Adriaen van Stalbemt

Flemish 17th c., Allegory of war and peace, circa 1630, by Adriaen van Stalbemt

1630

Crossing of the Red Sea Workshop of Frans Francken II (1581-1642) 17th century Antwerp School Oil on oak panel Dimensions: h. 49.5 cm, w. 64.5 cm (19.49 in x 25.39 in) Moulded and blackened wooden frame with wide mouldings, with inverted profile from the later period. Framed dimensions: h. 82 cm, w. 97 cm (32.28 x 38.19 in) Our panel illustrates one of the episodes of the Old Testament, recounted in the book of Exodus. After crossing the Red Sea...

Studio of Jan Brueghel the Younger 17th century Antwerp school Oil on oak panel, h. 37 cm, w. 49 cm Tortoiseshell veneered baroque style frame...

Ascension Day in Venice 17th century Antwerp School Attributed to Louis de Caullery (1582-1621) Oil on oak panel Dimensions: h. 19.68 in, w. 34.25 in Flemish style frame in ebonized ...

The Triumph of the Infant Bacchus, Workshop of Hendrick Van Balen (1575-1632) Antwerp, c.1630 Oil on copper, h. 28 cm (11.02 in), w. 35 cm (13.78 in) A large Roman 17th century golden painted frame Framed: h. 52 cm (20.47 in.), w. 58 cm (22.83 in) Our finely painted work depicts The Triumph of the Bacchus as a young boy and is one of the most popular mythological subjects in Antwerp at the beginning of the 17th century. Feasting, wine and fun are the themes that constantly appeal to the public. Thus unfolds before our eyes on our painting the procession composed of nymphs, baccantes, fauns, satyrs and children, their bodies naked, partially covered with brightly coloured draperies that help to brighten up the parade. Playing various instruments, dancing and drinking, while carrying vases and poles adorned with grapevines, participants to the rhythm of a noisy brass band make their way to an ancient temple standing on the right. The exaggerated gestures convey to us the frenzy of the excited crowd. The Child Bacchus follows the joyous procession, carried by satyrs and nymphs, crowned with ivy and joyfully raising a cup of wine. In the foreground, the drunken participants leave the procession, the children on the left and the group of bacchantes and satyrs on the right are resting among various objects scattered at their feet: cups, vases, ewers bear witness to the festivities in progress. In the background, a hilly landscape stretches out on the horizon, a semblance of calm that contrasts with the bustle of the foreground. The artist strives to multiply the many details, whether it be figures, costumes, flowers or vegetation, in order to demonstrate his know-how and the perfection of his execution. The acidulous palette with fresh and varied colours is characteristic of Hendrick Van Balen's works. There are several versions identical to ours with similar dimensions painted by Hendrick Van Balen and his workshop. Related works: • Koller Auction, Zurich, 21/09/2007, oil on copper, 28,5 x 37,4 cm. • Staatliche Kunsthalle, Karlsruhe, Inv. N° 809 (oil on copper, 40 x 53,5 cm) • Auktionshaus für Altertümer Glückselig, Vienne, 10/05/1932, ( oil on copper, 34 x 42 cm) • Gemäldegalerie of Pommersfelden, Schloss Weissenstein, oil on panel, 47 x 64 cm Hendrick Van Balen, Flemish painter, born and died in Antwerp (1575-1632). A pupil of Adam Van Noort, he entered the Guild of St. Luke in 1593, later trained in Italy and was Van Dyck's first teacher. He often painted small figures taken from scenes from the Bible or classical mythology, on paintings whose backgrounds and landscapes were painted by Josse de Momper...

A capriccio with the Colosseum in Roma 17th century Italian school Circle of Viviano Codazzi (1604-1670) Oil on canvas Dimensions: h. 35.43 in, w. 51.18 in Modern 17th century style ...

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...

Lucas Cranach the Elder and Studio 1472-1553 German Moses and the Pillar of Cloud Oil on panel Moses and the Pillar of Cloud is a bold and evocative composition that showcases the signature intense color and intricate detail of Lucas Cranach the Elder’s celebrated oeuvre. The remarkable 16th-century oil on panel by Lucas Cranach and his studio captures the narrative moment when Moses leads the Israelites out of Egypt and encounters God manifested through a large pillar of cloud. Moses stands at the precipice of a bridge and turns back to soldiers helping to lead the group of Israelites who huddle closely together. Cranach depicts Moses with his traditional iconography, rendering the rays of light on his head which came to be interpreted as "horns" in the translation of the Bible. Using his traditional walking staff, Moses gestures toward the pillar, seemingly acknowledging that God will protect the group as they cross the bridge to the other side, leaving exile and entering a promised land. In a nod to Cranach’s Germanic locale, he renders the figures and setting in a manner that feels decisively more akin to European aesthetics than those of the Red Sea. Soldiers wear elaborate, gothic suits of armor that recall the livery of Northern European guardsmen. The terrain appears more like a European forest giving way to a sweeping valley than the arid landscape the Israelites trekked through on their journey across the Red Sea. Though still clearly recounting a story from the Old Testament, Cranach renders the cast of characters and setting in an earthly, familiar manner. This aesthetic shift speaks to Cranach’s own changing beliefs as he found himself at the center of the Protestant Reformation. After first gaining recognition in 1505 as the official painter of Frederick the Wise, Cranach established a thriving painting and print studio in Wittenberg, Germany. Cranach was renowned for his court portraits and genre paintings and was also well known for his association with the famous protestant reformer Martin Luther, then under the protection of Frederick the Wise. As Wittenberg became a bastion of new religious thought, Cranach soon befriended Luther and played an active role in creating the printed materials that proliferated throughout the Reformation...

17th century Flemish old master painting depicting a forest landscape with a majestic oak Alexander Keirincx, born around 1600 in Antwerp, Belgium, was a prominent Flemish landscape...

17th century Dutch old master oil seascape, Stormy sea with boats including a Dutch Hoy and a Packet-Boat The present painting is a peaceful, yet very lively, seascape and a beautif...

We are delighted to present a significant piece from the Dutch School, most likely dating back to the late 17th century. This captivating painting showcases the dynamic force of nature with three ships vigorously navigating through stormy waters. The foreground is a scene of nautical struggle, as figures are depicted working intensely with the sails, steering, and bracing against the tumultuous sea. In the serene background, the silhouette of a quaint town emerges, with spires from churches and the outlines of various buildings is visible. This juxtaposition of the calm town against the chaotic foreground serves as a powerful reminder of the unpredictability of life and nature. Dominating the canvas, the sky occupies two-thirds of the painting, filled with brooding clouds that occasionally break to reveal patches of blue. The presence of birds adds a dynamic element to the otherwise ominous atmosphere. While the artist remains unknown, the work is quintessentially Dutch in its execution, with meticulous attention to detail and a profound understanding of maritime life. The painting's oval shape is quite distinctive and is complemented by a suitably antique octagonal black frame, which adds to its historical charm. This piece is a testament to the mastery of Dutch maritime painting...

The Angelic Visitation Dutch School, mid 17th century circle of Rembrandt (Dutch 1606-1669) oil on wooden panel, framed in faux tortoiseshell style frame. framed: 25 x 28.75 painting...

Moses Strikes Water from the Rock Dutch school, XVII century. Workshop of Jacob de Wet (Haarlem, 1610-1675). Technique: Oil on oak wood panel, composed of 3 horizontal panels. In this evocative work, Moses stands in a cave, gathering the Israelites. There was no water to drink or for their cattle. The people were discontented in the desert. But Moses and Aaron listened to the voice of God. With Aaron’s staff, Moses struck the rock, and water gushed forth abundantly, quenching their thirst. Jacob de Wet’s workshop specializes in subjects from the Old and New Testaments. The recognizable rectangular format, simple compositions, and clear narratives define his style. The interplay of light and shadow, reminiscent of Rembrandt, adds timeless allure. The characters’ costumes, with their large hats and turbans...