As one of the few art dealers in Scandinavia specializing in Old Master Paintings, we are proud to offer a diverse range of pieces. Our primary focus is on Flemish and Dutch 17th-century interiors, landscapes, and portraits, though we also offer Italian Old Master Paintings.
oil on panel unframed: 24.3 x 17.5 cm (9.6 x 6.9 inches) framed: 34.5 x 28 cm (13.6 x 11 inches)
Provenance: Swedish author and artist Amelie Posse (1884–1957)
Essay: This 18th-century painting, measuring 24.3 x 17.5 cm, depicts the biblical scene known as "The Road to Emmaus" likely created by an unknown German artist. In this scene, found in Luke 24:13–35 of the New Testament, Jesus appears to two of his disciples after his resurrection, walking alongside them as they journey to the village of Emmaus. The disciples, however, do not recognize him until later, when he breaks bread with them, revealing his true identity.
The painting captures the moment of Jesus' interaction with the disciples, emphasizing the quiet, mystical atmosphere of the encounter. Jesus, draped in a blue mantle, stands in the center, deep in conversation with the disciples. The use of dark tones and soft lighting enhances the spiritual and solemn quality of the moment, inviting viewers to reflect on themes of revelation and faith.
Previously, this artwork was owned by the Swedish author and artist Amelie Posse (1884–1957). Posse, a prominent anti-Nazi activist, was known for founding the resistance organization "Tisdagsklubben" (The Tuesday Club) during World War II, aimed at countering Nazi influence in Sweden. Her life was marked by a commitment to democratic and pacifist ideals, and she played a significant role in assisting refugees from Nazi-occupied Europe.
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Theodore Russel - Portrait of a lady in blue dress
Attributed to Theodore Russel (Russell) (1614‑1689) England
Portrait of a lady in blue dress ”Countess of Peterborough”
oil on wood panel with indistinct inscription Countess of Peter[...] upper left. with inscription on the reverse: ”Countess of Peterborough. P. Lely 1670. S Beatty Picture Restorer [...] Warwick”. unframed 39 x 31 cm = 15.35 x 12.2 inches framed 52 x 41.5 cm = 20.47 x 16.34 inches
Condition: The portrait has just been restored by a professional art conservator in Stockholm and is now in a very good condition. The colors are vivid, and the skin tones appear more natural than before. It is a very fine painting. The frame is newly made and included."
Provenance: Elleholms Hofgård, Mörrums socken, Blekinge, Sweden **; Stockholms Auktionsverk, Fine Art & Antiques Autumn 2023, Lot 831, As "Attributed to Peter Lely (1618-1680)" (Expertise Stéphane Pinta, Cabinet Turquin, Paris); Uppsala Auktionskammare, Important Sale, June 2024, Lot 637, As "Attributed to Theodore Russell (1614‑1689)".
** The estate has changed hands multiple times since the 17th century. The current two-story, timber-framed main building was constructed in 1730 and expanded in 1804. The ancestors of the present owners acquired the estate in 1915. From the 20th century until 2023, the painting was displayed in the main building.
Literature: Ingrid Martelius, Slott och herresäten i Sverige, Blekinge, 1968, mentioned p. 306 as by Sir Peter Lely, illustrated.
Essay:
This exquisite portrait, with its new attribution to Theodore Russel, is believed to depict Lady Penelope O'Brien, daughter of Barnabas O'Brien, the sixth Earl of Thomond, and wife of the Earl of Peterborough, whom she married in 1644. The painting thus belongs to a historically significant period, capturing the refined elegance of the time.
The portrait has a prestigious provenance from Elleholms Hofgård, a historic estate in Mörrums socken, Blekinge, Sweden. Elleholms Hofgård, whose two-story, timber-framed main building was constructed in 1730 and expanded in 1804, has changed ownership several times since the 17th century. The ancestors of the present owners acquired the estate in 1915, and from the 20th century until 2023, this painting was prominently displayed in the estate’s main building, making it an integral part of the estate’s history.
Theodore Russel, an English portrait artist born in 1614, studied under the renowned Sir Anthony van Dyck, whose influence can be seen in Russel’s meticulous style. Russel often painted on cabinet-sized panels, such as this one, which measures approximately 39 x 31 cm. This preference for panels is a notable characteristic that sets him apart from contemporary artists like Sir Peter Lely, who exclusively used canvas. The size of the panel is a key reason for the reattribution to Russel from Peter lely, as Lely rarely used panels for his works. This distinctive format, along with Russel’s characteristic style, strongly supports the new attribution.
Russel, the son of Nicasius Rousseel, a goldsmith and jeweler to James I and Charles I, refined his skills under the mentorship of his uncle, the famous portrait painter Cornelis Janssen. He also worked as an assistant and copyist for van Dyck, further honing his artistic style. This captivating portrait exemplifies Russel’s craftsmanship, reflecting the elegance of the period’s fashion and the artist's refined techniques.
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Johann Andreas von Düwens - Vanitas with Pallas Athena, Wheat, and Flowers, 1701
Vanitas with Pallas Athena, Wheat, and Flowers, 1701
signed and dated Jo An von Düwens pinx 1701 oil on wood panel unframed 56 x 42 cm (22.05 x 16.54 inches) framed 70 x 54 cm (27.56 x 21.26 inches)
With inscription: ”Wie es wolt Sommer werden. Da müst ich von der Erden / Bringen frucht in gedult”. With indistinct inscription on the reverse: ”[...] av Nature Morte”.
Condition: The painting has recently undergone restoration by a professional art conservator. There are small areas with retouching. The panel itself is slightly warped, and as a result, a custom-made frame has been crafted to accommodate its curved shape. The painting’s colors are vibrant and clear, showcasing the fine detail and original brilliance of the piece.
Provenance: A private collection Stockholm; Uppsala Auktionskammare, Important Spring Sale 2024, Lot 627, As by Johann Andreas von Düwens.
ESSAY:
A Rare and Significant Discovery.
We are pleased to offer this newly discovered vanitas still life by the German artist Johann Andreas von Düwens (?-1716). Titled "Vanitas with Pallas Athena, Wheat, and Flowers" this stunning work, dated and signed by the artist, is one of the few known paintings attributed to Düwens.
The central figure in the composition is a striking statue of Pallas Athena, symbolizing wisdom, warfare, and craftsmanship. The goddess is surrounded by meticulously rendered objects that heighten the vanitas theme—a skull, symbolizing mortality; a sheaf of wheat, representing the cycle of life; and a vivid array of flowers, embodying both beauty and the fleeting nature of existence. Each element is imbued with rich symbolism, reminding viewers of life's transience and the inevitability of death.
An inscription on the column behind Athena reads: "Wie es wolt Sommer werden. Da müst ich von der Erden / Bringen frucht in gedult", roughly translated as, "As summer is about to come, I must leave the earth / Bear fruit with patience," a poetic reflection on the passage of time and human existence. This phrase complements the painting's vanitas theme, invoking both a sense of finality and a call to spiritual mindfulness. The skillful use of vibrant colors and intricate detailing in the various objects displayed in the foreground—the flowers, the sheaf of wheat, the book, and even the helmet leaning on a shield—exemplifies Düwens' talent for composition and his deep understanding of vanitas symbolism. The painting’s architectural backdrop, an elegant arched wing of a palace, adds a majestic sense of place, creating a juxtaposition between life’s impermanence and the grandeur of human achievement.
Little is known about Johann Andreas von Düwens, who hailed from a renowned artistic family. He was appointed court painter in Zerbst in 1697, where he created numerous large-scale works, including the now-lost murals of Zerbst Castle. His brother Heinrich Duwens is slightly more recognized, but Johann's portable works, like this vanitas still life, are extremely rare, with only a few surviving engravings of portraits known to exist.
This painting is a rare opportunity to own a piece of Baroque art by an elusive artist whose works were once celebrated at court, yet whose legacy was nearly lost to time.
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Mathys Schoevaerdts - Fishmarket in a Southern Port City
Mathys (Mathijs) Schoevaerdts (1665/1667- after 1702)
Fishmarket in a Southern Port City
oil on canvas canvas dimensions 17.71 x 25.98 inches (45 x 66 cm) frame dimensions 24.80 x 33.07 inches (63 x 84 cm)
Expertise: This painting comes with a certificate (photocopy) from Ellen Bernt, stating that it is "a flawless and characteristic work by the Brussels landscape and figure painter Mathys Schoevaerdts."
Provenance: Im Kinsky Kunst Auktionen Vienna, 2010-09, Alte Mesiter Sale, lot 2, as Mathys Schoevaerdts; Dorotheum Vienna, Alte Meister, 2015-12, Lot nr 79, as Mathys Schoevaerdts; A private collection in Sweden, it was acquired on the sale above.
Essay: "Fishmarket in a Southern Port City" is an exquisite painting by the renowned Flemish artist Mathys Schoevaerdts, celebrated for his vibrant landscapes and lively genre scenes. This captivating work, created in the late 17th century, is a testament to Schoevaerdts' skilful blend of realism and idealism, embodying the serene and bustling atmosphere of a southern European port city.
The painting masterfully captures a bustling fish market set against the backdrop of a picturesque port city. The scene is rich with architectural details, including classical arches and a stately building, possibly indicating the city's historical significance and southern European influence.
Schoevaerdts populates the scene with a myriad of figures, each engaged in various activities typical of a lively market day. Fishermen, merchants, and townsfolk animate the foreground, their detailed and individualized poses adding depth and narrative to the composition. The meticulous depiction of everyday life offers a glimpse into the cultural and social dynamics of the time.
The landscape is characterized by rolling hills and a calm, expansive water body, possibly a river or coastal inlet. The distant mountains and the serene sky, painted in delicate hues of blue and pink, evoke a sense of tranquility and timeless beauty. This harmony between the natural and built environments is a hallmark of Schoevaerdts' style.
The use of light in this painting is particularly striking. The warm, golden light of the setting sun bathes the entire scene, casting long shadows and highlighting the textures and details of the architecture and figures. The palette of soft blues, greens, and warm earth tones enhances the painting's inviting and nostalgic feel.
The Artist: Mathys Schoevaerdts (c. 1665/1667 – after 1702) was a Flemish painter whose works were highly sought after in his lifetime. He trained under Adriaen Frans Boudewijns and became a master of the Brussels Guild of Saint Luke in 1690. Schoevaerdts' work, influenced by Jan Brueghel the Elder, is noted for its blend of detailed realism and idyllic scenes, often imbued with a sense of pastoral happiness.
Schoevaerdts' oeuvre is celebrated for its intricate landscapes filled with lively scenes of peasant life, kermesses, and fantastical elements. Although little is known about his personal life, his legacy is preserved through his works that continue to captivate art enthusiasts and collectors. His unique approach to composition and his ability to blend naturalistic detail with imaginative elements have earned him a distinguished place in the history of Flemish painting.
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Jan Frans Soolmaker - Shepherd with Sheep, Cows and a Goat in a Landscape
Shepherd with Sheep, Cows and a Goat in a Landscape
oil on relined canvas canvas size 56 x 53 cm frame included
Compare with the signed painting by Soolmaker sold at Sotheby’s London, 7 July 1999, lot 453.
Provenance: The collection of Swedish Prince Fredrik Adolf (1750-1803); The collection of Pär Ulmgren (1767-1846), no. 32; The collection of Gösta Stenman (1888-1947), inv. no. 885; Engineer and politician Gustaf Henry Hansson (1894‑1976), probably acquired from the above; Thence by descent until 2021
Essay: This painting depicts a pastoral scene that is attributed to the artist Jan Frans Soolmaker, an artist known for his Italianate landscapes and scenes that often feature equestrian and Arcadian elements. The painting is not signed but is attributed to Soolmaker, relating it to a known signed work by the artist that was sold at Sotheby’s London in 1999.
The scene is suffused with the warm glow of a setting or rising sun, casting a soft light that is characteristic of Soolmaker’s landscapes. It shows a shepherd guiding a group of cattle across a shallow stream, with the animals taking center stage in the composition. The animals are rendered with careful attention to their forms and the play of light on their bodies, which is a hallmark of Soolmaker's work. The landscape is composed of a rocky terrain with trees and shrubbery, creating a sense of depth and natural beauty that invites the viewer to explore the scene further.
The background suggests a vast, open landscape with distant mountains, which adds to the Italianate feel of the painting. The sky is dramatic, with clouds catching the light of the sun, contributing to the overall serene yet dynamic atmosphere of the work.
The provenance of the painting is notable, having been in the possession of significant historical figures such as Swedish Prince Fredrik Adolf, and later The collection of Pär Ulmgren, The collection of Gösta Stenman, and Engineer and politician Gustaf Henry Hansson.
Potential buyers have the option of choosing between a newly made gold frame or an older brown frame, which allows for personalization in how the work is presented.
Soolmaker’s work is often compared to that of Dutch painter Nicolaes Berchem, whose style he emulated. Soolmaker's landscapes reflect a similar sensitivity to light and composition, making his works sought after for their beauty and historical significance. Despite the smaller body of work left by Soolmaker, due to his short career, his paintings are valued for their craftsmanship and the legacy of the artist’s brief but impactful contribution to the Dutch Italianate landscape genre.
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oil on canvas unframed 9,45 x 13,00 inches (24 x 33 cm)
Essay: This exquisite painting, attributed to the circle of Charles Antoine Coypel, presents a mythological scene. Though the artist remains unknown, the work clearly echoes the style of the early 18th century, with soft, dreamlike qualities and a masterful use of light and shadow. The tableau likely portrays the legendary figures of Thetis and Hephaestus (Faistos), with the young Achilles – a narrative rich with heroism and divine intervention.
The central figures are rendered with a tenderness and dynamism that speak to the era's fascination with Greco-Roman mythos. Thetis, with her maternal grace, appears to interact with Hephaestus, whose artisanal prowess was renowned even among the gods. Young Achilles, later to become the hero of the Trojan War, listens intently, hinting at the weighty fate that awaits him.
A delicate, rosy shimmer pervades the canvas, bringing an ethereal glow that enlivens the mythic scene. This effect, coupled with the painting's warm palette and the subtle play of light, creates a sense of immediacy and importance, as if the viewer is privy to a pivotal moment in the ancient stories. This piece is a true treasure for those who appreciate the blend of history, mythology, and art.
The beautiful golden frame is included in the purchase.
We believe in simplicity; Therefore, all orders ship to your door without any additional costs for transport. We use professional shipping companies and pack all orders carefully with special art shipping boxes. All prices on our website include international shipping and transport insurance.
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Circle of Adriaen van Stalbemt - A 17th Century Mythological Scene
oil on copper plate unframed 16.3 x 21.4 cm (6.42 x 8.43 inches) framed 26 x 31 cm (10.24 x 12.20 inches)
Provenance: An important private collection, Sweden.
Condition: Professionally restored in Italy 1995.
Expertise: Dr. Mari Pietrogiovanna (Report included)
Essay: This small yet captivating painting, crafted on a copper plate, dates back to the mid-1600s and was created by a Flemish artist.
Subject Matter: The central figure in the artwork is Mercury, easily identified by his symbolic attributes like winged sandals, petasus, and caduceus. Beside him is a likely female figure, characterized by her attire and absence of weaponry.
The depicted scene could represent two mythological tales:
Mercury and Calypso: This interpretation suggests the artwork shows the moment Zeus sends Mercury to Calypso's island, Ogygia. Mercury is there to order Calypso to release Ulysses, whom she saved from a shipwreck but kept captive. The lush, wooded background and the three distant figures could hint at Ulysses' farewell to Calypso.
Mercury and Herses: Another interpretation could be a scene from the love story of Mercury and Herses. The background figures might symbolize the sisters returning from a procession, while the forefront could be the initial meeting between Mercury and the most beautiful sister, Erse.
Artistic Inspiration: The painting's landscape and setting are heavily influenced by the early 17th century Northern European art trends, especially the works of Jan Brueghel the Elder. However, the artwork stands apart with its unique luminescence in detailing and a distinctive approach to depicting figures.
While the exact origin and artist remain somewhat mysterious, the style and treatment of light hint towards works close to Josse de Momper. There's a suggestion that it might have been influenced or created by artists like Adriaen van Stalbemt, known for his biblical subjects and detailed landscapes, around the first thirty years of the 1600s. In conclusion, while we haven't been able to figure out the artist, it's essential to remember that the allure of a painting isn't solely tied to its creator's identity. Sometimes, the beauty and intrigue of the piece stand on their own, and a touch of mystery can only enhance its charm.
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oil on canvas unframed: 80.7 x 61 cm.; 31 ¾ x 24 in. framed: 109.5 x 89 cm.; 43 1/8 x 35 in.
Essay: This captivating piece, originating from the studio of the revered Dutch artist Jacob Ochtervelt, mirrors the composition of a signed and dated 1669 canvas by Ochtervelt that is presently housed in the Hermitage museum. Its subject, "The Grape Seller" immerses us in a typical 17th-century interior, replete with characters from various strata of society.
At the center, a fruit vendor is depicted bending over to weigh grapes for the buyer. A child hands some of the grapes to her mother to taste, their attentive maid standing by. The backdrop showcases typical Ochtervelt details: a hint of the city visible through the doorway, light filtering in through an overhead window, and a playful dog at their side.
The exquisite quality of the piece is evident in the minutiae, such as the intricate detailing of the mother's earring, which in reality spans only a few millimeters yet boasts impressive attention to detail. Initially, Sotheby's considered this work to be an autograph piece by Ochtervelt. But due to some uncertainty, it was auctioned as Workshop of Jacob Ochtervelt. On the other hand, the esteemed Cabinet Turquin in Paris leans toward attributing the piece directly to Jacob Ochtervelt himself.
The painting is framed in an authentic period frame, which has been delicately restored by Stockholm's Förgyllning och Bildhuggeri. The frame retains its age-old patina and, while in used condition, has minor imperfections adding to its charm.
Another interesting thing worth to mention is the painting's provenance. It was once owned by the 1st Viscount Rothermere (1868-1940), the founder of the Daily Mail and Daily Mirror. As one of the wealthiest individuals in Britain during his lifetime, Viscount Rothermere amassed a remarkable art collection. This painting was included in the book "Works of Art in the Collection of Viscount Rothermere" where its illustrated in black and white and expertise by Wilhelm Bode.
Provenance: Harold Harmsworth, 1st Viscount Rothermere (1868-1940) (Daily Mail founder), London, 1932; His posthumous sale, London, Christie's, 19 December 1941, lot 89 (as Ochtervelt); With Dr. F. Drey, London, before 1946; Gösta Stenman, Stockholm, 1947 (as Ochtervelt); Thence by descent until sold, Stockholm, Stockholms Auktionsverk, 10 December 2019, lot 2476 (as Attributed to Ochtervelt by Cabinet Turquin); Sotheby's London, Sale L20037, Old Master Day Sale, lot 155, (as Workshop of Jacob Ochtervelt)
Literature: P.G. Konody, Works of Art in the Collection of the Viscount Rothermere, London 1932, cat. no. 53, reproduced pl. 53 (as Ochtervelt) (see attached image with text by Wilhelm Bode); G. Stenman, Gamla Tiders Mästare, Stockholm 1947, p. 22, cat. no. 48, reproduced pl. 26 (as Ochtervelt); S.D. Kuretsky, The Paintings of Jacob Ochtervelt (1634-1682), Oxford 1979, p. 76, cat. no. 54-A, reproduced fig. 131.
Condition: Recently carefully cleaned by our art conservator in Stockholm. Only surface cleaning, the old varnish is still there.
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oil on canvas canvas dimensions 20 x 23 ½ in. (50.8 x 59.7 cm.) frame 25.7 x 29 inches (65.5 x 74 cm.)
Provenance: Christie's London, 2 November 2016, lot 180 (as Attributed to Francesco Guardi), sold for GBP 102.500; Private collection France; Sotheby’s Paris, 17 June 2021, lot 165 (as Attributed to Francesco Guardi)
Essay: No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention.
Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person.
Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters.
Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice.
During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto.
The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture.
This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean.
It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world.
In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg. It bears, however, all the typical traits of Guardi and knowing his impressive versatility further strengthens the attribution to him, as do no less than ten other known versions of the same scene and a study drawing. Both the versions in Musée des Beaux-Arts in Montreal and the Gnecchi collection in Milan are particularly similar in their dramatic impact, treatment of the waves and positionings of the ships, together forming an interesting example of how one artist could rework and explore a composition.
Even though seascapes never became the speciality of Guardi, the existence of this painting is an intriguing testament to his virtuosity, and artistic advantages of using the sea as a metaphor for the fragility of life and man’s vulnerability against the elements. Furthermore, it gives greater depths to the understanding of the entire school of Venetian painting which, for all its iconic architectural splendour, was much more versatile than was is commonly assumed. The fact that artworks like these also remind us about a forgotten relationship to the sea further enhances the valuable lesson that a painting can be an eye-opener to history, once we give it the attention it deserves.
Literature: A. Bonfand, Francesco Guardi, una burrasca, étude inédite, 2017, cat. 15 as by Francesco Guardi, fig. 1.
J. Byam Shaw, The Drawings of Francesco Guardi, London, 1951, p. 78, no. 73, illustrated. A preparatory sketch for this composition is recorded by Byam Shaw. In several respects this drawing is closer to this painting than to the two versions of this composition by Guardi in the Museum of Fine Arts, Montreal and the Bortolotto collection. The design of the stern of the ship far right is different than in the Montreal picture, the crows nests are depicted at sharper angles and the cliffs along the right edge are more prominently displayed in the drawing and this lot. In the drawing the man standing on the rock has his arms outstretched and is trying to catch the rigging: in this picture he has already caught this.
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Mannerist School, 1600s - St Paul With Sword and Book
oil on copper plate size 6.29 x 5.11 inches (16 x 13cm) frame 10.62 x 9.05 inches (27 x 23 cm)
Provenance: From a Swedish Private Collection.
Essay: Mannerism, derived from the Italian term "maneria," which simply means "style," was an artistic movement that emerged in the later years of the Italian High Renaissance, around 1520, and extended into the early 17th century. It is often referred to as the "stylish style" due to its emphasis on self-conscious artifice rather than realistic depiction. Historians debate whether Mannerism should be classified as a style, a movement, or a period.
In contrast to the harmonious ideals embraced by renowned artists such as Raphael, Michelangelo, and Leonardo da Vinci, Mannerist painters took a step further and created compositions that were almost bizarre. They introduced fresh color schemes, elongated proportions, and exaggerated anatomy of figures, portraying them in convoluted and serpentine poses. These artists skillfully exhibited their techniques and abilities, aiming to evoke a sense of sophisticated elegance.
Among the notable Mannerist painters are Jacopo da Pontormo, Bronzino, Lavinia Fontana, and Joachim Wtewael. In our painting "St Paul With Sword and Book," we can observe the artist's adherence to the Mannerist style through elements such as the vivid colors of the clothing, the hand gestures, and the meticulously painted face.
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oil on copper plate dimensions 24.5 x 18.5 cm frame 30.5 x 24.5 cm
Provenance: A Swedish private collection.
Essay: This small Flemish painting, measuring only 24.5 x 18.5 cm and executed on a copper plate, depicts Saint Nicholas of Tolentino. Created in the 17th century, the artist remains unknown. The composition presents Saint Nicholas in full figure within a divided landscape, providing depth to the scene. The color palette consists of blues, yellows, and greens, with glimpses of ancient buildings in the background.
Saint Nicholas of Tolentino is portrayed wearing a black priest's cape adorned with embroidered gold stars. In his left hand, he holds a plate with a bird on its rim, while his right hand rests on his chest. His cheerful smile suggests his contentment in the depicted environment.
The symbolism of Saint Nicholas of Tolentino lies in his association with a variety of virtues and attributes. As the patron saint of animals, he is often depicted with birds or other creatures. The presence of the bird on the plate signifies his gentle nature and connection to the natural world. Additionally, Saint Nicholas is known for his piety and acts of charity, symbolized by his priestly attire.
The landscape division in the painting serves to emphasize the spiritual significance of Saint Nicholas' presence. The background featuring ancient buildings hints at the continuity of faith and the lasting impact of the saint's teachings.
This Flemish artwork invites contemplation of Saint Nicholas of Tolentino's legacy and the values he embodied. The skillful execution on a copper plate showcases the technical prowess of the unknown artist, who has successfully captured the saint's joy and harmonious connection with the surrounding environment.
Despite the artist's anonymity, this captivating painting stands as a testament to the enduring appeal of Flemish art and the ability to convey profound spiritual themes through the masterful use of color, composition, and symbolism.
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oil on oak panel panel dimensions 22.5 x 20 cm frame included
Provenance: From a Swedish private collection.
Condition: Flat and stable panel, discolored old varnish. Some small retouching.
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signed T on the table oil on panel panel size 7,20 x 5,55 inches (18,3 x 14,4 cm) frame 11,22 x 9,84 inches (28,5 x 25 cm) oak frame professionally handmade 2021
Provenance: Old Christie's stamp on the back; Private collection Poland; Desa Auction Poland, 6 October 2020, Lot 55.
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Adriaen van Ostade (follower of) - A Woman Dancing
oil on oak panel panel size 10.23 x 15.35 inches (26 x 39 cm) frame 15.74 x 21.25 inches (40 x 54 cm) frame included in the price.
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oil on copper 17th century plate dimensions 23 x 17 cm frame 27 x 22 cm
Restored by professional art conservator 2022.
Provenance: From a Swedish private collection
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Landscape With Pan and Syrinx, Flemish School 1600s
painted around the 1600s oil on copper 19 x 23.5 cm frame 29 x 34 cm Hand-made oak frame by Swedish frame maker Christer Björkman.
Provenance: A private collection France; Art Dealer Antiquario Dipinti Antichi, 2022, France
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David Teniers the Younger - Peasants in a Cornfield
canvas size 9.84 x 7.08 inches (25 x 18 cm) frame 12.59 x 10.03 inches (32 x 25,5 cm) signed with monogram lower right: DT F
Provenance: Stockholms Auktionsverk, 1996-06-03, lotnr. 234, as Attributed to David Teniers II; Private Collection Sweden; Uppsala Auktionskammare (Uppsala) 2016-06-14, lot 21, as By David Teniers II (Expertise Marina Aarts); A Stockholm Collection; Uppsala Auktionskammare 2021-06, as Attributed to David Teniers II (Expertise Marina Aarts)
RKD Archive: Nr 19489, as Attributed to David Teniers II - Peasants in a cornfield (Boer in het veld) Read more
Exhibited: TEFAF March 2017
Comparable Sales: Hampel, Germany, Junger Landmann mit Spaten, 25 mar 2021, Price including buyer's premium: € 31,000
Remembering the magic of everyday life moments in the art of David Teniers
The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.
As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life.
Teniers portayed by his colleague Philip Fruytiers in 1655, at the height of his career and dressed in typical Baroque fashion.
Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful.
As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.
Archduke Leopold Wilhelm in his Gallery in Brussels, painted by Teniers around 1650. His role as keeper of collections assured him both the budget and permission to create an extraordinary collection of art.
Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works.
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Adriaen Van Stalbemt - Abraham and the Sacrifice of His Son Isaac
Abraham and the Sacrifice of His Son Isaac “Das Opfer des Abraham”
According to the Old Testament, God put Abraham’s faith to the test by commanding him to sacrifice his only son Isaac. Just in the nick of time, an angel of the Lord appeared, forestalling the terrible deed and delivering Abraham from his despair.
Certificate: Dr. Klaus Ertz, signed and dated Lingen 22 December 2020. The certificate is written in German, below we have published part of the text translated into English: Is known to me in the original. After thorough examination of this painting, I am convinced that it was painted by the Flemish painter Adriaen van Stalbemt. The state of preservation of this painting can be described as very good. Adriaen van Stalbemt, next to Jan Brueghel the Younger probably the most important successor of Jan Brueghel the Elder, took up many of Brueghel's themes and developed them further. Like many of his contemporaries, Stalbemt followed the example of this great role model. At the age of 29 he converted to the Catholic faith. It goes without saying that a painter in Antwerp had to be familiar with the themes of the Christian religion, since it was necessary to fulfill the wishes of his customers. The design of the spatial composition, reminiscent of the early David Vinckboons, which features juxtaposed landscape sections - on the left the dark foreground, on the right the background illuminated by the sun - indicates that this is an early painting, painted during the period from 1605 to 1610. In this painting, Stalbemt reveals himself to be a great artist who was able to skillfully combine different landscape formations such as forest, river and mountains at an early stage of his career. In interlacing all of these landscape parts into one perspective, this composition is very typical of Adriaen van Stalbemt's work.
Literature: Ertz/Nitze-Ertz, Adriaen van Stalbemt, Kritischer Katalog der Gemälde, Zeichnungen und Druckgraphik Lingen 2018.
oil on copper picture size 8.07 x 9.96 inches (20.5 x 25.3 cm) frame 14.17 x 15.94 inches (36 x 40.5 cm) note: Important changes in the composition have been found with an IR camera, please contact us if you want to see the result from those images.
Provenance: Private collection Bavaria (Germany)
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Justus Juncker - Scholar Sharpening His Quill Penn
Expertise: We would like to thank Dr. Fred G Meijer for his valuable knowledge in researching this painting. His conclusion as follows: The painting of an old scholar sharpening his pen, in my opinion, is a characteristic work of Justus Juncker (Mainz 1703 – 1767 Frankfurt am Main). Scholars in their study were a favourite subject of the artist, for instance "Alchemist in his study, sold at Lempertz) and (Dorotheum lot 310, 2020-11). Obviously, Juncker was much inspired by Dutch paintings from the seventeenth century.
oil on oak panel (18th century) signed with monogram FVM ....? panel size 11.81 x 9.44 inches (30 x 24 cm) frame 18.11 x 15.74 inches (46 x 40 cm) beautiful handcrafted frame included
Provenance: A Swedish Private Collection
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