Decade 1650-1659
See also : Ancient painting Ancient French painting Old Dutch masters Ancient Spain Louis XIV to XVI Prints Ancient prints French time pieces Watches II
ca 1650 Three Virtues in a Watch
2019 SOLD for £ 2.17M including premium
Died in Paris in 1644, Jean Toutin had invented a process for painting enamel colors over a layer of white enamel. The implementation was laborious but it interested the miniaturists by the direct realization of the drawing, contrary to the usual champlevé based on a withdrawal of material. Its heating also had the advantage of being free of cracks.
Jean Toutin applied his method to watches that were appreciated at the court of Louis XIII but also in England. No piece created by him has survived but his technique had a few followers and is known as Blois-style enamel work.
Six pocket watches have survived with a turquoise blue decoration made around 1650 in the style of Blois. A certain similarity may suggest that this camaieu was made by a single artist but the dials are signed by six different watchmakers, three in London, two in Paris and one in Bordeaux.
The watch signed by a man named Jehan Cremsdorff in Paris uses several enamel techniques. The exterior of its cover and back is decorated in enamel on chased gold, with a champlevé relief flower pattern on a turquoise background. One of these sides is cloisonné. The inner walls of both the cover and the back and the dial are decorated in the Blois-style blue. These three figures are reproductions of allegories of Virtues edited as engravings by Abraham Bosse around 1636. It is also inlaid with diamonds.
This Cremsdorff specimen is a 6 cm diameter verge escapement watch, 7.6 cm in height including the pendant. It has a single hand which is normal for its time : the minute hand will be available on watches from 1687.
It was sold for CHF 1.8M by Christie's on May 13, 1986, a very high price for a pocket watch at that time (for information, 1 CHF was worth between 0.48 and 0.62 USD in 1986). It is estimated £ 700K for sale by Sotheby's in London on July 3, lot 4.
Jean Toutin applied his method to watches that were appreciated at the court of Louis XIII but also in England. No piece created by him has survived but his technique had a few followers and is known as Blois-style enamel work.
Six pocket watches have survived with a turquoise blue decoration made around 1650 in the style of Blois. A certain similarity may suggest that this camaieu was made by a single artist but the dials are signed by six different watchmakers, three in London, two in Paris and one in Bordeaux.
The watch signed by a man named Jehan Cremsdorff in Paris uses several enamel techniques. The exterior of its cover and back is decorated in enamel on chased gold, with a champlevé relief flower pattern on a turquoise background. One of these sides is cloisonné. The inner walls of both the cover and the back and the dial are decorated in the Blois-style blue. These three figures are reproductions of allegories of Virtues edited as engravings by Abraham Bosse around 1636. It is also inlaid with diamonds.
This Cremsdorff specimen is a 6 cm diameter verge escapement watch, 7.6 cm in height including the pendant. It has a single hand which is normal for its time : the minute hand will be available on watches from 1687.
It was sold for CHF 1.8M by Christie's on May 13, 1986, a very high price for a pocket watch at that time (for information, 1 CHF was worth between 0.48 and 0.62 USD in 1986). It is estimated £ 700K for sale by Sotheby's in London on July 3, lot 4.
#AuctionUpdate: Landmark price for a 17th century watch: Jehan Cremsdorff’s extraordinary gold, enamel and diamond-set verge watch, circa 1650 - an early masterpiece of enamel work - just fetched $2.7m in our London Treasures sale #SothebysWatches pic.twitter.com/I2S0lH04VI
— Sotheby's (@Sothebys) July 3, 2019
1650 Sunrise on a Roman Seaport
2013 SOLD 5 M£ including premium
Claude Gellée, whose artist name is Le Lorrain, is a contemporary of Poussin. Both are working in Rome, the capital of the arts, but their vision is different. Lorrain is not a mystic. He is interested in landscapes in extreme daylights.
On December 3 in London, Christie's sells an oil on canvas 101 x 135 cm, estimated £ 3M, recently rediscovered after having remained out of sight for more than a century.
This painting was done in 1650 on order of a cardinal. The artist honors a local saint: during the reign of the pious emperor Theodosius, a woman named Paula left Rome to live the hermit adventure under the direction of Jerome who is indeed the only recorder of her hagiography.
From the perspective of Christian iconography this action is not spectacular, but the sunrise on a fancy Mediterranean seaport is sumptuous. Much later, Turner complacently recognized the considerable influence of Lorrain on his own vision.
The antique columns that close the left edge of the picture anticipate by more than half a century the fashion of the Roman capricci and the tall ships are worthy of a van de Velde.
POST SALE COMMENT
The quality and rarity of this painting led it to £ 5M including premium.
On December 3 in London, Christie's sells an oil on canvas 101 x 135 cm, estimated £ 3M, recently rediscovered after having remained out of sight for more than a century.
This painting was done in 1650 on order of a cardinal. The artist honors a local saint: during the reign of the pious emperor Theodosius, a woman named Paula left Rome to live the hermit adventure under the direction of Jerome who is indeed the only recorder of her hagiography.
From the perspective of Christian iconography this action is not spectacular, but the sunrise on a fancy Mediterranean seaport is sumptuous. Much later, Turner complacently recognized the considerable influence of Lorrain on his own vision.
The antique columns that close the left edge of the picture anticipate by more than half a century the fashion of the Roman capricci and the tall ships are worthy of a van de Velde.
POST SALE COMMENT
The quality and rarity of this painting led it to £ 5M including premium.
1650 Juan de Pareja by Velazquez
1970 SOLD for £ 2.3M including premium by Christie's (worth US$ 5.5M at that time)
narrated in 2020
The mission of Diego Velazquez in Italy aimed to constitute an art collection for the King of Spain. He left Malaga in 1649, visited Genoa, Milan, Venice and Modena, buying in passing important works by Titian, Tintoretto and Veronese. At the beginning of 1650 he was in Rome where he could take care of his own career.
He is accompanied by his slave Juan de Pareja, who is his preparer of colors. Aged about 44, Juan de Pareja is a mestizo with a Moorish dominance.
Velazquez has a great intuition. To assess that his expertise meets his reputation, he paints a portrait of his slave, to whom he commissions the demonstration of the result to a few selected friends. The truth of the portrait is breathtaking. The painting is exhibited in the Pantheon on March 19, 1650 for the feast of Saint Joseph, an extraordinary honor when considering that the work had just been completed.
Velazquez was not only a painter of worldly portraits. He knew to give dignity to men whatever their social condition. Juan's gaze is proud and straight. He will have his reward : freed a few months later with a probation period, he will use his own painting skills to become one of Velazquez's best assistants.
The portrait of Juan de Pareja, oil on canvas 81 x 70 cm, was sold on November 27, 1970 by Christie's for £ 2.3M including premium, worth US $ 5.5M at that time. It was purchased at that sale by Wildenstein acting for the Metropolitan Museum of Art. The Met raises the necessary funds after a call for donations to the Friends of the Museum and acquires this masterpiece in 1971. The image is shared by Wikimedia.
The portrait of the slave opened for the artist all the doors of the Vatican. The "troppo vero" portrait of Pope Innocent X, painted in August 1650, is one of the most important works in art history.
He is accompanied by his slave Juan de Pareja, who is his preparer of colors. Aged about 44, Juan de Pareja is a mestizo with a Moorish dominance.
Velazquez has a great intuition. To assess that his expertise meets his reputation, he paints a portrait of his slave, to whom he commissions the demonstration of the result to a few selected friends. The truth of the portrait is breathtaking. The painting is exhibited in the Pantheon on March 19, 1650 for the feast of Saint Joseph, an extraordinary honor when considering that the work had just been completed.
Velazquez was not only a painter of worldly portraits. He knew to give dignity to men whatever their social condition. Juan's gaze is proud and straight. He will have his reward : freed a few months later with a probation period, he will use his own painting skills to become one of Velazquez's best assistants.
The portrait of Juan de Pareja, oil on canvas 81 x 70 cm, was sold on November 27, 1970 by Christie's for £ 2.3M including premium, worth US $ 5.5M at that time. It was purchased at that sale by Wildenstein acting for the Metropolitan Museum of Art. The Met raises the necessary funds after a call for donations to the Friends of the Museum and acquires this masterpiece in 1971. The image is shared by Wikimedia.
The portrait of the slave opened for the artist all the doors of the Vatican. The "troppo vero" portrait of Pope Innocent X, painted in August 1650, is one of the most important works in art history.
1650 Velazquez in Rome
2018 SOLD for $ 4.1M including premium
The skills of Diego Velazquez are recognized in the court of King Felipe IV who names him ayuda de camara (valet) in 1643 and superintendente de obras (superintendent of works) in the following year. Having thus become one of the closest collaborators of the king, he requests and obtains a mission in Italy to acquire paintings and sculptures worthy of the royal collection.
His first stay in Italy in 1629-1630 had much contributed to his artistic training but he was still unknown in that country when he arrived in Rome in 1649. He immediately portrayed his assistant, the mulatto slave Juan de Pareja. The Romans were dazzled by the physical and psychological resemblance between man and painting. Velazquez is the best portraitist of his time, or even of all time.
The doors open wide for Velazquez. In August 1650 Pope Innocent X sits for him. The artist wants to do better than Titian and takes a great care in the attitude and in the colors. Admiring the masterpiece, the pope famously says : "Troppo vero".
Major prelates now desire a similar portrait of them. At that time Velazquez works slowly. If he accepts, he endangers the mission for his king while his return is awaited with an impatience soon to be officially notified. If he refuses, he loses his best protectors for the acquisition of the works of art promised to the king.
The portrait of Monsignor Cristoforo Segni reveals the clever solution found by Velazquez. This outstanding person sits in an armchair and holds a paper in his hand, on the model of the portrait of the pope. The paper has the same role of identifying the artist and the prelate. For Segni the name of another artist, Pietro Martire Neri, is also indicated near that text.
This double authentication has puzzled all art historians, especially since no collaboration between Velazquez and Neri has ever been documented. The sharpness and expression of the face could however not have been achieved by Neri whose personal known work is rather mediocre. Segni's head is an autograph painting by Velazquez. Neri completed the rest, possibly after the departure of Velazquez from Rome.
This oil on canvas 114 x 92 cm is estimated $ 3M for sale by Sotheby's in New York on February 1, lot 48. The image is shared by Wikimedia. Please watch the video shared by Sotheby's.
His first stay in Italy in 1629-1630 had much contributed to his artistic training but he was still unknown in that country when he arrived in Rome in 1649. He immediately portrayed his assistant, the mulatto slave Juan de Pareja. The Romans were dazzled by the physical and psychological resemblance between man and painting. Velazquez is the best portraitist of his time, or even of all time.
The doors open wide for Velazquez. In August 1650 Pope Innocent X sits for him. The artist wants to do better than Titian and takes a great care in the attitude and in the colors. Admiring the masterpiece, the pope famously says : "Troppo vero".
Major prelates now desire a similar portrait of them. At that time Velazquez works slowly. If he accepts, he endangers the mission for his king while his return is awaited with an impatience soon to be officially notified. If he refuses, he loses his best protectors for the acquisition of the works of art promised to the king.
The portrait of Monsignor Cristoforo Segni reveals the clever solution found by Velazquez. This outstanding person sits in an armchair and holds a paper in his hand, on the model of the portrait of the pope. The paper has the same role of identifying the artist and the prelate. For Segni the name of another artist, Pietro Martire Neri, is also indicated near that text.
This double authentication has puzzled all art historians, especially since no collaboration between Velazquez and Neri has ever been documented. The sharpness and expression of the face could however not have been achieved by Neri whose personal known work is rather mediocre. Segni's head is an autograph painting by Velazquez. Neri completed the rest, possibly after the departure of Velazquez from Rome.
This oil on canvas 114 x 92 cm is estimated $ 3M for sale by Sotheby's in New York on February 1, lot 48. The image is shared by Wikimedia. Please watch the video shared by Sotheby's.
1650 Olimpia in the Vatican
2019 SOLD for £ 2.5M including premium
When Velazquez arrived in Rome in May 1649, he had the reputation of being the best portraitist and became de facto the official painter in the Vatican. His portrait of Innocent X is a masterpiece. The pope embarrassed by his own image comments : "Troppo vero". The master also made portraits of the main notables of the pope's surrounding, extending his mission until November 1650 to consolidate his Roman relations.
Throughout the pontificate of Innocent X from 1644 to 1655, the Vatican was managed by a greedy and corrupt woman. Donna Olimpia is the widow of the older brother of the pope. She takes all the decisions, constantly seeking to increase her financial gains and practicing a shameless nepotism. Her power is unlimited : Innocent X never disavowed her.
She is nicknamed La Papessa or more tastelessly La Pimpaccia, a pun on Olim Pia (once pious) suggesting that religion no longer mattered to her. This hyperactive woman also worked for assisting women prostitutes in Rome and commissioned Bernini with the fountains of the Piazza Navona.
The Papessa sits to Velazquez in July 1650. This image was engraved as early as 1653. The original art has been authenticated after nearly three centuries in anonymity. This oil painting 77 x 61 cm still on its original canvas is not in pristine condition. It is estimated £ 2M for sale by Sotheby's in London on July 3, lot 28.
This 59-year-old woman appears austere and unconstrained just as her brother-in-law is weak and devious, completing the image of the masters of the world on whom Velazquez mercilessly applied his objective vision. This painting is a signature example of Velazquez's mastering of black color.
Throughout the pontificate of Innocent X from 1644 to 1655, the Vatican was managed by a greedy and corrupt woman. Donna Olimpia is the widow of the older brother of the pope. She takes all the decisions, constantly seeking to increase her financial gains and practicing a shameless nepotism. Her power is unlimited : Innocent X never disavowed her.
She is nicknamed La Papessa or more tastelessly La Pimpaccia, a pun on Olim Pia (once pious) suggesting that religion no longer mattered to her. This hyperactive woman also worked for assisting women prostitutes in Rome and commissioned Bernini with the fountains of the Piazza Navona.
The Papessa sits to Velazquez in July 1650. This image was engraved as early as 1653. The original art has been authenticated after nearly three centuries in anonymity. This oil painting 77 x 61 cm still on its original canvas is not in pristine condition. It is estimated £ 2M for sale by Sotheby's in London on July 3, lot 28.
This 59-year-old woman appears austere and unconstrained just as her brother-in-law is weak and devious, completing the image of the masters of the world on whom Velazquez mercilessly applied his objective vision. This painting is a signature example of Velazquez's mastering of black color.
#AuctionUpdate Lost for nearly 300 years, Velázquez’s missing portrait of Donna Olimpia Maidalchini Pamphilj - sister-in-law, reputed lover and puppet master of Pope Innocent X – commands the saleroom, hammering down at a formidable £2,495,000. #SothebysOldMasters pic.twitter.com/UVtk1OiTAu
— Sotheby's (@Sothebys) July 3, 2019
1651 The Baroque Myths of Guercino
2010 SOLD 5.2 M£ including premium
PRE SALE DISCUSSION
Born in Italy but masterfully continued by Rubens, the Baroque art is rooted in an unconditional Christianity which is however questioning other sources of mysticism.
Guercino, who works in Bologna, is a typical Italian painter of this movement. We discussed him recently in this column, illustrating a Tasso's theme about the impossible relationship between Christians and Muslims during the Crusades. His work is characterized by the emotion in the action, and catches the eyes through the quality of colors.
In 1651, in the purest Baroque trend, an Italian knight places an order to him for a pair of paintings, a Prophet and a Sibyl. The prophet will be King David, considered in the Bible as the ancestor of Christ. The Sibyl is a classical theme recovered from paganism, by the fact that their exegetes saw Christian announcements in some of their words.
The pair of paintings came in 1768 to adorn Spencer House, the London residence of the rich and powerful family who wanted to be the arbiter of taste. On July 6 in London, Lord Spencer and his trustees put up for sale at Christie's the King David of Guercino, estimated £ 5 million.
This large oil on canvas, 223 x 170 cm, shows the Hebrew prophet in his middle age, seated, calm and dignified, displaying a tablet with a text of the Psalms.
POST SALE COMMENT
This large size painting by Guercino was probably the most important work of this artist to be presented at auction, and it was fresh on the market. The estimate was too high, but the sale is successful: £ 5.2 million including premium.
Born in Italy but masterfully continued by Rubens, the Baroque art is rooted in an unconditional Christianity which is however questioning other sources of mysticism.
Guercino, who works in Bologna, is a typical Italian painter of this movement. We discussed him recently in this column, illustrating a Tasso's theme about the impossible relationship between Christians and Muslims during the Crusades. His work is characterized by the emotion in the action, and catches the eyes through the quality of colors.
In 1651, in the purest Baroque trend, an Italian knight places an order to him for a pair of paintings, a Prophet and a Sibyl. The prophet will be King David, considered in the Bible as the ancestor of Christ. The Sibyl is a classical theme recovered from paganism, by the fact that their exegetes saw Christian announcements in some of their words.
The pair of paintings came in 1768 to adorn Spencer House, the London residence of the rich and powerful family who wanted to be the arbiter of taste. On July 6 in London, Lord Spencer and his trustees put up for sale at Christie's the King David of Guercino, estimated £ 5 million.
This large oil on canvas, 223 x 170 cm, shows the Hebrew prophet in his middle age, seated, calm and dignified, displaying a tablet with a text of the Psalms.
POST SALE COMMENT
This large size painting by Guercino was probably the most important work of this artist to be presented at auction, and it was fresh on the market. The estimate was too high, but the sale is successful: £ 5.2 million including premium.
1655 Vermeer's Pigments
2014 SOLD 6.2 M£ including premium
Johannes Vermeer began his career in Delft at the best period of Dutch painting. The details of the development of his artistic genius are a mystery. Son of an innkeeper also involved as a merchant of art, he is probably self-taught.
His early works are copies: Diana and her companions from Jacob van Loo, and Christ in the House of Martha and Mary from Erasmus Quellin. The young artist exercised his skills in mythological and Christian themes.
In 1969, the discovery of the ancient unretouched inscription 'Meer 1655' in a copy of a Florentine painting starts a long series of analyzes and assumptions. This oil on canvas 102 x 82 cm on the theme of Saint Praxedis is accepted since 1986 as a genuine Vermeer. The isotopic analysis of lead white pigment later confirmed this attribution.
Lead white enables to compare the location. This color was common and artists did not carry it in their travels. Particles collected in the white of Diana and Praxedis reveal a strictly identical composition.
The ultramarine blue paint in the sky of Praxedis is also interesting because it was a very expensive pigment. Its use by a novice painter is a proof of his commitment to perfection and of his ambition.
The image shows Praxedis wringing a sponge soaked with the blood of a beheaded martyr visible in the background. Her hands clasped in that action also hold a crucifix. This rare and poignant scene has certainly moved Vermeer who had converted to Catholicism when he married two years earlier.
The three works mentioned above are the whole of the known work of Vermeer before he specialized in the contemporary themes that will ensure his glory.
The Saint Praxedis by Vermeer is estimated £ 6M for sale by Christie's in London on July 8.
POST SALE COMMENT
This very interesting and extremely rare example from the formative years of Vermeer was sold for £ 6.2 million including premium.
Please watch the video shared by Christie's. The image is shared by Wikimedia.
His early works are copies: Diana and her companions from Jacob van Loo, and Christ in the House of Martha and Mary from Erasmus Quellin. The young artist exercised his skills in mythological and Christian themes.
In 1969, the discovery of the ancient unretouched inscription 'Meer 1655' in a copy of a Florentine painting starts a long series of analyzes and assumptions. This oil on canvas 102 x 82 cm on the theme of Saint Praxedis is accepted since 1986 as a genuine Vermeer. The isotopic analysis of lead white pigment later confirmed this attribution.
Lead white enables to compare the location. This color was common and artists did not carry it in their travels. Particles collected in the white of Diana and Praxedis reveal a strictly identical composition.
The ultramarine blue paint in the sky of Praxedis is also interesting because it was a very expensive pigment. Its use by a novice painter is a proof of his commitment to perfection and of his ambition.
The image shows Praxedis wringing a sponge soaked with the blood of a beheaded martyr visible in the background. Her hands clasped in that action also hold a crucifix. This rare and poignant scene has certainly moved Vermeer who had converted to Catholicism when he married two years earlier.
The three works mentioned above are the whole of the known work of Vermeer before he specialized in the contemporary themes that will ensure his glory.
The Saint Praxedis by Vermeer is estimated £ 6M for sale by Christie's in London on July 8.
POST SALE COMMENT
This very interesting and extremely rare example from the formative years of Vermeer was sold for £ 6.2 million including premium.
Please watch the video shared by Christie's. The image is shared by Wikimedia.
1655 The Art of Dry Point
2018 SOLD for £ 2.65M including premium
The greatest painters such as Dürer, Rembrandt, Goya and Munch also wanted to create images. In 1653 Rembrandt manages to enlarge the format of his prints.
His solutions are innovative. The dry point was used until then in addition to etching and chisel for minor reworks of the drawing. Rembrandt attempts compositions entirely in dry point. Applied obliquely like a pencil, his needle improves the variety of the line. The incision of the point in the copper is shallow, allowing a harmony between the drawing and the inkings left voluntarily on the plate to bring contrasts and shadows.
A fine image deserves a great paper. Rembrandt was seduced by a stock recently imported in Amsterdam by the Dutch East India Company, with a beautiful light brown-yellow hue and a fibre that does not absorb ink and provides a sharpness comparable to vellum.
His first masterpiece in these improved techniques is The Three Crosses (Christ crucified between the two thieves), 38 x 45 cm, made in 1653. He prepares shortly after in the same size another scene of the Passion, Ecce Homo (Christ presented to the people). The oriental paper is smaller than his copperplate and he adds a narrow extra stripe at the top of the image.
An impression of the first state of Ecce Homo is for sale by Christie's in London on July 5, lot 22. The press release of April 30 announces an estimate in the region of US $ 3M to 5M. It is the only copy remaining in private hands from the first four states of this image.
The copper plates wear out, preventing large printing. The artist deliberately blurs some damaged areas of Ecce Homo after its fourth state. The eighth and last state is dated 1655. For the fourth and penultimate state of the Three Crosses around 1661, he works differently, replacing the subtle smoky contrasts by diagonal streaks.
This solution could not satisfy the artist because of the painstaking preparation of the ink shades and of the necessarily incomplete and frustrating repairs to the worn plates. He will not reuse this technique, giving up the possible project of a dry point series on the Passion of Christ.
His solutions are innovative. The dry point was used until then in addition to etching and chisel for minor reworks of the drawing. Rembrandt attempts compositions entirely in dry point. Applied obliquely like a pencil, his needle improves the variety of the line. The incision of the point in the copper is shallow, allowing a harmony between the drawing and the inkings left voluntarily on the plate to bring contrasts and shadows.
A fine image deserves a great paper. Rembrandt was seduced by a stock recently imported in Amsterdam by the Dutch East India Company, with a beautiful light brown-yellow hue and a fibre that does not absorb ink and provides a sharpness comparable to vellum.
His first masterpiece in these improved techniques is The Three Crosses (Christ crucified between the two thieves), 38 x 45 cm, made in 1653. He prepares shortly after in the same size another scene of the Passion, Ecce Homo (Christ presented to the people). The oriental paper is smaller than his copperplate and he adds a narrow extra stripe at the top of the image.
An impression of the first state of Ecce Homo is for sale by Christie's in London on July 5, lot 22. The press release of April 30 announces an estimate in the region of US $ 3M to 5M. It is the only copy remaining in private hands from the first four states of this image.
The copper plates wear out, preventing large printing. The artist deliberately blurs some damaged areas of Ecce Homo after its fourth state. The eighth and last state is dated 1655. For the fourth and penultimate state of the Three Crosses around 1661, he works differently, replacing the subtle smoky contrasts by diagonal streaks.
This solution could not satisfy the artist because of the painstaking preparation of the ink shades and of the necessarily incomplete and frustrating repairs to the worn plates. He will not reuse this technique, giving up the possible project of a dry point series on the Passion of Christ.
Rare Rembrandt Print at Christie’s London in July https://t.co/99TSYVaBkp pic.twitter.com/wwG1KoLWE4
— Art Market Monitor (@artmarket) May 2, 2018
1658 Rembrandt and Experts
2009 SOLD 20.2 M£ including premium
This morning in London, Christie's has invited the press to unveil a painting by Rembrandt that will be sold on December 8. This is sensible: the market for ancient art has a reputation of being little affected by the financial crisis.
It is a half-length portrait of a man, painted in 1658. It had not been seen publicly since 1970 and has not participated in the major exhibition made by the Rijksmuseum in Amsterdam in 2006 to celebrate the 400 th anniversary of the birth of the artist. It is estimated £ 18 million.
Rembrandt is the best studied artist in the world. Under the name of Rembrandt Research Project, a multidisciplinary team has been working since 1968 to authenticate or refute all the works that could be attributed to the master. This team, which was renewed several times, includes art historians and scientists.
Among the scientific methods used, we first think of the X-ray, of course. Do not neglect the dendrochronology, which allows to date the felling of the oak trees whose panels were used by the master. Historians, meanwhile, compared the artworks together by considering a consistency of style in order to separate the works of the master from those of his employees.
This work sponsored by the University of Amsterdam is extremely important. Thanks to these pioneers the ancient art has become the most exciting area of artistic expertise.
ADDENDUM
Small precision now that the official press release from Christie's is available on the web: the artwork for sale is on canvas, 107 x 87 cm.
My comments on dendrochronology do not apply to this work.
POST SALE COMMENT
The release by Christie's on Twitter expresses the essential: Rembrandt sells for £ 20.2M : the world auction record for a Rembrandt and the 4th highest price for an old master painting at auction.
The quoted price includes the premium.
I would add that this Rembrandt was important but not to the point of being described as historic. It is therefore quite understandable that it has not exceeded its estimate.
The image is shared by Wikimedia.
It is a half-length portrait of a man, painted in 1658. It had not been seen publicly since 1970 and has not participated in the major exhibition made by the Rijksmuseum in Amsterdam in 2006 to celebrate the 400 th anniversary of the birth of the artist. It is estimated £ 18 million.
Rembrandt is the best studied artist in the world. Under the name of Rembrandt Research Project, a multidisciplinary team has been working since 1968 to authenticate or refute all the works that could be attributed to the master. This team, which was renewed several times, includes art historians and scientists.
Among the scientific methods used, we first think of the X-ray, of course. Do not neglect the dendrochronology, which allows to date the felling of the oak trees whose panels were used by the master. Historians, meanwhile, compared the artworks together by considering a consistency of style in order to separate the works of the master from those of his employees.
This work sponsored by the University of Amsterdam is extremely important. Thanks to these pioneers the ancient art has become the most exciting area of artistic expertise.
ADDENDUM
Small precision now that the official press release from Christie's is available on the web: the artwork for sale is on canvas, 107 x 87 cm.
My comments on dendrochronology do not apply to this work.
POST SALE COMMENT
The release by Christie's on Twitter expresses the essential: Rembrandt sells for £ 20.2M : the world auction record for a Rembrandt and the 4th highest price for an old master painting at auction.
The quoted price includes the premium.
I would add that this Rembrandt was important but not to the point of being described as historic. It is therefore quite understandable that it has not exceeded its estimate.
The image is shared by Wikimedia.
The Dyer of Amsterdam
2019 SOLD for $ 4.8M including premium
Jan van de Cappelle is the son of a rich cloth dyer from Amsterdam. Compared to the offer on the art market, his financial means are unlimited. He is in his own right a prolific draftsman and a talented painter. From 1645 to 1679, between his first dated painting and his probably untimely death, he is the specialist of calm marines, undoubtedly under the influence of his friend de Vlieger.
Van de Cappelle observes the reflections of gray clouds in the rippling waters of shores and harbors. The blue sky and the storms as well as wars and shipwrecks do not concern him. Like Heda in Haarlem for still lifes, he follows with great realism the complex paths of light.
He does not belong to any guild and therefore in principle does not have the right to sell his art. Yet very few of his own paintings are found in the fabulous inventory of his deceased estate. He certainly had a practice of exchange with the greatest masters. His art evolves little, making it very difficult to date his works.
He is the only person whose portrait was painted by both Rembrandt and Hals. He owned more than 500 drawings by Rembrandt, acquired in the opportunities of the financial difficulties of the artist, plus 1300 by de Vlieger, 900 by Avercamp and 400 by van Goyen. His collection of nearly 200 paintings included Dutch, Flemish and German top masters.
On January 30 in New York, Sotheby's sells an oil on panel 62 x 83 cm painted by van de Cappelle probably in the 1650s. It is estimated $ 4M, lot 61. An oil on canvas 48 x 53 cm dated 1653 has been sold for £ 3.6M including premium by Christie's on July 8, 2005.
In the same 2019 sale and from the same collection, other rare paintings by independent or dilettante artists are offered : one by Joachim Wtewael and two by Jacobus Vrel. They also have been discussed in this column.
Van de Cappelle observes the reflections of gray clouds in the rippling waters of shores and harbors. The blue sky and the storms as well as wars and shipwrecks do not concern him. Like Heda in Haarlem for still lifes, he follows with great realism the complex paths of light.
He does not belong to any guild and therefore in principle does not have the right to sell his art. Yet very few of his own paintings are found in the fabulous inventory of his deceased estate. He certainly had a practice of exchange with the greatest masters. His art evolves little, making it very difficult to date his works.
He is the only person whose portrait was painted by both Rembrandt and Hals. He owned more than 500 drawings by Rembrandt, acquired in the opportunities of the financial difficulties of the artist, plus 1300 by de Vlieger, 900 by Avercamp and 400 by van Goyen. His collection of nearly 200 paintings included Dutch, Flemish and German top masters.
On January 30 in New York, Sotheby's sells an oil on panel 62 x 83 cm painted by van de Cappelle probably in the 1650s. It is estimated $ 4M, lot 61. An oil on canvas 48 x 53 cm dated 1653 has been sold for £ 3.6M including premium by Christie's on July 8, 2005.
In the same 2019 sale and from the same collection, other rare paintings by independent or dilettante artists are offered : one by Joachim Wtewael and two by Jacobus Vrel. They also have been discussed in this column.
1650-1660 Ferdinand Bol inspired by Rembrandt
2009 SOLD 1.3 M€ including premium
PRE SALE DISCUSSION
Of these two artists, Rembrandt is the master, undoubtedly. But Ferdinand Bol, who was ten years younger, is nevertheless an important painter, to the extent that some of his paintings were long attributed to Rembrandt.
A characteristic of Bol artwork is the large size of his biblical scenes inspired by the Old Testament. By consulting Artvalue, we see a dynamic Angel appearing to Elijah, 162 x 178 cm, sold £ 1.36 million inclusive by Sotheby's in London on 5 December 2007.
The expert Eric Turquin, well known in the auctions in France, introduces Eliezer and Rebecca at the Well, in a very interesting video in French on Interencheres.tv. The scene shows the young woman drinking the traveler, in the presence of her servant. The two main characters, attentive to one another, have a great psychological presence.
This large oil on canvas, 185 x 170 cm, dating from 1650 - 1660, will be sold by Versailles Enchères on June 14 at Versailles, in the condition where it was found. Mr. Turquin demonstrates how it has suffered from time. It was resized two hundred years ago, the harmony of colors and lights is tarnished by a centenary varnish that has yellowed, and the seam between the two canvas panels became visible.
In these conditions, the estimate of K € 400 seems reasonable.
POST SALE COMMENT
Here is a very interesting result: € 1.3 million including expenses.
The beauty and authenticity of this painting have prevailed on its condition. This condition may even have been an advantage because the fans of ancient art love the works that are fresh on the market.
Ancient art is often the field of such added value between the estimate and the result, but it is always difficult to predict on which lots it will happen. Interencheres and Eric Turquin convinced me that this would be the case for this one.
I invite you to view the video shared by Interencheres :
Of these two artists, Rembrandt is the master, undoubtedly. But Ferdinand Bol, who was ten years younger, is nevertheless an important painter, to the extent that some of his paintings were long attributed to Rembrandt.
A characteristic of Bol artwork is the large size of his biblical scenes inspired by the Old Testament. By consulting Artvalue, we see a dynamic Angel appearing to Elijah, 162 x 178 cm, sold £ 1.36 million inclusive by Sotheby's in London on 5 December 2007.
The expert Eric Turquin, well known in the auctions in France, introduces Eliezer and Rebecca at the Well, in a very interesting video in French on Interencheres.tv. The scene shows the young woman drinking the traveler, in the presence of her servant. The two main characters, attentive to one another, have a great psychological presence.
This large oil on canvas, 185 x 170 cm, dating from 1650 - 1660, will be sold by Versailles Enchères on June 14 at Versailles, in the condition where it was found. Mr. Turquin demonstrates how it has suffered from time. It was resized two hundred years ago, the harmony of colors and lights is tarnished by a centenary varnish that has yellowed, and the seam between the two canvas panels became visible.
In these conditions, the estimate of K € 400 seems reasonable.
POST SALE COMMENT
Here is a very interesting result: € 1.3 million including expenses.
The beauty and authenticity of this painting have prevailed on its condition. This condition may even have been an advantage because the fans of ancient art love the works that are fresh on the market.
Ancient art is often the field of such added value between the estimate and the result, but it is always difficult to predict on which lots it will happen. Interencheres and Eric Turquin convinced me that this would be the case for this one.
I invite you to view the video shared by Interencheres :
