Pieter Aertsen Paintings & Artwork for Sale | Pieter Aertsen Art Value Price Guide

May. 28, 2024
Attrib. to Pieter Aertsen (1507/08-1575), The Lamentation of Christ, oil on panel 50 x 58 cm. (19.6 x 22.8 in.), Frame: 63 x 71 cm. (24.8 x 27.9 in.)
Est: €8,000 - €12,000
Attrib. to Pieter Aertsen (1507/08-1575), The Lamentation of Christ, oil on panel Pieter Aertsen was a Dutch master, both by origin and because the scene of his mature work was Amsterdam. He was probably born there too, in 1507 or 1508, and according to Van Mander also absolved his apprenticeship in Amsterdam under Allart Claesz. Between 1535 and about 1555, he lived in Antwerp, when Pieter Coecke (after 1527) and Frans Floris (after 1541) set the tone there. The 'Lamentation of Christ' is devoted to spirituality. It focuses on different poses of the saintly figures, especially Maria Salome, Maria Jacoba, Maria Magdalene and Saint John. The drama is suggested by manneristic and complicated curves in the folds of the dresses and the alternating movement of the hands, which seem to follow a rhythmic pattern. Pieter Aertsen's mobile brushwork pursues the surface of things, showing particular skill and pleasure in bringing out furs and pelts. His palette is predominantly luminous and saturated, harmoniously warm despite the harsh contrasts of light and dark. Literature: Max J. Friedländer, Antonis Mor and his Contemporaries, 1975 On request, we can send you the certificate of authenticity by Edmond Florens, Brussel 1981. Edmond Florens was the former head of the Groeninge Museum Bruges restoration department. Provenance: private collection in Bruges.
Carlo Bonte Auctions
Feb. 13, 2024
Attrib. to Pieter Aertsen (1507/08-1575), kitchenmaid and customers in a hostel, oil on canvas 81 x 106 cm. (31.8 x 41.7 in.)
Est: €15,000 - €18,000
Attrib. to Pieter Aertsen (1507/08-1575), kitchenmaid and customers in a hostel, oil on canvas Pieter Aertsen was a Dutch master, both by origin and because the scene of his mature work was Amsterdam. He was probably born there too in 1507 or 1508, and according to Van Mander also absolved his apprenticeship in Amsterdam under Allart Claesz. Between 1535 and about 1555 he lived in Antwerp, a time when Pieter Coecke (after 1527) and Frans Floris (after 1541) set the tone there. During his stay in Antwerp, he introduced a new genre of hostel kitchens and market scenes. Aertsen did not paint individualized peasants and cooks, but the peasant and the cook as types. Breughel himself and even Adriaan van Ostade did not invest their figures with marked identity. This is rather different from the painters of the 19th century who worked with models and were really doing portraits. What transfigures this new genre of kitchen scenes in an interior is the sense of humour and the joyous sharing of everyday life. Our kitchen piece contains allusions to the power of seduction and eroticism. The chicken roasting strung on a skewer, the farmer's hand touching the maid, and the servant at the back who wastes milk from his farmer's spoon are just a few examples. Important remark from the restoration report by Thierry Eeckhout of 1983. Originally painted on a wooden panel and transferred to canvas in the early 19th century, without damaging the paint layer. On request, we can send you the certification report by Dr. Proff. Frans Baudwin. Literature: Max J. Friedländer, Antonis Mor and his Contemporaries, 1975, illustrations 330 and 331 Provenance: private collection in Bruges.
Carlo Bonte Auctions
Feb. 13, 2024
Attrib. to Pieter Aertsen (1507/08-1575), The Lamentation of Christ, oil on panel 50 x 58 cm. (19.6 x 22.8 in.), Frame: 63 x 71 cm. (24.8 x 27.9 in.)
Est: €15,000 - €25,000
Attrib. to Pieter Aertsen (1507/08-1575), The Lamentation of Christ, oil on panel Pieter Aertsen was a Dutch master, both by origin and because the scene of his mature work was Amsterdam. He was probably born there too, in 1507 or 1508, and according to Van Mander also absolved his apprenticeship in Amsterdam under Allart Claesz. Between 1535 and about 1555, he lived in Antwerp, when Pieter Coecke (after 1527) and Frans Floris (after 1541) set the tone there. The 'Lamentation of Christ' is devoted to spirituality. It focuses on different poses of the saintly figures, especially Maria Salome, Maria Jacoba, Maria Magdalene and Saint John. The drama is suggested by manneristic and complicated curves in the folds of the dresses and the alternating movement of the hands, which seem to follow a rhythmic pattern. Pieter Aertsen's mobile brushwork pursues the surface of things, showing particular skill and pleasure in bringing out furs and pelts. His palette is predominantly luminous and saturated, harmoniously warm despite the harsh contrasts of light and dark. Literature: Max J. Friedländer, Antonis Mor and his Contemporaries, 1975 On request, we can send you the certificate of authenticity by Edmond Florens, Brussel 1981. Edmond Florens was the former head of the Groeninge Museum Bruges restoration department. Provenance: private collection in Bruges.
Carlo Bonte Auctions
Dec. 13, 2023
Pieter AERTSEN Amsterdam, 1508 - 1575 Benjamin et ses frères accueillis par Joseph Huile sur panneau de chêne, trois planches, renfo...
Est: €30,000 - €40,000
Pieter AERTSEN Amsterdam, 1508 - 1575 Benjamin et ses frères accueillis par Joseph Huile sur panneau de chêne, trois planches, renforcées Daté '1551 / 5 feb' en haut à gauche Un cachet de cire rouge au verso (Soulèvements et manques en bas à droite) Benjamin and his brothers welcomed by Joseph, oil on oak panel, by P. Aertsen h: 73 w: 130,50 cm Provenance : Peut-être collection Jan Pietersz. Reael, Amsterdam, 1604, "l'Histoire de Joseph", selon Karel van Mander ; Chez Jacques O. Leegenhoek, Paris, vers 1975 ; Collection particulière franco-belge depuis les années 1970 Bibliographie : Peut-être Karel van Mander, 'Le Livre des peintres. Vie des Peintres flamands, hollandais et allemands, 1604', (traduction, notes et commentaires par Henri Hymans), tome I, Paris, 1884, p. 356 Mary Braman Buchan, 'The paintings of Pieter Aertsen (volumes I and II)', New York University, thèse de doctorat, 1975, p. 77- 81, p. 106, p. 196, no 7, p. 251, ill. 11 Commentaire : Mieux connu pour ses scènes de cuisine et de marché où les étals présentent d'abondantes victuailles, Pieter Aertsen puise pour notre tableau dans l'Ancien Testament', une source plus rarement exploitée par le peintre. Notre œuvre représente un épisode de l'histoire de Joseph ('Genèse', 43-45). Joseph, debout portant une cuirasse rouge, accueille ses frères en Egypte après leur avoir accordé son pardon. Le jeune frère de Joseph, Benjamin, tombe à ses genoux. A droite de l'œuvre est représenté un autre épisode de l'histoire : Joseph ordonne à son serviteur de cacher sa coupe d'argent dans le sac de Benjamin pour éprouver ses frères, un épisode qui conduira après l'intervention de Judas en faveur de Benjamin, aux retrouvailles familiales. Après avoir reçu sa formation dans sa ville natale, Pieter Aertsen s'établit dans les Pays-Bas méridionaux, d'abord dans le Hainaut puis à Anvers où il est inscrit à la Guilde de Saint-Luc en 1535 et où il se marie en 1542. Dès les années 1540, il peint de grands retables religieux puis se consacre également, à partir de 1550, à la réalisation de scènes de la vie quotidienne : des scènes de marché ou de cuisines auxquelles il ajoute parfois en arrière-plan des scènes religieuses appropriées. Notre tableau révèle un nouvel intérêt pour l'Antiquité classique qui peut-être rend compte des développements artistiques contemporains portés par les peintres romanistes comme Frans Floris et Maarten van Heemskerk qui séjournèrent tous deux dans la ville éternelle. Dans cette tradition, Aertsen associe des vêtements antiques réels à des costumes plus fantaisistes. Ainsi certains éléments comme les bonnets phrygiens portés par l'entourage de Joseph ou la cuirasse de Joseph sont peut-être des citations d'estampes de Marcantonio Raimondi réalisées à Rome dans les années 1520-15251. Mary Buchan rapproche stylistiquement notre œuvre datée de 1551 de la 'Fête paysanne' conservée au Kunsthistorisches Museum de Vienne de 15502. Notre tableau s'inscrit en effet sans peine dans la production du début des années 1550 du peintre. La Danse de l'œuf de 1552 conservée au Rijksmuseum d'Amsterdam (huile sur panneau, 84 x 172 cm, SK-A-3) ainsi que 'Le Christ dans la maison de Marthe et Marie' du musée Boijmans van Beuningen de Rotterdam du 27 juillet 1553 (huile sur panneau, 200 x 126 cm, n° d'inv. 1108 (OK) (fig. 1) présentent un certain nombre d'analogies avec 'Benjamin et ses frères accueillis par Joseph' dans la physionomie des personnages aux longs bras, l'ordonnancement des scènes ou encore dans la rhétorique des gestes. Comme il en a l'habitude, le peintre indique sur notre panneau une date précise d'exécution, 5 février 1551. Si elle n'est pas unique, cette pratique est relativement rare. On l'observe par exemple chez Dirck Vellert (Amsterdam, 1480-Anvers, 1547) sur ses dessins préparatoires au vitrail. Une copie de notre tableau vendue à Amsterdam chez Mak van Waay le 25 juin 1957 sous le nom d'Aert Pietersz. (no 1, huile sur panneau, 77 x 129 cm) est signalée par Mary Buchan3. Considéré comme l'un des peintres néerlandais les plus importants de son époque, des répliques de ses œuvres circulèrent sur le marché de son vivant. Certains furent produites par son atelier tandis que d'autres émanèrent de l'atelier de son élève et assistant Joachim Beuckelaer (v. 1533-1575) qui reprit l'officine anversoise après le retour d'Aertsen à Amsterdam. 1. Voir sur cette question, Mary Buchan, 'op. cit'., p. 78-79. Elle évoque notamment le 'Rapt d'Hélène' et 'David décapitant Goliath'. 2. 'Ibid.', p. 77 3. 'Ibid.', p. 196 Nous remercions Peter van den Brink de nous avoir aimablement confirmé l'authenticité de cette œuvre d'après photographies en date du 2 novembre 2023 et pour son aide à la rédaction de cette notice. Estimation 30 000 - 40 000 €
Artcurial
Dec. 13, 2023
AERTSEN PIETER (1508 - 1575) - Attributed to. Saint Peter baptizes the centurion Cornelius in Caesarea
Est: €4,000 - €6,000
AERTSEN PIETER (1508 - 1575). Attributed to. Saint Peter baptizes the centurion Cornelius in Caesarea. The artwork is accompanied by an expertise by Didier Bodart, 22 June 1990, where the provenance of the painting is indicated. Provenance: Bob Jones University Collection, Greenville, South Caroline. 76,00 x 100,00 cm.
Capitolium Art
Oct. 01, 2023
AN ALEXANDER ZAKHAROV MIXED MEDIA ARTWORK, RUSSIAN SOVIET
Est: $300 - $400
Alexander Zakharov (Russian, Soviet, Born 1960), mixed media on paper artwork 'Botenka," depicting surrealist figures and faces painted over a print of the painting 'Seller of game' by Pieter Aertsen (1508 – 1575). Inscribed in Russian to the upper and lower margin. Signed and dated to the lower right: 19FB90, N.Y. Alexander Zakharov is known for Landscape and prehistoric animal painting, miniatures, fantasy, surrealism. In 1991 he moved to New York after being awarded a Pollack-Krasner Foundation Grant as an Artist in Residence; he was awarded First Prize at the Brandywine Workshop in Philadelphia in 1996, and in 1997 became a member of the Society of Illustrators and the Print Club of New York. His poetic landscapes, with their Surrealist overtones, play on the contrast between tiny figures (often animals) and the immensity of Nature (especially clouds).
Helios Auctions
May. 13, 2023
ATTRIBUÉ À PIETER AERTSEN (1507/08 -1575)
Est: €4,000 - €6,000
ATTRIBUÉ À PIETER AERTSEN (1507/08 -1575) La marchande de moules et de harengs Panneau de chêne, trois planches, renforcé (marque d’Anvers) 64 x 46 cm Restaurations anciennes
HVMC - Hôtel des Ventes de Monte-Carlo
Jun. 30, 2022
Pieter Aertsen, 1507/08 – 1575 Amsterdam, zugeschrieben
Est: €8,000 - €10,000
DARSTELLUNG ZWEIER HEILIGER Öl auf Holz. 44 x 29,5 cm. Oben rechts monogrammiert in Ligatur „AP“. In dekorativem Rahmen. Im Zentrum eine junge Frau in grünem faltenreichem Kleid, das im Dekolletébereich mit Goldstickerei versehen ist, und einer weißen langen Kopfbedeckung, unter der ihr dunkelblondes wallendes Haar leicht hervorschaut. Sie hat die zarten Finger ihrer Hände sorgsam aneinandergelegt und blickt mit halb geschlossenen Augen leicht nach unten traurig aus dem Bild heraus. Ihr Haupt wird von einem strahlend gelben Licht hinterfangen, das nach außen in rötliche und blaue Farbe übergeht. Zu ihrer linken Seite stehend, in leuchtend rotem Gewand, behutsam die Hand auf ihren Arm legend, ein junger bartloser Mann mit lockigen Haaren und dunklen Augen, die ebenfalls seitlich aus dem Bild herausblicken. Bei den Dargestellten könnte es sich um Maria Magdalena, aufgrund ihres Haares, sowie um den Evangelist Johannes, aufgrund seiner Kleidung und Bartlosigkeit, handeln. Rest., kleine Retuschen. (1301531) (18)
Hampel Fine Art Auctions
Nov. 15, 2021
Pieter Aertsen, Amsterdam 1508 - 1575 Amsterdam, attributed, Five apostles
Est: €2,000 - €3,000
Pieter Aertsen Amsterdam 1508 - 1575 Amsterdam, attributed Five apostles Oil on oak panel 44 x 34.5 cm (with frame 57 x 47 cm)
Tiberius Auctions
Nov. 03, 2021
PIETER AERTSEN (Amsterdam, 1508 - 1575). "The four Evangelists". Oil on panel.
Est: €25,000 - €27,000
PIETER AERTSEN (Amsterdam, 1508 - 1575). "The four Evangelists". Oil on panel. The board is reinforced. Measurements: 127 x 83 cm. Pieter Aertsen offers us here a magnificent composition of religious theme, which combines religious sentiment with a totally profane character derived from the mastery of the painter in the representation of animals, which transcend their symbolic meaning to be shown as completely real animals, totally physical. The composition is of great originality, typically mannerist, seeking the expressive tension that enhances the sacred and mystical character of the scene. We see the four Evangelists in a closed and pyramidal composition, squeezed into a space too small for their monumental figures, completely corporeal. The four evangelists, together with the symbols of the Tetramorphos (bull, lion, angel and eagle), appear organized in three levels of depth that bring three-dimensionality to the space, thanks to the masterful perspective work of the painter. In the foreground we see St. Luke and St. Matthew leaning towards each other, both with their Gospels open before them. St. Luke is accompanied by a superb all, pen in hand, and St. Matthew holds a cartouche for keeping scrolls in his left hand, while he holds his right hand to his heart, under the watchful eye of the child angel. In the background we see St. Mark, a youthful figure of enormous beauty and expressiveness, accompanied by a lion perfectly integrated into the tight composition. Finally, in the third plane, we see a St. John who is really a self-portrait of Pieter Aertsen himself, with a melancholic look and a face of marked naturalism, accompanied by the eagle, who carries in his beak a cartridge similar to that of Matthew. The figures are grouped in an off-centered pyramid, which tends to the right side, leaving in the upper left corner an empty space flooded with divine light, where the Holy Spirit appears in the form of a dove. A Flemish painter of the Mannerist period, Pieter Aertsen was the creator of a new genre, monumental scenes combining still life and costume painting, often including a biblical theme in the background. He was born and died in Amsterdam, then a relatively small city, and spent most of his career there, although he also painted in Antwerp, then the artistic center of the Netherlands. His genre scenes would be of key importance in the Baroque, both in his home country and in Italy, and in fact his scenes with peasants preceded by several years the better known scenes of Pieter Brueghel the Elder. Aertsen was a disciple of Allaert Claesz, and began his career painting religious subjects. Around 1550 he began to depict domestic scenes, in which he included furniture, kitchen utensils and food with great realism and attention to quality. His "Butchery with the Flight into Egypt" (Uppsala, 1551) is now recognized as the inaugural work of Nordic Mannerism, since it presents the "minor" subject in a leading role, leaving the religious subject in the background. A similar inversion of the hierarchy of genres can be found in the works, a few decades earlier, of Joachim Patinir, inventor of the landscape genre. However, unlike Patinir, Aertsen clearly depicts the religious theme, although it remains in a distant second place. On a formal level, his work shows the legacy of Jan Sanders van Hemessen, who represented numerous religious and moral scenes through a vision close to that of genre painting, with others of smaller size in the background, although clearly identifiable. Towards the end of his life, Aertsen also painted religious works with a more conventional treatment, although most of them were destroyed during the iconoclastic fury of the "Beeldenstorm".
Setdart Auction House
Sep. 30, 2021
PIETER AERTSEN (1507 / 1575) "Saint Paul"
Est: €22,500 - €30,000
Bibliography: Diéguez Rodríguez, A., "Dos nuevas pinturas de tema religioso de Pieter Aertsen en España", Boletín del Museo e Instituto Camón Aznar, no. 104, 2009, pp. 89-96, Fig. 1. . Oil on board.57 x 41 cm
Ansorena
Oct. 15, 2020
Pieter Aertsen (Amsterdam 1507-1575) and Studio - The Parable of the Royal Wedding
Est: $400,000 - $600,000
Pieter Aertsen (Amsterdam 1507-1575) and Studio The Parable of the Royal Wedding oil on canvas, transferred from panel 41 ½ x 54 7/8 in. (105.4 x 139.3 cm.)
Christie's
Sep. 30, 2020
PIETER AERTSEN "Saint Paul"
Est: €30,000 - €40,000
Bibliography: Diéguez Rodríguez, A., "Two new religious paintings by Pieter Aertsen in Spain", Camón Aznar Museum and Institute Bulletin, no. 104, 2009, pp. 89-96, Fig. 1 . Oil on board
Ansorena
Sep. 24, 2020
Pieter Aertsen, 1507/08 – 1575, Kopie nach
Est: €20,000 - €40,000
Dreiflügeliger Hausaltar, spätere Wiederholung wohl nach einem verschollenem Altar des Pieter AertsenANBETUNG DER HIRTEN (Mitteltafel) ANBETUNG DER KÖNIGE (rechts) BESCHNEIDUNG CHRISTI (links) Öl auf Holz. Höhe: 77 cm. Breite geschlossen: 52 cm. Breite geöffnet: 106 cm. Unter der Mitteltafel altes Künstlernamensschild. Die Größenverhältnisse lassen darauf schließen, dass es sich bei dem Triptychon um eine verkleinerte Wiederholung eines einst großen Altares von Pieter Aertsen handeln könnte. Bekanntlich wurden viele seiner religiösen Bilder, vor allem Altarwerke, während der Bilderstürme und noch später zerstört. Umso interessanter ist diese spätere Wiederholung, könnte sie doch eine Erinnerung an ein imposantes Werk des Malers sein, wenn auch aus späterer Hand. Das Zentrum zeigt die „Anbetung des Kindes“ vor der Kulisse antiker Architekturen mit Bögen, Treppe und Säule. Die Krippe in Form einer Kinderwiege, davor Maria, zwei Engel und drei Hirten. Rechts Joseph. In den Seitenflügeln wird die Idee der Fantasiearchitekturen fortgesetzt: rechts in Form eines intakten Bogens, in dem der dritte der Könige erscheint, links als Renaissance-Innenraum mit gewölbter Kassettendecke und einem Hängebaldachin über der Beschneidungsszene. Ein Knabe hält eine gestabte Kerze und einen Weinkelch als Kultattribute. Die Darstellungen innerhalb der Rahmungen gemalt, die Innenleisten mit Zahnschnitt und Kehlungen gearbeitet; im geschlossenen Zustand ochsenblutrot, mit Christusmonogrammen. Der obere Abschluss in Form später Nachgotik dreifach in Schwüngen hochgezogen, in der Mitteltafel mit Perlstab besetzt. Als auffallendes, für Bethlehem-Darstellungen Aertsens typisches Stilmerkmal ist hier die Krippe zu sehen. Entgegen der vorhergehenden Tradition liegt in seinen Bildern das Kind nicht auf Stroh am Boden; stets sucht Aertsen eine würdigende Basis, entweder in Form eines Kapitells, auf dem das Kissen liegt, oder eines Korbes. Hier im Bild dürfte der römisch-antike Mauerbogen, aber auch die betonte Halbmondform der Wiegenkufen den Gegenstand zu erhöhen gesucht haben. Aufgrund der wenigen erhaltenen Altarbilder des Meisters, wie etwa dem des Stifters und Seifenmachers Jan van der Biest, ist auch diese spätere Wiederholung wohl als wertvolles Dokument eines seiner verschollenen Werke zu sehen. A.R. (1241141) (11) Pieter Aertsen 1507/08 – 1575, copy after House altar with three panels, later copy after a lost altar by Pieter Aertsen THE ADORATION OF THE SHEPHERDS (central panel) THE ADORATION OF THE MAGI (right) THE CIRCUMCISION OF CHRIST (left) Oil on panel. Height: 77cm. Width closed: 52 cm. Width opened: 106 cm. Old name plate under central panel.
Hampel Fine Art Auctions
Nov. 08, 2019
Pieter Aertsen (Nachfolge) - Die vier Evangelisten (The Four Evangelists)
Est: €4,000 - €6,000
Oil on panel. 86 x 135 cm
Karl & Faber
Mar. 21, 2018
Pieter Aertsen (1507/08 - 1575), ambito di, Interno di taverna
Est: €2,500 - €3,000
olio su tela, cm 75x109
Cambi Casa d'Aste
Jan. 30, 2018
Pieter Aertsen (Amsterdam 1508-1575) The Adoration of the Magi
Est: $60,000 - $80,000
Pieter Aertsen (Amsterdam 1508-1575) The Adoration of the Magi traces of black chalk, pen and brown ink, brown wash 15 ¼ x 13 ¾ in. (39 x 35 cm)
Christie's
Sep. 25, 2017
Pieter Aertsen (1507-1575), entourage de, Portrait d'homme à la lettre, huile sur toile, signée, 95x79 cm
Est: CHF1,000 - CHF1,500
Pieter Aertsen (1507-1575), entourage de, Portrait d'homme à la lettre, huile sur toile, signée, 95x79 cm
Piguet Hôtel des Ventes | Genève
Nov. 12, 2016
AERTSEN Pieter (suiveur de), école FLAMANDE du XVIIème siècle [FL]. Je
Est: CHF3,000 - CHF4,000
AERTSEN Pieter (suiveur de), école FLAMANDE du XVIIème siècle [FL]. Jeune femme aux paniers de fruits et légumes, huile sur panneau parqueté (86 x 73 cm).
Galartis SA
Sep. 24, 2016
PIETER AERTSEN
Est: -
PIETER AERTSEN 1508 Amsterdam - 1575 ebenda (Nachfolger um 1700) KÜCHENSTÜCK MIT ZWEI MÄGDEN MIT FISCHEN, FLEISCH UND GEMÜSE Öl auf Leinwand (doubl.). 122,5 cm x 165 cm. Min. rest. Rahmen. Provenienz: Privatsammlung Österreich.
Hargesheimer Kunstauktionen Düsseldorf
May. 21, 2016
Pieter Aertsen, Christ Driving the Merchants from the Temple
Est: €18,000 - €24,000
Inscribed to the pillar: "IOAN". This small painting can be dated to the end of Pieter Aertsen's career, around 1570-1575. The master's works being generally of large size, it can be presumed that the present painting was ordered for a small interior space. It can be compared to "Christ with Martha and Maria" (Ghent Museum voor Schone Kunsten, inv. 1938 C) which is another example of such format. The late works of the painter's production are more complex in terms of planes and architectural motifs, probabably inspired by Sebastiano Serlio's treatise "Tutte l'opere d'architettura et prospettiva", published around 1537-1540, which had a huge impact throughout Europe. Even in small panels, the strong characters of Aertsen's figures and his taste for a realistic description of life are plainly noticeable.
Kunsthaus Lempertz KG
Dec. 08, 2015
(École hollandaise) - MATHAM, Jacob (1571-1631).- Jeunes maraîchères [d'apr
Est: €100 - €120
(École hollandaise) - MATHAM, Jacob (1571-1631).- Jeunes maraîchères [d'après Pieter Aertsen (1508-1575)]. Eau-forte, papier vergé, 22,5 x 33,5 cm, collée en plein sur carton de support (rognée, faiblement brunie, déchirure margin. sans perte au coin gauche et au milieu en bas). Sous passe-partout, vitre et cadre de bois doré (non désencadrée). Premier sujet d'une suite de 5 "pièces de cuisine", avec des sujets bibliques dans le fond, d'après Pieter Aertsen dit "Lange Pier"; à dater c. 1603.# Hollstein 319 (état non renseigné).
Arenberg Auctions
Dec. 03, 2013
Circle of Pieter Aertsen (Amsterdam 1507/8-1575)
Est: £2,000 - £4,000
Circle of Pieter Aertsen (Amsterdam 1507/8-1575) The Adoration of the Magi (recto); and The Circumcision (recto); and The Annunciation (verso, across both panels) oil on panel, unframed 15½ x 8½ in. (39.4 x 21.6 cm.) two in the lot
Christie's
Dec. 03, 2013
Circle of Pieter Aertsen (Amsterdam 1508-1575)
Est: £1,500 - £2,000
Circle of Pieter Aertsen (Amsterdam 1508-1575) An Apostle, a fragment from a Pentecost oil on panel 17½ x 8½ in. (44.5 x 21.6 cm.)
Christie's
Oct. 15, 2013
ESCUELA FLAMENCA SIGLO XVI
Est: -
Círculo de Pieter Aertsen (Ámsterdam, 1508-1575). "Paisaje con San Juan Bautista predicando", óleo sobre tabla, 27x37 cm.
Sala de Ventas
Jul. 05, 2013
Circle of Pieter Aertsen (Amsterdam 1507/8-1575)
Est: -
Circle of Pieter Aertsen (Amsterdam 1507/8-1575) The Adoration of the Magi (recto); and The Circumcision (recto); and The Annunciation (verso, across both panels) oil on panel, unframed 15½ x 8½ in. (39.4 x 21.6 cm.) two in the lot (2)
Christie's
Jul. 05, 2013
Circle of Pieter Aertsen (Amsterdam 1508-1575)
Est: -
Circle of Pieter Aertsen (Amsterdam 1508-1575) An Apostle, a fragment from a Pentecost oil on panel 17½ x 8½ in. (44.5 x 21.6 cm.)
Christie's
Jun. 16, 2013
ATTRIBUTED TO PIETER AERTSEN, (Dutch, 1507-1575), KING'S KITCHEN, oil on cradled panel;, 20 x 26 inches, framed: 26 x 32 inches
Est: $3,000 - $6,000
ATTRIBUTED TO PIETER AERTSEN (Dutch, 1507-1575) KING'S KITCHEN oil on cradled panel; 20 x 26 inches, framed: 26 x 32 inches
Grogan & Company
May. 27, 2013
Follower of Pieter Aertsen (Amsterdam 1508 - 1575)
Est: €800 - €1,200
The Holy family - Oil on panel, 35.3 x 33.8 cm - N.B.: We are grateful to Mr. Fred Meijer of the RKD in The Hague for his assistance in cataloguing this lot.
AAG Auctioneers
Jan. 29, 2013
PIETER AERTSEN (Amsterdam 1508-1575 Amsterdam) St. John the Evangelist.
Est: $600 - $900
PIETER AERTSEN (Amsterdam 1508-1575 Amsterdam) St. John the Evangelist. Pen and black ink and grey wash on cream laid paper. 220x90 mm; 9x3 1/4 inches.
Swann Auction Galleries
Dec. 04, 2012
Circle of Pieter Aertsen (Amsterdam 1508-1575)
Est: £2,000 - £3,000
Circle of Pieter Aertsen (Amsterdam 1508-1575) The Lamentation oil on panel, tondo 7 5/8 in. (19.3 cm.) diam.
Christie's
Jul. 06, 2012
Circle of Pieter Aertsen (Amsterdam 1508-1575)
Est: £4,000 - £6,000
Circle of Pieter Aertsen (Amsterdam 1508-1575) The Lamentation oil on panel, tondo 7 5/8 in. (19.3 cm.) diam.
Christie's
Mar. 29, 2012
PIETER AERTSEN (AMSTERDAM 1507-1575)
Est: €3,000 - €4,000
PIETER AERTSEN (AMSTERDAM 1507-1575) L'arrivée du Christ à Jérusalem; La Cène; et Le Couronnement de la Vierge plume et encre noire, lavis brun 90 mm. diam., circulaire (3)
Christie's
Dec. 13, 2011
Circle of Pieter Aertsen (Amsterdam 1508-1575)
Est: €1,000 - €1,500
Circle of Pieter Aertsen (Amsterdam 1508-1575) The Adoration of the Shepherds: a fragment oil on panel 60.7 x 44.9 cm.
Christie's
Dec. 07, 2011
Pieter Aertsen (Amsterdam 1507/8-1575)
Est: £60,000 - £80,000
Pieter Aertsen (Amsterdam 1507/8-1575) Christ cleansing the Temple inscribed 'IOAN·Z·' (centre left, on the pillar) oil on panel 11 5/8 x 13 3/8 in. (29.4 x 33.8 cm.)
Christie's
Sep. 23, 2009
Circle of Pieter Aertsen (Amsterdam 1507/8-1575)
Est: -
Circle of Pieter Aertsen (Amsterdam 1507/8-1575) The Resurrection of Christ oil on panel, shaped top 108.4 x 69 cm.
Christie's
Sep. 22, 2009
Circle of Pieter Aertsen (Amsterdam 1507/8-1575)
Est: €1,500 - €2,000
Circle of Pieter Aertsen (Amsterdam 1507/8-1575) The Resurrection of Christ oil on panel, shaped top 108.4 x 69 cm.
Christie's
Jul. 08, 2009
- Attributed to Pieter Aertsen , Amsterdam 1507/8 - 1575 head of a young woman, looking down Black, white and red chalk, on faded blue paper
Est: £14,000 - £18,000
Black, white and red chalk, on faded blue paper
Sotheby's
Jun. 30, 2009
Circle of Pieter Aertsen (Amsterdam 1507/8-1575)
Est: €4,000 - €6,000
Circle of Pieter Aertsen (Amsterdam 1507/8-1575) The Resurrection of Christ oil on panel, shaped top 108.4 x 69 cm.
Christie's
Nov. 27, 2008
PIETER AERTSEN Holland 1507-1575, hans ateljé
Est: kr6,300 - kr8,400
PIETER AERTSEN Holland 1507-1575, hans ateljé Interiör med handarbetande man och kvinna Daterad 1580. Olja på på parketterad ekpannå, 111 x 80 cm. Studio of. Dated. Oil on oakpanel. EXPERTIS: Cabinet Turquin, Stéphane Pinta, Paris
Stockholms Auktionsverket
Sep. 15, 2008
*AFTER PIETER AERTSEN
Est: CHF80,000 - CHF120,000
AFTER PIETER AERTSEN (1508 Amsterdam 1575), 16th century. Jolly gathering by the fireplace. Oil on canvas. Monogrammed and dated lower left: 1556 / P A / 14 April. 118.8 x 162.2 cm. Provenance: Auction of the collection of K.W. Nikolajewski, Berlin, 5 Feb 1929, Lot 105. Literature : Filedt Kok, P.: Kunst voor de Beeldenstorm, Austellungskatalog, Rijksmuseum Amsterdam, 1986, p. 344, No.226. NACH PIETER AERTSEN (1508 Amsterdam 1575), 16. Jahrhundert Fröhliche Gesellschaft beim Kamin. Öl auf Leinwand. Unten links monogrammiert und datiert: 1556 / P A / 14 April. 118,8 x 162,2 cm.
Koller Auctions
Jul. 09, 2008
The Last Judgment
Est: £60,000 - £80,000
Pieter Aertsen (Amsterdam 1507/8-1575) The Last Judgment oil on panel 58½ x 50 in. (148.6 x 127 cm.)
Christie's
Jul. 04, 2007
Pieter Aertsen Amsterdam 1507/8 - 1575 , the crucifixion pen and black ink and brown wash, heightened with white, within a drawn frame with a shaped top
Est: £30,000 - £40,000
pen and black ink and brown wash, heightened with white, within a drawn frame with a shaped top
Sotheby's
Oct. 17, 2006
Pieter Aertsen (Amsterdam 1507/8-1575)
Est: $10,000 - $15,000
The expulsion of Hagar and Ishmael oil on panel 19 3/4 x 17 in. (50.2 x 43.2 cm.)
Christie's
Apr. 22, 2004
STUDIO OF PIETER AERTSEN AMSTERDAM 1507/8 - 1575
Est: £15,000 - £20,000
oil on panel INTERIOR WITH A MAN AND A WOMAN COOKING A CHICKEN BEFORE A FIRE, OTHER FIGURES EATING AND DRINKING BEYOND
Sotheby's
Jul. 10, 2002
Marten de Vos (Antwerp 1532-1603)
Est: $93,600 - $124,800
The Gathering of Manna signed and dated 'M: DE.VOS :F.1602 :' (lower right) oil on panel 211/4 x 29 in. (54 x 73.7 cm.) PROVENANCE Anon. Sale, Christie's, London, 27 May 1931, one of a pair (see below). Dr. E.F. Schapiro, London. LITERATURE H. Gerson and E.H. ter Kuile, Art and Architecture in Belgium, 1600-1800, London, 1960, p. 62. L. van Puyvelde, La Peinture flamande au siŠcle de Bosch et Breughel, Paris, 1962, p. 382. A. Zweite, Marten de Vos als Maler, Berlin, 1980, p. 320, no. 107, fig. 136. EXHIBITION London, Royal Academy of Arts, Flemish Exhibition, 1953-4, no. 262. Manchester, City Art Gallery, Exhibition of European Art (1520-1600), 9 March-6 April 1965, no. 241. NOTES Together with the brothers Ambrosius I and Frans Francken I, de Vos ranks among the most important painters of altarpieces in Antwerp during the late-sixteenth century. In 1558, he was enrolled as a master in the Guild of Saint Luke in Antwerp, where he spent most of his life, but for possibly travelling to Italy in the 1550s or 1560s. His work is highly eclectic - he borrowed motifs and figures from Michelangelo, Veronese, and Tintoretto, as well as his Flemish contemporaries Pieter Aertsen and Frans Floris. He was also a prolific draughtsman and hundreds of prints were made after his drawings. His Moses showing the Israelites the Tablets of the Law of 1575 (Mauritshuis, The Hague, on loan to the Catherijnenconvent, Utrecht), which includes a self-portrait, is considered one of his masterpieces. The date of 1602 makes the present picture one of the artist's last works. It was originally one of a pair with an Abraham and Melchisedek, and was sold with that work in the 1931 Christie's sale. Both subjects relate to the Last Supper: Melchisedek brought bread and wine to Abraham, an action regarded as prefiguring that of Christ; the connection with the present work derives from Christ's parable of the Bread of Life, as recounted in the Gospel of Saint John, VI: 24-58. Both paintings belong to a group of cabinet pictures painted by de Vos towards the end of his life, and including the Apollo and the Muses in the Mus‚es Royaux des Beaux-Arts, Brussels.
Christie's