Decade 1630-1639
See also : Ancient painting Old Dutch masters Flemish art Spain III Ancient Spain Early still life Ancient art by women British Royals Historical arms Blade and armour
1620-1630 The Shah Jahan dagger
2019 SOLD for $ 3.4M including premium by Christie's
1630 Baroque Exorcism in Flanders
2016 SOLD for $ 4.7M including premium
The beginning of the career of Jacob Jordaens is closely linked to Rubens with whom he occasionally collaborates. The young painter tries all themes including mythological and genre scenes.
In 1628, Jordaens is honored to be chosen with Rubens and van Dyck as one of three painters of church altars for the Augustinian church in Antwerp. Each artist makes a separate work but their simultaneous execution brings some overall homogeneity.
Following this success, Jordaens is commissioned in 1630 for an altar piece in the Benedictine monastery of St Martin in Tournai, on the theme of exorcism.
Preparatory drawings are known. One of them, associated with the beginning of the creative process, is arranged around a diagonal pointing to the healing saint. This design is directly inspired by a miracle painted ten years before by Rubens. The baroque crowd is holding the possessed man in the lower part of the image.
An oil on canvas 122 x 87 cm dated 1630 and consistent with this first drawing has just surfaced. It is estimated $ 4M for sale by Sotheby's in New York on January 28, lot 27.
The Benedictines were demanding about the compliance of the images with their religious interpretation of the stories and this version with a stiff and domineering saint did not suit their purpose. In the version that was finally accepted for the monastery, St Martin is leaning over the crowd. The painting for sale is probably a modello made to facilitate the choice of the composition by the patrons.
An analysis by infrared reflectography shows that the face of one of the assistants of the saint, which resembles another portrait of one of the leading monks of that monastery, overpainted a younger head. It opens the interesting hypothesis that the artist hoped a new order benefiting from his preliminary work, more spectacular and closer to Rubens.
I invite you to watch the video shared by Sotheby's.
In 1628, Jordaens is honored to be chosen with Rubens and van Dyck as one of three painters of church altars for the Augustinian church in Antwerp. Each artist makes a separate work but their simultaneous execution brings some overall homogeneity.
Following this success, Jordaens is commissioned in 1630 for an altar piece in the Benedictine monastery of St Martin in Tournai, on the theme of exorcism.
Preparatory drawings are known. One of them, associated with the beginning of the creative process, is arranged around a diagonal pointing to the healing saint. This design is directly inspired by a miracle painted ten years before by Rubens. The baroque crowd is holding the possessed man in the lower part of the image.
An oil on canvas 122 x 87 cm dated 1630 and consistent with this first drawing has just surfaced. It is estimated $ 4M for sale by Sotheby's in New York on January 28, lot 27.
The Benedictines were demanding about the compliance of the images with their religious interpretation of the stories and this version with a stiff and domineering saint did not suit their purpose. In the version that was finally accepted for the monastery, St Martin is leaning over the crowd. The painting for sale is probably a modello made to facilitate the choice of the composition by the patrons.
An analysis by infrared reflectography shows that the face of one of the assistants of the saint, which resembles another portrait of one of the leading monks of that monastery, overpainted a younger head. It opens the interesting hypothesis that the artist hoped a new order benefiting from his preliminary work, more spectacular and closer to Rubens.
I invite you to watch the video shared by Sotheby's.
1630 View in Haarlem at the Time of Frans Hals
2016 SOLD for $ 3M including premium
Haarlem revives after the great fire of 1572. In 1618, Maurits of Orange-Nassau arrives with his military staff into the city. Religious tensions remain high but Haarlem is now under the domination of the Protestants.
The Protestant publicist Samuel Ampzing desires to promote his beloved city by a praise in verse with engravings. He entrusts the illustrations to Pieter Saenredam and Jan van de Velde. Saenredam is a great choice for such a job. Passionate about architecture and perspective, he is one of the first artists to focus on meticulously realistic views of the monuments. Ampzing's Beschrijvinge is published in 1628.
To prepare his paintings, Saenredam executes with an abundance of details his drawings which he will transpose onto the panel before applying the color. His care for accuracy, probably unique in his time, enables to attribute a date to some of his works.
On January 28 in New York, Sotheby's sells a view of the Haarlem Town Hall by Saenredam, oil on panel 40 x 50 cm, lot 48estimated $ 2.5M. This view cannot be earlier than the book of Ampzing or subsequent to 1630 when a major renovation of the facade removed the stairs and statues in Palladian Renaissance style still in place at the center of the image.
This artwork is not only a realistic view of Haarlem at the time of Frans Hals. To please his Protestant friends who were elected burgomasters in 1630, Saenredam conceived it as a history painting glorifying the entrance of Maurits in the town twelve years earlier. The artist had decidedly little interest in the characters and had men and horses painted by Pieter Post.
In the rest of his career, Saenredam mostly exploits his talent for geometric accuracy in his views of church interiors.
Nevertheless a view of his native village of Assendelft painted in 1634 anticipates by his non-narrative theme the art of Berckheyde, a quarter century later, that opened the path for the Vedutism of the following century. This oil on panel 36 x 49 cm unique for its time was sold for £ 3.7 million including premium by Christie's on July 3, 2012 over a lower estimate of £ 400K.
The Protestant publicist Samuel Ampzing desires to promote his beloved city by a praise in verse with engravings. He entrusts the illustrations to Pieter Saenredam and Jan van de Velde. Saenredam is a great choice for such a job. Passionate about architecture and perspective, he is one of the first artists to focus on meticulously realistic views of the monuments. Ampzing's Beschrijvinge is published in 1628.
To prepare his paintings, Saenredam executes with an abundance of details his drawings which he will transpose onto the panel before applying the color. His care for accuracy, probably unique in his time, enables to attribute a date to some of his works.
On January 28 in New York, Sotheby's sells a view of the Haarlem Town Hall by Saenredam, oil on panel 40 x 50 cm, lot 48estimated $ 2.5M. This view cannot be earlier than the book of Ampzing or subsequent to 1630 when a major renovation of the facade removed the stairs and statues in Palladian Renaissance style still in place at the center of the image.
This artwork is not only a realistic view of Haarlem at the time of Frans Hals. To please his Protestant friends who were elected burgomasters in 1630, Saenredam conceived it as a history painting glorifying the entrance of Maurits in the town twelve years earlier. The artist had decidedly little interest in the characters and had men and horses painted by Pieter Post.
In the rest of his career, Saenredam mostly exploits his talent for geometric accuracy in his views of church interiors.
Nevertheless a view of his native village of Assendelft painted in 1634 anticipates by his non-narrative theme the art of Berckheyde, a quarter century later, that opened the path for the Vedutism of the following century. This oil on panel 36 x 49 cm unique for its time was sold for £ 3.7 million including premium by Christie's on July 3, 2012 over a lower estimate of £ 400K.
1630s A Beautiful Sacrifice
2019 SOLD for € 4.8M including premium
Artemisia Gentileschi is a major artist of the post-Caravaggesque period. Like the other women painters of her time, she needs for being able to exercise her job to offer themes where she does not compete with men. She chooses heroic women and allegorical self-portraits.
Lucretia is the raped lady who refused the defilement and whose exemplary suicide led to the fall of the Roman monarchy and the creation of the republic. This legend is painted throughout Artemisia's career. Feminists of our time like to suggest a parallel between the Roman woman and the life of the artist, but this assimilation is not confirmed by in period documents.
Artemisia had very early painted the female nudes. Her style reaches its greatest maturity from 1630 when she works in Naples. The bodies become more carnal, less schematized. In the case of Lucretia, she makes the spectator regret that such a beautiful lady has chosen to die.
An oil on canvas 133 x 106 cm was sold for € 1,9M including premium by Dorotheum on October 23, 2018. Another variant, 97 x 75 cm, is estimated € 600K for sale by Artcurial in Paris on November 13, lot 36.
These two paintings have many similarities. The model is probably the same woman. The diagonal composition with a well-lit body in front of a black background gives a Caravaggesque impetus to this dramatic action. The head which is turned to prevent that a perception disrupts the sacrifice is classic in the imagery of Lucretia.
There are also differences. The rich garment that covers the lower body is characterized by its bright colors on the specimen of Dorotheum and by the fineness of the white embroidery on the specimen of Artcurial. The movement of the Dorotheum Lucretia is theatrical : the blade is still far away, held by a horizontally stretched arm. The attitude of the Artcurial Lucretia is more natural, with a bent arm that directs the dagger toward the skin just before the fatal piercing.
The oil on canvas for sale by Artcurial is in an exceptional state of preservation. In the video shared by the auction house, the expert Eric Turquin shows that the emotion wets the eyelashes of the heroine, a very rare effect that is worthy of Rubens in my opinion.
Lucretia is the raped lady who refused the defilement and whose exemplary suicide led to the fall of the Roman monarchy and the creation of the republic. This legend is painted throughout Artemisia's career. Feminists of our time like to suggest a parallel between the Roman woman and the life of the artist, but this assimilation is not confirmed by in period documents.
Artemisia had very early painted the female nudes. Her style reaches its greatest maturity from 1630 when she works in Naples. The bodies become more carnal, less schematized. In the case of Lucretia, she makes the spectator regret that such a beautiful lady has chosen to die.
An oil on canvas 133 x 106 cm was sold for € 1,9M including premium by Dorotheum on October 23, 2018. Another variant, 97 x 75 cm, is estimated € 600K for sale by Artcurial in Paris on November 13, lot 36.
These two paintings have many similarities. The model is probably the same woman. The diagonal composition with a well-lit body in front of a black background gives a Caravaggesque impetus to this dramatic action. The head which is turned to prevent that a perception disrupts the sacrifice is classic in the imagery of Lucretia.
There are also differences. The rich garment that covers the lower body is characterized by its bright colors on the specimen of Dorotheum and by the fineness of the white embroidery on the specimen of Artcurial. The movement of the Dorotheum Lucretia is theatrical : the blade is still far away, held by a horizontally stretched arm. The attitude of the Artcurial Lucretia is more natural, with a bent arm that directs the dagger toward the skin just before the fatal piercing.
The oil on canvas for sale by Artcurial is in an exceptional state of preservation. In the video shared by the auction house, the expert Eric Turquin shows that the emotion wets the eyelashes of the heroine, a very rare effect that is worthy of Rubens in my opinion.
Mercredi 13/07 Vente chez @Artcurial de tableaux anciens avec notamment la somptueuse Lucrèce d'Artemisia Gentileschi pic.twitter.com/AMTJbHBXsi
— Antoine Lavastre (@LavastreAntoine) November 4, 2019
1631 A Portrait at the Court of Philip IV
2011 SOLD 2.95 M£ including premium
PRE SALE DISCUSSION
Matthew Shepperson, an unknown English artist who died in 1874, owned soe mediocre paintings that his heirs never handled. They still had to get rid of that and entrusted this operation to the local office of Bonhams in Oxford in August 2010.
A portrait seemed earlier. The Department of Ancient painting of Bonhams alerted a specialist of Velazquez, Dr.Cherry, who confirmed that this oil on canvas, 47 x 39 cm, had all the characteristics of an authentic work of the master.
It is a gentleman in bust length with a high collar behind the neck after the fashion of the courtiers of Philip IV. The face is in bright contrast with the very dark background and the black cloth. Only Velazquez, after his 1631 trip to Italy, was able to achieve such sumptuous shades with a very thin layer of paint.
This attribution to one of the top masters is an event, especially as the works of Velazquez still in private hands are very rare.
The sale takes place on December 7 in London. The painting is estimated £ 2M.
POST SALE COMMENT
It is not easy to directly put into auction an unknown work of an outstanding master. Bonhams has led this operation to success : £ 2.6 million before fees, 2.95 million including premium.
Their attribution was convincing and was not opposed.
I invite you to play the video, well-researched and convincing, shared by Bonhams. The image is shared by Wikimedia.
Matthew Shepperson, an unknown English artist who died in 1874, owned soe mediocre paintings that his heirs never handled. They still had to get rid of that and entrusted this operation to the local office of Bonhams in Oxford in August 2010.
A portrait seemed earlier. The Department of Ancient painting of Bonhams alerted a specialist of Velazquez, Dr.Cherry, who confirmed that this oil on canvas, 47 x 39 cm, had all the characteristics of an authentic work of the master.
It is a gentleman in bust length with a high collar behind the neck after the fashion of the courtiers of Philip IV. The face is in bright contrast with the very dark background and the black cloth. Only Velazquez, after his 1631 trip to Italy, was able to achieve such sumptuous shades with a very thin layer of paint.
This attribution to one of the top masters is an event, especially as the works of Velazquez still in private hands are very rare.
The sale takes place on December 7 in London. The painting is estimated £ 2M.
POST SALE COMMENT
It is not easy to directly put into auction an unknown work of an outstanding master. Bonhams has led this operation to success : £ 2.6 million before fees, 2.95 million including premium.
Their attribution was convincing and was not opposed.
I invite you to play the video, well-researched and convincing, shared by Bonhams. The image is shared by Wikimedia.
.jpg)
1632 The Little Prince of Orange
2018 SOLD for $ 2.4M including premium
Van Dyck returned to Antwerp in 1627 after six years of residence and training in Italy. His charming portraits erased the ugliness of the models while maintaining a flexible and pleasant attitude. He knew that the best place to continue his career was the court of King Charles I of England.
Van Dyck definitively left Antwerp in January 1632. Very cleverly he stopped at the court of The Hague to confirm his expertise by making portraits of the Prince of Orange and of his family. Relationships are close between Stuarts and Oranges. The agents of the King of England are around the corner and commission the artist to make an additional copy of his Orange portraits. The game is won : in April 1632 Van Dyck is triumphantly welcomed in London where he will remain until his death.
The stadhouder's heir is his son Willem who is almost six years old. The young boy is standing full length. He is richly dressed in a long gown in the golden orange color of the princely house of Orange, with lace collar and cuffs. The clothing is princely but the attitude is of any real child, lively and without any trace of childish complacency.
Several versions of this image exist but only two have autograph qualities. The oil on canvas 119 x 105 cm supplied to the stadhouder is kept in the Schloss Musigkau museum in Dessau. The other oil on canvas, 128 x 100 cm, is certainly the portrait of a young Dutch prince listed in the sale of the late King Charles's goods by the Commonwealth in 1652. It is estimated $ 2M for sale by Sotheby's in New York on February 1, lot 42.
The painting that comes at Sotheby's has recently been cleaned, revealing the qualities of an original. Pentimenti have been detected and two almost imperceptible but important details are better than in the Orange version : the curiosity expressed by the boy to an unidentified action out of field and the strength of his dog. From his stay in The Hague, Van Dyck already reserved the best of his art for the King of England.
Prince Willem was to marry in 1641 Princess Mary Henrietta, the eldest daughter of King Charles I. King William III of England was his posthumous son.
Please watch the video shared by Sotheby's. The image is shared by Wikimedia.
Van Dyck definitively left Antwerp in January 1632. Very cleverly he stopped at the court of The Hague to confirm his expertise by making portraits of the Prince of Orange and of his family. Relationships are close between Stuarts and Oranges. The agents of the King of England are around the corner and commission the artist to make an additional copy of his Orange portraits. The game is won : in April 1632 Van Dyck is triumphantly welcomed in London where he will remain until his death.
The stadhouder's heir is his son Willem who is almost six years old. The young boy is standing full length. He is richly dressed in a long gown in the golden orange color of the princely house of Orange, with lace collar and cuffs. The clothing is princely but the attitude is of any real child, lively and without any trace of childish complacency.
Several versions of this image exist but only two have autograph qualities. The oil on canvas 119 x 105 cm supplied to the stadhouder is kept in the Schloss Musigkau museum in Dessau. The other oil on canvas, 128 x 100 cm, is certainly the portrait of a young Dutch prince listed in the sale of the late King Charles's goods by the Commonwealth in 1652. It is estimated $ 2M for sale by Sotheby's in New York on February 1, lot 42.
The painting that comes at Sotheby's has recently been cleaned, revealing the qualities of an original. Pentimenti have been detected and two almost imperceptible but important details are better than in the Orange version : the curiosity expressed by the boy to an unidentified action out of field and the strength of his dog. From his stay in The Hague, Van Dyck already reserved the best of his art for the King of England.
Prince Willem was to marry in 1641 Princess Mary Henrietta, the eldest daughter of King Charles I. King William III of England was his posthumous son.
Please watch the video shared by Sotheby's. The image is shared by Wikimedia.
1633 Breakfasts by Heda
2015 SOLD for £ 2.95M including premium
Willem Claesz Heda wanted that his paintings closely resemble the real objects. He succeeded in his goal by an extreme care in the textures and a detailed study of the reflections of light.
For four decades, he worked a single theme: the still life of foods and utensils for breakfast on a tablecloth covering almost the entire table. This choice was perhaps inspired by his early training as a painter of vanities. The fruit is ephemeral and the utensil is permanent.
In the 1630s, his composition is rigorous, in a great simplicity which certainly inspired the minimalism of Coorte half a century later. The foods are strictly included within the perimeter lines of the table top. Only the higher part of the utensils and the hanging lemon peel are beyond this zone.
On July 8 in London, Sotheby's sells an oil on panel 59 x 80 cm painted in 1633, lot 12 estimated £ 2M.
This artwork is a good example of Heda's improved realism through a subtle treatment of light. The contrasted areas in the background indicate where daylight comes from. The surrounding that escapes direct vision is however visible in the multiple reflections of a single window, in glasses, silverware and olives but not in pewter.
Subsequent compositions with a crumpled tablecloth and an increased quantity of objects are more complex. The artist desired to demonstrate that his control of geometry could be applied not only to order but also to disorder. An oil on panel 81 x 102 cm painted in 1644 was sold for £ 4.8 million including premium by Christie's on July 8, 2014 over a lower estimate of £ 1.5M.
For four decades, he worked a single theme: the still life of foods and utensils for breakfast on a tablecloth covering almost the entire table. This choice was perhaps inspired by his early training as a painter of vanities. The fruit is ephemeral and the utensil is permanent.
In the 1630s, his composition is rigorous, in a great simplicity which certainly inspired the minimalism of Coorte half a century later. The foods are strictly included within the perimeter lines of the table top. Only the higher part of the utensils and the hanging lemon peel are beyond this zone.
On July 8 in London, Sotheby's sells an oil on panel 59 x 80 cm painted in 1633, lot 12 estimated £ 2M.
This artwork is a good example of Heda's improved realism through a subtle treatment of light. The contrasted areas in the background indicate where daylight comes from. The surrounding that escapes direct vision is however visible in the multiple reflections of a single window, in glasses, silverware and olives but not in pewter.
Subsequent compositions with a crumpled tablecloth and an increased quantity of objects are more complex. The artist desired to demonstrate that his control of geometry could be applied not only to order but also to disorder. An oil on panel 81 x 102 cm painted in 1644 was sold for £ 4.8 million including premium by Christie's on July 8, 2014 over a lower estimate of £ 1.5M.
Still-lifes by Heda are among the greatest achievements of the Dutch C17th. This exquisite example fetches £2.9m pic.twitter.com/ZcjIclHoHb
— Sotheby's (@Sothebys) July 8, 2015
1633-1635 Francken between Vice and Virtue
2010 SOLD 7 M€ including premium
Frans Francken the younger was a painter of Antwerp and a contemporary of Rubens. This master is known for much animated scenes from mythology and the Old Testament, and some curious interpretations of collectors' showrooms.
On April 21 in Vienna, Dorotheum sells as lot 5 an outstanding oil on panel 142 x 211 cm by Francken on the moralizing theme of human choice between vices and virtues.
The composition is in two superimposed registers, according to the practice which had been so common in medieval iconography, long before this painting dated 1633 or 1635.
Upstairs, in an architectural environment, a pilgrim is surrounded by the virtues, on the left of the image, and vices and sins, on the right. Above him, a cloud is housing the Paradise. The lower register shows Hell with Satan and his pleasures.
POST SALE COMMENT
I think that nothing similar went on the market since a long time. The result, € 7 million including premium, confirms the importance of this painting. A great result for a great work, from all points of view.
The image is shared by Wikimedia.
On April 21 in Vienna, Dorotheum sells as lot 5 an outstanding oil on panel 142 x 211 cm by Francken on the moralizing theme of human choice between vices and virtues.
The composition is in two superimposed registers, according to the practice which had been so common in medieval iconography, long before this painting dated 1633 or 1635.
Upstairs, in an architectural environment, a pilgrim is surrounded by the virtues, on the left of the image, and vices and sins, on the right. Above him, a cloud is housing the Paradise. The lower register shows Hell with Satan and his pleasures.
POST SALE COMMENT
I think that nothing similar went on the market since a long time. The result, € 7 million including premium, confirms the importance of this painting. A great result for a great work, from all points of view.
The image is shared by Wikimedia.
_-_Mankind%27s_Eternal_Dilemma_%E2%80%93_The_Choice_Between_Virtue_and_Vice.jpg)
mid 1630s An Arrogant Merchant of Haarlem
2008 SOLD 7.1 M£ including premium
Frans Hals is one of the biggest names in the history of art, and the painting that Sotheby's shows us, the number 26 from the sale of London on July 9, is surprising. Its estimate is very open: 3 to 5 million £. If several major buyers have the same opinion of his originality, it can do more despite its relatively small size: 47 x 37 cm.
This is the portrait of a merchant, whose name is identified, in the mid 1630s. He sits, a little toppled backward on a chair in unstable position. His attitude and his eyes express insolence, arrogance. To confirm this fact, he is shown with a whip in hands, which he bends. Not really nice, man ...
The painting is perfectly realistic, which is all the more remarkable because in his unbalanced position he could not have acted as a model.
Sotheby's is well aware of Frans Hals, since they have obtained all the best results on paintings of this artist, but I have not seen in the archives of sales another work that has a similar psychological strength. Sotheby's suppose that this painting was made for a strictly private use.
The catalogue does not hesitate to give us the last sale price obtained by this painting: 570 K € by ImKinsky in Vienna in 2004. It was then described as a work of a follower of Hals. Sotheby's gives many details about their remarkable study for authentication of the work, and its complete traceability since 1817.
The two major auction houses have decidedly nothing to fear from their rivals. The best connoisseurs of art are named Sotheby's and Christie's.
POST SALE COMMENT
Sotheby's was incredibly self-confident. I hope I have correctly described in my article such an impression given to me when reading the catalogue.
Experts from Sotheby's perfectly mastered it. Clearly assessing that a painting had been sold 570 K € in 2004 and bringing it up to £ 7.1 million charge included, is one of the best successes that I know in terms of auction.
The analysis that led to this result reveals an exceptional capacity for expertise.
It is likely, and even desirable, that Sotheby's has been paid by seller charges for this expertise.
Regarding the seller, I did the calculation. All expenses deducted (of which I can not know the exact rate), there is an increase in value by a factor of 5 to 6 between the purchase of Vienna and the sale of London.
There are still treasures which are moving in front of our eyes, but seeing them requires much increasing skills.
The image is shared by Wikimedia.
This is the portrait of a merchant, whose name is identified, in the mid 1630s. He sits, a little toppled backward on a chair in unstable position. His attitude and his eyes express insolence, arrogance. To confirm this fact, he is shown with a whip in hands, which he bends. Not really nice, man ...
The painting is perfectly realistic, which is all the more remarkable because in his unbalanced position he could not have acted as a model.
Sotheby's is well aware of Frans Hals, since they have obtained all the best results on paintings of this artist, but I have not seen in the archives of sales another work that has a similar psychological strength. Sotheby's suppose that this painting was made for a strictly private use.
The catalogue does not hesitate to give us the last sale price obtained by this painting: 570 K € by ImKinsky in Vienna in 2004. It was then described as a work of a follower of Hals. Sotheby's gives many details about their remarkable study for authentication of the work, and its complete traceability since 1817.
The two major auction houses have decidedly nothing to fear from their rivals. The best connoisseurs of art are named Sotheby's and Christie's.
POST SALE COMMENT
Sotheby's was incredibly self-confident. I hope I have correctly described in my article such an impression given to me when reading the catalogue.
Experts from Sotheby's perfectly mastered it. Clearly assessing that a painting had been sold 570 K € in 2004 and bringing it up to £ 7.1 million charge included, is one of the best successes that I know in terms of auction.
The analysis that led to this result reveals an exceptional capacity for expertise.
It is likely, and even desirable, that Sotheby's has been paid by seller charges for this expertise.
Regarding the seller, I did the calculation. All expenses deducted (of which I can not know the exact rate), there is an increase in value by a factor of 5 to 6 between the purchase of Vienna and the sale of London.
There are still treasures which are moving in front of our eyes, but seeing them requires much increasing skills.
The image is shared by Wikimedia.
1637 Purist Portraits by Frans Hals
2018 SOLD for £ 10M including premium
Frans Hals began his career in Haarlem at a time of religious tensions. He is a friend of the purist doctrinaire Samuel Ampzing who promotes a simple and austere way of life for the Protestants.
Hals did not leave Haarlem and his art reflects the very specific ambience wanted by Ampzing. Portraitist of bourgeois and merchants, he does not confuse wealth and luxury. His sitters wear dark clothes only embellished with a white collar.
The faces have the same pictorial quality as the portraits made by Rembrandt but the monotony of his theme bored the following generations. The importance of his work was restored in the mid-nineteenth century by Thoré-Bürger who was also the discoverer of Vermeer.
In the early 1630s, Hals reduces his palette to gray, brown and black with an infinite variety of shades in these three colors. He is by that way reaching the high end of purism without losing the pictorial quality. His palette of blacks will be admired by van Gogh.
On December 6 in London, Christie's sells a pair of oils on canvas forming pendants, 93 x 68 cm each, lot 10 estimated £ 8M, in an exceptional state of preservation.
This pair is the three-quarter length portrait of a couple, dated 1637, possibly commissioned for their wedding anniversary. The man and the woman each hold a pair of deerskin gloves that symbolize their union. They are not identified but their age is recorded : 37 years old for the man and 36 for the woman.
Please watch the video shared by Christie's showing four masterpieces from the Eric Albada Jelgersma collection.
Hals did not leave Haarlem and his art reflects the very specific ambience wanted by Ampzing. Portraitist of bourgeois and merchants, he does not confuse wealth and luxury. His sitters wear dark clothes only embellished with a white collar.
The faces have the same pictorial quality as the portraits made by Rembrandt but the monotony of his theme bored the following generations. The importance of his work was restored in the mid-nineteenth century by Thoré-Bürger who was also the discoverer of Vermeer.
In the early 1630s, Hals reduces his palette to gray, brown and black with an infinite variety of shades in these three colors. He is by that way reaching the high end of purism without losing the pictorial quality. His palette of blacks will be admired by van Gogh.
On December 6 in London, Christie's sells a pair of oils on canvas forming pendants, 93 x 68 cm each, lot 10 estimated £ 8M, in an exceptional state of preservation.
This pair is the three-quarter length portrait of a couple, dated 1637, possibly commissioned for their wedding anniversary. The man and the woman each hold a pair of deerskin gloves that symbolize their union. They are not identified but their age is recorded : 37 years old for the man and 36 for the woman.
Please watch the video shared by Christie's showing four masterpieces from the Eric Albada Jelgersma collection.
Albada Jelgersma Collection ‘A Seminal Moment’ for Old Master Market, Says Christie’s https://t.co/djtV3ifd8l pic.twitter.com/zp6schgtMe
— Art Market Monitor (@artmarket) October 17, 2018
1637 Enjoyment of Senses by Ribera
2019 SOLD for £ 5.7M including premium
Born near Valencia, Ribera is attracted by Italy. In Rome, he is interested in the faces and attitudes of poor people, most certainly through an influence from the Caravaggesques of Utrecht. He paints a first series of the Five Senses, not without wit. Smell is a ragged beggar who peels an onion.
In 1616 Ribera, aged 25, arrives in Naples which is then a Spanish possession. He will never return to his country but wishes to state his origin by signing his works Jusepe de Ribera español. He is also nicknamed Lo Spagnoletto.
He paints other Senses in 1637 with allegories completely different from his earlier series. Hearing is a girl who plays the tambourine with an expression of deep happiness, personifying the pleasure of the senses. This oil on canvas 60 x 46 cm is estimated £ 5M for sale by Sotheby's in London on July 3, lot 24.
This figure was painted by Ribera at the end of his tenebrist phase, with a black background in the style of his friend Velazquez. In the series of popular types, she thus appears in the continuity of his picturesque bearded milking woman (Mujer barbuda) painted in 1631.
Clearly a pendant of similar size with the Tambourine girl, Taste is a hilarious drunkard. Candidates have been proposed for Smell and Touch, but Sight remains unidentified, without evidence that this series has ever been complete.
In 1616 Ribera, aged 25, arrives in Naples which is then a Spanish possession. He will never return to his country but wishes to state his origin by signing his works Jusepe de Ribera español. He is also nicknamed Lo Spagnoletto.
He paints other Senses in 1637 with allegories completely different from his earlier series. Hearing is a girl who plays the tambourine with an expression of deep happiness, personifying the pleasure of the senses. This oil on canvas 60 x 46 cm is estimated £ 5M for sale by Sotheby's in London on July 3, lot 24.
This figure was painted by Ribera at the end of his tenebrist phase, with a black background in the style of his friend Velazquez. In the series of popular types, she thus appears in the continuity of his picturesque bearded milking woman (Mujer barbuda) painted in 1631.
Clearly a pendant of similar size with the Tambourine girl, Taste is a hilarious drunkard. Candidates have been proposed for Smell and Touch, but Sight remains unidentified, without evidence that this series has ever been complete.
#AuctionUpdate On the Beat □: This charming portrait of a girl tapping a tambourine by Jusepe de Ribera makes a noise, singing to the tune of £5,743,000 – a new record for the artist. #SothebysOldMasters pic.twitter.com/R0OuYI9gJH
— Sotheby's (@Sothebys) July 3, 2019
