Bossche, Balthasar van den (1681 Antwerp - 1715 ibid.) (1681 Antwerp - 1715 ibid.) Follower, "Heiliger Hieronimus als Eremit", oil on wood, probably illegibly monogrammed lower left in the stone Boss...?, illegibly inscribed with an old adhesive label on the reverse, 30 x 25 cm Bossche, Balthasar van den (1681 Antwerpen - 1715 ebenda) Nachfolger, "Heiliger Hieronimus als Eremit", Öl auf Holz, wohl unleserlich monogrammiert unten links im Stein Boss...?, rückseitig alte Klebeetikette unleserlich bezeichnet, 30 x 25 cm
Bossche, Balthasar van den (1681 Antwerp - 1715 ibid.) (1681 Antwerp - 1715 ibid.) Follower, "Heiliger Hieronimus als Eremit", oil on wood, probably illegibly monogrammed lower left in the stone Boss...?, illegibly inscribed with an old adhesive label on the reverse, 30 x 25 cm Bossche, Balthasar van den (1681 Antwerpen - 1715 ebenda) Nachfolger, "Heiliger Hieronimus als Eremit", Öl auf Holz, wohl unleserlich monogrammiert unten links im Stein Boss...?, rückseitig alte Klebeetikette unleserlich bezeichnet, 30 x 25 cm
BALTHASAR VAN DEN BOSSCHE (ANTWERP 1681-1715) A painter's studio with an elegant couple; and A sculpture's studio with a... oil on canvas 38 ¼ x 45 ½ in. (97.2 x 115.6 cm.)
Galantes Konzert in einem Palasthof. -- Öl auf Leinwand, doubliert. 91 x 62,5 cm. Verso auf dem Keilrahmen teils unleserlich bezeichnet "[...]1894 van den Bos". -- -- Das kurze Schaffen von Balthasar van den Bossche spielte sich hauptsächlich in seiner Geburtsstadt Antwerpen ab, wo er beim flämischen Genremaler Gerard Thomas lernte und 1697 in die Malergilde aufgenommen wurde. Im Anschluss lebte er für mehrere Jahre in Paris, wo er ein Atelier unterhielt. Spätestens 1607 kehrte er nach Antwerpen zurück, wo er vor allem mit Darstellungen von Künstlerstudios und Bildergalerien in der Tradition seines Lehrers Thomas erfolgreich wurde. Seine Szenen verortete er in luxuriös ausgestatteten Räumen und nobel wirkende Architekturen, seine Figuren ließ er in feinem Putz auftreten. Dabei reflektierte die Inszenierung von Wohlhabenheit und sozialer Grazie den gesellschaftlichen Rang und Repräsentationsanspruch der Auftraggeber. -- -- - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Balthasar van den Bossche (Anvers 1681-1715) Dans l'atelier du sculpteur The sculptor's studio traces de signature (en bas à droite) remains of signature (lower right) huile sur toile oil on canvas 68.5 x 86cm (26 15/16 x 33 7/8in). sans cadre unframed
Tableaux Huile sur toile marouflée sur toile "Le petit concert". Attribué à Balthasar van den Bossche. Ecole flamande, Anvers. Provenance: anciennes collections Nève de Mévergnies et van Ypersele de Strihou. Dim.:+/-91x62,5cm. VAN DEN BOSSCHE Balthasar (1681 - 1715). Attribué à.
Balthasar van den BOSSCHE Anvers, 1681 - 1715 Concert galant dans un parc Huile sur toile Trace de signature en bas à gauche Une ancienne étiquette fragmentaire au verso Sans cadre h: 70,50 w: 87,50 cm
Signed lower right: BV Bossche f The proceeds from this lot and Lempertz´s commission will be donated to humanitarian aid in the Ukraine. This signed painting is one of the studio scenes frequently painted by Balthasar van der Bossche. It depicts the artist in the center of the composition with a palette in his hand, turning towards a lady paying him a visit. The large painting on the easel shows a portrait of a young prince flanked by an allegory of Fame and surrounded by military attributes. An assistant stirs paints, and a standard and parts of a suit of armour stand as props next to the easel. A view of an expansive park in the background indicates that the artist is painting his picture in the royal residence.
Balthasar van den BOSSCHE Anvers, 1681 - 1715 Concert galant dans un parc Huile sur toile, trace de signature en bas à gauche Une ancienne étiquette fragmentaire au verso Sans cadre h: 70,50 w: 87,50 cm Estimation 4 000 - 6 000 €
Maler des 17. Jahrhunderts.IM BILDHAUERATELIER Öl auf Leinwand. 64 x 82 cm. Im fantasiereich dargestellten Inneren eines Akademiegebäudes, mit Raumbögen und Velum an der Loggia, sind zahlreiche Bildhauer mit mehreren Werkstücken beschäftigt. Im Zentrum wird an einer monumentalen Plastik zweier herkulischer Kämpfer gearbeitet, eine weitere große Steinfigur liegt am Boden, während der meißelnde Steinmetz mit Hammer und Schariereisen darauf sitzt und zu einem Gehilfen herabblickt, der die Steinsplitter zusammenkehrt. Andere Gruppen beschäftigen sich mit Zeichnen oder der Herstellung kleinerer Kopfplastiken. Die Darstellung generell war ein Bildthema des Van den Bossche und geht möglicherweise auf ein verschollenes Gemälde des Künstlers zurück. Dennoch vermittelt das Bild einen guten Eindruck der kunstakademischen Arbeitsweise des 17. Jahrhunderts. A. R. (1291677) (3) (11) Balthasar van den Bossche, 1681 – 1715, attributed 17th century painter. THE WORKSHOP OF THE SCULPTOROil on canvas. 64 x 82 cm. The depiction in general was a common subject of Van den Bossche and possibly goes back to a lost painting by the artist. It also gives a good impression of style of art academy painting in the 17th century.
TABLEAUX Huile sur toile marouflée sur toile "Le prince observant l'œuvre du sculpteur sur un fond de paysage aux ruines". Attribué à Balthasar van den Bossche. Ecole flamande, Anvers. Une œuvre similaire est conservée au Musée de l'Hermitage de Saint-Pétersbourg. Répertoriée sur le site de la RKD. Dim.:+/-102x85,5cm.
The scene depicted in this painting is probably that of a discussion between artists about classical statuary during a visit to the studio of an antique dealer. At the end of the century, he was registered with the Antwerp Guild of Painters, and at the beginning of the XVIII century, he travelled to Paris. On his return home, he would alternate his work as a painter with that of a dealer: this was a period of great success, as often happened to painters returning from their training abroad. In this work, the painter concentrates his efforts by depicting a small group of scholars gathered in a rather essential, bare space, compared to the sitting room of a great Dutch collector. The presence of classical heads and busts is typical, representing a point of reference for the study of drawing and ancient art. Also standard is the construction of the simple architectural elements in the room, accompanied by the cumbersome scenic presence of the curtain, which provides an almost theatrical setting for the scene.
Tableaux Huile sur toile marouflée sur toile "Cabinet d'un humaniste". Attribué à Balthazar Van Den Bossche. Epoque: vers 1700. Dim.:+/-69x85cm. VAN DEN BOSSCHE Balthasar (1681 - 1715). Attribué à.
Balthasar van den Bossche (1681 Antwerpen - 1715 ebenda) Musizierende und zechende fröhliche Gesellschaft Die in eine Palast-Architektur komponierte Szene schildert eindringlich die Ausschweifungen und Versuchungen im Zeitalter des Barock. Dicht gedrängt wird eine Gesellschaft gezeigt, die sich zur Musik dem Weingenuss und der Liebe hingibt. Durch eine effektvolle Lichtführung und leuchtendes Kolorit hervorgehoben ist eine junge Frau, offenbar eine Prostituierte, mit erhobenem Weinglas, die von einem neben ihr sitzenden Mann umarmt wird. Als unzweideutige, drastische, moralisierende Anspielung auf dieses Paar hat der Künstler auf der linken Bildseite kopulierende Hunde dargestellt. Währenddessen hat sich ein junger Mann in der Mitte des Vordergrundes zum Betrachter umgedreht, wodurch dieser direkt einbezogen wird. Das fein gemalte Genrebild gehört zu den überaus seltenen Motiven des Künstlers aus diesem Themenkreis, aus dem sich sonst nur ganz wenige vergleichbare Gemälde erhalten haben. Balthasar van den Bossche lernte bei Gerard Thomas in Antwerpen und wurde 1697 Mitglied der dortigen Gilde. Schwerpunkt seines Schaffens waren Interieurs, insbesondere Darstellungen von Maler- und Bildhauerateliers. Öl/Lwd., doubl.; R. u. sign.; 63 cm x 59,5 cm. Rahmen. Provenienz: Deutsche Privatsammlung. Oil on canvas, relined. Signed.
BALTHASAR VAN DEN BOSSCHE (1681-1715), attribué L'atelier du sculpteur avec une sculpture de Giambologna dans le fond Huile sur toile marouflée sur masonite. Dimensions : 53 x 41 cm Peintre anversois de genre et de portraits, élève de Gérard Thomas, il devient membre de la Guilde d'Anvers en 1697. Van den Bossche se rend à Paris où il a un atelier jusqu'en 1700, date de son retour à Anvers. Aidé par de nombreux et riches mécènes dont le duc de Marlborough très impressionné par ses oeuvres, de dernier lui commande son portrait incluant la scène d'une de ses batailles. Sa carrière sera interrompue par sa mort précoce en 1715. The sculptor's studio with a sculpture by Giambologna in the background, oil on canvas mounted on masonite. Attributed to Balthazar van den Bossche.
Bossche, Balthasar van den (1681 - 1715 Antwerpen), in der Art, ''Die Zeichenstunde'', Öl auf Leinwand, 60 x 51 cm, verso alter Klebezettel mit Zuschreibung zu B.v.d. Bossche
Balthasar van den Bossche (Antwerp 1681-1715) The Sculptor's Studio signed and dated '* Bosche f./1712'(lower left) oil on canvas 47.9 x 58.2cm (18 7/8 x 22 15/16in). For further information on this lot please visit the Bonhams website
Balthasar van den BOSSCHE (Anvers, 1681-1715) La séance de pose dans l'atelier du peintre The pose session in the painter's studio, canvas 26 5/8 x 32 1/2 in. 3 500 €3,500-4,500 BALTHASAR VAN DEN BOSSCHE (ANVERS, 1681-1715) LA SEANCE DE POSE DANS L'ATELIER DU PEINTRE Toile Restaurations anciennes 67,5 x 82,5 cm
BALTHASAR VAN DEN BOSSCHE (FLEMISH 1681-1715) The artist's studio Oil on canvas 45.5 x 57cm (18 x 22 1/2in) Balthasar van den Bossche enjoyed a brief but successful career painting scenes of interiors for aristocratic patrons of the early 18th century. The genre that incorporated scenes of galleries or artists studios filled with pictures, as in the present example, became referred to as Kunstkamer paintings.
Oil on Canvas. In the manner of Balthasar van den Bossche (Dutch, 1561-1715) "A Painting of Conoisseurs." 22"-1/2" H x 19" W. Mansion Master Suite. NO RESERVE. This lot was formerly the property of well-known real estate developer Mr. Melvin Simon and his wife, Bren Simon. It is part of the Simon's Asherwood Estate which Mrs. Simon most graciously has gifted to the non-profit Great American Songbook Foundation on whose behalf it is being sold.
The interior of a sculptor’s studio, with students drawing and a sculptor finishing a Hercules sculpture A pair, oil on canvas Both signed, the first l.l. and the second l.r.: B.V.Bossche F:
ATTRIBUTED TO BALTHASAR VAN DEN BOSSCHE (ANTWERP 1681-1715) A sculptor’s studio with initials and date 'D.T. / 1620’ (lower left) oil on canvas 26 3/4 x 34 3/8 in. (68.1 x 87.3 cm.) in a Louis XIII style carved and gilded frame
Artist: Attributed to Balthasar Van Den Bossche (1681-1715); Title: "Collecting The Taxes"; Medium: Oil painting on board; Signature: Unsigned; Sight Area Approximate Measurement: 22.25" x 32"; Frame Approximate Measurement: 29.875" x 39.75" x 2.5"; Approximate Weight: 16 lbs. Insurance appraisal for $16,000 included with this lot.
Artist: Attributed to Balthasar Van Den Bossche (1681-1715); Title: "Collecting The Taxes"; Medium: Oil painting on board; Signature: Unsigned; Sight Area Approximate Measurement: 22.25" x 32"; Frame Approximate Measurement: 29.875" x 39.75" x 2.5"; Approximate Weight: 16 lbs. Insurance appraisal for $16,000 included with this lot.
Balthazar van den Bossche, 1681 Antwerpen - 1715 DER STAUNENDE BESUCHER IN DER KUNSTAKADEMIE Öl auf Leinwand. 69 x 59 cm. Unten rechts signiert "B.V. BOSCHE, 1701". Das Gemälde zeigt einen fantasiereich entwickelten Innenraum mit Loggia-Säulen und Ausblick auf eine bogige Hoffassade, halbverschattet, mit seitlichem Steinsockel und darauf stehender, klassischer Steinvase, im Vordergrund drei im Bogen ziehende Treppenstufen. Der Lichteinfall betont die am Boden stehenden Marmorbüsten, vor allem aber die große Marmorfigurengruppe "Raub der Sabinerin" von Giovanni da Bologna. Dieser Figur gilt das Hauptinteresse des staunenden Hussaren oder Panduren im Zentrum des Bildes, dessen stark farbige Montur sich lebhaft von den Kleidern der übrigen Figuren abhebt. Mit nahezu erschrockenem Erstaunen blickt er zu dem Frauenakt hoch, ein Anblick, der ihm in seiner östlichen Heimat wohl nie gewährt wurde, ihm zur Seite steht ein junger Gelehrter, der ihn beratend in diesen Raum geführt hat. An der obersten Treppenstufe eine weiß leuchtende Marmorbüste des Seneca, daneben eine leicht schräggestellte Frauenbüste hinter einem Kinderkopf in Ton. Von den vier weiteren Personen im halbdunklen Raum, die sich sämtlich mit Studienzeichenmappen, in einem Fall auch mit einem Bildhauerhammer beschäftigt zeigen, ist vor allem der junge Mann an der oberen Stufe links sitzend zu nennen, der eine Platte mit Zeichenblättern über seinen Knien hält und interessiert zu dem erstaunten Besucher aus dem Orient hochblickt. Die weiteren jungen Akademieschüler ebenfalls mit Zeichenblättern beschäftigt. Insgesamt ist die Raumdarstellung weniger als akademischer Studienraum, sondern vielmehr als Allegorie der Bildhauerei zu verstehen mit den entsprechend lebendig wiedergegebenen, narrativen Elementen. So ist im Vordergrund auf der mittleren Stufe ein Kapuzineräffchen zu sehen, an eine Kette mit Kugeln angehängt, von Alters her Sinnbild und Symbol des menschlichen Kunstschaffens. Das großartig und feinmalerisch geschaffene Bild besticht vor allem auch durch die Lichtregie, in der die wesentlichen Elemente des Bildes vor leicht abgedunkelten Nebensächlichkeiten und dem Hintergrund zur Wirkung gebracht werden. So ist die Hauptfigur im Bild der breitbeinig sich auf einen Stock stützende, wohlbeleibte Pandur, nicht ohne Ironie, bewusst mit stärker farbigen Akzenten dargestellt. Der ernsthafte, sich der Kunst widmende Knabe links unten dagegen zeigt sich in eleganterer, zurückhaltenderer Farbigkeit, dennoch durch kaum merkliche Effekte wie etwa das kräftige Rot der Kopfbedeckung des bärtigen Alten in Beziehung gesetzt zu den Beinkleidern des Akademiestudenten. Die Lichtstimmung wird noch unterstrichen durch den Ausblick in den Innenhof mit bereits nächtlichem, mondbeschienenem Wolkenhimmel. (8713413) Balthazar van den Bossche, 1681 - 1715 Signed and dated B.V. BOSCHE, 1701". Oil on canvas. 69 x 59 cm.
VAN DEN BOSSCHE Balthasar (1681-1715). Attribué à. Huile sur toile "Dame de qualité se faisant portraiturer dans l'atelier du peintre". Attribué à Balthasar Van Den Bossche. Ecole anversoise. Dim.:64x78cm.
Circle of Balthasar van den Bossche (Antwerp 1681-1715) Interior of an artistOs studio with a lady sitting for a portrait Oil on canvas 58.5 x 51 cm (23 x 20 in)
Circle of Balthasar van den Bossche (Antwerp 1681-1715) Interior of an artist's studio with a lady sitting for a portrait, Oil on canvas, 58.5 x 51cm (23 x 20in)
Balthasar van den Bossche (Antwerp 1681-1715) Musicians on a terrace, playing lute, cello and oboe, in a classical architectural setting signed and dated 'B.V. Bossche Ft. 1713.' (lower right) oil on canvas 35½ x 36 5/8 in. (90.3 x 93.1 cm.)
BALTHASAR VAN DEN BOSSCHE (Flemish, 1681-1715) Pair of Companion Paintings: Atelier of a Sculptor and Atelier of a Painter (2), circa 1713 Oil on canvas 39 x 46 inches (99.1 x 116.8 cm) each Both signed in lower left quadrant: B. V. Bosche F. 17[13?] and B. V. Bosche F. PROVENANCE: By continuous descent in the family of Juan II Suros, who commissioned the pair from van den Bossche circa 1713. The Flemish painter Balthasar van den Bossche enjoyed a successful, lucrative and, unfortunately, brief career painting scenes of richly decorated gallery or "atelier" interiors for aristocratic patrons of the early 18th century. In his works, figures in expensive attire stroll through vast high-ceiling rooms, usually with their attendants, pausing to admire a newly finished work on the easel. Often the author of the new painting or sculpture is shown in the process of unveiling the work to his regal visitors, which suggests that they are patrons of the arts, not simply collectors. Sometimes it is not entirely clear whether the magnificent interiors are intended to represent the patrons' own art galleries (their Kunstkamer=Flemish for "painting gallery"), or rather the atelier of the artist himself. The ambiguity is charming, and it certainly would have served to flatter the patrons' own aspirations or vanities as collectors of considerable discernment. Van den Bossche's kunstkamer paintings continued into the early decades of the 18th century a genre which was invented by earlier Flemish talents--the Franckens and Jan Brueghel I--during the later 16th century, and elaborated upon by David Teniers II during the course of the 17th. While Brueghel's painted galleries were usually allegorical in nature, Teniers painted actual princely collections, notably that of Leopold Wilhelm, younger brother of Emperor Ferdinand II and governor of the Spanish Netherlands for ten years. Teniers carefully represented specific highlights from that famed collection (now comprising the core of Kunsthistorisches Museum in Vienna) in his celebrated painting now in the Prado, along with a portrait likeness of Leopold Wilhelm admiring his trove of masterpieces. In Balthasar van den Bossche's case, his interiors are largely imaginary rather than literal transcription of actual collections or specific buildings. He sought to create the general impression of a noble collection, or a successful artist's workshop. To that end, he tended to repeat a number of favorite motifs from painting to painting, and from client to client, such as the celebrated Farnese Hercules which usually frames a landscape view, and the clutter of gleaming armor in the foreground which is an an obvious homage to David Teniers II's particular skill in rendering still lifes of this type. Interestingly, in the present pair of paintings, van den Bossche's painter bears a strong resemblance to David Teniers II. The sculptor presenting the relief in the pendant painting is also so individualized that it seems highly probable that he, too, is an actual person. Indeed, a number of biographers have remarked that van den Bossche sometimes included portraits of historical artists from earlier periods in his work, in emulation of their enduring legacy. To date, the oeuvre of van den Bossche has not been carefully studied and, as a result, the identities of the patrons he depicted in his gallery views are not known. For this reason, these two paintings, which have remained in the same family who commissioned them almost 300 years ago, present a unique opportunity to learn something about the artist's clientele. According to the present owner, these works were commissioned by his forebear Juan II Suros, who is represented in the paintings together with his wife. According to family history, the specific subjects of the paintings are intensely political in nature and can be described as follows: Atelier of a Painter, with Juan II Suros and his wife Lisette de Bourbon admiring a painting of King Philip V of Spain; Atelier of a Sculptor, with Juan II Suros admiring a sculpture of the Austrian Pretender, Charles III. Juan II Suros, a direct descendant of Charlemagne from the Pyrenees in Northern Spain, had served as Spanish Ambassador of Charles II, the last Hapsburg king of Spain, to the Austrian Court of Emperor Leopold I in Vienna. He married Lisette de Bourbon, daughter of Alexander de Bourbon, Count of Toulouse and Admiral de France, who was a much beloved but illegitimate son of Louis XIV and the Marquise de Montespan. When Charles II died without a direct successor, the Spanish War of Succession began in 1700 between another Charles, the Hapsburg Pretender, who was the second son of the Emperor of Austria, and Philip, the Bourbon Pretender, who was the second grandson of Louis XIV. Ambassador Juan II Suros, who was compromised by both sides (employed by a Hapsburg and married to a Bourbon), regarded his political position as too delicate, and discreetly retired to his Countship of Besalu trying not to make any enemies. During the War of Spanish Succession the Hapsburg side, buttressed by the support of the Catalans and England, was winning in the person of Charles III. However, the new young emperor of Austria, Joseph I, older brother of Charles III suddenly died of typhoid fever, and left behind no children. Consequently his brother Charles, who had fought so hard to be crowned King of Spain and its colonies. suddenly found himself the new Hapsburg Emperor of Austria. Ungratefully, Charles III left Spain and abandoned his supporters to their fate at the hands of the new Bourbon king, who was crowned Philip V by default. Eventually to stop the European turmoil, the Treaty of Utrecht was signed in 1713. In order to have the treaty accepted, Philip V had to give away Milan and the Low Countries to his old enemy, the new Austrian emperor, Charles; part of Provence and Besancon went to his grandfather, Louis XIV; and to appease England, he had to agree never to colonize north of the Mississippi River in the New World. Juan II, with diplomatic experience acceptable to both the Bourbons and the Hapsburgs, was called out of retirement to become one of the signatories of the Treaty of Utrecht. During the lengthy deliberations, he spent time around the region of Antwerp and commissioned these two paintings from van den Bossche. In them, Suros embedded references to his and his wife's political situation. In the Atelier of a Sculptor, Juan II is shown alone, without his Bourbon wife, admiring a sculpture of the Austrian Pretender to the Spanish throne, Charles III. On the other hand, in the Atelier of a Painter, the couple appears together, admiring a painting of Philip V, the new Bourbon King of Spain. His grandfather makes a cameo appearance in the painting in the lower right corner in an oval portrait. The present owner reports that for many years his grandfather routinely joked that "Juan II, diplomat that he was, had one painting or the other handing in his dining room. It all depended upon the political tendencies of whomever had been invited to dinner!" Another version of the present paintings with very near dimensions, although somewhat inferior in execution in some of the details, was recorded in the collection of H. C. Boysen, Berlin in February 1928 (comparative black and white photos courtesy of the RKD,The Hague). Interestingly while the male figures are very similar between the two sets of paintings, the equivalent of "Lisette de Bourbon" in the Berlin painting has entirely different facial features. Many thanks to Fred G. Meijer, Curator, Rijksbureau voor Kunsthistorische Documentatie, for his generosity in examining these paintings by van den Bossche in photographic form, endorsing the attribution based on photographs, and for his kind assistance in researching comparable works in the RKD photo archive.
Attributed to Balthasar van den Bossche(Anvers 1681 -1715). The artist's studio. the artist seated in front of his easel, holding his colour palette. He is achieving a portrait of a lady. Oil on canvas. Haut. : 58 - Larg. : 49 cm. BOSSCHE Balthasar van den (Attribué à) (Anvers 1681 -1715) L'atelier du peintre Assis devant son chevalet, palette en main, le peintre achève un portrait de femme. A ses pieds on remarque plusieurs feuilles d'étude. Sur une table garnie d'un tapis est posé un buste d'homme en marbre et, juste derrière, un globe terrestre. A gauche un portrait d'homme de profil. Huile sur toile. Haut. : 58 - Larg. : 49 cm. THE AUCTIONEER IS ONLY RESPONSIBLE FOR THE FRENCH INFORMATION PROVIDED BY THIS CATALOGUE. THE ENGLISH TRANSLATION IS COURTESY TO THE ENGLISH SPEAKERS.
BOSSCHE Balthasar van den (Attributed to) (Anvers 1681 - 1715) The painter workshop Oil on canvas. H. : 58 - L. : 49 cm. BOSSCHE Balthasar van den (Attribué à) (Anvers 1681 - 1715) L'atelier du peintre Assis devant son chevalet, palette en main, le peintre achève un portrait de femme. A ses pieds on remarque plusieurs feuilles d'étude. Sur une table garnie d'un tapis est posé un buste d'homme en marbre et juste derrière, un globe terrestre. A gauche un portrait d'homme de profil. Huile sur toile. H. : 58 - L. : 49 cm. THE AUCTIONEER IS ONLY RESPONSIBLE FOR THE FRENCH INFORMATION PROVIDED BY THIS CATALOGUE. THE ENGLISH TRANSLATION IS COURTESY TO THE ENGLISH SPEAKERS
Balthasar van den Bossche (Antwerp 1681-1715) An artist's studio; and A nobleman's picture gallery oil on canvas 35¼ x 30 in. (89.5 x 76.4 cm.) a pair (2)
The interior of a sculptor's studio; and An elegant interior with an artist painting a portrait of a lady the first signed and dated 'B.V.Bosch.f 1705 (?)' (lower right); the second signed and dated 'B.V.Bosch.f 1705' (lower left) oil on panel 15 5/8 x 19 1/8 in. (39.6 x 48.4 cm.) a pair (2) PROVENANCE Dr. Gorlitzer, from whom purchased by the present owners on 18 April 1944 for 56,000 reichmarks.
