Jan Mostaert Sold at Auction Prices

Painter, Historical-scenes painter, Porträtmaler

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    • MOSTAERT, Jan, ATTRIBUIERT (Haarlem 1475-1555/56 ebenda), "Kreuzabnahme",
      Mar. 27, 2021

      MOSTAERT, Jan, ATTRIBUIERT (Haarlem 1475-1555/56 ebenda), "Kreuzabnahme",

      Est: -

      MOSTAERT, Jan, ATTRIBUTED (Haarlem 1475-1555 / 56 ibid), "Removal from cross", Christ taken down from the Cross and Lamentation by Mary and John the Baptist, Golgotha ??in the background, unsigned, oil / oak, curved top, HxW: ca. 111 x 69 cm (124 x 80.5 cm with frame). Restored (with wooden wedges on the back of the plate), craquelé, drying cracks, paint chips and abrasion. Framed behind glass. PROVENANCE: Collection Grzimek family, see: European masters from 1520 to 1640, Mannerist, collection Grzimek family; here attribution to late work of Jan Mostaert of Max I. Friedländer.

      Auktionshaus Eppli
    • Jan Mostaert, Workshop, Bust Length Portrait of a Lady, 16th C
      Jun. 18, 2014

      Jan Mostaert, Workshop, Bust Length Portrait of a Lady, 16th C

      Est: €8,000 - €10,000

      Oil on panel Dutch, 16th century Workshop of Jan Mostaert (c. 1475-1555/56) - Dutch artist Verso with label 'COLLECTIE GOUDSTIKKER [...] AMSTERDAM' Accompanied by a certificate of the Art Loss Register Overall dimensions, framed: 59,5 x 46 cm Good condition Provenance: Private collection, Germany; Collection of Jacques Goudstikker, Amsterdam (Inventory-No. 1337, p. 153, recorded as 'Jan Mostaert, Meisjeskopje. paneel. 46 x32 1/2 cm') The present work depicts the bust length portrait of a lady turned in a classic three-quarter position. It was presumably painted by an artist active in the workshop of Jan Mostaert in Haarlem. The smooth finish and the crystalline brightness of the present painting finally make is most likely that the painter was deeply related to Mostaert's workshop. Dutch portrait painting changed dramatically during the 17th century. Rich merchants and members of the gentry gradually developed a desire to have their portraits as a reproduction of their social status and wealth. They commissioned their portraits which had previously been reserved for the monarch and the highest nobility. Portraits of married couples were another invention of that time and were often intended as a pendant. Here, the emotional link between the sitters played a central role. Whether the present woman's portrait had a counterpart or not, the deep, sensual look of the woman reveals that the artist intended to depict more than the pure reproduction of her physiognomy. The painting is accompanied by a certificate of the Art Loss Register, stating that the ALR contacted the representative of the Goudstikker estate, who has confirmed that this work is not one of those being claimed by his client. The panel is beveled and in good order. It is verso labelled 'COLLECTIE GOUDSTIKKER. No 1337. Kalverstraat 73. Amsterdam'. Also on reverse two unidentified collector's seals can be found. There are some scratches to the background, upper center, as visible in the illustration. Inspection under UV light reveals retouching affecting much of the background and the sitter´s forehead, eyebrow chin and neck. Lines of strengthening affect the darker details of the costume. The wooden frame is in good condition and only shows small traces of age and use. The framed work measures 59.5 x 46 cm and the size of the panel is 46 x 32 cm. Literature: Max Jacob Friedländer: 'Early Netherlandish Painting', 1925, Friedländer 1967-1976 , dl. X, no. 44 Jan Mostaert (c. 1475-1555/56) Jan Mostaert was born in a wealthy family and became a court painter by Margaret of Austria in 1504. He repeatedly accompanied Margaret on her journeys to Italy, but he spent most of his time in Haarlem, his city of birth. Mostaert painted numerous altarpieces and was later (from 1520) frequently commissioned as a portraitist by the leading personalities in Holland. Much of his artistic output was destroyed by a fire in Haarlem in 1576, but there is still a number of works preserved in well-known collections, such the Rijksmuseum in Amsterdam, the Staatliche Museen zu Berlin and the Frans Hals Museum in Haarlem. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

      Auctionata Paddle8 AG
    • *Studio of Jan (Joannes Sinapius) Mostaert, (Dutch, 1475-1555), The Holy Family
      Sep. 12, 2010

      *Studio of Jan (Joannes Sinapius) Mostaert, (Dutch, 1475-1555), The Holy Family

      Est: $10,000 - $15,000

      Studio of Jan (Joannes Sinapius) Mostaert (Dutch, 1475-1555) The Holy Family oil on canvas 15 3/4 x 12 1/4 inches.

      Hindman
    • Attributed to Jan Mostaert (Haarlem c. 1475-1555/56)
      Oct. 13, 2009

      Attributed to Jan Mostaert (Haarlem c. 1475-1555/56)

      Est: -

      Attributed to Jan Mostaert (Haarlem c. 1475-1555/56) The Temptation in the Wilderness oil on panel 53 x 65 cm.

      Christie's
    • Attributed to Jan Jansz. Mostaert , Haarlem circa 1474 - 1555/6 Portrait of a young man, behind a ledge, with a landscape beyond, in a black hat, holding a memento mori oil on oak panel, the upper corners scalloped
      Jul. 09, 2008

      Attributed to Jan Jansz. Mostaert , Haarlem circa 1474 - 1555/6 Portrait of a young man, behind a ledge, with a landscape beyond, in a black hat, holding a memento mori oil on oak panel, the upper corners scalloped

      Est: £50,000 - £70,000

      oil on oak panel, the upper corners scalloped

      Sotheby's
    • Ription Jan Mostaert (Haarlem c. 1475 - c. 1555)
      Apr. 15, 2008

      Ription Jan Mostaert (Haarlem c. 1475 - c. 1555)

      Est: €20,000 - €25,000

      Ription Jan Mostaert (Haarlem c. 1475 - c. 1555) The Adoration of the Magi, oil on panel, 56 x 53.5 cm, in a carved and gilded box-type frame in the style of the Renaissance, (GS) Provenance: Rhenish private collection. Literature: Antiquitätenzeitung, Stuttgart, 1930, 24. Certificate: Prof. Julius Baum, Stuttgart (1958). J. Baum considers the present painting to be a work from Mostaert's maturity and dates it to the period immediately following the 1520s. Compared to earlier works by Mostaert, such as the seemingly old-fashioned Oultremont altarpiece in Brussels commissioned by the Haarlem-based assessor Albert van Adrichem, Baum recognizes an artistic advancement. He compares our painting to Mostaert's Adoration at the Amsterdam Rijksmuseum (Inv. 1674). Baum: "By renouncing late Gothic ornament and creased drapery, as well as owing to the design of the half-figures in the foreground, both paintings illustrate that medieval form has been entirely overcome." According to his vita published by Van Mander, Jan Mostaert was court painter to Governess Margaret of Austria in Brussels between 1503 and 1521. He was a highly talented and successful portraitist and also created numerous devotional pictures and altarpieces.

      Dorotheum
    • JAN MOSTAERT. MADONNA & CHILD. OIL ON TIN STUDIO
      Feb. 24, 2008

      JAN MOSTAERT. MADONNA & CHILD. OIL ON TIN STUDIO

      Est: $2,000 - $4,000

      JAN MOSTAERT. MADONNA & CHILD. OIL ON TIN STUDIO OF JAN MOSTAERT, (DUTCH c.1475-1555), "MADONNA & CHILD", OIL ON TIN. MEASURES 9-1/4" X 12-3/4". GOOD CONDITION, SOME PAINT LOSS AND MEANDERING OF THE TIN.

      Weiss Auctions
    • ATTRIBUE A JAN MOSTAERT (HAARLEM VERS 1475-1555)
      Jun. 24, 2004

      ATTRIBUE A JAN MOSTAERT (HAARLEM VERS 1475-1555)

      Est: €30,000 - €40,000

      Portrait d'un gentilhomme en buste tenant une fleur Huile sur panneau 49,5 x 33,8 cm. (19 1/2 x 13 1/4 in.)

      Christie's
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