importante bottega operarono suo figlio Jean-Baptiste e Thomas Willeboirts Bosschaert. Gerard Seghers (Antwerp 1591 - 1651) pupil/circle of Jesus Crowned With Thorns Oil on canvas 67,5 x 55 cm

          Lucas Aste
        • Flemish school, 17th century. Circle of GERARD SEGHERS (Flanders, 1596 - 1651). Holy Family, Oil on panel. Chipped. It has restorations and repainting.
          Sep. 20, 2023

          Flemish school, 17th century. Circle of GERARD SEGHERS (Flanders, 1596 - 1651). Holy Family, Oil on panel. Chipped. It has restorations and repainting.

          Est: €2,500 - €3,000

          Flemish school, 17th century. Circle of GERARD SEGHERS (Flanders, 1596 - 1651). "Holy Family, Oil on panel. Chipped. It has restorations and repainting. Size: 104 x 85 cm; 153 x 111 x 6 cm (frame). Gerard Seghers made several versions of the Holy Family, showing the Child curled up on the Virgin's chest, and Saint Joseph next to them reading the Holy Scriptures, placing the group in a wooded place. The present Flemish painter follows Seghers' models in his composition, emphasising the maternal and filial intimacy and giving priority to a tranquil Marian model close to the Renaissance (rather than the Baroque ones of the same period). The precise drawing and clear palette are also close to Seghers. The flesh tones of the Virgin and Child are illuminated with a porcelain whiteness. The blue tunic and red mantle are draped with sensual, enveloping folds. In contrast to the motherhood, Joseph's countenance is darker and darker, leaving him in the background. The landscape note is part of the luminous exuberance. Gerard Seghers was one of the foremost Caravaggists of the southern Low Countries, a painter of 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 with a 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
        • OIL PAINTING BY GERARD SEGHERS, workshop of
          Jul. 18, 2023

          OIL PAINTING BY GERARD SEGHERS, workshop of

          Est: -

          GERARD SEGHERS, bottega di (Anversa 1591 - 1651) La negazione di Pietro Olio su tela, cm. 80 x 112 Rintelo novecentesco. Alcune linee di restauro sparse Cornice in legno argentato, scolpita a foglie e palmette, del XVIII secolo (supporto recente, difetti)

          Casa d'Aste Babuino
        • Gerard Seghers (Anversa, 1591 – Anversa, 1651) Il rinnegamento di Pietro
          May. 04, 2023

          Gerard Seghers (Anversa, 1591 – Anversa, 1651) Il rinnegamento di Pietro

          Est: €10,000 - €20,000

          “Pietro intanto se ne stava seduto fuori, nel cortile. Una serva gli si avvicinò e disse: «Anche tu eri con Gesù, il Galileo!». Ed egli negò davanti a tutti: «Non capisco che cosa tu voglia dire»”.Ad eccezione del fatto che la scena non è ambientata all’aperto, il momento descritto dal pittore è precisamente quello in cui l’apostolo viene riconosciuto da una donna, che lo accusa di essere complice di Gesù.In questo dipinto del fiammingo Gerard Seghers, viene messa in scena la più tipica rappresentazione della Manfrediana Methodus, utilizzata in questo caso per narrare un episodio biblico. Il pittore, già membro della Compagnia di San Luca di Anversa, giunge a Roma nel 1613 circa, dove entra in contatto con la pittura caravaggesca e più direttamente con uno dei più stretti estimatori dell’opera del Merisi, Bartolomeo Manfredi. Seghers apprezzerà molto le innovazioni apportate dai caravaggeschi in campo compositivo e luministico, al punto da farle completamente proprie e unendole alla perizia fiamminga nella resa dei dettagli, come ad esempio quelli degli abiti.L’attenuarsi dei toni della sua tavolozza sono dovuti probabilmente all’influsso che ebbe su di lui Rubens, dopo il suo ritorno nella natale Anversa. Rispetto alle opere del suo primo periodo romano, caratterizzata da colori freddi e contrasti luminosi molto intensi, qui il dipinto appare molto più caldo e intimo.Bibl.: D. Bodart, A. Moir, A. E. Perez Sanchez, P. Rosenberg, Caravaggisti, Firenze, Art e dossier Giunti, 1996.

          Telearte
        • GERARD SEGHERS (FLEMISH, 1591-1651) SIGNED BY ARTIST
          Feb. 25, 2023

          GERARD SEGHERS (FLEMISH, 1591-1651) SIGNED BY ARTIST

          Est: $50,000 - $60,000

          "Der Auferstandene Christus" (The Risen Christ), oil and colored glazes on copper, signed with initials on the sarcophagus seal, in carved and gilt modern frame, depicting Christ ascending in his glory waving the banner with the Cross of St George, soldiers gathered around the tomb asleep and awakened, the sun rising behind, in modern carved gilt frame, OS: 34" x 30", SS: 24 3/4" x 19 3/4", light bends at top and to right edge, scattered small scale retouching, revarnished. Said to be the largest Dutch painting on copper on the west coast. Includes letter of authentication from Peter C. Sutton, Director Emeritus of the Bruce Museum, Greenwich, Conn.

          Thomaston Place Auction Galleries
        • Gerard Seghers, Nicolaes Lauwers, Saint Cecilia with three music-making angels
          Dec. 15, 2022

          Gerard Seghers, Nicolaes Lauwers, Saint Cecilia with three music-making angels

          Est: €950 - €1,250

          Saint Cecilia with three music-making angels playing the lute, flute and a violin on the table. Engraving made by Nicolaes Lauwers (1600-1652) after Gerard Seghers (1591-1651) made and published in Antwerp ca 1619-1652. Hollstein Dutch 13. Superb dark early impression of this engraving with claire-obscure effect. Printed on thin laid paper, just in the margins, image is complete. Printers crease at the right below, nearly visible.

          Old Master Print
        • OIL PAINTING BY THE WORKSHOP OF GERARD SEGHERS
          Dec. 14, 2022

          OIL PAINTING BY THE WORKSHOP OF GERARD SEGHERS

          Est: €2,000 - €2,500

          GERARD SEGHERS, bottega di (Anversa 1591 - 1651) LA NEGAZIONE DI PIETRO Olio su tela, cm. 80 x 112 PROVENIENZA Famiglia romana CONDIZIONI DEL DIPINTO Rintelo novecentesco. Alcune linee di restauro sparse CORNICE Cornice in legno argentato, scolpita a foglie e palmette, del XVIII secolo (supporto recente, difetti)

          Casa d'Aste Babuino
        • Gérard Seghers, 1591 Antwerpen – 1651 ebenda
          Dec. 08, 2022

          Gérard Seghers, 1591 Antwerpen – 1651 ebenda

          Est: €5,000 - €7,000

          Maria mit dem Jesuskind an der Brust Öl auf Leinwand, auf Holz. 74 x 54 cm In dekorativem Rahmen. Beigegeben ein ausführliches Gutachten von Mario F. Samoticha, Bochum, vom 15. April 2010, der das Gemälde in die 1630er-Jahre des Künstlers in Antwerpen datiert. Vor dunklem Hintergrund die leicht nach vorne gebeugt sitzende Maria in rotem Gewand, blauem Mantel, mit dunklen Haaren und Nimbus. Hinter ihr am rechten Rand der flämische Lehnstuhl mit einem kugelbekrönten Pfosten zu erkennen. In ihrem Schoß das nackte Jesuskind auf einem weißen Tuch haltend. Durch die Farbigkeit, Komposition und vor allem durch die Behandlung der Fleischlichkeit offenbart das Gemälde seinen flämischen Ursprung. Die Malerei zudem mit starken Hell-Dunkel-Kontrasten. Vereinzelt kleine Retuschen. Provenienz: Sammlung, Brüssel. Privatsammlung, Niederrhein. (13411518) (18)

          Hampel Fine Art Auctions
        • Gerard SEGHERS Anvers, 1591 - 1651 Saint François d'Assise en adoration Toile
          Nov. 09, 2022

          Gerard SEGHERS Anvers, 1591 - 1651 Saint François d'Assise en adoration Toile

          Est: €10,000 - €12,000

          Gerard SEGHERS Anvers, 1591 - 1651 Saint François d'Assise en adoration Toile (Restaurations anciennes, peut-être réduit sur la partie gauche) Sans cadre Saint Francis of Assisi in Adoration, canvas, by G. Seghers h: 104 w: 75 cm Commentaire : Nous pouvons rapprocher notre tableau de la partie droite d'une composition plus grande représentant 'Saint François d'Assise et sainte Claire en adoration de l'enfant Jésus', connue par la gravure de Pieter de Jode II d'après Gérard Seghers (fig. 1) et par une autre de Pierre Daret, dont une version est passée en vente à Paris en 20151. Notre toile, encore marquée par le caravagisme, peut être située après le retour de l'artiste d'Italie et d'Espagne, à la fin des années 1620. Nous remercions la professeur Anne Delvingt d'avoir confirmé l'attribution à Gérard Seghers par examen de visu le 6 juin 2022. 1. Vente anonyme ; Paris, Christie's, 30 mars 2015, n°35, voir D. Bieneck, 'Gerard Seghers, 1591-1651 ; Leben und Werk des Antwerpener Historienmalers', Lingen, 1992, p. 159 -160, " tableau disparu connu par la gravure ". Estimation 10 000 - 12 000 €

          Artcurial
        • Gerard Seghers (Anversa, 1591 – Anversa, 1651) Il rinnegamento di Pietro
          Nov. 04, 2022

          Gerard Seghers (Anversa, 1591 – Anversa, 1651) Il rinnegamento di Pietro

          Est: €24,000 - €33,000

          “Pietro intanto se ne stava seduto fuori, nel cortile. Una serva gli si avvicinò e disse: «Anche tu eri con Gesù, il Galileo!». Ed egli negò davanti a tutti: «Non capisco che cosa tu voglia dire»”.Ad eccezione del fatto che la scena non è ambientata all’aperto, il momento descritto dal pittore è precisamente quello in cui l’apostolo viene riconosciuto da una donna, che lo accusa di essere complice di Gesù.In questo dipinto del fiammingo Gerard Seghers, viene messa in scena la più tipica rappresentazione della Manfrediana Methodus, utilizzata in questo caso per narrare un episodio biblico. Il pittore, già membro della Compagnia di San Luca di Anversa, giunge a Roma nel 1613 circa, dove entra in contatto con la pittura caravaggesca e più direttamente con uno dei più stretti estimatori dell’opera del Merisi, Bartolomeo Manfredi. Seghers apprezzerà molto le innovazioni apportate dai caravaggeschi in campo compositivo e luministico, al punto da farle completamente proprie e unendole alla perizia fiamminga nella resa dei dettagli, come ad esempio quelli degli abiti.L’attenuarsi dei toni della sua tavolozza sono dovuti probabilmente all’influsso che ebbe su di lui Rubens, dopo il suo ritorno nella natale Anversa. Rispetto alle opere del suo primo periodo romano, caratterizzata da colori freddi e contrasti luminosi molto intensi, qui il dipinto appare molto più caldo e intimo.Bibl.: D. Bodart, A. Moir, A. E. Perez Sanchez, P. Rosenberg, Caravaggisti, Firenze, Art e dossier Giunti, 1996.

          Telearte
        • GERARD SEGHERS (FLEMISH, 1591-1651) SIGNED BY ARTIST
          Jul. 09, 2022

          GERARD SEGHERS (FLEMISH, 1591-1651) SIGNED BY ARTIST

          Est: $100,000 - $150,000

          "Der Auferstandene Christus" (The Risen Christ), oil and colored glazes on copper, signed with initials on the sarcophagus seal, in carved and gilt modern frame, depicting Christ ascending in his glory waving the banner with the Cross of St George, soldiers gathered around the tomb asleep and awakened, the sun rising behind, in modern carved gilt frame, OS: 34" x 30", SS: 24 3/4" x 19 3/4", light bends at top and to right edge, scattered small scale retouching, revarnished. Said to be the largest Dutch painting on copper on the west coast. Includes letter of authentication from Peter C. Sutton, Director Emeritus of the Bruce Museum, Greenwich, Conn.

          Thomaston Place Auction Galleries
        • GERARD SEGHERS (1591-1651) (FOLLOWER)
          Jun. 08, 2022

          GERARD SEGHERS (1591-1651) (FOLLOWER)

          Est: €2,000 - €3,000

          Penitent Mary Magdalene. Canvas. The posture of Mary Magdalene is comparable to a the posture of the saint in a painting by Gerard Seghers' sold at Sotheby's, New York, 28.01.2021, lot 8. Lucas Vorsterman I (1595-1674/75) made an engraving after this painting (see Rijksmuseum inv. RP-P-1883-A-7378). Thanks to this print, this depiction of Mary Magdalene, lying on her side, became diffused and accessible to other artists who reused it as a kind of 'cut-and-paste work' in their own compositions, as, for example, in a fine landscape attributed to Jan van Balen (1611-1654) sold at Hampel in Munich on 19.09.2009, lot 247 (see RKDimages 198184). Description FR Marie Madeleine pénitente. Toile. Beschrijving NL Boetvaardige Maria Magdalena. Doek. De houding van de liggende Maria Magdalena is gelijkaardig aan Gerard Seghers' schilderij verkocht bij Sotheby's, New York, 28.01.2021, lot 8. Diens compositie werd in prent gebracht door Lucas Vorsterman I (1595-1674/75) (zie Rijksmuseum inv. RP-P-1883-A-7378). Dankzij deze prent werd deze weergave van Maria Magdalena, op haar zij gelegen, verspreid en toegankelijk voor andere kunstenaars die het als een soort 'knip-en-plakwerk' hergebruikten in hun eigen composities zoals bijvoorbeeld in een fraai landschap toegeschreven aan Jan van Balen (1611-1654) verkocht bij Hampel in München op 19.09.2009, lot 247 (zie RKDimages 198184).

          Bernaerts Auctioneers
        • GERARD SEGHERS (Flanders, 1596 – 1651). "The Flagellation". Oil on copper. It has an adapted 19th century frame with damage to the carving.
          Feb. 10, 2022

          GERARD SEGHERS (Flanders, 1596 – 1651). "The Flagellation". Oil on copper. It has an adapted 19th century frame with damage to the carving.

          Est: €5,000 - €6,000

          GERARD SEGHERS (Flanders, 1596 - 1651). "The Flagellation". Oil on copper. It has an adapted 19th century frame with damage to the carving. Measurements: 34 x 26 cm; 47,5 x 39 cm (frame). As far as the iconography is concerned, we find the flagellation of Christ, kneeling and bent down next to the column. Throughout the History of Art, and especially from the Middle Ages onwards, the representation of the Flagellation of Christ tied to the Column has been one of the themes most frequently treated by artists, making this one of the moments in which they could best express the suffering of Christ during the Passion. It also served as a source of inspiration for numerous mystical writers who recreated the crudeness of the moment, even recounting the number of lashes Christ received, sometimes with exaggerated figures such as the 5475 blows of which Saint Bridget speaks. Moreover, this iconography was very powerful in fostering popular devotion, since the faithful are moved by a man who is unjustly scourged. Stylistically, we observe this iconographic typology for the exaltation of the body of a young man, a figure that stands out from the rest because he is stripped of his clothes. Furthermore, in this representation, Christ's body emanates a light that makes us focus our attention on his figure. The scene takes place in the Praetorium in Jerusalem, the centre of Roman power, where Christ has arrived for the second and last time, after passing through various stages. He is exhibited before the crowd ("Ecce Homo"), who preferred to free Barabbas rather than him and, either before or after this exhibition, he is stripped of his clothes and tied to a pillar, where he is subjected to mockery concerning his alleged crime, being "king of the Jews", and torture, including scourging and the crowning with thorns. Aesthetically the work is close to the painting 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
        • GERARD SEGHERS (1591 / 1651) "Christ after the Scourging"
          Dec. 16, 2021

          GERARD SEGHERS (1591 / 1651) "Christ after the Scourging"

          Est: €10,500 - €14,000

          Similar composition by Seghers in the Musée des Beaux-Arts in Reims (oil on canvas, 90 x 150.5 cm). Oil on copper. 35 x 26 cm

          Ansorena
        • Seghers, Gerard: nach. Maria mit Kiind und Engel
          Dec. 01, 2021

          Seghers, Gerard: nach. Maria mit Kiind und Engel

          Est: €500 - €750

          nach. Maria das Kind anbetend mit einem Engel. Radierung und Kupferstich. 27,9 x 22,5 cm. "Io. Meyssens excudit". Nicht bei Hollstein. Wz. Bekröntes Wappen mit Fleur-de-lis. Ganz ausgezeichneter, lebendiger Druck dieses wohl unbeschriebenen Blattes mit teils zartem Plattenton und gleichmäßig feinem Rändchen um die Plattenkante. Verso leichte geglättete, kaum sichtbare horizontale Mittelfalte mit zarten Trockenfältchen, oben mittig unmerklich ausgebesserte Läsur, verso kleine Montierungsrestchen und einzelne Bleistiftannotationen, sonst in sehr schöner Erhaltung. Selten. - 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.

          Galerie Bassenge
        • Bieneck - Gerard Seghers
          Nov. 20, 2021

          Bieneck - Gerard Seghers

          Est: €120 - €150

          Bieneck, D. Gerard Seghers. 1591 - 1651. Leben und Werk des Antwerpener Historienmalers. Lingen, Luca, 1992. 309 S., 1 Bl. Mit sehr zahlr., vereinzelt farb. Textabb. 4°. OLwd. mit farb. illustr. OU. Aus der SØR Rusche Collection.

          Auktionshaus Schramm
        • The denial of Peter
          Sep. 29, 2021

          The denial of Peter

          Est: €24,000 - €33,000

          Except for the fact that the scene is not set in the open air, the moment described by the painter is precisely when the Apostle is recognised by a woman, who accuses him of being an accomplice of Jesus. In this painting by the Flemish artist Gerard Seghers, the most typical representation of the Manfredian Methodus narrating a biblical episode is staged. The painter, a former member of the Compagnia di San Luca in Antwerp, arrived in Rome around 1613, where he came into contact with Caravaggio’s painting and more directly with one of the closest admirers of Merisi’s work, Bartolomeo Manfredi. Seghers greatly appreciated the innovations made by the Caravaggesque painters in the field of composition and luminosity, to the extent that he made them his own and combined them with Flemish expertise in the rendering of details such as the clothes. Compared to the works of his early Roman period, characterised by cold colours and very intense light contrasts, here, the painting appears much warmer and more intimate.

          Telearte
        • Gérard Seghers, 1591 Antwerpen – 1651 ebenda, Umkreis
          Sep. 23, 2021

          Gérard Seghers, 1591 Antwerpen – 1651 ebenda, Umkreis

          Est: €15,000 - €25,000

          RefOld13921 DIE VERLEUMDUNG DES PETRUS Öl auf Kupfer. Ca. 40 x 55 cm. In vergoldetem Rahmen.Das vorliegende Gemälde ist eine fast seitenverkehrte Kopie eines Werkes des Künstlers mit dem Titel „Die Verleumdung des Heiligen Petrus“, das sich im North Carolina Museum of Art befindet. Der Titel des Gemäldes bezeichnet die in allen vier kanonischen Evangelien des Neuen Testaments berichtete dreimalige Verleumdung von Jesus durch den Apostel Petrus. Das Thema wurde unter anderem von dem italienischen Maler Caravaggio in seinem 1610 fertig gestellten Ölgemälde „Negazione di San Pietro“ aufgegriffen. Als Jesu Verhaftung auf dem Ölberg bevorstand sagte er seinem Jünger Petrus voraus, dass dieser ihn noch in derselben Nacht, ehe der Hahn krähe, dreimal verleumden werde. Als Jesus verhaftet wurde, folgte ihm Petrus bis in den Hof des Hohepriesters. Er setzte sich zu den Dienern ans Feuer, um sich zu wärmen wurde aber dabei von einer Magd bezichtigt ein Gefolgsmann Jesu zu sein, was Petrus abstritt. Die Nachtszene zeigt die an einem Tisch sitzenden und Karten spielenden Diener, während rechtsseitig der im grünen Untergewand mit gold-gelbem Mantel und Nimbus stehende Petrus von einer Magd erkannt wird. Sie ist in Rückenansicht mit rotem Gewand und weißer Schürze zu erkennen, wie sie ihn gerade mit erhobener Hand anklagt. Ein Soldat in Rüstung und Helm hält Petrus fest und lauscht seinen Worten. Ein vom Tisch aufgestandener Mann hält die Hand des die Vorwürfe abstreitenden Petrus und scheint mit seiner rechten ausgestreckten Hand die im Hintergrund linkstehenden bewaffneten Soldaten zu rufen. Ausdrucksstarke Malerei mit starker Hell-Dunkel-Akzentuierung, die deutlich den Einfluss Caravaggios erkennen lässt sowie mit prachtvoller Glanzwiedergabe der Stoffe der dargestellten Figuren. Gérard Seghers war ein flämischer Maler, Kunstsammler und Kunsthändler. Nach einer Studienzeit und einem Aufenthalt in Rom kehrte er nach Flandern zurück, wo er einer der führenden Vertreter der flämischen Caravaggisti-Bewegung wurde. (12816615) (18) Gérard Seghers, 1591 Antwerp – 1651 ibid., circle ofTHE DENIAL OF SAINT PETER Oil on copper.Ca. 40 x 55 cm.In gilt frame. The painting on offer for sale here is an inverted copy of a painting by the artist titled “The Denial of Saint Peter” held at the North Carolina Museum of Art.

          Hampel Fine Art Auctions
        • Gerard Seghers o Segers (Anversa, 1591 - 1651) bottega
          Sep. 14, 2021

          Gerard Seghers o Segers (Anversa, 1591 - 1651) bottega

          Est: €4,000 - €6,000

          Gerard Seghers o Segers (Anversa, 1591 - 1651) bottega/workshop Gesù in casa di Marta e Maria Olio su tela Jesus in Martha and Maria's house Oil on canvas 134 × 188 cm L’opera in esame è una copia tratta dall’originale ora conservato a Madrid, al Museo del Prado. Gerard Seghers i forma probabilmente nelle botteghe di Hendrick van Balen il Vecchio e di Abraham Janssens, nel 1608 è ammesso nella Gilda di San Luca. Tra il 1611 e il 1620 soggiorna in Italia, prima a Roma e poi a Napoli, dove opera al servizio del Cardinale Zapata y Mendoza. In seguito lo ritroviamo a Madrid, ove, per alcuni anni, opera presso la corte di Filippo III re di Spagna. Tornato ad Anversa nel 1620, nel 1637 diventa pittore alla corte del principe-cardinale Ferdinando; nel 1646 è nominato decano della gilda, succedendo a Rubens quale pittore più ricco e famoso del suo tempo. Il suo stile risente della permanenza in Italia, soprattutto di Caravaggio e dei caravaggisti, tra i quali, a sua volta, rientra a pieno titolo. Oltre a questa componente, dopo il suo ritorno ad Anversa la sua pittura risente dell’influenza di Rubens, soprattutto nelle giunoniche figure femminili e nella monumentalità scenica. Nella una sua importante bottega operano suo figlio Jean-Baptiste e Thomas Willeboirts Bosschaert. È molto probabile che il dipinto in questione sia una replica di bottega, vista la non trascurabile qualità, realizzata dagli aiuti sotto la direzione e correzione in corso d’opera del maestro

          Lucas Aste
        • GERARD SEGHERS (Flanders, 1596 - 1651). "Salome and Herodias with the Baptist's Head," ca. 1625. Oil on canvas. Re-drawn in the 20th century. Appreciable the original seams of both linen fabrics.
          Jun. 01, 2021

          GERARD SEGHERS (Flanders, 1596 - 1651). "Salome and Herodias with the Baptist's Head," ca. 1625. Oil on canvas. Re-drawn in the 20th century. Appreciable the original seams of both linen fabrics.

          Est: €50,000 - €60,000

          GERARD SEGHERS (Flanders, 1596 - 1651). "Salome and Herodias with the Baptist's Head," ca. 1625. Oil on canvas. Re-drawn in the 20th century. Appreciable the original seams of both linen fabrics. Measures: 131 x 124,5 cm. We are in front of a work corresponding to the production in Antwerp of Gerard Seghers, realized to his return of Italy in 1620, a moment in which the caravaggista lexicon of the painter gave step to the colorist and monumental influence of the classic period of Rubens (1610-1612). It is worth noting how there is another version of the same painting, signed "Gdo. Segers ft", from the Royal Palace of Madrid, of smaller size (100 x 134), which Matías Díaz Padrón dates for stylistic reasons around 1625. As for the canvas that concerns us, it is worth noting the relationship with the work of the Flemish master Pablo Rubens: on the one hand, the models and the composition are eminently Rubensian; on the other hand, the figures of the executioner sheathing the sword recall Rubens' drawing dated around 1601 of the Albertina in Vienna, while the old woman alludes to the design of the Fedor Museum, two works that were later engraved by Pontius and that are supposed to be previous projects for a painting by Rubens that has now disappeared, but that could have been seen by Seghers himself. Díaz Padrón recalls that the Inventory of the Retiro of 1747 records a painting of these characteristics in the name of G. Seghers (no. 1888). Thus, we are in front of a completely Caravaggist scene in which the moment in which Salome has already beheaded St. John the Baptist is represented, showing herself proud of her feat. According to tradition, Salome, a woman of great beauty, danced for her stepfather, who enthusiastically offered to grant her the prize she desired. Then the young woman asked, following her mother's instructions, for the Baptist's head, which was given to her "on a silver platter". This biblical story has often been depicted in painting, as it offers the possibility of depicting exotic settings and half-naked women without abandoning the biblical repertoire.Gerard Seghers was one of the most prominent Caravaggists of the Southern Netherlands, author of historical and mythological paintings, although he excelled mainly as a religious painter. Initially trained with his brother Jan Baptista Seghers, his main teacher was Gaspr de Crayer. Other sources point to his training with Abraham Janssen or Hendrick van Balen. Master since 1608, in 1613 he was in Italy, probably for commercial reasons. There he made contact with the followers of Caravaggio, especially with the Dutch circle, although it was Bartolomeo Manfredi who most influenced his work. Seghers also traveled to Spain, where he worked for Philip III. In the 1620s he returned to Antwerp, and after developing a period of strong Caravaggism, he evolved towards a more moderate mature style, with a more homogeneous light, richer settings and more varied colors, as well as a more marked linearity. He is currently represented in the Prado Museum, the Galleria Nazionale d'Arte Antica in Rome, the Hermitage in St. Petersburg, the Louvre in Paris, the Rijksmuseum in Amsterdam and many other important collections.

          Setdart Auction House
        • GERARD SEGHERS (Flanders, 1596 - 1651). "Salomé and Herodías with the head of the Baptist", towards 1625. Oil on canvas. Rentered in the 20th century. The original seams of both linen fabrics are appreciable.
          Mar. 11, 2021

          GERARD SEGHERS (Flanders, 1596 - 1651). "Salomé and Herodías with the head of the Baptist", towards 1625. Oil on canvas. Rentered in the 20th century. The original seams of both linen fabrics are appreciable.

          Est: €80,000 - €90,000

          GERARD SEGHERS (Flanders, 1596 - 1651). "Salomé and Herodías with the head of the Baptist", towards 1625. Oil on canvas. Rentered in the 20th century. The original seams of both linen fabrics are appreciable. Measurements: 131 x 124.5 cm. This is a work corresponding to the Antwerp production of Gerard Seghers, made upon his return from Italy in 1620, a time when the Caravaggist lexicon of the painter gave way to the colorful and monumental influence of the classical period of Rubens (1610-1612). It is worth noting how there is another version of the same painting, signed "Gdo. Segers ft", from the Royal Palace of Madrid, of smaller size (100 x 134), which Matías Díaz Padrón dates for stylistic reasons around 1625. As for the canvas that concerns us, it is worth noting the relationship with the work of the Flemish master Pablo Rubens: on the one hand, the models and the composition are eminently Rubensian; on the other hand, the figures of the executioner sheathing the sword recall Rubens' drawing dated around 1601 of the Albertina in Vienna, while the old woman alludes to the design of the Fedor Museum, two works that were later engraved by Pontius and that are supposed to be previous projects for a painting by Rubens that has now disappeared, but that could have been seen by Seghers himself. Díaz Padrón recalls that the Inventory of the Retiro of 1747 records a painting of these characteristics in the name of G. Seghers (no. 1888). Thus, we are in front of a completely Caravaggist scene in which the moment in which Salome has already beheaded St. John the Baptist is represented, showing herself proud of her feat. According to tradition, Salome, a woman of great beauty, danced for her stepfather, who enthusiastically offered to grant her the prize she desired. Then the young woman asked, following her mother's instructions, for the Baptist's head, which was given to her "on a silver platter". This biblical story has often been depicted in painting, as it offers the possibility of depicting exotic settings and half-naked women without abandoning the biblical repertoire.Gerard Seghers was one of the most prominent Caravaggists of the Southern Netherlands, author of historical and mythological paintings, although he excelled mainly as a religious painter. Initially trained with his brother Jan Baptista Seghers, his main teacher was Gaspr de Crayer. Other sources point to his training with Abraham Janssen or Hendrick van Balen. Master since 1608, in 1613 he was in Italy, probably for commercial reasons. There he made contact with the followers of Caravaggio, especially with the Dutch circle, although it was Bartolomeo Manfredi who most influenced his work. Seghers also traveled to Spain, where he worked for Philip III. In the 1620s he returned to Antwerp, and after developing a period of strong Caravaggism, he evolved towards a more moderate mature style, with a more homogeneous light, richer settings and more varied colors, as well as a more marked linearity. He is currently represented in the Prado Museum, the Galleria Nazionale d'Arte Antica in Rome, the Hermitage in St. Petersburg, the Louvre in Paris, the Rijksmuseum in Amsterdam and many other important collections.

          Setdart Auction House
        • JUDITH UND HOLOFERNES
          Sep. 12, 2020

          JUDITH UND HOLOFERNES

          Est: €500 - €1,000

          GERARD SEGHERS (SCHOOL/WORKSHOP) 1591 Antwerpen - 1651 Ibid JUDITH AND HOLOFERNES Oil on canvas (old relined). 100 x 80 cm (F. 105 x 85 cm). Part. min. old restored. Frame. Provenance: Rhenish Private Collection. GERARD SEGHERS (SCHULE/WERKSTATT) 1591 Antwerpen - 1651 Ebenda JUDITH UND HOLOFERNES Öl auf Leinwand (altdoubl.). 100 x 80 cm (R. 105 x 85 cm). Part. min. altrest. Rahmen. Provenienz: Rheinische Privatsammlung.

          Hargesheimer Kunstauktionen Düsseldorf
        • Ecole Italienne du XVIIe siècle, d’après Gerard SEGHERS (1591-1651) - Re
          Jun. 13, 2020

          Ecole Italienne du XVIIe siècle, d’après Gerard SEGHERS (1591-1651) - Re

          Est: €1,500 - €2,000

          Ecole Italienne du XVIIe siècle, d’après Gerard SEGHERS (1591-1651) Reniement de Saint-Pierre Huile sur toile 67 x 80 cm (Restauration, toile pliée cadre en bois doré et palmettes dorées)

          Côte Basque Enchères
        • Gérard Seghers, 1591 – 1651, seitenverkehrte Kopie nach
          Dec. 05, 2019

          Gérard Seghers, 1591 – 1651, seitenverkehrte Kopie nach

          Est: €8,000 - €12,000

          DER HEILIGE SEBASTIAN Öl auf Holz. 39,5 x 30,5 cm. 17. Jahrhundert. Vor weiter Landschaft der mit den Armen an einen Baum gebundene, sterbende Heilige Sebastian mit Pfeilen in seinem athletischen fahlen Körper, der Kopf mit den langen Haaren leicht herabhängend. Ein kleiner Putto mit rotem Gewand und Flügeln versucht, einen Pfeil aus dem Körper des Heiligen zu ziehen. Am Boden, im Vordergrund links, ist ein Bogen und ein Pfeil zu erkennen. Der helle Körper des Heiligen wird lediglich von einem weißen Lendenschurz bedeckt. Im Hintergrund ein aufziehendes Gewitter mit dichten grauen Wolken erkennbar. Für die Zeit typische Darstellung des Heiligen Sebastian. (12113113) (18) Gérard Seghers, 1591 – 1651, inverted copy after SAINT SEBASTIAN Oil on panel. 39.5 x 30.5 cm. 17th century. Depiction of Saint Sebastian typical for this period.

          Hampel Fine Art Auctions
        • 17th Cent. Flemish oil on canvas attributed to/by the atelier of Gerard Seghers with old wax stamps
          Oct. 05, 2019

          17th Cent. Flemish oil on canvas attributed to/by the atelier of Gerard Seghers with old wax stamps

          Est: €1,000 - €3,000

          17th Cent. Flemish oil on canvas attributed to/by the atelier of Gerard Seghers with old wax stamps (with monogram) and an old auction label referring to the lawyer Olivier SEGHERS GERARD (1591-1651) - VLAAMSE SCHOOL - 17° EEUW olieverfschilderij op doek met de voorstelling van "St-Anna-ten-Drieën met Johannes" - 145 x 115 toegeschreven aan / atelier van herkomst : volgens de overleden eigenaar : het kasteel van Rillaar met op verso twee oude lakzegels met monogram en een oud etiket van "Salle de Ventes René Fonteyn - Louvain" verwijzend naar Advocaat Oliviers nagezien door expert J.P De Bruyn

          DVC
        • Suiveur de Gérard SEGHERS (Anvers 1591-1651)
          Dec. 13, 2018

          Suiveur de Gérard SEGHERS (Anvers 1591-1651)

          Est: €3,000 - €5,000

          Le Reniement de saint Pierre Huile sur toile. Dim : 98 x 158 cm

          Hotel des Ventes Mosan
        • GERARD SEGHERS (1591-1651) (kopie naar) De verloochening van Petrus (Mattheus 26:69-75).
          Dec. 10, 2018

          GERARD SEGHERS (1591-1651) (kopie naar) De verloochening van Petrus (Mattheus 26:69-75).

          Est: €800 - €1,000

          GERARD SEGHERS (1591-1651) (kopie naar) De verloochening van Petrus (Mattheus 26:69-75). Doek. Late kopie naar het Carravageske tafereel van Gerard Seghers. Mogelijk stond deze kunstenaar onder invloed van de Utrechtse carravagisten. Gebaseerd op de gravure door S.A. Bolswert uit ca. 1625-1630 naar een compositie van Gerard Seghers waarvan er verschillende versies bestaan (o.a. Scone Palace, Perth, Schotland, 153 x 203, Raleigh North Carolina, Museum of Art, 156 x 226). Hollstein, III, s.v., S.A. Bolswert, p. 73, nr. 15, 373 x 474 mm 73 x 108 GERARD SEGHERS (1591-1651) (copie d'après) Le Reniement de Pierre (Matt. 26:69-75). Toile. Copie tardive de l'oeuvre carravagesque de Gerard Seghers, d'un artiste sous l'influence des carravagistes d'Utrecht. Basée sur la gravure de S.A. Bolswert de 1625-1630 d'après une composition de Gerard Seghers dont il existe plusieurs versions (e.a. Scone Palace, Perth, Ecosse, 153 x 203; Raleigh North Carolina, Museum of Art, 156 x 226). Hollstein, III, s.v., S.A. Bolswert, p. 73, nr. 15, 373 x 474 mm 73 x 108 ENGLISH GERARD SEGHERS (1591-1651) (copie of) The denial of Peter (Matt. 26: 69-75). Late copy after the carravagesque scene by Gerard Seghers. Possibly this artist was influenced by the Utrecht carravagists. Based on the engraving by S.A. Bolswert from ca. 1625-1630 after a composition by Gerard Seghers known in several versions (Scone Palace, Perth, Scotland, 153 x 203, Raleigh North Carolina, Museum of Art, 156 x 226). Hollstein, III, s.v., S.A. Bolswert, p. 73, No. 15, 373 x 474 mm 73 x 108

          Bernaerts Auctioneers
        • GERARD SEGHERS (attr. a)
          Nov. 29, 2018

          GERARD SEGHERS (attr. a)

          Est: €3,000 - €5,000

          (Anversa, 1591 - 1651) Carità Romana Olio su tela, cm 125X150 Il dipinto raffigura l'episodio di Cimone e la figlia Pero, narrato dallo storico romano Valeriano Massimo (I secolo d.C.) nell'opera dal titolo 'Fatti e detti memorabili'. Si tratta visibilmente di un'Allegoria dell'Amore Filiale, soggetto assai frequentato dagli artisti italiani e fiamminghi in età barocca. I caratteri di stile e scrittura suggeriscono una datazione al XVII secolo ed un autore partecipe della cultura naturalistica italianizzante. In questo caso indichiamo l'attribuzione collezionistica, consapevoli che data la forte ossidazione dell'opera è difficile poter esprimere con certezza ipotesi attributive. L'esecuzione mostra una interessante qualità, così l'impianto disegnativo e i pigmenti, basti osservare il panno rosso al centro della scena.

          Wannenes Art Auctions
        • Attribué à Gerard SEGHERS (Anvers 1591 - 1651)
          Nov. 09, 2018

          Attribué à Gerard SEGHERS (Anvers 1591 - 1651)

          Est: €40,000 - €60,000

          Laissez venir à moi les petits enfants Toile
111 x 150 cm 
Please note the attribution to Caspar de CRAYER in the paper catalog is wrong

          Leclere - Maison de ventes
        • Late 16th century French cupboard.
          May. 02, 2018

          Late 16th century French cupboard.

          Est: €6,000 - €8,000

          *Kast. Notelaar. Voorzien van vier deuren en twee laden. In twee delen. Fraai gesculpteerd decor op de kroonlijst van engelenkopjes, op de deuren van een strijdtafereel van ruiters voor een landschap, op de laden van monsterkoppen met gebladerte en op de stijlen van hermenvormige bustes van een ridder, een naakte vrouw, vruchten en plantenslingers. Op de zijkanten Renaissance panelen met engelen en leeuwenkopjes. Laat 16de eeuws Frans werk, Bourgogne-Lyon ? Geen afgeplatte bolpoten. 186 x 142 x 54 *Kast. Notelaar. Voorzien van vier deuren en twee laden. In twee delen. Fraai gesculpteerd decor op de kroonlijst van engelenkopjes, op de deuren van een strijdtafereel van ruiters voor een landschap, op de laden van monsterkoppen met gebladerte en op de stijlen van hermenvormige bustes van een ridder, een naakte vrouw, vruchten en plantenslingers. Op de zijkanten Renaissance panelen met engelen en leeuwenkopjes. Laat 16de eeuws Frans werk, Bourgogne-Lyon ? Geen afgeplatte bolpoten. 186 x 142 x 54 Armoire à deux corps, partie supérieure en retrait. Noyer sculpté ouvrant à quatre vantaux et deux tiroirs en ceinture. Sur la corniche décor sculpté de têtes d'angelot. Panneaux du corps supérieur et inférieur à décor d'hommes à cheval devant un paysage. Tiroirs à décor de têtes de monstre et de feuilles et montants à décor de bustes en gaine d'un chevalier, d'une femme nue, de fruits et de guirlandes de plantes. Sur les côtés panneaux à décor d'anges et de têtes de lion. Travail français de la fin du 16ème siècle, probablement de Bourgogne ou de Lyon. Pas de pieds à sphère aplatis. 186 x 142 x 54 Late 16th century French cupboard. Walnut. Four doors and two drawers. In two sections. The cornice carved with cherub's heads, the doors with a landscape with a battle scene, the drawers with monster's heads and foliage and the stiles with term-shaped knight, female nude, fruits and garlands. On the sides set with Renaissance panels carved with angels and lion's heads. Probably work from the region Bourgogne-Lyon. No flattened bun feet. 186 x 142 x 54

          Bernaerts Auctioneers
        • painting oil on canvas - Le Mariage de la Vierge - entourage de SEGHERS Gerard
          Mar. 18, 2018

          painting oil on canvas - Le Mariage de la Vierge - entourage de SEGHERS Gerard

          Est: €5,000 - €7,000

          Tableau HST -Le Mariage de la Vierge- Entourage de *SEGHERS G.* (Gérard) (1591. 1651) Ecole anversoise 1ère moitié 17eS 150x115cm cadre bois noir painting oil on canvas - Le Mariage de la Vierge - entourage de SEGHERS Gerard

          Monsantic.com
        • GERARD SEGHERS | The Virgin in prayer at the foot of the cross, with crying angels
          Dec. 07, 2017

          GERARD SEGHERS | The Virgin in prayer at the foot of the cross, with crying angels

          Est: £30,000 - £50,000

          oil on oak panel

          Sotheby's
        • Attributed to Gerard Seghers (Antwerp - A musical company
          Jul. 07, 2017

          Attributed to Gerard Seghers (Antwerp - A musical company

          Est: £40,000 - £60,000

          Attributed to Gerard Seghers (Antwerp A musical company oil on canvas 38 5/8 x 54 in. (98.2 x 137 cm.)

          Christie's
        • Suite de Gérard SEGHERS (Anvers 1591-1651) "L'Annonciation
          Jun. 22, 2017

          Suite de Gérard SEGHERS (Anvers 1591-1651) "L'Annonciation

          Est: €3,000 - €4,000

          Suite de Gérard SEGHERS (Anvers 1591-1651) "L'Annonciation Huile sur toile Accidents, à restaurer. Dim : 120 x 170 cm Note : lot remis en vente suite à la défaillance de l’acheteur lors de la vente du 16 mars 2017"

          Hotel des Ventes Mosan
        • GERARD SEGHERS (1591-1651) circle
          May. 02, 2017

          GERARD SEGHERS (1591-1651) circle

          Est: €1,000 - €1,500

          GERARD SEGHERS (1591-1651) circle The preparations for the Flagellation of Christ. Canvas. Relined. In the first half of the 17th century Gerard Seghers made an impressive work with this subject, currently in Ghent (canvas, 268 x 144 cm, Ghent, Sint-Michielskerk), which largely ressembles a painting by Rubens. A church in Waasmunster holds a painting similar to ours (formerly attributed to Erasmus II Quellinus, 19th century, canvas, 150 x 120 cm). Several followers have also applied themselves to this composition: Anonymous, 17th century, canvas, 102 x 82 cm, OLV-kerk, Zandvoorde; Anonyme, 17th century, canvas, 157 x 123 cm, Kerk OLV en Sint-Pieter, Ghent; in Tournai two paintings depicting Christ before and after the flagellation attributed to Gerard Seghers can be found (Christus aan de schandpaal, copper, 19 x 14 cm, Tournai, Fine Arts Museum, inv. nr. 555; passion scene, copper, 14 x 19 cm, Tournai, Fine Arts Museum). 65 x 48 DUTCH GERARD SEGHERS (1591-1651) omgeving Voorbereiding tot de geseling van Christus. Doek. Verdoekt. In de eerste helft van de 17de eeuw vervaardigde Gerard Seghers een groots werk met als voorstelling de voorbereiding tot de geseling van Christus dat momenteel wordt bewaard in Gent (doek, 268 x 144 cm, Gent, Sint-Michielskerk) en dat grote gelijkenissen vertoont met een werk door Rubens gemaakt. In de kerk van Waasmunster wordt een compositie bewaard die erg gelijkt op onderhavig werk (eertijds toegeschreven aan Erasmus II Quellinus, 19de eeuw, doek, 150 x 120 cm). Verschillende navolgers waagden zich aan het uitvoeren van een soortgelijke compositie (Anoniem, 17de eeuw, doek, 102 x 82 cm, OLV-kerk, Zandvoorde; Anoniem, 17de eeuw, doek, 157 x 123 cm, Kerk OLV en Sint-Pieter, Gent; Toegeschreven aan Gerard Seghers worden ook twee werkjes op koper bewaard in Doornik waarop Christus voor en na de geseling wordt afgebeeld (Christus aan de schandpaal, koper, 19 x 14 cm, Doornik, Museum voor Schone Kunsten, inv. nr. 555; passiescène, koper, 14 x 19 cm, Doornik, Museum voor Schone Kunsten). 65 x 48 FRENCH GERARD SEGHERS (1591-1651) entourage La préparation de la Flagellation du Christ. Toile. Rentoilée. Dans la première moitié du 17ème siècle, Gerard Seghers réalisait un tableau impressionant du même sujet, aujourd'hui conservé à Gand (toile, 268 x 144 cm, Gand, église de Saint Michel) ressemblant à une oeuvre de Rubens. A Waasmunster se trouve une composition très proche à la nôtre (jadis attribuée à Erasmus II Quellinus, travail du 19ème siècle, toile, 150 x 120 cm). Plusieurs suiveurs ont repris une composition similaire (Anonyme, 17ème siècle, toile, 102 x 82 cm, église de Notre Dame, Zandvoorde; Anonyme, 17ème siècle, toile 157 x 123 cm, Eglise de Notre Dame et Saint Pierre, Gand). Deux tableaux représentant le Christ avant et après la Flagellation attribués à Gerard Seghers se trouvent à Tournai (le Christ à la colonne, cuivre, 19 x 14 cm, nr. 555 et scène de passion, cuivre, 14 x 19 cm, sans numéro, les deux conservés au Musée des Beaux Arts, Tournai). 65 x 48

          Bernaerts Auctioneers
        • Gerard Seghers (Antwerp 1591-1651) and - The Sacrifice of Isaac
          Mar. 29, 2017

          Gerard Seghers (Antwerp 1591-1651) and - The Sacrifice of Isaac

          Est: £30,000 - £50,000

          Gerard Seghers (Antwerp 1591-1651) and The Sacrifice of Isaac oil on canvas 84.4/8 x 58 ¼ in. (215 x 148 cm.)

          Christie's
        • SEGHERS Gérard (1591 - 1651) "L'ange de l'Apocalypse", plume d'encre s
          Feb. 22, 2017

          SEGHERS Gérard (1591 - 1651) "L'ange de l'Apocalypse", plume d'encre s

          Est: €200 - €300

          SEGHERS Gérard (1591 - 1651) "L'ange de l'Apocalypse", plume d'encre sépia et lavis d'encre grise sur papier vergé. Entourage de Gérard Seghers. Ecole flamande. Dim.:37.5x25.5cm.

          Vanderkindere
        • Seghers
          Jan. 31, 2017

          Seghers

          Est: €500 - €900

          Gerard Seghers (1591-1651)-circle, Portrait of a laughing man with jug and an elderly woman; oil on canvas.

          Deutsch Auktionen
        • Attribué à Gérard SEGHERS (Anvers 1591-1651) Saint François d'Assise en extase
          Oct. 17, 2016

          Attribué à Gérard SEGHERS (Anvers 1591-1651) Saint François d'Assise en extase

          Est: €2,500 - €3,000

          Attribué à Gérard SEGHERS (Anvers 1591-1651) Saint François d'Assise en extase Toile Restaurations anciennes 87 x 97cm - 34 1/4 X 38 3/16 IN. The ecstasy of St. Francis of Assisi, canvas

          Tajan
        • GERARD SEGHERS
          Sep. 24, 2016

          GERARD SEGHERS

          Est: -

          GERARD SEGHERS 1591 Antwerpen - 1651 ebenda (und Werkstatt) DIE HEILIGE FAMILIE MIT DEM JOHANNESKNABEN Öl auf Leinwand auf Holztafel maroufl. 171 cm x 146 cm. Part. altrest. Rahmen. Provenienz: Ehemals Sammlung G. Peters, Venlo (1936, als Gerard Seghers); Österreichische Privatsammlung . Die Darstellung der Heiligen Familie mit dem Johannesknaben von Gerard Seghers bestimmt ein farbenfrohes Kolorit, gepaart mit einem starken Helldunkel-Effekt. Merkmale, die sowohl an flämische als auch italienische Vorbilder erinnern und darauf hindeuten, dass der Meister dieses Werks in Flandern und Italien ausgebildet wurde. Der ambitionierte Maler wurde in Antwerpen geboren und tritt dort schon in jungen Jahren, er war erst siebzehn, in die St. Lukasgilde ein, dessen Vorstand er am Ende seiner Karriere noch werden soll. Vorerst zieht es ihn in den Süden um die großen italienischen Meister zu studieren. Vor seiner Rückkehr nach Antwerpen Ende der 1620er Jahre war er kurzzeitig am spanischen Hof für Philipp III. tätig. Auch Ferdinand von Österreich zählte zu seinen Auftraggebern. Es ist die Zeit in Italien ab 1611, in welcher der Künstler stark in Berührung mit den dortigen Caravaggisten, allen voran Bartolomeo Manfredi (ca. 1582-1622), kommt und die vor allem sein frühes Schaffen prägt. Er gilt als einer der prominentesten Caravaggisten in Flandern. Die Kunst des Virtuosen Peter Paul Rubens (1577-1640) führt sukzessive zu einer helleren Farbpalette Seghers' nach seiner Rückkehr aus Italien. Das hier angebotene, allein schon aufgrund seines großen Formats beeindruckende, Ölgemälde zeigt diese Veränderung. Das gestochene Helldunkel sowie die pastellartigen Farbtöne fesseln den Betrachterblick. Die liebevolle Zeichnung der Gesichter überzeugen in der Vermittlung des religiösen Inhalts der Darstellung. Klar gegenreformatorisch wird hier der Triumph des Glaubens präsentiert. Seghers malte zahlreiche Bilder religiösen Inhalts, besonders oft stellt er Maria mit dem Christuskind dar, doch auch die Heilige Familie ist ein beliebtes Sujet des Künstlers. Jean-Pierre de Bruyn ordnete das Werk 1988 der Werkstatt des Erasmus Quellinus zu, doch kam er nach Sichtung des Bildes durch bessere Fotografien auf Seghers. Er ordnet es dem Künstler unter möglicher Mitarbeit der Werkstatt zu.""

          Hargesheimer Kunstauktionen Düsseldorf
        • GÉRARD SEGHERS (ANVERS 1591-1651)
          Sep. 14, 2016

          GÉRARD SEGHERS (ANVERS 1591-1651)

          Est: €10,000 - €15,000

          GÉRARD SEGHERS (ANVERS 1591-1651) Joueuse de luth huile sur toile, sans cadre 119 x 107,5 cm. (46 ¾ x 42 ¼ in.)

          Christie's
        • Gerard Seghers, attributed to, Saint Sebastian
          May. 21, 2016

          Gerard Seghers, attributed to, Saint Sebastian

          Est: €7,000 - €9,000

          Text folgt

          Kunsthaus Lempertz KG
        • SEGHERS, GERARD - Antwerp 1591 - 1651 - circle - Mary and the Child.
          Nov. 13, 2015

          SEGHERS, GERARD - Antwerp 1591 - 1651 - circle - Mary and the Child.

          Est: €10,000 - €12,000

          SEGHERS, GERARD Antwerp 1591 - 1651 - circle Mary and the Child. Oil on canvas. Relined. 125 x 92,5cm. Framed. Verso: On the frame and on the stretcher labels of the Wallraf-Richartz-Museum, Cologne, inventory no. 1935. Provenance: - Wallraf-Richartz-Museum, Cologne, inv.No. 1356, sold in 1943 - Private collection, Rhineland.

          Van Ham Kunstauktionen
        • GERARD SEGHERS (ANVERS 1591-1651) Sainte Claire et saint François d'Assise
          Mar. 30, 2015

          GERARD SEGHERS (ANVERS 1591-1651) Sainte Claire et saint François d'Assise

          Est: €30,000 - €40,000

          GERARD SEGHERS (ANVERS 1591-1651) Sainte Claire et saint François d'Assise en adoration devant l'Enfant Jésus huile sur toile 89,5 x 117 cm.

          Christie's
        • Attribué à Gerard SEGHERS (1591 – 1651) Saint Pierre Toile 114 x 118 cm Restaurations
          Oct. 24, 2014

          Attribué à Gerard SEGHERS (1591 – 1651) Saint Pierre Toile 114 x 118 cm Restaurations

          Est: €8,000 - €12,000

          Attribué à Gerard SEGHERS (1591 – 1651) Saint Pierre Toile 114 x 118 cm Restaurations

          Tajan
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