Years 1660-1679
Except otherwise stated, all results include the premium.
See also : Christianity Rembrandt Ancient Spain Early still life Music in old painting Jewels II
See also : Christianity Rembrandt Ancient Spain Early still life Music in old painting Jewels II
1660 STEEN
1
Prayer before the Meal
2012 SOLD for £ 5.6M by Sotheby's
The evangelical or hagiographic iconography is not the only way to glorify religion in art. The piety of humble people demonstrates its universality.
The 17th century was the golden age of Dutch genre painting. In dealing with the subject of the prayer before the meal, Jan Steen offers a realistic, plausible and yet picturesque view of the tranquility of poor people helped by their piety in facing the trials of everyday life.
The meal will be frugal and the room is not decorated. Empathy is strong between the woman holding a nice infant boy and the slightly hunchbacked man who repeat together the long vernacular prayer hanging on the wall.
This oil on panel, 53 x 45 cm, made in 1660, brings the nostalgia for another time, as expressed by a master who certainly contributed to influence the great intimate art of Vermeer.
It was sold for £ 5.6M by Sotheby's on December 5, 2012, lot 9.
The 17th century was the golden age of Dutch genre painting. In dealing with the subject of the prayer before the meal, Jan Steen offers a realistic, plausible and yet picturesque view of the tranquility of poor people helped by their piety in facing the trials of everyday life.
The meal will be frugal and the room is not decorated. Empathy is strong between the woman holding a nice infant boy and the slightly hunchbacked man who repeat together the long vernacular prayer hanging on the wall.
This oil on panel, 53 x 45 cm, made in 1660, brings the nostalgia for another time, as expressed by a master who certainly contributed to influence the great intimate art of Vermeer.
It was sold for £ 5.6M by Sotheby's on December 5, 2012, lot 9.
2
Card Players
2011 SOLD for £ 4.9M by Sotheby's
It is rare to have fun when seeing an old painting. Made around 1660, an oil on panel by Jan Steen, 46 x 60 cm, takes us into a comedy worthy of Molière. The minute details of the characters and furnishings make it a masterpiece of the interior genre of that time.
Indeed, a comical scene is running in a comfortable Dutch cityhouse. A young man and a young woman are playing cards. She looks innocent and quiet, yet she is blatantly cheating. He is serious and concerned.
The secondary characters reinforce the discomfort of the victim. An acolyte of the woman is disturbing the player with a glass of wine. The dog does not care about the disappointments of his master and sleeps blissfully.
This painting was sold for £ 4.9M by Sotheby's on December 7, 2011. Please watch the video shared by the auction house.
Indeed, a comical scene is running in a comfortable Dutch cityhouse. A young man and a young woman are playing cards. She looks innocent and quiet, yet she is blatantly cheating. He is serious and concerned.
The secondary characters reinforce the discomfort of the victim. An acolyte of the woman is disturbing the player with a glass of wine. The dog does not care about the disappointments of his master and sleeps blissfully.
This painting was sold for £ 4.9M by Sotheby's on December 7, 2011. Please watch the video shared by the auction house.
Apostles and Saints by REMBRANDT
1
1661 Saint James the Greater
2007 SOLD for $ 26M by Sotheby's
The portraits inspired to Rembrandt by the New Testament are from figures of the artist's entourage, with a view to realism. In Sevilla, Murillo has a similar approach.
Around 1648 Rembrandt was in one of his frequent financially and socially difficult periods, and he would like his Supper at Emmaus, a modern painting on a biblical theme, to relaunch his career. The portraits of a young man as Christ are studies painted in parallel or for the preparation of this masterpiece. An oil on panel 25 x 21 cm was sold for £ 9.5M by Sotheby's on December 5, 2018.
The artist is indeed satisfied with this personification of Christ. The same young man appears as a Christ in half length with folded arms, oil on canvas 110 x 90 cm generally dated between 1657 and 1661.
In 1661 Rembrandt paints a series of Apostles, looking again at what the like of some of Christ's companions could be. This set of oils on canvas is homogeneous by its format, around 92 x 75 cm, by its chromatic richness, and by the presence of a thin black border which has not always been preserved.
This corpus of six works including a self portrait as Saint Paul was not documented in period. They were painted in another difficult phase for the artist and may have been conceived as a new demonstrator of the ever increasing quality of his art.
Rembrandt's faith was complex. His father was from a Jewish family converted to the Reformed church and his mother was Catholic. His realism excludes an identification of the character's religious position by a halo. The half length portrait of an old pilgrim in neglected clothes enters through its pictorial characteristics in the series of the Apostles, and the differentiated history of the companions of Christ after the Passion makes it attribute to Saint James the Greater.
This portrait of a man with a face concentrated on his prayer, whose very large joined hands form the focal point of the image, is an allegory of a faith that transcends appearances, directly linked to the Gospels and without any reference to the Mendicant orders. .
This painting was sold for $ 26M by Sotheby's on January 25, 2007, lot 74. The image is shared by Wikimedia.
Around 1648 Rembrandt was in one of his frequent financially and socially difficult periods, and he would like his Supper at Emmaus, a modern painting on a biblical theme, to relaunch his career. The portraits of a young man as Christ are studies painted in parallel or for the preparation of this masterpiece. An oil on panel 25 x 21 cm was sold for £ 9.5M by Sotheby's on December 5, 2018.
The artist is indeed satisfied with this personification of Christ. The same young man appears as a Christ in half length with folded arms, oil on canvas 110 x 90 cm generally dated between 1657 and 1661.
In 1661 Rembrandt paints a series of Apostles, looking again at what the like of some of Christ's companions could be. This set of oils on canvas is homogeneous by its format, around 92 x 75 cm, by its chromatic richness, and by the presence of a thin black border which has not always been preserved.
This corpus of six works including a self portrait as Saint Paul was not documented in period. They were painted in another difficult phase for the artist and may have been conceived as a new demonstrator of the ever increasing quality of his art.
Rembrandt's faith was complex. His father was from a Jewish family converted to the Reformed church and his mother was Catholic. His realism excludes an identification of the character's religious position by a halo. The half length portrait of an old pilgrim in neglected clothes enters through its pictorial characteristics in the series of the Apostles, and the differentiated history of the companions of Christ after the Passion makes it attribute to Saint James the Greater.
This portrait of a man with a face concentrated on his prayer, whose very large joined hands form the focal point of the image, is an allegory of a faith that transcends appearances, directly linked to the Gospels and without any reference to the Mendicant orders. .
This painting was sold for $ 26M by Sotheby's on January 25, 2007, lot 74. The image is shared by Wikimedia.
2
ca 1660 Saint John on Patmos
2025 SOLD for £ 6.8M by Sotheby's
Saint John on Patmos was painted by Rembrandt ca 1660. This oil on canvas 81 x 63 cm had been reduced, probably on all four sides. It was sold for £ 6.8M from a lower estimate of £ 5M by Sotheby's on December 3, 2025, lot 16.
Asking Grok to compare it with Saint James the Greater, sold by Sotheby's on January 25, 2007, lot 74.
Grok thought :
Overview
Both Saint John on Patmos and Saint James the Greater are late religious half-length portraits by Rembrandt Harmensz. van Rijn (1606–1669), part of his series of apostles and saints executed in the early 1660s. These works exemplify Rembrandt's mature style, characterized by dramatic chiaroscuro lighting, psychological depth, and a focus on humanizing sacred figures through realistic details like weathered faces and expressive gestures. They share a contemplative mood, with the saints depicted in pilgrim's attire, emphasizing humility and introspection. However, Saint John on Patmos (c. 1660) portrays the Evangelist in exile, inspired by the Book of Revelation, while Saint James the Greater (1661) depicts the apostle as a weary pilgrim, staff in hand, gazing thoughtfully. The former is a rediscovery recently attributed to Rembrandt via technical analysis, while the latter has long been accepted as autograph.
Key Comparison
Date and Medium
John : c. 1660; oil on canvas (reduced on all four sides, upper corners slightly made up)
James : 1661 (signed and dated); oil on canvas
Dimensions
John : 81 × 63 cm (32 × 24¾ in.)
James : 92 × 75 cm (36¼ × 29½ in.)
Description
John : Half-length figure in pilgrim's attire, hands folded on a book (symbolizing the Gospel or Revelation), palm tree at left, eagle emblem at right; head modeled after Rembrandt's son Titus; warm earth tones with subtle blues in the background evoking Patmos's rocky exile.
James : Half-length figure in shabby pilgrim's cloak and hat, holding a staff with scallop shell (pilgrim's emblem); unkempt hair and dirty fingernails convey world-weariness; rich browns with varied undertones, lit from upper left to highlight furrowed brow and clasped hands in prayer.
Style and Technique
John : Loose, expressive brushwork in the face and hands, with infrared and X-radiography revealing Rembrandt's pentimenti and layered glazes; double-ground preparation typical of his workshop (1642–1669); innovative iconography blending tradition with personal elements (e.g., Titus's likeness).
James : Bold impasto in hair and folds for texture; dramatic side-lighting creates deep shadows; restoration in 2006 removed discolored varnish, revealing vibrant multi-hued browns; canvas shows evidence of original rope-stretching, a 17th-century Dutch technique.
Provenance Highlights
John : From the collection of Leipzig banker Gottfried Winckler (18th century), via various European owners; documented in 19th-century watercolors; recently rediscovered and authenticated, consigned by a private foundation.
James : Traced to 18th-century Dutch collections; owned by Parisian dealer Charles Sedelmeyer (1892), then Joseph Duveen; U.S. collectors including Stephen Carlton Clark (1955); consigned by the Shippy Foundation.
Auction Details
John : Sotheby's Old Master & 19th Century Paintings Evening Auction, London; estimated £10–15 million (based on comparables like recent Rembrandt rediscoveries); technical report (November 2025) confirms authenticity via paint analysis and comparison to works like Lighting Study with Hendrickje Stoffels.
James : Sotheby's Important Old Master Paintings, New York; estimated $18–25 million; sold for $25.8 million (hammer, to anonymous buyer via representative); second-highest price for a Rembrandt at auction at the time.
Significance
John : A "rediscovered" gem from Rembrandt's late period, highlighting his workshop's unique materials; part of a Mennonite-inspired apostle series; emphasizes visionary exile with symbolic attributes.
James : Rare private-held example from the apostle series; underscores Rembrandt's empathy for the marginalized (e.g., pilgrim's humility); competed fiercely at sale, reflecting enduring market strength for late Rembrandts.
Similarities and Differences
Asking Grok to compare it with Saint James the Greater, sold by Sotheby's on January 25, 2007, lot 74.
Grok thought :
Overview
Both Saint John on Patmos and Saint James the Greater are late religious half-length portraits by Rembrandt Harmensz. van Rijn (1606–1669), part of his series of apostles and saints executed in the early 1660s. These works exemplify Rembrandt's mature style, characterized by dramatic chiaroscuro lighting, psychological depth, and a focus on humanizing sacred figures through realistic details like weathered faces and expressive gestures. They share a contemplative mood, with the saints depicted in pilgrim's attire, emphasizing humility and introspection. However, Saint John on Patmos (c. 1660) portrays the Evangelist in exile, inspired by the Book of Revelation, while Saint James the Greater (1661) depicts the apostle as a weary pilgrim, staff in hand, gazing thoughtfully. The former is a rediscovery recently attributed to Rembrandt via technical analysis, while the latter has long been accepted as autograph.
Key Comparison
Date and Medium
John : c. 1660; oil on canvas (reduced on all four sides, upper corners slightly made up)
James : 1661 (signed and dated); oil on canvas
Dimensions
John : 81 × 63 cm (32 × 24¾ in.)
James : 92 × 75 cm (36¼ × 29½ in.)
Description
John : Half-length figure in pilgrim's attire, hands folded on a book (symbolizing the Gospel or Revelation), palm tree at left, eagle emblem at right; head modeled after Rembrandt's son Titus; warm earth tones with subtle blues in the background evoking Patmos's rocky exile.
James : Half-length figure in shabby pilgrim's cloak and hat, holding a staff with scallop shell (pilgrim's emblem); unkempt hair and dirty fingernails convey world-weariness; rich browns with varied undertones, lit from upper left to highlight furrowed brow and clasped hands in prayer.
Style and Technique
John : Loose, expressive brushwork in the face and hands, with infrared and X-radiography revealing Rembrandt's pentimenti and layered glazes; double-ground preparation typical of his workshop (1642–1669); innovative iconography blending tradition with personal elements (e.g., Titus's likeness).
James : Bold impasto in hair and folds for texture; dramatic side-lighting creates deep shadows; restoration in 2006 removed discolored varnish, revealing vibrant multi-hued browns; canvas shows evidence of original rope-stretching, a 17th-century Dutch technique.
Provenance Highlights
John : From the collection of Leipzig banker Gottfried Winckler (18th century), via various European owners; documented in 19th-century watercolors; recently rediscovered and authenticated, consigned by a private foundation.
James : Traced to 18th-century Dutch collections; owned by Parisian dealer Charles Sedelmeyer (1892), then Joseph Duveen; U.S. collectors including Stephen Carlton Clark (1955); consigned by the Shippy Foundation.
Auction Details
John : Sotheby's Old Master & 19th Century Paintings Evening Auction, London; estimated £10–15 million (based on comparables like recent Rembrandt rediscoveries); technical report (November 2025) confirms authenticity via paint analysis and comparison to works like Lighting Study with Hendrickje Stoffels.
James : Sotheby's Important Old Master Paintings, New York; estimated $18–25 million; sold for $25.8 million (hammer, to anonymous buyer via representative); second-highest price for a Rembrandt at auction at the time.
Significance
John : A "rediscovered" gem from Rembrandt's late period, highlighting his workshop's unique materials; part of a Mennonite-inspired apostle series; emphasizes visionary exile with symbolic attributes.
James : Rare private-held example from the apostle series; underscores Rembrandt's empathy for the marginalized (e.g., pilgrim's humility); competed fiercely at sale, reflecting enduring market strength for late Rembrandts.
Similarities and Differences
- Similarities: Both are intimate, half-length studies from Rembrandt's final creative phase, post-1650s, when he favored emotional realism over idealization. They employ tenebrism (strong light-dark contrasts) to draw viewers into the saints' inner lives, aligning with 17th-century Dutch devotionals. Shared motifs include pilgrim garb and emblems of faith, possibly linked to Amsterdam's Mennonite community aiding refugees in 1660.
- Differences: Saint John is smaller and more symbolically dense (book, eagle, palm), with a youthful model (Titus) suggesting hope amid exile, while Saint James is larger and earthier, focusing on physical toil (staff, disheveled appearance) to evoke pilgrimage's burdens. The 2025 work's recent authentication via modern tech (e.g., paint cross-sections) contrasts with the 2007 painting's established status, but both command top-tier prices due to scarcity—late Rembrandts average 8.5% annual returns at auction.
1661 Le Grand Mazarin
2017 SOLD for CHF 14.4M by Christie's
The collection of the Diamants de la Couronne de France is an estate declared inalienable by King François I in 1530. It increases over the years to constitute the elements of the royal and imperial jewels incessantly recomposed until the fall of the Second Empire in 1870 according to the variations of fashion. The collection was dismantled at the beginning of the Troisième République.
Cardinal Mazarin was an avid collector of art and jewelry. When he died in 1661 he left 18 diamonds to the Crown as a dation in payment that allowed him to pass on the rest of his huge inheritance to his family. This group includes the Sancy which was considered as the most beautiful diamond known in Europe until the discovery of the Régent.
At that time all the major diamonds had been extracted from Golconda mines. It was not until 1725 that a Brazilian source came to compete with that Indian provenance.
Note that the Beau Sancy which adorned the crown of the coronation of Marie de Médicis was a personal gift to her by King Henri IV and was not inalienable. It left France in 1641 and was sold for CHF 9M by Sotheby's on May 15, 2012.
On November 14, 2017, Christie's sold for CHF 14.4M as lot 600 Le Grand Mazarin which had been a major piece of the cardinal's bequest. Analyzed by the GIA before the auction, this brilliant cut diamond weighing 19.07 carats is of type IIa. Its VS2 clarity is sensational for a historic diamond. Its light pink color is extremely rare.
Le Grand Mazarin was worn by Queen Marie-Thérèse wife of Louis XIV, then by King Louis XIV himself in a chain and later by Empress Marie-Louise wife of Napoléon I in a diadem made by Nitot.
Please watch the video shared by the auction house.
Cardinal Mazarin was an avid collector of art and jewelry. When he died in 1661 he left 18 diamonds to the Crown as a dation in payment that allowed him to pass on the rest of his huge inheritance to his family. This group includes the Sancy which was considered as the most beautiful diamond known in Europe until the discovery of the Régent.
At that time all the major diamonds had been extracted from Golconda mines. It was not until 1725 that a Brazilian source came to compete with that Indian provenance.
Note that the Beau Sancy which adorned the crown of the coronation of Marie de Médicis was a personal gift to her by King Henri IV and was not inalienable. It left France in 1641 and was sold for CHF 9M by Sotheby's on May 15, 2012.
On November 14, 2017, Christie's sold for CHF 14.4M as lot 600 Le Grand Mazarin which had been a major piece of the cardinal's bequest. Analyzed by the GIA before the auction, this brilliant cut diamond weighing 19.07 carats is of type IIa. Its VS2 clarity is sensational for a historic diamond. Its light pink color is extremely rare.
Le Grand Mazarin was worn by Queen Marie-Thérèse wife of Louis XIV, then by King Louis XIV himself in a chain and later by Empress Marie-Louise wife of Napoléon I in a diadem made by Nitot.
Please watch the video shared by the auction house.
The Le Grand Mazarin (also known as the Grand Mazarin or Mazarin III/VII in some inventories) is one of the most storied colored diamonds in history: a 19.07-carat light pink, old-mine brilliant-cut (cushion-shaped) diamond of Type IIa purity (extremely rare, chemically pure with exceptional transparency). It originates from the legendary Golconda mines in south-central India (likely near Kollur or other alluvial deposits in the Deccan plateau), source of many of the world's finest historic gems like the Koh-i-Noor, Hope, and Regent.
Origins and Acquisition by Cardinal Mazarin (Pre-1661)
The diamond's early history is obscure, as with many Golconda stones. It was likely mined in the 16th or early 17th century and entered European trade via merchants like Jean-Baptiste Tavernier or other jewel dealers. How it reached Cardinal Jules Mazarin (Giulio Raimondo Mazarini, 1602–1661), the powerful Italian-born chief minister to Louis XIII and Louis XIV, is unknown—though Mazarin was a notorious diamond enthusiast who amassed one of Europe's greatest private collections through purchases, gifts, and diplomacy.
Mazarin owned 18 exceptional diamonds (the "Mazarins"), many sourced from India or recycled from other royal jewels. Le Grand Mazarin was among the largest and most prized colored ones in his hoard.
Bequest to the French Crown (1661–1792)
Upon Mazarin's death in 1661, he bequeathed his entire diamond collection to Louis XIV ("the Sun King") and the French Crown Jewels, stipulating they remain in royal possession forever. Le Grand Mazarin entered the French treasury that year.
After the fall of the Second Empire and France's defeat in the Franco-Prussian War (1870–1871), the Third Republic auctioned off most remaining Crown Jewels in 1887 to pay war reparations to Germany and reduce national debt.
Private Ownership and Rediscovery (1887–2017)
For the next 130 years, Le Grand Mazarin remained in private hands, largely out of public view. It passed through elite collections (exact chain unknown publicly, but preserved intact without major recutting).
On November 14, 2017, Christie's offered it in Geneva as part of the Magnificent Jewels sale—the first public auction since 1887 and one of the most historically significant diamond offerings in decades.
Le Grand Mazarin stands as a rare survivor of France's royal splendor—linking Cardinal Mazarin's ambition, the grandeur of Versailles, Napoleonic empire, and modern gem collecting—while exemplifying the enduring allure of Golconda diamonds. Only a few Mazarin diamonds (like the Sancy and others in the Louvre) remain in public institutions today.
Origins and Acquisition by Cardinal Mazarin (Pre-1661)
The diamond's early history is obscure, as with many Golconda stones. It was likely mined in the 16th or early 17th century and entered European trade via merchants like Jean-Baptiste Tavernier or other jewel dealers. How it reached Cardinal Jules Mazarin (Giulio Raimondo Mazarini, 1602–1661), the powerful Italian-born chief minister to Louis XIII and Louis XIV, is unknown—though Mazarin was a notorious diamond enthusiast who amassed one of Europe's greatest private collections through purchases, gifts, and diplomacy.
Mazarin owned 18 exceptional diamonds (the "Mazarins"), many sourced from India or recycled from other royal jewels. Le Grand Mazarin was among the largest and most prized colored ones in his hoard.
Bequest to the French Crown (1661–1792)
Upon Mazarin's death in 1661, he bequeathed his entire diamond collection to Louis XIV ("the Sun King") and the French Crown Jewels, stipulating they remain in royal possession forever. Le Grand Mazarin entered the French treasury that year.
- It became a favorite of Louis XIV, who often wore it on his famous "chain of diamonds" (a personal adornment of graduated stones).
- Queen Marie-Thérèse (Louis XIV's wife) wore it first as a personal jewel; after her death in 1683, Louis XIV reclaimed it for his chain.
- It passed through subsequent Bourbon monarchs, set in crowns, tiaras, and regalia for four kings, four queens, two emperors, and two empresses over 225+ years.
- Notable wearers included Louis XV, Louis XVI, Napoleon Bonaparte (who reset many crown jewels), Empress Josephine, Napoleon III, and Empress Eugénie.
- It survived the French Revolution intact initially but was part of the Crown Jewels stored at the Garde-Meuble in Paris. In September 1792, a major theft saw most jewels stolen and scattered (many never recovered). Le Grand Mazarin was among those later recovered and inventoried.
After the fall of the Second Empire and France's defeat in the Franco-Prussian War (1870–1871), the Third Republic auctioned off most remaining Crown Jewels in 1887 to pay war reparations to Germany and reduce national debt.
- On May 12, 1887, Le Grand Mazarin sold at the Louvre auction for a significant sum (exact figure varies in records but high for the era).
- The buyer was Frédéric Boucheron, founder of the renowned Boucheron jewelry house and a favored supplier to French aristocracy. He acquired several crown jewels at the sale.
Private Ownership and Rediscovery (1887–2017)
For the next 130 years, Le Grand Mazarin remained in private hands, largely out of public view. It passed through elite collections (exact chain unknown publicly, but preserved intact without major recutting).
- It retained its historic old-mine brilliant cut, light pink hue (subtle, not "fancy" intense), and exceptional clarity/quality typical of Golconda Type IIa stones.
On November 14, 2017, Christie's offered it in Geneva as part of the Magnificent Jewels sale—the first public auction since 1887 and one of the most historically significant diamond offerings in decades.
- Described as "the diamond with the most prestigious and historic provenance still in private hands," it sold for CHF 14,375,000 (approximately US$14.4–14.6 million at the time), including buyer's premium.
- Accompanied by a GIA report (No. 5182785154) confirming 19.07 carats, light pink color, VS clarity equivalent, and Type IIa status.
Le Grand Mazarin stands as a rare survivor of France's royal splendor—linking Cardinal Mazarin's ambition, the grandeur of Versailles, Napoleonic empire, and modern gem collecting—while exemplifying the enduring allure of Golconda diamonds. Only a few Mazarin diamonds (like the Sancy and others in the Louvre) remain in public institutions today.
The historic Le Grand Mazarin #diamond is now on view in #Geneva until 14 November: https://t.co/BV5ooNMJwk pic.twitter.com/ym4zasjk1P
— Christie's (@ChristiesInc) November 9, 2017
Deep Blue diamonds
1
1664 The Wittelsbacher
2008 SOLD for £ 16.4M by Christie's
The Wittelsbacher is a diamond in an extremely rare color, an exceptional size and a royal provenance dating back to more than three centuries ago. This historic piece is contemporary with the Koh-I-Noor.
This Indian greyish-blue diamond weighing 35.56 carat of VS2 clarity is chosen in 1664 by King Philip IV of Spain to enter the dowry of his daughter, the Infanta Margarita Teresa. The princess is well known for being in 1656 the main character of the Meninas of Velazquez. So this diamond is a contemporary of the royal glory of the Koh-I-Noor, the Regent and the Orlov. Entered in the Bavarian royal family by a marriage in 1722, it was then known as Blaue Wittelsbacher.
It was sold by Christie's in 1931 with the crown jewelry of Bavaria, and for £ 16.4M on December 10, 2008, lot 212. It has been purchased at the latter sale by Graff Diamonds. Its image before being recut by Graff is shared by Wikimedia.
The Wittelsbach-Graff Diamond is one of the world's most famous and historically significant blue diamonds, renowned for its deep color, rarity as a Type IIb diamond, and a provenance spanning over 400 years from Indian mines to European royalty, private collections, and modern controversy.
Origins and Early History (Mid-1600s–1664)
The diamond was mined in the mid-1600s from the legendary Kollur Mine in the Golconda region (Guntur district, Andhra Pradesh, India), the same source as other historic gems like the Hope Diamond. It was likely discovered during the Golconda Sultanate era, with early ownership possibly linked to the Nawabs of Punjab. The rough crystal was cut into a 35.56-carat fancy deep grayish-blue diamond (VS2 clarity, Type IIb), with an unusual 82-facet pattern (including vertically split star facets on the crown and needle-like pavilion facets), measuring about 24.4 mm in diameter and 8.29 mm in depth.
Its earliest documented record dates to 1664, when it entered the collection of King Philip IV of Spain (though some accounts of it as part of his daughter Infanta Margaret Teresa's dowry to Emperor Leopold I of Austria in her 1666 marriage are considered apocryphal or unproven, due to lost Spanish archives during the 1936–1939 Civil War).
Habsburg and Transition to Wittelsbach Ownership (Late 1600s–1722)
After passing through Habsburg hands (including to Empress Eleonore Magdalena and then Archduchess Maria Amalia), the diamond entered the House of Wittelsbach in 1722 when Maria Amalia married Bavarian Crown Prince Charles Albert (later Holy Roman Emperor Charles VII). It is depicted as the centerpiece in her hair ornament in a 1722 bridal portrait by Frans van Stampart.It became a key piece of the Bavarian Crown Jewels, set in various royal regalia:
Disappearance, Resurfacing, and Private Ownership (1931–2008)
In 1931, amid the Great Depression and Bavaria's republican status, the Wittelsbach family consigned it (with other crown jewels) to Christie's London for auction to support the deposed royals. Bids reached only £5,400 (below reserve), and in a mysterious incident, the diamond vanished before the sale—replaced by a worthless piece of blue cut glass. It disappeared from view for decades.
It resurfaced in Belgium around 1951. In 1958, it was anonymously displayed at the Brussels World Expo. In 1962, Belgian diamond expert Joseph Komkommer identified it, refused to recut it due to its historical value, and helped a group of dealers/investors acquire it to preserve it. From 1964, it stayed in private hands, including reportedly gifted by Helmut Horten to his wife Heidi.
The original Wittelsbach Diamond (pre-recut) is highlighting a deep grayish-blue hue and historic faceting.
2008 Auction and Recutting (2008–2010)
On December 10, 2008, Christie's sold the 35.56-carat Wittelsbach Diamond in London to jeweler Laurence Graff for £16.4 million (about US$24.3 million), a then-record for any diamond at auction.Graff recut it in secret (by three cutters) to remove girdle damage, chips, and flaws, reducing it by over 4.5 carats to 31.06 carats. The result: upgraded to fancy deep blue (intensified color, no grayish modifier) and internally flawless clarity (from VS2/VS1), in a modern antique oval stellar brilliant cut.
Renamed the Wittelsbach-Graff Diamond, this sparked major controversy—critics (including gem historians and cutters) decried it as destroying centuries of history and cultural heritage, likening it to vandalizing a Rembrandt or Leonardo da Vinci work. Graff defended it as enhancing beauty and perfection without sin.
The recut Wittelsbach-Graff Diamond is hoghlighting a deeper blue tone, flawless clarity, and brilliant modern faceting.
Later Ownership and Displays (2010–Present)
In 2010, Graff displayed it publicly (first time in over 50 years) at the Smithsonian's National Museum of Natural History alongside the Hope Diamond (January–September 2010), allowing GIA analysis confirming shared Indian origins and similar traits but not the same rough stone.Graff sold it privately in 2011 to Sheikh Hamad bin Khalifa Al Thani (former Emir of Qatar) for an estimated US$80 million or more.
As of recent records, it remains in private ownership (likely with the Qatari royal family), valued highly as one of the finest blue diamonds known. It has not been publicly auctioned or displayed since the 2010 Smithsonian exhibit.
This storied gem bridges ancient mining, royal intrigue, mystery, and modern gem ethics—its journey reflecting both preservation and transformation of historical treasures.
This Indian greyish-blue diamond weighing 35.56 carat of VS2 clarity is chosen in 1664 by King Philip IV of Spain to enter the dowry of his daughter, the Infanta Margarita Teresa. The princess is well known for being in 1656 the main character of the Meninas of Velazquez. So this diamond is a contemporary of the royal glory of the Koh-I-Noor, the Regent and the Orlov. Entered in the Bavarian royal family by a marriage in 1722, it was then known as Blaue Wittelsbacher.
It was sold by Christie's in 1931 with the crown jewelry of Bavaria, and for £ 16.4M on December 10, 2008, lot 212. It has been purchased at the latter sale by Graff Diamonds. Its image before being recut by Graff is shared by Wikimedia.
The Wittelsbach-Graff Diamond is one of the world's most famous and historically significant blue diamonds, renowned for its deep color, rarity as a Type IIb diamond, and a provenance spanning over 400 years from Indian mines to European royalty, private collections, and modern controversy.
Origins and Early History (Mid-1600s–1664)
The diamond was mined in the mid-1600s from the legendary Kollur Mine in the Golconda region (Guntur district, Andhra Pradesh, India), the same source as other historic gems like the Hope Diamond. It was likely discovered during the Golconda Sultanate era, with early ownership possibly linked to the Nawabs of Punjab. The rough crystal was cut into a 35.56-carat fancy deep grayish-blue diamond (VS2 clarity, Type IIb), with an unusual 82-facet pattern (including vertically split star facets on the crown and needle-like pavilion facets), measuring about 24.4 mm in diameter and 8.29 mm in depth.
Its earliest documented record dates to 1664, when it entered the collection of King Philip IV of Spain (though some accounts of it as part of his daughter Infanta Margaret Teresa's dowry to Emperor Leopold I of Austria in her 1666 marriage are considered apocryphal or unproven, due to lost Spanish archives during the 1936–1939 Civil War).
Habsburg and Transition to Wittelsbach Ownership (Late 1600s–1722)
After passing through Habsburg hands (including to Empress Eleonore Magdalena and then Archduchess Maria Amalia), the diamond entered the House of Wittelsbach in 1722 when Maria Amalia married Bavarian Crown Prince Charles Albert (later Holy Roman Emperor Charles VII). It is depicted as the centerpiece in her hair ornament in a 1722 bridal portrait by Frans van Stampart.It became a key piece of the Bavarian Crown Jewels, set in various royal regalia:
- In 1745, mounted on the Bavarian Elector's Order of the Golden Fleece.
- In 1806, placed prominently beneath the cross on the royal crown commissioned by Maximilian IV Joseph, Bavaria's first king.
- Featured in portraits, such as King Ludwig I's coronation robes (1826 painting by Joseph Stieler).
Disappearance, Resurfacing, and Private Ownership (1931–2008)
In 1931, amid the Great Depression and Bavaria's republican status, the Wittelsbach family consigned it (with other crown jewels) to Christie's London for auction to support the deposed royals. Bids reached only £5,400 (below reserve), and in a mysterious incident, the diamond vanished before the sale—replaced by a worthless piece of blue cut glass. It disappeared from view for decades.
It resurfaced in Belgium around 1951. In 1958, it was anonymously displayed at the Brussels World Expo. In 1962, Belgian diamond expert Joseph Komkommer identified it, refused to recut it due to its historical value, and helped a group of dealers/investors acquire it to preserve it. From 1964, it stayed in private hands, including reportedly gifted by Helmut Horten to his wife Heidi.
The original Wittelsbach Diamond (pre-recut) is highlighting a deep grayish-blue hue and historic faceting.
2008 Auction and Recutting (2008–2010)
On December 10, 2008, Christie's sold the 35.56-carat Wittelsbach Diamond in London to jeweler Laurence Graff for £16.4 million (about US$24.3 million), a then-record for any diamond at auction.Graff recut it in secret (by three cutters) to remove girdle damage, chips, and flaws, reducing it by over 4.5 carats to 31.06 carats. The result: upgraded to fancy deep blue (intensified color, no grayish modifier) and internally flawless clarity (from VS2/VS1), in a modern antique oval stellar brilliant cut.
Renamed the Wittelsbach-Graff Diamond, this sparked major controversy—critics (including gem historians and cutters) decried it as destroying centuries of history and cultural heritage, likening it to vandalizing a Rembrandt or Leonardo da Vinci work. Graff defended it as enhancing beauty and perfection without sin.
The recut Wittelsbach-Graff Diamond is hoghlighting a deeper blue tone, flawless clarity, and brilliant modern faceting.
Later Ownership and Displays (2010–Present)
In 2010, Graff displayed it publicly (first time in over 50 years) at the Smithsonian's National Museum of Natural History alongside the Hope Diamond (January–September 2010), allowing GIA analysis confirming shared Indian origins and similar traits but not the same rough stone.Graff sold it privately in 2011 to Sheikh Hamad bin Khalifa Al Thani (former Emir of Qatar) for an estimated US$80 million or more.
As of recent records, it remains in private ownership (likely with the Qatari royal family), valued highly as one of the finest blue diamonds known. It has not been publicly auctioned or displayed since the 2010 Smithsonian exhibit.
This storied gem bridges ancient mining, royal intrigue, mystery, and modern gem ethics—its journey reflecting both preservation and transformation of historical treasures.
The Hope Diamond (45.52 carats) and the Wittelsbach-Graff Diamond (31.06 carats post-recut) are two of the most celebrated natural blue diamonds, both originating from India's legendary Kollur Mine (Golconda region) and classified as rare Type IIb (boron-impurities causing the blue color). They share similarities in deep blue hue and red phosphorescence under UV light, but their colors differ notably in purity and modifiers, per GIA grading.
The Hope Diamond is showing a characteristic deep, slightly grayish blue.The Wittelsbach-Graff Diamond is displaying a purer deep blue.
Color Grades (GIA)
The Hope Diamond's color is iconic and deeply blue but tempered by a grayish modifier, resulting in a more "steely" or subdued intensity. The Wittelsbach-Graff's post-recut color is purer and more saturated — a cleaner, richer deep blue — which is why the recut improved its grade from matching the Hope's to a superior Fancy Deep blue. This makes the Wittelsbach-Graff arguably more desirable in modern gemological terms for color purity, though the Hope's larger size and legendary status keep it unmatched in fame. Both remain extraordinary Type IIb blue diamonds from the same historic source.
The Hope Diamond is showing a characteristic deep, slightly grayish blue.The Wittelsbach-Graff Diamond is displaying a purer deep blue.
Color Grades (GIA)
- Hope Diamond: Fancy Deep grayish blue (also described in some reports as Fancy Dark grayish blue).
- Tone: Deep/dark (strong depth of color).
- Hue: Primarily blue, with a distinct grayish secondary modifier.
- Saturation: High but moderated/reduced by the gray component, giving a "steely," "inky," or slightly masked appearance (less pure/vibrant blue; often looks more shadowed or metallic under certain lights).
- Wittelsbach-Graff Diamond (after 2010 recut by Laurence Graff): Fancy Deep blue.
- Tone: Deep (similar depth to the Hope).
- Hue: Pure blue (no significant gray modifier reported post-recut).
- Saturation: Higher and purer than the Hope's — the recut enhanced color by removing impurities/chips around the girdle and optimizing proportions, shifting from the original Fancy Deep grayish blue (pre-recut, matching the Hope's grade) to a cleaner, more desirable Fancy Deep blue.
- Both are in the Fancy Deep intensity category (deep tone with strong color strength), making them dramatically blue and rare.
- The main difference is the gray modifier in the Hope, which dilutes saturation slightly and adds a "steely" or "grayish" undertone — the Hope appears more subdued, metallic, or less vividly blue compared to purer examples.
- The Wittelsbach-Graff, post-recut, has a purer, more saturated blue without the gray masking — often described as having greater "pop," richness, and intensity in the blue hue.
- In direct visual comparisons (e.g., side-by-side studies by GIA), the Wittelsbach-Graff's blue is noted as slightly less "steely" and more vividly saturated than the Hope's, despite similar overall depth.
- Neither reaches Fancy Vivid blue (the absolute top saturation level for blues, rarer still and even bolder/brighter); both stay in Fancy Deep, but the Wittelsbach-Graff edges closer to peak purity within that category.
The Hope Diamond's color is iconic and deeply blue but tempered by a grayish modifier, resulting in a more "steely" or subdued intensity. The Wittelsbach-Graff's post-recut color is purer and more saturated — a cleaner, richer deep blue — which is why the recut improved its grade from matching the Hope's to a superior Fancy Deep blue. This makes the Wittelsbach-Graff arguably more desirable in modern gemological terms for color purity, though the Hope's larger size and legendary status keep it unmatched in fame. Both remain extraordinary Type IIb blue diamonds from the same historic source.
2
masterpiece
1660s The Hope
Smithsonian
The Hope Diamond is one of the most famous and iconic gemstones in the world, renowned for its rare deep blue color, legendary history, and persistent (though largely debunked) curse myth. It is often called the "most famous diamond in the world" due to its size, color, and dramatic provenance.
Key Features
The Hope Diamond's story begins in the mid-17th century in India.
A famous myth claims the diamond brings misfortune, death, or ruin to owners (linked to theft from a Hindu idol, owners' tragedies like Tavernier mauled by dogs, French royals guillotined, McLean's family losses). Historians attribute it to sensationalism (e.g., Cartier's sales tactic) and coincidence; no evidence supports a real curse. Many owners lived long, prosperous lives.As of February 2026, the Hope Diamond remains on permanent public display at the Smithsonian's National Museum of Natural History in Washington, D.C., attracting millions of visitors annually. No changes in ownership or major events reported; it continues as a top gem attraction.
Key Features
- Weight: 45.52 carats (9.104 grams).
- Shape: Antique cushion-cut (with 58 facets, modified over time for brilliance).
- Color: Fancy deep grayish-blue (GIA grade; the intense blue is due to trace boron impurities; it appears violet-blue under certain lighting).
- Clarity: Very high (no major inclusions visible; exceptional for its size and type).
- Type: Type IIb (extremely rare; boron causes the blue color and makes it semiconductive; it phosphoresces a vivid red under short-wave UV light, lasting seconds after exposure).
- Origin: Kollur Mine (Golconda region, Andhra Pradesh, India), like many legendary diamonds (e.g., Koh-i-Noor).
- Other Distinctions: Largest known blue diamond; its size has aided scientific understanding of diamond formation. Estimated value often cited around $250–350 million (though priceless as a cultural artifact).
The Hope Diamond's story begins in the mid-17th century in India.
- 1660s: French gem merchant Jean-Baptiste Tavernier acquired a large rough blue diamond (~112 3/16 old French carats, ~115 metric carats) in India (likely from Kollur Mine). He sold it to King Louis XIV of France in 1668.
- 1670s–1792: Louis XIV had it recut into a 69-carat heart-shaped "French Blue" (or "Bleu de France") for the French Crown Jewels. It passed to Louis XV and Louis XVI.
- 1792: Stolen during the French Revolution looting of the royal treasury; disappeared for ~20 years.
- Early 1800s: A recut blue diamond (~45.52 carats, matching the current Hope) resurfaced in London (likely the French Blue, reshaped to hide its origin and improve symmetry/brilliance).
- 1812–1839: Owned briefly by various parties (possibly including King George IV of England); acquired by wealthy British banker and gem collector Henry Philip Hope around 1839, giving it the name "Hope Diamond."
- 1839–1901: Stayed in the Hope family collection; cataloged and displayed.
- 1901–1910: Sold multiple times to settle debts; passed through jewelers.
- 1911: Sold by Pierre Cartier to American heiress Evalyn Walsh McLean (Washington, D.C. socialite). She wore it prominently (often as a pendant on a necklace), despite the emerging curse legend (which Cartier may have embellished to intrigue her). McLean owned it until her death in 1947; family tragedies fueled curse myths.
- 1949: Purchased by New York jeweler Harry Winston from McLean's estate.
- 1949–1958: Winston toured it worldwide in exhibitions (e.g., "Court of Jewels") to promote gems and charity.
- 1958: Donated to the Smithsonian Institution (mailed via U.S. Post for $2.44 insured for $1 million); became the centerpiece of the National Gem Collection.
- Post-1958: Displayed at the National Museum of Natural History, Washington, D.C. (Janet Annenberg Hooker Hall of Geology, Gems, and Minerals). It has left the museum rarely (e.g., Louvre exhibit in 1962). Setting updated over time (current "Embracing Hope" platinum necklace by Harry Winston, unveiled around 2010 for its anniversary).
A famous myth claims the diamond brings misfortune, death, or ruin to owners (linked to theft from a Hindu idol, owners' tragedies like Tavernier mauled by dogs, French royals guillotined, McLean's family losses). Historians attribute it to sensationalism (e.g., Cartier's sales tactic) and coincidence; no evidence supports a real curse. Many owners lived long, prosperous lives.As of February 2026, the Hope Diamond remains on permanent public display at the Smithsonian's National Museum of Natural History in Washington, D.C., attracting millions of visitors annually. No changes in ownership or major events reported; it continues as a top gem attraction.
VERMEER
1
masterpiece
1665 Girl with a Pearl Earring by Vermeer
Mauritshuis
Girl with a Pearl Earring (c. 1665), housed in the Mauritshuis in The Hague, is one of Johannes Vermeer's most celebrated works and an icon of the Dutch Golden Age. This small oil on canvas (about 44.5 × 39 cm) depicts a young woman turning her head to gaze directly at the viewer, wearing an exotic blue-and-gold turban, a gleaming oversized pearl earring, and a luxurious jacket. Often called the "Mona Lisa of the North," its power lies in the enigmatic expression, masterful handling of light, and intimate connection it creates.
Artist's Motivation and the Nature of the Work
Vermeer did not create this as a conventional portrait of a specific individual. It is a tronie—a 17th-century Dutch genre of character study or "head" depicting an idealized type, expression, or exotic figure rather than a likeness for identification. The motivation appears tied to Vermeer's fascination with capturing fleeting human emotion, light effects, and subtle psychological intimacy. The girl's parted lips and wide-eyed glance (as if caught mid-moment, perhaps about to speak) evoke a sense of immediacy and connection, drawing the viewer into a private, almost voyeuristic relationship. Some scholars see it as exploring themes of beauty, transience, or even superficiality (the "pearl" as an illusion of luxury). Vermeer likely used a live model—possibly a daughter, a patron's relative, or simply a studio sitter—but the focus is artistic experimentation rather than biography or commission.
The famous earring itself is not a literal large pearl but a masterful illusion created with just two brushstrokes (a bright highlight and a soft reflection), showcasing Vermeer's obsession with how light interacts with surfaces. Recent research (including the Mauritshuis's "Girl in the Spotlight" project) reveals he built the composition in understated browns and blacks before layering delicate colors, with changes to details like the ear position for greater harmony.
Influences
Vermeer worked in Delft during the Dutch Golden Age, a time of prosperity, trade, and artistic innovation emphasizing realism, domestic life, and light. Key influences include:
Vermeer was modestly successful in his lifetime but largely forgotten after his death in 1675, known mainly locally in Delft. The painting itself was obscure for centuries—sold cheaply in 1696 and again in 1881 for just a few guilders as "Girl with Turban." Its breakthrough came in 1881 when critics like Victor de Stuers recognized it as a Vermeer (possibly after cleaning revealed the signature). Art historian Abraham Bredius praised its modeling and light in 1885. Vermeer's wider rediscovery is credited to 19th-century French critic Théophile Thoré (pseudonym William Bürger), who championed him. But Girl with a Pearl Earring truly exploded in fame around the late 20th/early 21st century: a major 1995–1996 exhibition at the National Gallery of Art in Washington, D.C., helped, followed by Tracy Chevalier's 1999 bestselling novel (imagining the girl as a housemaid and muse) and its 2003 Oscar-nominated film adaptation starring Scarlett Johansson.
Legacy
Today, it is Vermeer's most famous work, drawing massive crowds to the Mauritshuis and inspiring endless cultural references—from books and films to parodies (e.g., Banksy's Girl with a Pierced Eardrum), modern appropriations addressing identity and race, and even activist protests. It symbolizes timeless beauty, mystery, and the power of subtle expression, often studied for Vermeer's light mastery and psychological depth. Its enigmatic quality—universal yet personal—continues to captivate, making it one of the most recognizable and beloved paintings in art history.
The image is shared by Wikimedia.
Artist's Motivation and the Nature of the Work
Vermeer did not create this as a conventional portrait of a specific individual. It is a tronie—a 17th-century Dutch genre of character study or "head" depicting an idealized type, expression, or exotic figure rather than a likeness for identification. The motivation appears tied to Vermeer's fascination with capturing fleeting human emotion, light effects, and subtle psychological intimacy. The girl's parted lips and wide-eyed glance (as if caught mid-moment, perhaps about to speak) evoke a sense of immediacy and connection, drawing the viewer into a private, almost voyeuristic relationship. Some scholars see it as exploring themes of beauty, transience, or even superficiality (the "pearl" as an illusion of luxury). Vermeer likely used a live model—possibly a daughter, a patron's relative, or simply a studio sitter—but the focus is artistic experimentation rather than biography or commission.
The famous earring itself is not a literal large pearl but a masterful illusion created with just two brushstrokes (a bright highlight and a soft reflection), showcasing Vermeer's obsession with how light interacts with surfaces. Recent research (including the Mauritshuis's "Girl in the Spotlight" project) reveals he built the composition in understated browns and blacks before layering delicate colors, with changes to details like the ear position for greater harmony.
Influences
Vermeer worked in Delft during the Dutch Golden Age, a time of prosperity, trade, and artistic innovation emphasizing realism, domestic life, and light. Key influences include:
- Pieter de Hooch and other Delft genre painters, whose intimate interiors and light-filled spaces shaped Vermeer's style.
- Rembrandt and the broader Dutch tronie tradition (Rembrandt produced many expressive heads in exotic attire or headwear around the 1630s).
- Fashion and exoticism: The turban reflects 17th-century European fascination with Ottoman/Turkish motifs (via trade and conflicts), while pearls were hugely popular luxury items (real or imitation) in Dutch art of the 1650s–1680s, appearing in works by artists like Frans van Mieris, Gabriel Metsu, and Gerard ter Borch.
- Vermeer's use of expensive ultramarine (from lapis lazuli) for the turban and his near-photographic light rendering suggest possible optical aids (debated among scholars), though his core influence was the era's emphasis on everyday beauty elevated through technical mastery.
Vermeer was modestly successful in his lifetime but largely forgotten after his death in 1675, known mainly locally in Delft. The painting itself was obscure for centuries—sold cheaply in 1696 and again in 1881 for just a few guilders as "Girl with Turban." Its breakthrough came in 1881 when critics like Victor de Stuers recognized it as a Vermeer (possibly after cleaning revealed the signature). Art historian Abraham Bredius praised its modeling and light in 1885. Vermeer's wider rediscovery is credited to 19th-century French critic Théophile Thoré (pseudonym William Bürger), who championed him. But Girl with a Pearl Earring truly exploded in fame around the late 20th/early 21st century: a major 1995–1996 exhibition at the National Gallery of Art in Washington, D.C., helped, followed by Tracy Chevalier's 1999 bestselling novel (imagining the girl as a housemaid and muse) and its 2003 Oscar-nominated film adaptation starring Scarlett Johansson.
Legacy
Today, it is Vermeer's most famous work, drawing massive crowds to the Mauritshuis and inspiring endless cultural references—from books and films to parodies (e.g., Banksy's Girl with a Pierced Eardrum), modern appropriations addressing identity and race, and even activist protests. It symbolizes timeless beauty, mystery, and the power of subtle expression, often studied for Vermeer's light mastery and psychological depth. Its enigmatic quality—universal yet personal—continues to captivate, making it one of the most recognizable and beloved paintings in art history.
The image is shared by Wikimedia.
2
masterpiece
1669-1671 The Lacemaker
Louvre
The image is shared by Wikimedia;
3
1670 Young Woman seated at the Virginals
2004 SOLD for £ 16.2M by Sotheby's
The Young woman seated at the virginals is an oil on canvas 25 x 20 cm showing a peaceful interior scene. It has in its colors and in its theme many characteristics of an autograph Vermeer. This attribution was challenged in the context of the Van Meegeren case. Scientific expertise has rehabilitated it. It was sold for £ 16.2M by Sotheby's on July 7, 2004, lot 8. The image is shared by Wikimedia.
It can form a pendant with The Lacemaker. The two works have the same format, one of the smallest used by the artist, and may have been painted on pieces of canvas from the same cloth, too raw to be intended for commercial purpose. It is possible that each of them is the portrait of one of the artist's daughters, Maria and Elizabeth.
Both girls have a bright yellow shawl. That of the Young woman seated at the virginals was not convincing. Analysis has shown that this color was painted in two overlapping layers, probably several years apart, perhaps to repair a degradation. The removal of the upper layer gives this picture the three-dimensional intimacy of a real Vermeer.
The ultramarine blue was the most expensive pigment of its time, made from lapis lazuli. Vermeer appears to be the only artist who has made an intensive use of it, not only for the visible blue in his compositions but also to contribute subliminally to the hue of the background wall.
Present in these two functions in the Young woman seated at the virginals, this blue is also one of the arguments to authenticate the Saint Praxedis painted by Vermeer at the very beginning of his career. The fact that Vermeer never declared an apprentice to the Delft guild undoubtedly facilitates such considerations. Saint Praxedis, oil on canvas 102 x 82 cm, was sold for £ 6.2M by Christie's on July 8, 2014.
Each year brought its fashion changes. The date of 1670 is plausible for both The Lacemaker and the Young woman seated at the virginals, with the curls falling on both sides of the bun.
It can form a pendant with The Lacemaker. The two works have the same format, one of the smallest used by the artist, and may have been painted on pieces of canvas from the same cloth, too raw to be intended for commercial purpose. It is possible that each of them is the portrait of one of the artist's daughters, Maria and Elizabeth.
Both girls have a bright yellow shawl. That of the Young woman seated at the virginals was not convincing. Analysis has shown that this color was painted in two overlapping layers, probably several years apart, perhaps to repair a degradation. The removal of the upper layer gives this picture the three-dimensional intimacy of a real Vermeer.
The ultramarine blue was the most expensive pigment of its time, made from lapis lazuli. Vermeer appears to be the only artist who has made an intensive use of it, not only for the visible blue in his compositions but also to contribute subliminally to the hue of the background wall.
Present in these two functions in the Young woman seated at the virginals, this blue is also one of the arguments to authenticate the Saint Praxedis painted by Vermeer at the very beginning of his career. The fact that Vermeer never declared an apprentice to the Delft guild undoubtedly facilitates such considerations. Saint Praxedis, oil on canvas 102 x 82 cm, was sold for £ 6.2M by Christie's on July 8, 2014.
Each year brought its fashion changes. The date of 1670 is plausible for both The Lacemaker and the Young woman seated at the virginals, with the curls falling on both sides of the bun.
1666 500 Arhats by Shi Tao
2011 SOLD for RMB 67M by Poly
The original followers of Buddha are named Arhats in India and Luohans in China. They have a personal name and specific attributes. They have been admitted to Nirvana. Their traditional number, eighteen, is not fixed by a sacred text.
In ancient India the numbers 100, 500 and 84,000 are used to express a multitude without a detailed census. In China the theme of the 500 deserving followers appeared in a Sutra during the Western Jin dynasty (266-420 CE) and in painting and sculpture during the Five Dynasties (907-979 CE).
In the fifth year of Kangxi matching 1666 CE, the 24 years old Buddhist monk Shi Tao painted a series of screens displaying groups of Arhats amidst trees and rocks.
Four panels are preserved and maintained as a set. They respectively stage the receiving of the treasure from the sea god, the viewing of a mystic light, the study of scriptures under the pine tree and a group of seven who study sutras.
Two of them are imitating similar works currently owned by the Boston Museum of Fine Arts, from a series by Zhou Jichang of the Southern Song Dynasty.
This set of four ink in paper 105 x 39 cm each was sold for RMB 67M by Poly on December 5, 2011, lot 3312. The image is shared by Artnet.
In ancient India the numbers 100, 500 and 84,000 are used to express a multitude without a detailed census. In China the theme of the 500 deserving followers appeared in a Sutra during the Western Jin dynasty (266-420 CE) and in painting and sculpture during the Five Dynasties (907-979 CE).
In the fifth year of Kangxi matching 1666 CE, the 24 years old Buddhist monk Shi Tao painted a series of screens displaying groups of Arhats amidst trees and rocks.
Four panels are preserved and maintained as a set. They respectively stage the receiving of the treasure from the sea god, the viewing of a mystic light, the study of scriptures under the pine tree and a group of seven who study sutras.
Two of them are imitating similar works currently owned by the Boston Museum of Fine Arts, from a series by Zhou Jichang of the Southern Song Dynasty.
This set of four ink in paper 105 x 39 cm each was sold for RMB 67M by Poly on December 5, 2011, lot 3312. The image is shared by Artnet.
1666 view in Nieuw Holland by Post
2025 SOLD for $ 7.4M by Sotheby's
A reversal of alliances in Europe led the Dutch to settle on the northeast coast of Brazil in an attempt to protect their commercial interests in South America. Recife becomes Mauritsstad, the capital of this short lived Nieuw Holland in the then called West Indies.
Frans Post, a younger brother of the painter Pieter Post, is staying in Nieuw Holland from 1637 to 1644. He executes many drawings and some landscape paintings with gray skies attesting the rainy condition of the equatorial climate.
In 1646 Frans is enrolled in the Guild of St Luke of his hometown, Haarlem. He joins therein Pieter de Molijn who was mixing some genre painting into his landscapes. For a quarter century, Frans Post will paint the views of Dutch Brazil.
His images soon lose their realism to display an idealized lost colonization, with busy slaves in fields surrounding small houses. He reuses his sketches to introduce exotic flora and fauna. Over time, the foregrounds become empty, perhaps because the artist preferred being less accurate for avoiding contradiction. The architecture is re-arranged as capriccios.
View of Olinda with the Ruins of the Jesuit Church is dated 1666. It features groups of workers, a blue sky dotted with clouds, and the inevitable exotic symbols : tall palm trees on the horizon and a group of exotic animals gently crossing one another including armadillo, anteater, iguana, sloth and several parrots.
This oil on a single Western European oak plank 58 x 89 cm resurfaced in an almost pristine condition in the 1990s. It was sold for $ 7.4M from a lower estimate of $ 6M by Sotheby's on May 21, 2025, lot 42.
Frans Post, a younger brother of the painter Pieter Post, is staying in Nieuw Holland from 1637 to 1644. He executes many drawings and some landscape paintings with gray skies attesting the rainy condition of the equatorial climate.
In 1646 Frans is enrolled in the Guild of St Luke of his hometown, Haarlem. He joins therein Pieter de Molijn who was mixing some genre painting into his landscapes. For a quarter century, Frans Post will paint the views of Dutch Brazil.
His images soon lose their realism to display an idealized lost colonization, with busy slaves in fields surrounding small houses. He reuses his sketches to introduce exotic flora and fauna. Over time, the foregrounds become empty, perhaps because the artist preferred being less accurate for avoiding contradiction. The architecture is re-arranged as capriccios.
View of Olinda with the Ruins of the Jesuit Church is dated 1666. It features groups of workers, a blue sky dotted with clouds, and the inevitable exotic symbols : tall palm trees on the horizon and a group of exotic animals gently crossing one another including armadillo, anteater, iguana, sloth and several parrots.
This oil on a single Western European oak plank 58 x 89 cm resurfaced in an almost pristine condition in the 1990s. It was sold for $ 7.4M from a lower estimate of $ 6M by Sotheby's on May 21, 2025, lot 42.
1673-1674 Flower Piece by de Heem
2025 SOLD for $ 8.8M by Sotheby's
From 1655 Jan de Heem executed lavish flower bouquets with a meaning of vanitas. After the same year he did not date his work any more. Nevertheless his most lavish compositions were made after he came back to Antwerp from Utrecht in 1672 following the French invasion of the Netherlands.
A tabletop of flowers in a glass vase, oil on canvas 114 x 91 cm painted by de Heem before 1672, was sold for £ 3M by Christie's on July 3, 2012, lot 43.
An opulent bouquet on a baluster base with a great care to details may be dated around 1673-1674. The glass vase is very densely populated with roses, tulips, lilies, poppies, some honeysuckle, a sunflower, an iris, plus grasses and wheat. It is accompanied by two finches, a grasshopper, a snail and other small lively creatures.
Amidst this opulence the threatening vanitas decay is symbolized by an overblown tulip, by gnawed leaves, and by the presence of the destructive cricket and caterpillar.
This oil on canvas 100 x 76 cm is beautifully preserved and remarkably fresh. It was sold for $ 8.8M by Sotheby's on May 21, 2025, lot 9.
A tabletop of flowers in a glass vase, oil on canvas 114 x 91 cm painted by de Heem before 1672, was sold for £ 3M by Christie's on July 3, 2012, lot 43.
An opulent bouquet on a baluster base with a great care to details may be dated around 1673-1674. The glass vase is very densely populated with roses, tulips, lilies, poppies, some honeysuckle, a sunflower, an iris, plus grasses and wheat. It is accompanied by two finches, a grasshopper, a snail and other small lively creatures.
Amidst this opulence the threatening vanitas decay is symbolized by an overblown tulip, by gnawed leaves, and by the presence of the destructive cricket and caterpillar.
This oil on canvas 100 x 76 cm is beautifully preserved and remarkably fresh. It was sold for $ 8.8M by Sotheby's on May 21, 2025, lot 9.
