Jan Jacobsz Molenaer Sold at Auction Prices

Jan Jacobsz. Molenaer,  Dutch 1654-c.1684/90-  Interior scenes with figures drinking, embracing, an

Jan Jacobsz. Molenaer,  Dutch 1654-c.1684/90-  Interior scenes with figures drinking, embracing, and making music in a tavern;  oils on panel, the first signed 'Jan Molenaer' (lower right), the second faintly signed 'Jan Molenaer' (lower right), each bears old hand-written label inscribed 'Jan Molenaer' verso, the second bears wax collector's stamp verso, each 32 x 23.9 cm., a pair (2).  Provenance:  Property from a European Private Collection.  Note:  The present work is typical of Molenaer's tavern scenes, depicting figures seated around a table in a dark interior, in which the glint of glasses and jugs are just visible. Each of these scenes appears to depict a man attempting to embrace a reluctant female figure, watched by curious, and perhaps somewhat shocked, onlookers, one of whom seems to play a flute towards the background. The artist produced a number of similar compositions, such as one which sold at Sotheby's, Amsterdam, on 2 November 2002 (lot 8, €5,000). Molenaer's works reveal the influence of an earlier generation of Dutch painters, such as Adriaen Brouwer (1605/6-1638) and David Teniers (1610-1690). 

Jan Jacobsz. Molenaer,  Dutch 1654-c.1684/90-  Interior scenes with figure

Jan Jacobsz. Molenaer,  Dutch 1654-c.1684/90-  Interior scenes with figures drinking, embracing, and making music in a tavern;  oils on panel, the first signed 'Jan Molenaer' (lower right), the second faintly signed 'Jan Molenaer' (lower right), each bears old hand-written label inscribed 'Jan Molenaer' verso, the second bears wax collector's stamp verso, each 32 x 23.9 cm., a pair (2).  Provenance:  Property from a European Private Collection.  Note:  The present work is typical of Molenaer's tavern scenes, depicting figures seated around a table in a dark interior, in which the glint of glasses and jugs are just visible. Each of these scenes appears to depict a man attempting to embrace a reluctant female figure, watched by curious, and perhaps somewhat shocked, onlookers, one of whom seems to play a flute towards the background. The artist produced a number of similar compositions, such as one which sold at Sotheby's, Amsterdam, on 2 November 2002 (lot 8, €5,000). Molenaer's works reveal the influence of an earlier generation of Dutch painters, such as Adriaen Brouwer (1605/6-1638) and David Teniers (1610-1690). 

Jan Jacobsz MOLENAER (1654-1690), 'Die Gesprächsrunde' / 'The discussion'

Technik: Öl auf Holz, gerahmt, Signatur: ohne, Maße: 26,5 x 20,5 cm, Rahmen 36 x 30 cm, Zustand: gut, gefirnist, Kommentar: Aufgrund der Bildthematik, des Malstiles und insbesondere der 'schwülstigen' Ausarbeitung der Gesichter legt Kunsthistoriker Dennis P. Weller in einer Einschätzung nahe, dass es sich bei dem gezeigten Bild um die Hand Jan Jacobsz Molenaers handeln könnte. Zum Vergleich können Werke des Künstlers, wie 'Die Muschelesser', befindlich im Herzog-Anton-Ulrich Museum in Braunschweig, herangezogen werden, + Technique: oil on wood, framed, Signature: without, Dimensions: 26,5 x 20,5 cm, frame 36 x 30 cm, Condition: good, firnist, Comment: Due to the subject matter, the painting style and especially the 'sultry' elaboration of the faces, art historian Dennis P. Weller suggests in an assessment that the painting shown could be the hand of Jan Jacobsz Molenaer. For comparison, works by the artist, such as 'The Mussel Eaters', located in the Herzog-Anton-Ulrich Museum in Braunschweig, can be consulted.

MOLENAER, JAN JACOBSZ

(1654 Haarlem ca. 1700) Der Lüstling. Öl auf Holz. 20x16,5 cm. Gerahmt.

MOLENAER, JAN JACOBSZ

(1654 Haarlem ca. 1700) Der Lüstling. Öl auf Holz. 20x16,5 cm. Gerahmt.

MOLENAER, JAN JACOBSZ

(1654 Haarlem ca. 1700) Der Lüstling. Öl auf Holz. 20x16,5 cm.

MOLENAER, JAN JACOBSZ

(1654 Haarlem ca. 1700) Der Lüstling. Öl auf Holz. 20x16,5 cm.

JAN MOLENAER (Haarlem, ca. 1654-¿). "Tavern Scene". Oil on canvas. Old relining. It has perforation. It shows faults and restorations on the pictorial surface. It has an illegible signature.

JAN MOLENAER (Haarlem, ca. 1654-¿). "Tavern Scene. Oil on canvas. Antique re-colouring. It has perforations. It shows faults and restorations on the pictorial surface. It has an illegible signature. Measurements: 110 x 131 cm. Tavern scene in which a great number of people are swirling around, each one of them individually differentiated, carrying out different actions and dividing themselves in groups in such a way that the composition is ordered. The painting has aesthetic similarities to works by Jan Molenaer, which in turn resemble those of his father and are sometimes even confused, particularly as both painters signed with the same monogram J.M.R. Few details are known of Jan Molenaer's life, including the fact that he was a member of the Association of Artists of Saint Luke in 1684. His artistic style, very close to that of his renowned father, encompassed numerous paintings in which he depicted interior scenes of taverns with drinkers, smokers and card players, as well as domestic and family scenes. His works reveal his mastery of colour, using a range of ochre and brown tones that give the scene a warm feeling. It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.

JAN MOLENAER (Haarlem, ca. 1654-¿). "Tavern Scene". Oil on canvas. Old relining. It has perforation. It shows faults and restorations on the pictorial surface. It has an illegible signature.

JAN MOLENAER (Haarlem, ca. 1654-¿). "Tavern Scene. Oil on canvas. Antique re-colouring. It has perforations. It shows faults and restorations on the pictorial surface. It has an illegible signature. Measurements: 110 x 131 cm. Tavern scene in which a great number of people are swirling around, each one of them individually differentiated, carrying out different actions and dividing themselves in groups in such a way that the composition is ordered. The painting has aesthetic similarities to works by Jan Molenaer, which in turn resemble those of his father and are sometimes even confused, particularly as both painters signed with the same monogram J.M.R. Few details are known of Jan Molenaer's life, including the fact that he was a member of the Association of Artists of Saint Luke in 1684. His artistic style, very close to that of his renowned father, encompassed numerous paintings in which he depicted interior scenes of taverns with drinkers, smokers and card players, as well as domestic and family scenes. His works reveal his mastery of colour, using a range of ochre and brown tones that give the scene a warm feeling. It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.

Jan Jacobsz Molenaer

(Dutch, 1654-circa 1684) Tavern Scene, last quarter of 17th century, oil on oak panel, 8-3/8 x 6-3/8 in. (21.3 x 16.2 cm.); gilt wood frame, 9-3/4 x 8-1/2 in. Provenance: Private Collection, Raleigh, North Carolina co/art/om

JAN JACOBSZ MOLENAER (1654-c.1690) "Kermesse". Oil on canvas. Presents informative label on the back. Signed.

JAN JACOBSZ MOLENAER (1654-c.1690) "Kermesse". Oil on canvas. With informative label on the back. Signed. Measurements: 53 x 65 cm; 65 x 70 cm (frame). We see in this canvas the representation of a "kermesse", Dutch term that designates the popular peasant festivities typical of the Netherlands. It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light.

Jan Molenaer (1654-1684) Hanengevecht, gesigneerd r.o., olieverf op paneel, 19,5 x 19,5 cm

Jan Molenaer (1654-1684) Hanengevecht, gesigneerd r.o., olieverf op paneel, 19,5 x 19,5 cm

Jan Molenaer II 1654–1685 oder 1705, nach

Jan Molenaer II 1654–1685 oder 1705, nach Bauern in Taverne Öl auf Holz unten rechts signiert J. Molenaer 24 x 18 cm

JAN MOLENAER (Haarlem, ca. 1654-¿). "Kitchen interior with figures". Oil on panel. Attested by Luigi Caretto. Provenance: Gallery Helena Mola. Size: 40 x 39 cm; 54,5 x 54 cm (frame).

JAN MOLENAER (Haarlem, ca. 1654-¿). "Kitchen interior with figures". Oil on panel. Attested by Luigi Caretto. Provenance: Gallery Helena Mola. Size: 40 x 39 cm; 54,5 x 54 cm (frame). In this work the influence that Jan Miense Molenaer (Haarlem, ca. 1610-1668), father of Jan Molenaer, had on his son is appreciated. In fact, the works of Jan Molenaer are so similar to those of his progenitor that, at times, they are even confused, especially since both painters signed with the same monogram J.M.R. Few facts are known about the life of Jan Molenaer, including the fact that he was a member of the Association of Artists of St. Luke in 1684. His artistic style, very close to that of his renowned father, included numerous paintings in which he depicted interior scenes of taverns with drinkers, smokers and card players, as well as domestic and family scenes. In his works one can appreciate the mastery with which he treats color, using a range of ochre and brown tones that give the scene a warm feeling. Undoubtedly, it was in the painting of the Dutch school where the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and material, the sensitivity to the seemingly insignificant, made the Dutch artist commune with the reality of everyday life, without seeking any ideal alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to evade tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect and masterful technique and a conceptual subtlety in the lyrical treatment of light. Because of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone, in accordance with the new society. Thus, portraits, landscapes and animals, still life and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals of almost all classes and social classes.

Jan Molenaer (1654-1684) Hanengevecht, gesigneerd r.o., olieverf op paneel, 19,5 x 19,5 cm

Jan Molenaer (1654-1684) Hanengevecht, gesigneerd r.o., olieverf op paneel, 19,5 x 19,5 cm

JAN JACORO BLANCOSZ MOLENAER (1654 / 1684) "Popular types in meson".

Signed on the left side on one and on the right side on the other. . Grisalla,Oil on panel (pair)

Jan Jakobz MOLENAER (1654-c.1690) Interieur mit Mann und Frau beim Abendbrot

Öl auf Leinwand, in original Rahmen

Jan Molenaer II (1654/8-1684/1704)

Peasants drinking, a pair, I. signed with monogram (upper left) II. signed with monogram (upper right) both oil on panel, each 12,5x10,5 cm

Jan II MOLENAER (Haarlem 1654- après 1684) Buveurs dans un cabaret Drinkers near a cabaret, a pair of oak panels, signed with the brush

Jan II MOLENAER (Haarlem 1654- après 1684) Buveurs dans un cabaret Drinkers near a cabaret, a pair of oak panels, signed with the brush handle on the left and on the right: JMolenaer 12 5/8 X 10 IN. € 4,000-6,000 Un groupe très cohérent de scènes de cabarets en camaïeu de gris a été retiré du corpus de Jan Miense Molenaer (1610-1668) pour être rendu à Jan II, qui fut admis à la Guilde de Saint-Luc d’Haarlem en 1684. Si Jan Miense peut-être situé entre Brouwer et Steen, Jan II apparaît plus proche d’Adrien van Ostade. On rapprochera ces deux tableaux de la paire de grisailles conservée au musée des Beaux-Arts de Quimper, plus petite (huile sur papier, 19 x 14 cm) et signée avec exactement la même graphie (inv. 86-1 et 86-6), ou du panneau au musée du Berry à Bourges, aujourd’hui donnés à Jan II. On retrouve dans la plupart des peintures de cet artiste la même graphie de la signature avec un grand jambage décoratif pour la lettre M. Nous remercions le professeur Dennis Weller pour l’aide qu’il nous a apportée pour la rédaction de cette fiche. Jan II MOLENAER (Haarlem 1654- après 1684) Buveurs dans un cabaret Paire de panneaux de chêne, une planche, non parquetés Signés à la hampe du pinceau à droite et à gauche : JMolenaer 32 x 25,5 cm.

Attributed to Jan Jacobsz. Molenaer (Haarlem 1654-circa 1684)

Attributed to Jan Jacobsz. Molenaer (Haarlem 1654-circa 1684) The Egg dance oil on canvas 90.2 x 109.8cm (35 1/2 x 43 1/4in).

School of Jan Jacobsz Molenaer (1654-c.1690) Tavern Scene with Figures, Oil on canvas,

School of Jan Jacobsz Molenaer (1654-c.1690) Tavern Scene with Figures, Oil on canvas, Unsigned. Framed dimensions: h: 17 1/2 x w: 15 3/4 in. H: 12 W: 10 in.

School Jan Jacobsz. Molenaer (1654-c.1690) Tavern Scene with Figures, Oil on canvas,

School Jan Jacobsz. Molenaer (1654-c.1690) Tavern Scene with Figures, Oil on canvas, Unsigned. Framed dimensions: h: 17 1/2 x w: 15 3/4 in. H: 12 W: 10 in.

JAN MOLENAER II (ca.1654-ca. 1700) follower follower Farmers, ea

JAN MOLENAER II (ca.1654-ca. 1700) follower follower Farmers, eating and drinking in interior. Copper (glued on panel, octagonal). A pair. Monogrammed 'JMR'. Provenance: Bonhams, London, 3.12.2014 (as Jan Miense Molenaer). 9.5 x 8 (x2) Dutch Text: JAN MOLENAER II (ca.1654-ca. 1700) navolger Boeren, etend en drinkend in een interieur. Koper (op paneel gekleefd, achthoekig). Een paar. Monogram dragend 'JMR'. Herkomst: Bonhams, Londen, 3.12.2014 als Jan Miense Molenaer (1609-1668) 9.5 x 8 (x2) French Text: JAN MOLENAER II (ca.1654-ca. 1700) suiveur Paysans, mangeant et buvant. Cuivre (collé sur panneau, de section octogonale). Une paire. Portant un monogramme 'JMR'. Provenance: Bonhams, Londres, 3.12.2014 comme Jan Miense Molenaer (1609-1668) 9.5 x 8 (x2)

JAN JACOBSZ. MOLENAER (HAARLEM 1654-CIRCA 1684)

JAN JACOBSZ. MOLENAER (HAARLEM 1654-CIRCA 1684) Peasants in an interior signed ‘JMolen**’ (on barrel, lower right, the J and M in ligature) oil on panel 20.7 x 28.6cm (8 1/8 x 11 1/4in).

Jan Jacobz. Molenaer (1654-90), Attr., The Egg Dance, 17th C.

Oil on canvas, relined Netherlands, 17th century Attributed to Jan Jacobz. Molenaer (1654-c.1690) - Dutch genre painter Dimensions: 89 x 110 cm Fine gold frame: 111 x 130 cm Provenance: Private collection, Rome Charming genre scene in a barn with a dancing couple in the center - a characteristic motif for the Dutch painter Jan Jacobz. Molenaer; his figurative genre paintings fetch up to €12,000 at international auctions This painting is attributed to the Dutch genre painter Jan Jacobz. Molenaer and depicts a couple dancing in a tavern. The egg dance was a traditional game played in 16th and 17th century Holland. A chalk circle was painted on the floor with a bowl of eggs in its center. The dancers then had to roll the egg out of the bowl with their feet and flip the bowl back over the egg, without cracking it. Molenaer was a painter of the Golden Age, known for his humorous and often frivolous genre scenes with dancing, drinking or smoking figures, usually placed in a tavern or barn interior. Condition: The painting is in restored condition. The canvas is relined. There is fine craquelure allover and retouchings to the background and the figures. In the lower area the painting has been cleaned and the varnish removed. The frame has been restored. The framed work measures 111 x 130 cm, the stretcher frame measures 89 x 110 cm. Jan Jacobz. Molenaer (1654-c.1690) Jan Jacobz. Molenaer was born in Haarlem in 1654. Active during the Dutch Golden Age, he primarily painted genre scenes catering to the taste of the time and illustrating rural life in the 17th century. Often he presented his finely executed figures in taverns, drinking, dancing and bantering. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

Jan Jacobz. Molenaer (1654-90), Attr., The Egg Dance, 17th C.

Oil on canvas, relined Netherlands, 17th century Attributed to Jan Jacobz. Molenaer (1654-c.1690) - Dutch genre painter Fine gold frame with artist's plaque 'Jan Molenaer † 1668' Dimensions: 89 x 110 cm Provenance: Private collection, Rome Charming genre scene in a barn with a dancing couple in the center - a characteristic motif for the Dutch painter Jan Jacobz. Molenaer; his figurative genre paintings fetch up to €12,000 at international auctions This painting is attributed to the Dutch genre painter Jan Jacobz. Molenaer and depicts a couple dancing in a tavern. The egg dance was a traditional game played in 16th and 17th century Holland. A chalk circle was painted on the floor with a bowl of eggs in its center. The dancers then had to roll the egg out of the bowl with their feet and flip the bowl back over the egg, without cracking it. Molenaer was a painter of the Golden Age, known for his humorous and often frivolous genre scenes with dancing, drinking or smoking figures, usually placed in a tavern or barn interior. The painting is in restored condition. The canvas is relined. There is fine craquelure allover and retouchings to the background and the figures. In the lower area the painting has been cleaned and the varnish removed. The frame has been restored. The framed work measures 111 x 130, the stretcher frame measures 89 x 110 cm. Jan Jacobz. Molenaer (1654-c.1690) Jan Jacobz. Molenaer was born in Haarlem in 1654. Active during the Dutch Golden Age, he primarily painted genre scenes catering to the taste of the time and illustrating rural life in the 17th century. Often he presented his finely executed figures in taverns, drinking, dancing and bantering. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

Jan Jacobz. Molenaer (1654-90), Attr., The Egg Dance, 17th C.

Oil on canvas, relined Netherlands, 17th century Attributed to Jan Jacobz. Molenaer (1654-c.1690) - Dutch genre painter Fine gold frame with artist's plaque 'Jan Molenaer † 1668' Dimensions: 89 x 110 cm Provenance: Private collection, Rome Charming genre scene in a barn with a dancing couple in the center - a characteristic motif for the Dutch painter Jan Jacobz. Molenaer; his figurative genre paintings fetch up to €12,000 at international auctions This painting is attributed to the Dutch genre painter Jan Jacobz. Molenaer and depicts a couple dancing in a tavern. The egg dance was a traditional game played in 16th and 17th century Holland. A chalk circle was painted on the floor with a bowl of eggs in its center. The dancers then had to roll the egg out of the bowl with their feet and flip the bowl back over the egg, without cracking it. Molenaer was a painter of the Golden Age, known for his humorous and often frivolous genre scenes with dancing, drinking or smoking figures, usually placed in a tavern or barn interior. The painting is in restored condition. The canvas is relined. There is fine craquelure allover and retouchings to the background and the figures. In the lower area the painting has been cleaned and the varnish removed. The frame has been restored. The framed work measures 111 x 130, the stretcher frame measures 89 x 110 cm. Jan Jacobz. Molenaer (1654-c.1690) Jan Jacobz. Molenaer was born in Haarlem in 1654. Active during the Dutch Golden Age, he primarily painted genre scenes catering to the taste of the time and illustrating rural life in the 17th century. Often he presented his finely executed figures in taverns, drinking, dancing and bantering. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

Attributed to Jan Jacobsz. Molenaer (Haarlem 1654-after 1684) The Egg dance oil on canvas 35 x 43¼ in. (88.9 x 109.8 cm.)

Jan Jacobsz. Molenaer (Haarlem 1654-after 1684) The sense of taste signed with monogram 'JMR' (linked, upper right) oil on panel 4½ x 4 in. (11.4 x 10.2 cm.)