(Meer, 1750 - Anversa, 1814) Vaso fiorito con uva bianca, pesca e rose recise Vaso fiorito con uva nera, pesca e rose recise Olio su tela, cm 99,5X99,5 (2) Formatosi all'Accademia di Anversa e registrato nella Gilda di San Luca, Faes è noto per le sue nature morte di fiori realizzate sull'esempio di Gérard van Spaendonck, Jan Frans van Dael e Jan Frans Eliaerts. La sua produzione riscosse un notevole successo nelle Fiandre e in modo particolare a Parigi, dove i cosiddetti 'bizardes' (grandi fiori a palla con sfumature rosse o viola e lunghi steli, su fondo giallo) e le 'baguettes' (simili, ma su fondo bianco) erano di gran moda.
Attribué à Peter FAES Hoogstraten, 1750 - 1814, Amsterdam Bouquet de fleurs Toile Porte une signature en bas à droite P. Faes. f 70 x 50 cm - 27 9/16 x 19 11/16 in. Bunch of flowers, oil on canvas, signed lower right
Pieter Faes Antwerp 1750 - 1814 Pair of Floral Still Lifes with Roses, Tulips, Peonies, and Other Flowers in an Urn on Marble Ledges each signed and dated on marble ledge: P. Faes. 1789 oil on canvas, a pair each canvas: 28 ½ by 22 in.; 72.3 by 56.2 cm. each framed: 36 by 29 ¼ in.; 91.4 by 74.3 cm.
Property from the Estate of Marilyn Schiff Pieter Faes Antwerp 1750 - 1814 Still Life of Roses, Peonies, Tulips, Narcissus, and Other Flowers in a Terracotta Vase signed and dated lower right: P. Faes: 1782 oil on panel panel: 33 by 25 in.; 83.8 by 63.5 cm. framed: 39 ⅞ by 32 ⅛ in.; 75.9 by 81.6 cm.
Attributed to Pieter Faes (Flemish, 1750-1814) "Two Floral Still Lifes in Sculpted Bronze Urns Set Beside Fruit", ca. 1780 pair of oils on canvas one bears signature lower centre "p faes" the other bears signature and date lower right "p faes. 1780", both formerly attributed to Johann Baptist Halszel on brass artist plaques. Framed. 34-1/2" x 26-1/2", framed 41-3/8" x 33-1/2" Provenance: Sotheby's, London, England, May 3, 2017, lot 255.
Signed lower right: P: Faes We would like to thank Dr. Fred G. Meijer for confirming the authenticity of this work on the basis of photographs. He dates the painting to around 1780, making it an early work by the artist in which the colour palette is more subdued than that used in his later œuvre.
PIETER FAES (1750-1814) Nature morte sur un entablement Huile sur toile rentoilée, signée en bas à gauche. Provenance : Collection privée, Bruxelles. Dimensions : 85 x 65,5 cm Cette composition d'une nature morte au vase Louis XVI blanchâtre posé sur un entablement de pierre avec une courge jaune citron sur fond d'un parc arboré, se situe très tôt dans l'oeuvre de Faes, probablement vers 1780-1785 et se démarque par sa sobriété néoclassique inattendue chez lui. Peintre de natures mortes et de fleurs né à Meer, il étudie à l'Académie d'Anvers. Cofondateur en 1788 du Groupe "Konstmaatschappij" en abrégé (Société des Arts) en compagnie de Hendrik de Cort, Balthasar Ommeganck ou encore Jan Jozef Horemans. Le travail de Faes est bien accueilli et la régente des Pays-Bas autrichiens ramène nombre de ses tableaux à la Cour de Vienne. Son oeuvre suit la manière le style décoratif de Van Huysum avec une touche fine et une palette harmonieuse. Ses peintures de fleurs serviront de modèle notamment au peintre anversois Jean-Baptiste Berré.
Peter FAES Meer, 1750 - Anvers, 1814 Bouquet de fleurs sur un entablement Huile sur panneau, trace de signature en bas à droite, un cachet de cire rouge au verso h: 42,50 w: 60,50 cm Estimation 5 000 - 7 000 €
Attribué à Peter FAES Meer, 1750 - Anvers, 1814 Bouquet de fleurs à la grappe de raisins Huile sur toile Dans un cadre en chêne sculpté et anciennement doré, dit cadre à pastel, travail français de la fin de l'époque Louis XV, estampillé INFROIT et JME A bunch of flowers and grapes, oil on canvas, attr. to P. Faes h: 66,50 w: 50 cm Provenance : Vente anonyme ; Paris, Hôtel Drouot, 10 juillet 1984 ; Fondation Napoléon Expositions : 'Joséphine ou la passion des fleurs et des étoffes', Paris, manufacture Prelle, 15 juin - 31 décembre 2008 'Bleu', Rueil-Malmaison, musée d'histoire locale, 19 mai - 15 décembre 2018 Estimation 2 000 - 3 000 €
Peter FAES Meer, 1750 - Anvers, 1814 Bouquet de fleurs et nid sur un entablement Huile sur panneau parqueté Signé 'P Faes' en bas à droite Vase of flowers and bird's nest on an entablature, oil on panel, signed, by P. Faes h: 60,50 w: 43 cm Provenance : Collection Robert Maury, avant 1971 Estimation 7 000 - 10 000 €
PIETER FAES (ANVERS 1750-1814) Roses, pivoines, iris et diverses fleurs dans un vase avec un nid d'oiseau et une coccinelle sur un entablement signé 'P. Faes' (en bas à droite sur le bord de l'entablement) huile sur panneau 60 x 42.9 cm. (23 5/8 x 16 7/8 in.)
Pieter Faes (Meir 1750-1814 Antwerp) Lilacs in a bronze urn on a stone ledge with roses signed 'P.Faes' (lower right)oil on canvas35.1 x 27.9cm (13 13/16 x 11in). Provenance: Private Collection, Greece
Pieter Faes (Meir 1750-1814 Antwerp) Roses, peonies, an iris and other flowers in a vase with a bird's nest and a... oil on panel 23 5/8 x 16 7/8 in. (60 x 42.9 cm.)
PETER FAES (Flemish, 1750-1814) Floral Still Lifes (a pair), circa 1790s Oil on cradled wood panels 23-1/2 x 16-1/2 inches (59.7 x 41.9 cm) each One with indistinct remnants of a black P. Faes signature on the edge of the terracotta-colored marble ledge One bearing a false JHuysum signature on the gray marble ledge at lower left PROVENANCE: Bortolaso collection, Genoa, Italy, before 1954 (as Jan van Huysum); Newhouse Galleries, New York; Mr. and Mrs. F. Howard Walsh, Fort Worth, Texas; Walsh Family Art Trust. The late eighteenth-century Flemish flower and fruit painter Peter Faes was born in the small town of Meir near Hoogstraten, north of Antwerp. He trained at the Antwerp Academy, and in 1791 was listed as a deacon in that city's Guild of St Luke. Like Jan Frans van Dael, Jan Frans Eliarts, and a few other flower painters active in Flanders and Paris who were his most talented contemporaries, Faes worked in the tradition of the Amsterdam painter Jan van Huysum, who in the 1720s revolutionized the genre by changing the deep jewel tones of his palette and discarding the dark black seventeenth-century backgrounds behind his flowers. Instead, van Huysum adopted a much blonder palette for his bouquets, chose more opulent ledges and vases of polished marble and sculpted terracotta, and placed his arrangements against bright backgrounds that often featured a sunlit parkscape ornamented with statuary. Van Huysum's invention served to update the appearance of the floral still life in keeping with a shift in aesthetic from the dark drama of the Baroque to the more lighthearted Rococo originating in Paris. Van Huysum's post 1720 bouquets coordinated much more harmoniously with Boucher's pastel paintings of frolicking nudes and Watteau's elegantly dressed lovers strolling through idyllic gardens. Faes brought this aesthetic into the nineteenth century. Until relatively recently, paintings by Peter Faes and other later eighteenth-century flower painters have received little art historical attention. Consequently, their oeuvres have yet to be fully understood and identified. In October 1988, still life specialist Fred G. Meijer of the Netherlands Institute for Art History in The Hague (RKD), saw photographs of the present companion pictures and recognized them as the work of Peter Faes rather than Jan van Huysum (to whom they were previously attributed). In contrast to painters such as Jan van Huysum, or Parisian-based Gerard van Spaendonck who worked in the slick manner of a miniaturist, Faes's brushwork is broader. Although in his early work (circa 1780) he placed landscape and architectural views behind his arrangements, Faes seems to have preferred solid backgrounds containing one brightly illuminated area behind the arrangement in work from the 1790s. Additionally, he tended to build up his forms with many overlapping strokes of different but related hues in a manner similar to the way a watercolorist works. His bouquets are generally arranged in tall footed vases, such as those in the present pair, which have a golden cast. His compositions vary quite a bit over the seventeen-year period for which we have dated work (1779 until 1796). However, in the later 1780s and into the 1790s, Faes preferred arrangements that spread upward in a rather straight line from a cluster of densely packed flowers near the lip of the vase. For these straight vertical stems, Faes usually chose double hyacinths, the most popular flowers of the eighteenth century, which the Dutch fanatically hybridized to produce a wide variety of colors and types. Around 1790, Faes tended to use the double cobalt blue and pink varieties, which appear both in the present pair and in a compositionally similar bouquet in the Fitzwilliam Museum, Cambridge, dated 1790. Also during this period, Faes usually placed a large variegated tulip near the apex of his bouquets on an arching stem, a gesture that introduced an S-curve into the design. This line usually flowed down along one side of the vase and terminated in a cluster of heavy blossoms (usually lipstick red double peonies and cabbage roses) that rested on the tabletop. A stalk of native grass and a bird's nest with eggs are often seen in flowerpieces by Faes as well. To heighten the illusionism he worked so diligently to achieve, Faes preferred working on smooth wooden panels rather than canvas supports. Peter Faes's best-known patron was the Hapsburg Archduchess Maria Christina, the favorite daughter of Empress Maria Theresia, and sister to the French queen Marie-Antoinette and the Austrian emperor Joseph II. She and her husband Albert von Sachsen-Teschen served as royal governors (stadhouders) of the Austrian Netherlands from 1781 to 1793. In Laeken, a suburb of Brussels, they built from 1782 onwards a stunning royal chateau they dubbed "Schoonenberg" (Dutch for "beautiful mountain"). Surrounding it was the first English landscape garden on the Continent, designed as a natural-looking landscape by the famous English landscape architect Lancelot "Capability" Brown. The grounds featured a river with an artificial cascade (powered by a steam-engine), a "cave of Vulcanus," an artificial rock topped with the ruin of medieval castle, a temple, a pavilion, a rustic hamlet with a menagerie, a hermitage, an orangerie, a conservatory, and a Chinese pagoda. Inside the palace, the couple amassed an outstanding collection of old master drawings and prints, one of the finest in Europe, which today forms the nucleus of the Albertina in Vienna. They also displayed a suite of paintings by Peter Faes, which they commissioned specifically for the palace between 1782 and 1784. After the French conquered the southern Netherlands in 1794 and Maria Christina returned to her native Vienna, she specifically requested that the Faes paintings be brought back with her, although they are no longer in the Vienna collections. The work of Peter Faes is represented in many museums including the Musée Royale des Beaux-Arts, Brussels; the Fitzwilliam Museum, Cambridge; the Metropolitan Museum of Art, New York; and the Museum Taxandria, Turnhout. We are grateful to Fred G. Meijer of the RKD, The Hague, for his kind assistance in determining the date and attribution for these companion paintings.
Pieter Faes (Meir 1750-1814 Antwerp) A tulip, an iris, roses, chrysanthemums, polyanthas and other flowers in a sculpted urn, with a bird's nest on a marble ledge, and a beetle and a dragonfly with signature 'P.Faes' (lower right, on the ledge) oil on canvas 31¾ x 25 5/8 in. (80.6 x 65.1 cm.)
-Peter Faes (1750 -1814) Blumenstillleben mit einer Glasvase auf einer Marmorplatte, einem Wachteleinest und einer Schnecke, ╓l auf Holz, 54 x 41 cm, gerahmt, (Wo)
FAES, PETER (Meir bei Hoogstraeten 1750 - 1814 Antwerpen) Eine Vase und Früchte auf einer Steinbrüstung vor einer Landschaft. Öl auf Leinwand. Unten links signiert: P. Faes. 85 x 64 cm.
Pieter Faes (Meir 1750-1814 Antwerp) Roses, tulips, violets and other flowers in an urn on a stone ledge with a bird's nest signed and dated 'P. Faes 1792' (lower right) oil on panel 65.6 x 50.8 cm. with a collector's wax seal on the reverse
FAES, PETER (Meir bei Hoogstraeten 1750 - 1814 Antwerp) A vase and fruits on a stone ledge before a landscape Oil on canvas. Signed lower left: P. Faes. 85 x 64 cm. FAES, PETER (Meir bei Hoogstraeten 1750 - 1814 Antwerpen) Eine Vase und Früchte auf einer Steinbrüstung vor einer Landschaft. Öl auf Leinwand. Unten links signiert: P. Faes. 85 x 64 cm.
Roses, carnations, a tulip and other flowers in a sculpted urn with a bird's nest on a marble ledge with a beetle and a butterfly signed 'P. Faes.' (lower right, on the ledge) oil on canvas 31 3/4 x 25 3/4 in. (80.6 x 65.4 cm.)
PETER FAES (Flemish 1750 - 1814) Floral Still Lifes (a pair), circa 1790s Oil on cradled wooden panels 23-1/2 x 16-1/2 inches (each) One with indistinct remnants of a black P. Faes signature on the edge of the terracotta colored marble ledge One bearing a false JHuysum signature on the gray marble ledge at lower left PROVENANCE: Bortolaso collection, Genoa, Italy, before 1954 (as Jan van Huysum); Newhouse Galleries, New York, NY; Mr. and Mrs. F. Howard Walsh, Fort Worth, Texas; Walsh Family Art Trust The late eighteenth-century Flemish flower and fruit painter Peter Faes was born in the small town of Meir near Hoogstraten, north of Antwerp. He trained at the Antwerp Academy, and in 1791 was listed as a deacon in that city's Guild of St Luke. Like Jan Frans van Dael, Jan Frans Eliarts, and a few other flower painters active in Flanders and Paris who were his most talented contemporaries, Faes worked in the tradition of the Amsterdam painter Jan van Huysum, who in the 1720s revolutionized the genre by changing the deep jewel tones of his palette and discarding the dark black seventeenth-century backgrounds behind his flowers. Instead, van Huysum adopted a much blonder palette for his bouquets, chose more opulent ledges and vases of polished marble and sculpted terracotta, and placed his arrangements against bright backgrounds which often featured a sunlit parkscape ornamented with statuary. Van Huysum's invention served to update the appearance of the floral still life in keeping with a shift in aesthetic from the dark drama of the Baroque to the more lighthearted Rococo originating in Paris. Van Huysum's post 1720 bouquets coordinated much more harmoniously with Boucher's pastel paintings of frolicking nudes and Watteau's elegantly dressed lovers strolling through idyllic gardens. Faes brought this aesthetic into the nineteenth century. Until relatively recently, paintings by Peter Faes and other later eighteenth-century flower painters have received little art historical attention. Consequently, their oeuvres have yet to be fully understood and identified. In October 1988, still life specialist Fred G. Meijer of the Netherlands Institute for Art History in The Hague (RKD), saw photographs of the present companion pictures and recognized them as the work of Peter Faes rather than Jan van Huysum (to whom they were previously attributed). In contrast to painters such as Jan van Huysum, or Parisian-based Gerard van Spaendonck who worked in the slick manner of a miniaturist, Faes' brushwork is broader. Although in his early work (circa 1780) he placed landscape and architectural views behind his arrangements, Faes seems to have preferred solid backgrounds containing one brightly illuminated area behind the arrangement in work from the 1790s. Additionally, he tended to build up his forms with many overlapping strokes of different but related hues in a manner similar to the way a watercolorist works. His bouquets are generally arranged in tall footed vases, such as those in the present pair, which have a golden cast. His compositions vary quite a bit over the seventeen-year period for which we have dated work (1779 until 1796). However, in the later 1780s and into the 1790s, Faes preferred arrangements that spread upward in a rather straight line from a cluster of densely packed flowers near the lip of the vase. For these straight vertical stems, Faes usually chose double hyacinths, the most popular flowers of the eighteenth century, which the Dutch fanatically hybridized to produce a wide variety of colors and types. Around 1790, Faes tended to use the double cobalt blue and pink varieties which appear both in the present pair, and in a compositionally similar bouquet in the Fitzwilliam Museum, Cambridge, dated 1790. Also during this period, Faes usually placed a large variegated tulip near the apex of his bouquets on an arching stem, a gesture that introduced an S-curve into the design. This line usually flowed down along one side of the vase and terminated in a cluster of heavy blossoms (usually lipstick red double peonies and cabbage roses) which rested on the tabletop. A stalk of native grass and a bird's nest with eggs are often seen in flowerpieces by Faes as well. To heighten the illusionism he worked so diligently to achieve, Faes preferred working on smooth wooden panels rather than canvas supports. Peter Faes's best-known patron was the Hapsburg Archduchess Maria Christina, the favorite daughter of Empress Maria Theresia, and sister to the French queen Marie-Antoinette and the Austrian emperor Joseph II. She and her husband Albert von Sachsen-Teschen served as royal governors (stadhouders) of the Austrian Netherlands from 1781 to 1793. In Laeken, a suburb of Brussels, they built from 1782 onwards a stunning royal chateau they dubbed "Schoonenberg" (Dutch for "beautiful mountain"). Surrounding it was the first English landscape garden on the Continent, designed as a natural-looking landscape by the famous English landscape architect Lancelot "Capability" Brown. The grounds featured a river with an artificial cascade (powered by a steam-engine), a "cave of Vulcanus," an artificial rock topped with the ruin of medieval castle, a temple, a pavilion, a rustic hamlet with a menagerie, a hermitage, an orangerie, a conservatory, and a Chinese pagoda. Inside the palace, the couple amassed an outstanding collection of old master drawings and prints, one of the finest in Europe, which today forms the nucleus of the Albertina in Vienna. They also displayed a suite of paintings by Peter Faes which they commissioned specifically for the palace between 1782 and 1784. After the French conquered the southern Netherlands in 1794, and Maria Christina returned to her native Vienna, she specifically requested that the Faes paintings be brought back with her, although they are no longer in the Vienna collections. The work of Peter Faes is represented in many museums including the Musée Royale des Beaux-Arts, Brussels, the Fitzwilliam Museum, Cambridge, the Metropolitan Museum of Art, New York, and the Museum Taxandria, Turnhout. We are grateful to Fred G. Meijer of the RKD, The Hague, for his kind assistance in determining the date and attribution for these companion paintings.
Bouquet de fleurs dans un vase posé sur un entablement avec un nid d'oiseaux signé 'P Faes' (en bas à droite) Huile sur toile 80,5 x 65,3 cm. (31 3/4 x 25 3/4 in.)
Tulips, roses, morning glory, campanulas and other flowers in a glass vase with primulas on a marble ledge, a wooded landscape beyond signed and dated 'P. Faes 1780' (lower right, on the ledge) oil on panel 17 1/2 x 14 1/8 in. (44.4 x 35.9 cm.)
Peonies, hydrangea, daffodils and grapes with other flowers in an urn on a ledge with a melon and peaches signed 'P:Faes' (lower left) and dated '1785' (lower right) oil on canvas 37 5/8 x 57 3/4 in. (95.5 x 146.7 cm.), including an addition of 6 1/8 (15.6 cm.) to the upper edge
Tulips, roses, peonies, narcissus, and other flowers with a butterfly in an urn, with grapes on the vine and a bird's nest with eggs and ants on a marble ledge with signature 'Van Huysum' (lower right) oil on canvas, with additions of approximately 2 in. to each edge 31 x 251/2 in. (78.7 x 64.7 cm.) in an 18th Century carved and gilded frame NOTES We are grateful to Mr. Fred Meijer of the RKD for the attribution, given on the basis of a transparency; Mr. Meijer dates the picture to the early 1780s. For a similar signed and dated work by the artist see that sold, Sotheby's, New York, 5 June 2002, lot 14 ($229,500).
*Pieter Faes (1750-1814) STILL LIFE OF LILACS, ROSES, TULIPS AND OTHER FLOWERS IN A TALL URN RESTING ON A LEDGE WITH A BASKET OVERFLOWING WITH FLOWERS signed lower left P.Faes oil on panel 33 7/8 by 21 1/4 in. 86 by 54cm. This lovely still life shows Faes' indebtedness to the great tradition of Dutch still life painting which had developed in the previous century. His style, like that of his Dutch comtemporary Jan van Os, was strongly influenced by the work of Jan van Huysum.
