Abraham de Vries Sold at Auction Prices

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  • Muller, Jan Harmensz.: Der Raub einer Sabinerin
    Nov. 30, 2022

    Muller, Jan Harmensz.: Der Raub einer Sabinerin

    Est: €3,600 - €4,000

    Der Raub einer Sabinerin, Rückenansicht. Kupferstich nach Adriaen de Vries. 42,3 x 28,5 cm. Um 1598. B. 77, Hollstein 65, Filedt Kok (New Hollstein) 77 III (von VI). Wz. Bekröntes Lilienwappen mit angehängtem WR. -- -- Aus der drei Blatt umfassenden Folge "Der Raub einer Sabinerin", die eine allansichtige Skulptur des Adriaen de Vries aus verschiedenen Perspektiven betrachtet. Vor der Adresse von Danckerts. Ganz ausgezeichneter Druck, knapp innerhalb der Plattenkante geschnitten, unten knapp in den Schriftrand geschnitten. Vereinzelt mit winzigen Fleckchen und Rostfleckchen, minimal angestaubt, geglättete horizontale Falten, winziger Randeinriss oben links, minimal dünne Papierstellen und oberflächliche Bereibungen sowie ein winziges Nadellöchlein in der linken Kniekehle des Mannes, verso mit kleinen Montierungsresten und Annotationen, sonst sehr schön erhalten. -- -- - 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
  • ABRAHAM DE VRIES (ca.1590 ca. 1650) "Portrait of a gentleman." Oil on oak panel.
    Jan. 26, 2022

    ABRAHAM DE VRIES (ca.1590 ca. 1650) "Portrait of a gentleman." Oil on oak panel.

    Est: €10,000 - €12,000

    ABRAHAM DE VRIES (ca.1590- ca. 1650) "Portrait of a gentleman. Oil on oak panel. With label on the back. Measurements: 66 x 56 cm; 80 x 64 cm (frame). This work has great aesthetic similarities with the painting by Abraham de Vries, "Portrait of an unknown nobleman" which belongs to the collection of the Het Stadmus Museum in Belgium. In both cases the composition, the treatment of the lace on the body, the fabrics of the costume and the tones used are similar. However, in the present painting the sitter is a younger man with a much more defined flesh tones that add a high degree of detail to the portrait, although he turns his face in order to establish eye contact with the viewer. Abraham de Vries was one of the leading portraitists of his day. Due to an itinerant lifestyle that took him to countries such as France, Antwerp and the Dutch Republic, his stylistic qualities are difficult to pinpoint. Little is known about Abraham de Vries' early life and training. It is now generally believed that the artist was born in The Hague because when he joined the Guild of Saint Luke in The Hague in 1644 he paid the fees of a native son of the city. In the past, he was believed to be from Rotterdam. In 1617 the artist was registered in the Rotterdam church administration. De Vries travelled to the south of France in the 1620s. During his period of residence in Aix-en-Provence around 1623-1624 he was the teacher of the Flemish artist Jan Cossiers, who had travelled from his native Antwerp to the south of France. De Vries also spent time in Toulouse, Montpellier (1625), Bordeaux (1626) and Paris (1627-1628). During his stay in France he met the prominent French scientist and humanist Nicolas-Claude Fabri de Peiresc, a close friend of Rubens, and De Vries met Rubens in person in 1629 during a stay in Paris. After his return to the north, he made several trips to Paris and Antwerp. He registered in Antwerp in 1628 and again in 1634 when he became a member of the local guild of Saint Luke in July 1634. Cardinal-Infante Ferdinand of Austria, who was the governor of the Spanish Netherlands, saw a portrait by De Vries during his visit to Antwerp. This led to an invitation to work at the court city of Brussels, where his work was considered superior to that of Anthony van Dyck. In 1639-1640 there are records of De Vries' presence in Rotterdam. Abraham de Vries is primarily known for his portraits although he also produced a number of landscapes. His early works recall the works of contemporary Amsterdam and Hague artists such as Thomas de Keyser and Jan van Ravesteyn. From the late 1620s to the 1630s his painting possessed a clear Flemish influence that is recognisable in his portraits. By the 1640s the Amsterdam art scene had fallen under the spell of Rembrandt's artistic portraiture. Rembrandt's portraits emphasised the character and personality of his models through their physiognomy rather than through symbols and iconography. Abraham de Vries was also unable to resist the influence of this new pictorial style in his portraits.

    Setdart Auction House
  • Abraham de Vries (?The Hague c. 1590-1649/50) - Portrait of a young girl as a shepherdess, half-length, in a green gown,...
    Dec. 04, 2019

    Abraham de Vries (?The Hague c. 1590-1649/50) - Portrait of a young girl as a shepherdess, half-length, in a green gown,...

    Est: £25,000 - £35,000

    Abraham de Vries (?The Hague c. 1590-1649/50) Portrait of a young girl as a shepherdess, half-length, in a green gown,... oil on panel, the reverse stamped with an indistict panel maker's mark 29 x 22 7/8 in. (73.7 x 58.2 cm.)

    Christie's
  • ABRAHAM DE VRIES | Portrait of a bearded gentleman, bust length, with a lace collar
    Jan. 31, 2019

    ABRAHAM DE VRIES | Portrait of a bearded gentleman, bust length, with a lace collar

    Est: $8,000 - $12,000

    oil on panel

    Sotheby's
  • ECOLE HOLLANDAISE DU 17ème SIECLE ABRAHAM DE VRIES (c.1590-1650), SUIVEUR Autoportrait à la collerette
    Jun. 07, 2018

    ECOLE HOLLANDAISE DU 17ème SIECLE ABRAHAM DE VRIES (c.1590-1650), SUIVEUR Autoportrait à la collerette

    Est: €2,500 - €5,000

    ECOLE HOLLANDAISE DU 17ème SIECLE ABRAHAM DE VRIES (c.1590-1650), SUIVEUR Autoportrait à la collerette Huile sur toile Dimensions : 60 x 45 cm

    Accademia Fine Art
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