CIRCLE OF ADRIAEN VAN DE VENNE (DUTCH 1589-1662)WOMAN BY A TABLEOil on panelInscribed (upper right)69 x 57cm (27 x 22¼ in.)Provenance:Purchased by Coughlan Briscoe, London, for Judge James Murnaghan, circa 1930The inscription translates roughly as 'The pan is not for scouring'.Please note measurements do not include the frame unless otherwise stated.
Crispyn van den Queborn (1595 - 1652 ) after Adriaen Pietersz van de Venne (1589 - 1662 ): Veritas Truth cannot be buried, 1632, Etching Technique: Etching on Paper, rolled-on on Inscription: Lower middle monogrammed (ligated): "CVQ". Middle left inscribed in the printing plate: "HIER LEYT BEGRAVEN VROVW WAERHEYT 1625". At the center further inscription: "Veritas". Date: 1632 Description: In a church room, the female personification of truth (Veritas) rises from her tomb, which is embedded in the floor. Rays of light surround her, illuminating the dark church interior. The foreground is adorned by a kind of faceted stone decoration that provides a circular view of the scene. At the bottom of the picture is a ligatured etcher's monogram. Source: Jacob Cats (1755 Brouwershaven-1660 The Hague) Spiegel van den Ouden ende Nieuvven Tijdt, 1632 | Book, Genre Keywords: Church, Veritas, Truth, Death, Resurrection, Allegory, Personification, Woman, 17th century, Baroque, People, Netherlands,
Crispyn van den Queborn (1595 - 1652 ) after Adriaen Pietersz van de Venne (1589 - 1662 ): Man in costume of a cavalier with frog, 1632, Etching Technique: Etching on Paper Inscription: At the lower part monogrammed (ligated): "AVV / CVQ". Date: 1632 Description: A man is at the centre of the depiction. He wears a fashionable hat and elegant, expensive contemporary clothes and shoes. At his feet sits a frog. The foreground is adorned by a kind of faceted stone decoration that provides a circular view of the scene. At the bottom of the picture are the artist's and etcher's monograms and a banner. Source: Jacob Cats (1755 Brouwershaven-1660 The Hague) Spiegel van den Ouden ende Nieuvven Tijdt, 1632 | Book, Genre Keywords: Fashion, Frog, Man, Hat, Feather, Silk, Bows, landscape, clouds, 17th century, Baroque, People, Netherlands,
ADRIAEN PIETERSZ. VAN DE VENNE (DELFT 1589-1662 LA HAYE) Couple dans un lit perquisitionnés par des hommes armés plume et encre brune, lavis gris, les contours incisés, traits d’encadrement à la plume et encre noire 5,3 x 7 cm (2 x 2 ¾ in.)
ADRIAEN PIETERSZ. VAN DE VENNE (DELFT 1589-1662 LA HAYE) Un couple dans une chambre à coucher plume et encre brune, lavis gris, les contours incisés pour transfert, traits d’encadrement à la plume et encre brune 5,5 x 7,5 cm (2 1⁄8 x 3 in.)
After Adriaen Pietersz van de Venne (1589 - 1662 ): Man with hat and lantern Afterpiece, 1632, Etching Technique: Etching on Paper Inscription: Lower middle inscribed in the printing plate: "Feu Toux Amour et argent ne se peuvent cacher longuement". Date: 1632 Description: A man darkening his lantern with his hat, trying to steal away in the dark. A man and a woman watch him from a window of the house on the left. On the right edge of the picture, an old man and a woman sit in the background. The foreground is adorned by a kind of faceted stone decoration that gives a circular view of the scene. At the bottom of the picture is a banner. Source: Jacob Cats (1755 Brouwershaven-1660 The Hague) Spiegel van den Ouden ende Nieuvven Tijdt, 1632 | Book, Genre Keywords: Love, Lamp, Lantern, Hat, Man, Hide, Secrecy, Secret, Lovers, 17th century, Baroque, People, Netherlands,
Crispyn van den Queborn (1595 - 1652 ) after Adriaen Pietersz van de Venne (1589 - 1662 ): Man in costume of a cavalier with frog, 1632, Etching Technique: Etching on Paper Inscription: At the lower part monogrammed (ligated): "AVV / CVQ". Date: 1632 Description: A man is at the centre of the depiction. He wears a fashionable hat and elegant, expensive contemporary clothes and shoes. At his feet sits a frog. The foreground is adorned by a kind of faceted stone decoration that provides a circular view of the scene. At the bottom of the picture are the artist's and etcher's monograms and a banner. Source: Jacob Cats (1755 Brouwershaven-1660 The Hague) Spiegel van den Ouden ende Nieuvven Tijdt, 1632 | Book, Genre Keywords: Fashion, Frog, Man, Hat, Feather, Silk, Bows, landscape, clouds, 17th century, Baroque, People, Netherlands,
Adriaen Pietersz. van de Venne Delft 1589 - 1662 The Hague A Brawl in front of the Binnenhof, The Hague Pen and brown ink and brown and gray wash, heightened with white; signed with initials, lower left: A.V.V. 104 by 137 mm; 4 ⅛ by 5 ⅜ in.
After Adriaen Pietersz van de Venne (1589 - 1662 ): Two women at the fire Risky storage of a sheaf of straw next to the fire, 1632, Etching Technique: Etching on Paper Inscription: Lower middle inscribed in the printing plate: "La stoppa non sta bene apppresso / Il fuogo.". Date: 1632 Description: A young woman and an older woman are standing by a fireplace looking at burning straw. The older woman points at the flames and turns her face towards the younger woman as if explaining something to her. In the background, a woman and a man lie in a bed with a canopy. The foreground is adorned by a kind of faceted stone decoration that provides a circular view of the scene. At the bottom of the picture is a banner. Source: Jacob Cats (1755 Brouwershaven-1660 The Hague) Spiegel van den Ouden ende Nieuvven Tijdt, 1632 | Book, Genre Keywords: Fire, Straw, Fire, Love scene, Love, Canopy, Maid, Age, Youth, 17th century, Baroque, People, Netherlands,
Willem Hondius (1597 The Hague - around 1652 ) after Adriaen Pietersz van de Venne (1589 - 1662 ): Two men watch a snake disappear into a crack in the rock, 1632, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "AV. Venne Inv. / Wil. Hondius fec.". Lower middle inscribed in the printing plate: "Daer de slange t' hooft in krijght / daer krijghse het lijf in.". Date: 1632 Description: In the left half of the picture two men, presumably father and son, are standing in front of a tree. The father points to a snake at the right edge of the picture, which is crawling into a crevice. The foreground is adorned by a kind of faceted stone decoration that provides a circular view of the scene. At the lower edge of the picture are the signatures of the artist and etcher as well as a banner. Source: Jacob Cats (1755 Brouwershaven-1660 The Hague) Spiegel van den Ouden ende Nieuvven Tijdt, 1632 | Book, Genre Keywords: Snake, Men, Rocks, Tree, Banner, Landscape, Nature, youth, age, 17th century, Baroque, Landscape, Netherlands,
Crispyn van den Queborn (1595 - 1652 ) after Adriaen Pietersz van de Venne (1589 - 1662 ): Veritas Truth cannot be buried, 1632, Etching Technique: Etching on Paper, rolled-on on Inscription: Lower middle monogrammed (ligated): "CVQ". Middle left inscribed in the printing plate: "HIER LEYT BEGRAVEN VROVW WAERHEYT 1625". At the center further inscription: "Veritas". Date: 1632 Description: In a church room, the female personification of truth (Veritas) rises from her tomb, which is embedded in the floor. Rays of light surround her, illuminating the dark church interior. The foreground is adorned by a kind of faceted stone decoration that provides a circular view of the scene. At the bottom of the picture is a ligatured etcher's monogram. Source: Jacob Cats (1755 Brouwershaven-1660 The Hague) Spiegel van den Ouden ende Nieuvven Tijdt, 1632 | Book, Genre Keywords: Church, Veritas, Truth, Death, Resurrection, Allegory, Personification, Woman, 17th century, Baroque, People, Netherlands,
Theodor Matham (1605 Haarlem - 1676 Amsterdam) after Adriaen Pietersz van de Venne (1589 - 1662 ): King and shepherd The ruler hands the shepherd a pair of scissors to shear the sheep, 1632, Copper engraving Technique: Copper engraving and Etching on Paper, rolled-on on Inscription: At the lower part signed in the printing plate: "AV. Venne inve. / T. Matham sculp.". Date: 1632 Description: A man is sitting in a garden. On his lap he holds a sharp and with his mouth a knife. From the left edge of the picture a king approaches and hands him a pair of sheep shears. In the right middle ground a gardener is pruning a tree. The background provides a view of the court architecture. The foreground is adorned by a kind of faceted stone decoration that provides a circular view of the scene. At the bottom of the picture is the artist's and etcher's signatures and a banner. Source: Jacob Cats (1755 Brouwershaven-1660 The Hague) Spiegel van den Ouden ende Nieuvven Tijdt, 1632 | Book, Genre Keywords: King, Shepherd, Sheep, Tree, Court, Castle, Gardener, Shearing, Fur, Monarchy, Garden, Royal, 17th century, Baroque, Animals, Netherlands,
After Adriaen Pietersz van de Venne (1589 - 1662 ): Man with hat and lantern Afterpiece, 1632, Etching Technique: Etching on Paper Inscription: Lower middle inscribed in the printing plate: "Feu Toux Amour et argent ne se peuvent cacher longuement". Date: 1632 Description: A man darkening his lantern with his hat, trying to steal away in the dark. A man and a woman watch him from a window of the house on the left. On the right edge of the picture, an old man and a woman sit in the background. The foreground is adorned by a kind of faceted stone decoration that gives a circular view of the scene. At the bottom of the picture is a banner. Source: Jacob Cats (1755 Brouwershaven-1660 The Hague) Spiegel van den Ouden ende Nieuvven Tijdt, 1632 | Book, Genre Keywords: Love, Lamp, Lantern, Hat, Man, Hide, Secrecy, Secret, Lovers, 17th century, Baroque, People, Netherlands,
Crispyn van den Queborn (1595 - 1652 ) after Adriaen Pietersz van de Venne (1589 - 1662 ): Man in costume of a cavalier with frog, 1632, Etching Technique: Etching on Paper Inscription: At the lower part monogrammed (ligated): "AVV / CVQ". Date: 1632 Description: A man is at the centre of the depiction. He wears a fashionable hat and elegant, expensive contemporary clothes and shoes. At his feet sits a frog. The foreground is adorned by a kind of faceted stone decoration that provides a circular view of the scene. At the bottom of the picture are the artist's and etcher's monograms and a banner. Source: Jacob Cats (1755 Brouwershaven-1660 The Hague) Spiegel van den Ouden ende Nieuvven Tijdt, 1632 | Book, Genre Keywords: Fashion, Frog, Man, Hat, Feather, Silk, Bows, landscape, clouds, 17th century, Baroque, People, Netherlands,
Crispyn van den Queborn (1595 - 1652 ) after Adriaen Pietersz van de Venne (1589 - 1662 ): Women with plates of sausages Chambermaid and noblewoman, 1632, Etching Technique: Etching on Paper Inscription: At the lower part monogrammed (ligated): "AVV / CVQ". At the lower part inscribed in the printing plate: "D'eene het bloet d'ander het goet". Date: 1632 Description: In the left half of the picture a young woman is standing and offering sausages on a plate to the woman on the right. A man peers out from a portico in the background. The foreground is adorned by a kind of faceted stone decoration that provides a circular view of the scene. At the bottom of the picture are the artist's and etcher's monograms and a banner. Source: Jacob Cats (1755 Brouwershaven-1660 The Hague) Spiegel van den Ouden ende Nieuvven Tijdt, 1632 | Book, Genre Keywords: Women, Fashion, Sausage, Portico, Drapery, Curtain, Dress, Fabric, Architecture, Interior, 17th century, Baroque, People, Netherlands,
ADRIAEN PIETERSZ. VAN DE VENNE (Delft 1589–1662 The Hague) Group of paintings from a series on the senses: Hearing, Taste, Smell and Sight. Oil on panel. 37 × 30 cm each. Provenance: European collection. --------------- ADRIAEN PIETERSZ. VAN DE VENNE (Delft 1589–1662 Den Haag) Folge von vier Gemälden aus einer Serie der Sinne: Hören, Schmecken, Riechen und Sehen. Öl auf Holz. Je 37 × 30 cm. Provenienz: Europäische Sammlung. Die hier angebotenen Gemälde gehören zu einer Serie der Fünf Sinne, von denen die fünfte Tafel mit dem Gefühl derzeit unbekannt ist. Sie dürften um 1630–35 entstanden sein, in einer Zeit als sich Adriaen van de Venne auf die Malerei von Grisaillen konzentrierte. Die Komposition des Sehsinns ist in einer weiteren Grisaille von Adriaen van de Venne in der Eremitage in Sankt Petersburg aus dem Jahr 1631 bekannt. Auch unsere vier Tafeln sind als Grisaille angelegt und wurden im Anschluss von weiterer Hand koloriert. ---------------
ADRIAEN PIETERSZ. VAN DE VENNE (Delft 1589–1662 The Hague) Winter landscape with elegant figures. Oil on panel. Signed lower left: AVenne. 21 cm D (round). Provenance: - Private collection, The Netherlands, before 1961. - With P. de Boer, Amsterdam, 1961. - With Alfred Brod Gallery, London, 1961. - Private collection of Mr and Mrs Henry H. Weldon, New York. - Sale Sotheby's, New York, The Weldon Collection Sale, 22.4.2015, Lot 8. - Private collection. Exhibited: - London 1961, Annual Autumn Exhibition of Paintings of Old Dutch and Flemish Masters, Alfred Brod Gallery, 5.10–4.11.1961, no. 60. - Providence 1964, Northern Baroque Paintings and Drawings from the Collection of Mr. and Mrs. Henry H. Weldon, Museum of Art, Rhode Island School of Design, 15.4.–7.6.1964, no. 24. - New York 1966, The Collection of Mr and Mrs Henry H. Weldon, Finch College Museum of Art, 11.5.–30.6.1966, no. 40. - Birmingham 1995, The Golden Age of Dutch Painting, Birmingham, AL, 22.4.–18.6.1995, no. 22. - New Orleans 1997, In the Eye of the Beholder: Northern Baroque Paintings form the Collection of Henry H. Weldon, New Orleans Museum of Art, no. 56. - Baltimore 1999, An Eye for Detail. 17th Century Dutch and Flemish Paintings from the Collection of Henry H. Weldon, The Walters Art Gallery, 20.6.–5.9.1999, no. 56. Literature: - Apollo, London, September 1961, ill. title page. - The Connoisseur, October 1961, p. xxxiv, with ill. - Exh.cat. Providence 1964, cat. no. 24. - Exh.cat. New Orleans 1997, pp. 142–144, cat.no. 56, ill. p. 143. - Exh.cat. Baltimore 1999, pp. 130–132, cat.no. 56, ill. p. 131. - Edwin Buijsen: De schilderijenproductie van Adriaen Pietersz. van de Venne (1589–1662). Traditie - Innovatie - Commercie, Dissertation, Nijmegen 2018, vol. I, p. 74, footnote 8. Our thanks to Dr Edwin Buijsen for his expert assistance in cataloguing this painting. --------------- ADRIAEN PIETERSZ. VAN DE VENNE (Delft 1589–1662 Den Haag) Winterlandschaft mit eleganten Figuren. Öl auf Holz. Unten links signiert: AVenne. 21 cm D (rund). Provenienz: - Privatsammlung Niederlande, vor 1961. - Kunsthandel P. de Boer, Amsterdam, 1961. - Alfred Brod Gallery, London, 1961. - Privatsammlung Mr. und Mrs. Henry H. Weldon, New York. - Auktion Sotheby's, New York, The Weldon Collection Sale, 22.4.2015, Los 8. - Privatsammlung. Ausstellungen: - London 1961, Annual Autumn Exhibition of Paintings of Old Dutch and Flemish Masters, Alfred Brod Gallery, 5.10–4.11.1961, Nr. 60. - Providence 1964, Northern Baroque Paintings and Drawings from the Collection of Mr. and Mrs. Henry H. Weldon, Museum of Art, Rhode Island School of Design, 15.4.–7.6.1964, Nr. 24. - New York 1966, The Collection of Mr. and Mrs. Henry H. Weldon, Finch College Museum of Art, 11.5.–30.6.1966, Nr. 40. - Birmingham 1995, The Golden Age of Dutch Painting, Birmingham, AL, 22.4.–18.6.1995, Nr. 22. - New Orleans 1997, In the Eye of the Beholder: Northern Baroque Paintings form the Collection of Henry H. Weldon, New Orleans Museum of Art, Nr. 56. - Baltimore 1999, An Eye for Detail. 17th Century Dutch and Flemish Paintings from the Collection of Henry H. Weldon, The Walters Art Gallery, 20.6.–5.9.1999, Nr. 56. Literatur: - Apollo, London, September 1961, Abb. auf Titelseite. - The Connoisseur, October 1961, S. xxxiv, mit Abb. - Ausst.-Kat. Providence 1964, Kat.-Nr. 24. - Ausst.-Kat. New Orleans 1997, S. 142–144, Kat.-Nr. 56, Abb. S. 143. - Ausst.-Kat. Baltimore 1999, S. 130–132, Kat.-Nr. 56, Abb. S. 131. - Edwin Buijsen: De schilderijenproductie van Adriaen Pietersz. van de Venne (1589–1662). Traditie - Innovatie - Commercie, Dissertation, Nijmegen 2018, Bd. I, S. 74, Fussnote 8. Diese reizvolle und lebendige Komposition mit ihrer weiten Landschaft und lebhaften Figuren, die an den verschiedenen Vergnügungen der Wintersaison teilnehmen, ist eines der frühesten Werke des Delfter Künstlers Adriaen Pietersz. van de Venne. Es führt glanzvoll seinen Anspruch vor Augen, "Gemälde für jedermanns Vergnügen" zu malen (siehe Laurens Bol: Adriaen Pietersz. Van de Venne: Painter and Draughtsman, Doornspijk 1989, S. 20–21, Fussnoten 15 und 25). Das signierte Ölgemälde geht wahrscheinlich seinen ersten datierten Gemälden voraus, die er 1614 und 1615 fertigstellte, und ist ein schönes und fesselndes Beispiel für die vielen Winterlandschaften, die im frühen 17. Jahrhundert entstanden sind. Laut Cornelis de Bie (1627–1715), dem Biographen des Künstlers, lernte Van de Venne die Grundprinzipien der Miniaturmalerei möglicherweise vom Goldschmied Simon de Valck in Leiden. Diese Technik eignet sich gut für das kleinformatige Rondell und Van de Venne schuf in seiner frühen Schaffensphase eine Reihe solcher Werke, darunter Gegenstücke mit den Darstellungen des Sommers und Winters (Privatsammlung, Deutschland; siehe Bol 1989, ebd., S. 16–17, Kat.-Nr. 5A und 5B, mit Abb.). Diese Werke, die ebenfalls in einem intimen Rahmen gemalt wurden, weisen bemerkenswerte formale und visuelle Ähnlichkeiten mit der hier angebotenen Komposition auf: Weitläufige Landschaften rücken in die Ferne, fein gemalte Figuren verleihen der Szene eine außergewöhnliche Lebendigkeit, und große Repoussoir-Bäume auf der linken Seite verankern beide Winterszenen. Darüber hinaus erscheint die verhüllte Frau unten links, die sich die Hände an einem Feuer wärmt und nicht zu den von zeitgenössischer Hand hinzugefügten größeren Figuren zu gehören scheint, an fast derselben Stelle und in derselben Haltung wie das Winter-Rondell in der Privatsammlung. Eine Infrarotaufnahme des vorliegenden Werks lässt einige Unterzeichnungen erkennen. Die Figuren auf dem Eis und das Gebäude in der Nähe der Brücke wurden mit losen und skizzenhaften Linien angedeutet. Darüber hinaus gibt es in der gesamten Szene eine Reihe von feinen, geraden Linien, die nicht mit bestimmten architektonischen oder figürlichen Elementen in Verbindung gebracht werden können. Sie dienen möglicherweise zur Gestaltung der Komposition. Ähnliche Unterzeichnungen finden sich auch in anderen Werken des Künstlers aus derselben Zeit, wie beispielsweise in der Allegorie des Zwölfjährigen Friedens (1616, Musée du Louvre, Paris, Inv.-Nr. 1924). Das Gemälde stammt aus der Sammlung des amerikanischen Sammlerehepaars June ("Jimmy") und Henry H. Weldon, das sich auf kleine Kabinettstücke der niederländischen und flämischen Schule des 17. Jahrhunderts konzentrierte und über Jahrzehnte aufgebaut wurde. Dr. Edwin Buijsen, der das vorliegende Gemälde 2015 im Original untersucht hat, ordnet diese Winterlandschaft mit elegant gekleideten Figuren als eine frühe Arbeit vor 1614 ein (siehe Literatur). Besonders die Figuren im Hintergrund sind charakteristisch für Vennes Frühwerk. Die grösseren Personen im Vordergrund stammen vermutlich von einer anderen zeitgenössischen Hand. Wir danken Dr. Edwin Buijsen für seine wissenschaftliche Unterstützung bei der Katalogisierung dieses Gemäldes. ---------------
RefMas121121 Lower right remains of a signature: ...Venne Adriaen van de Venne was a versatile artist who was active as a poet, illustrator and painter. He learnt the method of grisaille painting from his teacher Hieronymus van Diest and continued to use the technique successfully throughout his career. Active in Middelburg and later in The Hague, van de Venne painted mythological scenes and landscapes in the tradition of Jan Brueghel I. However, he was most well-known for the illustrations that adorned the pages of moralising works such as those of Jacob Cats or Johan de Brune. This humorous monochromatic depiction of a vagrant family is a characteristic example of his style. This unusual motif is based on a long Dutch tradition of depicting both the lower strata of society and moralising proverbs. Following his move to The Hague in 1625, Venne developed a repertoire of comical and ironic depictions of the lives of simple people and peasant life using his typical en grisaille or en brunaille palette. Almost all of these scenes feature a contemporary proverb or saying. In this work, an explanation is included in a scroll at the base of the panel. The title “Noot breeckt wet” (necessity breaks the law) can be interpreted as a commentary on the scene. In difficult circumstances, usual rules are broken: The ragged couple use items from their home as clothing and hats, the mother is shown feeding her child whilst walking and lets the other eat directly from the pot. Another ironic interpretation of the saying is provided by a scene in the background of the work in which we see a man uninhibitedly opening his bowels over the side of a boat - “higher necessity” also leads to rules being broken. Venne included the old saying “noot breeckt wet” in his book “Sinne-vonck op den Hollandschen Turf”, an ironic homage to the 1634 peat market in The Hague. There is at least one further version of this previously unpublished painting, the whereabouts of which is currently unknown. This signed work dated 1633 was published by Annelies Plokker (see Adriaen Pietersz. van de Venne, de grisailles met spreukbanden, Leuven/Amersfoort 1984, no. 75, p. 190-191) and most likely originates from the Kohen collection (see the auction catalogue of Dorotheum, Vienna, 7th May 1923, lot 40a). This depiction, which is also recorded in a photograph in the archive of the RKD, varies in several details, most notably in the man's right glove and the opening of the pot in the woman's hand. Mag. Christina Felzmann carried out an extensive research report on the provenance of the present work (Vienna, 15th September 2021), which can be viewed upon request.
VENNE, ADRIAEN PIETERSZ. VAN DE 1589 Delft - 1662 The Hague Circle Title: Winter Landscape with Skaters and Sledge. On a frozen lake, elegant company around a Damie in a richly decorated ceremonial sleigh. Technique: Pen and ink drawing over black pencil, washed on paper. Mounting: Mounted. Measurement: 17,5 x 26,5cm. Notation: Inscribed and dated on the runner: A.v.d. Venne 1618. Frame/Pedestal: Framed. The sheet is documented in the database of the RKD, The Hague, under ill. no. 68981. Provenance: Private ownership, Germany.
(Delft, 1589 circa - L'Aia, 1662) Interno con figure Olio su tavola, cm 25X19,5 Formatosi con Simon de Valck e Jeronymus van Diest, De Venne si dedicì a varie tipologie di soggetti, in particolare scene d'interno, temi storici, religiosi e paesaggi. Eseguì inoltre miniature e decorazioni a grisaglia nei toni del grigio e del marrone, per le quali era ben noto e in cui spesso ritraeva poveri e storpi. Le opere di quest'ultimo periodo presentano intenti moralistici e sociali.
Summer Represented in the engravings of the book "Houwelick" by Jacob Cats. Oil on copper. L'été Sujet repris dans les gravures de l'ouvrage "Houwelick" par Jacob Cats. Huile sur cuivre.
Oil/wood, 32,5 x 26 cm, lo. le. inscribed 'Om de winst te doen', some rest. - Since 1620 V. became known with subjects such as beggars, thieves and fools, with which he illustrated proverbs. The banner 'Everything for money' makes even clearer the caricatured depiction of peddlers with goods all over their bodies. - Expertise: Luuk Pijl, Dokkum, 16.12.2019, confirms the authenticity. - Provenance: Private collection Lower Saxony. - Dutch painter. V. worked in Leiden, Antwerp, Middelburg and The Hague where he joined the painter's guild in 1625 and became it's deacon in 1637. Besides many-figured landscape panoramas in the manner of Brueghel he also created scenes from folk life with beggars and peddlers. Mus.: Amsterdam (Rijksmus.), Berlin (Gem.-Gal.), Dresden (Gem.-Gal.), Moscow (Pushkin Mus.), Hamburg (Kunsthalle), Frankfurt (Städel), The Hague a. others. Lit.: Thieme-Becker, Bénézit.
Venne, Adriaen Pietersz. van de 1589 Delft - 1662 The Hague - attributed Oil on wood. Parquetted. 23,5 x 31cm. Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Adriaen Pietersz. van de Venne The Netherlands Dutch School 17th C. Old Masters Winter Painting Bourgeois Life Estimated Shippingcost for this lot: Germany: 28,57 Euro plus 5,43 Euro VAT EU: 50,42 Euro plus 9,58 Euro VAT Worldwide: 79,83 Euro plus 15,17 Euro VAT additional shipping insurance
VAN DE VENNE, Adriaen Pietersz(1589 Delft - 1662 Den Haag) Der Vogelfänger Kupferstich. 1664 ?. Passepartoutausschnitt: 6,5 x 8 cm. Gerahmt & hinter Glas : 33 x 27 cm. Kleinformatige Darstellung vom Prozess des Vogelfangens .
Adriaen van de VENNE Delft, 1589 - La Haye, 1662 Réjouissances villageoises : "Luxure" Huile sur panneau de chêne, deux planches Annoté 'Wel lust' en bas à droite (Restaurations, les planches disjointes) Dancing peasants, oil on panel, two planks, inscribed, by A. van de Venne h: 37,50 w: 55 cm Provenance : Vente anonyme ; Bruxelles, salle Leroy, 4 avril 1907, n° 256, une ancienne étiquette au verso ; Collection du baron François Empain, son hôtel, rue Zinner à Bruxelles ; Puis par descendance ; Collection particulière, Belgique Bibliographie : Annelies Plokker, 'Adriaen Pietersz. van de Venne, 1589-1662: de grisailles met spreukbanden', Louvain, 1984, p. 240, n° 101 Commentaire : Notre artiste peignit dans une première partie de sa vie à Middelburg de petits paysages colorés à la manière de Jan Brueghel. C'est après avoir emménagé à La Haye à partir de 1625 qu'il abandonne son style aimable pour se consacrer aux tableaux monochromes qui firent sa célébrité, illustrant la vie modeste de la campagne lors de réjouissances villageoises avec une tonalité toujours moralisatrice en utilisant les figures de gueux, indigents, ou encore filles de joie. Ainsi ses 'grauwtjes' (ainsi étaient nommées au XVIIe siècle les grisailles en Hollande) sont souvent assorties de proverbes ou légendes comme en partie inférieure de notre panneau - " Wellust " signifiant luxure - et prolonge le discours des peintres du XVIe siècle qui interrogent sur le sens de la folie. Estimation 6 000 - 8 000 €
- The lot is subject to full taxation (13%) Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Delft 1589–1662 The Hague) An illustration of a Dutch proverb with two peddlers and their merchandise, inscribed: ‘om the winst te doen’, oil on panel, 33 x 26 cm, framed Provenance: Private collection, The Netherlands We are grateful to Luuk Pijl for confirming the attribution. His written report accompanies the present lot. Pijl: ‘A full generation older than Rembrandt, Adriaen van de Venne was among the most important Dutch masters of his day. He was a significant figure during the period sometimes referred to as the dawn of the Golden Age. He painted allegories, genre subjects and portraits, as well as a miniatures, book illustrations and designs for political satires. Born in Delft, but according to the writer on the arts, Arnold Houbraken, he learned Latin in nearby Leiden. Initially, he studied with the unknown goldsmith and painter Simon de Valk, and afterwards he learned engraving and painting grisailles from the unknown Jeronimus van Diest. In 1614 he moved to Middelburg, the capital of Zeeland, where he was influenced by the colors and minutiae of the works by Jan Brueghel the Elder and the satire of his father Pieter Brueghel the Elder. That year he painted the important Fishing for Souls (Rijksmuseum, Amsterdam), an ironic commentary on the Catholic and Protestant troubles during the Eighty Years War that split the border between the Northern from the Southern Netherlands. Van de Venne moved to The Hague and joined the Guild of Saint Luke in 1625, taking the position of dean in 1637. He was one of the founding members of Confrerie Pictura, a group masters who worked on improving the independent status and social position of the artist in Dutch society by encouraging a more academic approach to the arts. He died in The Hague in 1662. From 1620 onwards, Van de Venne made numerous grisailles featuring peasants, beggars, thieves and fools as illustrations of current proverbs and sayings. This widely dispersed work made him famous during his lifetime. Many of them contain a parole deriving from the moralist works of Jacob Cats. The lion share of these works are executed in the grisaille or brunaille technique, but some, such as the present work, are painted in a more colorful palette. The subject of the present work is written on the banderole: om de winst te doen (all about profit). It ridicules the greedy, money nuts, peddler couple, that carry their merchandise, such as hats and kitchen utensils, everywhere on the bodies. In her book on this type of paintings by Van de Venne, Annelies Plokker illustrates another work with the subject matter, but her no. 77 is of a different composition (see A. Plokker, Adriaen Pietersz. van de Venne [1589–1662]; de grisailles met spreukbanden, Leuven 1984). She mentions a further version of the subject exhibited in the winter of 1936/37, at the time in the collection of Jhr. J. A. G. Sandberg (Gemeentemuseum, Den Haag, Oude kunst uit Haagsch bezit, 1936, no. 203). The present painting is not identical with the Sandberg painting, since it was smaller (21.5 x 21.3 cm) and has a square format. The Sandberg version was sold in 28 October 1969 in Amsterdam at Mak van Waay, lot 733. The subject is a fine and typical example of Van de Venne’s eloquent sense of satire.’
T WIL AL RAAPEN (JEDER RAFFT SO VIEL ALS ER KANN) Öl auf Holz. Parkettiert. 51,5 x 83 cm. In schwarzem Flammleistenrahmen. Im Zentrum des ganz in Brunaille ausgeführten Gemäldes, ein Mann in weiter Landschaft, einen geflochtenen Korb mit Früchten gerade ausschüttend. Über ihm, im Himmelsbereich, ein Spruchband mit den Worten „T wil al Raapen“. Er wird umgeben von zahlreichen Männern, Frauen und einigen Kindern, die teils herbeieilen, um die Früchte aufzusammeln. Auf seiner linken Seite ein Junge, der bereits einen Hut mit Früchten gefüllt hat, während ein anderer zu Boden gegangen ist, im Kampf um die Früchte. Vor dem Mann ein kleines Mädchen, das ihre Schürze nach oben hält, um die gerade herausfallenden Früchte aus dem Korb aufzufangen. Zwei Kinder knien ganz am Boden und sammeln diese auf. Auf der rechten Bildseite mehrere Personen im Kampf und im Streit um diese Früchte, wobei einer sogar einen Dolch gezückt hat. Eher seltenes, ganz in Brauntönen ausgeführtes Gemälde, bei dem der Wahlspruch des Spruchbandes, „Jeder rafft soviel er kann“, auf teils dramatische Weise deutlich dargestellt wird. Rest. (12221119) (18)
REGES MARKTTREIBEN IN DEN HAAG VOR GIEBELHÄUSERN UND EINER RUINE Öl auf Eichenholz. 48,6 x 78,7 cm. Rechts leicht erhöht seitlich monogrammiert „SVB“ und datiert „1640“. Der Maler war Schüler des Adriaen Pietersz. van de Venne (1589-1662). In seiner tonigen Farbigkeit, wie auch hier im Bild, ist der Einfluss des Jan Jozefsz. van Goyen (1596-1656) zu erkennen, während die meisterhaft eingebrachten Figuren Stilverwandschaft mit Werken des Isaac Jansz. van Ostade (1621-1649) erkennen lassen. Von van Goyens Bildauffassung rührt wohl auch die Tiefenwirkung der vorliegenden Stadtlandschaft, erzeugt durch bewusste perspektivische Verjüngung bis zum Horizont. Besonders auffällig ist hier der Kontrast zwischen dem tonigen Hintergrund und den markant von links beleuchteten, detailgenau wiedergebenen Figuren, insbesondere des rechten Vordergrunds sowie der am Boden verstreuten Beeren und Blätter, neben gefüllten Körben. Von besonderem Reiz der neben seiner Mutter stehende Knabe, mit einem mit Trauben gefüllten Korb. (1211826) (11) Sybrand van Beest, 1610 The Hague – 1674 Amsterdam BUSTLING MARKET IN THE HAGUE IN FRONT OF GABLED HOUSES AND A RUIN Oil on oak panel. 48.6 x 78.7 cm. Monogrammed “SVB” and dated “1640” on the right, slightly raised at the side. The painter was a student of Adriaen Pietersz. van de Venne (1589-1662).
Adriaen Pietersz. van de Venne (Delft 1589-1662 The Hague) Fray en Leelijck: a blind man playing a pipe and a peasant woman playing... oil on panel 14 5/8 x 11 5/8 in. (37.2 x 29.5 cm.)
VAN DE VENNE Adrian Pietersz (vers 1600 - 1650) Paire d'huiles sur panneau chêne "La richesse" et "La pauvreté". Attribué à Adrian Pietersz van de Venne. Ecole hollandaise. Epoque: vers 1630. Dim.:60x45cm.
Pen and brown ink and gray wash, heightened with white, over traces of black chalk, within drawn circle, indented for transfer; signed in brown ink, lower centre: V. Venne
* ADRIAEN PIETERSZ VAN DE VENNE (1589-1662) (to be attributed to) 'Waeck wel het spel' Brunaille in oil on canvas transferred onto panel. Signature lower right (?). Provenance: Lempertz, Köln, 12-14.6.1980, lot 267; Lempertz, Köln, 15.5.2002, lot 951; Art dealer Remco Van Leeuwen, Eindhoven, 2003 (?); Hampel Kunstauktionen, Munich, 24.6.2005, lot 378. Expo: Düsseldorf, Galerie Stern, fall 1934, nr. 84 61 x 77 (82 x 96 (met kader)) * ADRIAEN PIETERSZ VAN DE VENNE (1589-1662) (toe te schrijven aan) 'Waeck wel het spel' Brunaille in olie op doek gemaroufleerd op paneel. Signatuur rechtsonder (?). Herkomst: Lempertz, Keulen, 12-14.6.1980, lot 267; Lempertz, Keulen, 15.5.2002, lot 951; Kunsthandel Remco Van Leeuwen, Eindhoven, 2003 (?); Hampel Kunstauktionen, Munchen, 24.6.2005, lot 378. Expo: Düsseldorf, Galerie Stern, najaar 1934, nr. 84 Een boerengezelschap speelt 'handjeklap', een spel waarbij een man zich geblinddoekt in de schoot van een vrouw legt, de handen achter de rug houdt en vervolgens moet raden wie er op zijn handen tikt. De voorstelling houdt een duidelijke waarschuwing in tegen het spelen van ijdele spelletjes. De Brune wijdde er zijn 'Emblemata of Sinne-werck' (Amsterdam, 1661, 231, XXXII) een embleem aan met een plaat door Van de Venne ontworpen onder het motto: 'Een hoeren schoot is duyvels boot', waarbij hij in het commentaar waarschuwt tegen 'het vuyl bejagh der wel-lusten'. Bron: Annelies Plokker, Adriaen Pietersz. Van De Venne (1589-1662), De Grisailles met Spreukbanden, Acco, Leuven, 1984, p. 227-228. Vanaf 1625 legt de veelzijdige kunstenaar Adriaen Van de Venne zich steeds meer toe op de grisailleschilderkunst, een genre waarvan hij als grondlegger wordt beschouwd. Waar grisailles voorheen als medium werden gebruikt voor voorbereidende studies of ontwerpen voor prenten, kiest hij de monochrome bruine of grijze tinten om een veelheid aan onderwerpen in uit te beelden. Vele elementen in onderhavig schilderij maken van dit werk een prachtig voorbeeld van het oeuvre waar Van de Venne zo bekend mee geworden is. Naast de reeds genoemde en door hem geperfectioneerde grisailletechniek is de integratie van woord in beeld eveneens een bijzonder element in zijn schilderkunst. Van de Venne maakt hiervoor gebruik van een spreukband, vaak met gotisch opschrift. Deze spreuken kunnen zowel volkse gezegdes zijn ('Oncken maakt Onmin', 'Hoe geleerder hoe verkeerder') als woordspelingen ('Arme Weelde', 'Lief Gerief'), maar hun bedoeling is steeds de kijker tot denken aanzetten. Van de Venne noemde zijn kunst dan ook -met een zelf verzonnen woord- 'Sinne-kunst', kunst waarbij het beeld met een innerlijke zin verbonden moet worden. De woorden zijn meer dan enkel een verklaring voor het beeld, de schrijver-schilder wilt zijn publiek onderwijzen, misstanden aanklagen en geeft aldus een didactisch-moraliserende betekenislaag aan zijn schilderijen. Dankzij het staand personage links dat de toeschouwer aankijkt, probeert hij de kijker trouwens nog meer rechtstreeks te betrekken bij het werk. De kunstenaar is gefascineerd door het leven van de 'gewone man', diens deugden en ondeugden, en plaatst hem prominent op de voorgrond. Hij schildert kermissen, openluchttaferelen met boeren, bedelaars, troubadours en zwervers. Hij waarschuwt voor hun lage morele standaarden, maar toont tegelijkertijd ook medeleven voor hun miserie. Van de Vennes monochrome schilderijen, destijds minachtend 'grauwtjes' genoemd, werden lange tijd miskend, maar worden de laatste jaren steeds meer naar waarde geschat. Het zijn dan ook bijzondere auteurswerken waarin de kunstenaar met een subtiel spel van grijze of bruine tinten en een meesterlijk gebruik van het licht ons een zeer persoonlijk, tragikomisch beeld schetst van het leven zoals het is. 61 x 77 (82 x 96 (met kader))
Venne, A.P. van de (1589-1662) (after). "Iustitia. Eendracht maect macht. Rechtveerdighe sifte." Broadside, engraving 27,5x35,2 cm., w. letterpress text in 3 columns below, totally measuring 52,3x36,5 cm., Amst., "Voor de goede Patriotten ghetrou, Die beminnen Gods Kerck, en 's Landt, metten Prins van Nassou", ±1618. - Lacks large portion of lower left corner w. loss of text. Formerly folded. = F.M. 1360: "De prent toont een grote ronde zeef, vol personen, en enkelen die er doorheen vallen, waaronder Oldenbarnevelt. De zeef wordt vastgehouden door de Staten Generaal en de Oranjes." AND 5 others on J. VAN OLDENBARNEVELT.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
FOLLOWER OF ADRIAEN PIETERSZ VAN DE VENNE (dutch 1589-1662) "HET SYN STERCKE BEENE DIE WEELDE KUNNE DRAGEN" (ONLY THE STRONG LEGS CARRY WEALTH) Oil on panel 23 1/2 x 19 1/4 inches (59.7 x 48.9 cm) provenance: Christie's, New York, sale of January 11, 1989, lot 67 (as by Adriaen Pietersz van de Venne). The Collection of Dr. Hilary Koprowski and Dr. Irena Koprowska. note: This composition derives from Van de Venne's 'De Belacchend Werald (The Laughable World)', a series of 42 grisailles. A pendant, entitled 'Only Strong Legs can Carry Poverty,' is in the Fogg Art Museum, Boston.
The present work can be grouped together with a series of grisaille paintings by Adriaen Pietersz. van de Vennes. The piece is listed in the database of the Rijksbureau voor Kunsthistorische Documentatie under the no. 209225. A similar interior scene can be found in the Rijksmuseum in Amsterdam.
After Adriaen van de Venne (1589-1662) ES MUSZ EIN IEDER EIN PAR NARREN SCHUHEN VERTRETTEN etching, originally published on page 15 of Jacob Cats' "Spiegel vanden Ouden ende Nieuwe Tijd",", first edition published in The Hague, 1632, which is illustrated with proverbs by Adriaen van de Venne, a jester points at two real tennis balls and racquet on the street and and lifts his right leg to compare the balls to the bells on his shoe, 13cm., 5in. square, laid down on paper, the title pasted to the reverse
After Adriaen van de Venne (1589-1662) AMOR, UT PILA, VICES EXIGIT [LOVE, LIKE A BALL, DEMANDS RECIPROCATION] etching, originally published on page 32 of Jacob Cats' "Spiegel vanden Ouden ende Nieuwe Tijd", first edition published in The Hague: 1632, which is illustrated with proverbs by Adriaen van de Venne, the work depicts a man and woman playing battledore and shuttlecock in a garden, 13cm., 5in. square, laid down on paper, the title pasted to the reverse Adriaen Pietersz van de Venne was a versatile Dutch Golden Age painter of allegories, genre subjects and portraits, as well as a miniaturist, book-illustrator and designer of political satires and a versifier. His engravings featuring peasants, beggars, thieves and fools as illustrations of current proverbs and sayings for Jacob Cats made him famous during his lifetime, and his work remained popular far into the 18th century.
In the centre of this composition is a man holding a basket of swedes and scattering them before a group of people before him who gather them up eagerly. The banderole reading “T WIL AL RAAPEN” is a play on words: The Netherlandish “rapen” means “to gather”, whilst “rape” is the Dutch word for turnip.This piece belongs to a series of works by van de Venne which all incorporate a similar banderole. Grisaille technique was highly popular during the artist's lifetime. The lack of additional colour demanded more precise brushwork in order for the artist to accurately depict shapes, structures and atmosphere.
VENNE, ADRIAEN PIETERSZ. VAN DE 1589 Delft - 1662 The Hague - circle Cupid on the Ice. In the background courtly couple. Below a Dutch epigraph. Oil on copper. 13 x 16cm. Framed.
