Circle of Adriaen van Stalbemt - A 17th Century Mythological Scene

Circle of Adriaen van Stalbemt - A 17th Century Mythological Scene

$4,551.00

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Circle of Adriaen van Stalbemt (1580-1662)

A 17th Century Mythological Scene

oil on copper plate
unframed
framed

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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Jacob Ochtervelt (Workshop) - The Grape Seller

Jacob Ochtervelt (Workshop) - The Grape Seller

$31,054.00

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Jacob Ochtervelt (Workshop)

The Grape Seller

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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Francesco Guardi - Shipping in Stormy Waters

Francesco Guardi - Shipping in Stormy Waters

$58,895.00

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Francesco Guardi (Venice 1712-1793) Attributed to

Shipping in Stormy Waters

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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NICOLAES MAES - PORTRAIT OF A YOUNG DUTCH GENTLEMAN

NICOLAES MAES - PORTRAIT OF A YOUNG DUTCH GENTLEMAN

$52,470.00

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NICOLAES MAES (1634-1693)

PORTRAIT OF A YOUNG DUTCH GENTLEMAN

signed N Maes (lower right)
oil on panel
45.1 x 37.4 cm; 17¾ x 14¾ in.

PROVENANCE
With Agnews, London;
Seymour Berry (2nd Viscount Camrose);
Christie's,Hackwood Park, 20-22 April 1998, lot 771, Sold for 78.100€;
Christie's London, 27 April 2007, lot 58

LITERATURE:
Krempel, Nicholas Maes, Petersberg, 2000, p. 367, mentioned under F5 (Fruit still life in a landscape, Ashmolean Museum, Oxford), and dated to around 1670.

INTRODUCTION

In late 17th century Amsterdam, no one could rival Nicolas Maes (1634– 1693) in the art of portraiture. As one of Rembrandts most accomplished pupils, Maes explored both genre painting and religious motifs before developing his characteristic style of impressive yet sensitive portraits that today can be seen in museums across the world. This portrait of a currently unknown Dutch gentleman is a brilliant example of how Maes refined his ability to capture both the people and fashions of Amsterdam during the last days of the Dutch golden age.

The young man’s face is painted with fresh colors and subtle effects in lights and shadows to convey his youthful yet dignified personality. Notice how the skin tone built up with finely tuned shades of beige, red, pink and light brown and accentuated by the redness of the lips and the dark blue of the eyes. The lush swirls of the hair also contribute a vivid and realistic feel of the expression.

Apart from being born in the town of Dordrecht as the son of a wealthy soap manufacturer, little is known about Maes background and early career. It seems he received his first training by a local master in Dordrecht, but sometime in the late 1640s he relocated to Amsterdam and the studio of Rembrandt. Much like other students of Rembrandt, Maes earlier works rely heavily on the style of his teacher since Rembrandt typically did not encourage his students to cultivate their own style. Especially the drawings of Maes are at times indistinguishable from those of his master. In 1653 however, Maes returned to Dordrecht to marry and later spent time in Antwerp where he studied works by Rubens and Van Dyck, who also became important inspirations. By the 1660s, Maes had largely abandoned the legacy from Rembrandt and painted in more a contemporary style. The radical shift in his artistic expression show Maes determination to develop himself as an artist, and eventually portraits became the main focus for his art.

In his earlier work Maes was interested in genre painting with comical and intriguing domestic scenes. This one is entitled “De luistervink” – the eavesdropper – shows a servant eagerly listening the conversation of her employers. In the collection of Dordrecht Museum.

In this portrait of another young man, possibly Simon van Alphen (1650-1730), we see yet another example of how Maes varied his successful concept of portraiture with again depicting the fashion, facial expression and dramatic background in a unified composition. By courtesy of Rijksmuseum, Amsterdam.

After yet again settling in Amsterdam in 1673, Maes would stay here until his death twenty years later. Here, he enjoyed an illustrious career as a portrait painter and esteemed member of the artistic community. In his portraits from this time we find a combination of the influences from Van Dyck and other artists transformed into Maes own unmistakable style. Maes portraits have a high degree of realistic likeness and shows off luxurious robes, furs, jewelry, hairstyles and status symbols. In the background, beautiful gardens or landscape settings were added to heighten the elegance.

This portrait is an excellent summary of Maes unusual talent in portraiture: the subtly painted face hit by a strong light that accentuates the features with soft shadows; the almost invisible play of color that creates the fresh complexion of the skin; the bulging swirls of the hair and the very exclusive garment called “Japonse Rok” in contemporary Dutch – today known as a Banyan, inspired by Japanese kimonos made with silks imported by the Dutch East Indian Company. It is a portrait that tells us of a wealthy and sophisticated young gentleman, well aware of the social and cultural codes that were expected in this time. While the robe with its richly patterned silk is an example of the fascination for the oriental the hair and overall look are typical for European and Dutch fashion. The background with what appears to be an Italian garden with a classical sculpture furthermore underlines the status and ambition of the sitter.

The position of the hand is both symbolically and artistically important for creating a sense of life and bodily presence. The skin tone is beautifully adjusted to contrast against the red, brownish greys and gold of the fabric.

Much remains to be discovered about both the identity of the young man and the context in which this commission was made. Taking in consideration the vibrant cultural life of Amsterdam during this time, these portraits were crucial elements in formulating an identity and establishing or maintain a high position in the society. Apart from being a wonderful work of art in itself; future research may well prove this to be another important key in understanding the life of Nicolaes Maes and this exciting moment in the history of portraiture.

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Gonzales Coques - A Boy Counting his Coins

Gonzales Coques - A Boy Counting his Coins

$3,427.00

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Circle of Gonzales Coques (1614/18-1684) Flemish

A Boy Counting his Coins

oil on copper
17th-century
plate dimensions 24 x 21 cm
with frame 43.5 x 39.5 cm

Provenance:
A Swedish private collection

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Mannerist School, 1600s - St Paul With Sword and Book

Mannerist School, 1600s - St Paul With Sword and Book

$5,569.00

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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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Flemish School, 1600s - Nicholas of Tolentino

Flemish School, 1600s - Nicholas of Tolentino

$4,177.00

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Flemish School, 1600s

Saint Nicholas of Tolentino

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.

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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Philips Wouwerman - Landscape with Gentleman on Horseback

Philips Wouwerman - Landscape with Gentleman on Horseback

$13,386.00

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Workshop / Circle of Philips Wouwerman (1619-1668)

Landscape with Gentleman on Horseback and Peasant Woman Receiving Alms

oil on oak panel
12.40 x 14.17 inches (31.5 x 36 cm)
with frame 18.50 x 20.86 inches (47 x 53 cm)

Expertise: We would like to express our gratitude to Dr. Birgit Schumacher for her important research on this painting based on digital images.

Provenance:
Christie's sale 563 DL (stencil on the back);
Ernst Muzeum Sale no 658 (Museum located in Budapest);
Bukowskis Auctions, 1 June 2006, lot 1303, (sold as by Philips Wouwerman), sold for 26.460€ (including buyers premium)

Condition:
Recently restored by our art conservator in Stockholm.
The colors are bright and clear and the panel is flat and stable.
"It is a fine work in good condition" (BS).

Essay:
This painting that we are selling is a beautiful work of art from the inner circle of Philips Wouwerman (1619-1668), who is widely regarded as one of the most talented horse painters in the history of art. The painting is titled "Landscape with Gentleman on Horseback and Peasant Woman Receiving Alms".
In the background, we see a heavily loaded pack donkey and a resting man with heavy luggage. A dog is also present, adding to the lively and dynamic atmosphere of the painting.

The artwork exudes a sense of calm and serenity, capturing a moment of kindness and generosity between two individuals from different social classes. The composition is carefully balanced, with each element placed in a harmonious relationship with the others. The painting has been examined by Dr. Birgit Schumacher, an expert on Philips Wouwerman, who has confirmed that it is of high quality and painted in the 17th century in his Workshop or inner Circle. The painting follows one of his autograph works, with the same motif, who is catalogued as A379 in her Catalogue Raisonné.

Philips Wouwerman was a Dutch Golden Age painter known for his remarkable skill in depicting horses, landscapes, and hunting scenes. He was born in Haarlem, the son of a painter, and started his artistic career in his father's studio. Wouwerman's work gained popularity during his lifetime, and he was highly sought after by collectors and patrons from across Europe. His paintings are characterized by their exquisite attention to detail, vibrant colors, and skillful handling of light and shadow.

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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Pieter Gysels - Wooded Landscape With an Elegant Company

Pieter Gysels - Wooded Landscape With an Elegant Company

$16,063.00

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Pieter Gysels (also called Peeter Gijsels) (Antwerpen, 1621-1690/91)
Attributed to

Wooded Landscape With an Elegant Company

oil on copper
19 x 23.5 cm
with frame 29 x 34.5 cm
RKD no 307864
Expertise: Ellis Dullaart

Provenance:
A Swedish private collection.

Compare with this landscapes in the Georg-August University, Göttingen: Landschaft mit Jägern & Landschaft mit Herde

Pieter Gysels, also known as Peeter Gijsels, was a renowned Flemish painter who lived from 1621 to 1690/91. He was known for his landscapes, which often depicted idyllic scenes from nature, and his works are highly sought after by Old Master collectors. We are proud to offer a newly discovered pair of landscapes attributed to him; this one called "Wooded Landscape With an Elegant Company".

This stunning painting captures the beauty of a serene landscape, with tall trees and rolling hills stretching out to the horizon. In the foreground, we see a group of five elegantly dressed figures, both standing and seated the ground. One man is gesturing, perhaps presenting a fishbone to one of the ladies in a sign of hospitality. Beside them, another man is fishing in a small stream, with his line cast into the water. A dog runs through the scene, adding a sense of movement and energy to the composition. And in the background, we see a man crossing a stone bridge, and several small houses dotting the landscape.

Gysels' attention to detail is remarkable, and his use of color and composition creates a sense of depth and atmosphere that draws the viewer into the scene. The cottages in the background are rendered with fine detailing, and the use of big-leafed plants in the foreground adds a sense of texture and dimensionality to the painting.
The detailing of the cottages, the colors, the use of big-leafed plants in the foreground, and the figure types are typical of his signature style.

"Wooded Landscape With an Elegant Company" is painted on copper, which gives the painting a unique luminosity and depth. The use of copper as a support for paintings was popular in the seventeenth century.

We also have one more painting called " A Wooded Landscape With Riders". These two paintings have been together since they were painted. We highly recommend purchasing these two paintings as a set. If you are interested in buying as a set, please get in touch with us, and we will give you a good discount.

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.

Be aware that you as a customer are responsible for paying any taxes such as import tax in the country of destination (applies to orders outside the EU).

Pieter Gysels - A Wooded Landscape With Riders

Pieter Gysels - A Wooded Landscape With Riders

$16,063.00

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Pieter Gysels (also called Peeter Gijsels) (Antwerpen, 1621-1690/91)
Attributed to

A Wooded Landscape With Riders

oil on copper
19 x 23.5 cm
with frame 29 x 34.5 cm
RKD no 307865
Expertise: Ellis Dullaart

Provenance:
A Swedish private collection.

Compare with this landscapes in the Georg-August University, Göttingen: Landschaft mit Jägern & Landschaft mit Herde

Pieter Gysels, also known as Peeter Gijsels, was a renowned Flemish painter who lived from 1621 to 1690/91. He was known for his landscapes, which often depicted idyllic scenes from nature, and his works are highly sought after by Old Master collectors. We are proud to offer a newly discovered pair of landscapes attributed to him; this one called "A Wooded Landscape With Riders"

This stunning painting captures the beauty of a serene summer day in the countryside. In the foreground, we see a couple riding on horsebacks, enjoying the peaceful surroundings. The horses seems to be trotting gently, and the riders are relaxed, taking in the natural splendour around them. In the distance, we see several other figures, perhaps farmers or peasants, doing their daily tasks. We also see a small stream flowing through the landscape, with several small houses. And in the background, we see a beautiful wooded area with tall trees reaching up towards the sky.

The attention to detail in this painting is truly remarkable. Gysels use of vibrant colours evoke the warmth and beauty and he skillfully captured the play of light on the landscape, creating a sense of depth and atmosphere. The detailing of the cottages, the colors, the use of big-leafed plants in the foreground, and the figure types are typical of his signature style.

"A Wooded Landscape With Riders" is painted on copper, which gives the painting a unique luminosity and depth. The use of copper as a support for paintings was popular in the seventeenth century.

We also have one more painting called "Wooded Landscape With an Elegant Company". These two paintings have been together since they were painted. We highly recommend purchasing these two paintings as a set. If you are interested in buying as a set, please get in touch with us, and we will give you a good discount.

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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Flemish School - The Card Players, 1600s

Flemish School - The Card Players, 1600s

$1,982.00

Frais d'expédition calculés lors du passage à la caisse.

Flemish 1600s School

The Card Players

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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David Teniers - The Sense of Touch

$6,907.00

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David Teniers the Younger (1610-1690) Follower of

A Peasant Removing a Plaster: The Sense of Touch

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.

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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Adriaen van Ostade (follower of) - A Woman Dancing

Adriaen van Ostade (follower of) - A Woman Dancing

$2,892.00 $2,035.00 Épargnez $857.00

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Adriaen van Ostade (follower of)

A Woman Dancing to the Music from a Violin

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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After Robert Campin - Saint John and Donor

After Robert Campin - Saint John and Donor

$8,032.00

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After Robert Campin (Flandern, 1375-1444)

Portrait of Heinrich von Werl and Saint John the Baptist

oil on oak panel
panel 15.35 x 8.46 inches (39 x 21.5 cm)
hand made oak frame by Christer Björkman
frame 18.50 x 11.81 inches (47 x 30 cm)
most likely painted in the 1600s

Provenance:
A Swedish private collection;
Bukowskis Auctions, Important Winter Sale 645, lot 1436788, as After Robert Campin from the 1500s

Here we have a copy after Robert Campins famous triptych altarpiece, "The Werl Triptych", from 1438, today in the Prado Museum in Madrid.
One of the three panels, the centrepiece, is unfortunately lost.
Depicted is the donor, Heinrich von Werl, who kneels in prayer in the company of Saint John the Baptist.
Von Werl was a member of the Minorites order (today known as the Franciscan order) in Osnabrück. He moved to Cologne in 1430 to study at the university, where he received a magister degree in 1435, having earlier been appointed provincial of Cologne province.
He probably commissioned the original triptych work for the Minorite church in Cologne.
The triptych further introduces the idea of the intermediary saint, a Jan van Eyck influence; here, represented by John the Baptist seen holding a lamb in the same panel as von Werl, increasing the significance of the area occupied by the donor.
Many artists admired these 15th-century Netherlandish masterpieces, and a lot of copies were made in the 1500s and 1600s. Today many of them are lost, and our painting is a rare find. Our painting is not from the 1500s; it's more likely from the 1600s after examination of the panel and painting technic.
One of the most striking details is the convex mirror, a detail that also can be seen in the famous Arnolfini portrait by Jan van Eyck.

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Flemish School, 17th Century - Mary Magdalene

Flemish School, 17th Century - Mary Magdalene

$2,999.00

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Flemish School, 17th Century

Mary Magdalene

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

Landscape With Pan and Syrinx, Flemish School 1600s

$4,819.00

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Flemish School, 1600s

Landscape With Pan and Syrinx

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

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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David Teniers the Younger - Peasants in a Cornfield

David Teniers the Younger - Peasants in a Cornfield

$25,700.00

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David Teniers the Younger (Attributed to)

Title: Peasants in a Cornfield (Boer in het veld)

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.

Detail with church in the background.

Continue reading here

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Adriaen Van Stalbemt - Abraham and the Sacrifice of His Son Isaac

Adriaen Van Stalbemt - Abraham and the Sacrifice of His Son Isaac

$41,762.00 $35,337.00 Épargnez $6,425.00

Frais d'expédition calculés lors du passage à la caisse.

Adriaen van Stalbemt (Stalbempt) 1580-1662

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)

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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Jan Frans Soolmaker - Cattle in a Landscape

Jan Frans Soolmaker - Cattle in a Landscape

$6,961.00

Frais d'expédition calculés lors du passage à la caisse.

Jan Frans Soolmaker (Flanders 1635‑1685)

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

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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Justus Juncker - Scholar Sharpening His Quill Penn

Justus Juncker - Scholar Sharpening His Quill Penn

$18,740.00

Frais d'expédition calculés lors du passage à la caisse.

Justus Juncker (1703-1763, Germany) Attributed to

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

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.

Be aware that you as a customer are responsible for paying any taxes such as import tax in the country of destination (applies to orders outside the EU).