Dirck (1534) Barendsz. Paintings & Artwork for Sale | Dirck (1534) Barendsz. Art Value Price Guide

Oct. 16, 2024
DIRCK BARENDSZ (1534 AMSTERDAM - 1592 IBID) (ATTRIBUTED), STANDING MAN WITH HAT, 16TH CENTURY
Est: €350 - €500
Dirck Barendsz (1534 Amsterdam - 1592 ibid) (attributed), Standing man with hat, 16th century, Red chalk on paper. 21.3 x 14.8 cm (passepartout cutout), 36.0 x 29.0 cm (frame). Framed under glass in a passepartout. ,
Quittenbaum Kunstauktionen GmbH
Sep. 26, 2024
DIRCK BARENDSZ, 1534 – 1592, ZUGESCHRIEBEN
Est: €15,000 - €18,000
DIE MENSCHHEIT IN ERWARTUNG DES JÜNGSTEN GERICHTS Öl auf Leinwand. Doubliert. 115 x 142 cm. Verso mit alter Nummerierung. In ebonisiertem Profilrahmen. Von dem als Vorbild anzunehmenden Gemälde existiert ein von Sadeler gefertigter Stich. Im Gegensatz zu Gemälden, welche der seitenverkehrten Darstellung des Stiches folgen, vermittelt der Maler des vorliegenden Gemäldes die seitenrichtige Komposition nach dem originalen Gemälde. Da sowohl die Gebäude im Hintergrund variieren als auch der Regenbogen unter Christus fehlt, liegt die Vermutung nahe, dass es sich um eine Arbeit aus der Werkstatt des Dirck Barendsz handelt. (1402296) (10) Dirck Barendsz, 1534 – 1592, attributed HUMANITY AWAITING THE LAST JUDGEMENT Oil on canvas. Doubled. 115 x 142 cm. Verso with old numbering.
Hampel Fine Art Auctions
Jun. 27, 2024
Dirck Barendsz, 1534 – 1592, zugeschrieben
Est: €22,000 - €25,000
DIE MENSCHHEIT IN ERWARTUNG DES JÜNGSTEN GERICHTS Öl auf Leinwand. Doubliert. 115 x 142 cm. Verso mit alter Nummerierung. In ebonisiertem Profilrahmen. Von dem als Vorbild anzunehmenden Gemälde existiert ein von Sadeler gefertigter Stich. Im Gegensatz zu Gemälden, welche der seitenverkehrten Darstellung des Stiches folgen, vermittelt der Maler des vorliegenden Gemäldes die seitenrichtige Komposition nach dem Original Gemälde. Da sowohl die Gebäude im Hintergrund variieren als auch der Regenbogen unter Christus fehlt, liegt die Vermutung nahe, dass es sich um eine Arbeit aus der Werkstatt des Dirck Barendsz handelt. (1402296) (10) Dirck Barendsz, 1534 – 1592, attributed HUMANITY AWAITING THE LAST JUDGEMENT Oil on canvas. Doubled. 115 x 142 cm. Verso with old numbering.
Hampel Fine Art Auctions
May. 28, 2024
Seguidor de Dirck Barendsz (1534-1592) “Ricevimento sui bordi della laguna”
Est: €4,000 - €5,000
“Ricevimento sui bordi della laguna” Oil on canvas 83x139 cm
Veritas Art Auctioneers
Mar. 20, 2024
DIRCK BARENDSZ (1534 AMSTERDAM - 1592 IBID) (ATTRIBUTED), STANDING MAN WITH HAT, 16TH CENTURY
Est: €400 - €600
Dirck Barendsz (1534 Amsterdam - 1592 ibid) (attributed), Standing man with hat, 16th century, Red chalk on paper. 21.3 x 14.8 cm (passepartout cutout), 36.0 x 29.0 cm (frame). Framed under glass in a passe-partout. ,
Quittenbaum Kunstauktionen GmbH
Apr. 27, 2023
Dirck Barendsz, Adriaen Collaert, Allegory of the saving grace through faith in Christ, Jan Sadeler
Est: €325 - €425
Allegory of the saving grace through faith in Christ. Engraving after Dirck Barendsz (1534-1592), made by Adriaen Collaert (1560-1618) ca 1570-1600. Published by Jan Sadeler (1550-1600) ca 1570-1600. References: New Hollstein Dutch 1128. Good impression on very thin laid paper mounted on another thicker laid paper. Trimmed just on the margins, image complete. Small restoration in the text below at the T of Veniat. Otherwise excellent.
Old Master Print
Sep. 22, 2022
Jan Sadeler, Dirck Barendsz, Jonah and the whale
Est: €750 - €950
Jonah spat up by the Whale. Second engraving from a rare series of three prints. Engraving made and published by Jan Sadeler (1550-1600) ca 1582-1600. After a drawing/painting of Dirck Barendsz (1534-1592). Hollstein Dutch 129. In very good condition. Printed on thin laid paper with narrow margins, complete. Very good dark grey impression. With a good circular watermark. Very rare.
Old Master Print
Oct. 15, 2020
Jan Sadeler, The last judgement.
Est: €250 - €350
The last judgement, engraving by Jan Sadeler, after a drawing/painting of Dirck Barendsz. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (452). In perfect condition. Good dark impression, on thin laid paper with 5 mm margins.
Old Master Print
Oct. 15, 2020
Joan Sadeler, Nox, Dirck Barendsz.
Est: €300 - €450
Nox, engraved by Joan Sadeler ,after a drawing/painting of Dirck Barendsz, 1582, Published in Keulen. Hollstein Dutch 512. Good dark impression of this nightpiece engraving, trimmed just in the left margin, 0,5 mm and just on the other margins, image complete, otherwise in good condition.
Old Master Print
Jun. 12, 2019
Studio of Dirck Barendsz. (Dutch, 1534-1592) Bacchus and Venus and other figures feasting and making music
Est: £3,000 - £5,000
Studio of Dirck Barendsz. (Dutch, 1534-1592) Bacchus and Venus and other figures feasting and making music oil on copper h:44 w:59 cm Provenance: By descent within the family of the vendor since the 1930s Literature: Alex Hyatt King, "Morality and music: a study of a Flemish transformation scene of the later 16th century", in Early Music, XVI, 1988, pp. 553-557
Cheffins
Mar. 27, 2013
Attribué à Dirck BARENDSZ (1534-1592)
Est: €1,800 - €2,000
Attribué à Dirck BARENDSZ (1534-1592) La Pentecôte Toile, une grisaille. 28,5 x 19,5 cm
Ader
Mar. 22, 2013
BARENDSZ., DIRCK (ZUGESCHRIEBEN)(1534 Amsterdam um
Est: CHF12,000 - CHF18,000
BARENDSZ., DIRCK (ZUGESCHRIEBEN) (1534 Amsterdam um 1592) Porträt eines Edelmannes mit einer Münze. Öl auf Leinwand. 80,2 x 65,7 cm. Provenienz: - Auktion Glerum, Den Haag, 25.11.1991, Los 125. - Schweizer Privatsammlung. Dieses Gemälde ist im RKD, Den Haag, unter der Nummer 137485 archiviert und dort zwischen 1550 und 1574 datiert. Attributed to BARENDSZ., DIRCK (1534 Amsterdam circa 1592) Portrait of a nobleman with a coin. Oil on canvas. 80.2 x 65.7 cm. Provenance: - Glerum auction, The Hague, 25.11.1991, Lot 125. - Swiss private collection. Archived at the RKD, The Hague under number 137485 and dated between 1550 and 1574
Koller Auctions
Mar. 21, 2013
"Ave Rex Judaeorum", after Theodor Barendszoon (1534-1592, aka Dirck Barendsz) by Jan Sadeler (Flemish, 1550-1600)
Est: $400 - $600
"Ave Rex Judaeorum", titled copper plate engraving on laid paper with partial watermark, based on the Gospel of St. Matthew, Psalm 27. Christ is bound, wearing a crown of thorns, a reed being placed in in left has to symbolize a scepter and being mocked by the soldiers and hailed as "King of the Jews", in a manner similar to the hailing of the Emperor of Rome. Lower left margin Barendszoon was a Dutch Renaissance painter from Amsterdam who traveled to Italy in his youth to learn from the Italian masters, most notably Titian. View on AspireAuctions.com"
Aspire Auctions Fine Art & Antiques
Nov. 14, 2006
DIRCK BARENDSZ. AMSTERDAM 1534 - 1592
Est: €5,000 - €7,000
TWO SCENES FROM THE PASSION: THE KISS OF JUDAS, AND THE MOCKING OF CHRIST measurements note 255 by 201mm; 255 by 204mm each bears numbering and inscription in black ink on the old mount: 10.e/Jesus est trahi . par un baiser.; 13.e/Jesus est maltraité par les soldats.; both oil on paper Quantity: 2 NOTE These studies come from a series originally containing 40 chiaroscuros in oil by Barendsz., depicting scenes from the life of Christ. Twenty-four of the group have been identified, including two in Rouen (Musée des Beaux-Arts et de la Céramique de Rouen, inv. nrs. 975.4.27-8), two in the British Museum (inv. nos. 1985.10.5.3 and 1987.6.20.28), and one in the Rijksprentenkabinet (inv. no. RP-T-1995-8). The group is preparatory for an incomplete series of engravings by Jan Sadeler I, of which only five are known: The Entry into Jerusalem; Christ Driving the Moneychangers from the Temple; Father, Glorify Thy Name; The Anointing at Bethany; and Christ Crowned with Thorns (see The Age of Bruegel: Netherlandish Drawings in the Sixteenth Century, exhibition catalogue, Washington, D.C., National Gallery of Art, 1986, pp. 59-61, under cat. no. 9). It was Mariette who first connected the designs with Sadeler's engravings, when he examined the entire group of drawings in Paris in 1759. Mariette also mentioned a numbering system corresponding to that seen on the old mounts of the drawings in the present lot; a sheet from the series in Lille, and the four exhibited by Colnaghi's in 1985 were also mounted in the same manner. The dating of these designs has been disputed: comparisons have been made with Barendsz.'s drawings both of the mid to late 1560s and of the 1580s, and as the artist's work does not show a clear chronological development, it is difficult to reach any definite conclusion. In any case, the drawings reveal the artist's close understanding of his Venetian contemporaries, and in particular the free oil sketches of Palma Giovane and Tintoretto.
Sotheby's