Null Follower of Egbert van Heemskerck,
Dutch 1634/35-1704-

A figure, seated at…

Description

Follower of Egbert van Heemskerck, Dutch 1634/35-1704- A figure, seated at a table in an interior; oil on panel, 30.5 x 24.9 cm. Provenance: Private Collection, UK.

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Follower of Egbert van Heemskerck, Dutch 1634/35-1704- A figure, seated at a table in an interior; oil on panel, 30.5 x 24.9 cm. Provenance: Private Collection, UK.

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Estim. 120 - 250 GBP

[Jacob Cats] Faces augustae, sive poematia, quibus illustriores Nuptiae, a nobili & illustri viro, D. Jacobo Catsio, eq. & praepot. Holl. Frisiae occidentalis ord. syndico, antehac Belgicis versibus concriptae, Jam a Caspare Barlaeo & Cornelio Boyo Latino carmine celebrantur. Ad Serenissimam Principem Elizabetham, Fred. Regis Bohemiae & Electoris Palatini Filiam. Dordraci, sumptibus Matthiae Havii, & Typis Henrici Essaei, 1643. One volume. 9 by 15 cm. 1 portrait-(62)-272 (Paradisus)-149-(1) (Dialogi aliquot nuptiales)-32 (Faces sacrae)-198 pages (Sermonum). 19th century green half-chagrin, 4-nerved spine. Edges slightly worn, otherwise a very fine copy. Few brown spots, otherwise very good condition of the text. 1 portrait and 14 figures engraved in the text, of fine artistic quality. First edition of this collection of four separately paginated texts on love and marriage, composed on the occasion of the second marriage of Jacob Cats, Flemish poet and statesman. Included are 14 poems on marriage, 9 by the great humanist Caspar Barleus (van Baerle), 1 by Jacob Cats, 4 by Cornelius Boyus; Jacob Lydius's treatise on matrimonial rites and divorce among various peoples. The work is dedicated to Elisabeth of Bohemia. It is decorated with a full-page portrait of her and 14 mid-page engravings. The illustration is by Crispin Van Queboorn, a Dutch draughtsman and engraver. Some of the figures bear his monogram. Bound at the beginning of the volume: CATS (Jacob): L'art du mariage. Latin poem by J. Cats, grand-pensionnaire of Holland, with commentary by Lidius, translated into French, with facing text. [Juxtalinear edition]. Paris, Barrois l'Aîné, 1830, pp. [3] to 121. Scattered foxing on this volume.

Estim. 6 000 - 7 000 GBP

Follower of MATTHIAS STOMER (c. 1600 - after 1652); Italian school; 17th century. "Evening Evening". Oil on canvas. Re-coloured. Measurements: 121 x 147 cm. Scene of costumbrist character in which the artist gathers in the composition a group of men with a woman. All of them are arranged around a table which can hardly be seen. However, a plate of pasta, a knife and a candle are the only points of light in the scene. The men are eating, smoking a pipe and drinking, all of them showing relaxed attitudes that can be seen not only in the act they are performing but also in the poses in which the artist has depicted them, with the figure on the left of the composition standing out to a great extent. All of them are dressed in clearly detailed 17th-century clothing, as are the faces of the characters, created in the tradition of Baroque naturalism, bringing realism and narrative to the scene. Due to its subject matter, the work can be classified as a type of tavern painting, which in the 17th century was a vindication of the popular. However, it is worth noting the presence of the only woman in the scene. She gazes at one of the figures and holds her shoulders in her hand, hinting at some kind of close relationship, which in the darkness of the scene suggests a courtesan rather than a waitress. Matthias Stom or Matthias Stomer was a Dutch, or possibly Flemish, painter who is only known for the works he produced during his residence in Italy. His painting was greatly influenced by the work of non-Italian followers of Caravaggio in Italy, in particular his Dutch followers often referred to as the Utrecht Caravaggists, as well as by Jusepe de Ribera and Peter Paul Rubens, and he worked in various locations in Italy where he enjoyed the patronage of religious institutions as well as prominent members of the nobility.

Estim. 80 000 - 90 000 GBP

AMBROSIUS BENSON and Workshop; ca. 1600 (Lombardy, active in Bruges from 1518 - Bruges, 1550). "Madonna and Child. Oil on oak panel. Engatillada. The painting shows some paint splashes, repainting and restorations. It has an ebony frame following 17th century models. Measurements: 94 x 73 cm; 135 x 115 cm (frame). This work follows the models of the painting attributed to Ambrosius Benson which belongs to the collection of the Museum of Fine Arts in Seville. The Virgin is seated, three-quarter length, with the Child, who embraces her, standing on her lap. Mary's silky hair falls in waves of golden tones over the red mantle, which stands out against the dark background. The work shows a strong stylistic influence of Roger van der Weyden and is repeated with minor variations on numerous occasions in the 16th-century Bruges school. It also bears similarities to a painting in the collection of the Museum of Saragossa from the Monastery of Veruela. Ambroisus Benson was one of the so-called masters of the tradition, a successor of Van der Goes, and was influenced by Van Eyck, Van der Weyden and the Flemish Primitives in general. However, his work reveals 16th-century features from Italy, such as the triangular composition that can be seen in the present work. In fact, he was originally from Lombardy, so his painting sometimes has more Italian features. Particularly important was his personal use of colour, with a predominance of maroon tones in contrast to the whites and light tones of the flesh tones, which are thus very much emphasised in the composition. Also typical of his work is the velvety quality of the cloaks. Benson was a painter of religious subjects and portraits and trained with Gerard David in Bruges from 1518, the year in which he became a citizen. However, he had problems with his master that led to legal proceedings and by 1519 he was registered with the Painters' Guild as an independent master. From the following year onwards there was a clear increase in his activity and between 1522 and 1530 he rented between one and three stalls at the annual market to sell his paintings. Benson held high positions in the painters' guild, his works fetched very high prices and he had several apprentices, including two of his sons, Willem and Jan. Although only two signed works by Benson ("Triptych of Saint Anthony of Padua" in the Musées Royaux des Beaux-Arts in Belgium and "The Holy Family" in a private collection) and seven dated works are known, more than 150 paintings have been attributed to him on the basis of stylistic criteria. Benson's workshop produced a significant output and, like that of Adriaen Isenbrandt, his works were generally intended for the Iberian market. His painting was highly appreciated in Spain, although Benson never visited the country. With regard to his language, despite his adherence to tradition he formed, together with Isenbrandt and Jan Provost, the last generation of Bruges painters characterised by a break with the Gothic tradition and the introduction into their style of the innovations of the Italian Renaissance. This influence can be seen in their artistic style and in effects such as monumentality, as their themes and compositions are generally in the Flemish tradition. On the other hand, the variety of themes and formats that characterises his production may be due to the fact that he worked in a workshop with numerous collaborators. In all his works, whether religious themes, portraits or secular works, Benson is an excellent example of the crossover between north and south, between tradition and innovation. His works are now held in the world's leading art galleries, including the Museo del Prado, the Metropolitan Museum in New York, the National Gallery in London, the Kunsthistorisches Museum in Vienna, the Thyssen-Bornemisza, the Ashmolean Museum in Oxford and the Bilbao Fine Arts Museum.During the 15th century, the Dutch realist style had a strong influence abroad, especially in Italy, but in the 16th century the situation was reversed. The Italian Renaissance spread throughout Europe, and Antwerp became the centre of the Flemish school, supplanting Bruges and acting as a centre for the penetration of Italian influences. Thus, Mannerist influences arrive in the Netherlands, superimposed on the 15th-century style.

Estim. 100 - 200 GBP

Manner of Isaac van Ostade (1621-1649) Dutch. Figures in an Interior, Watercolour, 12" x 11.25" (30.5 x 28.6cm)

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