Adriaen BROUWER (1605/06-1638) Schule / Nachfolge, Pfeife Raucher in Gesellschaft, rücks. Etikett, Öl/Holz, 26 x 19 cm. Adriaen BROUWER (1605/06-1638) School / Succession, pipe smoker in company, label on the reverse. Label, oil/wood, 26 x 19 cm.
Adriaen BROUWER (1605/06-1638) Umkreis oder Nachfolge, Dunkles Scheuneninterieur mit kartenspielenden Bauern, Öl/Holz, rücks. Etikett, Altersspuren, 9,5 x 12 cm. Adriaen BROUWER (1605/06-1638) circle or follower, Dark barn interior with peasants playing cards, oil/wood, label on the reverse. Label, traces of age, 9.5 x 12 cm.
BROUWER, Adriaen, SUCCESSION/in the style (A. B.: 1605/06-1638), "Two men", standing together as half portrait , one turned in profile, the other en face, oil/wood (curved panel), HxW: approx. 20x14.5cm (27.5x21.5cm with frame). Signs of age and wear, part. blotchy. With frame.
VON BARTSCH Adam (1757 Wien, Österreich - 1821 ebd.) ''Sitzender Bauer'' in der Linken einen Krug haltend, Radierung nach einem Gemälde von Adriaen Brouwer (1605 - 1638), links unten benannt, rechts unten in der Platte signiert und 1789 datiert, unten mittig bez. ''Ex. Coll. Princ. Car. de Ligne.'', 23,5x16cm, PP, leicht stockfleckig *Von Bartsch war ein österreichischer Künstler und Kunstschriftsteller sowie Begründer der Grafikwissenschaft. Ab 1777 Skriptor in der kaiserlichen Hofbibliothek zu Wien. Studierte unter Jacob Schmuzer an der Wiener Kupferstecher-Akademie. 1791 Ernennung zum ersten Kustos der Kupferstichsammlung der Hofbibliothek. War als Ratgeber und Agent namhafter Sammler tätig. Als Grafiker pflegte er einen freien, diverse Techniken der Radierung und des Kupferstichs miteinander kombinierenden Stil, in dem er excellente Wiedergaben von Handzeichnungen Alter Meister schuf.*
Painter of the 19th/20th century, painting: "Tavern scene", oil on wood. Tavern scene with smoking and drinking men and a woman as a back figure, worked after models of Adriaen Brouwer (1605/06-1638). Wooden panel 24 x 17.2 cm (older retouching, varnish renewed and partially clouded). MALER DES 19./20. JH., Gemälde: "Wirtshausszene", Öl auf Holz. Wirtshausszene mit rauchenden und trinkenden Männern und einer Frau als Rückenfigur, gearbeitet nach Vorbildern des Adriaen Brouwer (1605/06-1638). Holzplatte 24 x 17,2 cm (ältere Retuschen, Firnis erneuert und partiell getrübt).
ATTRIBUTED TO JOOS VAN CRAESBEEK (NEERLINTER 1605/6-1660/1 BRUSSELS) ATTRIBUTED TO JOOS VAN CRAESBEEK (NEERLINTER 1605/6-1660/1 BRUSSELS) Man Holding an Earthenware Jug (Allegory of Gluttony) oil on panel 21.9 x 17.5 cm (8 5/8 x 6 7/8 in) unframed After a lost original by Adriaen Brouwer (1605/6-1638).
Follower of Adriaen Brouwer (c1605-1638) - Oil on Panel. Tavern scene. 48x44cm. Breakage to lower left corner, some damages to the edges. Adriaen Brouwer (Oudenaarde, c. 1605 – Antwerp, January 1638) was a Flemish painter active in Flanders and the Dutch Republic in the first half of the 17th century. Brouwer was an important innovator of genre painting through his vivid depictions of peasants, soldiers and other 'lower class' individuals engaged in drinking, smoking, card or dice playing, fighting, music making etc. in taverns or rural settings. Brouwer contributed to the development of the genre of tronies, i.e. head or facial studies, which investigate varieties of expression. In his final year he produced a few landscapes of a tragic intensity. Brouwer's work had an important influence on the next generation of Flemish and Dutch genre painters.
BROUWER, Adriaen (1608 - 1640), art sheet "The revelers", c.1850, lithograph Description: "The reveler". Lithograph after a work by Adrien Brauver {1608 -1640). He was a painter of the Dutch School. Lithograph by Chabert. From the series: paintings of the Flemish, Dutch and German schools (ECOLE FLAMANDE, HOLLANDAISE ET ALLEMANDE). Inscribed: Adrien Brauver. lmp. lith. de Chabert, rue Cassette, Nf. 20. franquinet f\. Keywords: Romanticism, Lithography, Landscape, Netherlands
Attributed to ADRIAEN BROUWER (Oudenaarde c. 1605–1638 Antwerp) Angry farmer - allegory of anger. Oil on panel. 23.3 × 19 cm. Provenance: - Collection of Friedrich Jakob Gsell, Vienna, 1863. - Collection of Dr. Max Joseph Schüler, Graz. - Wawra auctions, Vienna, Collection of Dr Max Joseph Schüler, Graz, 2.–3.2.1909, Lot 58. - Capouillet, Brussels, 1910. - Collection of Duschnitz (wax seal verso), date unclear, possibly before Goudstikker. - Collection of Goudstikker, Amsterdam, 1919 (wax seal verso), affirmed until 1924. - Collection of J. C. H. Heldring, Oosterbeek, 1938–1962. - Sotheby's, London, 27.3.1963, Lot 30. - Collection of A. S. Paris, 1965. - Art trade, Alfred Brod, London/Düsseldorf, circa 1966–1970. - Swiss private collection, circa 1966–2006. - Swiss private collection since 2007. Exhibited: - Amsterdam 1919/20, untitled, Gesellschaft für Bildende Kunst Amsterdam, 14.12.1919–04.1.1920, no. 7. - Rotterdam 1938, Meesterwerken uit vier eeuwen 1400–1800 : tentoonstelling van schilderijen en teekeningen uit particuliere verzamelingen in Nederland bijeengebracht gedurende de veertigjarige regeering van H.M. Koningin Wilhelmina, Museum Boymans Rotterdam, 25.6.1938–15.10.1938, no. 169. - Arnhem 1953, Zeventiende-eeuwse meesters uit Gelders bezit, Gemeentemuseum Arnhem, 20.6.1953–31.8.1953, no. 8. - Rotterdam 1955, Kunstschatten uit Nederlandse verzamelingen, Museum Boymans, 19.6.1955–25.9.1955, no. 147. - Arnhem 1958, Collectie J.C.H. Heldring te Oosterbeek, Gemeentemuseum Arnhem, 6.4.1958–1.6.1958, no. 9. - Utrecht 1960, Collectie J.C.H. Heldring te Oosterbeek, Centraal Museum Utrecht, 25.5.1960–24.7.1960, no. 9. - Brussels 1965, De eeuw van Rubens, Koninklijke Musea voor Schone Kunsten van België Brüssel, 15.10.1965–12.12.1965, no. 30. Literature: - Cornelis Hofstede de Groot: Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des 17. Jahrhunderts, Esslingen / Paris 1910, vol. III, p. 282–283, cat no. 212 (as Adriaen Brouwer). - Catalogue de la collection Goudstikker, Amsterdam 1919, cat no. 7 (as Adriaen Brouwer). - Wilhelm Bode: Adriaen Brouwer: sein Leben und seine Werke, Berlin 1924, p. 118, ill. 80 (as Adriaen Brouwer). - Dirk Hannema: Catalogue raisonné of the pictures in the collection of J. C. H. Heldring, Rotterdam 1955, cat no. 8, ill. 16 (as Adriaen Brouwer). - G. Knuttel: Adriaen Brouwer: The master and his work, Den Haag 1962, pp. 150–151, cat no. 102 (as Brouwer?). - Jean Buyck: Aantekeningen bij een zogenaamd 'Zelfportret' van Adriaen Brouwer in het Mauritshuis, in: Nederlands Kunsthistorisch Jaarboek 15, 1964, pp. 221–228 (as Adriaen Brouwer (?)). - Horst Gerson: Das Jahrhundert von Rubens, in: Kunstchronik 19, 1966, S. 58–64 (as copy after Brouwer). - Karolien De Clippel: Brouwer, Portrait Painter: New Identifications and an Iconographical Novelty, in: Simiolus 30, 2003, pp. 204–210, ill. 10 (as copy after Brouwer). - Karolien De Clippel: Joos van Craesbeeck (1605/06–ca. 1660). Een Brabants Genreschilder, Turnhout 2006, pp. 286–288, cat no. C3.3, ill. 122 (as copy after Brouwer). Judging by the very high quality execution particularly of the face, this painting may be an original by Adriaen Brouwer which had been lost. Our thanks to Dr Katrien Lichtert of the Museum van Oudenaarde en de Vlaamse Ardennen in Oudenaarde and Ellis Dullaart of RKD, The Hague, for their help in cataloguing this painting. --------------- ADRIAEN BROUWER (ZUGESCHRIEBEN) (Oudenaarde um 1605–1638 Antwerpen) Wütender Bauer – Allegorie des Zorns. Öl auf Holz. 23,3 × 19 cm. Provenienz: - Sammlung Friedrich Jakob Gsell, Wien, 1863. - Sammlung Dr. Max Joseph Schüler, Graz. - Auktion Wawra, Wien, Sammlung Dr. Max Joseph Schüler, Graz, 2.–3.2.1909, Los 58. - Capouillet, Brüssel, 1910. - Sammlung Duschnitz (verso mit Wachssiegel), Datum unklar, möglicherweise vor Goudstikker. - Sammlung Goudstikker, Amsterdam, 1919 (verso mit Wachssiegel), gesichert bis 1924. - Sammlung J. C. H. Heldring, Oosterbeek, 1938–1962. - Auktion Sotheby's, London, 27.3.1963, Los 30. - Sammlung A. S. Paris, 1965. - Kunsthandel Alfred Brod, London/Düsseldorf, um 1966–1970. - Schweizer Privatsammlung, um 1966–2006. - Schweizer Privatbesitz, seit 2007. Ausstellungen: - Amsterdam 1919/20, o. T., Gesellschaft für Bildende Kunst Amsterdam, 14.12.1919–04.1.1920, Nr. 7. - Rotterdam 1938, Meesterwerken uit vier eeuwen 1400–1800 : tentoonstelling van schilderijen en teekeningen uit particuliere verzamelingen in Nederland bijeengebracht gedurende de veertigjarige regeering van H.M. Koningin Wilhelmina, Museum Boymans Rotterdam, 25.6.1938–15.10.1938, Nr. 169. - Arnhem 1953, Zeventiende-eeuwse meesters uit Gelders bezit, Gemeentemuseum Arnhem, 20.6.1953–31.8.1953, Nr. 8. - Rotterdam 1955, Kunstschatten uit Nederlandse verzamelingen, Museum Boymans, 19.6.1955–25.9.1955, Nr. 147. - Arnhem 1958, Collectie J.C.H. Heldring te Oosterbeek, Gemeentemuseum Arnhem, 6.4.1958–1.6.1958, Nr. 9. - Utrecht 1960, Collectie J.C.H. Heldring te Oosterbeek, Centraal Museum Utrecht, 25.5.1960–24.7.1960, Nr. 9. - Brussels 1965, De eeuw van Rubens, Koninklijke Musea voor Schone Kunsten van België Brüssel, 15.10.1965–12.12.1965, Nr. 30. Literatur: - Cornelis Hofstede de Groot: Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des 17. Jahrhunderts, Esslingen / Paris 1910, Bd. III, S. 282–283, Kat.-Nr. 212 (als Adriaen Brouwer). - Catalogue de la collection Goudstikker, Amsterdam 1919, Kat.-Nr. 7 (als Adriaen Brouwer). - Wilhelm Bode: Adriaen Brouwer: sein Leben und seine Werke, Berlin 1924, S. 118, Abb. 80 (als Adriaen Brouwer). - Dirk Hannema: Catalogue raisonné of the pictures in the collection of J. C. H. Heldring, Rotterdam 1955, Kat.-Nr. 8, Abb. 16 (als Adriaen Brouwer). - G. Knuttel: Adriaen Brouwer: The master and his work, Den Haag 1962, S. 150–151, Kat.-Nr. 102 (als Brouwer?). - Jean Buyck: Aantekeningen bij een zogenaamd 'Zelfportret' van Adriaen Brouwer in het Mauritshuis, in: Nederlands Kunsthistorisch Jaarboek 15, 1964, S. 221–228 (als Adriaen Brouwer (?)). - Horst Gerson: Das Jahrhundert von Rubens, in: Kunstchronik 19, 1966, S. 58–64 (als Kopie nach Brouwer). - Karolien De Clippel: Brouwer, Portrait Painter: New Identifications and an Iconographical Novelty, in: Simiolus 30, 2003, S. 204–210, Abb. 10 (als Kopie nach Brouwer). - Karolien De Clippel: Joos van Craesbeeck (1605/06–ca. 1660). Een Brabants Genreschilder, Turnhout 2006, S. 286–288, Kat.-Nr. C3.3, Abb. 122 (als Kopie nach Brouwer). Dieses Bildnis eines wütenden Bauerns (Allegorie des Zorns) weist eine beeindruckende Provenienz auf und wurde insbesondere in der ersten Hälfte des 20. Jahrhunderts in einer Reihe von öffentlichen Ausstellungen als ein Werk von Adriaen Brouwer präsentiert. Die Komposition war ursprünglich Teil einer Darstellungsreihe der Todessünden von Adrian Brouwer, wovon mehrere qualitativ unterschiedliche Varianten aus dem Umkreis des Künstlers bekannt sind, unter anderem von Joos van Craesbeeck (um 1605–1660). Karolien De Clippel (siehe Literatur) bezeichnet unsere Version dabei als die überzeugendste der bisher bekannten Exemplare und hebt die physiognomische Ähnlichkeit mit dem Mann in Brouwers "Der Bitteren Trank" im Städelmuseum in Frankfurt am Main, hervor (Inv.-Nr. 1076, siehe De Clippel 2006, Abb. 145, S. 550). Aufgrund der insbesondere im Gesicht der Figur höchst qualitätsvollen Ausführung könnte es sich bei unserem Gemälde möglicherweise um das verschollene Original von Adriaen Brouwer handeln. Wir danken Dr. Katrien Lichtert vom Museum van Oudenaarde en de Vlaamse Ardennen in Oudenaarde und Ellis Dullaart vom RKD, Den Haag, für ihre Hilfe bei der Katalogisierung dieses Gemäldes.
DIE PFEIFENRAUCHER Öl auf Holz. Parkettiert. 36 x 26 cm. In barockem blütenverzierten Rahmen. Im Inneren eines Hauses sitzend drei Bauern vor einem großen Kamin und ein weiterer Stehender, der sich gerade, ebenso wie einer der Sitzenden, sein Pfeifchen stopft. Genüsslich hält einer mit seiner linken Hand das bereits qualmende Pfeifchen nach oben und wendet seinen Blick zurück auf die anderen. Im Hintergrund schaut durch eine geöffnete Holztür eine Frau auf die Sitzenden herab. Auf der linken Bildseite, räumlich durch einen Holzbalken getrennt, sieht man an der Wand einen kleinen niedrigen Schrank, darauf eine golden glänzende Schale, einen glänzenden Krug und einen Hut, auf einem grünen Laken liegend. Darüber an der Wand hängend ein Brett mit zwei weiteren Gegenständen. Auf dem Boden des Vordergrunds steht links ein kleiner Schemel, darauf ein weißes Tuch und ein glänzender Tonkrug mit Zinndeckel. Malerei, bei der die grünen und beige-braunen Töne vorherrschen. Auffallend ist besonders ein kleines weißes Blatt Papier mit einem Portrait, das am Kamin befestitgt ist. Rest., Retuschen. Rahmen minimal besch. (1241484) (18)
Follower of Adriaen Brouwer (c1605-1638) - Oil on Panel. Tavern scene. 48x44cm. Breakage to lower left corner, some damages to the edges. Adriaen Brouwer (Oudenaarde, c. 1605 Antwerp, January 1638) was a Flemish painter active in Flanders and the Dutch Republic in the first half of the 17th century. Brouwer was an important innovator of genre painting through his vivid depictions of peasants, soldiers and other 'lower class' individuals engaged in drinking, smoking, card or dice playing, fighting, music making etc. in taverns or rural settings. Brouwer contributed to the development of the genre of tronies, i.e. head or facial studies, which investigate varieties of expression. In his final year he produced a few landscapes of a tragic intensity. Brouwer's work had an important influence on the next generation of Flemish and Dutch genre painters.
Drei zechende Bauern im Wirtshaus. - Feder in Braun, grau laviert, verso: Skizze einer mit Zwiebeln, Artischocken und weiterem Gemüse beladenen Schubkarre. 16,7 x 13,1 cm. -- -- Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Brouwer, Adriaen - copy after — The village surgeon (The feeling) Oil on canvas on panel. 23 x 18,7 cm. - The similarly large original, made around 1635, can be found in the Alte Pinakothek in Munich, another version in the Salzburg Residenzgalerie.
After Adriaen Brouwer (Flemish, 1605–1638) "Food for the Body (1747)," engraving, unsigned, 20th century reprint, overall (with frame): 16.5"h x 13.5"w
Adriaen Brouwer Title; ”The Card Players“ Media; oil on panel Size; 12 1/2 ” x 15 7/8”; 31.8 cm x 40.3 cm (Provenance; Edwin Thanhouser NY- New York public Library. Sale: Parke- Bernet Galleries/Sotheby’s New York Oct 17,1956, Lot 21 Authenticated by Dr. GD. Gratama,curator of Frans Hals Museum in Haarlem. Authenticated by Professor W. Vogelsang;and Profesor Wilhelm Suida Boston,April 11,1946)
Adriaen Brouwer (Flemish 1605-1638) oil on canvas with humorous 17th century man smoking an upside down pipe, this type of work is typical of Brouwer, this appears to be very old based upon the stretcher bars and other details, it is unsigned but appears to be the work of Brouwer, generally good condition, may have inpainting or other conditions commensurate with age but not apparent to us, 28" x 24", 38" x 33.5" with frame
Attributed to Adriaen Brouwer The Card Players Oil on panel 12 1/2 x 15 7/8 inches (31.8 x 40.3 cm) Provenance: Collection of Stanley N. Barbee, Beverly Hills, CA Collection of Willy Nordwind, Chicago, IL Collection of Edwin Thanhouser, New York Sale: Parke-Bernet Galleries, New York, October 17, 1956, lot 21 Collection of Sidney Berger, New York At the time of its sale in 1956, this panel had been accepted as an authentic work by Adriaen Brouwer by various scholars of Dutch art, including Dr. G. D. Gratama (Haarlem, July 5, 1935); Professor W. Vogelsang; and Professor Wilhelm Suida (Boston, April 11, 1946). C Property of a New York Collector
Follower of Adriaen Brouwer (c1605-1638) - Oil on Panel. Tavern scene. 48x44cm. Breakage to lower left corner, some damages to the edges. Adriaen Brouwer (Oudenaarde, c. 1605 Antwerp, January 1638) was a Flemish painter active in Flanders and the Dutch Republic in the first half of the 17th century. Brouwer was an important innovator of genre painting through his vivid depictions of peasants, soldiers and other 'lower class' individuals engaged in drinking, smoking, card or dice playing, fighting, music making etc. in taverns or rural settings. Brouwer contributed to the development of the genre of tronies, i.e. head or facial studies, which investigate varieties of expression. In his final year he produced a few landscapes of a tragic intensity. Brouwer's work had an important influence on the next generation of Flemish and Dutch genre painters.
Adriaen Brouwer (1605/06-1638) nach, Kopie des 18./19 Jh., ''Eine chirurgische Operation'', nach die Original im Frankfurter Städel, Öl auf Holz, 23 x 17,5 cm, ger. 34,5 x 29 cm
Oil on panel Belgium/Netherlands, 17th century Adriaen Brouwer (1605/06-1638) - Flemish genre and landscape painter Dimensions: c. 18 x 14 cm Provenance: Private collection, Southern Germany Good condition Adriaen Brouwer's oeuvre includes a significant amount of portrait-like character studies; paintings attributed to Adriaen Brouwer fetch up to €69,000 at international auctions The present painting dates to the early 17th century and is attributed to Adriaen Brouwer. The Flemish painter is largely known as a master of peasant genre scenes und typically preferred small-sized panels. The present portrait shows a countryman dressed with simple clothes and presented in three-quarter profile. The colors correspond to Brouwer's earthy palette and also feature a few lighter scents highlighting the sitter's cheek. The artist's works were collected by Rembrandt and Rubens and had, for instance, a great impact on Flemish and Dutch genre painters, such as David Teniers the Younger. The painting is in good overall condition considering the age. Inspection under UV light reveals areas of retouching to the background and the sitter. The panel measures c. 18 x 14 cm and the framed overall dimensions are 23 x 19 cm. Adriaen Brouwer (1605/06-1638) Adriaen Brouwer was probably born in the Flemish Oudenaerde around 1605/06. As a young man he went to Holland, where he attended the studio of Frans Hals. In 1630 he moved to Antwerp, where he was accepted in the St. Luke's Guild in 1931. He mainly focused on depictions of common people, captured in subtle genre scenes and tronies. Examples of his artistic output are included in the Wallace Collection in London, the Museo Thyssen-Bornemisza in Madrid, the Royal Museum in Antwerp, the Pinakothek in Munich, the Metropolitan Museum in NY and the Hermitage in St. Petersburg. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
carved in low relief with three seated figures around a table, two smoking a pipe and drinking from a jug, mounted in a later polished metal mount, 6cm high x 8.5cm wide
late 17th/early 18th century the lobed baluster vase with an acathus leaf foot with finely engraved tulips, lilies, roses, carnations and daisies, on a black slate rectangular plaque in a tortoiseshell veneered frame Plaque only: 26cm. high; 19.5cm. wide; 10Din., 7Nin. Comparative Literature: Oud Holland, 1997, 111, no.2, published by the Netherlands Institute for Art History, plate 15. Reiner Baarsen, Nederlandse Meublen 1600-1800, Dutch Furniture 1600-1800, Rijksmuseum, Amsterdam, 1993, page 37, where a table top inlaid by Dirck van Rijswijck in engraved mother-of-pearl is illustrated. Simon Jervis, 'Ebony at the Argory', Apollo, April 1998, pages 42-44. This technique of depicting still lifes in engraved mother-of-pearl, on a slate ground, would seem to have been employed widely by the Dutch, following on from their own depictions of still lifes in paintings. Mother-of-pearl shells were imported into Amsterdam in large quantities and working them became a speciality of the city. Identified Dutch artists employing this technique on plaques include Jan Visscher (1633-after 1692) and Adriaen Brouwer (1605/1606-1638). However, mother-of-pearl plaques were also made by Germans, Jeremias Hercules (d. 1689), Dirck van Rijswijck (1596-1679) and Franz de Hamilton (active second half 17th century-early 18th century). De Hamilton was a German painter of still lives and animal pieces who also worked in mother-of-pearl. He was the author of a portrait of Leopold I (1640-1705), Emperor of the Holy Roman Empire, and his third wife Elenore Magdalena (1655-1720) and also executed several still lives composed of mother-of-pearl on slate. One of his inlaid flower compositions with his initials F.D.H. is part of the wall decoration in the 'Florentine Room' at Schloss Favorite near Rastatt, the summer residence of Sybilla Augusta von Sachsen-Lauenberg (1675-1733), margravine of Baden Baden, illustrated Oud Holland op. cit., plate 15. Two other mother-of-pearl and slate plaques can be attributed to de Hamilton on the basis of their close similarity to the signed one at Schloss Favorite, see op. cit. see fig.16, (one of a pair of plaques now in the Diozesanmuseum St. Afra, Augsburg).
