Spanish Colonial
Mother of God and Young Jesus with Lambs
Original Oil on Wood Panel Painting
XVIII Century
DETAILS Original period frame.
PAINTING DIMENSIONS Height: 9.75 inches Width: 7.25 inches Depth: 2.5 inches
FRAME DIMENSIONS Width: 6 inches
$18,000
ON HOLD
Spanish Colonial
Madonna and Child
Original Oil on Wood Painting
XVIII Century
DETAILS Original period frame.
PAINTING DIMENSIONS Height: 6-3/8 inches Width: 7.5 inches Depth: 1.25 inches
FRAME DIMENSIONS Width: 3 inches
$2,500
Spanish Colonial
Virgin Mary
Original Oil on Canvas Painting
XVIII Century
DETAILS Original period frame.
PAINTING DIMENSIONS Height: 17.5 inches Width: 12.75 inches Depth: 1.75 inches
FRAME DIMENSIONS Width: 3.75 inches
$2,800
Flemish Old Master
Portrait of a Girl with Dog
Original Oil on Canvas
ca. 1700
DETAILS Original period frame.
PAINTING DIMENSIONS Height: 13.75 inches Width: 12 inches Depth: 1-5/8 inches
FRAME DIMENSIONS Width: 2.5 inches
SOLD
Adriaen van Ostade
Dutch Rural Everyday Scene
Etching
XVII Century
ARTIST: Adriaen van Ostade (Dutch, 1610 – 1685),
SUBJECT: Dutch rural everyday scene
MEDIUM: Etching on paper, framed
DIMENSIONS: H: 14.75” W: 16”
SIGNATURE: SIGNED BY THE ARTIST
CONDITION: Some water damage to passé-partout but the image is intact. Otherwise, in good antique condition consistent with age and use.
Adriaen van Ostade (Dutch, 1610 – 1685), a prolific painter, draftsman and etcher of peasant life during Holland’s “Golden Age,” Adriaen van Ostade created hundreds of paintings, some 400 drawings and watercolors and 50 etchings durng his five-decade career. Ostade’s father had moved to Haarlem by 1605 from the Eindhoven area, perhaps from the tiny village of Ostade, which may have given Ostade his surname. The third of eight children, Ostade was baptized at Haarlem’s Saint Bavo cathedral on December 10, 1610. Little is known of his artistic training. Arnold Houbraken’s (1660-1719) early 18th-century biography states that Ostade studied with Frans Hals (ca. 1591-1666) around 1627, and that Adriaen Brouwer (1606-1638) studied with Hals about the same time. No substantiation has been found for this claim.
Brouwer stayed in Haarlem until about 1631, and Ostade’s early works do show Brouwer’s influence in its depictions of raucous peasant life. Another suggestion is that Ostade studied with the landscape painter Salomon van Ruysdael (1600-1670). The first document reflecting a sale of a work of art by Ostade concerns a painting sold in 1632, suggesting that he was an established artist by then. The records of the artists’ guild of St. Luke’s do not show when he joined the Guild, but in 1634 one of his works was included in a lottery organized by the Guild and he must have been a member then. Ostade became a member of a civic guard military company in 1636. He married Macheltje Pietersdr in 1638, but she died four years later without bearing any children.
Ostade’s paintings and drawings of the 1630’s and 1640’s show peasants drinking, fighting, gambling, and dancing, in taverns, homes, barns and the out-of-doors, moralistic satires on human frailty. He apparently began etching at this time; his earliest etchings are dated to 1647-1652. He continued to etch thorough the 1670’s. The themes of his works changed in the 1650’s, with more prosperous figures and locales, showing idyllic peasant life, perhaps driven by his increasing prosperity or a change in the tastes of his customers. In 1657 Ostade married again to Anna Ingels (d. 1666) who was from a wealthy Catholic family in Amsterdam. He may have converted to Catholicism at this time. The couple had one child, a daughter.
He remained active in the painters’ guild, was elected hoofdman (leader) in 1647 and 1661 and appointed deken (dean) in 1662. After the death of wife Anna in 1666, Ostade received a large inheritance from her and her father, allowing him to move to a wealthy area of Haarlem. One of the most important draftsmen of Dutch genre scenes, Ostade created watercolors and pen-and-ink drawings throughout his career. By the 1670’s he began to paint highly finished, colorful watercolors, virtually miniature paintings, which were highly sought after in his time and remain so today. Ostade influenced several students, particularly his younger brother Isack (1621-1649), who created a prodigious body of work during his short life, Cornelis Bega (1631/32-1664), Cornelis Dusart (1660-1704), who inherited many of the works in Ostade’s studio after his death, and perhaps Jan Steen (1635/26-1679) did as well.
Ostade died on April 27, 1685, only six days after signing his daughter’s marriage settlement with a Haarlem surgeon.. Printed invitations were issued for his funeral at Saint Bavo’s, one of which survives. Sales of his works, etching plates and collected art were held in July 1685 and again in April 1686. His etchings remained popular for centuries; the fifty etching plates had come into the hands of the French painter and engraver Bernard Picart (1673-1733) by 1710, who reprinted them, and two more editions were published in the late 18th century.
* Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal. In modern manufacturing, other chemicals may be used on other types of material.
sold
Spanish BAROQUE
Portrait of a Young Noble Beauty
17th Century
Dimensions
Height: 18 1/2 inches (approximately 46.5cm) Width: 15 3/4 inches (approximately 39.5cm)
This outstanding Baroque oil on canvas painting in the period frame is a wonderful work of art by a Spanish or Italian old master depicts a beautiful young noble beauty in a XVII century attire. Her dress is adorned by a very fine lace, and there are some fresh red carnations in her curls. But, most of all, the spectator's attention is drawn to the painting by the remarkably rendered jewelry she is wearing - a necklace of large and perfectly round white pearls that forms a chocker around her neck; another, very intricate longer necklace, embellished with diamonds and other precious stones; and, in conclusion, a pair of magnificent earrings with large pear-shape white pearls. The painting has been meticulously restored, relined, and has period frame.