Jan Muller / Antiques – 2019 Winter Catalogue
2019 – Winter Catalogue
Jan Muller / Antiques Burgstraat 24 9000 Gent, Belgium +32 (0)496 26 33 24 info@janmullerantiques.com
Winter Catalogue 2019
▲ Picture dated 1987, Jan at the age of eight. ◀ A written note to my father with the solemn promise that I would take over the business from him. ◀ Another note of me boasting about about being the best antiques dealer of the guild.
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Jan, November 2018, 32 years later.
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Emile Claus Sint-Eloois-Vijve 1849 – 1924 Astene
▲ Children near the river Leie h|w
46,5 x 55,5 cm work
Oil on canvas Signed lower left
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▶ Soleil levant h|w
140 x 133 cm work
Oil on canvas Signed lower left Text on the reverse 'fébruari J.C. E.C.
Given the dimensions of the work and the inscriptions on the back – February 1903 – we can assume that Claus exhibited the painting at least twice. The first time at his personal exhibition in the spring of 1905 (Exposition de tableaux par Emile Claus, tent, cat, Brussels, Cercle Artistique et Littéraire, 8 - 30 April 1905, approx. 24: Soleil levant (Février)), the second time at the Kunst van Heden exhibition (tent, Antwerp, [Academy, Venusstraat], 22 July - 15 September 1905, category 178: Soleil levant (Février)). Perhaps he also exhibited it in Paris at the Société nationale des beaux-arts in 1907, where he showed a 'Soleil levant' (Société nationale des beaux-arts, catalog of the paintings, sculpture, design, engraving, architecture and objets d' art exposés au Grand-Palais (avenue d'Antin), le 14 avril au 30 juin 1907, tent, cat, Evreux, Rev. Hérissey, 1907, cat 274: Soleil levant). In his overview of the exhibition,
the Ghent critic Frédéric de Smet discusses the 'Salle II', and talks about: 'Harmonie gris-bleu. Une agréable surprise nous y attend. Deux Claus splendides arrêtent tous ceux qui veulent franchir le seuil de la porte. On saurait passer sans admirer cette délicieuse finesse de couleur du "Soleil levant" et du "Chataignier" [comp. La Boverie, Liège]. Ces deux nouvelles toiles du maître d'Astene sont deux chefs-d'œuvre de plus à ajouter à la liste des merveilles artistiques dont peut s'enorgueillir notre école de peinture. "Octave Maus also cites both works briefly in his criticism of the exhibition: 'Les Artistes Belges au Salon de Paris', in: L' Art Moderne, Bruxelles, XXVII (7 July 1907) 27, p. 211: 'Parmi les peintres, on admira surtout Mr. Emile Claus, dont le Soleil levant et le Châtaignier évoquent avec une poésie intense la sérénité de la vie agreste, (...). ' — Text by Johan De Smet (MSK Gent)
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Jenny Montigny Gent 1875 – 1937 Deurle
Women bathing
H|w
66 x 77 cm
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work
Oil on canvas Signed lower right
Anna De Weert Gent 1867 – 1950 Gent
View of the Leye at Afsnee
H|w
82 x 165 cm work
exhibitions
Retrospectieve tentoonstelling Anna De Weert, Jenny Montigny, Yvonne Serruys. Museum van Deinze en de Leiestreek, Deinze 1987, Tent. cat. 52.
Oil on canvas Signed left below and verso 'A fsnee Sept - Octobre 1928
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Gustave De Smet Gent 1877 – 1943 Deurle
The 'Korenlei' under the snow
H|w
100 x 150 cm
work
Oil on canvas Signed lower right
provenance
Collection Jacques Feyerick, Ghent
literature
'Gustave De Smet, Sa vie et son oeuvre', P.G. Van Hecke & Emile Langui, Brussels 1945 'Gustave De Smet, Kroniek, Kunsthistorische analyse' Piet Boyens, Antwerp 1989 exhibitions
Retrospectieve Gustave De Smet KMSK Antwerp, 1961, nr 11
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â–ś H|w
91 x 106,5 cm
work
Oil on canvas Signed lower right
Maurice Sys Gent 1880 – 1972 Gent
The Sint-Michielsbrug at Ghent during wintertime
literature
'Maurice Sijs', Guido Sijs en Jos Murez, Uitgeverij Danthe, Sint-Niklaas, 1980, p. 51 afb. exhibitions
'Retrospectieve tentoonstelling Maurice Sijs' Museum van Deinze en de Leiestreek, Deinze 1989, cat. nr 78 'Schilders van de stad' Opbouwwerk ijzerstreek vzw, kerk Vinkem-Beauvoorde, 1990
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Leon De Smet Gent 1881 – 1966 Deurle
De Leye
H|w
63 x 64 cm
work
Oil on canvas Signed and dated Léon De Smet 1922 lower left provenance
Sir Rex Cohen Collection, UK
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Paul Leduc La Louvière-en-Hainaut 1876 – 1943 Brussels
Soir provençal, Martigues
H|w
114 x 136 cm
work
Oil on canvas Signed lower right and dated 1921 (also label on the reverse)
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César Pattein Steenvoorde 1850 – 1931 Hazebrouck
Children doing mischief
H|w
151 x 201 cm
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work
Oil on canvas
Signed lower left and dated 1910
Emile Claus H|w
130 x 98 cm
work
Oil on canvas
Signed 'Emile Claus' lower left
Sint-Eloois-Vijve 1849 – 1924 Astene
The young farmer
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Flemish school, 16th century The adoration of the Christ Child
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The outer wings; the kneeling donors with St-John and St-Jacob the Greater
H|w
60,5 x 112 cm open
work
Oil on panel
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16
â—€
Flemish school, 16th century Saint Francis of Assisi receiving the Stigmata The Virgin and Child with a canon The foot anointing of Christ by Mary Magdalene Catherine of Alexandria H|w
42,5 x 31,5 cm work
Oil on panel
Detail of a concealed portrait
Flemish school, 16th century The Virgin and Child
H|w
35 x 26,5 cm work
Oil on panel
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attributed to
Joachim Patinir
early 16th century
The preaching of Saint John the Baptist
H|w
45 x 48,5 cm work
Oil on panel
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attributed to H|w
64,5 x 50 cm
work
Oil on panel
Conrad Faber von Creuznach
Creuznach circa 1500 – 1552 Frankfurt am Main
Portrait of a lady with a red hat
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attributed to
Marcus Gheeraerts the Elder
Brugge c 1520 – 1586/1604 London
The lamentation
The first name association with the lower part of the right wing of the passion triptych by Barend van Orley (1488 / 92-1542) and his studio is evident. This was intended for the main altar of the burial church in Brou of the commissioner (in testament) Margaret of Austria (1480-1530) and Philibert II of Savoy, Margaret's deceased third husband. Margareta van Parma, however, decided that this should be placed in the mausoleum of Charles the Bold in the Bruges Lievevrouwkerk, where it still remains to this day. At the death of Barend van Orley it remained unfinished. Only in 1560 did Marcus Gheeraerts the elder (Brugge, c 1520-1586 / 1604 London) get the job to finish it. The latter became master in the Bruges painters' guild in 1558. How far Bernard van Orley had advanced in 1542 is not known. The central panel with the Calvary was probably far advanced or finished. The side panels were unfinished. This proved to be the case with the scientific material research conducted by Dr Lars Hendriksman (head curator Bonnefantenmuseum Maastricht) in 2006 and in which I gained insight from him. From this research it appears that the Lamentation on the right wing shows a difference in execution between the left part of it and the right one. This is mainly reflected in comparing the feet, hands and other parts. The signing is very brief everywhere. She points to a detailed grisaille underpainting that served as a guide for finishing the whole. The research of the panel concerned, carried out by Prof. Dr Maximilian Martens (Uni Gent Labo), also shows a summary signing, which is highlighted in details. Van Orley was active as a designer of tapestries at the end of his life, since 1530. He adapted his preparatory technique to this medium, probably following Tommaso Vincidor (see Nicole Dacos), who accompanied the Rafael cartons in the lowlands, where the series of carpets was woven. In that period he had most of the work carried out by his capable companions and pupils. His last known pupil received from Orley in 1542: G. Willems. This is also the case in the triptych in the Brugse Lieve Vrouwe church. The execution of the Lamentation discussed here follows very closely the original. In my view, the execution was done by Marcus Gheeraerts the Elder, in whose studio the unfinished order for Brou was found. Gheeraerts delivered this finished piece before 1565 to the Bruges church. In 1568 he had to leave for England, condemned for heresy together with his son Marcus II. All his goods in Bruges were then confiscated. It was not until 1577 that he traveled back to Antwerp, where he stayed until 1586. After the fall of the city he left for London where he died in 1604. His style was initially influenced by Orley. After 1565 he followed the Romanism of Maarten De Vos. His ductus and style are also in line with the little-known work of Vincent Sellaer.
H|w
168 x 146 cm work
Oil on panel
I recently consulted Dr Lars Hendriksman for guidance. He indicated that the Lamentation illustrated here must have come from the studio of Marcus Gheeraerts during the period 1560-65. It may have been used as a life sized ‘videmus’. This allowed the client Margareta van Parma to visualise the final result that Gheeraerts would create. From well known versions of the Lamentation which have been researched, this one is the most consistent with the triptych completed in Bruges during 1565. Dr Lars Hendriksman sent me his articles and report on his research. My hypothesis, parallel to his assessment, is that it may only have arisen in the immediate vicinity of the unfinished, since it also closely matches the work probably completed by Marcus Gheeraerts in Bruges, started by Bernard Van Orley and his studio in Brussels.
literature
J. Farmer, Bernard van Orley or Brussels, dissertation Princeton University 1981, pp 189-201 L. Hendrikman, Bernard van Orley's Passion triptych for the main altar at Brou: commissions and Copies, 2006, pp 82-93 The conclusions from the research and the dialogue with Dr Lars Hendrikman and Prof. Dr. Maximilian Martens. Prof Dr Dr hc Jan De Maere - Director DVK vzw
▼ Details of underdrawing and hatches.
provenance
Bachoven collection 1818 Paravicini collection Basel Sale Estate of Mr & Ms Staechlin-Paravicini, Basel 23 March 1939, lot 18 Sale Parke Bernet New York, 24 October 1962, lot 40 (as B van Orley) exhibitions
Basel museum: Exhibition of Art XV-XVIIIthC from Basel private collections
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attributed to
Jan Wellens de Cock
Leiden ca 1470 – 1521 Antwerp
Saint-Christopher carrying the Christ Child
H|w
48 x 64 cm work
Oil on panel
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German school, ca 1600 The adoration of the Magi H|w
29,7 x 21,5 cm work
Oil on copper provenance
Collection Jean Riechers
Flemish, 16th century The good Samaritan H|w
20,7 x 21,7 cm
work
Oil on panel
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Flemish, circa 1600 Mardi gras H|w
6,8 x 9,2 cm work
Oil on panel
Flemish, 16th century The martyrship of Saint Leodegar ? â–ź H|w
43 x 58 cm work
Oil on panel
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Joos van Craesbeeck Neerlinter 1606 – 1661 Brussels
A young man holding a beer jug in his right hand
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H|w
22,5 x 18,5 cm work
Oil on panel Signed with monogram CB on the pin of his jacket To be dated circa 1635 - 1640
provenance
Goudstikker, Amsterdam, before 1940, nr 875 Alfred Brod Gallery, London literature
Bode 1924, p. 175 Dr. Karolien de Clippel, Joos van Craesbeeck, een Brabants genreschilder. p. 123, image 7, p. 458
â—€
A young man portraid half-length, three-quarter view to the right. With his right hand he holds an earthenware jug. His suit is open at the neck, where a white shirt emerges. He wears a cap with a large flap that partly conceals his face. He has a rounded nose, mustache and stubbly beard. In this specific case, he re-interpreted a personification of Invidia (Envy) which formed part of a series of the Seven deadly Sins by Brouwer. By giving the man a jar as an attribute, Craesbeeck removed the original, allegorical meaning. Since it can be assumed that Brouwers' series came into being approximately 163437, the variant of the hand of his pupil could not have originated earlier and, because of stillistic grounds, not much later. The sloppy brushwork of the right hand of the man as well as the buttonhole on his collar in combination with the small modeled jug, point in the direction of a beginning painter.
Mattheus van Helmont Antwerpen, ca 1623 – 1679 Bruxelles
Making merry in the inn
H|w
37 x 51,5 cm
work
Oil on panel Signed lower left
Dr. Karolien De Clippel, Joos Van Craesbeeck (1605/06ca.1660). Een Brabants genreschilder (Pictura Nova XI), Turnhout (2006), vol. 1, cat. A7, pp. 123-124; vol. 2, fig. 7, p. 458.
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Jan Breughel the younger Antwerp 1601 – 1677
H|w
Jan Brueghel the Younger was born in Antwerp in 1601 and being Jan Brueghel the Elder’s first child he must have felt his destiny to continue the artistic tradition of his family very strongly. He started to work in his father’s workshop at the tender age of ten. As his father had done in the 1590’s, he went to Italy, in 1621. In Milan he stayed with Cardinal Federico Borromeo, who was arguably the most important patron to his father. He went as far as Sicily where he is documented in 1623 and 1624. In Palermo he spent much time with his friend Antony van Dyck, who was two years his senior. Early 1625 he learned of the death of his father and three brothers and sisters, all whom had been victim to a cholera epidemic raging in Antwerp. Jan set out for home instantly but the journey took much longer than expected. By August 1625 he felt the responsibility of being the head of a large family.
Successfully he sold paintings made by his father and also completed unfinished works in order to sell them. He took over his father’s studio with his contacts throughout Europe. In the same year he became a master in the St Lucas Guild and during the season 1630-31 he was even head of this institution. He managed to secure important assignments for the French Royal house and the Austrian Court. In 1626 he married Anna Janssens daughter of the well-known history painter Abraham Janssens. The couple were to have no less than eleven children. We are luckily well informed about his Italian trip, his personal life, his financial affairs and his social life since his journal, which ends in 1651, is being preserved. He died in Antwerp in 1678 at the age of 77.
A village scene
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47 x 74 cm
work
Oil on panel authenticity issued by Dr. Luuk Pijl, 12 June 2018, certificate nr VII8/377
Not a single work made by Jan the Younger from his Italian period is known today. During the second part of the 1620’s and the early 1630’s he worked strongly in his father’s highly detailed style catering the strong demand for these works. From the early 1640’s onwards Jan started to use a more personal manner as can be seen in the so called Adam cycle, a series made on large copper plates which he painted for the French Royals. The present painting shows a street in a small village. At the right, a woman is levering a bucket from a well, made of stone bricks. Two other women are washing their laundry, part of it already hangs to dry on a line. Two men are directing cattle towards a small wooden bridge at the left. Other figures are seen between the farms and large trees are dominating the scenery. The details and the colorful palette provide the image with a sparkling presence. The paint is preserved very well, allowing us to enjoy the beautifully painted details, especially in the figures and the rendering of the foliage. Also the sky is in fine condition, it imbues the landscape with great transparency. The painting under discussion is known through a handful versions, almost identical in size (Klaus Ertz, Josse de Momper der Jüngere, Freren 1986, pp. 392-95). Two versions (Ertz 1986, op cit, cat. nos. 380 and 381) show in the front a cart pulled by a horse which is omitted in the present version. A version in the Louvre in Paris also omits the cart (Jacques Foucart, Catalogue des flamands et hollandaises du musée du Louvre, Paris 2009, p. 109). Ertz attributes the landscape parts of this small group to Josse the Momper, but they should be given on stylistic grounds to Jan Brueghel the Younger, as did Jacques Foucart in his excellent catalogue of the Dutch and Flemish painting in the Louvre (vidi sopra). A drawing recorded in Russia (Ertz 1986, op. cit, p. 395, fig, 502) shows a very similar composition. It seems that this drawing, which omits the simple wooden bridge, is copied after one of the paintings and that it played no part in the creative process leading to one of the painted versions. It is remarkable how very few drawings, that were used as aids in the daily studio practice, have survived from the several Brueghel workshops. Being not considered works of art in own right, most of them are now lost. The composition is Jan Brueghel the Younger´s own invention, it does not rely on a painting or drawing by his father. A date during the late 1630´s seems most likely in the light of the master´s stylistic development. This fine and original composition provides a beautiful glimpse into rural life in seventeenth century in Flanders. To the best of my knowledge and in good faith, I remain, Dokkum, The Netherlands, 12 June 2018, Drs Luuk Pijl – specialist Dutch and Flemish landscape painting 29
Joos de Momper & Jan Brueghel the Younger Antwerp 1564 – 1635 Antwerp & Antwerp 1601 – 1677
Extensive landscape with a village
H|w
46.5 x 66 cm work
Oil on oak panel
This well preserved landscape, painted on an uncradled panel, shows an extensive river landscape with many figures occupying themselves in various activities (Fig. 1). At the lower left a small village with a church is rendered; its spire is pivotal in the composition. The architecture is counterbalanced by a chapel on a hill at the left. Several people are unloading a cart while another vehicle is on its way to the village. In the foreground we see a crucifix with a traveler praying in front. At the right two gentry on horseback are passing a female beggar and several peasants are tending their cattle in and around the small town. Behind all these people a broad river meanders through a hilly landscape towards the horizon. Strongly contributing to the sense of enormous space is the traditional brown/green/ blue palette ´moving´ from the foreground towards the far distance.
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The work is executed in Josse de Momper´s loose manner. No Antwerp master is able to render trees, mountains and rural architecture in a summary style with small dabs of paint, not very different from the handling of 19th century French impressionists. The work certainly dates from the mature period of the master; a date during the early 1630´s is feasible for the present work. Josse de Momper used to delegate the figures in his paintings to Antwerp colleagues. All the smaller, colorfully executed, humans and cattle are painted by Jan Brueghel the Younger (1601 Antwerp 1677). Brueghel often collaborated with De Momper. However, the two men on horseback and the female beggar are rendered in a slightly different style. They show stylistic affinities with figures painted by Pieter Gysels (1621 Antwerp 1690).
provenance
Galerie Heim-Girac, Paris 1959; Galerie Robert Finck, Brussel 1959; Collection E. Hertzberger, Aerdenhout 1963; Kunsthandel P. de Boer, Amsterdam; private collection, The Netherlands
literature
Klaus Ertz, Josse de Momper der Jüngere. Die Gemälde mit Kritischem Oeuvrekatalog, Freren 1986, p. 636, no. A79Vinkem-Beauvoorde, 1990
exhibitions
Nederlandse Landschappen uit de zeventiende Eeuw, Dordrechts museum, Dordrecht 1963, no. 84, fig. 5
Since Gysels was born in 1621, he was about 14 years old when the De Momper died. Therefore, we might assume that the larger figures were added a few years after the completion of the picture. The painting does not show a topographical correct scene. The composition was invented by De Momper and together with two colleagues he created a beautiful rural image of 17th century Flanders.
To the best of my knowledge and in good faith, I remain, Dokkum, The Netherlands, 19 October 2018, Drs Luuk Pijl – specialist Dutch and Flemish landscape painting
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Frans Francken II & Ambrosius Francken Antwerp 1581 – 1642 Antwerp & Antwerp ca 1590 – 1632 Antwerp
The passage of the Red Sea
H|w
93.5 x 123,5 cm work
Oil on panel Certified by Dr. Ursula Härting, 2019 32
The rescued Israelites are camped on the shores of the Red Sea. They were about six hundred thousand men on foot, not counting the children who had fled the slavery of the Egyptians. Her God, in the apparition of a cloud of fire and water accompanied her, he had made her escape from Pharaoh's troops dry feet through the split sea. After passing through the sea, Moses, here on the right bank of the shore with the staff in his outstretched hand, caused the floods of water to fall upon the pursuers, the troops of the pharaoh. Moses was enlightened in the faith, but a false translation of this passage
Francken II. Presumably it is Moses' older brother Aaron, leaning on his staff. He assisted Moses in the liberation of the Israelites from Egyptian slavery. The bright overall impression of many white-cracked colors creates a harmonious, idyllic atmosphere, which is supported by groups of resting, graceful young women with children. The painting is absolutely characteristic in the work of Frans Francken II, here with the help of his gifted, until now underrated brother Ambrosius Francken II. Book 2, Moses, 13, 17-14, 31. Comparable mighty rocks can be found in compositions by Frans II in works of the same period, which also draw from the Book of Moses and the episodes for the salvation of the people of Israel, also from around 1620. Simultaneous scenes, here from the book Moses 2, 12-15, are characteristic for the style of Frans Francken II, while in the middle of the picture a musical scene occupies a large space. Mirjam and some women play and dance to praise the salvation of the Egyptians. One of the two older men could be Miriam's brother Aaron. In front, both women look at their jewelery they brought from Egypt. In addition to the rescued children, jewelry and pompos are the precious possessions of women. In raffaelesque style sits a mother with two children and presented, in balance to the setting scene on the right outside, the idyllic atmosphere after salvation from the Egyptian persecutors.
in the Old Testament spoke of 'horned' Moses and this interpretation was followed by artists over the centuries, including here Frans Francken II, the well-known Antwerp cabinet painter. Characteristic is his depiction of the crowd of small-figured staffage, as well as in the oeuvre of his younger brother Ambrosius Francken II. This painting is a result of their collaboration. Ambrosius painted the rocks and the wandering multitude of the Israelites and also the teenagers on the front monolithic rock. The camped Israelites, parallel to the lower edge of the picture are from the hand of Frans 33
Artus Wolffort Antwerp 1581 – 1641
The four elements
Artus Wolffort (also Wolffaert) is initially active in Dordrecht (where his parents had emigrated) and returns to his hometown in 1615. Where he stays in the studio of Otto Venius (1556-1629). In 1617 he became master in the Guild of Saint Luke. He has a son who bears the same name and follows in his footsteps. Wolffort is a prominent representative of Antwerp baroque painting and author of, among others, religious and mythological scenes. The painting studied here (canvas, 159 x 201 cm) fits perfectly within that framework. There we recognize from left to right the four elements of nature: 'fire' (Vulcanus / Hephaistos with hammer and armor), 'sky' (character sitting on clouds, with bird of paradise and staff with budded birds), 'water' (Neptune / Poseidon with crown of shells, jug and trident with fish) and 'earth' (Ceres / Rhea with crown of cities and 'horn of plenty'). Furthermore, all sorts of easily identifiable animals and plants. I knew this representation because in Stuttgart [Staatsgalerie, inv. 2223] another version is kept (also on canvas, 182 x 240 cm), initially attributed to Jan Boeckhorst (1604-1668) and Frans Snijders (1579-1657), but Hans Vlieghe rightly associated it with Artus Wolffort. The presence of numerous animals was an obvious reason to opt for two hands at the (initial) attribution of the large canvas in Stuttgart. The version studied here was brought to my attention because of (clear) analogies with a painting attributed to Erasmus II Quellinus (1607-1678) in collaboration with Peter Boel (1622-1674) [Prague, Narodni Galerie, inv. DO4357] and even more with a version in the Château-Musée of Dieppe (entry 4861-974.2.1). Neptune is portrayed on both of these works, and the analogy with his counterpart to the work studied here is immediately striking. As far as the canvas in Prague is concerned (which, like the Dieppe version, is very close to the Wolffort style) I could refer to a number of 17th-century documents that allowed a possible link with Quellinus: '1 Seegodt of Quellinus, the fish of Peeter Boel ... and on the other hand a painting not yet recovered with a representation of 1 Vulcanus by Quellinus, the resurfaces by Peeter Boel ... In this context fascinating because both works fit in a series around the 'Four elements of nature'. But doubts remained and Vlieghe suggests that Quellinus may have copied a prototype of Wolffort (version in Prague). Finally, he prefers Artus Wolffort as the author of the canvas in Dieppe, which he dates back to around 1620. I follow his opinion. It is interesting, however, that in the art collection of Erasmus II Quellinus mention is made of a judgment of Salomons, of Wolfaert. Wolffort was certainly no stranger to him. In any case, the problem concerning this type of paintings remains up to date. Recently, September 2018, my opinion was asked about a (coincident) similar presentation; 'A llegory of the four elements of nature', Christie's, New York. That work was once offered as Jan van den Hoecke and later also associated with Erasmus II Quelli-
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H|w
158 x 200 cm
work
Oil on canvas
nus, in collaboration with Adriaan van Utrecht (1599-1652). I saw similarities with the style of Wolffort ... but finally it was opted to re-auction it as Jan van den Hoecke (1611-1651). It reminded me for a moment of the story also associated with a work named 'Neptune' in Dieppe. In conclusion, the quoted examples offered a solution to finally come to Artus Wolffort (1581-1641) in the case of the present Allegory of the Four Elements of Nature. With the obvious conclusion that the canvas can be considered as being made by him. With a second but larger version in Stuttgart. — Text by dr. Jean-Pierre De Bruyn 1 Een boeiende vergelijking kan gemaakt worden met Pieter van Mol (1599-1650), Personificatie van de Lucht (doek, 120 x 97,5 cm) in het Musée des Beaux-Arts te Valence, inv. P.133. De Paradijsvogel kan ook gelinkt worden aan Urania, godin van de lucht.
2Hans Vlieghe, Zwischen Van Veen und Rubens: Artus Wolffort (1581-1641), ein vergessener Antwerpener Maler, Wallraf-Richartz-Jahrbuch 39, Keulen, 1977, pp. 93-136 3Zie daaromtrent Jean-Pierre de Bruyn, Erasmus Quellinus, in de voetsporen van Rubens (Cassel, Musée de Flandre, 2014, cat. nrs. 3.4 en 3.5)
Portrait of Artus Wolffort by Antony van Dyck
The Four Elements are represented here by four nearly life-size figures, shown together and sitting around a brook. From left to right we successively see Fire, Air, Water and Earth. Fire is represented here by Vulcan with a burning torch or a big candle and a forge-hammer. Air is visualized by a young naked man, probably representing the sun god Apollo. He is shown here, sitting on clouds and having in his hands a bird of paradise and a stick from which dead birds hang. Water is represented by Neptune, shown here with his trident and pouring out water and fishes into the brook. Earth finally appears as Ceres, the goddess of fertility, shown here with a cornucopia and a white rabbit, a very fertile animal. There is a second and equivalent version of this composition in the Staatsgalerie, Stuttgart (no. 2223). I have been able to attribute that work to the painter Artus Wolffort on stylistic grounds (see in this respect: Hans Vlieghe, ‘Zwischen Van Veen und Rubens: Artus Wolffort, ein vergessener Antwerpener Maler’, Wallraf-Richartz-Jahrbuch. Westdeutsches Jahrbuch for Kunstgeschichte, XXXIX, 1977, pp. 109, 111). In both versions the rendering of the figures is strikingly similar to that in other paintings by the same master, some of them also signed or monogrammed.
The most striking features of Wolffort’s personal style are: a distinct illusionism in the rendering of hair, beard and facial details; a certain stiffness in the rendering of gestures and garment folds; local colouring. Wolffort was a painter who had been in close contact with the workshops of both, Otto van Veen and Rubens. He has assisted the latter in the execution of the many public decorations that had to be erected in Antwerp, on occasion of the ceremonial State Entry of Cardinal-Infante Ferdinand as the new Spanish governor of the Southern Netherlands. The strongly plastic quality of
the monumental allegorical figures betrays a certain affinity with similar compositions from c. 1620 or somewhat earlier by Rubens and his somewhat elder contemporary Abraham Janssen(s). Also the here discussed work by Wolffort should, in my opinion, is dated around the same period. But Wolffort here also shows a clear connection with the classicism of Otto van Veen. — Text by Hans Vlieghe, 3 December 2018
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Mathys Schoevaerts Brussels 1665 – 1702
Commedia dell-arte on the village square ◀
H|w
42,5 x 60 cm work
Oil on canvas
An animated village ◀
H|w
42,5 x 60 cm work
Oil on canvas
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Jan-Peter II Bredael Antwerp 1683 – 1735 Wenen
An animated landscape with travellers in front of a castle ◀
H|w
13 x 16,5 cm work
Oil on copper Certified by dr. Jan De Maere, 2018
An animated landscape with travellers ◀
H|w
13 x 16,5 cm work
Oil on copper
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Josef Van Bredael 1688 – 1739 Paris
An animated village h|w
34 x 47 cm work
Oil on panel
Jan-Frans van Bredael the Elder Antwerp 1686 – 1750
Chariot with travellers alongside a river h|w
26,5 x 36 cm work
Oil on panel Certified by Dr. Jan de Maere
38
Josef Van Bredael 1688 – 1739 Paris
h|w
An animated village
23 x 31,5 cm
work
Oil on copper
Nicolaes Van Galen born 1620, Dutch school
Travellers on the road H|w
18 x 23 cm work
Oil on copper
39
Théobald Michau Doornik 1676 – 1765 Antwerp
A village feast
H|w
33 x 45 cm work
Oil on copper Signed lower right
provenance
Antoine Joseph d’Eslacs du Bouquet, marquis d’Arcambal Vente du marquis d’Arcambal, 22 février 1776 Vente Baron de Portalis, Paris 1873 Collection Camondo, Paris, 1893 Collection Albert, Paris, 1908
40
The harvest ▶ H|w
27,5 x 37,5 cm work
Oil on panel Signed lower left
The village feast ▶ H|w
27,5 x 37,5 cm work
Oil on panel Signed lower right
41
Frans Francken II Antwerp 1581 – 1642 Antwerp
Croesus showing Solon his Riches H|w
55 x 72.5 cm work
Oil on copper Signed lower right: D. O... F F. literature
Geest en gratie, Essays presented to Ildiko Ember on her 17th birthday, Museum of Fine Arts Budapest 2012, p. 36
42
This impressively crowded composition is an important discovery in Francken’s oeuvre. No other version of the painting is known to Ursula Härting, who has examined it in the original. It shows both Francken’s technical perfection and the elegance of his compositions. In spite of the technically ambitious application of the paint in the form of delicate glazes, the artist never loses the spontaneity of his brushwork, which turns the facial features of his protagonists into impressive character studies. The artist reveals himself in the amalgamation of various stylistic influences. While the background is entirely in the tradition of late sixteenth-century landscape painting, the king’s exotic garments betray the preferences of the upcoming Baroque. The artist chose two levels of narrative when he illustrated Herodotus’s story about the fate of King Croesus, whose hubris took him to the funeral pyre and the brink of death. In the foreground, the proverbially rich Croesus shows his treasures to Solon, a wise thinker. In the background Croesus is depicted on the pyre, having been sentenced to die at the stake by Cyrus the Great of Persia. Croesus remembers Solon’s advice and calls his name; upon declaring his remorse, Cyrus pardons him. This re-discovery, a virtuoso fusion of multiple levels in terms of both style and iconography, is an impressive example of Francken’s great skill as a painter.
Jacob Bouttats Flemish school, 17th century
The allegory of fire
H|w
59 x 90 cm work
Oil on copper
43
Bonaventura Peeters Antwerpen, 1614 – 1652 Hoboken
Ships on the Schelde, Antwerp in the distance provenance
H|w
53 x 73,5 cm work
Oil on panel Signed lower left on a piece of driftwood 1637
44
1745 Collectie Arnoldus Lobedanius, Utrecht 1849 Collectie Van Bellingen, Suikerrui Antwerpen literature
Exposition universelle et internationale de Gand, 1913, L'art Ancien Exposition d'art ancien, l'art Belge au XVII siècle, Bruxelles 191°
Hendrick van Cleve III Antwerpen, ca. 1525 – 1590 ?
The entrance of a pope in Rome
H|w
52,5 x 72,5 cm work
Oil on panel
verso Bonaventura Peeters
45
Jan van Huchtenburg Haarlem 1646 – 1733 Amsterdam
The hunting party
H|w
67 x 82 cm work
Oil on canvas Signed lower left
46
Jan Adriaensz van Staveren
Edwaert Collier
Leiden 1613 – 1669 Leiden
Breda 1640 – 1707 London
Saint-Franciscus in prayer surrounded by animals
De smaak
H|w
H|w
work
work
44 x 33 cm Oil on panel Signed with monogram J.S. lower right
44 x 34 cm Oil on canvas gesigneerd ‘E. Collier fecit’ ‘Leyden 1706’
47
probably Flemish, circa 1600
French school, 17th century
H
H
Portrait of a nobleman 5 cm
Portrait of a man 10 cm
French, early 17th century
Portrait of a nobleman H
6,2 cm
French or Dutch school, 17th century
Portrait of a man French, 17th century
Portrait of a nobleman H
7,4 cm
48
H
Ă˜ 7,7 cm
Dutch school, 17th century
Portrait of Fred van der Capellen (1629-1706) H
7,5 cm work
Inscribed on the reverse 'Fred. V.D. Capellen Heer Van Den Boedelhof Anno 1658'
French school, around 1600
Marshal d'A ncre and his wife Leonora Dori Galigaï H
4,2 cm work
Oil on copper Inscribed on the reverse 'Le Mare.al D'A ncre' 'Eleonor Cali = Gay'
Concino Concini, 1st Marquis d'Ancre (c1575 – 24 April 1617), was an Italian politician and a minister of Louis XIII of France. He was murdered in a secret plot ordered by king Louis XIII. Following his assassination Concini's wife, Leonora Galigaï, was arrested, imprisoned in Blois and accused of sorcery. She was beheaded and her body subsequently burned at the stake on July 8 of the same year in Place de Grève, Paris.
49
attributed to
Michiel Van Mierevelt
Delft 1567 – 1641 Delft
Portrait of a husband and wife
H|w
93 x 71,5 cm work
Oil on panel Dated 1624 - 1626 Aetatis 27 (the male portrait) On the back a 17th century written texte is found - De Luffel ?
50
51
Abraham Storck Amsterdam 1644 – 1708 Amsterdam
Dutch warships in a harbour in a stiff breeze with merchants and gentlemen on a quay H|w
84 x 70 cm work
Oil on canvas Remains of signature lower left
Cornelis Johnson van Ceulen Londen 1593 – 1661 Utrecht
A portrait of a lady dressed in black with white lace holding a blue fan with her boy son holding a blue clock on a blue ribbon H|w
96 x 64 cm
work
Oil on canvas Signed and dated central right 164?
The pendant of our portrait is most probably the painting in the collection of the National Gallery of Scotland.
52
53
attributed to
Jacob Toorenvliet
Leiden 1640 – 1719 Oegstgeest
The quarrel
H|w
20 x 16 cm work
Oil on copper
Willem Bartsius Enkhuizen 1612 – 1639
A young soldier wearing a plumed hat, a bow and orange sjarp and holding a battle hammer
h|w
36 x 30 cm work
Oil on panel provenance
several labels on the back: Denis du Peage Valenciennes, J.B. Foucart 1898, lot 47 as by Govaert Flinck Old label, Govert Flinck
54
Johannes Petrus van Horstok Overveen 1745 – 1825 Haarlem
A lady reading a book in a window
H|w
23.6 x 18.2 cm work
Oil on panel Signed and dated lower right J P van Horstok, 1780 literature
Pieter A. Scheen - Lexicon Nederlandse beeldende kunstenaars - 1750/1880
Flemish, ca 1600
The last judgement
H|w
14 x 18,5 cm work
Oil on vellum
55
attributed to
Adriaen Jansz Kraen
Haarlem 1619 – 1679 Haarlem
H|w
A still-life of a silver cup, strawberries in a wan-li bowl, a loaf bread, raisons and three roomers on a table ledge decorated with a red table cloth
61 x 84 cm work
Oil on panel
We want to thank Dr. Fred Meijer who identified this painting as being original by Adriaen Jansz Kraen on the basis of first-hand inspection
The still lifes of Pieter Claesz. and Willem Claesz. Heda attracted a large following, particularly in their home town, Haarlem. Among their followers there was Adriaen Kraen, who was registered as a pupil of the history painter Jacob de Wet I in 1638 and who became a master in the Haarlem painters’ guild in 1642. From that same year stems his only known dated still life, an upright composition with a cup screw, somewhat reminiscent of Heda’s work, but of a fully mature and individual quality. It would seem that many of the signatures on his paintings were erased in the past in order to pass 56
them off under better known names. The present still life, among the works of the followers of Heda and Claesz., seems to fit best in Kraen’s oeuvre. Several features show a strong similarity: the sharp highlights and reflections in the glasses, the rendering of the bread roll, the round, marble-like grapes, and the prominent porcelain dish of strawberries all seem to connect it to Kraen’s work. The palette of this still life is somewhat cooler than his usually is, however, and the shapes of the objects are les sturdy, and the overall handling is smoother, which calls for some reservation in the attribution.
attributed to
Roelof Koets
Haarlem 1592/93 – 1655 Haarlem
work
H|w
Still life with a peeled lemon, a pewter to the left, a roomer, a bread, a crab, a wine glass and a columbine cup on a table with a white wrinkled table cloth
Oil on panel Attributed to Roelof Koets by Dr. Fred Meijer (2018)
70,5 x 93 cm
This still life is strongly reminiscent of the work of Pieter Claesz. from around 1650, but the execution is not entirely up to his standard. The handling of the white cloth, however, and that of the nuts and the crab come quite close. A very similar small silvergilt-cup appears in a still life attributed to Claesz. and Roelof Koets (as such in M. Brunner-Bulst, Pieter Claesz. […], 2004, cat. no. 201, dated to 1652/53). It may well be, however, that that painting is by Koets alone. Roelof Koets is something of a cameleon in his work. In the second half of the 1620s, he painted several compositions in the manner of the Haarlem nestor of still-life painting, Floris van Dijck (1574/75-1651). Subsequently, he specialized in painting fruit, mainly grapes and vine, and apples, in a soft, almost transparent manner, which subject he also contributed to still lifes by
Pieter Claesz. From c. 1640 on, he also painted still lifes that mimicked the style, handling, and compositions of Pieter Claesz. A signed example in which he combined his characteristic fruit with a Claesz.-type still life is in the Memphis Brooks Museum of Art, and another example, with a crab and a lemon very similar to those in the present painting, was with Lawrence Steigrad in New York in 2006. An interesting feature in this still life is the lemon, which appears to have been peeled left-handed. Almost all lemons in Pieter Claesz.’s still lifes have been peeled in that way, which suggests that the artist was probably left-handed. In other still lifes by Koets, lemons are usually peeled right-handed, but in this still life and in the signed example in Memphis they are not, which shows his dependence on Claesz’s model. 57
Pieter Claesz Haarlem 1597 – 1660 Haarlem
A still-life with a pewter jug, a glass of beer; a cooked ham, a bread roll on a pewter plate, together with other objects, all placed on a table draped with a white cloth
Pieter Claesz. was the most prominent and prolific painter of still lifes in Haarlem in the seventeenth century. Between 1621 and his death in December 1660, he painted probably more than 300 still lifes, mainly of meals displayed on a table. With Willem Claesz. Heda (1594-1680), he was the main protagonist of what has been called the Haarlem ‘monochrome banketje’ (the monochromatic banquet still life). Particularly in the 1630s, they painted still lifes in a restricted and subdued palette. In the 1640s, Claesz.’s work gradually became more colourful again, although this work from 1648 still largely adheres to the monochromatic idiom. Also in the course of the 1640s, Pieter Claesz’s handling of the brush became broader, without losing his sense of accuracy and detail, however. He worked rapidly, without layering his paint very much – as such his manner reminds of that of his famous fellow townsman Frans Hals. Claesz. often repeated motifs in his still lifes, such as the wrinkled white cloth, the shape of which he varied endlessly. A bread roll, a ham, and a pre-cut herring were also favourites on which he liked to vary. This still life is a rare example in which he combined a ham and a fish, usually he included only one of the two. In the back, there is dark (probably rye) bread, there are onions to go with the herring, mustard for the ham in the small German stoneware jar, a sauce (vinaigrette?) in the dish of Chinese Wanli porcelain, some walnuts and hazelnuts, and of course a glass of ale, poured from the pewter tankard to the left. — Text by Dr. Fred Meijer
H|w
52 x 70 cm work
Oil on panel Signed with monogram and dated PC/1648 middle left Expertise by Dr. M. Brunner-Bulst, 31/03/2009
59
Gillis Van Hulsdonck Antwerp 1625 – after 1669
A still-life with a lobster on a tin plate, two breads, a lemon and an orange in a Wanli bowl, a roomer with knife and two oysters on a plate.
60
H|w
28,5 x 23,8 cm
work
Oil on canvas Signed lower right ‘HULSDONCK’ Label on the back: succession de Mons Jean Henri Brussel Aix-la-Chapelle
H|w
17 x 23 cm work
Oil on copper On the reverse a collection stamp and a number 9
pseudo van Kessel 17th century
â–˛ Still-life with a parrot â–ź Still-life with a hamster
H|w
17 x 23 cm work
Oil on copper On the reverse a collection stamp and a number 9 61
attributed to
Pieter van den Bosch
Amsterdam 1612 – 1663 London Still life of fruit, a columbine cup and oysters in a niche
H|w
68 x 52 cm work
Oil on panel inscription right above PXB To be dated circa 1645 RKD nr 227419
62
H|w
work
18,8 x 24,6 cm
Oil on copper Signed right below
H|w
Oil on panel Signed left below and dated 1693
work
26 x 41,5 cm
Jacob van Hulsdonck Antwerp 1582 – 1647 Antwerp
Still life of a lemon, a cut lemon and pomegranate parts on a table
Cornelis de Brier
1620 – 1681 ? Frankfurt am Main
Still life with grapes, peaches, plums and cherries, strawberries in a wanli bowl
63
Alexander Coosemans Antwerpen 1627 – 1689 Antwerp
Fruit, a pewter dish and a roemer on a partially draped table
H|w
39 x 45 cm work
Oil on canvas Signed left above
H|w
56 x 46 cm ▶
Willem Grasdorp work
Oil on canvas Signed lower right
Zwolle 1678 – 1723 Amsterdam
A still-life with fruits, a statue on the left side
65
Pieter de Ring ca 1615 – 1660 Leiden
Still life with peaches, grapes and plums
H|w
49 x 43w cm work
Oil on panel
The present painting was defined by Fred Meijer as a "characteristic work of the Leiden master Pieter de Ring". For comparison, he cites a painting in the Rijksmuseum in Amsterdam (Inv.No. SKA-335). According to Meijer, our image is of particular interest, as it is now the second representation of the master, which goes back to a composition by Jan Davidsz. de Heem. This supports his thesis that Pieter de Ring spent some time in the early 1650s in de Heem's studio. Not much is known about the life of Pieter de
66
provenance
Estate Karl Schaub, Mainz 1855 (according to a label on the back) Pabst / L (...) bhardt, Darmstadt Ingelheim 1962 (according to inscription on reverse side) Private property, Baden-WĂźrttemberg.
Ring. He was born either in Ypres or in Leiden and spent his entire life in this university town. In 1648 he was co-founder of the Leiden Saint Luke Guild. In his art, he was strongly influenced by the still lifes of Jan Davidsz. de Heem. It is only in recent years that research has shed some light on his work and has been able to crystallize de Ring's characteristic handwriting. We thank Dr. Fred Meijer, Amsterdam, for the affirmation of authenticity based on a digital photograph.
Abraham Breughel Antwerp 1631 – 1690 Napels
Flowers in an ornamented vase H|w
105 x 76,5 cm work
Oil on canvas We like to thank Mr. Fred Meijer for the identification of this painting after inspection of the original
Abraham Brueghel was a son of Jan Breughel the Younger. He went to Italy before he turned 18, and remained there for the rest of his life. Although Flemish by birth, he can be counted among the most successful Italian stilllife painters of the second half of the seventeenth century. Initially active in Rome, he moved to Naples in the early 1670s. His main theme was the out-door still life of fruit, often with some flowers. Pure floral still lifes by Brueghel are much rarer and this is an excellent example. He rarely dated his paintings which makes it difficult to suggest a chronology for them, but this flower painting most probably was painted after his move to Naples. He may well have been inspired by the work of Roman flower painters such as Poalo Popora (1617-1673) and MarioNuzzi ‘dei fiori’ (1603-1673), but Brueghel’s flower paintings such as this one have a great individuality and a quality that equals or even surpasses that of the work of his predecessors.
67
Johann Falch ? c.1687 – 1727 Augsburg A forest floor with a lizard, a snake and a snail among weeds
H|w
29.2 x 20.7 cm work
Oil on panel The Dutch artist Otto Marseus van Schrieck (c.1619-1678) was inspired to develop the theme of the forest-floor still life during his sojourn in Italy in the 1650s. His paintings of this subject, featuring reptiles, snails, butterflies and plants such as thistles, commanded a substantial following, not only in the Netherlands, but also abroad. The pair of paintings presented here belongs to a fairly large group, the majority of which was traditionally attrib-
68
uted to the Flemish-German painter Carl Wilhelm de Hamilton (1668-1754). In fact, of one of these two paintings (with the water to the right), there are two monogrammed versions by De Hamilton (Kunstmuseum Basel and MusĂŠe des Beaux-Arts de Lyon), but their palette is warmer and the handling softer. Recently, through the appearance of a number of signed works, it has become clear that many of the paintings in this group were done
by Johann Falch from Augsburg, who probably worked with De Hamilton in that city. Marseus had developed a technique to press the pigments of butterfly wings into the wet white ground of his paintings for a natural result. The bodies of the butterflies and the outer surface of the wings were painted. Many of his followers adopted that technique, including De Hamilton and Falch, as can be seen here, but as usual, unfor-
tunately little of the original butterfly pigments remain. The leaves of the plants in these paintings will originally have been greener, since on top of the blue, the artist applied a transparent, yellow-green glaze which was probably lost in cleaning early in their existence. — Text by Dr. Fred Meijer
69
Jean Francois Eliaerts Deurne 1761 - 1848 Antwerp
Stillife with a pineapple, a sliced melon, prunes, peaches, flowers, butterflies en other insects.
70
H|w
56 x 50 cm work
Oil on panel, Signed lower left Eliaerts
Julius Eduard Wilhelm Helfft Berlin 1818 – 1894 Berlin
Venice
H|w
79 x 99 cm work
Signed and dated 1858 right below
71
Frans Vervloet Mechelen 1795 – 1872 Venice
View of Venice
72
H|w
30 x 25 cm
work
Oil on board Signed and dated lower right 1855 and situated Venezia
H|w
64,5 x 84,5 cm work
Signed lower right F. Van den Hove 1886 Signed lower left
Franz van den Hove Belgian school, 1846 – 1921
View of campo San Giovanni e Paolo with the facade of the San Marco school
73
Jean Baptiste Van Moer Brussels 1819 – 1884 Brussels
Grand Canal in Venice
Charles-Théodore Frère Paris 1814 – 1888
The colossus of Memnon ▶ Signed lower left Th. Frère and inscribed Colosses de Memnon, Thèbes The Sfinx and the pyramid of Cheops ▶ Signed lower left Th. Frère and inscribed Le Sfinx et la Pyramide de Schéops
H|w
45 x 79 cm work
Oil on panel Signed lower left
74
w|h
54,5 x 31,5 cm
work
Oil on panel
w|h
54,5 x 31,5 cm
work
Oil on panel
75
Adriano Bonifazi Italian, 1858 – 1914
An elegant young girl playing the flamenco guitar
76
work
Oil on canvas Signed and dated lower left 1874
H|w
84 x 60 cm
Eugene von Blaas H|w
41 x 31 cm
work
Oil on panel Signed central right
Albano 1843 – 1931
A young Italian lady
77
Louis-Charles Verwee Brussels 1832 – 1882 Brussels
Good reading
78
H|w
51 x 41 cm
work
Oil on panel Signed and dated right below
LÊon Herbo Templeuve 1850 – 1907 Brussels
La chinoise
H|w
84 x 59,5 cm work
Oil on canvas Signed and dated lower left 1883. Bruxelles exhibitions
gold medal Algiers 1881 gold medal Brussels 1883
79
Piet van Engelen Lier 1863 – 1924 Antwerp
Donkey’s near the North Sea H|w
134 x 99 cm work
Oil on canvas Signed lower left Piet van Engelen
80
Piet van Engelen Lier 1863 – 1924 Antwerp
Mules near the beach
H|w
99 x 128 cm work
Oil on canvas Signed lower right literature
Berko, Dictionnaire des peintres d’animaux belges et hollandais nés entre 1750-1880, reproduit pp. 230-231
Wouterus Verschuur Amsterdam 1812 – 1874 Vorden
Taking a break
H|w
35 x 45 cm work
Oil on panel Signed lower left
81
François Jean Louis Boulanger Ghent 1819 – 1873 Ghent
The old city center of Ghent, view of the entrance of the castle located on 'het Veerleplein'
H|w
35 x 26 cm work
Oil on panel Signed lower left and verso
82
H|w
83 x 106,5 cm
work
Oil on panel Signed lower left
Basile de Loose Zele 1809 – 1885 Brussels
Grandmothers birthday
Gérard Portielje Antwerp 1856 – Remich 1929
A game of chess H|w
50 x 61 cm work
Oil on canvas Signed lower right
83
A moment of rest H|w
35 x 45,5 cm work
Oil on canvas Signed lower left and dated on the back 1909
Charles Van den Eycken Brussels 1859 – 1923 Brussels
The broken canvas H|w
33 x 26 cm work
Oil on panel Signed lower left Ch. van den Eycken
84
Charles Kuwasseg Draveil 1838 – 1904 Essone
▲ A romanticized view of a dock in Antwerp
▲ The bridge to the beguinage in Bruges
H|w
92 x 73 cm work
Oil on canvas Both signed and dated 1874
85
Hermanus Koekkoek I Middelburg 1815 – 1882 Haarlem
Fishing Boats in a water channel
H|w
54 x 74 cm work
Oil on canvas Signed and dated 1853
86
Hermanus Koekkoek I
Middelburg 1815 – 1882 Haarlem
Ships in the harbour
H|w
29 x 37 cm work
Oil on panel Signed with monogram lower left
87
Jan Muller Antiques bvba Fine Art Paintings © 2019 Jan Muller Antiques
Burgstraat 24 9000 Gent Belgium
Published by Jan Muller Antiques January 2019
info@janmullerantiques.com www.janmullerantiques.com
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Photography Peter Willems — Design Sfumato.be — Printed by Albe De Coker
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Jan Muller / Antiques – 2019 Winter Catalogue
2019 – Winter Catalogue
Jan Muller / Antiques Burgstraat 24 9000 Gent, Belgium +32 (0)496 26 33 24 info@janmullerantiques.com
