Oak Paintings

This previously unpublished painting was first securely attributed to Govert Dircksz Camphuysen in 1944, following an examination at the Nationalmuseum in Stockholm during which the ...

Flemish 1600s School The Card Players oil on oak panel panel dimensions 22.5 x 20 cm frame included Provenance: From a Swedish private collection. Condition: Flat and stabl...

We would like to thank Dr. Ursula Härting for confirming that this painting belongs to the studio of Jan Brueghel the Younger, by means of a certificate issued on December 12, 2024. ...

Justus Juncker (1703-1763, Germany) Attributed to Scholar Sharpening His Quill Penn Expertise: We would like to thank Dr. Fred G Meijer for his valuab...

Justus Juncker (1703-1763, Germany) Attributed to Scholar Sharpening His Quill Penn Expertise: We would like to thank Dr. Fred G Meijer for his valuab...

Madonna and Child with Saint John the Baptist and angels Circle of Joos Van Cleve (1485 – 1541) 16th century Antwerp school Oil on oak panel Dimensions: h. 32 cm (13 in.), w. 28.5 cm...

Joris Abrahamsz van der Haagen Heron Shoot in a Landscape 1615-1669 Oil on oak panel, signed 'JAH' lower left Image size: 16 x 21 inches (41 x 53 cm) Dutch ebonised frame Provenance...

Crucifixion, cercle of Adriaen Isenbrandt, mid 16th century School of Bruges, cercle of Adriaen Isenbrandt (actif 1510-1551) Oil on oak panel with its original ebonized frame Dimensi...

Rest during the Flight into Egypt - The Virgin and Child with St. John the Baptist and the angels in a Landscape. Attributed to Pieter Van Avont (1600-1652) 17th century Antwerp School, circa 1630 Oil on oak panel, Dimensions: h. 38 cm, w. 50 cm (14.96 in x 19.68 in) Flemish style frame in ebonized and moulded wood Framed: h. 56 cm, w. 68.5 cm (22.04 in. x 26.97 in.) In the heart of a lush wooded landscape, the Virgin with Jesus rests in a green clearing accompanied by Saint John the Baptist and the cherubs. Seated to the left of the composition, the Virgin Mary holds the Child on her lap; the little Saint John the Baptist wearing the camel-skin tunic (his attribute) stands before Jesus to exchange a few caresses. On the right, the couple of cherubs are playing with the lamb of Saint John the Baptist, bringing a jovial character to the scene. A pair of gardening putti on the left pick flowers to bring bouquets to the Virgin and Jesus. Spring flowers such as tulips, daffodils and anemones that grow abundantly around them and enrich the composition with their shimmering colors. A lush rose bush blooms to the left of the figures offering delicate roses. (The rose is the flower associated with the Virgin Mary, who is the "mystical rose," the one that does not bear the "thorn of sin") At the feet of the Virgin are bunches of grapes (symbol of the future passion of Christ) as well as apples (symbol of the original fall of Man but also of the Redemption in Christ) In the foreground we find a wicker basket filled in profusion with beautiful flowers and guinea pigs nibbling on the blades of grass. In a cleverly arranged disorder, these elements of the still life with their strong symbolic power accentuate the religious theme, but are also an opportunity for the artist to demonstrate his know-how in the still life genre that is gaining momentum in Antwerp. The landscape behind the figures consists of a large tree with a twisted trunk and a luminous opening to the horizon placed on the right. We see Saint Joseph arriving with a donkey, a small reminder from the artist that the composition is associated with the episode of Rest during the flight into Egypt. The calm expanse of this bucolic forest opening onto the luminous distance, with its profusion of symbolic flowers and fruits, is particularly suited to this sacred scene. The theme of Jesus' sacrifice and his tragic fate is mitigated by cherubs who play with innocence and carelessness in the face of the fragility of life symbolized by cut flowers. The great mastery of the painter is manifested by the finesse of the drawing enhanced by the delicacy in the application of the brushstrokes bringing a multitude of details. The richness of the whole is exacerbated thanks to the choice of colours, this varied palette is an undeniable asset of our work. The virtuosity of our artist lies in his versatility, as much concerned with the success of the landscape and flowers as with the modelling of his figures. The cherubs with their naked bodies are gracefully illuminated by warm colours with subtle shadows, while the still life is rendered with astonishing realism, both in the precision of the drawing and in the countless shades of the flowers. There are several compositions similar to ours, of which below are the closest versions: • Sale, Jean-Claude Anaf et Associés, Lyon, 08/02/1998, attributed to Pieter Van Avont, oil on panel, h. 48 cm, l. 71 cm (recorded on RKD n° 31451). Comment: identical composition, only St Joseph with the donkey is different) • Christie's New York sale, 29/01/1998, Pieter Van Avont, oil on copper, h. 23.8 cm, w. 24.8 cm • Dorotheum sale, Vienna, 25/04/2017, Pieter Van Avont and Jan Breughel II, oil on copper, h .26 cm, w. 39 cm • Hermitage Museum, Saint Petersburg, Russia, Pieter Van Avont, oil on panel, h. 50.5 cm, w. 71.7 cm Peter van Avont, Flemish painter (Mechelen, 1600 - Antwerp. 1652) Born in Mechelen, he is mentioned in 1620 as a member of the painters' guild of his hometown. He left in 1 622 for Antwerp, where he was also a member of the guild. He collaborated with many painters, including Jan Brueguel the Younger, David Vinckboons, Lucas van Uden...

Dutch School An Allegory for Smell 17th Century Oil on canvas Image size: 19 x 14.5 cm Dutch ebonised frame This painting depicts a rather smelly scene - a young boy bent over his f...

Workshop / Circle of Philips Wouwerman (1619-1668) Landscape with Gentleman on Horseback and Peasant Woman Receiving Alms oil on oak panel 12.40 x 14.17 inches (31.5 x 36 cm) wit...

The Musical Contest between Apollo and Marsyas, by Peter Sion (Antwerp, 1624-1695) Signed in the lower right corner P. Sion 17th century Antwerp School Oil on copper, dim. h. 53 cm, ...

Provenance: Dukes of Marlborough Collection, Blenheim Palace until its sale at Christie's London on 26 July 1886 (lot 172) English private collection until its sale at Christie's London on 11 December 1992 (lot 363) Erna Weidinger Collection (1923 - 2021) - Austria Literature : Georg Scharf - A list of the pictures in Blenheim Palace - Catalogue raisonné Part 2 - London 1862 (page 166 - number 199 "after Palma Giovane") Charles Davies...

The Rape of Europa By Peter Sion (Antwerp, 1624-1695) Signed in the lower right corner P. Sion 17th century Antwerp School Oil on copper, dim. h. 53 cm, w. 45 cm Moulded and ebonized...

Gaspar Peeter Verbruggen 1664-1730 Still Life of Fruit in a Wicker Basket with Bird Oil on oak panel Image size: 8 1/4 x 7 1/2 inches (21 x 19 cm) Contemporary Dutch ebonised style f...

Jan van Haensbergen was a painter of the Dutch Golden Age and a pupil of Cornelius van Poelenburgh (Utrecht 1594 - 1667). The painting we are presenting is inspired by Poelenburgh’s landscapes from his Italian sojourn. The dreamlike atmosphere of this Gathering in antique ruins appealed to us. Against a backdrop of antique ruins, three draped characters (perhaps bathers) are sitting in a circle, greeting a fourth character walking towards them. Their tranquility contrasts with the bustle of the other characters in the background. They constitute a vivid illustration of otium, this leisure time that allows us to realize our full potential. With this Arcadian landscape, Jan van Haensbergen invites us in turn to leave the hustle and bustle of everyday life behind, to take a break, to enjoy the present moment chatting with close friends… 1. Jan van Haensbergen, a landscape and portrait painter of the Dutch Golden Age Jan van Haensbergen was born in 1642 in Gorinchem, a town in southern Holland to the east of Rotterdam. He was a pupil of Cornelius van Poelenburgh, and began by painting landscapes inspired by those of his master, in an Italianate style. Between 1668 and 1669, he was registered at the Guild of Saint Luke in Utrecht. In 1669, he moved to The Hague, where he joined the Confrérie Pictura, an artist society founded in 1656. His portraits, which became his main activity as a painter after settling in The Hague, were strongly influenced by Caspar Netscher (Prague or Heidelberg 1639 - The Hague 1684), whom he met in The Hague and whose son Constantijn became his son-in-law by marrying his daughter Magdalena. In addition to his work as an artist, Van Haensbergen was also an art dealer, probably helped by his appointment as Dean of the Confrérie Pictura, where he also teached. 2. Description of the artwork and related paintings This painting seems to us to be a kind of allegory of otium, that quiet bliss promised by Epicurus. It might even evoke an Epicurean proverb: "It is better to lie on the naked ground and be at ease, than to have a golden carriage and a rich table and be worried" . Three draped young people - two men and a woman in the background - are seated in a circle, greeting a fourth figure walking towards them, hair disheveled and body draped in a towel as if drying off after a bath, indicating the need for prior purification to fully enjoy this rest. Their nonchalance contrasts with the bustle of the various characters in the background. The composition is punctuated by successive diagonals, and opens onto a landscape on the right, with a succession of mountainous planes. This painting is typical of the Italianate works produced by Van Haensbergen in the 1660s under the influence of Cornelis van Poelenburgh...

Ascension Day in Venice 17th century Antwerp School Louis de Caullery (1582-1621) Oil on oak panel Dimensions: h. 12.8 in, w. 23.03 in (h. 32,5 cm, w. 58,5 c...

The Prodigal Son Among Courtesans Attributed to Hieronymus Francken II (Antwerp 1578-1623) Early 17th century Antwerp school Oil on oak panel, Dimensions: H. 52.5 cm (20.67 in), W. 74 cm (29.14 in) Flemish-style moulded wood frame Frame: h. 78 cm (h. 30.70 in.), w. 100 cm (39.37 in.) At first glance, this festive and joyful painting depicts a group of elegantly dressed people dancing to the sound of an orchestra in a richly decorated interior with a wide opening onto a rural exterior. However, the real theme is cleverly concealed by the painter and is only discernible through the artifice of a small scene in the background where we see a half-naked man, in the company of the pigs next to a makeshift shelter. In fact, beyond the pleasant and apparently superficial character of the painting, it is a subject taken from the parable of the prodigal son in the Gospel. The illustrated episode is the prodigal son among courtesans. Even if the viewer's attention is drawn to the central couple (prodigal son embracing a pretty courtesan) doing the dance steps, the artist takes care in a narrative approach of all the groups and ancillary scenes in order to create a rich and varied composition. Thus the musicians seated on a raised platform are depicted with great skill, their faces animated, their clothes abundantly varied. The theme of music, which has always been associated with that of sensuality and physical love, helps to exacerbate licentious pleasures. The merry company dances "Spanish pavane", a slow court dance from the sixteenth century, danced close to the ground by couples arranged in a procession, which was probably introduced to the south of the Netherlands around 1600 during the governance of Albrecht VII and the daughter of the King of Spain Isabella Clara Eugenia in Brussels. The interior of the house is also carefully elaborated, the embossed leather dyes on the walls, the middle sideboard (typical in Francken interiors), where the rich gold and silver crockery is placed in front of the painting "Andromeda chained to the rock and Perseus arriving to rescue her". The inclusion of a contemporary and probably extant pictorial work is also one of the characteristics of the Francken family, among them Frans Francken the Younger...

Francis Hayman RA 1708–1776 Self-Portrait Oil on oak panel Image size: 8 x 6¼ inches Contemporary gilt frame This newly discovered work is the earliest known self portrait by Francis Hayman, dated to the mid to late 1720’s. The small scale of the portrait gives it a strong sense of intimacy. Whereas clients would often dress themselves in their best clothes for a sitting, Hayman has portrayed himself in informal attire, with his shirt unbuttoned and a wig cap. Born in 1708 to a respectable Devonshire family, his training began at the tender age of ten under the tutelage of the historical painter Robert Brown, who was probably an uncle. By the 1730’s he is known to have been engaged in painting scenery for the popular theatres on Goodman’s Fields and Drury Lane. He established a studio on St Martin’s Lane, and demonstrated his versatility as one of the most important painters of his time in portraits, illustration and history painting. Indeed, he was one of the first English painters deemed to have the skill and proficiency to rival that of the foreign masters, such as Holbein and Kneller, who were brought in by the court to make up for the perceived shortcomings of the native artists. Led by William Hogarth, Hayman and other artists began to create a new movement in the English art world. Thomas Gainsborough was one of his pupils, whom he is said to have introduced to the more lascivious and debauched underbelly of London life. After mostly making his living as an illustrator, in the 1740’s Hayman was commissioned by the proprietor of the Vauxhall Pleasure Gardens, Jonathan Tyers, to produce a series of four large celebratory canvases depicting British victories from the Seven Years War. His association with Tyers continued, and over the next ten years he produced a number of large decorative paintings...