OLD MASTERS

Circle of Cornelis Verbeeck (c. 1590–1637) Netherlands

Dutch Vessel Passing a Rocky Headland with Dolphins

with indistinct monogram VB on the flag
oil on panel
unframed 14 × 23 cm (5.5 × 9 in)
framed 28.5 × 33 cm (11.2 × 13 in)

Provenance:
The collection of Consul General and Director Henry Wallenberg (1908–1993).

Essay:
This finely executed cabinet painting belongs to the rich tradition of early seventeenth century Dutch marine painting associated with Haarlem and the circle surrounding Cornelis Verbeeck. Although the work cannot at present be securely attributed to Verbeeck himself, the composition, scale and handling correspond closely with paintings associated with the artist and his immediate circle, which explains the present attribution as Circle of Cornelis Verbeeck.

The scene depicts a Dutch vessel advancing through calm coastal waters beside a rocky headland crowned by a distant fortified town or church tower. The atmosphere is luminous and restrained, with pale silvery light dissolving the horizon into mist. Verbeeck and his contemporaries were among the first painters in the Dutch Republic to elevate marine painting into an independent genre, and this small panel demonstrates the intimate and observational qualities that made such works highly desirable among seventeenth century collectors.

Particularly striking are the sea creatures emerging from the water in the right foreground. These appear most likely to represent dolphins or porpoises. Their curved backs and dorsal fins are rendered with quick but confident brushstrokes, bringing life and movement into the otherwise tranquil marine setting. Such details are characteristic of early Dutch marine painting, where whales, dolphins and other creatures were often introduced to heighten both atmosphere and drama.

An old label on the reverse refers to the subject as “Segelfartyg rundande Kap” (“Sailing vessel rounding a cape”). While this may initially suggest the Cape of Good Hope, such an interpretation appears unlikely. The landscape lacks the distinctive topography associated with southern Africa, and the small coastal settlement with its northern European architecture instead suggests a more generalized rocky coastline inspired by Dutch and Flemish marine traditions. In Swedish usage, the word “kap” may also simply refer to a headland or rocky promontory rather than a specific geographic location. The title should therefore be understood descriptively rather than topographically.

The painting also reflects the fascination with maritime expansion that defined the Dutch Republic during the early seventeenth century. Verbeeck himself painted scenes connected to overseas voyages and East India expeditions, and his works frequently combine documentary observation with imaginative coastal settings. Here, the distant vessels, broad sky and dark foreground waters create a poetic balance between calmness and quiet tension.

The monogram VB placed upon the flag further strengthens the connection to Verbeeck. Comparable signed works by Cornelis Verbeeck are known to include monograms integrated into flags or rigging. 

Despite its modest scale, the panel possesses remarkable presence. The contrast between the dark foreground waters and the pale horizon gives the composition considerable depth, while the tiny dolphins animate the scene with a sense of immediacy and wonder. Together with the richly carved period style frame and the distinguished Wallenberg provenance, the work stands as an evocative example of early Dutch marine painting from the Golden Age.

Condition:
Recently conserved by a professional paintings conservator in Stockholm during 2025–2026. The painting presents very well with bright and clear colours. Retouching is visible in some areas, primarily within parts of the background. Please contact us for a more detailed condition report.

The frame is included with the painting, though it is highly fragile due to its age and condition. While we naturally pack all works with the utmost attention and care for transport, the buyer should be aware that there is an inherent risk of damage to the frame during shipping, which we cannot assume responsibility for.

Sources:
National Gallery of Art, Washington D.C.
Royal Museums Greenwich
RKD Netherlands Institute for Art History
Art UK

Egbert Lievensz van der Poel (1621–1664) The Netherlands
Attributed to

Village Fire at Night

unsigned
oil on copper plate
plate 15 × 19 cm (5.9 × 7.5 in)
framed 32 × 35 cm (12.6 × 13.8 in)

Provenance:
Private collection, Sweden.

Compare with:
Christie’s, Old Master Pictures, 8 May 1995, Lot 108, A House in a Village on Fire at Night, oil on copper.

Essay:
This dramatic nocturnal scene depicts a village in fire, rendered with the intense contrasts of light and darkness for which Egbert van der Poel became renowned. Flames erupt from the roofline of a building at the center of the composition, illuminating the surrounding houses and casting a flickering glow across the gathered villagers below. Figures rush to salvage belongings, tend to animals and organize themselves amid the confusion, while smoke and sparks dissolve into the night sky above.

The painting is characteristic of van der Poel’s mature production, particularly his fascination with catastrophic fire scenes. Working during the Dutch Golden Age, he specialized in nocturnal subjects illuminated by flames, moonlight or torchlight, developing a highly theatrical visual language built around the effects of artificial light within darkness. His compositions are notable not only for their technical skill, but also for their emotional immediacy. The viewer is drawn directly into the unfolding event, witnessing both destruction and communal response.

Van der Poel was born in Delft in 1621 and initially worked within the broader Dutch landscape tradition. His career, however, was profoundly shaped by the catastrophic Delft gunpowder explosion of 1654, which devastated large parts of the city. Following this event, scenes of destruction, ruins and burning buildings became central to his art. The present painting belongs closely to that tradition, where disaster is transformed into spectacle through the painterly orchestration of light.

Particularly striking is the handling of illumination. The fire itself functions as the compositional and emotional center of the work, its white and orange flames breaking violently through the darkness. Around this nucleus, van der Poel carefully modulates secondary reflections across rooftops, figures and smoke. The surrounding darkness is not empty, but filled with subtle variations of brown, deep red and black, allowing forms gradually to emerge from shadow.

Copper plates allowed seventeenth century painters to achieve unusually fine detail and luminous surface qualities. Here, the smooth support enhances the brilliance of the fire and gives clarity to even the smallest passages of reflected light. This was particularly advantageous for cabinet pictures intended for close viewing, where precision refinement were highly valued.

Connection to a signed Christie’s painting sold in 1995 is especially noteworthy. Both works share dimensions, support and motif, and the compositional parallels are unusually close. Pendant paintings were common within Dutch seventeenth century cabinet painting, particularly for collectors interested in thematic pairs. The possibility that the present work once belonged to such a pairing strengthens the attribution.

Condition report:
Recently restored by a professional conservator. Areas of paint loss in the dark passages to the right side and lower corners have been retouched. The central motif remains in very good condition for its age. Presented in a gilt frame.

South Netherlandish School early 17th century

Portrait of a Gentleman, circa 1620–1630

inscribed upper right ANNO 1626
oil on panel
unframed 68.5 × 55 cm (27 × 21.7 in)
framed 84 × 70.5 cm (33.1 × 27.8 in)

Provenance:
The Raeburn Gallery, as by Maerten de Vos;
Bukowskis, Stockholm, 15–18 April 1970, lot 133, as in the manner of Anthony van Dyck;
Private collection, Sweden

Essay:
This portrait belongs to the refined tradition of Netherlandish portraiture in the early decades of the seventeenth century, a period defined by restraint, psychological presence, and a growing emphasis on individuality within a codified visual language. The sitter is presented in bust length against a dark, neutral ground, his figure emerging through a carefully controlled interplay of light and shadow. His black costume, devoid of ornament, is offset by the luminous white ruff which encircles the head and acts as both a compositional and optical device.

The treatment of the face is particularly noteworthy. The flesh tones are built up with soft transitions and a delicate warmth, suggesting direct observation rather than formulaic repetition. The gaze is calm and introspective, directed slightly away from the viewer, which lends the portrait a contemplative character. This psychological nuance reflects a broader shift in portraiture at the time, away from purely heraldic representation toward a more intimate engagement with the sitter’s presence.

The large pleated ruff is rendered with remarkable precision. Each fold is articulated through subtle variations of light, creating a rhythmic structure that frames the head. Such collars, often referred to as millstone ruffs, were prominent in the Northern and Southern Netherlands between circa 1610 and 1630, and functioned as markers of status and cultural identity. In this painting the ruff not only signals the social standing of the sitter but also serves to illuminate the lower part of the face, reflecting light upward and softening the shadows beneath the chin.

Stylistically the work aligns with a broad Netherlandish tradition that includes painters active in both the Dutch Republic and the Southern Netherlands. The sobriety of the composition and the clarity of the modelling recall the work of artists such as Michiel van Mierevelt and his circle, while the more painterly handling of the head and the subtle tonal transitions suggest an awareness of developments associated with Anthony van Dyck.  

The earlier attribution to Maerten de Vos is chronologically improbable, as that artist belonged to an earlier generation. Its presence in the provenance likely reflects the practices of the early twentieth century art trade, where Old Master paintings were often associated with well known names to facilitate their circulation. The subsequent reclassification as in the manner of van Dyck represents a more cautious assessment, acknowledging stylistic proximity without asserting authorship.

The inscription ANNO 1626, though consistent with the costume and style, should be regarded as secondary. Such inscriptions were frequently added in later centuries to enhance the perceived historical specificity of a work. The dating of the painting is therefore best understood in broader terms, within the first quarter of the seventeenth century, based on stylistic and iconographic evidence.

The identity of the sitter remains unknown. His attire and presentation suggest a member of the educated or mercantile elite, possibly from an urban environment in the Low Countries. The absence of heraldic devices or inscriptions prevents a more precise identification, yet the portrait retains a strong sense of individuality, capturing a moment of quiet self possession.

Within the context of early seventeenth century portraiture, this painting stands as a compelling example of the balance between typology and individuality. It reflects a culture in which portraiture served not only to record likeness but also to articulate social identity and personal character through measured means. The restrained elegance of the composition, combined with the sensitivity of execution, situates the work within a sophisticated artistic tradition that bridged regional styles and responded to evolving tastes across Northern Europe.

Condition report:
The painting is executed on a wooden panel which has been reinforced on the reverse with a later cradle construction. The panel appears stable. The surface has undergone careful conservation and cleaning by Sonia Leon, paintings conservator, Stockholm. Minor retouching is visible under close inspection, consistent with the age of the work. The inscription ANNO 1626 appears to be later and should be regarded with caution. Overall the condition is good and presents well. IRR Images is attached. 

Unknown Italo-Flemish Artist (active circa 1600)

Adoration of the Shepherds

oil on copper
unframed: 32 × 25.5 cm (12.6 × 10 in)
framed: 43 × 37 cm (16.9 × 14.6 in)

Provenance:
Acquired by the previous owner’s father, London art trade in 1948.

Essay:
Adoration of the Shepherds is a superb example of an Italo-Flemish work at the transition from the late Renaissance to the Baroque. The unknown artist was evidently well-trained, possessing both technical virtuosity and a cosmopolitan visual vocabulary. The painting’s high level of finish, jewel-like coloration, and harmonious composition suggest it was created by someone in the circle of accomplished Flemish painters who had assimilated Italian artistic currents around 1600. The artist most likely belonged to a generation of Flemish or Dutch masters who traveled in Italy or trained under Italian-influenced mentors, and who produced cabinet pictures for discerning patrons.

Around 1600, a distinctive artistic synthesis emerged as Flemish painters absorbed Italian influences during their travels and studies. Many talented Flemish artists journeyed to Italy to learn from Renaissance and early Baroque masters, then returned home with new ideas in composition, coloring, and figure style. They merged the dramatic lighting, bold compositions, and rich coloration of Italian art with the meticulous realism and precise detail characteristic of Northern painting. This Italo-Flemish blend coincided with the dawn of the Baroque era in Northern Europe, especially in the Spanish Netherlands (Flanders), where Catholic Counter-Reformation patronage demanded emotive religious imagery. The cross-cultural exchange proved immensely influential in shaping early Baroque painting in the North.

This painting is executed on a copper panel, a support that gained popularity among elite workshops in the late 16th and early 17th centuries. Oil on copper was prized for the unique qualities it lent to paintings, especially small-scale works. Key characteristics of this medium include an exceptionally smooth surface that allows razor-sharp details and delicate brushwork; jewel-like luminosity thanks to the slightly reflective metal ground; and long-term stability, as copper does not warp or degrade. These qualities made it ideal for collectors’ cabinet pictures, and the present work’s small format reflects this intended purpose.

The composition centers on the Christ Child, who lies glowing in a manger amid the ruins of a rustic stable. The infant emits a gentle radiance in the darkness, serving as a spiritual light source. The Virgin Mary is shown kneeling in reverence with hands extended toward her child, her face tenderly illuminated. Saint Joseph stands or kneels behind her, humbly observing the miracle. On the left side, three shepherds gather in adoration, their faces filled with awe. One kneels closest to the infant and offers a lamb, symbolizing Christ’s future sacrifice. Above, a host of angels hovers in the night sky.

Despite the small size of the copper panel, the artist includes multiple figures in layered depth, showcasing a complex narrative within a confined space. The overall mood is one of intimate reverence and tender wonder. The composition is carefully structured around the infant, with figures forming a pyramid and the angels completing a circular rhythm in the upper register.

While we do not know the painter’s name, the work’s refined style invites comparison to artists such as Denys Calvaert or early Rubens, who bridged northern and southern traditions. Like many in that circle, this painter combined devotional subject matter with theatricality and craft. This exquisite oil on copper, with its enduring colors and intricate detail, stands as a testament to the skill of its creator and the cross-pollination of artistic traditions that defined its era.

Sources:
Jennifer Reed, “Flemish Baroque – History, Characteristics & Artworks,” Study.com
Rhiannon Piper, “History, Preservation, and Restoration of Oil Paintings on Copper,” 2023
National Gallery, London – The Adoration of the Shepherds (NG1887)

Condition:
Recently restored. Small retouching in some areas, the colors are bright and clear.
please contact us for UV images. 

Follower of Gerard Seghers (1591-1651)

Christ at the Column

oil on wood panel
c. 1700s
unframed 19.5 × 14 cm

Provenance:
Originally in the collection of Dr. Axel Munthe (1857–1949), the renowned Swedish physician and author celebrated for his philanthropic work and for founding Villa San Michele on the island of Capri. In the late 19th century, Munthe presented the painting as a personal gift to his close friend Prince Eugen, Duke of Närke (1865–1947), a prominent Swedish artist and patron of the arts. The painting remained in Prince Eugen’s private collection until he, in turn, entrusted it to Dr. Gustaf Lindgren (1903–1989), who served as curator of the Prince’s art collection from 1938 to 1948. Lindgren subsequently became the first Director General of Prince Eugen’s Waldemarsudde, a position he held until 1970.

Condition: Very good, restored in 2023 by Sonia Leon, Stockholm
Framed in handmade oak frame by Christer Björkman, 2023.

Essay:
This small yet striking oil painting on panel presents a solitary image of the scourged Christ, bound with his hands behind his back, his figure isolated against a dark, undefined background. His pale, sinewy body bears numerous wounds from the flagellation, from which blood runs in delicate but insistent streams, trailing down his torso and legs to the ground below. The column to which Christ would traditionally be tied is absent here, allowing the viewer's focus to rest entirely on the emotional weight of the figure itself. The composition, heightened by dramatic lighting, conveys both the physical and spiritual torment of the Passion with poignant intensity.

The subject—Christ at the Column—derives from the episode of the Flagellation, one of the most emotionally resonant scenes in the Passion narrative. Frequently represented in both public and private devotional imagery, this moment captures the suffering of Christ at the hands of Roman soldiers, as described in the Gospels. In the context of Catholic devotion, the scene has long served as an instrument of contemplation, representing the redemptive suffering of Christ and inviting empathetic meditation on human sin and divine sacrifice.

The painting is attributed to a follower of the Flemish Baroque master Gerard Seghers (1591–1651), whose career bridged the artistic currents of Caravaggio’s tenebrism and the coloristic refinement of Rubens. Seghers’s composition of Christ at the Column, likely painted in the 1620s, became widely known through a powerful engraving by Lucas Vorsterman the Elder. That print helped to circulate Seghers’s emotionally charged vision, inspiring a number of interpretations and copies by artists in his circle.

This particular version appears to be derived not from the original painting but from Vorsterman’s engraving, which likewise omits the architectural element of the column in favor of a stark, devotional focus on the bound figure of Christ. A closely related copy of similar dimensions on copper, held in the Musée des Beaux-Arts in Tournai, shares this compositional simplification. The absence of the column, together with the panel’s intimate scale and austere backdrop, intensifies the spiritual directness of the image.

Following a recent conservation by Sonia Leon in 2023, the painting is now preserved in good condition and housed in a bespoke oak frame handcrafted by Swedish frame maker Christer Björkman. Its compact size and contemplative subject mark it as a refined object of private devotion, while its lineage and craftsmanship underscore its cultural and historical significance.

Govert Dircksz Camphuysen (Dockum 1623–1672 Amsterdam)

Still Life with Oysters, a Roemer and Other Objects

signed “G. Camphuysen fecit”
oil on panel
unframed 29.8 x 36 cm (11¾ x 14¼ in.)
framed 40 x 46 cm (15 ¾ x 18 ⅛ in)

Provenance:
Ekhof, Björnlunda Parish, Gnesta Municipality, Södermanland, Sweden

Expertise:
Stéphane Pinta, Cabinet Turquin, Paris

Condition:
The painting underwent a comprehensive conservation between 2024 and 2025 under the care of Sonia Leon. The aged varnish was removed, and areas affected by age-related wear were carefully retouched. 

Essay:
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 artist’s signature was discovered. As this attribution was not known to Bertil Rapp, the painting is not included in his thorough survey of the artist’s life and work during his Swedish period (1652–63), published in Djur- och Stilleben i karolinskt måleri (1951, pp. 15–26). The work is of considerable art historical importance. Alongside another undated still life by Camphuysen, Still Life with Provisions and a Cat (formerly in the De Geer collection at Finspång Castle), it is considered the earliest known still life in Swedish art history (op. cit., p. 24). These works mark the beginning of still life painting in Sweden. Through them, Camphuysen introduced a new subject matter that would later be taken up by the Swedish-born painter Christian Thum (c. 1625–1686).

Like many artists of his time, Camphuysen was drawn by reports of growing artistic patronage in Sweden and decided to seek opportunity in service of the emerging great power. In the spring of 1652, he left Amsterdam with his family and arrived in Skåne in the autumn. From 1653, he was active at the court of Dowager Queen Maria Eleonora in Nyköping (widow of Gustavus Adolphus and mother of Queen Christina). Records from her account books in 1654 reveal that Camphuysen undertook several journeys on her behalf, including to Arboga and Ulfsunda. In August that year, he returned from Ulfsunda in the dowager queen’s retinue (op. cit., pp. 17–18). That same year, he also executed a large painting, Cows and Peasants (2 x 2 m), now at Övedskloster in Skåne.

Following the dowager queen’s death on March 28, 1655, Camphuysen moved to Stockholm. His name appears regularly in the baptismal records of the German Church there until 1661. According to Old Granberg (Konsthistoriska studier och anteckningar, 1895, p. 46), Camphuysen also served as court painter to King Charles X Gustav after Queen Christina’s abdication. It was during this period that he produced what is perhaps his most famous work, The Royal Castle of Tre Kronor, dated 1661—an iconic topographical view of seventeenth-century Stockholm (Stockholm City Museum). In his final years in Sweden, Camphuysen was employed by Magnus Gabriel De la Gardie at Jacobsdal (now Ulriksdal Palace). Castle records show that he was working on decorative commissions in the great hall there in 1662–63 (Rapp, op. cit., p. 25). He returned to Amsterdam in 1665.

The present painting was formerly part of the collection at Ekhof, an estate with roots in the 16th century. In 1566, Sigvard Månsson Kruse af Elghammar (1578–1624) purchased one of the two tax farms in the village, converting it into a noble estate. His son, General Erik Kruse af Kajbala (1616–1665), was granted tax exemption in 1653 and built a manor originally named Ånhammar. The estate was inherited by his son, Carl Gustaf af Kruse (1651–1732), and remained in the family until 1720. During her husband’s captivity in Russia following the Battle of Poltava, Charlotta Catharina, Carl Kruse’s wife, sold the property. It was then acquired by the widow Belau (or Below), and the estate became known as Ekhammarshof and later Ekhof. It subsequently passed to her son-in-law, Gudmund Adelberth. Her granddaughter, Hedvig Charlotta von Fuhrman, married Ture Johan Bielke in 1768. He had the current main building erected around 1790; it was completed in 1792. Involved in the conspiracy to assassinate King Gustav III, Bielke took his own life by poison to avoid prosecution. His widow remained on the estate until 1795. Later owners include von Baumgarten (1799), Wachtmeister (1816), Edlund (1825), Lönnerberg (1849), and Aspelin (1856). From 1926, the estate belonged to the Björling family, and in 1978 it was acquired by Johan and Lena Rinman. Today, the estate operates under Ekhov Säteri AB.

Veronese School, early 17th Century

The Agony in the Garden

oil on slate
early 17th century
unframed 41.5 x 31 cm (16 3/8 x 12 1/4 in)
framed 52 x 41.5 cm (20 1/2 x 16 3/8 in)

Provenance:
Bonhams, Old Master Paintings, 25 April 2018, London, Lot 111

Essay:
This evocative Veronese School painting captures the moment in the Garden of Gethsemane when Christ, overwhelmed with sorrow, prays to God before his arrest and crucifixion. Supported by an angel, he is depicted in a moment of physical and spiritual agony, his posture heavy with exhaustion. In the upper left corner, another angel presents the chalice—the "cup of suffering"—a reference to Christ's prayer, "Father, if you are willing, take this cup from me; yet not my will, but yours be done."

Below, the three disciples—Peter, James, and John—are shown asleep, unable to stay awake despite Jesus’ request. The dramatic contrasts of light and shadow, together with the solemn palette, enhance the emotional gravity of the scene and reflect stylistic traits associated with early 17th-century devotional painting.

Condition report:
The painting is executed on slate, It has recently been examined by a professional conservator. A surface scratch in the upper right area has been carefully restored. Another shallow scratch runs across the lower right corner of the slate; this does not penetrate the full thickness of the stone and does not compromise the structural integrity of the panel.

The frame has great charm and bears a rich, aged patina. It exhibits several areas of surface loss and wear, which can be seen in the accompanying photographs.

Follower of Jan Gossaert, called Mabuse (1478-1532)

Christ on the Cold Stone

oil on oak panel
late 16th century
24.3 x 17.4cm (9 9/16 x 6 7/8in)

Provenance:
Private Collection, The Netherlands for at least 70 years.

Condition:
The painting has undergone an extended period of restoration by our conservator. A horizontal crack in the panel has been repaired and retouched. The work is now in very good condition overall. The frame has also been restored, with its original patina carefully preserved.

Essay:
This striking devotional image, painted by a follower of Jan Gossaert, represents one of the most influential compositions of the Northern Renaissance: Christ on the Cold Stone, or Christ as the Man of Sorrows. The present work dates from the late 16th century and is based on a now-lost original by Gossaert from 1527, which survives only through numerous workshop versions and copies. One of the finest of these is housed in the National Museum in Kraków.

Jan Gossaert, also known as Mabuse (after his birthplace Maubeuge), was one of the first Netherlandish artists to travel to Rome, and a key figure in the development of Romanism—a Northern response to the Italian Renaissance. His work combined Italianate classicism with Northern attention to detail and texture, often set within grand architectural frameworks. This composition exemplifies the pathos and psychological intensity for which he became renowned.

Here, Christ is shown seated on a stone, wearing the crown of thorns, his hands bound, and his body bruised. The raw physicality of his suffering is juxtaposed with a haunting serenity in his gaze. Around him, mocking figures lean in—each rendered with individualized, almost grotesque features—enhancing the emotional impact of the scene.

The composition proved immensely popular in Gossaert’s time and well beyond, inspiring countless versions by his workshop and followers. As noted by M.J. Friedländer (Early Netherlandish Painting, 1972, vol. VIII, pp. 31 and 92, no. 14, pl. 22), the original work from 1527 became a prototype for devotional reflection on Christ's Passion, and this version preserves the depth and drama of the master’s invention.

 

Unknown Artist, 17th Century

Saint John the Baptist in a Landscape

oil on copper
unframed 11 x 15 cm

Condition: 
The painting is in a good condition following meticulous restoration by our conservator in Stockholm. The old varnish has been carefully removed, resulting in significantly sharper and more vibrant colors that reveal the artist's original intent. Additionally, the painting has been reframed in a new gilt frame, which beautifully complements the work and is included in the price.

Essay:
This exquisite small painting, executed on copper during the 1600s, depicts Saint John the Baptist in a serene landscape. The unknown artist captures the saint in a moment of contemplation, his red cloak and simple garments symbolizing his life of humility and devotion. Saint John the Baptist, a central figure in Christian iconography, is often depicted as a prophet and the forerunner of Christ, baptizing in the wilderness and calling for repentance.

Measuring only 11 x 15 cm, this jewel-like piece is remarkable for its vibrant, deep blue hues that dominate the background. A delightful detail is the small sailboat visible beneath the blue mountain, adding a sense of depth and narrative to the composition.

Similar themes and compositions intrigued artists such as Johann König and Annibale Carracci, who explored landscapes with religious figures. This charming painting is not only an evocative representation of Saint John the Baptist but also a testament to the skill and creativity of 17th-century painters.

German School, 1700s

The Road to Emmaus

oil on panel
unframed: 24.3 x 17.5 cm (9.6 x 6.9 inches)
framed: 34.5 x 28 cm (13.6 x 11 inches)

Provenance:
Swedish author and artist Amelie Posse (1884–1957)

Essay:
This 18th-century painting, measuring 24.3 x 17.5 cm, depicts the biblical scene known as "The Road to Emmaus" likely created by an unknown German artist. In this scene, found in Luke 24:13–35 of the New Testament, Jesus appears to two of his disciples after his resurrection, walking alongside them as they journey to the village of Emmaus. The disciples, however, do not recognize him until later, when he breaks bread with them, revealing his true identity.

The painting captures the moment of Jesus' interaction with the disciples, emphasizing the quiet, mystical atmosphere of the encounter. Jesus, draped in a blue mantle, stands in the center, deep in conversation with the disciples. The use of dark tones and soft lighting enhances the spiritual and solemn quality of the moment, inviting viewers to reflect on themes of revelation and faith.

Previously, this artwork was owned by the Swedish author and artist Amelie Posse (1884–1957). Posse, a prominent anti-Nazi activist, was known for founding the resistance organization "Tisdagsklubben" (The Tuesday Club) during World War II, aimed at countering Nazi influence in Sweden. Her life was marked by a commitment to democratic and pacifist ideals, and she played a significant role in assisting refugees from Nazi-occupied Europe.

Jan Frans Soolmaker (Flanders 1635‑1685)

Shepherd with Sheep, Cows and a Goat in a Landscape

oil on relined canvas
canvas size 56 x 53 cm
frame included

Compare with the signed painting by Soolmaker sold at Sotheby’s London, 7 July 1999, lot 453.

Provenance:
The collection of Swedish Prince Fredrik Adolf (1750-1803);
The collection of Pär Ulmgren (1767-1846), no. 32;
The collection of Gösta Stenman (1888-1947), inv. no. 885;
Engineer and politician Gustaf Henry Hansson (1894‑1976), probably acquired from the above;
Thence by descent until 2021

Essay:
This painting depicts a pastoral scene that is attributed to the artist Jan Frans Soolmaker, an artist known for his Italianate landscapes and scenes that often feature equestrian and Arcadian elements. The painting is not signed but is attributed to Soolmaker, relating it to a known signed work by the artist that was sold at Sotheby’s London in 1999.

The scene is suffused with the warm glow of a setting or rising sun, casting a soft light that is characteristic of Soolmaker’s landscapes. It shows a shepherd guiding a group of cattle across a shallow stream, with the animals taking center stage in the composition. The animals are rendered with careful attention to their forms and the play of light on their bodies, which is a hallmark of Soolmaker's work. The landscape is composed of a rocky terrain with trees and shrubbery, creating a sense of depth and natural beauty that invites the viewer to explore the scene further.

The background suggests a vast, open landscape with distant mountains, which adds to the Italianate feel of the painting. The sky is dramatic, with clouds catching the light of the sun, contributing to the overall serene yet dynamic atmosphere of the work.

The provenance of the painting is notable, having been in the possession of significant historical figures such as Swedish Prince Fredrik Adolf, and later The collection of Pär Ulmgren, The collection of Gösta Stenman, and Engineer and politician Gustaf Henry Hansson.

Potential buyers have the option of choosing between a newly made gold frame or an older brown frame, which allows for personalization in how the work is presented.

Soolmaker’s work is often compared to that of Dutch painter Nicolaes Berchem, whose style he emulated. Soolmaker's landscapes reflect a similar sensitivity to light and composition, making his works sought after for their beauty and historical significance. Despite the smaller body of work left by Soolmaker, due to his short career, his paintings are valued for their craftsmanship and the legacy of the artist’s brief but impactful contribution to the Dutch Italianate landscape genre.

Jacob Ochtervelt (Workshop)

The Grape Seller

oil on canvas
unframed: 80.7 x 61 cm.; 31 ¾ x 24 in.
framed: 109.5 x 89 cm.; 43 1/8 x 35 in.

Essay:
This captivating piece, originating from the studio of the revered Dutch artist Jacob Ochtervelt, mirrors the composition of a signed and dated 1669 canvas by Ochtervelt that is presently housed in the Hermitage museum. Its subject, "The Grape Seller" immerses us in a typical 17th-century interior, replete with characters from various strata of society.

At the center, a fruit vendor is depicted bending over to weigh grapes for the buyer. A child hands some of the grapes to her mother to taste, their attentive maid standing by. The backdrop showcases typical Ochtervelt details: a hint of the city visible through the doorway, light filtering in through an overhead window, and a playful dog at their side.

The exquisite quality of the piece is evident in the minutiae, such as the intricate detailing of the mother's earring, which in reality spans only a few millimeters yet boasts impressive attention to detail. Initially, Sotheby's considered this work to be an autograph piece by Ochtervelt. But due to some uncertainty, it was auctioned as Workshop of Jacob Ochtervelt. On the other hand, the esteemed Cabinet Turquin in Paris leans toward attributing the piece directly to Jacob Ochtervelt himself.

The painting is framed in an authentic period frame, which has been delicately restored by Stockholm's Förgyllning och Bildhuggeri. The frame retains its age-old patina and, while in used condition, has minor imperfections adding to its charm.

Another interesting thing worth to mention is the painting's provenance. It was once owned by the 1st Viscount Rothermere (1868-1940), the founder of the Daily Mail and Daily Mirror. As one of the wealthiest individuals in Britain during his lifetime, Viscount Rothermere amassed a remarkable art collection. This painting was included in the book "Works of Art in the Collection of Viscount Rothermere"  where its illustrated in black and white and expertise by Wilhelm Bode. 

Provenance:
Harold Harmsworth, 1st Viscount Rothermere (1868-1940) (Daily Mail founder), London, 1932;
His posthumous sale, London, Christie's, 19 December 1941, lot 89 (as Ochtervelt);
With Dr. F. Drey, London, before 1946;
Gösta Stenman, Stockholm, 1947 (as Ochtervelt);
Thence by descent until sold, Stockholm, Stockholms Auktionsverk, 10 December 2019, lot 2476 (as
Attributed to Ochtervelt by Cabinet Turquin);
Sotheby's London, Sale L20037, Old Master Day Sale, lot 155, (as Workshop of Jacob Ochtervelt)

Literature:
P.G. Konody, Works of Art in the Collection of the Viscount Rothermere, London 1932, cat. no. 53,
reproduced pl. 53 (as Ochtervelt) (see attached image with text by Wilhelm Bode);
G. Stenman, Gamla Tiders Mästare, Stockholm 1947, p. 22, cat. no. 48, reproduced pl. 26 (as Ochtervelt);
S.D. Kuretsky, The Paintings of Jacob Ochtervelt (1634-1682), Oxford 1979, p. 76, cat. no. 54-A, reproduced fig. 131.

Condition: 
Recently carefully cleaned by our art conservator in Stockholm. Only surface cleaning, the old varnish is still there. 

Francesco Guardi (Venice 1712-1793) Attributed to

Shipping in Stormy Waters

oil on canvas
canvas dimensions 20 x 23 ½ in. (50.8 x 59.7 cm.)
frame 25.7 x 29 inches (65.5 x 74 cm.)

Provenance:
Christie's London, 2 November 2016, lot 180 (as Attributed to Francesco Guardi), sold for GBP 102.500;
Private collection France;
Sotheby’s Paris, 17 June 2021, lot 165 (as Attributed to Francesco Guardi)

Essay:
No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention.

Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person.

Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters.

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 stable panel, discolored old varnish. Some small retouching. 

David Teniers the Younger (1610-1690) Follower of

A Peasant Removing a Plaster: The Sense of Touch

signed T on the table
oil on panel
panel size 7,20 x 5,55 inches (18,3 x 14,4 cm)
frame 11,22 x 9,84 inches (28,5 x 25 cm)
oak frame professionally handmade 2021

Provenance:
Old Christie's stamp on the back;
Private collection Poland;
Desa Auction Poland, 6 October 2020, Lot 55.

Flemish School, 1600s

Landscape With Pan and Syrinx

painted around the 1600s
oil on copper
19 x 23.5 cm
frame 29 x 34 cm
Hand-made oak frame by Swedish frame maker Christer Björkman.

Provenance:
A private collection France;
Art Dealer Antiquario Dipinti Antichi, 2022, France

David Teniers the Younger (Attributed to)

Title: Peasants in a Cornfield (Boer in het veld)

canvas size 9.84 x 7.08 inches (25 x 18 cm)
frame 12.59 x 10.03 inches (32 x 25,5 cm)
signed with monogram lower right: DT F

Provenance:
Stockholms Auktionsverk, 1996-06-03, lotnr. 234, as Attributed to David Teniers II;
Private Collection Sweden;
Uppsala Auktionskammare (Uppsala) 2016-06-14, lot 21, as By David Teniers II (Expertise Marina Aarts);
A Stockholm Collection;
Uppsala Auktionskammare 2021-06, as Attributed to David Teniers II (Expertise Marina Aarts)

RKD Archive:
Nr 19489, as Attributed to David Teniers II - Peasants in a cornfield (Boer in het veld)
Read more

Exhibited:
TEFAF March 2017

Comparable Sales:
Hampel, Germany, Junger Landmann mit Spaten, 25 mar 2021, Price including buyer's premium: € 31,000

 

Remembering the magic of everyday
life moments in the art of David Teniers

The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history. 

As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life.

Teniers portayed by his colleague Philip Fruytiers in 1655, at the height of his career and dressed in typical Baroque fashion. 

Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful.

As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with. 

Archduke Leopold Wilhelm in his Gallery in Brussels, painted by Teniers around 1650. His role as keeper of collections assured him both the budget and permission to create an extraordinary collection of art. 

Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works.

Detail with church in the background.

Continue reading here

 

Adriaen van Stalbemt (Stalbempt) 1580-1662

Abraham and the Sacrifice of His Son Isaac “Das Opfer des Abraham”

According to the Old Testament, God put Abraham’s faith to the test by commanding him to sacrifice his only son Isaac. Just in the nick of time, an angel of the Lord appeared, forestalling the terrible deed and delivering Abraham from his despair.

Certificate: Dr. Klaus Ertz, signed and dated Lingen 22 December 2020.
The certificate is written in German, below we have published part of the text translated into English:
Is known to me in the original. After thorough examination of this painting, I am convinced that it was painted by the Flemish painter Adriaen van Stalbemt.
The state of preservation of this painting can be described as very good.
Adriaen van Stalbemt, next to Jan Brueghel the Younger probably the most important successor of Jan Brueghel the Elder, took up many of Brueghel's themes and developed them further. Like many of his contemporaries, Stalbemt followed the example of this great role model. At the age of 29 he converted to the Catholic faith. It goes without saying that a painter in Antwerp had to be familiar with the themes of the Christian religion, since it was necessary to fulfill the wishes of his customers. The design of the spatial composition, reminiscent of the early David Vinckboons, which features juxtaposed landscape sections - on the left the dark foreground, on the right the background illuminated by the sun - indicates that this is an early painting, painted during the period from 1605 to 1610. In this painting, Stalbemt reveals himself to be a great artist who was able to skillfully combine different landscape formations such as forest, river and mountains at an early stage of his career. In interlacing all of these landscape parts into one perspective, this composition is very typical of Adriaen van Stalbemt's work.

Literature: Ertz/Nitze-Ertz, Adriaen van Stalbemt, Kritischer Katalog der Gemälde, Zeichnungen und Druckgraphik Lingen 2018.

oil on copper
picture size 8.07 x 9.96 inches (20.5 x 25.3 cm)
frame 14.17 x 15.94 inches (36 x 40.5 cm)
note: Important changes in the composition have been found with an IR camera, please contact us if you want to see the result from those images.

Provenance: Private collection Bavaria (Germany)