Marten de (1532) Vos Paintings & Artwork for Sale | Marten de (1532) Vos Art Value Price Guide

Nov. 22, 2024
Vos, Maerten de (1532-1603) (after). The return of the Prodigal Son.
Est: €200 - €300
Vos, Maerten de (1532-1603) (after). The return of the Prodigal Son. Engraving, 20,2x22,5 cm., Latin caption below. - Cut on/ to the platemark; a foxed spots; sm. brown spot in centre. = Hollstein 1143 (De Vos). Part of the series of Repentant sinners from the Old and New Testament. Gaultier, Léonard (1561-1630/41). The last Judgement. Etching after MICHELANGELO, 31,4x23,4 cm., with "Leonardus Gaultier fecit" engr. in the plate. - Browned; laid down on modern paper; large superficial scratch in lower part; foxed spots. = Le Blanc 18, first state (of 2): "Avant le nom de Mariette". AND 14 other engraved Biblical scenes, 16th-17th cent., i.a. Christ in conversation with Nicodemus (by Raphael SADELER after Maerten DE VOS. Hollstein 18) and Jubal and his family making music (Johannes SADELER after the same. Hollstein 27).
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Nov. 14, 2024
Gerard de Jode Nabal's Feast
Est: €300 - €400
after Maarten de Vos (Antwerp, 1532 - 1603). Engraving, 193 x 256 mm (plate), 280 x 375 mm (sheet). Published by Gerard de Jode. Very fine impression with plate tone, printed on thin laid paper with watermark. At the top, an ancient handwritten inscription in ink. Binding holes along the left side. In very good condition.
Bertolami Fine Art s.r.l.
Oct. 28, 2024
Attributed to MAERTEN DE VOS (Antwerp, 1532-1603). "Roman Charity". Oil on canvas. Relined. It presents restorations on the pictorial surface. The stretcher frame shows damages caused by xylophages.
Est: €10,000 - €14,000
Attributed to MAERTEN DE VOS (Antwerp, 1532-1603). "Roman Charity". Oil on canvas. Relined. It presents restorations on the pictorial surface. The stretcher frame shows damages caused by xylophages. Measurements: 175 x 218 cm; 190 x 232 cm (frame). The theme of the Roman Caritas is based on a tale of Antiquity narrated by the Roman historian Valerius Maximus (1st century BC - 1st century AD) in his "Memorable Facts and Sayings" and starring Pero, a woman who secretly breastfeeds her father, Cimon, already old and imprisoned, sentenced to death by starvation. When they are discovered, the great act of charity so impresses the judges that they decide to release the prisoner. It is therefore an "exemplum" on "pietas" (filial piety), a tale of moralizing function, often introduced in the Middle Ages in the structure of the vulgar sermon. In ancient Rome, the theme was represented in a painting in the temple of Pietas. In fact, among the Romans it was a very popular theme, since it was related to the myth of Etruscan origin according to which Juno suckled Hercules. Pliny the Elder (23-79) related a similar story, about a woman suckled by her daughter while in prison. Aesthetically the work is close to the painting of Maerten De Vos was a Flemish painter and draughtsman of late Mannerism. He was the son of the painter Pieter de Vos, from whom he must have received his first lessons in this art. It is believed that in 1552 he traveled to Italy with Pieter Brueghel the Elder, passing through Florence, Rome, and Venice where he was a pupil of Tintoretto, adopting the mannerist style then in vogue. In 1556 he was back in Antwerp, entering in 1558 as a master in the painters' guild of the city. In 1560 he married Joanna Le Boucq with whom he had eight children, one of them also a painter, Marten de Vos the Younger (1576-1613). Among his most outstanding works are the altarpieces he painted for various associations in his native city: The Triumph of Christ (1590), The Temptations of St. Anthony (1594), St. Luke Painting the Virgin (1602) and The Wedding at Cana (1597). Among his portraits, The Anselmo Family stands out and among his mythological paintings, Apollo and the Muses, where he mixes realism and mannerism, recalling Pieter Aertsen and Tintoretto. As a draughtsman, he was especially active during the years 1580-1585, a period during which the Calvinists held power in Antwerp. He produced a total of more than 1600 drawings that served as models for the most important Dutch engravers of the time. Several of his most unique works are preserved in Spain, such as The Last Judgment (Museo de Bellas Artes de Sevilla), The Abduction of Europa (Museo de Bellas Artes de Bilbao) and a Descent from the Cross (Real Academia de Bellas Artes de San Fernando in Madrid). The Museo Lázaro Galdiano has two triptych wings (portraits of Martín Rodríguez de Arbieto and his wife Catalina as donors) attributed to this artist. It presents restorations on the pictorial surface. The stretcher frame shows damages caused by xylophagous.
Setdart Auction House
Oct. 17, 2024
Engraving by Marten De Vos
Est: $200 - $400
Engraving by Marten De Vos (1532-1603). Entitled "Flight into Egypt". Comes with Global Fine Art COA. Measures 19.5" tall x 21.5" wide. All invoices must be paid within 24 hours of the sale. We offer multiple shipping options please read the shipping terms to understand your options. We also offer Pick-Ups Thursday, Friday, Saturday, and Monday immediately following the sale. BY APPOINTMENT ONLY.
Bodnar's Auction Sales
Sep. 25, 2024
CIRCLE OF MARTEN DE VOS (FLEMISH 1532-1603), THE WISE AND THE FOOLISH VIRGINS
Est: £15,000 - £25,000
CIRCLE OF MARTEN DE VOS (FLEMISH 1532-1603) THE WISE AND THE FOOLISH VIRGINSOil on panel96 x 124cm (37¾ x 48¾ in.)UnframedProvenance: Sale, Dorotheum, Gemalde des 19, Jahrhunderts, 12 June 1990, lot 163 The format of the present composition suggests it may have been intended as an over-door (Sopraporta). The composition has similarities to Maerten de Vos Allegory of the Seven Liberal Arts (Sothebys, London, 7July 2005, Lot 107)
Dreweatts 1759 Fine Sales
Sep. 24, 2024
MARTEN DE VOS Antwerp, Belgium (1532) / (1603) "The Adoration of the Shepherds"
Est: €28,500 - €38,000
Oil on copper Measurements: 52.5 x 31 cm
Ansorena
Sep. 22, 2024
MARTEN DE VOS (1532 ANTWERPEN - 1603 EBENDA) ZUGESCHRIEBEN
Est: -
MARTEN DE VOS (1532 Antwerpen - 1603 ebenda) zugeschrieben Öl auf Holz, "Allegorie der Künste", unsigniert, verso Reste alter Wachssiegel (1x mit verschlungenem Monogramm "ISHV(?)"), mit Expertise von Prof. W. v. Rakint und Kaufbeleg (1992, Auktionshaus Schloss Ahlden), ca. 49,5x41cm, gerahmt (60,5x53,5cm), Firnis, retuschiert (unter Firnis), Galerieton, minimal craqueliert und berieben, minimale Farbfehlstelle
Auktionshaus Rotherbaum OHG
Sep. 10, 2024
Maerten de Vos (Dutch, 1532-1603, The Four Seasons, set of four engravings c.1590, 9.6 x 13.2cm
Est: £300 - £500
Maerten de Vos (Dutch, 1532-1603 The Four Seasons set of four engravings c.1590 Hollstein 1424 – 1427 1/iii, with Philip Galle's address (1st or 2nd edition) Hyems (Winter) with Gothic P watermark
Gorringes
Jul. 15, 2024
The birth of Eve
Est: €4,000 - €6,000
The birth of Eve Oil on panel 93,5x125,5 cm
Veritas Art Auctioneers
Jul. 07, 2024
MARTEN DE VOS (1532 Antwerpen - 1603 ebenda) zugeschrieben
Est: -
MARTEN DE VOS (1532 Antwerpen - 1603 ebenda) zugeschrieben Öl auf Holz, "Allegorie der Künste", unsigniert, verso Reste alter Wachssiegel (1x mit verschlungenem Monogramm "ISHV(?)"), mit Expertise von Prof. W. v. Rakint und Kaufbeleg (1992, Auktionshaus Schloss Ahlden), ca. 49,5x41cm, gerahmt (60,5x53,5cm), Firnis, retuschiert (unter Firnis), Galerieton, minimal craqueliert und berieben, minimale Farbfehlstelle
Auktionshaus Rotherbaum OHG
May. 29, 2024
Circle of MARTEN DE VOS (1532 - 1603) "Adoration of the shepherds". Oil on panel.
Est: €2,200 - €2,500
Circle of MARTEN DE VOS (1532 - 1603) "Adoration of the shepherds". Oil on panel. Measurements: 21 x 30 cm; 20 x 37 cm (frame). Marten de Vos was a Flemish painter known mainly for his allegorical paintings and portraits in particular. He was, along with the brothers Ambrosius Francken I and Frans Francken I, one of the leading history painters of the Spanish Netherlands.De Vos was a prolific draughtsman and produced numerous designs for the Antwerp printers. These circulated widely in Europe and the Spanish colonies and contributed to his international reputation and influence. His designs were also used as models for tapestries and stained glass. In the 1580s he produced multiple designs for engravings and book illustrations. From Mannerism, his style evolved to become clear and descriptive, in perfect correspondence with the ideas of the Counter-Reformation.His brother Pieter de Vos was also a painter and some works previously attributed to Maerten de Vos have been tentatively re-attributed to this brother or the so-called pseudo-de Vos. The so-called Marten de Vos Sketchbook (c. 1560; Rijksmuseum, Amsterdam) containing copies of earlier drawings of classical works of art has now been attributed to the circle of Frans Floris. Following the iconoclastic depredations of the Beeldenstorm, which reached its climax in 1566 and resulted in the destruction of much of the art in the churches of Flanders, de Vos became one of the artists charged with redecorating the plundered churches with new altarpieces. Many of these, such as St. Luke Painting the Virgin (1602), painted for the altar of the Guild of St. Luke in the Cathedral of Our Lady in Antwerp (now in the Royal Museum of Fine Arts in Antwerp) to replace one on the same subject painted by Quinten Metsys and destroyed more than 20 years earlier, and the Wedding at Cana (1597), painted for the guild of wine merchants, were commissioned by leading Antwerp organizations.
Setdart Auction House
May. 25, 2024
P. JOURDY (*1805) after VOS (*1532), Shepherds in the countryside, around 1850, Lithography
Est: €60 - €100
Paul Jourdy (1805 Dijon - 1856 Paris) after Marten de Vos (1532 Antwerp - 1603 ibid.): Shepherds in the countryside, c. 1850, Lithography Technique: Lithography on Paper Date: c. 1850 Description: "Shepherds in the Field." Lithograph after a work by Martin de Vos (1536 -1604). From the series: Pictures of the Flemish, Dutch and German School (ECOLE FLAMANDE, HOLLANDAISE ET ALLEMANDE). Inscribed: Martin de Vos pin/. Jourdy del. Keywords: 19th century, Baroque, Biblical, Belgium, Size: Paper: 19,4 cm x 32,3 cm (7,6 x 12,7 in), Depiction: 14,6 cm x 18,0 cm (5,7 x 7,1 in)
Fichter Kunsthandel
May. 17, 2024
Vos, Maarten de (1532-1603) (after). Dolor. (Old age marred by sorrow).
Est: €50 - €70
Vos, Maarten de (1532-1603) (after). Dolor. (Old age marred by sorrow). Engraving, 22x25,6 cm., titled "Dolor", numb. "4" in the plate (1x in the image and 1x in the caption). - Folded once. = Anonymous copy after Raphael Sadeler. Part of the series of 4 allegorical prints, also representing the Ages of Man. Janssen, Grijsaards in zwart en wit, p.98-100, ill. 38; cf. Hollstein (R. Sadeler) 209; Hollstein (De Vos) 1465.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Apr. 18, 2024
Maerten de Vos, Jan Sadeler, Micaiah is a true prophet of God because of what he announced to King Israel Ahab…
Est: €400 - €500
Micaiah is a true prophet of God because of what he announced to King Israel Ahab... Very rare engraving after Maerten de Vos (1532-1603), engraved by Jan Sadeler I (1550-1600) in Antwerp ca 1582.one example found in the Academia Colleciones in Madrid, Spain. In good condition. Very early impression with the ruling lines to engrave the text clearly visible. Printed on thin laid paper with large margins. High quality engraving. with a good watermark: Gothic P
Old Master Print
Apr. 18, 2024
Maerten de Vos, Jan Sadeler, The last supper
Est: €450 - €550
The last supper, engraving after Maerten de Vos (1532-1603), engraved by Jan Sadeler I (1550-1600) in Antwerp ca 1582. References: Hollstein Dutch 221 Sadeler, Hollstein Dutch 422 Maerten de Vos. Good dark impression, printed on thin laid paper with narrow margins. High quality engraving.
Old Master Print
Apr. 18, 2024
Maerten de Vos, Claes Jan Visscher, Abraham casted out Hagar and Ishmael.
Est: €225 - €350
Abraham casted out Hagar and Ishmael. Rare engraving after Maerten de Vos (1532-1603), engraving made in the atelier of Claes Jan Visscher and published by Claes Jan Visscher (1587-1652) in Amsterdam ca 1603 - 1652. References: Hollstein Dutch 65-copy this is not from royal bible of Claes Jan Visscher. Good impression on thin laid paper on the margins image complete.
Old Master Print
Apr. 18, 2024
Anthonie Wierix, Maerten de Vos, The Crucifixion, First state
Est: €400 - €500
Passion of Christ: The Crucifixion; three soldiers seen nailing and tying Christ to the Cross; Pilate on a horseback giving orders to two soldiers; in a decorative border with animals and flowers including a rose. Engraving made by Antonius Wierix (1552-1604) after: Maarten de Vos (1532-1603), published by: Eduard van Hoeswinckel (fl. 1570s-died 1583). A first state on five before the text, signatures and the number. The border reminds the decoration of hand painted miniatures, especially the ones in the style of Bruges from 15th century. The mixture of animals and flowers is very attractive.
Old Master Print
Apr. 10, 2024
FLEMISH SCHOOL (17th century) "Scenes from Genesis"
Est: €7,500 - €10,000
Four oil paintings on copper Made from the engravings of Jan Sadeler (1550-1600) according to designs by Marten de Vos (1532-1603) Measurements: 38 x 48.5 cm
Ansorena
Apr. 10, 2024
MARTEN DE VOS (Antwerp, Belgium, 1532 - 1603); c. 1600. "The Adoration of the Shepherds". Oil on copper.
Est: €80,000 - €100,000
MARTEN DE VOS (Antwerp, Belgium, 1532 - 1603); c. 1600. "The Adoration of the Shepherds". Oil on copper. Measurements: 52.5 x 31 cm; 75 x 64 cm (frame). This Adoration of the Shepherds is represented in front of a classical ruins sublimated with a palette of blues that reveal the scenographic taste of the hand of Marten de Vos. The characters are crowded in the foreground around the Child Jesus, who occupies a central place. The gestural emphasis and clothing individualize each figure, giving them all personality. De Vos' quality can be appreciated in their characterizations and elegance of demeanor, as well as in the exquisite treatment of the fabrics. Also typical of his workshop were the rich and varied shades of grays and blues of the landscape in contrast with the warm shades of the costumes. Stylistically, the uniqueness of the painting is given by the confluence of inspirations: classicism does not completely erase the mannerist influence, which remains latent in the representation of human models. Thus, a new style is created, freely inspired by what they considered the best of the classical past, but also impregnated with contemporary influences. This work is the first execution on this theme by Marten de Vos, and later the engraving we see in the images was made. Marten de Vos was a Flemish painter known mainly for his allegorical paintings and portraits in particular. He was, along with the brothers Ambrosius Francken I and Frans Francken I, one of the leading history painters of the Spanish Netherlands. De Vos was a prolific draughtsman and produced numerous designs for the Antwerp printers. These circulated widely in Europe and the Spanish colonies and contributed to his international reputation and influence. His designs were also used as models for tapestries and stained glass. In the 1580s he produced multiple designs for engravings and book illustrations. From Mannerism, his style evolved to become clear and descriptive, in perfect correspondence with the ideas of the Counter-Reformation.His brother Pieter de Vos was also a painter and some works previously attributed to Maerten de Vos have been tentatively re-attributed to this brother or the so-called pseudo-de Vos. The so-called Marten de Vos Sketchbook (c. 1560; Rijksmuseum, Amsterdam) containing copies of earlier drawings of classical works of art has now been attributed to the circle of Frans Floris. Following the iconoclastic depredations of the Beeldenstorm, which reached its climax in 1566 and resulted in the destruction of much of the art in the churches of Flanders, de Vos became one of the artists charged with redecorating the plundered churches with new altarpieces. Many of these, such as St. Luke Painting the Virgin (1602), painted for the altar of the Guild of St. Luke in the Cathedral of Our Lady in Antwerp (now in the Royal Museum of Fine Arts in Antwerp) to replace one on the same subject painted by Quinten Metsys and destroyed more than 20 years earlier, and the Wedding at Cana (1597), painted for the guild of wine merchants, were commissioned by leading Antwerp organizations.
Setdart Auction House
Apr. 10, 2024
Attributed to MAERTEN DE VOS (Antwerp, 1532-1603). "Roman Charity". Oil on canvas. Relined. It presents restorations on the pictorial surface. The stretcher frame shows damages caused by xylophages.
Est: €15,000 - €16,000
Attributed to MAERTEN DE VOS (Antwerp, 1532-1603). "Roman Charity". Oil on canvas. Relined. It presents restorations on the pictorial surface. The stretcher frame shows damages caused by xylophages. Measurements: 175 x 218 cm; 190 x 232 cm (frame). The theme of the Roman Caritas is based on a tale of Antiquity narrated by the Roman historian Valerius Maximus (1st century BC - 1st century AD) in his "Memorable Facts and Sayings" and starring Pero, a woman who secretly breastfeeds her father, Cimon, already old and imprisoned, sentenced to death by starvation. When they are discovered, the great act of charity so impresses the judges that they decide to release the prisoner. It is therefore an "exemplum" on "pietas" (filial piety), a tale of moralizing function, often introduced in the Middle Ages in the structure of the vulgar sermon. In ancient Rome, the theme was represented in a painting in the temple of Pietas. In fact, among the Romans it was a very popular theme, since it was related to the myth of Etruscan origin according to which Juno suckled Hercules. Pliny the Elder (23-79) related a similar story, about a woman suckled by her daughter while in prison. Aesthetically the work is close to the painting of Maerten De Vos was a Flemish painter and draughtsman of late Mannerism. He was the son of the painter Pieter de Vos, from whom he must have received his first lessons in this art. It is believed that in 1552 he traveled to Italy with Pieter Brueghel the Elder, passing through Florence, Rome, and Venice where he was a pupil of Tintoretto, adopting the mannerist style then in vogue. In 1556 he was back in Antwerp, entering in 1558 as a master in the painters' guild of the city. In 1560 he married Joanna Le Boucq with whom he had eight children, one of them also a painter, Marten de Vos the Younger (1576-1613). Among his most outstanding works are the altarpieces he painted for various associations in his native city: The Triumph of Christ (1590), The Temptations of St. Anthony (1594), St. Luke Painting the Virgin (1602) and The Wedding at Cana (1597). Among his portraits, The Anselmo Family stands out and among his mythological paintings, Apollo and the Muses, where he mixes realism and mannerism, recalling Pieter Aertsen and Tintoretto. As a draughtsman, he was especially active during the years 1580-1585, a period during which the Calvinists held power in Antwerp. He produced a total of more than 1600 drawings that served as models for the most important Dutch engravers of the time. Several of his most unique works are preserved in Spain, such as The Last Judgment (Museo de Bellas Artes de Sevilla), The Abduction of Europa (Museo de Bellas Artes de Bilbao) and a Descent from the Cross (Real Academia de Bellas Artes de San Fernando in Madrid). The Museo Lázaro Galdiano has two triptych wings (portraits of Martín Rodríguez de Arbieto and his wife Catalina as donors) attributed to this artist.
Setdart Auction House
Mar. 23, 2024
C. PASSE (*1564) after VOS (*1532), Murder of the priest Ahimelech, 1591, Copper engraving
Est: €450 - €600
Cryspin de Passe (1564 Arnemuiden - 1637 Utrecht) after Marten de Vos (1532 Antwerp - 1603 ibid.): The murder of the priest Ahimelech, 1591, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Date: 1591 Description: The caption reads "Dum Responsa DEI pro te Iessae rogantur, Pertulit AHIMELECH Saule fuerente necem.", German: "Because for you, son of Isaia, God was questioned, Ahimelech suffered death at the hands of the enraged Saul.". The three protagonists - King Saul, Ahimelech and Doëg - are depicted in the foreground. Saul, who can be recognised by his crown, sceptre, armour and the soldiers standing behind him, gives the order to kill with his left hand. The priestly hat of Ahimelech, who is lying on the ground, has fallen from his head and he is trying to protect himself from Doëg, who is about to kill him with his sword. According to the Old Testament tradition (1 Sam 21, 1-10; 1 Sam 22, 6-23); published by Aegidius (1570-1629) and Johannes (1550-1600/01) Sadeler; from the "Triumphus Martyrum" series of 1591. Keywords: 16th century, Figurative, Biblical, Netherlands,
Fichter Kunsthandel
Mar. 21, 2024
Flämischer Maler der ersten Hälfte des 17. Jahrhunderts
Est: €5,000 - €7,000
DIE OPFERUNG DES ISAAK Öl auf Holz. Verso drei Parkettierleisten. Ca. 106 x 76 cm. Das Gemälde wohl auf ein Vorbild von Marten de Vos (1532-1603) zurückgehend, das als 1580 entstandener Kupferstich Verbreitung fand. Der in bergiger Landschaft auf einer Anhöhe stehende bärtige Abraham mit rotem Mantelüberwurf hat gerade ein großes Schwert erhoben, um seinen seitlich vor ihm knienden Sohn Isaak auf Geheiß Gottes zu töten. Durch einen großen fliegenden Engel in bewegtem gelb-goldenen Gewand wird er gerade noch von seinem Vorhaben abgehalten. Nach rechts fällt der Blick in ein Tal mit Häusern, nach links in einen Wald, in dem ein Widder zu erkennen ist, den er schließlich anstelle seines Sohnes opfert. (1390815) (18)
Hampel Fine Art Auctions
Feb. 24, 2024
Flemish School (16th century) after de Vos, Marten (1532 Antwerp - 1603 ibid.),
Est: -
Flemish School (16th century) after de Vos, Marten (1532 Antwerp - 1603 ibid.), "Adoration of the Magi", Oil on panel, 64 x 49 cm, age-related losses of colour. The composition of this depiction of the Holy Family in Adoration of the Magi is probably based on a painting by the Flemish painter Marten de Vos. However, regardless of the similar constellation of figures, it is in all likelihood an independent work by a painter of the late 16th or early 17th century. Flämische Schule (16. Jahrhundert) nach de Vos, Marten (1532 Antwerpen - 1603 ebenda), "Anbetung der Heiligen Könige", Öl auf Holz, 64 x 49 cm, altersbedingte Farbverluste. Die Darstellung der Heiligen Familie in Anbetung der Heiligen drei Könige geht in ihrer Bildkomposition wohl auf ein Gemälde des flämischen Malers Marten de Vos zurück. Es handelt sich jedoch unabhängig der ähnlichen Figurenkonstellation aller Wahrscheinlichkeit nach um ein eigenständiges Werk eines Malers des späten 16. oder frühen 17. Jahrhunderts.
Auktionshaus Plückbaum
Feb. 21, 2024
Maarten de Vos (Anversa 1531 - 1603), Attribuito a, San Michele Arcangelo
Est: €1,600 - €2,000
Maarten de Vos (Anversa 1531 - 1603), Attribuito a, San Michele Arcangelo olio su rame cm 21x16
Casa D'aste Guidoriccio
Feb. 14, 2024
Martin de Vos (1532 - 1603), A portrait of a gentleman
Est: £40,000 - £60,000
Martin de Vos (1532 - 1603) A portrait of a gentleman Oil on panel Signed middle right, 'AD VOS F' Inscribed upper left, 'Ã†TATIS SVÃ† 51 AN M V LXIIII'Â Property of a GentlemanÂ Antwerp in the 1550s was the financial centre of the whole world, brokering and financing kings and nations. No trading country failed to send representatives there. This vigourous and powerful portrait, clearly of a highly successful Antwerp merchant in his prime, is a wonderful depiction, with the gloves, the rich black coat and the fur lined collar, of wealth and power and mercantile expertise.Â Provenance:Â Sothebyâ€™s, London 24th March 1971, Lot 109, Martin De Vos, Portrait of a Gentleman; with Richard Philp Gallery, London; acquired from the above by the vendor c.1982.Â Literature:Â Armin Zweite, Marten de Vos als maler, 1980. â€œPortrait of an unknown man,â€ illustrated.Â Dimensions: (Canvas)Â 50 in. (H) x 37 in. (W) (Frame) 67.5 in. (H) x 53 in. (W)
Sloane Street Auctions
Jan. 29, 2024
OLD MASTER AFTER MARTEN DE VOS (
Est: -
Old Master after Marten de Vos (1532-1603), 17th/18th century, The Martyrdom of St. James the Younger, oil/wood, with caption, after a model by Marten de Vos, engraved by Hendrick Goltzius (1558 - 1617), 53 x 58 cm, framed 57 x 62 cm .
Historia Auctionata
Jan. 20, 2024
A. COLLAERT (*1560) after VOS (*1532), The triumphant Julius Caesar, around 1600, Copper engraving
Est: €750 - €1,000
Adriaen Collaert (around 1560 Antwerp - around 1618 ibid.) after Marten de Vos (1532 Antwerp - 1603 ibid.): The triumphant Julius Caesar on horseback in front of a veduta of Rome, c. 1600, Copper engraving Technique: Copper engraving on Paper Inscription: Lower middle signed in the printing plate: "M. de Vos invent. / M. Coll. sculp. et. excud.". Date: c. 1600 Description: Historicising depiction with the victorious Roman general and emperor Julius Caesar. On horseback and with triumphantly raised flag he rides over the defeated enemies. On the left is the city of Rome with its most prominent ancient monuments. On the right, a sea monster rises from the water and snaps in vain at the rider. Keywords: Caesar, Horse, Engraving, Rome, Italy, Emperor, City, Eagle, 17th century, Baroque, Military, Italy, Rome (Latium),
Fichter Kunsthandel
Dec. 14, 2023
Maerten de Vos, Jan Sadeler, Christ cast out of Nazareth.
Est: €300 - €475
Christ cast out of Nazareth, from Scenes from the new testament. Engraving after a drawing/painting of Maerten de Vos (1532-1603). Engraving made and published by Jan Sadeler (1550-1600) in Cologne ca 1581. Hollstein Dutch 399 Maerten de Vos, only state. Good dark impression. Engraving printed on thin laid paper trimmed just on the margins and just in the left margin. Here with a good watermark Gothic P.
Old Master Print
Dec. 14, 2023
Maerten de Vos, Theodor Galle - Poverty breeds humility
Est: €280 - €340
From one of the nicest humanistic series.: Poverty Breeds Humility, from the series Circvlvs Vicissitvdinis Rervm Hvmanarvm. The personification of Poverty (Pauperies), dressed in rags, sits in a winter landscape on a chair made of tree branches and straw. Behind her is a shabby house. At her feet sits Humility (Humilitas): a girl with a shepherd's staff and a cleft heart in her hands. A shabby village and beggars can be seen in the left background. The print has a Latin caption and is part of a series of eight plates on human actions: Circvlvs Vicissitvdinis Rervm Hvmanarvm. Every condition creates another until the circle of life is completed. Both are shown the present full scale and the following in smaller scale at their feet.
Old Master Print
Dec. 14, 2023
Maerten de Vos, Anthony Wierix, Jonah cast on shore by the whale, F.J. Bauweraerts
Est: €425 - €525
Jonah cast on shore by the whale. Very rare engraving after a drawing/painting of Maerten de Vos (1532-1603). Engraving made Anthony Wierix II (1552-1624) in Antwerp ca 1579-1610. Published in Antwerp by Johannes Baptista Vrints 51552-1610) in Antwerp ca 1579-1610 .References: Hollstein Dutch 50 1(2) First state. From a rare series of the history of Jonah. Rijksmuseum has one where Jonah is thrown into the sea. A good impression of this engraving, printed on thin laid paper with 1 mm margins. In excellent condition.. Collectors mark: Lugt L 3325 Franciscus Josephus Bauweraerts (Antwerp 1898-1983).
Old Master Print
Dec. 02, 2023
C. PASSE (*1564) after VOS (*1532), Murder of the priest Ahimelech, 1591,
Est: €450 - €600
Cryspin de Passe (1564 Arnemuiden - 1637 Utrecht) after Marten de Vos (1532 Antwerp - 1603 ibid.): The murder of the priest Ahimelech, 1591, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Date: 1591 Description: The caption reads "Dum Responsa DEI pro te Iessae rogantur, Pertulit AHIMELECH Saule fuerente necem.", German: "Because for you, son of Isaia, God was questioned, Ahimelech suffered death at the hands of the enraged Saul.". The three protagonists - King Saul, Ahimelech and Doëg - are depicted in the foreground. Saul, who can be recognised by his crown, sceptre, armour and the soldiers standing behind him, gives the order to kill with his left hand. The priestly hat of Ahimelech, who is lying on the ground, has fallen from his head and he is trying to protect himself from Doëg, who is about to kill him with his sword. According to the Old Testament tradition (1 Sam 21, 1-10; 1 Sam 22, 6-23); published by Aegidius (1570-1629) and Johannes (1550-1600/01) Sadeler; from the "Triumphus Martyrum" series of 1591. Keywords: 16th century, Figurative, Biblical, Netherlands,
Fichter Kunsthandel
Nov. 29, 2023
Star Lot - "THE FINAL JUDGMENT" - Attributed to Marten de Vos (Antwerp, 1532 - 1603) Flemish Renaissance School of the 16th century, large oil painting on oak panel
Est: €140,000 - €180,000
Oil on oak panel of large dimensions and outstanding condition, measurements only panel: 126 x 101 cm, measurements with frame: 147 x 122 cm. In this magnificent and monumental composition we observe an allegory of the Last Judgment, we observe Christ the Redeemer together with the Most Holy Mary and the Holy Spirit surrounded by his Apostles, watching mercifully rescue the souls from Purgatory, in a clear allegory of the catechizing message that the Catholic Church of the era in Renaissance Europe wanted to transmit, through the power of Jesus Christ, prayer, repentance and recognition of man's sins and Jesus Christ as the only way of redemption for sinful souls. Marten de Vos (or Martín, Maerten or Maarten de Vos) (Antwerp, 1532 - Antwerp, 1603) one of the greatest exponents of the Flemish Renaissance known mainly for his paintings and designs of historical and allegorical themes, religious and mythological compositions. A trip to Italy together with Pieter Brueghel the Elder is documented in 1552, passing through Florence, Rome, and Venice where he was a student of Tintoretto, adopting the Mannerist style in fashion at the time. In 1556 he was back in Antwerp, entering in 1558 as a teacher in the city's guild of painters. In 1560 he married Joanna Le Boucq with whom he had eight children, one of them also a painter, Marten de Vos the Younger (1576–1613). Among his most outstanding works are the pictorial altarpieces he made for various associations in his hometown: The Triumph of Christ (1590), The Temptations of Saint Anthony (1594), Saint Luke painting the Virgin (1602) and The Wedding at Cana ( 1597). Among his portraits, The Anselmo Family stands out, and among his mythological paintings, Apollo and the Muses, where he mixes realism and mannerism, recalling Pieter Aertsen and Tintoretto. As a draftsman, he was especially active during the years 1580-1585, a period during which the Calvinists held power in Antwerp. He made a total of more than 1,600 drawings that served as a model for the most important Dutch engravers of the time. Several of his most unique works are preserved in Spain, such as The Last Judgment (Museum of Fine Arts of Seville), The Abduction of Europe (Museum of Fine Arts of Bilbao) and a Descent, in the Royal Academy of Fine Arts of San Fernando in Madrid, along with an Allegory of Abundance. The Lázaro Galdiano Museum has two triptych wings (portraits of Martín Rodríguez de Arbieto and his wife Catalina as donors) that are attributed to this artist. For its part, the Prado Museum has two important representations of a series on the elements, namely: Air and Earth, as well as a passage on the Life of Jesus. Reference bibliography: Fernand Hazan (Editor). Universal Dictionary of Art and Artists. Painters. Volume III. Editorial Gustavo Gili, 1970. Provenance: important Catalan private collection, Barcelona.
Templum Fine Art Auctions
Nov. 21, 2023
(attributable to) MARTEN DE VOS (1532-1603), BIRTH OF EVE
Est: €5,000 - €8,000
(attributable to) MARTEN DE VOS (1532-1603), BIRTH OF EVE Important oil on oak wood. Profusely carved and silver wood frame, with beads and acanthus leaves. Dim.: 93.5x125.5 cm.
Renascimento
Nov. 15, 2023
MAERTEN DE VOS (ANVERS 1532-1603) La Cène plume et encre brune, lavis brun,
Est: €20,000 - €30,000
MAERTEN DE VOS (ANVERS 1532-1603) La Cène plume et encre brune, lavis brun, rehaussé de blanc, sur papier brun clair 37,5 x 30,5 cm (14. 3⁄4 x 12 in.)
Christie's
Nov. 14, 2023
VOS, Maerten de (1531/32-1603). (First, second, third and fourth day of
Est: €240 - €300
VOS, Maerten de (1531/32-1603). (First, second, third and fourth day of Creation). (Amst.), C.J. Visscher, (1639 or 1643). 4 engr. (from a series of 7) by ?? after Johannes Sadeler, numbered "1-4" and "I-IV. Dies" in the plate. 196 x 250 mm each.
Burgersdijk & Niermans
Oct. 18, 2023
Circle of MARTEN DE VOS (1532 - 1603); c.1600. "The final judgement". Oil on table. It presents repaints and faults on the pictorial surface. Precise consolidation of the paint.
Est: €3,000 - €3,500
Circle of MARTEN DE VOS (1532 - 1603); c. 1600. "The Last Judgement. Oil on panel. It has repainting and faults on the pictorial surface. The painting needs to be consolidated. Size: 95 x 133,5 cm; 119 x 157 cm (frame). The author of this work recreates the Last Judgement following Renaissance iconography, with a composition arranged on two planes, the heavenly and the earthly. At the top, Christ appears in the centre as the judge, raising his hand in blessing as a sign of authority, on a cloud in the shape of an orb, symbolising the universality of Christian doctrine and, therefore, of the Judgement itself. He is accompanied on either side by Saint Joseph and the Virgin, intercessor for humanity at the Judgement. The upper plane is completed on either side by various important figures from religious history, such as Moses, who can be seen with the tablets on the left-hand side of the composition. In the lower plane, the large size of the figures stands out, as they are larger than the figures in the celestial plane. This is due to the fact that the artist has tried to represent pictorially the greater distance between the viewer and the sky, which is, after all, above his head. This work is based on an engraving by Marten de Vos who was a Flemish painter known mainly for his allegorical paintings and portraits in particular. He was, along with the brothers Ambrosius Francken I and Frans Francken I, one of the leading history painters of the Spanish Netherlands. De Vos was a prolific draughtsman and produced numerous designs for the Antwerp printers. These circulated widely in Europe and the Spanish colonies and contributed to his international reputation and influence. His designs were also used as models for tapestries and stained glass. In the 1580s he produced multiple designs for engravings and book illustrations. From Mannerism his style evolved to become clear and descriptive, in perfect correspondence with Counter-Reformation ideas, and his brother Pieter de Vos was also a painter and some works previously attributed to Maerten de Vos have been tentatively re-attributed to him or to the so-called pseudo-de Vos. The so-called Marten de Vos Sketchbook (c. 1560; Rijksmuseum, Amsterdam) containing copies of earlier drawings of classical works of art has now been attributed to the circle of Frans Floris. Following the iconoclastic depredations of the Beeldenstorm, which reached its climax in 1566 and resulted in the destruction of much of the art in the churches of Flanders, de Vos became one of the artists commissioned to redecorate the plundered churches with new altarpieces. Many of these, such as Saint Luke Painting the Virgin (1602), painted for the altar of the Guild of Saint Luke in the Cathedral of Our Lady in Antwerp (now in the Royal Museum of Fine Arts in Antwerp) to replace one on the same subject painted by Quinten Metsys and destroyed more than 20 years earlier, and the Wedding at Cana (1597), painted for the guild of wine merchants, were commissioned by leading Antwerp organisations.
Setdart Auction House
Sep. 23, 2023
P. JOURDY (1805-1856), Portrait of Mr de Vos (1532-1603), around 1850, Lithography
Est: €60 - €100
Paul Jourdy (1805 Dijon - 1856 Paris): Porträt Marten de Vos (1532 Antwerp - 1603 Antwerp), c. 1850, Lithography Technique: Lithography on Paper, mounted on Paper Date: c. 1850 Description: Portrait of the painter Martin de Vos (1536 -1604). He was a painter of the Flemish School. From the series: Pictures of the Flemish, Dutch and German School (ECOLE FLAMANDE, HOLLANDAISE ET ALLEMANDE). Signed: Jourdy. Inscribed: MARTIN DE VOS. Person: Marten de Vos (1532 - 1603 ) Keywords: 19th century, Baroque, Portraits, France,
Fichter Kunsthandel
Sep. 22, 2023
DEUTSCH. Martyrium des Hl. Paulus. Öl auf Holz.
Est: €300 - €400
DEUTSCH wohl 18. Jh. Martyrium des Hl. Paulus Öl auf Holz. Beschädigt. 53 x 58 cm. Rahmen. Mit Bildunterschrift: "Baulllus das auser wehlte [...]." Nach einer Vorlage von Marten de Vos (1532-1603), gestochen von Hendrick Goltzius (1558 - 1617).
Scheublein Art & Auktionen
Sep. 22, 2023
DEUTSCH. Das Martyrium des Hl. Jakobus des Jüngeren. Öl auf Holz.
Est: €300 - €400
DEUTSCH wohl 18. Jh. Das Martyrium des Hl. Jakobus des Jüngeren Öl auf Holz. Beschädigt. 53 x 58 cm. Rahmen. Bildunterschirft: "Jakobus zu Jerusalem [...]." Nach einer Vorlage von Marten de Vos (1532-1603), gestochen von Hendrick Goltzius (1558 - 1617).
Scheublein Art & Auktionen
Aug. 24, 2023
Drie religieuze voorstellingen. "De annunciatie". Jan Sadeler I (1550-1600) naar Maarten de Vos (1532-1603). Gedateerd "1579" (l.o.) en "CUM GRAT. ET PRIVIL. S. CÆS M" en "M.DE. VOS INVE / SADELERFECIT" (r.o.). Jaar afdruk onbekend; "Petrus".
Est: €70 - €150
Drie religieuze voorstellingen. "De annunciatie". Jan Sadeler I (1550-1600) naar Maarten de Vos (1532-1603). Gedateerd "1579" (l.o.) en "CUM GRAT. ET PRIVIL. S. CÆS M" en "M.DE. VOS INVE / SADELERFECIT" (r.o.). Jaar afdruk onbekend; "Petrus". Duitse school, 17e eeuw of later; daarbij een devotieprentje van Maria met kind, 18e eeuw.
Vendu Rotterdam
Jul. 12, 2023
Circle of MARTEN DE VOS (1532 - 1603); c.1600. "The final judgement". Oil on table. It presents repaints and faults on the pictorial surface. Precise consolidation of the paint.
Est: €3,500 - €4,000
Circle of MARTEN DE VOS (1532 - 1603); c. 1600. "The Last Judgement. Oil on panel. It has repainting and faults on the pictorial surface. The painting needs to be consolidated. Size: 95 x 133,5 cm; 119 x 157 cm (frame). The author of this work recreates the Last Judgement following Renaissance iconography, with a composition arranged on two planes, the heavenly and the earthly. At the top, Christ appears in the centre as the judge, raising his hand in blessing as a sign of authority, on a cloud in the shape of an orb, symbolising the universality of Christian doctrine and, therefore, of the Judgement itself. He is accompanied on either side by Saint Joseph and the Virgin, intercessor for humanity at the Judgement. The upper plane is completed on either side by various important figures from religious history, such as Moses, who can be seen with the tablets on the left-hand side of the composition. In the lower plane, the large size of the figures stands out, as they are larger than the figures in the celestial plane. This is due to the fact that the artist has tried to represent pictorially the greater distance between the viewer and the sky, which is, after all, above his head. This work is based on an engraving by Marten de Vos who was a Flemish painter known mainly for his allegorical paintings and portraits in particular. He was, along with the brothers Ambrosius Francken I and Frans Francken I, one of the leading history painters of the Spanish Netherlands. De Vos was a prolific draughtsman and produced numerous designs for the Antwerp printers. These circulated widely in Europe and the Spanish colonies and contributed to his international reputation and influence. His designs were also used as models for tapestries and stained glass. In the 1580s he produced multiple designs for engravings and book illustrations. From Mannerism his style evolved to become clear and descriptive, in perfect correspondence with Counter-Reformation ideas, and his brother Pieter de Vos was also a painter and some works previously attributed to Maerten de Vos have been tentatively re-attributed to him or to the so-called pseudo-de Vos. The so-called Marten de Vos Sketchbook (c. 1560; Rijksmuseum, Amsterdam) containing copies of earlier drawings of classical works of art has now been attributed to the circle of Frans Floris. Following the iconoclastic depredations of the Beeldenstorm, which reached its climax in 1566 and resulted in the destruction of much of the art in the churches of Flanders, de Vos became one of the artists commissioned to redecorate the plundered churches with new altarpieces. Many of these, such as Saint Luke Painting the Virgin (1602), painted for the altar of the Guild of Saint Luke in the Cathedral of Our Lady in Antwerp (now in the Royal Museum of Fine Arts in Antwerp) to replace one on the same subject painted by Quinten Metsys and destroyed more than 20 years earlier, and the Wedding at Cana (1597), painted for the guild of wine merchants, were commissioned by leading Antwerp organisations.
Setdart Auction House
Jun. 29, 2023
Marten de Vos, 1532 Antwerpen – 1603 ebenda, Umkreis des
Est: €5,000 - €7,000
DIE GEBURT JESU MIT DER ANBETUNG DER ENGEL Öl auf Holz. 66,5 x 51 cm. Verso auf altem Aufkleber nummeriert und bezeichnet „Nr 66 Altdeutscher Meister...“ Die nächtliche Darstellung zeigt die Heilige Familie mit dem auf einem weißen faltenreichen Laken liegenden, nackten langgestreckten Jesusknaben mit Strahlennimbus. Dahinterstehend in blauem Gewand, teils mit goldenen Sternen verziert und einem dunkelblauen Mantel, Maria mit fein gefalteten Händen, liebevoll auf ihren Sohn herabblickend. Am linken Bildrand mit rotem Umhang und weißem Bart sowie einem umgehängten Hut auf den Schultern Josef, der ebenfalls auf das Kind schaut. Zwischen beiden mehrere Engel mit kleinen Flügeln, teils das Kind anbetend, teils überrascht mit leicht ausgebreiteten Händen, von denen nur der rechtsseitig Kniende aus dem Bild auf den Betrachter hinausschaut. Im Hintergrund seitlich rechts ein großer Ochse und ein Esel, während im Hintergrund links die Ruine eines hohen Gebäudes mit Rundbögen und Säulen erkennbar ist. Im rechten oberen Hintergrund der Ausblick auf den mit dunklen Wolken versehen Himmel, der an einer Stelle hell aufgerissen ist und in der ein Engel erscheint, der den am Boden befindliche Hirten durch einen Lichtstrahl die Geburt Jesu verkündet. Feine malerische Darstellung eines in der Kunstgeschichte beliebten Motivs. (13621321) (18)
Hampel Fine Art Auctions
Jun. 29, 2023
Marten de Vos, 1532 Antwerpen – 1603 ebenda, Umkreis
Est: €12,000 - €15,000
ANBETUNG DER HIRTEN MIT ENGELN Öl auf Holz. Parkettiert. 99 x 77,5 cm. Verso auf dem Keilrahmen altes Sammlungsetikett „Marten de Vos“, Rahmen mit Sammlungsnummer „181“. In elegant geschweiftem ebonisiertem und teilvergoldetem Holzrahmen. Marten de Vos war schon früh nach Rom gereist (1552-1558) und besuchte auch Florenz und Venedig, bevor er 1558 Meister der St. Lukas-Gilde in Antwerpen wurde. Inmitten einer klassischen Architektur, die von den Altertümern Roms entlehnt sein dürfte im Vordergrund das Jesuskind auf einer Strohstatt liegend. Von dem Jesuskind mit seinem mystischen Lichtnimbus scheint die Lichtquelle auszugehen, von der die umstehenden Figuren ihre Beleuchtung und im übertragenen Sinne auch Erleuchtung zu empfangen scheinen. Dies sind drei Engel, die Hirten mit ihren Stäben, teils in komplizierter körperlicher Drehung wiedergegeben, sowie die kniende Mutter Gottes betend und Josef, dahinter Ochs und Esel. Mit original gusseiserner Aufhängung. Provenienz: Nordfranzösische Privatsammlung. Anmerkung: In der Galleria di Palazzo Bianco, Genua, wird unter der Inv.Nr. PB 1396 ein kleines Gemälde mit nur 20 x 15 cm verwahrt, das dem hier angebotenen Werk in kompositorischer und qualitativer Hinsicht ähnelt. Literatur: Vgl. zu dem Genueser Gemälde siehe Maria Fontana Amoretti, Liguria. Repertory of Dutch and Flemish paintings in Italian public collections, Florenz 1998, S. 285. (13501522) (13) Marten de Vos, 1532 Antwerp – 1603 ibid., circle of THE ADORATION OF THE SHEPHERDS WITH ANGELS Oil on panel. Parquetted. 99 x 77.5 cm. Notes: A small painting measuring only 20 x 15 cm is held at the Galleria di Palazzo Bianco, Genoa, under the inv. no. PB 1396. It is similar in composition and quality to the work on offer for sale in this lot.
Hampel Fine Art Auctions
Jun. 27, 2023
Simone Barabino Sposalizio della Vergine ¶Adorazione dei Magi
Est: €20,000 - €25,000
coppia di dipinti Menzionate all’interno di un antico inventario come opera dell’artista fiammingo Marten de Vos (Anversa 1532 circa-1603), le due tele qui presentate sono state recentemente ricondotte dalla critica alla mano del pittore genovese Simone Barabino.¶Egli fu, infatti, fortemente influenzato nella resa cangiante del colore e nelle soluzioni architettoniche dalla cultura nordica, con la quale ebbe modo di rapportarsi in occasione del suo trasferimento a Milano intorno al 1619.¶E’ probabile che le due tele in oggetto siano state commissione e realizzate dall’artista proprio nel capoluogo lombardo, dove risulta che fu molto attivo come attestato dalle fonti. ¶L’interno a pianta centrale, che fa da sfondo alle rappresentazioni, risulta simile a quello della chiesa di Santa Maria presso San Satiro, a riprova di quanto il soggiorno milanese e il contatto con rimase colpito l'architettura bramantiana influenzò profondamente la produzione di Barabino.
Cambi Casa d'Aste
Jun. 17, 2023
Marten de Vos (1532 Antwerpen - 1603 ebenda)
Est: -
Marten de Vos (1532 Antwerpen - 1603 ebenda) Noli me tangere, Kupferstich mit Stoffcollage auf Papier, Sichtmaß 23 cm x 17 cm, partiell fleckig, einzelne Felder der Grafik wurden später ausgeschnitten und mit Seidenstoff hinterlegt
Wettmann
Jun. 01, 2023
MARTEN DE VOS (1532-1603) Absalom ex pugna figiens ex arbore....
Est: €80 - €160
MARTEN DE VOS (1532-1603) Absalom ex pugna figiens ex arbore.... Gravure sur papier, taches. Dimensions : 45 x 53 cm
Accademia Fine Art
May. 25, 2023
The Creation of Eve
Est: $15,000 - $20,000
Maarten de Vos Antwerp 1532 - 1603 The Creation of Eve charged with an anonymous coat of arms lower left oil on panel panel: 40 ¾ by 41 in.; 103.5 by 104.1 cm. framed: 51 ¾ by 52 ¼ in.; 131.4 by 132.7 cm.
Sotheby's
May. 23, 2023
Maarten Vos, de [da], Circoncisione di san Giovanni.
Est: €320 - €640
Maarten Vos, de [da], Circoncisione di san Giovanni. Penna e inchiostro bruno, pennello e acquerello marrone su carta vergellata preparata in color ocra e priva di filigrana. mm 215x305. (1)
Gonnelli Casa d'Aste