François Verwilt Paintings & Artwork for Sale | François Verwilt Art Value Price Guide

Sep. 26, 2024
MALER DES 17. JAHRHUNDERTS AUS DEM UMKREIS DES FRANÇOIS VERWILT (UM 1620 – 1691)
Est: €500 - €700
OLYMPIA WIRD VERLASSEN Öl auf Holz. 27 x 22 cm. In vergoldetem Rahmen. Darstellung einer Szene aus dem 10. Gesang des Versepos „Orlando furioso“ von Ludovico Ariosto (erschienen 1516): Die holländische Prinzessin Olympia wird von ihrem Geliebten Biren nach der letzten gemeinsamen Nacht am Strand verlassen. Allein aufgewacht winkt sie mit einem Laken um die Hüfte, verzweifelt dem in der Ferne verschwindenden Schiff nach. Am linken Bildrand die sitzende Olympia mit Kette am Bein, die spätere erfolgende Fesselung vorwegnehmend, und auf dem Meer der prachtvolle Dreimaster mit Beflaggung unter hohem, wolkenreichen Himmel. (1390481) (18)
Hampel Fine Art Auctions
Jun. 27, 2024
Maler des 17. Jahrhunderts aus dem Umkreis des François Verwilt (um 1620-1691)
Est: €1,000 - €1,500
OLYMPIA WIRD VERLASSEN Öl auf Holz. 27 x 22 cm. In vergoldetem Rahmen. Darstellung einer Szene aus dem 10. Gesang des Versepos „Orlando furioso“ von Ludovico Ariosto (erschienen 1516): Die holländische Prinzessin Olympia wird von ihrem Geliebten Biren nach der letzten gemeinsamen Nacht am Strand verlassen. Allein aufgewacht winkt sie mit einem Laken um die Hüfte, verzweifelt dem in der Ferne verschwindenden Schiff nach. Am linken Bildrand die sitzende Olympia mit Kette am Bein, die spätere erfolgende Fesselung vorwegnehmend, und auf dem Meer der prachtvolle Dreimaster mit Beflaggung unter hohem, wolkenreichen Himmel. (1390481) (18)
Hampel Fine Art Auctions
Mar. 21, 2024
Maler des 17. Jahrhunderts aus dem Umkreis des François Verwilt (um 1620-1691)
Est: €2,000 - €3,000
OLYMPIA WIRD VERLASSEN Öl auf Holz. 27 x 22 cm. In vergoldetem Rahmen. Darstellung einer Szene aus dem 10. Gesang des Versepos „Orlando furioso“ von Ludovico Ariosto (erschienen 1516): Die holländische Prinzessin Olympia wird von ihrem Geliebten Biren nach der letzten gemeinsamen Nacht am Strand verlassen. Allein aufgewacht winkt sie mit einem Laken um die Hüfte, verzweifelt dem in der Ferne verschwindenden Schiff nach. Am linken Bildrand die sitzende Olympia mit Kette am Bein, die spätere erfolgende Fesselung vorwegnehmend, und auf dem Meer der prachtvolle Dreimaster mit Beflaggung unter hohem, wolkenreichen Himmel. (1390481) (18)
Hampel Fine Art Auctions
Mar. 21, 2024
François Verwilt, um 1620 Rotterdam – 1691 ebenda, Umkreis des
Est: €8,000 - €10,000
GemäldepaarACIS UND GALATEA IN DER HÖHLE sowieDER TRIUMPH DER GALATEA Öl auf Leinwand. Doubliert. 39 x 58 cm. In bronzierten Rahmen. Dargestellt wird eine Geschichte aus Ovids Metamorphosen. Der romantische Hirte Acis hatte sich in die auf der Insel Sizilien lebende Meeresnymphe Galatea verliebt. Das andere Gemälde zeigt die Fortsetzung dieser Liebesgeschichte, denn auch Polyphem, der einäugige Riese, hier im Hintergrund mit einer Panflöte auf einem Fels sitzend, ist in Galatea verliebt und tötet Acis mit einem Fels des Ätna Galatea, woraufhin das entströmende Blut in den Fluss Aci am Osthang des Ätna verwandelt. (1390727) (13) François Verwilt, ca. 1620 Rotterdam – 1691 ibid., circle of A pair of paintings. ACIS AND GALATEA IN THE CAVE and THE TRIUMPH OF GALATEA Oil on canvas. Relined. 39 x 58 cm.
Hampel Fine Art Auctions
Dec. 12, 2022
FRANÇOIS VERWITT (ca. 1623, Rotterdam - 1691). "Gallant scene in interior". Oil on panel. Signed. With label of the Sala Parés (Barcelona) on the back.
Est: €3,500 - €4,000
FRANÇOIS VERWITT (ca. 1623, Rotterdam - 1691). "Gallant Scene in an Interior. Oil on panel. Signed. With label of the Sala Parés (Barcelona) on the back. Measurements: 62,5 x 88,5 cm; 78,5 x 104 cm (frame). Author belonging to the German Golden Age, he was the son of the painter Adriaan Verwilt of Antwerp and was apprenticed to Cornelius van Poelenburgh (1586-1667) in Utrecht together with Jan van der Lijs, among others. Verwilt became a versatile painter in many genres, including historical, mythical and biblical landscapes, genre works, portraits, still lifes and contemporary interiors of agriculture and middle-class urban life . He is considered part of the "Poelenburch school of landscape painting". His colours range from the style of Poelenburgh in his landscapes to the chiaroscuro of Rembrandt in depictions of contemporary Dutch life. His paintings are represented in many museums, including those in Amsterdam, Rotterdam, Haarlem, Budapest, Leningrad, Mainz, Osnabrück, Paris, Vienna and elsewhere. There are no biographies or monographs of his works. This painting brings together the most valued attributes of Flemish painting, which during the Baroque period was able to perpetuate the refined technique of masters such as Van Eyck in the treatment of detail, while at the same time domestic scenes gained in naturalness, as we see in this lively interior. An informal gathering seems to be taking place, a meeting of aristocrats enlivened by the music of violinists. A lady is rehearsing her singing, a servant is pouring wine, a noble couple are exchanging confidences.... The ochre and earthy tones of the room act as a chromatic counterpoint to the gauze and velvet cloaks worn by the guests. The
Setdart Auction House
Nov. 26, 2022
François Verwilt (1623-1691) - Attributed, Woman on the Shore
Est: €1,500 - €3,000
The Rotterdam painter François Verwilt was a follower of Cornelis von Poelenburch (1594/95–1667), whose paintings of nude nymphs in landscapes were very popular. A young woman sits chained, half-naked, on the seashore, desperately waving at a large sailboat. The woman wears a white cloth and a golden cloak, a pearl jewel on her right wrist and an earring on her ear. Light blue flags with a yellow stripe fly on the ship's masts. The young woman is certainly of high status, perhaps a princess. It is unclear whether she is trying to call for help or has been abandoned by the ship's crew. The scene is certainly inspired by the myth of Perseus and Andromeda, but it has to tell a different story. It can be a scene from a novel or a play. The type of head of the woman in this image is very close to that of François Verwilt, justifying the attribution to this author.
Fine Antiques Prague s.r.o.
Oct. 08, 2022
François Verwilt (1623-1691) - Attributed, Woman on the Shore
Est: €2,500 - €3,500
The Rotterdam painter François Verwilt was a follower of Cornelis von Poelenburch (1594/95–1667), whose paintings of nude nymphs in landscapes were very popular. A young woman sits chained, half-naked, on the seashore, desperately waving at a large sailboat. The woman wears a white cloth and a golden cloak, a pearl jewel on her right wrist and an earring on her ear. Light blue flags with a yellow stripe fly on the ship's masts. The young woman is certainly of high status, perhaps a princess. It is unclear whether she is trying to call for help or has been abandoned by the ship's crew. The scene is certainly inspired by the myth of Perseus and Andromeda, but it has to tell a different story. It can be a scene from a novel or a play. The type of head of the woman in this image is very close to that of François Verwilt, justifying the attribution to this author.
Fine Antiques Prague s.r.o.
Sep. 28, 2022
FRANÇOIS VERWITT (ca. 1623, Rotterdam - 1691). "Gallant scene in interior".
Est: €4,500 - €5,000
FRANÇOIS VERWITT (ca. 1623, Rotterdam - 1691). "Gallant Scene in an Interior. Oil on panel. Signed. With label of the Sala Parés (Barcelona) on the back. Measurements: 62,5 x 88,5 cm; 78,5 x 104 cm (frame). Author belonging to the German Golden Age, he was the son of the painter Adriaan Verwilt of Antwerp and was apprenticed to Cornelius van Poelenburgh (1586-1667) in Utrecht together with Jan van der Lijs, among others. Verwilt became a versatile painter in many genres, including historical, mythical and biblical landscapes, genre works, portraits, still lifes and contemporary interiors of agriculture and middle-class urban life . He is considered part of the "Poelenburch school of landscape painting". His colours range from the style of Poelenburgh in his landscapes to the chiaroscuro of Rembrandt in depictions of contemporary Dutch life. His paintings are represented in many museums, including those in Amsterdam, Rotterdam, Haarlem, Budapest, Leningrad, Mainz, Osnabrück, Paris, Vienna and elsewhere. There are no biographies or monographs of his works. This painting brings together the most valued attributes of Flemish painting, which during the Baroque period was able to perpetuate the refined technique of masters such as Van Eyck in the treatment of detail, while at the same time domestic scenes gained in naturalness, as we see in this lively interior. An informal gathering seems to be taking place, a meeting of aristocrats enlivened by the music of violinists. A lady is rehearsing her singing, a servant is pouring wine, a noble couple are exchanging confidences.... The ochre and earthy tones of the room act as a chromatic counterpoint to the gauze and velvet cloaks worn by the guests. The
Setdart Auction House
Jun. 02, 2022
Verwilt, François - zugeschrieben: um1660. Tanzende Putti in einer Felsenhöhle
Est: €900 - €1,200
zugeschrieben. Tanzende und spielende Putti in einer Felsenhöhle, im Hintergrund eine Burgruine. -- Öl auf Holz, teils parkettiert. 36,6 x 50 cm. -- -- -- -- - Provenienz: Sammlung Bischoff, Bremen. -- -- - 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
Oct. 20, 2021
FRANÇOIS VERWITT (ca. 1623, Rotterdam - 1691). "Gallant Scene in an Interior. Oil on panel. Signed. With label of the Sala Parés (Barcelona) on the back. Measurements: 62,5 x 88,5 cm; 78,5 x 104 cm (frame).
Est: €4,000 - €5,000
FRANÇOIS VERWITT (ca. 1623, Rotterdam - 1691). "Gallant Scene in an Interior. Oil on panel. Signed. With label of the Sala Parés (Barcelona) on the back. Measurements: 62,5 x 88,5 cm; 78,5 x 104 cm (frame). Author belonging to the German Golden Age, he was the son of the painter Adriaan Verwilt of Antwerp and was apprenticed to Cornelius van Poelenburgh (1586-1667) in Utrecht together with Jan van der Lijs, among others. Verwilt became a versatile painter in many genres, including historical, mythical and biblical landscapes, genre works, portraits, still lifes and contemporary interiors of agriculture and middle-class urban life . He is considered part of the "Poelenburch school of landscape painting". His colours range from the style of Poelenburgh in his landscapes to the chiaroscuro of Rembrandt in depictions of contemporary Dutch life. His paintings are represented in many museums, including those in Amsterdam, Rotterdam, Haarlem, Budapest, Leningrad, Mainz, Osnabrück, Paris, Vienna and elsewhere. There are no biographies or monographs of his works. This painting brings together the most valued attributes of Flemish painting, which during the Baroque period was able to perpetuate the refined technique of masters such as Van Eyck in the treatment of detail, while at the same time domestic scenes gained in naturalness, as we see in this lively interior. An informal gathering seems to be taking place, a meeting of aristocrats enlivened by the music of violinists. A lady is practising her singing, a servant is pouring wine, a noble couple are exchanging confidences.... The ochre and earthy tones of the room act as a chromatic counterpoint to the gauze and velvet cloaks worn by the guests. The glazes of the glass, the collars and breastplates of fine lace, the pleating of the sleeves, the faces alight with conversation..., the precious detailing is combined with the general capture of a warm, welcoming atmosphere. Although Brussels was the political centre of Flanders, Antwerp was the city where the most important artistic activity had been centred since the 16th century. Antwerp had enjoyed a prominent position in Europe during that century, as its port had been the busiest in the Netherlands, and the Netherlands had prospered as a maritime power. Antwerp retained its pre-eminent position as an artistic centre for much of the 17th century, so that when Jan Brueghel, Rubens and Van Dyck were appointed court painters to the Archduchess Elisabeth, they imposed the condition that they could continue to maintain their workshop in Antwerp, rather than going to reside with the court in Brussels. Genre works, or scenes from everyday life, were very common in the 17th century. Many artists followed Pieter Bruegel the Elder's tradition of depicting lower-class peasant scenes, although elegant upper-class subjects were also common, with elegantly dressed couples at balls or in love gardens. Adriaen Brouwer, whose small paintings often show peasants brawling and drinking, was particularly influential on later artists. Paintings of elegantly dressed couples in the latest fashion, often with underlying themes such as love or the five senses, were commonly painted by Hieronymous Francken the Younger, Louis de Caulery, Simon de Vos, David Teniers the Younger and David Rijckaert.
Setdart Auction House
Jun. 30, 2021
FRANÇOIS VERWITT (ca.1623, Rotterdam - 1691). "Gallant scene indoors." Oil on panel.
Est: €4,000 - €5,000
FRANÇOIS VERWITT (ca.1623, Rotterdam - 1691). "Gallant scene indoors." Oil on panel. Signed Take the label of the Parés room (Barcelona) on the back. Measures: 62.5 x 88.5 cm .; 78.5 x 104 cm. (Framework). An author belonging to the German Golden Age, he was the son of the Antwerp painter Adriaan Verwilt and was apprenticed to Cornelius van Poelenburgh (1586-1667) in Utrecht along with Jan van der Lijs, among others. Verwilt became a versatile painter in many genres, including historical, mythical and biblical landscapes, genre works, portraits, still lifes and contemporary interiors of agriculture and middle-class urban life . He is considered part of the "Poelenburch school of landscape painting". His colors range from the style of Poelenburgh in his landscapes to the chiaroscuro of Rembrandt in depictions of contemporary Dutch life. His paintings are represented in many museums, including those in Amsterdam, Rotterdam, Haarlem, Budapest, Leningrad, Mainz, Osnabrück, Paris, Vienna and elsewhere. There are no biographies or monographs of his works. This painting brings together the most valued attributes of Flemish painting, which during the Baroque period was able to perpetuate the refined technique of masters such as Van Eyck in the treatment of details, while domestic scenes gained in naturalness, as we see in this lively interior. An informal gathering seems to be taking place, a meeting of aristocrats enlivened by the music played by violinists. A lady is rehearsing singing, a servant is pouring wine, a noble couple is exchanging confidences.... The ochre and earth tones of the room act as a chromatic counterpoint to the gauze and velvet cloaks worn by the diners. The glazes of the crystal, the collars and breastplates of fine lace, the pleats of the sleeves, the faces lit up by the chatter..., the preciousness of the details is combined with the general capture of a warm, welcoming atmosphere. Although Brussels was the political center of Flanders, Antwerp was the city where the most important artistic activity had been centered since the 16th century. Antwerp had enjoyed a prominent position in Europe during that century, for its port had been the busiest in the Netherlands, and the Netherlands had prospered as a maritime power. Antwerp would retain its pre-eminent position as an artistic center for much of the 17th century, so that when Jan Brueghel, Rubens and Van Dyck were appointed court painters to the Archduchess Elisabeth, they imposed the condition that they could continue to maintain their workshop in Antwerp, rather than going to reside with the court in Brussels. Genre works, or scenes from everyday life, were very common in the 17th century. Many artists followed Pieter Bruegel the Elder's tradition of depicting lower-class peasant scenes, although elegant upper-class subjects were also common, with elegantly dressed couples at balls or in love gardens. Adriaen Brouwer, whose small paintings often show peasants brawling and drinking, was particularly influential on later artists. Paintings of elegantly dressed couples in the latest fashion, often with underlying themes such as love or the five senses, were commonly painted by Hieronymous Francken the Younger, Louis de Caulery, Simon de Vos, David Teniers the Younger, and David Rijckaert.
Setdart Auction House
Jun. 10, 2021
Verwilt, François - zugeschrieben: um1660. Tanzende Putti in einer Felsenhöhle
Est: €2,000 - €3,000
zugeschrieben. Tanzende und spielende Putti in einer Felsenhöhle, im Hintergrund eine Burgruine. Öl auf Holz, teils parkettiert. 36,6 x 50 cm. - 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
Apr. 15, 2021
Attributed to François Verwilt (Rotterdam 1620-1691) The Meeting of Jacob and Laban
Est: £4,000 - £6,000
Attributed to François Verwilt (Rotterdam 1620-1691) The Meeting of Jacob and Laban oil on canvas 98.2 x 128cm (38 11/16 x 50 3/8in). For further information on this lot please visit the Bonhams website
Bonhams
Mar. 25, 2021
François Verwilt, um 1620 Rotterdam - 1691 ebenda
Est: €6,000 - €8,000
ARKADISCHE LANDSCHAFT MIT FIGURENSTAFFAGE Öl auf Kupfer. 23 x 30 cm. Links unten monogrammiert „FV“. Rückwärtig auf der Kupferplatte Vermerke. In barockisierendem Rahmen. Wie in dem vorliegenden Gemälde gut ersichtbar, war Verwilt Mitschüler von Daniel Vertangen (um 1598-1681/84) bei Cornelis van Poelenburgh (1586-1667). Ihm eigen sind die ruinösen Architekturstaffagen zur Linken der Figurengruppe, die in ähnlicher Weise in einigen seiner Gemälde wiederauftauchen, wie z.B. in der Auktion vom 1. Oktober 2009, Lempertz, Köln, Lot. 49. Rahmen besch. (1261609) (13)
Hampel Fine Art Auctions
Mar. 09, 2021
doek, 27,5 x 25, De boetvaardige Maria Magdalena in de wildernis, omgeving François Verwilt (1620/23
Est: €800 - €1,200
doek, 27,5 x 25, De boetvaardige Maria Magdalena in de wildernis, omgeving François Verwilt (1620/23-1691)
Veilinghuis Van Spengen
Jul. 07, 2020
Attributed to François Verwilt (Rotterdam 1620-1691) The Meeting of Jacob and Laban
Est: £7,000 - £10,000
Attributed to François Verwilt (Rotterdam 1620-1691) The Meeting of Jacob and Laban oil on canvas 98.2 x 128cm (38 11/16 x 50 3/8in). For further information on this lot please visit the Bonhams website
Bonhams
Oct. 25, 2017
François Verwilt (Rotterdam 1620-1691) Diana and Callisto
Est: £4,000 - £6,000
François Verwilt (Rotterdam 1620-1691) Diana and Callisto
Bonhams
May. 11, 2013
FRANCOIS VERWILT 1620-1691, Holland, tillskriven
Est: -
FRANCOIS VERWILT 1620-1691, Holland, tillskriven Oljemålning på pannå Den botfärdiga Magdalena 40 x 35 cm Färgskikt har oxiderat, smärre retuscher
Skanes Action House
Dec. 13, 2011
François Verwilt (Rotterdam 1620/23-1691)
Est: €2,500 - €3,500
François Verwilt (Rotterdam 1620/23-1691) The Vision of Saint Jerome signed 'f. vwilt' (lower centre) oil on panel 37.1 x 49.8 cm.
Christie's
Oct. 28, 2010
FRANÇOIS VERWILT
Est: £4,000 - £6,000
FRANÇOIS VERWILT ROTTERDAM CIRCA 1620 - 1691 A GENTLEMAN RESTING DURING THE HUNT, HIS TWO PAGE BOYS IN ATTENDANCE signed lower right: Verwilt oil on panel 41.5 by 54.5 cm.; 16 1/4 by 21 1/2 in.
Sotheby's
Jul. 07, 2010
François Verwilt (Rotterdam 1620-1691) The Nativity
Est: £5,000 - £8,000
The Nativity signed 'Frans v*/wildt' (lower right) oil on panel 50.8 x 36.5cm (20 x 14 3/8in).
Bonhams
Dec. 09, 2009
François Verwilt (Rotterdam 1620-1691) David and Bathsheba
Est: £3,000 - £5,000
David and Bathsheba oil on panel 26 x 27cm (10 3/16 x 10 5/8in).
Bonhams
Oct. 01, 2009
FRANCOIS VERWILT um 1620 - 1691 Rotterdam SÜDLICHE
Est: €4,000 - €5,000
FRANCOIS VERWILT um 1620 - 1691 Rotterdam SÜDLICHE LANDSCHAFT MIT TANZENDEN BACCHANTEN Signiert unten links: Ver Wilt Öl auf Holz. 22,5 x 31,5 cm.
Kunsthaus Lempertz KG
Oct. 01, 2008
FRANCOIS VERWILT um 1620 - 1691 Rotterdam FRANCOIS
Est: €3,000 - €4,000
FRANCOIS VERWILT um 1620 - 1691 Rotterdam FRANCOIS VERWILT, zugeschrieben um 1620 - 1691 Rotterdam DIE BÜSSENDE MARIA MAGDALENA. Öl auf Holz. 25,5 x 18 cm. Provenienz Slg. Julius Quentell, Bremen; Auktion J.M. Heberle (H. Lempertz' Söhne), Köln, 16.-19.12.1885, Lot 219.
Kunsthaus Lempertz KG
Sep. 29, 2004
Francois Verwilt (Rotterdam c. 1620 - 1691)
Est: €3,500 - €5,000
Cranal surgery, signed left of centre fverwilt fecit, oil on panel, 34 x 25 cm, framed, (Wo) Provenance: sale, Hünerberg, Braunschweig, 21 April 1966, no. 90 (repr.); acquired from Francois Parry, art dealer, The Hague.
Dorotheum