Abraham Janssens Sold at Auction Prices

b. 1632 -

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    • ABRAHAM JANSSENS (Antwerp, Belgium, c. 1573 –1632). "Penitent Magdalene". Oil on table. seamed. It presents restorations.
      May. 29, 2023

      ABRAHAM JANSSENS (Antwerp, Belgium, c. 1573 –1632). "Penitent Magdalene". Oil on table. seamed. It presents restorations.

      Est: €10,000 - €12,000

      ABRAHAM JANSSENS (Antwerp, Belgium, ca. 1573 -1632). "Penitent Magdalene. Oil on panel. Engatillada. It has restorations. Size: 92 x 72 cm; 128 x 107 cm (frame). Abraham Janssens demonstrates in this work his exquisite technical ability in this portrait of Mary Magdalene. The artist presents the saint as a beautiful and elegant young woman, with her body slightly turned to avoid the rigidity of a strictly frontal composition. Formally, the figure is strongly illuminated and thus acquires a three-dimensional quality. The monumental dimensions of the figure and the snow-white skin give her an unquestionable prominence, so that the other elements in the scene are relegated to the background. However, it is worth mentioning the care and detail with which they have been created: the serge on which Magdalena rests, which has slight tears, the completely realistic skull, the worn books and the crystal goblet are a faithful reflection of the excellent technical quality that gives the work a realistic feel. The cave in which Mary rests has been conceived on the basis of two points of light open to the space, one from above and the other on the right, although the light in the image is artificial. A Flemish Baroque painter specialising in figure subjects, Abraham Janssens trained as a pupil of Jan Snellinck and is documented as an apprentice in the Guild of Saint Luke in his native city in 1585. He subsequently travelled to Italy between 1597 and 1602. The same year of his return he became a master member of the Antwerp Guild and only five years later, in 1607, he became dean of that institution. In 1610 Janssens joined the Brotherhood of the Romanists, a society of humanists and artists who had made study trips to Rome. He had several disciples, including his son Abraham Janssens II, Giovanni di Filippo del Campo, Gerard Seghers and Theodoor Rombouts, among others. His work mainly encompasses religious and mythological subjects and allegorical scenes, although he also occasionally painted portraits. He began his career within a language still rooted in 16th-century Mannerism, with arty compositions and figures and a palette of anti-classical tones, lightened by the light. However, in his work "Scaldis and Antwerp" of 1609, there is already a clear evolution towards classical academic beauty, greater formal harmony and a more uniform palette. This work also shows the influence of Caravaggio, particularly in the strong contrasts of light and shade. However, after this masterpiece Janssens, like many of his Antwerp colleagues, lost his personality due to the strong influence of Rubens and his new language; in fact, until Rubens' return to Antwerp in 1608, Janssens was considered the most important painter of historical subjects, although in the last decades of his oeuvre he devoted himself mainly to religious commissions. Works by Abraham Janssens are now in the Metropolitan Museum in New York, the Art Institute of Chicago, the Kunsthistorisches in Vienna, the National Galleries of Denmark, Slovenia, Romania and Poland, the Kremer Collection in The Hague and the Texas Museum of Fine Arts, among other public and private collections.

      Setdart Auction House
    • Abraham Janssens (Antwerp c. 1575-1632) An Allegory of Lust (Lascivia)
      Jun. 12, 2020

      Abraham Janssens (Antwerp c. 1575-1632) An Allegory of Lust (Lascivia)

      Est: $80,000 - $120,000

      Abraham Janssens (Antwerp c. 1575-1632) An Allegory of Lust (Lascivia) inscribed 'LASCIVIA' (on the strap of the mantle) oil on canvas 461⁄2 x 383⁄4 in. (118.2 x 98.4 cm.)

      Christie's
    • Abraham Janssens
      Jun. 09, 2020

      Abraham Janssens

      Est: €7,000 - €10,000

      Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Antwerp circa 1575–1632) The Tiburtine Sibyl, oil on canvas, 70 x 58 cm, framed Provenance: Private collection, Belgium The present work depicts a sibyl, one of the oracles of ancient Greece. Janssens executed several paintings of the sibyls, as did his contemporary Peter Paul Rubens. Popular in Antwerp humanist circles and beyond (notably exemplified by Philippe de Champaigne’s ceiling decorations of the Palais du Luxembourg) viewers could show their erudition by identifying each sibyl by her attributes, codified in contemporary works such as the series Sibyllarum icones elegantissimi, engraved by the Utrecht artist Crispijn de Passe in 1601. The sibyl portrayed is the Tiburtine Sibyl. Her ancient seat was at Tivoli, later the site of the Emperor Hadrian’s Villa, and in Janssen’s time, celebrated for the Villa D’Este decorated with much antique statuary spoliated from the nearby ruins and with frescoes commissioned in the 1550s, some showing the sibyl. Another example by Janssens, also based on de Passe’s series is the European Sibyl, recently bought by the Museum of Fine Art Antwerp (inv. no. 5151, oil on canvas, 61 x 48.5 cm). Both are important works from the artist’s early seventeenth century oeuvre, characterised by deep Caravaggesque shadows but also still indebted to mannerism.

      Dorotheum
    • ABRAHAM JANSSENS THE ELDER | Saint Jerome
      Feb. 01, 2018

      ABRAHAM JANSSENS THE ELDER | Saint Jerome

      Est: $200,000 - $300,000

      oil on canvas

      Sotheby's
    • * ABRAHAM JANSSENS (1575-1632) (follower)Allegory of transience
      Dec. 12, 2017

      * ABRAHAM JANSSENS (1575-1632) (follower)Allegory of transience

      Est: €3,000 - €4,000

      * ABRAHAM JANSSENS (1575-1632) (follower) Allegory of transience. Panel. Restored and overpaints. Provenance: Amsterdam Christies, auction 2546, 14.05.2002, lot 51, as studio 102 x 71 * ABRAHAM JANSSENS (1575-1632) (navolger) Allegorie van de vergankelijkheid. Paneel. Restauraties en overschilderingen. Herkomst: Christie's Amsterdam, veiling 2546, 14.05.2002, lot 51, als atelier. 102 x 71

      Bernaerts Auctioneers
    • ABRAHAM JANSSENS Flandern, ca 1575-1630, hans
      Jun. 03, 2010

      ABRAHAM JANSSENS Flandern, ca 1575-1630, hans

      Est: kr40,000 - kr50,000

      ABRAHAM JANSSENS Flandern, ca 1575-1630, hans krets Noli me tangere Maria Magdalena och Jesus Olja på pannå, 73 x 105 cm.Circle of. Oil on panel. EXPERTIS: Cabinet Turquin, Stéphane Pinta, Paris

      Stockholms Auktionsverket
    • Studio of Abraham Janssens van Nuyssen I (1573/4-1632)
      May. 14, 2002

      Studio of Abraham Janssens van Nuyssen I (1573/4-1632)

      Est: $8,280 - $12,880

      The Penitent Magdalen oil on panel 104.6 x 73.2 cm. NOTES Another version, on canvas and measuring 120 x 94 cm., was sold anonymously, Christie's, New York, 15 June 1977, lot 153.

      Christie's
    • ABRAHAM JANSSENS VAN NUYSSEN I (Antwerp c.1575-1632)
      Jan. 26, 2001

      ABRAHAM JANSSENS VAN NUYSSEN I (Antwerp c.1575-1632)

      Est: $150,000 - $250,000

      Lascivia inscribed 'LASCIVIA' (on the strap of the mantle) oil on canvas 461/2 x 387/8 in. (118.1 x 98.7 cm.) NOTES The present painting can be dated to circa 1618 by comparison with a second version of the subject in the Mus‚e royaux des Beaux-Arts, Brussels, Inv. no. 6592. Of equal quality to the Brussels painting, a recent cleaning of the present lot has removed old overpaint which was added to Lascivia's drapery and which masked the second sparrow perched on her raised left hand. Furthermore, the Brussels painting lacks the fine still life elements on the left of the present painting as well as the glass and bread beneath the mirror. Further comparisons can be made with Janssens' Diana and Nymphs of circa 1617 in the Gem„ldegalerie Alte Meister, Kassel, Inv. no. GK83, and Olympus in the Alte Pinakothek, Munich, Inv. no. 4889. These, and the present work, all attest to Janssens' change of style away from a Caravaggesque tenebrism towards a greater classicism, which can be seen in his work as early as 1612.

      Christie's
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