Gaspard de Crayer Paintings & Artwork for Sale | Gaspard de Crayer Art Value Price Guide

Oct. 29, 2024
ÉCOLE FLAMANDE DU XVIIe SIÈCLE, SUIVEUR D'ANTOINE VAN DYCK. Portrait de Gas
Est: €4,000 - €6,000
ÉCOLE FLAMANDE DU XVIIe SIÈCLE, SUIVEUR D'ANTOINE VAN DYCK. Portrait de Gaspard de Crayer (1584-1669), en buste, en grisaille. huile sur panneau 18,5 x 12,7 cm (7 ¼ x 5 in.).
Christie's
Oct. 07, 2024
Gaspar de Crayer (1584-1669) - Attributed
Est: €3,000 - €5,000
Mary with Child and St Mary Magdalene, St Cecilia, St Dorothea, St Catherine and St Augustine. In this portrayal, Mary is seated on a throne with the infant Jesus, while various female saints approach from the left to pay homage. A basket of grapes and fruit rests at her feet. St. Catherine of Alexandria kneels on the lower steps, dressed in white silk and holding a palm branch, symbolizing martyrdom. A putto on the foreground steps holds her symbolic sword and offers a wreath of flowers. Partially visible at the bottom left is the wheel, another attribute of St. Catherine. Positioned above her is St. Dorothea, extending a basket of paradise flowers to the infant Jesus, referencing an event from her legend. Behind Dorothea on the left are St Mary Magdalene and St Cecilia with a small organ. On the front right, St. Augustine, Bishop of Hippo, holds a flaming heart symbolizing love for God. Two putti lift the red curtain at the upper edge, revealing the scene. Oil on canvas, 36 × 27 cm
Fine Antiques Prague s.r.o.
Sep. 26, 2024
GASPARD DE CRAYER, 1584 ANTWERPEN – 1669 GENT, ZUGESCHRIEBEN/ KREIS DES
Est: €20,000 - €30,000
PORTRAIT VON KÖNIG PHILIPP IV VON SPANIEN Öl auf Leinwand. Doubliert. 114 x 81 cm. In teilvergoldetem Prunkrahmen. In einen Innenraum vor einem schweren roten Vorhang, vom dem rechts eine goldfarbene Quaste herabhängt, das Dreiviertelportrait des Königs in einem faltenreichen schwarzen Gewand mit goldenen Knopfreihen und einem weißem Stehkragen, der mit Spitze besetzt ist, die auch an den Armenden des Gewandes hervorsticht. Dazu trägt er den Orden vom Goldenen Vlies (der König war von 1621 bis 1665 Großmeister dieses Ritterodens). Vor ihm ein Tisch, auf dem auf einer Brokatdecke die Insignien seiner Macht liegen: die goldene, reich mit Edelsteinen verzierte Krone und das Zepter, auf die er mit dem Zeigefinger seiner linken Hand weist. Er hat ein feines Gesicht, einen rötlichen Mund und mit seinen glänzenden Augen blickt er würdevoll aus dem Bild heraus. Anmerkung: Gaspar de Crayer war ein flämischer Maler, der bekannt ist für seine vielen Altarbilder und Porträts. In den Akten der Lukasgilde ist er 1587 und 1589 als Lehrer eingetragen und in den Jahren 1608 und 1621 als Dekan. Durch den Kardinalerzbischof von Toledo, Ferdinand von Spanien, Sohn von König Philipp III von Spanien, wurde Crayer zum Hofmaler ernannt. Diese Stellung am Hofe wurde ihm nach Ferdinands Tod von Philipp IV von Spanien bestätigt. (14007616) (18) Gaspard de Crayer, 1584 Antwerp – 1669 Ghent, attributed/ circle of PORTRAIT OF KING PHILIP IV OF SPAIN Oil on canvas. Relined. 114 x 81 cm.
Hampel Fine Art Auctions
Jun. 27, 2024
Gaspard de Crayer, 1584 Antwerpen – 1669 Gent, zugeschrieben
Est: €10,000 - €12,000
HEILIGER HIERONYMUS Öl auf Leinwand. Doubliert. 108 x 91 cm. Ungerahmt. Wie in der Komposition, die bisher Gaspard de Crayer zugeschrieben ist und beim RKD in Den Haag unter Nr. 59273 verzeichnet wird, ist auch hier - wenngleich im Hochformat - der Heilige Hieronymus im Studium der Heiligen Schrift zu sehen mit emporgerichtetem Blick. Da die Umschreibung des RKD auf wackligen Füßen steht, besteht auch die Möglichkeit, eine Zuschreibung in Richtung des Matthias Stomer zu eröffnen. (13908165) (13) Gaspard de Crayer, 1584 Antwerp – 1669 Ghent, attributed SAINT JEROME Oil on canvas. Relined. 108 x 91 cm.
Hampel Fine Art Auctions
May. 22, 2024
Portrait of Don Ferdinand of Austria
Est: $20,000 - $30,000
Property from a Private American Collection, Sold Without Reserve Gaspar de Crayer Antwerp 1584 - 1669 Ghent Portrait of Don Ferdinand of Austria inscribed lower left: 480 (inventory number of the Marquis de Léganès) oil on canvas canvas: 79 ½ by 46 ⅞ in.; 201.5 by 119.0 cm. framed: 86 by 53 ⅛ in.; 218.4 by 134.9 cm.
Sotheby's
Apr. 15, 2024
Gaspar de Crayer (1584-1669) - Attributed
Est: €6,000 - €8,000
Mary with Child and St Mary Magdalene, St Cecilia, St Dorothea, St Catherine and St Augustine. In this portrayal, Mary is seated on a throne with the infant Jesus, while various female saints approach from the left to pay homage. A basket of grapes and fruit rests at her feet. St. Catherine of Alexandria kneels on the lower steps, dressed in white silk and holding a palm branch, symbolizing martyrdom. A putto on the foreground steps holds her symbolic sword and offers a wreath of flowers. Partially visible at the bottom left is the wheel, another attribute of St. Catherine. Positioned above her is St. Dorothea, extending a basket of paradise flowers to the infant Jesus, referencing an event from her legend. Behind Dorothea on the left are St Mary Magdalene and St Cecilia with a small organ. On the front right, St. Augustine, Bishop of Hippo, holds a flaming heart symbolizing love for God. Two putti lift the red curtain at the upper edge, revealing the scene. Oil on canvas, 36 × 27 cm
Fine Antiques Prague s.r.o.
Apr. 10, 2024
Old attribution to GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Sacred Family". Oil on canvas. Keep the original fabric. Presents restorations and perforations.
Est: €22,000 - €24,000
Old attribution to GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Holy Family. Oil on canvas. The original canvas is preserved. It presents restorations and perforations. Measurements: 178 x 240 cm. In the centre of the image the Virgin and the Child embrace each other tenderly without the spectator's gaze. Their strategic position and the way in which the author enthroned them in a higher position indicate the relevance of the protagonists. Far removed from the traditional aesthetic of the representation of the Holy Family, the scene is completed by the presence of Saint Joseph, who is in the background in profile as is usual in representations of the Holy Family. It is interesting to note the presence of a circle of small angels surrounding the main figures, giving the scene a certain dynamism and decorative sense that harmonises with the powdered, vaporous technique used by the artist to compose the image. The scene takes place in an interior of great opulence inspired by classical architecture, which is open to the outside on the left, allowing a glimpse of a landscape that gives the work spatiality. Due to its technical characteristics, this work is aesthetically similar to the work of Gaspar de Crayer, a painter and draughtsman of Dutch origin. In 1607 he became a member of the painters' guild in Brussels, where he spent much of his career. His painting was widely recognised by the aristocracy of the day and he was soon closely associated with the court. Gaspar de Crayer's early works include portraits of the kings of Spain and the Spanish governors and officials who were stationed in the Spanish Netherlands, as well as members of the Brussels city council. For example, the equestrian portrait of Don Diego Messia Felipe de Guzmán (Kunsthistorisches Museum, Vienna) was painted by De Crayer in 1627-1628. In addition, from the beginning of his career, de Crayer received commissions for altarpieces to decorate various churches and monasteries around Brussels. It was not until 1635 that Cardinal-Infante Ferdinand of Austria, brother of King Philip IV of Spain and governor of the Spanish Netherlands after the death of his aunt Isabella Clara Eugenia in 1633, made him his first court painter. He later worked as court painter for Archduke Leopold Wilhelm of Austria, who became governor in 1647.
Setdart Auction House
Nov. 15, 2023
Old attribution to GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Sacred Family". Oil on canvas. Keep the original fabric. Presents restorations and perforations.
Est: €27,000 - €29,000
Old attribution to GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Holy Family. Oil on canvas. The original canvas is preserved. It presents restorations and perforations. Measurements: 178 x 240 cm. In the centre of the image the Virgin and the Child embrace each other tenderly without the spectator's gaze. Their strategic position and the way in which the author enthroned them in a higher position indicate the relevance of the protagonists. Far removed from the traditional aesthetic of the representation of the Holy Family, the scene is completed by the presence of Saint Joseph, who is in the background in profile as is usual in representations of the Holy Family. It is interesting to note the presence of a circle of small angels surrounding the main figures, giving the scene a certain dynamism and decorative sense that harmonises with the powdered, vaporous technique used by the artist to compose the image. The scene takes place in an interior of great opulence inspired by classical architecture, which is open to the outside on the left, allowing a glimpse of a landscape that gives the work spatiality. Due to its technical characteristics, this work is aesthetically similar to the work of Gaspar de Crayer, a painter and draughtsman of Dutch origin. In 1607 he became a member of the painters' guild in Brussels, where he spent much of his career. His painting was widely recognised by the aristocracy of the day and he was soon closely associated with the court. Gaspar de Crayer's early works include portraits of the kings of Spain and the Spanish governors and officials who were stationed in the Spanish Netherlands, as well as members of the Brussels city council. For example, the equestrian portrait of Don Diego Messia Felipe de Guzmán (Kunsthistorisches Museum, Vienna) was painted by De Crayer in 1627-1628. In addition, from the beginning of his career, de Crayer received commissions for altarpieces to decorate various churches and monasteries around Brussels. It was not until 1635 that Cardinal-Infante Ferdinand of Austria, brother of King Philip IV of Spain and governor of the Spanish Netherlands after the death of his aunt Isabella Clara Eugenia in 1633, made him his first court painter. He later worked as court painter for Archduke Leopold Wilhelm of Austria, who became governor in 1647.
Setdart Auction House
Oct. 03, 2023
Gaspar de Crayer (Anversa, 1582 – Gand, 1662), attr.a, Ritratto di Filippo IV di Spagna
Est: €65,000 - €70,000
Olio su tela, dimensioni 115x80 cm.
Telearte
Sep. 25, 2023
FOLLOWER OF GASPARD DE CRAYER (1584-1669), THE DESCENT FROM ...
Est: €3,000 - €4,250
Follower of Gaspard de Crayer (1584-1669), The Descent from the Cross, oil on canvas, 18th century, 104 x 85 cm. (the original is included in the Rijksmuseum Amsterdam collection inv./cat.nr SK-A-75)
Van Zadelhoff Veilingen en Taxaties
Sep. 19, 2023
Old attribution to GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Sacred Family". Oil on canvas. Keep the original fabric. Presents restorations and perforations.
Est: €30,000 - €35,000
Old attribution to GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Holy Family. Oil on canvas. The original canvas is preserved. It presents restorations and perforations. Measurements: 178 x 240 cm. In the centre of the image the Virgin and the Child embrace each other tenderly without the spectator's gaze. Their strategic position and the way in which the author enthroned them in a higher position indicate the relevance of the protagonists. Far removed from the traditional aesthetic of the representation of the Holy Family, the scene is completed by the presence of Saint Joseph, who is in the background in profile as is usual in representations of the Holy Family. It is interesting to note the presence of a circle of small angels surrounding the main figures, giving the scene a certain dynamism and decorative sense that harmonises with the powdered, vaporous technique used by the artist to compose the image. The scene takes place in an interior of great opulence inspired by classical architecture, which is open to the outside on the left, allowing a glimpse of a landscape that gives the work spatiality. Due to its technical characteristics, this work is aesthetically similar to the work of Gaspar de Crayer, a painter and draughtsman of Dutch origin. In 1607 he became a member of the painters' guild in Brussels, where he spent much of his career. His painting was widely recognised by the aristocracy of the day and he was soon closely associated with the court. Gaspar de Crayer's early works include portraits of the kings of Spain and the Spanish governors and officials who were stationed in the Spanish Netherlands, as well as members of the Brussels city council. For example, the equestrian portrait of Don Diego Messia Felipe de Guzmán (Kunsthistorisches Museum, Vienna) was painted by De Crayer in 1627-1628. In addition, from the beginning of his career, de Crayer received commissions for altarpieces to decorate various churches and monasteries around Brussels. It was not until 1635 that Cardinal-Infante Ferdinand of Austria, brother of King Philip IV of Spain and governor of the Spanish Netherlands after the death of his aunt Isabella Clara Eugenia in 1633, made him his first court painter. He later worked as court painter for Archduke Leopold Wilhelm of Austria, who became governor in 1647.
Setdart Auction House
Jul. 06, 2023
Important Portrait of the Count-Duke of Olivares, in the manner of Gaspar de Crayer (Antwerp, 1584 - Ghent, 1669)
Est: €12,000 - €14,000
Oil on canvas. Measurements: 65 x 50 cm. Framed measurements: 77 x 67 cm. Origin: important private collection, Madrid. Property of a Gentleman.
Templum Fine Art Auctions
Jun. 03, 2023
Crayer, Gaspard de (Antwerpen 1584 - 1669 Gent) nach,
Est: -
Crayer, Gaspard de (Antwerpen 1584 - 1669 Gent) nach, "Bärtiger Eremit", Öl auf Leinwand, 55 x 45 cm. Provenienz: um 1900 als Caspard de Crayer in der Kunsthandlung M. Lempertz, Aachen (später umbenannt zu Kunsthandlung Anton Creutzer) angeboten; erworben 1939 als Caspar de Crayer im Kunst und Auktionshaus Franz A. Menne bei der Versteigerung der Inneneinrichtung der Genovevaburg in Mayen (Zuschreibung zu dem Künstler erfolgte hier auf ausdrücklichen Wunsch des Besitzers der Genovevaburg)
Auktionshaus Plückbaum
Feb. 11, 2023
Crayer, Gaspard de (Antwerpen 1584 - 1669 Gent) nach,
Est: -
Crayer, Gaspard de (Antwerpen 1584 - 1669 Gent) nach, "Bärtiger Eremit", Öl auf Leinwand, 55 x 45 cm. Provenienz: um 1900 als Caspard de Crayer in der Kunsthandlung M. Lempertz, Aachen (später umbenannt zu Kunsthandlung Anton Creutzer) angeboten; erworben 1939 als Caspar de Crayer im Kunst und Auktionshaus Franz A. Menne bei der Versteigerung der Inneneinrichtung der Genovevaburg in Mayen (Zuschreibung zu dem Künstler erfolgte hier auf ausdrücklichen Wunsch des Besitzers der Genovevaburg)
Auktionshaus Plückbaum
Nov. 15, 2022
Tableaux DE CRAYER Gaspar (1584 - 1669). Suiveur de. Huile sur toile "Ecce homo". Attribué à u
Est: €400 - €600
Tableaux DE CRAYER Gaspar (1584 - 1669). Suiveur de. Huile sur toile "Ecce homo". Attribué à un suiveur de Gaspar de Crayer. Ecole flamande. Epoque : XVIIème. Dim. : +/- 83x62 cm.
Vanderkindere
Nov. 09, 2022
Gaspard de Crayer
Est: €20,000 - €30,000
(Antwerp 1584–1669 Gent) Saint John the Evangelist, signed upper left: ... E Crayer, oil on canvas, 114 x 90 cm, framed Provenance: Collection of the artist Romain Eugène van Maldeghem (1813–1867), Brussels; his sale, Brussels, 26 March 1874; Private collection, Belgium The present composition is accompanied by Hans Vlieghe’s certificate of authenticity (in copy), dated 10 August 2022. He writes: ‘This painting represents Saint John the Evangelist receiving the vision of the Apocalypse he is believed to have had on the island of Patmos. He is shown to the waist, while sitting against a rock. In his right hand he holds a quill, in order to write down the details of his apocalyptic visions on the still white pages of the biblical book of Revelation he is holding with his left hand. The here described painting is an exact albeit slightly smaller replica of a painting by Gaspard de Crayer of the same subject, now belonging to the Museum voor Schone Kunsten in Ghent. The overall painterly quality of the two paintings is exactly similar, which means that also the here discussed painting can be attributed to De Crayer. St. John’s face has an ecstatical expression and is modelled after that of the same saint appearing on the right wing of Rubens’s Michielsen triptych (Antwerp, Koninklijk Museum voor Schone Kunsten). However, the emotionality in the saint’s face is more emphasized in De Crayer’s representation and this is due to the fact that De Crayer’s style from circa 1650 onward was gradually also coming under the influence of Van Dyck’s late works…’.
Dorotheum
Sep. 07, 2022
DE CRAYER Gaspar (1584 - 1669) - Huile sur toile marouflée sur toile "L'Apparition". Suiveur de Gaspar de Crayer. Voir au dos sept cachets à la cire rouge. Ecole flamande. Epoque: début XVIIIème. Dim.
Est: €600 - €800
Huile sur toile marouflée sur toile "L'Apparition". Suiveur de Gaspar de Crayer. Voir au dos sept cachets à la cire rouge. Ecole flamande. Epoque: début XVIIIème. Dim. : +/-59x50 cm.
Vanderkindere
Dec. 18, 2021
Crayer, Gaspar de
Est: €200 - €300
(1584 Antwerpen - Gent 1669), zugeschrieben. Marienkrönung mit vielen Heiligen. Federzeichnung auf Bütten. Ca. 40 x 26,8 cm. Leicht braunfleckig. Oberer Rand hinterlegt. Seitlich punktuell fixiert. Unter Passep. R
Kiefer Buch- und Kunstauktionen
Nov. 24, 2021
GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Portrait of Philip IV. Oil on canvas. Relined.
Est: €35,000 - €40,000
GASPAR DE CRAYER (Antwerp, 1584-Ghent, 1669). "Portrait of Philip IV. Oil on canvas. Relined. Measurements: 114 x 80,5 cm; 130 x 99 cm (frame). We are before a portrait of the king Felipe IV that follows the models imposed by the official portrait painting of the time, with the monarch located next to a table where the royal attributes of the mime are found as, for example; the crown and the baton of command, that the king himself points with one of his fingers. In the work we observe an insistence on the detail of Flemish lineage, which can be seen in the brocade of the table cloth, and in the care with which the jewels have been modeled, such as the ring or the toisón hanging from his neck. On the other hand, the composition, as we have already mentioned, does not represent an advance with respect to the model of representation of the monarchs, maintaining the forms of the previous models. Thus, here we see the ideal of the previous generation: the character is represented erect and almost rigid, in an interior of neutral tonality that is hardly endowed with depth with the artifice of a gathered curtain that is, at the same time, a symbol of authority and majesty. Likewise, always following models established in the time of Philip IV, the costume is treated with a meticulousness that reproduces all its details, and the character appears wrapped in clothes that appear rigid. Due to its technical characteristics, this work is aesthetically similar to the work of Gaspar de Crayer, a painter and draftsman of Dutch origin. In 1607 he became a member of the painters' guild in the city of Brussels, where he developed a large part of his career. His painting was highly recognized by the aristocracy of the time, so he was soon closely linked to the court. Gaspar de Crayer's early works include portraits of the kings of Spain and the Spanish governors and officials who were stationed in the Spanish Netherlands, as well as members of the Brussels city council. For example, the equestrian portrait of Don Diego Messia Felipe de Guzmán (Kunsthistorisches Museum, Vienna) was painted by De Crayer in 1627-1628. In addition, from the beginning of his career, de Crayer received commissions for altarpieces to decorate various churches and monasteries around Brussels. It was not until 1635 that Cardinal-Infante Ferdinand of Austria, brother of King Philip IV of Spain and governor of the Spanish Netherlands after the death of his aunt Isabella Clara Eugenia in 1633, made him his first court painter. He later worked as court painter for Archduke Leopold Wilhelm of Austria, who became governor in 1647.
Setdart Auction House
Oct. 16, 2021
Crayer, Gaspar de
Est: €280 - €400
(1584 Antwerpen - Gent 1669), zugeschrieben. Marienkrönung mit vielen Heiligen. Federzeichnung auf Bütten. Ca. 40 x 26,8 cm. Leicht braunfleckig. Oberer Rand hinterlegt. Seitlich punktuell fixiert. Unter Passep. R
Kiefer Buch- und Kunstauktionen
Jul. 11, 2021
GASPAR de CRAYER (Belgian, 1584-1669)
Est: $5,000 - $10,000
Putti gathering fallen fruit, c. 1635 oil on canvas With old paper label on verso, "Boys Selling Fruit... 1582"; in a very fine gilt carved frame h. 19 w. 15 in. (sight) overall: 29-1/2 x 25-1/2 in. (frame) Limited Preview: Please note that this auction has a limited in-person preview. Not all items may be on display in the saleroom, if you wish to view a particular item in-person we strongly suggest contacting the gallery in advance of your visit.
Butterscotch Auction Gallery LLC
Mar. 25, 2021
Gaspard de Crayer, 1584 Antwerpen - 1669 Gent
Est: €8,000 - €12,000
JESUS FÄLLT UNTER DER LAST DES KREUZES Öl auf Leinwand. Doubliert. 113 x 89 cm. Rechts unten signiert und datiert „G. de Crayer 1617“. Beigegeben eine Expertise von Gilles Perrault. Christus wird von Soldaten in Rüstung und Speeren, die auf dem Bild deutlich dargestellt sind, durch die Straßen Jerusalems getrieben. Unter der Last des schweren Holzkreuzes bricht er zusammen. Auf dem Gemälde sieht man, neben den gerüsteten Soldaten auf der linken Seite, die Mauern der Stadt und im Mittelpunkt, am Boden liegend, mit Dornenkrone im braunen Gewand, Jesus. Er begegnet dabei seiner Mutter, die am Straßenrand steht und links, in einem langen blauen Mantel, mit gefalteten Händen dargestellt wird. Er blickt sie innig an und erwidert ihren traurigen Blick. In der Mitte ein Soldat mit glänzendem Helm und Brustpanzer, der ihn mit eindringlicher Bitte auffordert aufzustehen und zum Weitergehen anspornt. Links ein bärtiger Mann mit rotem Mantel, Simon von Cyrene, hilft ihm das Kreuz hochzuheben. Maria gibt durch ihre Nähe und Liebe Christus Kraft, aufzustehen und das Kreuz weiterzutragen. Kreuzwegdarstellung in klaren frischen Farben und ausdrucksstarken Gesten. Dasselbe Motiv lässt sich auch bei Anthonius van Dyck (1599-1641) finden. (1191961) (18)
Hampel Fine Art Auctions
Jan. 19, 2021
"Charles Quint saisissant l’Afrique", pierre noire, plume d'encre brune, la
Est: €1,000 - €1,500
"Charles Quint saisissant l’Afrique", pierre noire, plume d'encre brune, lavis d'encre brune et grise, rehaussé de blanc sur papier brun mis au carreau collé sur papier. Par Jacob Neefs et l'atelier de Gaspar de Crayer. Ecole flamande. Epoque: vers 1635 - 1636. Voir en bas à gauche le cachet de collection du comte Moriz von Fries ainsi que l'inscription "1206" en bas à gauche. Modèle pour la gravure d’après l’un des 8 tableaux peints par Gaspar de Crayer pour les arcs de triomphe érigés à Gand à l’occasion de la Joyeuse Entrée du cardinal-infant Ferdinand d’Espagne en 1635, tableau aujourd’hui conservé à Gand (STAM, inv. 1108). La gravure en question fut publiée l’année suivante dans un volume commémorant l’événement: Guillielmus BECANUS, Serenissimi Principis Ferdinandi Hispaniarum Infantis S.R.E. Cardinalis Introitus in Flandriae Metropolim Gandavum, Anvers, 1636, planche 23. Les dimensions du dessin sont en quasi parfaite correspondance avec la gravure (cf. e.g. 372 × 277 mm pour l’exemplaire conservé à New York, MET, inv. 51.501.7423). La gravure présente la même orientation que le dessin et le tableau. La présence d’une mise au carreau suggère un accès du dessinateur à une esquisse provenant directement de l’atelier de Gaspar de Crayer. Le fait que les traits dessinés au crayon ont été repassés à l’encre, visiblement par une autre main, suggère à nouveau une première intervention sur ce dessin par l’atelier de Gaspar de Crayer, avant d’être achevé selon les standards d’un modèle à graver par Jacob Neefs. Provenance: Ancienne collection José T. On y joint une documentation. (Légères déchirures). Dim.:+/-374x272mm.
Vanderkindere
Nov. 17, 2020
DE CRAYER Gaspar (1584 - 1669) - Huile sur toile de lin marouflée sur toile "L'Assomption de la s
Est: €3,000 - €4,000
DE CRAYER Gaspar (1584 - 1669) Huile sur toile de lin marouflée sur toile "L'Assomption de la sainte Vierge". Esquisse reflétant la technique de la mise au carreau. Par Gaspar de Crayer. Ecole flamande. Oeuvre à rapprocher de l'Assomption de l'église Notre-Dame-de-Watervliet. On y joint une copie d'un avis du Rubenanium datant de 1999. Dossier de restauration consultable durant l'exposition. Dim.:+/-66x42,5cm.
Vanderkindere
Sep. 26, 2020
DE CRAEYER GASPARD (1584 - 1669) zeventiende eeuws…
Est: €300 - €500
DE CRAEYER GASPARD (1584 - 1669) zeventiende eeuws olieverfschilderij op paneel : "Portret van een abt" - 62 x 51 toegeschreven aan English Translation 17th Cent. Flemish oil on panel - attributed to Gaspard De Craeyer
DVC
Sep. 08, 2020
Dessins
Est: €600 - €800
"La Flagellation du Christ" crayon sanguine rehaussé de gouache sur papier. Attribué à Gaspard de Crayer. Ecole flamande. Voir au dos, une ancienne étiquette de chez Jean Willems à Bruxelles et de chez Galerie Moderne. (Un coup et une déchirure). Dim.:345x210mm.
Vanderkindere
Jul. 03, 2020
Maler der zweiten Hälfte des 19. Jahrhunderts, Kopie nach Gaspar de Crayer (1584 - 1669)
Est: €700 - €900
DIE JUNGFRAU MIT DEM ROSENKRANZ ZU ST. DOMINIC Öl auf Leinwand. 80 x 60,5 cm. Links unten beschriftet, signiert und datiert „D'APRES GRAYER M. Doutriaux.1899.“ Ungerahmt. Auf einem steinernen Thron sitzend, bekrönt von einem roten Vorhang, der von einem Putto links zur Seite gezogen wird, Maria in rot-blauem Gewand, den nur mit einem weissen Lendenschurz bekleideten Christusknaben in ihrem Schoss haltend. Dieser wendet sich dem Heiligen Dominic zu, um ihm einen Rosenkranz zu überreichen. Drei weitere weibliche Figuren, darunter links unten die Heilige Cäcilia mit der Orgel, und ein weiterer Putto wohnen diesem Ereignis bei. An den Rändern teils berieben. Anmerkung: Das Original Ölgemälde von Gaspar de Crayer (The virgin offering the rosary to St. Dominic) stammt von 1641 und befindet sich im Musee des Beaux-Arts, Valenciennes, Frankreich. (1230665) (18)
Hampel Fine Art Auctions
Jun. 09, 2020
Gaspar de Crayer (-)
Est: €30,000 - €40,000
- The lot is subject to full taxation (13%) Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Antwerp 1584–1669 Ghent) Saint Catherine of Siena, oil on canvas, 249 x 153 cm, unframed Provenance: Private collection, Rome We are grateful to Professor Hans Vlieghe, who, after having examined the present painting in the original, has confirmed the attribution to Gaspar de Crayer, specifically pointing out the quality of the drapery and the rendering of the face. He has dated it to circa 1655. This newly discovered, hitherto unknown altarpiece follows the type of saint representation typical for De Crayer, perhaps best known from the series he painted for the Monasterio de San Francisco in Burgos, six of which are now in the Museo del Prado.
Dorotheum
Mar. 05, 2020
GASPAR DE CRAYER (seguace di)
Est: €1,500 - €2,000
(Anversa, 1582 - Gand, 1662) Adorazione dei pastori Olio su tela, cm 116X82 La tela si attribuisce a un artista fiammingo influenzato dalla pittura italianizzante della scuola di Anversa divulgata da Pietro Paolo Rubens e Antoon van Dyck. Questi aspetti stilistici conducono, grazie anche alla composizione, a riconoscere quale ispiratore del nostro autore Gaspar de Crayer che allievo di Michel Coxcie è registrato all'Accademia di San Luca di Bruxelles nel 1607. Con maggior precisione possiamo asserire che l'opera di riferimento è la tela conservata al Residenz Museum di Monaco di Baviera (Olio su tela, cm 139X110- inv./cat.nr 49- https://rkd.nl/explore/images/106786).
Wannenes Art Auctions
Feb. 04, 2020
Attribué à Gaspard de CRAYER Anvers, 1584 - Gand, 1669 La Vision de saint Augustin Huile sur toile
Est: €2,000 - €3,000
Attribué à Gaspard de CRAYER Anvers, 1584 - Gand, 1669 La Vision de saint Augustin Huile sur toile h: 34,50 w: 31 cm Estimation 2 000 - 3 000 €
Artcurial
Nov. 13, 2019
Gaspard de CRAYER Anvers, 1584 - Gand, 1669 La Pentecôte Huile sur toile
Est: €20,000 - €30,000
Gaspard de CRAYER Anvers, 1584 - Gand, 1669 La Pentecôte Huile sur toile Un cachet de collection à la cire rouge et annoté 'C De Crayer' sur le châssis au verso Pentecost, oil on canvas, inscribed, by G. de Crayer h: 72 w: 55 cm Provenance : Collection privée, Lille ; Vente anonyme ; Monaco, Christie's, 15 juin 1990, n° 28 ; Collection particulière, Paris Bibliographie : Hans Vlieghe, "Gaspar de Crayer : addenda et corrigenda", in 'Gentse Bijdragen tot de Kunstgeschiedenis', n° 25, 1979-1980, p. 194-195, fig. 38 Commentaire : " Jamais il ne vit l'Italie, ne copia point les grands modèles, et pourtant il égala presque Rubens pour la couleur, le surpassa dans le dessin, et on le place à côté de Vandick qui fut son ami (…) " Cet éloge, de la plume du peintre Amaury-Duval, élève d'Ingres, fut écrit en 1829 et témoigne du prestige et de la renommée qu'avait encore Gaspard de Crayer en Europe au début du XIXe siècle. Surtout lorsqu'il est mis en perspective avec la faible considération que pouvait avoir le maître de Montauban pour les toiles flamandes du XVIIe siècle, lui qui demandait à ses disciples de se bander les yeux lorsqu'ils passaient devant les toiles de Rubens au Louvre. Car Gaspard de Crayer ne fait pas partie de ces artistes oubliés après leur mort, puis renaissant au cours d'un XIXe siècle féru de redécouvertes prestigieuses, dont Vermeer et La Tour sont les meilleurs exemples. A côté de l'iconique triade anversoise de la première moitié du XVIIe siècle composée de Rubens, Van Dyck et Jordaens, Gaspard de Crayer fait office de " quatrième mousquetaire ", tant son talent fut unanimement apprécié et reconnu de son vivant. Il appartient alors à l'aristocratie de sa profession, celle des peintres de cour. Les commandes affluent. Portraits et surtout sujets religieux deviennent les moyens d'expressions de son pinceau vibrant, heureuse combinaison de la fougue rubénienne et de la rigueur van dyckienne. Mais c'est bien au cours de ce XIXe siècle, véritable laboratoire de l'Histoire de l'art, que son nom fut un temps mis en retrait. Alors que la critique lui reconnaissait des vertus bien distinctives, telles que la science de la composition, de judicieuses inspirations ou encore la qualité technique de ses huiles, ces dernières semblent s'être retournées contre lui à une époque où l'on ne jure que par la capacité à rompre, la singularité ou l'expressivité. Il lui est alors arbitrairement reproché de ne pas être un grand inventeur. C'est après la Seconde Guerre mondiale que la lumière revint peu à peu. De nombreuses toiles majeures lui sont réattribuées au fil des années et le travail magistral de l'historien Hans Vlieghe contribua à rendre ses lettres de noblesse à notre artiste, de la parution du catalogue raisonné en 1972, à la superbe exposition organisée au musée de Flandre à Cassel il y a quelques mois1. Notre toile, traitée dans un quasi-camaïeu gris bleu caractéristique qui rappelle la 'Résurrection du Christ' de Gand², constitue un brillant témoignage de l'importante production religieuse de l'artiste. Nous retrouvons dans cette œuvre, figurant l'épisode biblique de la Pentecôte, la singulière touche de notre artiste : ces visages ronds où les habiles rehauts de blanc librement inspirés de Rubens permettent la traduction des expressions, la douceur féminine s'opposant à l'exaltation masculine ; la chaleur de ces drapés à la fois fins et lourds, intelligemment détourés de bruns puissants donnant les volumes, ou encore ces touches de couleurs nuancées qui guident le regard du spectateur et donnent un sens de lecture à la composition. 1. 'Entre Rubens et Van Dyck. Gaspar de Crayer (1584-1669)', Cassel, musée départemental de Flandre, 30 juin - 4 novembre 2018 2. 'op. cit.', cat. exp., p. 108-109, n° 4.12 Estimation 20 000 - 30 000 €
Artcurial
May. 29, 2019
TABLEAUX
Est: €1,200 - €1,500
Huile sur toile "Portrait d'une dame à la fraise" ou "Portrait présumé de Marguerite d'Autriche" (?). D'après Gaspard de Crayer. Epoque: XIXème. Dim.:80,5x65cm.
Vanderkindere
May. 06, 2019
ANTWERPSE SCHOOL / ECOLE ANVERSOISE midden/milieu XVII
Est: €2,500 - €3,500
ANTWERPSE SCHOOL / ECOLE ANVERSOISE midden/milieu XVII Heilige Drievuldigheid. Paneel. Oude toeschrijving aan Gaspar de Crayer (1584-1669). De compositie gaat deels terug op een origineel van P.P. Rubens, Schlossmuseum weimar, Inv.Nr. G88. 62.5 x 48.5 French Translation ANTWERPSE SCHOOL / ECOLE ANVERSOISE midden/milieu XVII Sainte Trinité. Panneau. Jadis attribué à Gaspar de Crayer (1584-1669). La composition remonte partiellement à une oeuvre de Rubens gravée par Lucas Vosterman II (Schlossmuseum weimar, Inv.Nr. G88). 62.5 x 48.5 English Translation ANTWERPSE SCHOOL / ECOLE ANVERSOISE midden/milieu XVII ANTWERP SCHOOL mid XVII Holy Trinity. Panel. Formerly attributed to Gaspar de Crayer (1584-1669). The composition is partly based on a painting by P.P. Rubens in the Schlossmuseum in Weimar, inv. nr. G88. 62.5 x 48.5
Bernaerts Auctioneers
May. 06, 2019
*ANTOON VAN DYCK (1599-1641) (kopie naar)
Est: €4,000 - €6,000
*ANTOON VAN DYCK (1599-1641) (kopie naar) laat/fin XVII/vroeg/début XVIII Het mystiek huwelijk van de heilige Catharina. Doek. Restauraties. Mogelijk dient de kunstenaar gezocht te worden in de omgeving van Gaspar de Crayer (1584-1669). Het origineel bevindt zich in de collectie van H.M. Queen Elizabeth (doek, circa 1630, 126.2 x 119.5, Royal Collection Trust, Londen, inv. nr. RCUB 405332). Met begeleidend schrijven van H.Vlieghe, 31.3.1987, waarin hij het werk omschrijft als een 'goede kopie, mogelijk atelierwerk' en van Carl de Pauw, als 'getrouwe kopie, heel wellicht uit de tijd'. 128 x 117 French Translation *ANTOON VAN DYCK (1599-1641) (copie d'après) Le mariage mystique de sainte Catherine. Toile. Restaurations. L'oeuvre originale se trouve dans la collection de la reine Elisabeth (toile, circa 1630, 126.2 x 119.5; Royal Collection Trust, Londres, nr. RCUB 405332). Il faut probablement situer l'artiste dans l'entourage de Gaspar de Crayer (1584-1669). On joint une lettre de H. Vlieghe datant de 31.3.1987 décrivant l'oeuvre comme 'une bonne copie, probablement travail de l'atelier' et une lettre de Carl de Pauw comme 'copie fidèle, très probablement de l'époque'. 128 x 117 English Translation *ANTOON VAN DYCK (1599-1641) (copie of) The mystical marriage of Saint Catherine. Canvas. Restorations. The artist can probably be found in the circle of Gaspar de Crayer (1584-1669). The original is being held in the collection of the H.M. Queen Elisabeth (canvas, circa 1630, 126.2 x 119.5, Royal Collection Trust, Londen, inv. nr. RCUB 405332). With letter from H. Vlieghe, 31.3.1987, describing the painting as a 'good copy, probably workshop' and from Carl de Pauw as a 'faithful copy, very likely from the period'. 128 x 117
Bernaerts Auctioneers
Mar. 21, 2019
Gaspar. DE CRAYER (Anvers 1587 - Gand 1669)
Est: €6,000 - €8,000
La Sainte Trinité Huile sur panneau. Accidents, à restaurer. Il s’agit, ici, d’une version sur panneau d’un tableau de Gaspar de CRAYER conservé au château de Pommersfelden en Bavière (repris dans VLIEGHE H., « Gaspar de Crayer. Sa vie et ses œuvres », Bruxelles 1972, no. A16, fig. 19). Selon Hans Vlieghe, ces deux tableaux sont indubitablement de la main de l’artiste et ce tableau serait datable de 1620 (ou légèrement plus tardif). Dim : 143 x 110 cm Expert : Hans VLIEGHE Bibliographie : VLIEGHE H., « Gaspar de Crayer. Sa vie et ses œuvres », Bruxelles 1972, no. A16, fig. 19
Hotel des Ventes Mosan
Nov. 29, 2018
GASPAR DE CRAYER (attr. a)
Est: €1,500 - €2,500
(Anversa, 1582 - Gand, 1662) Maddalena Olio su tela, cm 115X84 Provenienza: Firenze, Pandolfini, 13 febbraio 2018, lotto 65 (come scuola veneta del XVII secolo) La tela si attribuisce ad un artista fiammingo, influenzato dalla pittura italianizzante della scuola di Anversa divulgata da Pietro Paolo Rubens e Antoon van Dyck. Questi aspetti stilistici sono a loro volta accentuati dalla buona conservazione della superficie pittorica, che consente di osservare la vivacità della tavolozza e i brani di natura morta visibili in primo piano. Questi indizi di stile sembrano convalidare il riferimento a Gaspar de Crayer, conosciuto anche come Caspar de Crayer, allievo di Michel Coxcie, la tela si attribuisce ad un artista fiammingo, influenzato dalla pittura italianizzante della scuola di Anversa divulgata da Pietro Paolo Rubens e Antoon van Dyck. Questi aspetti stilistici sono a loro volta accentuati dalla buona conservazione della superficie pittorica, che consente di osservare la vivacità della tavolozza e i brani di natura morta visibili in primo piano. Questi indizi di stile sembrano convalidare il riferimento a Gaspar de Crayer, conosciuto anche come Caspar de Crayer, allievo di Michel Coxcie e dell'Accademia di San Luca di Bruxelles nel 1607.
Wannenes Art Auctions
Apr. 25, 2018
ATTRIBUTED TO GASPAR DE CRAYER (ANTWERP 1584-1669 GHENT) Roman Charity
Est: £4,000 - £6,000
ATTRIBUTED TO GASPAR DE CRAYER (ANTWERP 1584-1669 GHENT) Roman Charity oil on canvas 85 x 112cm (33 7/16 x 44 1/8in).
Bonhams
Dec. 19, 2017
Attribué à Jacques d'ARTHOIS et à Caspar de CRAYER (1584-1669) Saint Antoine et saint Paul
Est: €18,000 - €22,000
Attribué à Jacques d'ARTHOIS et à Caspar de CRAYER (1584-1669) Saint Antoine et saint Paul Toile Att. to J. d’Arthois and to C. de Crayer, St Anthony and St Paul, canvas 120,5 x 174cm - 47 1/2 X 68 1/2 IN. € 18,000-22,000 Le sujet, tiré de la Légende dorée de Jacques de Voragine, relate la visite que fit saint Antoine Abbé à saint Paul de Thèbes, au cours de laquelle ils furent nourris miraculeusement par un corbeau amenant deux pains. Notre toile est un exemple typique de la collaboration habituelle en Flandres entre un paysagiste et un peintre de figures. Les deux saints peuvent être rapprochés d'un grand retable d'autel par Gaspard de Crayer conservé aux musées royaux des Beaux-arts de Bruxelles (225 sur 163cm) où ils sont exactement dans la même position. Mais ici la composition s'ouvre sur un grand paysage caractéristique de l' "école de Soignies", ces peintres spécialisés dans les vues de forêts et rivières autour de Bruxelles. La partie droite, qui est organisée autour d'une brèche de lumière qui dégage le ciel, d'arbres en contre-jour et de talus modelés par de larges aplats de peinture, peut revenir à Jacques d'Arthois ou à l'un de ses contemporains tels que Lucas Achtschellinck ou Ignace Van der Stock. Nous remercions Monsieur Simon Meynen de l'aide qu'il nous a apportée dans la rédaction de cette notice.
Tajan
Dec. 06, 2017
Gaspar de Crayer (Antwerp 1584-1669 Ghent) The Penitent Magdalen unframed
Est: -
Gaspar de Crayer (Antwerp 1584-1669 Ghent) The Penitent Magdalen unframed
Bonhams
Apr. 22, 2017
After Gaspar de Crayer, (Flemish, 1584-1669), "Le Cardinal-Infant Ferdinand d'Autriche (1609-1641)", oil on canvas, 73-1/4" x 47-5/8..
Est: $5,000 - $8,000
After Gaspar de Crayer (Flemish, 1584-1669) "Le Cardinal-Infant Ferdinand d'Autriche (1609-1641)" oil on canvas unsigned. Presented in a late 18th-/early 19th-century carved pine frame affixed with a brass artist plaque. 73-1/4" x 47-5/8" Provenance: Herbie Oakes Collection, Houston, Texas. Notes: The imposing portrait offered here is a celebration of the Habsburg Dynasty and 17th-century portraiture. Ferdinand of Austria, the third son of Philip III, King of Spain, and Margaret of Austria, sister of Ferdinand II, the Holy Roman Emperor, had an equally illustrious ecclesiastical and political career. Ferdinand was ordained Arch Duke of Toledo at the age of 19-20, and Cardinal shortly thereafter. As a prince of both the Roman Catholic order and of Spain (hence the double title Cardinal-Infant), Ferdinand was appointed Governor of the Spanish Netherlands in 1630 and military commander during the Thirty Years' War (1633-1641). In 1634 Ferdinand moved to Brussels, the capital of the Spanish provinces, and appointed Gaspar de Crayer, a native of Antwerp, his first court painter, preferring his portraits over his Flemish rival Peter Paul Rubens. In the 1630s, de Crayer was considered the equal of Rubens in painting commissions. According to Edward Wamsley's 1822 biography on de Crayer, following his court appointment, Rubens impressed by his success visited him in his studio, and upon seeing his works in progress decried: "Crayer, Crayer, one will not surpass you!" Between 1634 and Ferdinand's premature death in 1641, de Crayer painted multiple portraits of Ferdinand, the most famous of them, an equestrian portrait, painted in concert with the one depicted here commemorates the Prince's victory at the Battle of Nordlingen, 1634, which ended Swedish Protestant resistance in Southern Germany. While the former painting was presented to Ferdinand's brother King Philip IV, the latter one of Ferdinand in his vestments, now conserved in the Prado, was likely commissioned by the church for his religious victory as a Prince of the Holy Roman Empire. Given the scale of the work offered here, its finesse, and close mastery of composition and detail as the original, it is likely that it was commissioned ca. 1800 for a church or building in one of the Belgian/French provinces Ferdinand of Austria patronized. References: Blanc, Charles. Histoire des Peintres de Toutes Les Ecoles: Ecole Flemande, vol. 13. Paris: Jules Renouard Libraire-Editeur, 1864. pp. 62-64; Walmsley, Edward. Physiognomical Portraits, 100 Characters from Originals, Engr. by British Artists. London: John Major, Robert Jennings & Robert Triphook, 1822.
New Orleans Auction Galleries
Mar. 15, 2017
Cristo incoronato di spine.
Est: €2,000 - €3,000
Cristo incoronato di spine.
Capitolium Art
Nov. 28, 2016
Caspar de Crayer, Attr., Christ as Man of Sorrows, Oil, 17th C.
Est: €14,400 - €18,000
Oil on canvas, relined Attributed to Caspar de Crayer (1584-1669) Flemish painter We thank Dr. Marrigje Rikken, Rijksbureau voor Kunsthistorische Documentatie (RKD), The Hague, for the scientific support; the work is entered in the database RKDImages under number 227782 Dimensions: 98.5 x 77.5 cm Frame: 120 x 99 cm Provenance: Private collection, Austria Empathic depiction of the suffering Christ crowned with thorns: The painting is characterized by the quality of the painting and the motif since the artist rarely painted portraits. The close approach to Christ and his physiognomy and gestures provide the moving impact of the painting. Condition: The painting is discolored and bears craquelure overall and scattered marks. The edges show partially rubbed spots due to the frame. Several convex bumps can be seen mainly upper left as well as upper right and in the lower part. The frame shows usual signs of age and wear and several small losses of color. The corners are slightly open. Gaspard de Crayer (1584-1669) The Flemish painter Caspar de Crayer born in Antwerp in 1854 worked in his region as well as in the Netherlands and in Spain. The artist who is famous for his sacral paintings, his oeuvre contains hundreds of altarpieces painted only rarely profane subjects such as the lifesize portrait of Philipp IV. who was as Felipe IV king of Spain in the 17th century. Gaspard de Crayer began his education attending the school of Raphael van Coxcie. He was guided by the works of the masters of the Italian Renaissance as well as by those of his contemporary and compatriot Peter Paul Rubens (1577-1640). Later the artist became painter at the court of Philipp IV. De Crayer belonged to the important church painters of his time and created a lot of major works of the Counterreformation. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Auctionata Paddle8 AG
Dec. 09, 2015
DE CRAYER GASPAR (1584 - 1669) Follower of. The crown of thorns.
Est: €3,000 - €4,000
DE CRAYER GASPAR (1584 - 1669). Follower of. The crown of thorns.. Cm 24,50 x 30,00.
Capitolium Art
Dec. 07, 2015
GASPAR DE CRAYER (1582-1669) workshop of
Est: €6,000 - €8,000
English GASPAR DE CRAYER (1582-1669) workshop of Portret van aartshertog Albrecht (1559-1621). Portret van aartshertogin Isabella (1566-1633). Doek. Een paar. Verdoekt. Ingevulde craquelures, één met afschilferingen. Retouches. Dekkende vernislaag. Mogelijks ingekort. Herkomst: Brussel, Paleis voor S 110 x 78 (x2) Dutch GASPAR DE CRAYER (1582-1669) atelier van Portret van aartshertog Albrecht (1559-1621). Portret van aartshertogin Isabella (1566-1633). Doek. Een paar. Verdoekt. Ingevulde craquelures, één met afschilferingen. Retouches. Dekkende vernislaag. Mogelijks ingekort. Herkomst: Brussel, Paleis voor Schone Kunsten, cat.p. 30, nr. 168, 12.12.1951. Als hofschilder van het echtpaar, schilderde Rubens (1577-1640) diverse staatsportretten van hen. Het oorspronkelijke werk waarop onderhavig lot geïnspireerd is, kan tot op heden niet getraceerd worden. Wel is gekend dat er, in opdracht van de meester-schilder, diverse atelierversies van het origineel werden gemaakt. Zeer vergelijkbare werken bevinden zich onder meer in de collectie van het Rubenshuis. Een pendant, van de hand van Gaspar de Crayer, vertoont grote gelijkenissen met dit lot (doek, 119.5 x 92, na 1616, privécollectie, Northampton). Andere exemplaren: Anoniem (Simon de Vos?), Zuidelijke Nederlanden, doek, 118 x 90, na 1616, Lempertz, Keulen, 12-1892, nr. 200; Studio Peter Paul Rubens, doek, 121 x 92, ca. 1617, Colnaghi London, 2010. 110 x 78 (x2) French GASPAR DE CRAYER (1582-1669) atelier du Portrait de l'archiduc Albert (1559-1621). Portrait de l'archiduchesse Isabella (1566-1633). Toile. Une paire. Rentoilage. Craquelures retouchées. Un avec écaillage. Retouches. Vernis camouflant. Probablement raccourci. Provenance: Bruxelles, Palais des Beaux Arts, cat.p. 30, nr. 168, 12.12.1951. 110 x 78 (x2)
Bernaerts Auctioneers
Sep. 20, 2015
Ecole de Gaspard de CRAYER (Anvers 1582 - Gand 1669). Les cinq Saints (Saint Sebastien, Saint Adrien, Saint François d'Assise, Saint Antoine, Saint Roch).
Est: €4,000 - €4,500
Ecole de Gaspard de CRAYER (Anvers 1582 - Gand 1669). Les cinq Saints (Saint Sebastien, Saint Adrien, Saint François d'Assise, Saint Antoine, Saint Roch). Huile sur toile. 141,5 x 105,5 cm.
Sadde
Aug. 10, 2014
Painting, Follower of Caspar de Crayer
Est: $2,000 - $4,000
Follower of Caspar de Crayer (Flemish, 1584-1669), Madonna and Child, oil on canvas, unsigned, artist placard lower center, canvas: 56"h x 43"w, overall (with frame): 63.5"h x 49.5"w
Clars Auctions
Nov. 16, 2013
CASPAR DE CRAYER, THE LAMENTATION
Est: €70,000 - €100,000
CASPAR DE CRAYER, THE LAMENTATION THE LAMENTATION Gasper de Crayers oeuvre was influenced by three of important aspects of Flemish art in the first half of the 17th century: The Counter-Reformation, the works of Peter Paul Rubens and the patronage of the Spanish court in the Southern Netherlands. Born 1584 in Antwerp, he was taught in Brussels under Raphael Coxie and was recorded there as a master in 1607. He later moved to Ghent, where he died in 1669 following a highly successful and productive artistic career. He became court painter for the Cardinal-Infante Ferdinand and took commissions from the Habsburgs, for example portraits, religious works and decorative work, for example for the arrival of the Cardinal-Infante in Ghent. His style mainly orientated towards that of Rubens, and he occasionally worked for the same patrons, such as Afflingen abbey. The figural composition in this Lamentation is dominated by the figure of Christ lain on a burial shroud. Three angels are depicted kneeling over him and lamenting his death. A column closes the composition to the left, lending it stability. Comparison to the Lamentation in the Kunsthistorisches Museum in Vienna shows that Gaspar de Crayer has here created a more monumental figural composition - although both the Virgin and three angels surround Christ in the work in Vienna, they are grouped around him more loosely. Two small angels are also shown to the right edge of the work washing the body with a sponge, and a panoramic landscape can be seen to the right. Both these two small angels and the Virgin are lacking in this composition, making the three angels the main protagonists of the scene. They are arranged more closely together and fill almost the entire height of the painting, whereas Christ - in contrast to the work in Vienna - dominates the entire horizontal plane. The monumentality of the figures and their reduced number cause the scene to become compacted and more dramatic. The composition shows the influence of Peter Paul Rubens, whose Italian style monumental altar paintings shaped the Flemish art of the Counter-Reformation in the first half of the 17th century like no other. The heroic conception of Christ - his expression of suffering, pose and flesh-tone - are all inspired by Ruben's depictions of the Passion, Bearing of the Cross, Descent from the Cross and by the Lamentation of Christ in the Kunsthistorisches Museum and the Liechtenstein Museum in Vienna. Hans Vlieghe dates this painting to the 1650s/60s, and thus to the artist's late period in Ghent.
Kunsthaus Lempertz KG
Oct. 06, 2013
Gaspard de Crayer (1582-1669, Flemish) Oil on cnvs
Est: $4,000 - $8,000
The Virgin with Child - Flemish, Width- 43" by 56" tall (109 x 142cm) oil on canvas, lined
California Auctioneers