Our selection of Old Masters focuses on the North European schools, favoring high age Flemish and German Renaissance painting.
We focus particular attention on Brueghel, a circle representing, in reputation, value and importance, the absolute excellence of Flemish art. We can supply various types of paintings of the Brueghel Dynasty and their circle, studied for any type of purchase.
Finally, we also offer a selection of works from the Dutch Golden Age.
Jan Brueghel II and Cornelis de BailleurGarland of Flowers with Madonna, Child and Angels Oil on panel 71,4 x 65,7 cm 1630 ca.
expertise K. ErtzJan Brueghel the Younger realized many paintings dedicated to this subject: a wreath of flowers, outlined as a sort of frame, containing sacred subjects of various kinds and entrusted from time to time to specific collaborators. In this case, the jovial and anecdotal central scene is a famous composition by Cornelis de Bailleur, the talented pupil of Frans Francken who, right thanks to this subject, is famous among the lovers of Flemish painting of the seventeenth Century. The subject became very popular during the Counter-Reformation based on the baroque taste for the refined Catholic symbologies: in the work there are over thirty different floral species that, in the context of the central subject, take on a symbolic value with specific references to different Christian virtues, in particular related to the Madonna. Thus, roses symbolize purity, iris the Immaculate Conception, cyclamen the Passion of Christ, carnations the Resurrection and so on. In fact, the work is a sort of symbolic icon where space is annulled in order to leave room for intellectual and religious meditation: the dark background where images float is to be interpreted in this sense, in the light of a strongly spirituality devoted to ecstasy and meditation, without renouncing to the lyrical beauty of the object depicted as a true link between human being and the Divine. The proof is the great technical skill used on the flowers depiction, in full "Brueghel style", i.e. with vibrant colors and delicious technical skill.
Frans Francken IIISingerie (allegory of human condition)
Oil on copper
Expertise Ursula HaertingIn her anthological account of Frans Francken's work, the scholar Ursula Haerting dedicates a specific chapter to the paintings on monkeys. Although it is known from various sources that Francken II was widely devoted to the subject, Haerting attributes to him only four works - on a stylistic basis - suggesting that a large part of the production is to be assigned to his brother Hyeronimus Francken and his son Frans Francken III, who, however, used to leave their works unsigned. This until the discovery of our unpublished painting, which therefore constitutes a work of exceptional importance in the author's catalog. Frans Francken III was born in Antwerp in 1607 of Elisabeth Plaquet and Frans Francken II, of whom he was a pupil. In 1639-1640 he became part of the Corporation of San Luke and in 1655-1656 he was appointed its dean. He collaborated, like his father before him, with other artists by painting the staffage figures in their works. For example with Pieter Neefs I and Pieter Neefs II he created representations of church interiors. Generally speaking he was an eclectic painter: he devoted himself to portraiture, as well as still lifes, in particular floral, genre subjects, architecture, paintings for art galleries (“Cabinet des interieurs”) and religious subjects. Our work, in a fantastic state of preservation, shows the typical style of mature Flemish Baroque, with strong paternal influences: the essential chromatic palette, the delicacy of the pictorial layers, the enamel highlights and the nervous temperament, with which the six monkeys are characterized, animate the scene. They speak about a small, irresistible and fascinating art jewel, where the hand of a Master imposes itself on the eye with impeccable superiority and awareness.
Jan van Kessel the ElderStudy of Insects with a Flower of Borago Officinalis
oil on copper, cm 10,4x16,2
exhibition "Brueghel. Capolavori dell'Arte Fiamminga", Turin, 21/02/2016-19/01/2017.
expertise K. ErtzJan van Kessel the Elder (Antwerp, 1626 - 1679). The maternal grandson of Jan ‘Velvet’ Brueghel, and nephew of Jan Brueghel the Younger and David Teniers, Jan van Kessel was influenced both by his illustrious family and his apprenticeship with Simon de Vos (1603 – 1676). He became a master of the Guild of St. Luke at the age of 18. As demonstrated in his abundant and remarkably varied work, he excelled as much in his small panels depicting all sorts of animals, birds, batrachians and insects as in his larger compositions which included these motifs combined with mythological or Christian subjects. His renown can also be attributed to fables and singeries, of which he painted many versions. Finally, Jan van Kessel was also one of the most brilliant floral and still life painters of the Golden Age. His work is similar to that of Daniel Seghers (1590 – 1661) and naturally became part of the trend for paintings of flowers, so highly prized by art-lovers and European collectors. The charm of his paintings executed with great rigour, according to an acute sense of observation, as well as his lively and strong palette, make Jan van Kessel one of the most appealing Flemish painters and certainly one of the most appreciated.
kerstiaen de keuninckMountain Landscape with Tobias and the Angel
oil on panel
1610-15Archaic landscape-painter of Antwerp in the style of T. Verhaecht and R. Savery. He mainly painted woody mountain landscapes with large trees and valleys, sometimes animated by small Biblical figures in the foreground. His main characteristic is the use of the light: in this painting the light across the landscape has a series of shining oblique rays which intersect the sky and create an unreal and fantastic atmosphere. Unlike Jan Brueghel the Elder, who was a leading figure in the development of realistic landscape painting, Kerstiaen de Keuninck continued the Flemish tradition of imaginary mountain scenery that descended from Patinir. This large panoramic landscape view, dominated by fantastic mountains and rock formations, is an early work of the artist and was probably painted in Antwerp. It illustrates his concern with contrasting pictorial effects—such as heavy passages of opaque paint set off against areas sketched in a very thin medium—and with bold motifs like the water spray formed by flicking the brush.
Frans Francken the YoungerThe family of Darius before Alexander
Oil on copper
published: U. Haerting "Frans Francken de J.-the Paintings", Freren 1989, cat. Nr. 350 (senza immagine).
Expertise Ursula HaertingThe baroque magniloquence of the Flemish area in its full splendor: Frans Francken the Younger. The Antwerp painter was a key figure in the artistic dynamics of the great city, where artists such as Brueghel, Rubens and Van Balen worked. They were all linked by profitable collaborations with Francken, who specialized himself in the rendering of typical figures with nuanced, vibrant and swirling brushstroke and the alternation of a strong chromatic contrast between the colors chosen for the clothes and the incarnates of the characters. The scene is taken from the classical historiography and it is set as an ancient bas-relief with the presence of two action plans. Immediately on the foreground the Persian queen is depicted with dramatic emphasis while she begs mercy for herself and her children before the Macedonian leader dressed like a Turkish knight. Between them, a series of characters are depicted with dialogues and poses that are typical of the Francken II, once he reached his full stylistic autonomy. In the background, a tumultuous stream of fighters clashes against a grey cloud, which turns the knights into self-propelled statues. The burning city in the scenery is illuminated by flashes of yellow and pink light, released by the author on the copper with a quick and nervous brushstroke. It is precisely the exaltation of the pictorial material as a technical virtuosity and the ability to decline the drawing in an extreme way with the juxtaposition of saturated and gaudy colors that made Frans Francken the Younger one of the most appreciated Flemish painters of the 17th century.
Monogrammist HSThe Ill Matched Lovers with a Monk
oil on panel, cm 28x42,5.
We are grateful to Cranach Research Insitute and Dr. Peter Schmelzle to have confirmed the attribution of this work.Monogrammist HS (Active during the first part of XVII Century). Rare and enigmatic painter from Basel, a pupil of Lucas Cranach, specialized in the representation of allegorical subjects often soaked in a taste for the grotesque, erotic and enigmatic. Compared to his master, Krodel presents harsher tones, with female bodies represented in ivory color and smooth as porcelain, with the characters depicted close to their caricature, deliberately in an anti-classical and anti-Italian key.
Jasper van der LanenRiver Landscape with figures
oil on panel
1625 ca.According to the RKD he was a pupil of Nicolaas Geerts in 1607 and became master of the Antwerp Guild of St. Luke in 1615. In 1624 he married Elisabeth Rombouts and the painter Abraham Govaerts was his "witness" (best man). Both Govaerts and Van der Lanen were known for their landscapes, and the painter Frans Francken II often added staffage for them.
Gillis MostaertPaesaggio con la Distruzione di Sodoma e Gomorra
olio su tavola
Expertise Luuk PijlRenowned painter, he specialised in landscapes and deserved an honourable mention in The Lives by Giorgio Vasari due to his already considerable fame at the time. Mostaert was one of the most intelligent interpreters of Pieter Bruegel the Elder’s lesson, from whom he was able to deviate thanks to his inventiveness and through the creation of a distinctive style. The naïve mood can be regarded as a "work of subtraction", aimed at removing every formal and unnecessary element and at reducing the graphic sign, in order to leave room for large fields of bright and contrasting colours. The fantastic views that fill his paintings bursts with small figures, often made by other painters specialised in the staffage. Our composition is also known in another variant by the same author, whose subject is, however, the Autumn season and it differs in a significant number of details, both compositional and chromatic. The use of basic patterns to create several paintings was a widespread and established practice since Henri met de Bles. Mostaert was not far behind, often using the trick of changing the colours in which the characters or minor details were completed, as well as with the reversal or re-composition of various parts of the general scheme. However, starting from an identical basic structure and achieving such original and autonomous results is extremely rare.
Nicolas Neufchatel (also known as Nicolas Lucidel)Portrait of Man holding a Letter Oil on panel 30,2x23,8 cm 1550 ca.
Expertise Jan de Maere.The earliest likely reference to Neufchatel occurs in the archives of the Antwerp's Guild of St. Luke, which list a 'Colyn van Nieucasteel' as a student of Pieter Coecke van Aelst in the year 1539. As a student in Antwerp, Neufchatel would have been introduced to the works of Frans Floris, Willem Key, and other masters of the 1540s. From 1561 to 1567 he lived in Nuremberg. It appears that he relocated to Germany for religious reasons, for on 23 July 1567, the city council ordered him not engage in any more Calvinist agitation. It is believed that he stayed in Nuremberg until at least 1573, the year he painted a portrait of Johan Gregor van der Schardt. After that year nothing is known of his life. Our portrait shows an evolved style and multiple stylistic influences, including a certain attention to the Italian portraiture of the 1500s. In any case, the strong naturalism of the many details that dot the character's face follows the typical Flemish attention to the naturalistic rendering of reality.
Adam van NoortMadonna and Child with Saint Joseph
>Oil on panel79,4 x 56,8 cm 1580 ca.
Archived in RKD as Adam van Noort.Defined by Van Mander in 1604 as a "very skillful painter," van Noort is part of the Flemish painting already influenced by Italian art. He was stranger to the prevailing fashion, Van Noort managed one of the most popular ateliers in Antwerp and he was able to cope with a large number of students, including those who later became great masters such as Rubens (from 1592) and Van Dyck, who also made a famous portrait of his teacher. Known for his alternating moods, his life as a libertine and, often, his violence, Van Noort was always conscious of the limitations and skills of his students, directing their careers also through the collaboration with the atelier of Otto Van Veen. His works were mainly biblical and of allegorical disobedience and portraits made for the Sint-Lucas gilde (the author was a member) have not been preserved. The work, part of the prestigious Goudstikker collection, is considered as of today one of the most significant - and certain of attribution - still in private hands. Despite the religious subject, the scene is treated with an extreme naturalism, aiming to portray a simple mother with a child in a moment of lyrical intimacy rather than something grand and academic. The sculpted cradle, together with details such as the cushion and the string of pearls on the Madonna's forehead, are remarkable for their realistic rendering. The paneggi, the incarnate and the architectures on the background, however, are clearly of Italian influence.
Adriaen van OverbekeThe Ascension
Oil on panel
1516 ca.We thank Professor Pieter van den Brink for his valuable assistance in the attribution of the work. Adrian van Overbeke (formerly known as “Master of the Antwerp Crucifixion”) was the perfect embodiment of the so-called Antwerp Mannerism. He was the head of a prolific workshop which specialised in big polyptychs (altarpieces). The polyptychs were characterised by painted panels and niches filled with multi-coloured sculptures. These giant religious pieces were commonly used in northern Europe during the first half of the seventeenth century. There is proof of commissions as far as Poland and Scandinavia. Today, most of the polyptychs which have not been lost are scattered across various museums and private collections. They represent rare and valuable documentation of the most typical Flemish production of the early 1500s. Our panel, which comes from an important Roman aristocratic collection representing the Ascension of Jesus, is no exception. This work, as highlighted by Professor van den Brink, is closely related to the panels currently kept at the Bonennfanten Museum in Maastricht. Since it is larger in size than the panels of Dutch origin, this polyptych is likely linked to another example, now lost, which was intended for the Kempen Cathedral in Rhineland. Due to the recurrence of the design in the two works, it is possible to draw compelling stylistic comparisons. For instance, it is easy to draw parallels between our panel and those sold by Christie's Amsterdam in 2014 (initially attributed to the Antwerp School, but later to Van Overbeke, FIG.1) by looking at such aspects as spatial layout, facial features, colour use, the use of extravagant and elongated shapes and the details of the hands and feet. This anti-classical and exaggerated style was one of the reasons that made the Antwerp paintings popular in the early 1500s, because it balanced revivalism with a figurative language that could be easily understood by the viewer, who, as a result, was able to promptly recognise a Flemish work by its flamboyant colours, extreme poses and expressions, unrealistic and bizarre architectural and geographical settings, in the spirit of an "hyper-gothic" style which drew on technical expertise and pictorial tool typical of the Renaissance. Apart from the considerable evidence offered by the quality level (uneven in other works, due to the high number of van Overbeke's collaborators), we would like to highlight the importance of the historical and artistic rediscovery, further enhanced through the thorough process of restoration. As we can see from the pre-cleaning photo, the upper part of the painting was covered and edited, pleasing a Mediterranean taste, with the aim of diluting the overly extravagant iconographic invention. Christ's figure so curiously levitates in the air and passes from the physical universe to the timeless and metaphysical one, which emerges amidst the clouds and reveals the gold of Paradise. The figure of Christ underwent a colour change; it was covered and embedded into the opening as if it was looking out from a balcony, despite the total inconsistency with the spatial setting of the scene. Moreover, the footprints (etched in the earth, according to Christian tradition) now visible on the top of the mountain were covered as well. The thorough cleaning, which brought to light the original quality of the work - as well as the bright chromatic range that distinguishes it - helped each of the details, previously hidden and perfectly preserved under the recent layer of paint, to re-emerge. The panel, which is still the largest among the ones still in existence made by van Overbeke, is therefore unique among the works of the author and an addition to his small catalogue, thus most likely representing the only part (at least known as of today) of one of the polyptychs destined for the aforementioned European cathedrals.
The Master with the ParrotMadonna with Child (Virgo Lactans)
oil on panel
1530 ca.The author takes his name from an in-depth article that the art historian Maximilian Friedlander dedicated him in 1948, where the scholar gathered a first number of works around a personality whose name was at the time unknown, but it turned out to be enough clear from a stylistic point of view. The curious nickname derives from the insistence and typicality that we can find in a certain number of works where the presence of a parrot is shown. However, as of today it is possible to assign to the artist a more varied and broader number of works, also thanks to the recent discovery of a Madonna and Child (without parrot) signed in full "Cornelis Bazelear Fecit" of unquestionable stylistic clarity. In addition to this, it has been hypothesized with ample plausibility that the painters working around and under Bazelaer constituted a substantial workshop which, between Antwerp and Bruges, carried out in a unitary style a series of devotional works, especially intended for the international market. The practice was very widespread also in other ateliers (Pieter Coeck, Joos van Cleve, etc.) and basically indicates a conception of the work of art as produced in two phases, a first theoretical conceived by the Master and a second one often realized by his students. In the best examples, like this one, the Master of the Parrot shows a delicate style, a wise synthesis between the Bruges tradition - still archaic - and the innovations of plasticism and the use of light that Pieter Coeck, Jan Gossaert and Quantyn Metsys were gradually introducing into the flemish painting of Antwerp. The pearly complexion, the intimate mother-son relationship and the meticulous details of the crown accentuate the refined devotional and symbolic tone, thanks to the contribution of the dark background from which the figures emerge as in a sacred vision.
Adriaen van OstadeThe school’s village
Oil on panel
Signed and dated 1636.The painting belonged to the illustrious collection owned by Jacques Goudstikker, the most important collector of Dutch and Flemish art of the XX century. Furthermore, the collection has been tracked since 1914. After being held in a private collection from 1997 until today, the artwork shows on the market as one of the highest examples of genre painting, of which Adriaen van Ostade was the major exponent. The van Ostade brothers lived and worked all their lives in Haarlem, the heart of the Dutch Golden Age where they, together with Frans Hals, created the school that best embodied the new artistic approach that was taking hold during the XVII century. During the first years of his career, Ostade focused his art on joyfulness and exaggeration of the depicted scenes, using a sharp contrast between lights, often concentrating on a small portion of the canvas, surrounded by dimmer environments, the same way a spotlight lights a stage. The key to its chromatic harmony, which can make seemingly heavy and pasty shades seem graceful, resides all in the grayscale layered from time to time to the typical pinks and the dark blues. The result is a chromatic harmony that uniforms the painting, already embellished by a refined rendering of details, always cured and never simpering: in this balance resides Ostade’s artistic grandeur, able to depict the poetry of working classes, beyond their rural living conditions and harsh human traits. For this reason, his style has been referred to as “Rembrandtism”, for Ostade’s art has taken Rembrandt as reference point, especially from 1635 onward, to express a deeper psychological introspection that was being investigated in Amsterdam’s art scene, relying on colour to express emotions of love and drama. In the scene, perfectly conserved and of impeccable quality, a spotlight immediately conveys our attention to the focus of the narration: a teacher trying to bring together a group of undisciplined children, who at the time used to be mixed in a single class, ranging from younger ones to teenagers: some are studying, other waiting for their homework to be graded, some are playing while some just can’t seem to stand still, under the impassive – almost apathetic - teacher’s figure, standing next to an hourglass, by now more of a countdown than a warning. A witchy figure is pointing its finger towards a small child, holding his hat with deference while being introduced to the teacher: a new student or someone who’s gotten in trouble? Hence, with thick, lumpy brushstrokes and chiaroscuro effects that generate a myriad of details, van Ostade becomes a storyteller and his tale is as simple as it is universal, a realistic lifestyle still, where feelings and events transcend time to become infinite.
Frans Pourbus IPortrait of Young Man
Oil on panel
Inscribed on the top left “1563”.We thank Professor Koenraad Jonckheere for his valuable assistance in the attribution of the work. Frans Pourbus the Elder’s portraits demonstrate remarkable powers of observation. The features of the man in our portrait, with his subtly modelled flesh, angular face, high cheekbones, long nose and heavy lidded eyes have been notably individualized. He gazes directly and somewhat seriously at the viewer, his brow furrowed and contemplative. The portrait as a whole is an astute psychological study of a man in his prime, presumably in his late twenties. This little portrait comes from a prestigious provenance, the collection of the Duke of Hamilton during XIX century and, subsequently, through somes noble properties, a patrician roman collection. All the passages of property, since 1882, are documented through the labels affixed on the back of the painting.
David VinckboonsWooden landscape with religious scene
oil on panel
exhibition “Cielo, Terra e Acque. Il paesaggio nella pittura fiamminga e olandese tra Cinquecento e Seicento” curated by G. Sciolla, Aosta 2007.
published: “David Vinckboons” ,Klaus Ertz, Lingen 2016. Cat nr. 36 pp. 324 e 325.