Mathijs Schoevaerdts

Animated harbor scene near a fortified palace - Matthijs Schoevaerdts

Oil on panel Perfect condition Housed in a 17th century style frame by Gehring Amsterdam framers We are grateful to Ursula Härting for confirming the attribution of the present painting to Francken (figures) and Leytens (landscape). A written certificate, dated 1 February 2022, is available. She dates the present Midas to the second half of the 1620s. The painting The Judgement of Midas, known to me in the original, was painted by Frans Francken the Younger...

Oil on canvas Dimensions: 38 x 67 cm Schoevaerdt's specialty was combination landscapes, in which airy landscapes are often combined with a body of water and imaginative capricci...

Oil on oval lime wood panel Collection number on the back: 272 We see a herd of goats and their shepherds on the bridge, one of the shepherds is on a horse, the others look at the men near the riverbank. Two standing figures are pointing and discussing with one another, while the other one is sitting and relaxing after a long trip. We'd like to thank dr. Guido Jansen for his attribution. Goffredo Wals was a German painter, who spent most of his career in Italy. Most of his works were in small format, often circular and painted on copper...

The Brothel Oil on panel Tavern and brothel scenes were popular subjects in 17th-century Flemish art, depicting the vibrant and often rowdy social life of the time. The scenes wer...

Oil on panel Signed lower right: "Bertin, 1870," Bertin was a French painter, he represented the details and general character of a landscape with great skill. On this painting we can see a view of the Graslei in Ghent. The Graslei is a quay in the historic city center of Ghent, Belgium, located on the right bank...

Oil on panel We are grateful to Koenraad Jonckheere for confirming the attribution after inspection of the original. He dates the work to circa 1570. The present portrait of a bearded man, arresting in its intimacy, capturing the contemplative gaze of the sitter, along with the intense naturalism with which his face is rendered, is an outstanding example of the oeuvre of the Antwerp master Adriaen Thomasz. Key. Attired in an expensive and modish ‘Burgundian black’ doublet...

A beautifully detailed late 17th or early 18th century Dutch or Flemish landscape with cows grazing in the water, goats, dogs, and other animals near the water’s edge, under the watchful eye of the herdsmen, on a backdrop of rolling hills and trees. Oil on wood panel, unsigned, and housed in a Rudolph...

A good antique oil on panel landscape painting by the Flemish artist, Francois Backvis (1857-1926). The painting circa 1880 depicting the parable of the lost sheep from the gospels of Matthew & Luke. The painting shows a stormy landscape with the shepherd and his flock, the shepherd is holding the lost sheep under his arm in front of a large stone crucifix...

David Teniers the Younger Antwerp 1610 - 1690 Brussels A river landscape with travellers by a jetty and a man in a rowing boat, a church beyond Signed with monogram lower right: DT. ...

Flemish painting measuring 44 x 30 cm without frame and 53 x 39 cm with frame depicting a landscape with figures, in soft tones and with a strong sense of perspective; elegant, fluid...

18th century Flemish School After David TENIERS Le Jeune Oil on canvas 72 x 53 cm (87 x 67.5 cm with the frame) Beautiful 19th century frame in black wo...

Oil on oak panel Image size: 6 1/4 x 6 1/4 inches (15.75 x 15.75 cm) Period ebonised frame Patinir’s poetic imagination allowed him to express an idealised world, or one steeped in pathos, with profound sentiments, and always with perfect technique. The level of detail in this work is astonishing and the viewer is sure to make new discoveries every time that they gaze upon it, such as the birds diving down from the rocky form or the spindly poles that hold up the bowing bridge. Patinir's landscapes recall the background landscapes in the work of his contemporary Netherlandish painters, such as Gerard David. His magnificent rendering of light and shadows also foreshadow the great Dutch masters of the 17th century; as well does his excellent use of colour—especially his delightful range of blues and greens. Together, these traits make his works both innovative and uncommonly attractive. Here, although the scene is populated, the figures are small and the landscape assumes increasing importance.  Joachim Patinir Joachim Patinir, who was born on the banks of the Meuse River, is considered the first Flemish landscape painter. His vast, highly personal landscapes are characterized by large expanses of terrain with high horizons and fantastic outcroppings of pointed rock that combine real and symbolic. He is thought to have begun his career in Bruges, where he discovered the work of Gérard David, but like David, he appears on a list of Antwerp-based masters in 1515. There, he met and befriended Albrecht Dürer, who visited the Netherlands in 1520-1521. Dürer subsequently painted his portrait and even attended his daughter’s wedding. Patinir was also friends with Quintin Massys, who painted some of the figures in his works. Their friendship was so lasting that Massys’ son, Cornelis, apprenticed with Patinir. Cornelis eventually married Patinir’s daughter, Francisca Buyts, and the elder painter became their tutor. In 1521, Patinir remarried, this time to Jeanne Nuyts. His life was quite short, and he produced relatively few paintings, notwithstanding certain mediocre works erroneously attributed to him. His fame is due primarily to his final paintings, whose masterful technique and creativity were praised by his peers. In his travelogue, Dürer called him "a good landscape painter", and Felipe de Guevara, a friend and artistic assessor to both Charles V and Philip II, mentions him in his "Commentaries on Painting" (1540) as one of the three greatest painters, alongside Rogier van der Weyden and Jan van Eyck. His work was also very successful on the art market, especially when we recall that, in 16th-century Antwerp, artists did not work on commission. Instead, they sold finished works to their clients. From the very start, Patinir’s paintings reflect the influence of Hieronymus Bosch, although they lack that master’s satirical edge. He was also influenced by Gérard David, from whom he drew his perfect execution as well as his taste for landscape. His name appears on two early works—"Saint Jerome" (Staatliche Kunsthalle, Karlsruhe) and "The Flight to Egypt" (Koninklijk Museum voor Schone Kunsten, Antwerp)—but his inscriptions on three other panels—"The Baptism of Christ" (Kunsthistorisches Museum, Vienna), "Landscape with...