Otto van Veen Paintings & Artwork for Sale | Otto van Veen Art Value Price Guide

Oct. 11, 2024
COMPLETE WITH THE 103 EMBLEMATIC COPPER ENGRAVINGS OF OTTO VAN VEEN (1556-1629). SOME LEAVES LOOSE,
Est: €200 - €300
Complete with the 103 emblematic copper engravings of Otto Van Veen (1556-1629). Some leaves loose, however complete. Cont. vellum, flat spine. Description FR (emblemata) Joan Le Clerc, Schouwtoneel des menschelyken leevens; of lessen der wysheid, uitgedrukt in 103. fraaye konstplaaten ... door den geestryken Otto Vaenius. Den Haag, by Joannes Van Duren, 1755. Klein in-4°. Titel, (1), 418gen.pp. Volledig met de 103 emblematische kopergravuren van Otto Van Veen (1556-1629). Enkele bladen los, echter volledig. Volle perkamenten band uit de tijd, vlakke rug. Beschrijving NL (emblemata) Joan Le Clerc, Schouwtoneel des menschelyken leevens; of lessen der wysheid, uitgedrukt in 103. fraaye konstplaaten ... door den geestryken Otto Vaenius. Den Haag, by Joannes Van Duren, 1755. Klein in-4°. Titel, (1), 418gen.pp. Volledig met de 103 emblematische kopergravuren van Otto Van Veen (1556-1629). Enkele bladen los, echter volledig. Volle perkamenten band uit de tijd, vlakke rug.
Bernaerts Auctioneers
Oct. 01, 2024
VAN VEEN OTTO
Est: €2,500 - €2,800
VAN VEEN OTTO (1556-1629) 'Imperatori' coppia di olii su tavola cornici in legno intagliato e dorato cm. 23x35
Aste Boetto SRL
Aug. 29, 2024
Theatro moral de la vida humana, en cien emblemas; con el enchiridion de epicteto, y la tabla de Cebes, filósofo Platónico
Est: -
Theatro moral vida humana, 1733
Bogota Auctions
Jul. 05, 2024
An early 17th century Limoges enamel oval plaque depicting Venus and Cupid and the blowing wind After Otto van Veen, also known as Otto Venius or Octavius Vaenius (1556-1629)
Est: £4,000 - £6,000
An early 17th century Limoges enamel oval plaque depicting Venus and Cupid and the blowing wind After Otto van Veen, also known as Otto Venius or Octavius Vaenius (1556-1629) The nude figure of Cupid standing at a squat column with open folio, the figure of Venus in contrapposto, her left hand gesturing towards the open volume, her chariot just visible to right edge, a celestial figure, probably Jupiter, leaning on rolling clouds, his lightning bolts clasped in the beak of an eagle, the outer border titled in Latin to the top 'Giuramento Parlo al vento' meaning 'This oath I speak to the wind' and to the lower border 'Amoure ne peut mal faire' which means 'Love can't do anything wrong', set within original gilt bronze frame, 16cm wide, 14.9cm high, 1cm deep overall approximately
Bonhams
May. 23, 2024
CIRCLE OF OTTO VAN VEEN (LEIDEN C. 1556-1629 BRUSSELS) - Portrait of Albert VII (1559-1621), Archduke of Austria, full-length, holding a...
Est: $30,000 - $50,000
CIRCLE OF OTTO VAN VEEN (LEIDEN C. 1556-1629 BRUSSELS) Portrait of Albert VII (1559-1621), Archduke of Austria, full-length, holding a... oil on canvas 80 ½ x 43 ¾ in. (204.5 x 111.2 cm.)
Christie's
May. 14, 2024
VAN VEEN Otto (1556 - 1629) Huile sur panneau de chêne renforcé "Le Mariage Mystique de sainte
Est: €4,000 - €6,000
VAN VEEN Otto (1556 - 1629) Huile sur panneau de chêne renforcé "Le Mariage Mystique de sainte Catherine". Attribué à Otto Van Veen ou à son atelier. Ecole flamande. Dim:+/-93,5x70cm.
Vanderkindere
May. 01, 2024
ATTRIBUTED TO OTTO VEN VEEN (LEIDEN 1556-1629 BRUSSELS)
Est: £400 - £600
ATTRIBUTED TO OTTO VEN VEEN (LEIDEN 1556-1629 BRUSSELS) ATTRIBUTED TO OTTO VEN VEEN (LEIDEN 1556-1629 BRUSSELS) The meeting of Abraham and Melchizedek collector's marks on the recto (lower left, L.1337 and L.3761) ink and wash on a blue-grey prepared paper, heightened with white 35.2 x 20.5 cm (lunette) Property from a Private English Collection PROVENANCE: Heinrich Lempertz Sr. (1816-1898), L.1337 Jan Frederik Bianchi (Amsterdam 1878-1963), L. 3761 Sotheby's London, 9.07.2003, Lot 106
Chiswick Auctions
Feb. 03, 2024
VAN VEEN, OTTO (1556-1629), successor of the 18th century, "Pair of gouaches"
Est: €950 - €1,500
VAN VEEN, OTTO (1556-1629), after the 18th century, "Pair of Gouaches" Pair of gouaches with depictions from Amoris Divini Emblemata, Antwerp by Balthasar Moreti, 1660 "FACIT MUNIFICUM" and "ODIT MORAS", Verso paper label with explanation of the depiction in Latin, HxW: 18/20 cm. (with frame)
Auktionshaus Eppli
Jan. 25, 2024
Attributed to OTTO VAN VEEN (Leiden, ca. 1556 - Brussels, 1629). "Descent of Christ", ca.1590. Oil on copper.
Est: €8,000 - €9,000
Attributed to OTTO VAN VEEN (Leiden, ca. 1556 - Brussels, 1629). "Descent of Christ", ca.1590. Oil on copper. Engraved on the back of the copper is the seal of Peeter Stas (ca.1564-after 1616), the same maker's mark that appears on coppers by contemporary Flemish painters such as Peter Brueghel the Younger and Frans Francken II. Bibliography on the stamp of Peeter Stas in Flemish painting inventories: "Peeter Stas: an antwerp coppersmith and his marks (1587-1610)", Jorgen wadum (in "Painting techniques history, materials and studio practice", Dublin Congress, 1998). It has some flaws. Measurements: 36.5 x 29 cm. The cycle of the Passion was treated by Otto Van Veen on several occasions. It is possible to relate the present oil painting with the canvas of the Lamentation before the Dead Christ of the same author, conserved in the Louvre. In both, a classicist treatment can be appreciated in the modeling of the figures, showing the knowledge of Raphael's work, while at the same time qualifying this influence with the stylistic proximity to Correggio's mannerism. Christ's body describes a sinuous line by tilting his head to the side opposite the bent legs. Mary's outstretched arm, the lowered head of Peter and John, the teary eyes of the kneeling Magdalene... configure a silent choreography of high emotional tension. The olive skin of Jesus contrasts with the fiery flesh of the apostle and Mary Magdalene, with her freshly glowing skin. The restrained theatricality and the strong contrast of light is characteristic of the art of transition between the Renaissance and the Baroque. Flemish painter and draftsman of Dutch origin. He acquired a relevant intellectual formation with the painter and humanist Dominicus Lampsonius and from 1575 to 1580 he was in Italy, where he got to know the work of Federico Zuccaro. On his return to the Netherlands he entered the service of Ernest of Bavaria and later of Alexander Farnese. On the death of the latter he settled in Antwerp, where he joined the St. Luke's Guild of Painters in 1593. He was highly respected as a master painter - among his pupils Peter Paul Rubens stands out - but also by the magistrates of Antwerp, who appointed him engineer of the Citadel, and by the court, working for the Archduke Albert. His work revolves around history and religious painting. Some of his early compositions, such as The Betrothal of St. Catherine (Musées des Beaux-Arts de Belgique, Brussels), demonstrate a knowledge of the work of Raphael and Correggio, although on other occasions he approaches the work of the Carracci. As a portrait painter, although he painted several individual portraits for his patrons, his contribution to group portraiture stands out. His Self-portrait surrounded by his family (Musée du Louvre, Paris) demonstrates his ability to combine different gestures but also to represent the idea of concordia familis, from a humanist point of view. In fact, his facet of erudite painter led him to make numerous drawings of allegories, collected in various volumes that present Otto van Veen as the main emblemist of his time, inserting himself in the neo-stoic current initiated in Flanders by Justus Lipsius.
Setdart Auction House
Jan. 17, 2024
ATTRIBUTED TO OTTO VEN VEEN (LEIDEN 1556-1629 BRUSSELS)
Est: £400 - £600
ATTRIBUTED TO OTTO VEN VEEN (LEIDEN 1556-1629 BRUSSELS) Property from a Private English Collection ATTRIBUTED TO OTTO VEN VEEN (LEIDEN 1556-1629 BRUSSELS) The meeting of Abraham and Melchizedek collector's marks on the recto (lower left, L.1337 and L.3761) ink and wash on a blue-grey prepared paper, heightened with white 35.2 x 20.5 cm (lunette) PROVENANCE: Heinrich Lempertz Sr. (1816-1898), L.1337 Jan Frederik Bianchi (Amsterdam 1878-1963), L. 3761 Sotheby's London, 9.07.2003, Lot 106
Chiswick Auctions
Dec. 20, 2023
CASTILIAN-LEONESE SCHOOL, LATE 16TH OR EARLY 17TH CENTURY. Saint Paul.
Est: €800 - €900
Carved wood sculpture 130x71x44 cm.
Balclis
Oct. 03, 2023
OTTO VAN VEEN (1556-1629) (TO BE ATTRIBUTED TO)
Est: €800 - €1,000
Interior with men eating and drinking. Pen in brown, brown wash. Heightened with white bodycolour. Gilt framing lines. Provenance: Christie's, London, 02.12.2014, lot 50 Nagel Auktionen, Stuttgart, 10.10.2018, lot 591 Recorded in RKDimages with number 256065. Description FR Intérieur animé d'hommes attablés. Dessin à la plume d'encre brune, lavis brun, rehauts de blanc, bordé de filets dorés. Provenance: Christie's, Londres, 02.12.2014, lot 50 Nagel Auktionen, Stuttgart, 10.10.2018, lot 591 Collection privée Anvers Repris sous le numéro 256065 dans la base de données RKDimages. Beschrijving NL Interieur met etende en drinkende mannen. Pen in bruin. Bruin gewassen. Gehoogd met witte dekverf. Vergulde kaderlijnen. Herkomst: Christie's, Londen, 02.12.2014, lot 50 Nagel Auktionen, Stuttgart, 10.10.2018, lot 591 Privé-verzameling Antwerpen Opgenomen in RKDimages onder nummer 256065.
Bernaerts Auctioneers
Sep. 28, 2023
Otto van Veen, 1556 Leiden – 1629 Brüssel, Nachfolge des 18. Jahrhundert
Est: €1,900 - €3,000
PAAR EMBLEMATISCHE GOUACHEN Gouache auf Papier. Rahmenmaße jeweils: 18 x 20 cm. Hinterglas in vergoldeter Leiste gerahmt. Nach zwei Emblemata aus Otto van Veens Werk „Amoris Divini“. Verso mit den jeweiligen Devisen: „Nescit tarda molimina Spiritus sancti gratia, cuius praecipuus fructus Amor est“ (S. 69) bzw. „Semper habet unde det cui plenum est pectus“ (S. 54). Literatur: Vgl. Otto van Veen, Amoris divini emblemata, Antwerpen 1615. (1370515) (13)
Hampel Fine Art Auctions
Sep. 26, 2023
Attribué à Otto van VEEN, dit Otto VENIUS Leyde, 1556 - Bruxelles, 1629 Sainte Véronique essuyant le visage du Christ Huile sur cuiv...
Est: €4,000 - €6,000
Attribué à Otto van VEEN, dit Otto VENIUS Leyde, 1556 - Bruxelles, 1629 Sainte Véronique essuyant le visage du Christ Huile sur cuivre (Restaurations) h: 34 w: 51 cm Estimation 4 000 - 6 000 €
Artcurial
Sep. 12, 2023
ATTRIBUTED TO OTTO VEN VEEN (LEIDEN 1556-1629 BRUSSELS)
Est: £800 - £1,200
ATTRIBUTED TO OTTO VEN VEEN (LEIDEN 1556-1629 BRUSSELS) Property from a Private English Collection ATTRIBUTED TO OTTO VEN VEEN (LEIDEN 1556-1629 BRUSSELS) The meeting of Abraham and Melchizedek collector's marks on the recto (lower left, L.1337 and L.3761) ink and wash on a blue-grey prepared paper, heightened with white 35.2 x 20.5 cm (lunette) PROVENANCE: Heinrich Lempertz Sr. (1816-1898), L.1337 Jan Frederik Bianchi (Amsterdam 1878-1963), L. 3761 Sotheby's London, 9.07.2003, Lot 106
Chiswick Auctions
Jun. 27, 2023
GRISAILLE BY OTTO VAN VEEN, att. a
Est: €1,500 - €2,000
OTTO VAN VEEN, att. a (Leida 1556 - Bruxelles 1629) SCENA ALLEGORICA Grisaille su carta applicata su tavola, cm. 19,5 x 24 Iscrizione con motto in latino in basso nel dipinto Iscrizione 'Otto Vaenius', al retro PROVENIENZA Famiglia romana CORNICE Cornice in legno ebanizzato con bordi a lacca marrone, del XVIII secolo
Casa d'Aste Babuino
May. 15, 2023
Otto van Veen: Emperor Constantine and Bishop Miltiades Conduct the Council against the Donatist Her
Est: €11,000 - €15,000
VEEN, OTTO VAN 1556 Leiden - 1629 Brussels Title: Emperor Constantine and Bishop Miltiades Conduct the Council against the Donatist Heresy. Technique: Oil on wood. Measurement: 45 x 68cm. Frame: Framed. Provenance: Private ownership, Belgium. The present painting, which unfolds in landscape format, shows a figure wearing a laurel wreath and purple mantle in the centre of the composition. The figure is a Roman emperor of the late imperial period, when purple was the colour worn by emperors and later by Christian bishops. Next to him sits a bishop surrounded by a luminous aura, and three figures to his right appear to be engaged in a heated argument. It is probable that the figure with the purple cloak is Emperor Constantine I, whose efforts for the unity and concord of the Church are well known: According to Constantine, the unity of the Christian world was the indispensable prerequisite for the stability of imperial power. Constantine was therefore the initiator of several councils to resolve the theological issues that divided the Church. The first was the council convened by Arles in France, which confirmed the judgement of a commission of bishops from Rome that had condemned the heresy of the Donatists. The Council confirmed as dogmatic theology the fact that the efficacy of the sacraments does not depend on the goodness of those who administer them and on the eternal character they confer. Man, despite his efforts, can never consider himself perfect before God. On the contrary, the sacraments are to be interpreted as gifts from God, contrary to what the Donatists claim. It is likely that the present painting depicts an episode of this council: In this case, the bishop cloaked in a luminous light is most likely Miltiades, elected around 312 AD, whom Constantine entrusted with the examination of the case. A small painting like this, with a complex subject closely linked to the history of the Church, could not do without an educated patron with a precise political and religious vision. Perhaps the painter and his patron thereby wanted to emphasise the role of the Habsburg family in defending Catholicism in the Southern Netherlands. Indeed, the Southern Netherlands, which were subject to the Spanish Habsburgs until 1713, tended to see themselves as an integral part of the Crown, since they formed the first nucleus of the empire of Charles V, who was born in Ghent. In contrast to the Republic of the United Provinces, the society of the Southern Netherlands presented itself as inextricably linked to Catholic Spain and the Roman Church, strongly influenced by the Jesuits, repressive and aware of itself and its role. We are grateful to Bert Schepers, Antwerp, for confirming the attribution of the present painting after examitation in the original. Explanations to the Catalogue
Van Ham Kunstauktionen
Mar. 29, 2023
PORTRAIT OF PHILIPP WILHELM, PRINCE OF ORANIA, COUNT OF NASSAU
Est: €10,000 - €12,000
The work is accompanied by a GUILLOCO VINA frame.
Casa d'aste ARCADIA
Mar. 22, 2023
Attribué à Otto van VEEN, dit Otto VENIUS Leyde, 1556 - Bruxelles, 1629 Sainte Véronique essuyant le visage du Christ Huile sur cuiv...
Est: €7,000 - €10,000
Attribué à Otto van VEEN, dit Otto VENIUS Leyde, 1556 - Bruxelles, 1629 Sainte Véronique essuyant le visage du Christ Huile sur cuivre (Restaurations) Saint Veronica wiping the face of Jesus, oil on copper, attr. to O Venius h: 34 w: 51 cm Estimation 7 000 - 10 000 €
Artcurial
Jan. 25, 2023
Attributed to Otto Van Veen The Crucifixion, with the Virgin Mary, Mary Magdalene and St. John the Evangelist
Est: $1,500 - $2,500
Attributed to Otto Van Veen The Crucifixion, with the Virgin Mary, Mary Magdalene and St. John the Evangelist Oil on copper 23 x 17 1/2 inches (58.4 x 44.4 cm) Provenance: [Sale] Christie's New York, June 5, 2013, lot 63 Property of a Florida estate C Property from the Estate of a Miami Collector
DOYLE Auctioneers & Appraisers
Jan. 25, 2023
OTTO VAN VEEN (LEIDEN C. 1556-1629 BRUSSELS) An extensive imaginary landscape with Italianate buildings by a river, a lake beyond
Est: $200,000 - $300,000
OTTO VAN VEEN (LEIDEN C. 1556-1629 BRUSSELS) An extensive imaginary landscape with Italianate buildings by a river, a lake beyond signed and dated 'Otto Veni.. / f 1586' (lower right, on a rock) oil on copper, the reverse stamped with the unidentified maker’s mark ‘SDM’ in a crest with a cross above 17 1/2 x 22 7/8 in. (44.5 x 58 cm.) Read more
Christie's
Dec. 08, 2022
Otto van Veen, 1556 – 1629, zugeschrieben
Est: €16,000 - €18,000
Maria Magdalena Öl auf Leinwand. 70 x 60 cm. Verso auf Rahmen alter Aufkleber von Gilberto Zabert, Turin, mit Künstlernennung und Betitelung „La Collana di Perle strapata“. In dekorativem, teils gold bemaltem Rahmen. Vor dunklem Hintergrund das Halbbildnis der Maria Magdalena in einem roten Samtgewand, teils mit Goldstickerei, teils mit Edelsteinkette und einer wertvollen Brosche besetzt, darunter eine weiße Bluse tragend und auf dem Kopf eine kleine Kappe mit Schleifen und weißen Federn auf den dunkelblonden Haaren. Dazu trägt sie Perlohringe und eine zerrissene Kette um den Hals. Ihre rechte Hand hat sie leicht erhoben, während ihre linke Hand auf einem silbernen Salbgefäß ruht, das auf einer kleinen Tischecke steht. Sie hat ein feines zartes Inkarnat, gerötete Wangen und mit ihren durch Tränen glänzenden Augen schaut sie ergeben zum Himmel. Feine Malerei mit starkem Hell-Dunkel-Kontrast. Vereinzelt Retuschen. (13413323) (1) (18) Otto van Veen, 1556 – 1629, attributed MARY MAGDALENE Oil on canvas. 70 x 60 cm. The attribution to the artist confirmed by the Rubenianum.
Hampel Fine Art Auctions
Nov. 29, 2022
OTTO VAN VEEN (attr. a)
Est: €4,000 - €7,000
(Leida, 1556 - Bruxelles, 1629) Coppia di ritratti di Imperatori Olio su tavola, cm 36,5X25 (2) I dipinti trovano confronto con le tavole raffiguranti busti di imperatori romani realizzati da Otto van Veen, in particolare con quella esitata presso Dorotheum il 25 aprile 2017, lotto 227. Anche in questo caso, le opere appartengono a una serie, di cui ci sono note altre due anch'esse incomplete oggi conservate alla Staatsgalerie di Stuttgart: una riferita alla bottega di Rubens e una già appartenente al mercante d'arte belga Axel Vervoordt è considerata di Van Veen. Entrambe si ritengono eseguite ad Anversa alla fine del Cinquecento, verosimilmente dopo il 1593, quando Veen fece ritorno ad Anversa, dopo aver passato alcuni anni a Roma alla corte di Alessandro Farnese. La moda di collezionare i ritratti di imperatori in area fiamminga fu certamente dettata dalla popolarità di quelli tizianeschi eseguiti per il duca di Mantova tra il 1527 e il 1538, a loro volta diffusi da copie e incisioni. Gli inventari antichi delle collezioni di Anversa, infatti, registrano numerosi ritratti di imperatori romani. Tornando all'autore, è celebre per essere stato il maestro di Rubens, ma fu uomo di grande cultura classica, un cosiddetto Pictor doctus, altresì evidenziato dal nome latino con cui è spesso conosciuto: Octavius Vaenius.
Wannenes Art Auctions
Nov. 18, 2022
Otto van Veen – Die Heilige Familie mit vier Putti (The Holy Family with four putti)
Est: €15,000 - €20,000
Oil on panel, cradled. 127 x 98 cm. Framed. We are thankful to Dr. Bert Schepers, Antwerp, for kindly confirming the authenticity of this work upon examination of a digital photograph (in an email on 29.9.2021).
Karl & Faber
Nov. 17, 2022
OTTO VAN VEEN KNOWN AS OTTO VENIUS (Leida, 1556 - Brussel 1629), ATTRIBUTED TO
Est: €4,500 - €5,500
Christ blesses the children Oil on canvas, cm. 120x153. Framed. The present work is accompanied by the expertise of Dr. Didier Bodart dated 10/10/1992. PROVENANCE: Private collection, Milan.
Bertolami Fine Art s.r.l.
Nov. 17, 2022
Veen, Otto van (nach)
Est: €1,300 - €1,800
Veen, Otto van (nach) Leiden 1556 - Brüssel 1629 12 x 14,5 cm Paar Gouachen mit Darstellungen aus Amoris Divini Emblemata, Antwerpen bei Balthasar Moreti, 1660. Veen, Otto van (nach) Leiden 1556 - Brüssel 1629 12 x 14,5 cm A pair of gouaches with depictions from Amoris Divina Emblemata published by Balthasar Moreti, Antwerp 1660.
Nagel Auction
Oct. 11, 2022
Veen, Otto van: Q. Horati Flacci Emblemata
Est: €700 - €900
Veen, Otto van. Q. Horatii Flacci emblemata. Imaginibus in aes incisis, notisq. ilustrata. 213 S. Mit gestochener Titelvignette und 103 blattgroßen emblematischen Kupfern von Boel, C. Galle und P. de Jode. 25 x 20 cm. Moderner Halblederband mit goldgeprägtem RTitel. Antwerpen, Hieronymus Verdussen, 1607. -- Praz 523. Landwehr 678. Hollstein 77-179. – Entgegen den Angaben bei Praz und Landwehr sind in vorliegendem Exemplar alle Verse in lateinisch. "Die ernstgemeinten gelehrten Sinnbilder werden zu einem halbernsten und eben dadurch sehr anmutigen Spiel mit Bedeutungen. Ein leicht scherzhafter Unterton klingt in dem Buche auf, in dem die Emblematik sich selber zu parodieren scheint" (Monroy 54). – Titel im Bug restauriert und stärker angestaubt, Ränder teils stärker fingerfleckig, vereinzelt auch braunfleckig und mit Feuchtigkeitsspuren, einige Tafeln im letzten Buchdrittel durch Feuchtigkeitseinwirkung etwas verblasst, Seite 211 mit restaurierten Randeinrissen.
Bassenge Auctions
Jun. 30, 2022
Otto van Veen, 1556 Leiden – 1629 Brüssel, zugeschrieben
Est: €10,000 - €15,000
DIE BEKEHRUNG DES SAULUS Öl auf Holz. Teils parkettiert. 63 x 97,5 cm. In dekorativem Rahmen. Dargestellt eine Szene aus der Apostelgeschichte 9, 1-9: Saulus wütete mit Drohung und Mord gegen die Jünger des Herrn. Er ging zum Hohepriester und erbat sich von ihm Briefe an die Synagogen, um die Anhänger dort zu finden, zu fesseln und nach Jerusalem zu bringen. Gezeigt ist der Moment, als er mit seinen zahlreichen bewaffneten Gefährten unterwegs nach Damaskus ist. Saulus trägt hier ein türkises Gewand und einen goldgelben Umhang. Unverhofft fällt helles Licht auf ihn herab und er stürzt von seinem Pferd herab. Am vorderen Bildrand ist der Gestürzte zu sehen, wie er von zwei Gefährten gehalten wird; neben ihm sein liegendes Pferd mit roter Decke. Die geblendeten Augen des Saules sind entsetzt und verwundert zum Himmel gerichtet auf eine große dunkle Wolke, hinter der ein rotes Gewand und eine nach unten gestreckte Hand zu sehen sind. Saulus hört zudem eine Stimme, die zu ihm sagt: Saulus, Saulus, warum verfolgst du mich? Links und rechts von Saulus die ihm folgenden zahlreichen Männer in prachtvollen farbigen, teils mit Gold ausgestatteten Rüstungen, Fahnen, Waffen und Kleidungsstücken auf Pferden, die ebenfalls von dem Licht geblendet werden und sich mit erhobenen Armen davor zu schützen suchen. Bewegte, figurenreiche Darstellung der Bekehrung von Saulus zu Paulus. Rest. (1321032) (18) Otto van Veen 1556 Leiden – 1629 Brussels, attributed THE CONVERSION OF SAUL Oil on panel. Partially parquetted. 63 x 97.5 cm. In decorative frame.
Hampel Fine Art Auctions
May. 20, 2022
Veen, O. van (1556-1629) (after). (Emblematic scenes).
Est: €80 - €100
Veen, O. van (1556-1629) (after). (Emblematic scenes). Lot of 8 engravings, ±18x14,5 cm. = I.a. a still relevant emblematic scene showing the saying Pecuniae obediunt omnia (Money rules them all). Hollstein 84, 95, 125, 126, 132 135, 144, 166. All from Q. HORATIUS FLACCUS, Emblemata (Antw., 1607 or 1612).
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
May. 19, 2022
Portrait of an 11-Year-Old Boy
Est: €10,000 - €15,000
VEEN, OTTO VAN 1556 Leiden - 1629 Brussels attributed Title: Portrait of an 11-Year-Old Boy. Technique: Oil on wood. Measurement: 43.5 x 32cm. Notation: Dated at the top: Aetatis 11 / Ao 1611. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Otto van Veen was a painter, draftsman, and humanist who worked mainly in Antwerp and Brussels between the 16th and 17th centuries. His artistic personality is often overshadowed by his most famous apprentice, Peter Paul Rubens, whose master he was from 1594/1595 to 1598. Nevertheless, van Veen is an artist who played a very important role in the transition between the two centuries, and it is thanks to his imprint as a learned painter and cultural man that Rubens became the universal painter he is still celebrated as today. Otto van Veen's oeuvre consists of numerous altarpieces, paintings with mythological themes, allegories, and scenes of Roman battles, which he painted for the Archdukes Albert and Isabella of Habsburg, among others. In these works he was able to incorporate his deep and varied knowledge. But he was also a skilled portraitist, of which the present portrait is an admirable example. Depicted is an 11-year-old boy who, just like Pope Clement IX and the painter Claude Lorrain, was born in 1600. Dressed in an elegant burgundy-purple doublet, his head is surrounded by a tightly folded ruff that isolates it from the rest and also serves as a catalyst for the viewer's gaze. The boy's gaze is caught by something the viewer cannot see, which is probably behind the painter depicting him. Thus, a moment of distraction is immortalized, in which the model - forgetting that he may be the scion of a noble family - rediscovers his humanity, which he shares with every other 11-year-old boy. We thank Katlijne Van der Stighelen, Leuven, and Alessandro Nicola Malusà, Cambridge, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph. Explanations to the Catalogue
Van Ham Kunstauktionen
Apr. 05, 2022
Veen, Otto van: Vita D. Thomae Aquinatis
Est: €200 - €300
Veen, Otto van. Vita D. Thomae Aquinatis. 32 S. Mit Kupfertitel und 30 in der Platte nummerierten Kupfertafeln von C. Galle (2), E. van Panderen (13), Swanenburg (2) und C. Boel (13). 30 x 19,5 cm. Strukturgeprägter Pappband d. Z. (berieben und beschabt, ohne Rücken) mit ornamenatler Deckelbordüre. Brüssel, A. Collaer, 1778 (recte: 1678). -- Vgl. Funck 404 (EA von 1610). – Zweite Ausgabe der Folge mit Darstellungen aus dem Leben des Heiligen Thomas von Aquin (1225-1274), der Druckvermerk auf dem Titel nennt das wohl irrige Erscheinungsjahr 1778. Der hs. Korrektur auf das Jahr 1678 ist zuzustimmen. Der Text in holländischer Sprache. Plattenrand: ca, 21 x 15 cm. – Kupfer No. XXVIII im Seitenrand knapp beschnitten, Kupfer No. IX mit kleinem Loch in der Darstellung. Insgesamt wohlerhalten.
Bassenge Auctions
Feb. 22, 2022
Attribué à Otto van VEEN, dit Otto Venius Leyde, 1556 - Bruxelles, 1629 Le Christ et La Vierge de douleurs Paire d'huiles sur cuivre..
Est: €2,000 - €3,000
Attribué à Otto van VEEN, dit Otto Venius Leyde, 1556 - Bruxelles, 1629 Le Christ et La Vierge de douleurs Paire d'huiles sur cuivre de forme ovale (Légères usures) Sans cadre h: 8,50 w: 7 cm Estimation 2 000 - 3 000 €
Artcurial
Dec. 01, 2021
Veen, Otto van: Emblemata Horatiana
Est: €900 - €1,200
Werkstatt. Q(uinti). HoratiI Flacci emblemata. Imaginibus in aes incisis, notisq. ilustrata. Titelvignette und 103 emblematische Kupferstiche. Je ca. 18,3 x 14,8 cm. Sämtlich gebunden in einem modernen HLederbd mit goldgepr. Rückentitel "Horati Flacci Emblemata / M. DC. VII". Antwerpen, Hieronymus Verdussen, 1607. Praz 523, Landwehr 678, Hollstein 77-179. "Die erstgemeinten gelehrten Sinnbilder werden zu einem halbernsten und eben dadurch sehr anmutigen Spiel mit Bedeutungen. Ein leicht scherzhafter Unterton klingt in dem Buche auf, in dem die Emblematik sich selber zu parodieren scheint" (Monroy 54). - Die vollständige Suite in ganz ausgezeichneten, meist klaren und präzisen Drucken mit dem wohl vollen Rand. Vorsätze erneuert, Titel stärker angestaubt, Ränder fleckig und teils stärker fingerfleckig, Spuren von Grünschnitt, vereinzelt auch Feuchtigkeitsspuren oder braunfleckig, vereinzelt ausgebesserte Randeinrisse, Gebrauchsspuren, sonst insgesamt sehr gut. - 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.
Bassenge Auctions
Nov. 24, 2021
Otto van Veen – Die Heilige Familie mit vier Putti (The Holy Family with four putti)
Est: €35,000 - €45,000
Oil on panel, cradled. 127 x 98 cm. Framed. We are thankful to Dr. Bert Schepers, Antwerp, for kindly confirming the authenticity of this work upon examination of a digital photograph (in an email on 29.9.2021).
Karl & Faber
Oct. 20, 2021
Attributed to Otto Venius (1556-1629), Antwerp Mannerism, ca. 1600, 38 x 45 cm
Est: €800 - €1,200
Attributed to Otto Venius (1556-1629), Antwerp Mannerism, ca. 1600, 38 x 45 cm No visible signature, the back with an attribution to Otto Venius (Otto van Veen), the adoration of the Magi, Antwerp Mannerism, ca. 1600, oil on an oak panel, 38 x 45 cm
Carlo Bonte Auctions
Oct. 15, 2021
VEEN, OTTO VAN. 1556-1629 Emblemi di Q. Orazio Flacco adorni di figure.... Florence: Stefano Mulinari, 1777.
Est: $3,000 - $4,000
VEEN, OTTO VAN. 1556-1629 Emblemi di Q. Orazio Flacco adorni di figure.... Florence: Stefano Mulinari, 1777. 4to (285 x 214 mm). 2 engraved title pages (in Latin and Italian), engraved coat of arms, 2 engraved dedication pages, 103 engraved plates printed in a variety of colored inks. Early 19th century red morocco, ruled in gilt, gilt dentelles, marbled endpapers and edges, modern half morocco clamshell box. Soiling and minor wear to covers, minor spotting to interior. Provenance: Stourhead Heirlooms Library (eagle head armorial symbol in gilt on spine). Van Veen was among the most famous of emblematic artists, as well as a scholar and humanist, and instructor to Peter Paul Rubens. Brunet V:1025. For further information on this lot please visit the Bonhams website
Bonhams
Oct. 14, 2021
OTTO VAN VEEN (LEIDEN C. 1556-1629 BRUSSELS) The Holy Family oil on canvas
Est: $20,000 - $30,000
OTTO VAN VEEN (LEIDEN C. 1556-1629 BRUSSELS) The Holy Family oil on canvas 39 ¾ x 32 ½ in. (100.5 x 82.6 cm.)
Christie's
Sep. 25, 2021
After Rembrandt end 17th century
Est: €5,000 - €6,000
After Rembrandt end 17th century Oil on canvas after etching Rembrandt Christ expels the money changers from the temple Olie op doek naar ets Rembrandt Christus verdrijft de geldwisselaars uit de tempel
Maison Jules Veilinghuis
Sep. 11, 2021
OTTO VAN VEEN (ATTR.), DIE VERSUCHUNGEN DER JUGEND
Est: €3,000 - €6,000
OTTO VAN VEEN (ATTR.) 1556 Leiden - 1629 Brüssel THE TEMPTATIONS OF THE YOUTH Oil on oak wood panel. 64 x 47,5 cm. Part. min. rest. In this allegorical depiction gods are fighting over the personification of the youth. Venus tries to spray milk into the mouth of the young man with the help of Amor which can be repeled by Minerva's shield. Between the both Saturn, the God of Time is depicted. On the right Bacchus, crowned with a vine bower offers wine which is spilled over the young man whereas an elderly woman, personificates as poverty, ispulling on his clothes. eine ältere Frau, die die Armut personifiziert, an seinen Kleidern reisst. Provenance: North German Private Collection. Provenienz: Norddeutsche Privatsammlung. OTTO VAN VEEN (ATTR.) 1556 Leiden - 1629 Brüssel DIE VERSUCHUNGEN DER JUGEND Öl auf Eichenholztafel. 64 x 47,5 cm. Part. min. rest. In dieser allegorischen Darstellung gerät die Personfikation der Jugend in der Gestalt des Jünglings in einen Streit zwischen Göttern. Venus versucht dem Jüngling einen Milchstrahl mit Hilfe Amors einzuflößen, der vom Schilde Minervas abgewehrt wird. Zwischen diesen Beiden schiebt sich Saturn, der Gott der Zeit. Rechts bietet der mit Weinlaub bekrönte Bacchus dem Jüngling ein Gefäß mit Wein an, den er über den Liegenden vergießt, während eine ältere Frau, die die Armut personifiziert, an seinen Kleidern reisst. Provenienz: Norddeutsche Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Jun. 24, 2021
Otto van Veen, 1556 Leiden – 1629 Brüssel
Est: €12,000 - €16,000
ALLEGORIE DER VERLOCKUNGEN DER JUGEND Öl auf Leinwand. Doubliert. 90 x 108 cm. In ebonisiertem profiliertem Holzrahmen. Beigegeben ein Zertifikat vom 16. Juni 1996 von Didier Bodart, im Original vorliegend. Das Gemälde wird Otto van Veen zugeschrieben, einem der bekanntesten und wichtigsten Lehrer des jungen Peter Paul Rubens (1577-1640), in dessen Oeuvre sich das vorliegende Werk aufgrund der kompositionellen Ähnlichkeit mit weiteren Gemälden gut eingliedern lässt, wie wir es etwa von einem Gemälde von 1648 (Öl auf Holz) aus dem Nationalmuseum Stockholm (Inv.Nr. 666) kennen. Die Darstellung zeigt einen liegenden jungen Mann zwischen Venus auf der linken und Minerva auf der rechten Seite. Während Minerva geharnischt gezeigt wird, bietet Venus bereitwillig ihre Brüste dar. Fruchtbarkeit wird durch zwei Putti symbolisiert, welche von rechts einen Korb mit Früchten herantragen, Weisheit durch ferne Tempel, welche auf einem Hügel liegen. Die linke Seite hingegen zeigt mit Venus sowie einem Silenenbacchus die negativen Seiten der Verlockung der Jugend. Das Bild lässt sich auch so lesen, dass ein Übergang zur Vernunft mit dem Älterwerden symbolisiert wird. Eine weitere Version befindet sich im Wallraf-Richartz-Museum in Köln. Die Zuschreibung an Otto van Veen resultiert aus einem Stich von Petrus Perret (1549-1637) Schüler von Cornelis Cort (1533-1578), welcher sich ab 1580-85 in Rom aufhielt und diverse Kompositionen von Otto van Veen stach. Literatur: Vgl. Franz Martin Haberditzl, Die Lehrer des Rubens im Jahrbuch der Kunsthistorischen Sammlung des Allerhöchsten Kaiserhauses XXVII, 1908, S. 209-213. Justus Müller-Hofstede, Zur Antwerpener Frühzeit von Peter Paul Rubens, in: Münchner Jahrbuch der bildenden Kunst, 1962, S. 179, 215. Ausstellungen: Ein vergleichbares Gemälde wurde in der Ausstellung „P. P. Rubens: schilderijen – olieverfschetsen – tekeningen“ im Koninklijk Museum voor Schone Kunsten Antwerpen vom 29. Juni - 30. September 1977 ausgestellt. (1220223) (13) Otto van Veen, 1556 Leiden – 1629 Brussels ALLEGORY OF THE TEMPTATIONS OF YOUTH Oil on canvas. Relined. 90 x 108 cm. In ebonized profiled wooden frame. Enclosed the original certificate by Didier Bodart dated 16 June 1996. The painting is attributed to Otto van Veen, one of the best-known and most important teachers of the young Peter Paul Rubens. Compositional similarities with other works by the artist, such as a painting dated 1648 (oil on panel) held at the National Museum of Stockholm (inv. no. 666) make it easy to integrate the painting on offer for sale in this lot in the artist’s oeuvre. The attribution to Otto van Veen stems from an engraving by Petrus Perret (1549-1637), student of Cornelis Cort (1533-1578), who was active in Rome in 1580-1585 and engraved various compositions by Otto van Veen. Literature: Compare F. M. Haberditzl, Die Lehrer des Rubens im Jahrbuch der Kunsthistorischen Sammlung des Allerhöchsten Kaiserhauses XXVII, 1908, pp. 209-213. J. Müller-Hofstede, Zur Antwerpener Frühzeit von Peter Paul Rubens, in: Münchner Jahrbuch der bildenden Kunst, 1962, pp. 179, 215. Exhibitions: A comparable painting was exhibited at “P.P. Rubens: schilderijen – olieverfschetsen” – tekeningen im Koninklijk, Museum voor Schone Kunsten Antwerpen, 29 June - 30 September 1977.
Hampel Fine Art Auctions
May. 08, 2021
Otto van Veen, "A poculis absint seria"
Est: -
flämischer Hofmaler und Zeichner (1556 Leiden - 1629 Brüssel), Kupferstich, unsigniert, nach 1607, Seite 57 aus einer französischen Folgeauflage der von van Veen in Kupferstichen illustrierten Emblemata von Horaz: Quintus Horatius Flaccus / Otto Cornelisz van Veen [Hrsg.], Quinti Horatii Flacci Emblemata: imaginibus in aes incisis notisque ill., Antwerpen 1607, vorliegend die Illustration seitenverkehrt und in den Text eingebunden wiedergegeben, altersgemäßer Zustand, randgebräunt, angestaubt und fleckig, Darstellung 11,5 x 9 cm (HxB), Passepartout, Gesamtmaß 26 x 20,5 cm (HxB); One scene from the illustrated edition of Horaz' Emblemata, copperplate engraving, after 1607, unsigned, page 57 out of a French edition, illustration mirrored and combined with the text, age-appropriate condition, brownish at the margins, dusty and spotty, mounted
Kunst- und Auktionshaus Quedlinburg
Apr. 23, 2021
STUDIO OF OTTO VAN VEEN (LIEDEN C. 1556-1629 BRUSSELS) The infant Hercules
Est: $8,000 - $12,000
STUDIO OF OTTO VAN VEEN (LIEDEN C. 1556-1629 BRUSSELS) The infant Hercules strangling snakes oil on panel, the reverse stamped with the panel maker's mark of Guilliam Aertssen(?) (active 1612-1626), unframed 41 7/8 x 30 1/8 in. (106.4 x 76.5 cm.)
Christie's
Apr. 15, 2021
Hiëronymus Wierix, Otto van Veen, Christ a guest with Simon the Pharisee, Karel de Mallery
Est: €550 - €750
Christ a guest with Simon the Pharisee and with Mary Magdalene. Large engraving by Hiëronymus Wierix (1553-1619), after a painting/drawing of Otto van Veen (1556-1629). Published by Karel de Mallery (1571–1635) in Antwerp before 1636. Hollstein Dutch 184-5(5). In perfect condition, printed on thin laid paper with narrow margins, just in the below text margin, image complete. Good dark impression of this rare engraving.
Old Master Print
Mar. 13, 2021
JUSTITIA UND PRUDENTIA
Est: €1,000 - €2,000
RefOld4321 OTTO VAN VEEN (ATTR.) 1556 Leiden - 1629 Brussels JUSTITIA AND PRUDENTIA Oil on panel. 37 x 29,5 cm (F. 47 x 38 cm). Verso: Inscribed on the panel in old writing: 'O. van Veen'. Part. old restored, retouching. Frame. Provenance: North German Private Collection.
Hargesheimer Kunstauktionen Düsseldorf
Dec. 22, 2020
OTTO VAN VEEN (LEIDEN, 1556-BRUSELAS, 1629) "MARTIRIO DE SAN ANDRÉS".
Est: -
Otto van Veen (Leiden, 1556-Bruselas, 1629) "Martirio de San Andrés".Óleo sobre cobre. 68,5 x 58,5 cm.
Aletheia Subastas
Dec. 10, 2020
Otto van Veen (Leiden, 1556-Bruselas, 1629) "Martirio de San Andrés".
Est: €15,000 -
Otto van Veen (Leiden, 1556-Bruselas, 1629) "Martirio de San Andrés".Óleo sobre cobre. 68,5 x 58,5 cm.
Aletheia Subastas
Dec. 03, 2020
Flemish school, end of the 16th century. OTTO VAN VEEN Circle (Antwerp / Brussels, 1556-1629). Flagellation and scorn of Christ
Est: €10,000 - €12,000
Flemish school, end of the 16th century. OTTO VAN VEEN Circle (Antwerp / Brussels, 1556-1629). Flagellation and scorn of Christ. Oil on canvas. Measurements: 113 x 90 cm .; 132 x 103 cm. (framework). The canvas presents a massive scene centered by the figure of Christ. The moment after Pilate's trial is staged: Christ has been condemned to be crucified but must first suffer the coronation of thorns, a mockery of his status as king of the Jews, as well as the flogging. Christ is the vertical axis of the composition, has been depicted semi-naked, covered only with the cloth of purity or white "perizonium" and an unsathed layer that is, again a mockery of his real condition. Jesus sketches a gesture of contained pain and directs the view downwards, avoiding contact with the viewer. Its musculature is powerful and of correct drawing and the skin has a pale treatment, based on the overlapping of candles of white tones and sienas. If Christ avoids eye contact with the viewer, the Jewish High Priest, standing next to him, on the contrary, directly challenges the public. His gaze is direct, frontal, and with one hand he raises the layer that covers Jesus to better show his scorn, while with the other he performs an unequivocal gesture, which at the same time catches the attention of the observer and stops him. The painter has dressed this character in orientalizing-style clothes denoting his status as a "foreigner", as a person outside the Christian world. Around Christ and the High Priest is crowded dynamic and expressive. Roman soldiers, recognizable by their armor, and Jews, characterized by hooked noses and dressed in hoods, as was preceptive in 14th-XV-century Europe, shout and threaten Jesus. It is a vociferous crowd, where the painter exaggerates the grotesque and vulgar features of the characters. Oblivious to this mob lies, to the left of Christ. Dressed in classic robe and mantle, man, characterized by a curly, short hair that allows him to be identified with the evangelist St. John, leans over a codex in which he transcribes, without a doubt, the episode of the Passion of Christ that we are witnessing. The pictorial treatment of this work allows it to be included in the Flemish school of the last third of the sixteenth century. The painter has inherited from the tradition of Flemish realism headed by Jan van Eyck or Roger van der Weyden a strong expressiveness, as well as a certain sceneographic character of the composition and a contrasting and very rich use of color. In this painting, rosés, mustards, olive and red greens are contrasted, forming a set of great sumptuousness incentivized by very theatrical lighting. The light emanates from a spotlight outside the composition, frontal, which highlights the figure of Christ and leaves in the dark the background, barely sketched, where, however, a classicist style architecture can be distinguished. Both this architecture and the correct drawing of christ's anatomy, on the other hand, as well as the figure of St John denote the painter's knowledge of Italian Renaissance art and his recovery from Classical Antiquity. This combination of pictorial traditions takes place in various Flemish painters of the second half of the sixteenth century who prelude the Baroque, such as Otto van Veen, to whose circle can be attributed. Otto van Veen was an active painter, cartoonist and humanist mainly in Antwerp and Brussels. His workshop trained, among other artists, Peter Paul Rubens, the main representative of the pictorial Baroque.
Setdart Auction House
Oct. 16, 2020
Vita D. Thomae Aquinatis.
Est: €150 - €200
Folio: [2]-32 pp.; 30 pl. - Later state (1st state 1610) of a suite of the engraver Otto Van Veen (1556-1629) containing an engr. title (not signed) and 30 numb. pl. with engr. explanatory text, by C. Boel (13), E. Van Paenderen (13), C. Galle (2) and G. Swanenburgh (2). With added Dutch text by various authors and Dutch translation of the Latin captions. - Ref. Hollstein II:7. - STCV. - Opac KBR. - Prov. Ownership entry at top and bottom of title faded. - Ms. note at bottom of title.
Arenberg Auctions