Jean-Bapt. (1662) Morel Paintings & Artwork for Sale | Jean-Bapt. (1662) Morel Art Value Price Guide

Jun. 19, 2024
JAN BAPTIST MOREL (1662-1752) (to be attributed to)
Est: €2,500 - €3,500
Vase with flowers on stone entablement. Oil on canvas. Description FR Vase avec des fleurs sur un entablement en pierre. Huile sur toile. Beschrijving NL Vaas met bloemen op stenen entablement. Olie op doek.
Bernaerts Auctioneers
Apr. 20, 2023
JEAN-BAPTISTE MOREL (Antwerp, 1662-1732);17th century. "Orla de flores". Oil on canvas, Re entelado. Signed in the lower central area. It has a french frame from the early 18th century.
Est: €27,000 - €30,000
JEAN-BAPTISTE MOREL (Antwerp, 1662-1732); last third of the 17th century. Orla de flores" ("Flower border"). Oil on canvas, Re linen backed. Signed in the lower central area. It has a French frame from the beginning of the 18th century. Measurements: 109 x 79 cm; 134 x 104 cm (frame). The floral repertoire that is combined in the work offers an attractive variety, identifying a good number of species: tulips, anemones, roses and chrysanthemums, among other floral species. The wide range of colours in the black background that forms the whole composition is a striking feature of the work. It should be noted that behind the flowers, especially in the central area, there is a dark-toned oval frame that serves as the base for the floral wreath that dominates the scene. Despite the chromatic variety of the flowers, it should be noted that the artist has used darker and even ochre tones in the flowers around the outer perimeter of the composition. This indicates that the artist has used a spotlight that shines directly into the centre of the composition, leaving the side areas in a certain semi-darkness. During the 17th century a new formula developed in Flemish painting, deriving from the genre of flower painting, which was recreated by a large group of artists and workshops and achieved considerable success throughout the century in much of Europe: the garland of flowers as a framing and enhancing element for a central theme of a religious nature. Brueghel de Velours, known as Brueghel the Elder, was the initiator of this type of composition, particularly linked in his work to the depiction of the Virgin and Child. However, it was his disciple, the Jesuit Daniel Seghers, who was the dominant figure in this specialised production and the creator of a prototype that would serve as a model for the numerous Flemish and foreign followers and imitators of the genre. It should be noted that in this type of composition the flowers are not simply a secondary or accessory element, but are worked with the same care and of the same quality as the image they usually frame. In fact, on occasions they even reveal a more skilful hand, as these works were often the result of the collaboration between a painter of flowers and a painter specialising in the human figure. In this particular work a great deal of skill can be seen in the floral composition, while in the centre the space is empty, so it is very likely that the piece is still unfinished. Jan Baptiste Morel began his artistic training in the studio of the still-life painter Nicolaes van Verendael. After his studies he specialised as a painter of still lifes, particularly of flowers and garlands. Due to his recognition as an artist, Morel was summoned to Brussels by the governor Maximilian II Emanuel to work on the decoration of various buildings in the city. It was at this time, in 1669, that he joined the Guild of Saint Luke in Brussels. In 1710 he returned to his native city of Antwerp, although he eventually settled in Brussels again, where it is thought he died.
Setdart Auction House
May. 25, 2022
JEAN-BAPTISTE MOREL (Antwerp, 1662-1732);17th century. "Orla de flores". Oil on canvas, Re entelado. Signed in the lower central area. It has a french frame from the early 18th century.
Est: €30,000 - €35,000
JEAN-BAPTISTE MOREL (Antwerp, 1662-1732); last third of the 17th century. Orla de flores" ("Flower border"). Oil on canvas, Re linen backed. Signed in the lower central area. It has a French frame from the beginning of the 18th century. Measurements: 109 x 79 cm; 134 x 104 cm (frame). The floral repertoire that is combined in the work offers an attractive variety, identifying a good number of species: tulips, anemones, roses and chrysanthemums, among other floral species. The wide range of colours in the black background that forms the whole composition is a striking feature of the work. It should be noted that behind the flowers, especially in the central area, there is a dark-toned oval frame that serves as the base for the floral wreath that dominates the scene. Despite the chromatic variety of the flowers, it should be noted that the artist has used darker and even ochre tones in the flowers around the outer perimeter of the composition. This indicates that the artist has used a spotlight that shines directly into the centre of the composition, leaving the side areas in a certain semi-darkness. During the 17th century a new formula developed in Flemish painting, deriving from the genre of flower painting, which was recreated by a large group of artists and workshops and achieved considerable success throughout the century in much of Europe: the garland of flowers as a framing and enhancing element for a central theme of a religious nature. Brueghel de Velours, known as Brueghel the Elder, was the initiator of this type of composition, particularly linked in his work to the depiction of the Virgin and Child. However, it was his disciple, the Jesuit Daniel Seghers, who was the dominant figure in this specialised production and the creator of a prototype that would serve as a model for the numerous Flemish and foreign followers and imitators of the genre. It should be noted that in this type of composition the flowers are not simply a secondary or accessory element, but are worked with the same care and of the same quality as the image they usually frame. In fact, on occasions they even reveal a more skilful hand, as these works were often the result of the collaboration between a painter of flowers and a painter specialising in the human figure. In this particular work a great deal of skill can be seen in the floral composition, while in the centre the space is empty, so it is very likely that the piece is still unfinished. Jan Baptiste Morel began his artistic training in the studio of the still-life painter Nicolaes van Verendael. After his studies he specialised as a painter of still lifes, particularly of flowers and garlands. Due to his recognition as an artist, Morel was summoned to Brussels by the governor Maximilian II Emanuel to work on the decoration of various buildings in the city. It was at this time, in 1669, that he joined the Guild of Saint Luke in Brussels. In 1710 he returned to his native city of Antwerp, although he eventually settled in Brussels again, where it is thought he died.
Setdart Auction House
Jan. 26, 2022
JEAN-BAPTISTE MOREL (Antwerp, 1662-1732);17th century. "Orla de flores". Oil on canvas, Re entelado. Signed in the lower central area. It has a french frame from the early 18th century.
Est: €30,000 - €35,000
JEAN-BAPTISTE MOREL (Antwerp, 1662-1732); last third of the 17th century. Orla de flores" ("Flower border"). Oil on canvas, Re linen backed. Signed in the lower central area. It has a French frame from the beginning of the 18th century. Measurements: 109 x 79 cm; 134 x 104 cm (frame). The floral repertoire that is combined in the work offers an attractive variety, identifying a good number of species: tulips, anemones, roses and chrysanthemums, among other floral species. The wide range of colours in the black background that forms the whole composition is a striking feature of the work. It should be noted that behind the flowers, especially in the central area, there is a dark-toned oval frame that serves as the base for the floral wreath that dominates the scene. Despite the chromatic variety of the flowers, it should be noted that the artist has used darker and even ochre tones in the flowers around the outer perimeter of the composition. This indicates that the artist has used a spotlight that shines directly into the centre of the composition, leaving the side areas in a certain semi-darkness. During the 17th century a new formula developed in Flemish painting, deriving from the genre of flower painting, which was recreated by a large group of artists and workshops and achieved considerable success throughout the century in much of Europe: the garland of flowers as a framing and enhancing element for a central theme of a religious nature. Brueghel de Velours, known as Brueghel the Elder, was the initiator of this type of composition, particularly linked in his work to the depiction of the Virgin and Child. However, it was his disciple, the Jesuit Daniel Seghers, who was the dominant figure in this specialised production and the creator of a prototype that would serve as a model for the numerous Flemish and foreign followers and imitators of the genre. It should be noted that in this type of composition the flowers are not simply a secondary or accessory element, but are worked with the same care and of the same quality as the image they usually frame. In fact, on occasions they even reveal a more skilful hand, as these works were often the result of the collaboration between a painter of flowers and a painter specialising in the human figure. In this particular work a great deal of skill can be seen in the floral composition, while in the centre the space is empty, so it is very likely that the piece is still unfinished. Jan Baptiste Morel began his artistic training in the studio of the still-life painter Nicolaes van Verendael. After his studies he specialised as a painter of still lifes, particularly of flowers and garlands. Due to his recognition as an artist, Morel was summoned to Brussels by the governor Maximilian II Emanuel to work on the decoration of various buildings in the city. It was at this time, in 1669, that he joined the Guild of Saint Luke in Brussels. In 1710 he returned to his native city of Antwerp, although he eventually settled in Brussels again, where it is thought he died.
Setdart Auction House
Jun. 18, 2019
TABLEAUX
Est: €800 - €1,200
Huile sur toile marouflée sur toile "Nature morte au bouquet de fleurs dans un panier d'osier". Attribué à Jean-Baptiste Morel. Ecole flamande. Dim.:113x88cm.
Vanderkindere
Apr. 04, 2019
Jan Baptist Morel (1662-1732), ambito di, Natura morta con vaso di fiori
Est: €1,200 - €1,500
olio su tela, cm 60x86
Cambi Casa d'Aste
Nov. 13, 2015
MOREL, JEAN BAPTISTE - 1662 Antwerp - 1732 Brussels - Large Flower Still Life in a Woven Basket in front of a Landscape.
Est: €4,000 - €5,000
MOREL, JEAN BAPTISTE 1662 Antwerp - 1732 Brussels Large Flower Still Life in a Woven Basket in front of a Landscape. Oil on canvas. Relined. 113 x 92,4cm. Framed.
Van Ham Kunstauktionen
Oct. 28, 2015
Circle of Jean Baptiste Morel (Antwerp 1662-1732 Brussels) Roses, narcissi,
Est: -
Circle of Jean Baptiste Morel (Antwerp 1662-1732 Brussels) Roses, narcissi, carnations and other flowers in a vase on a stone ledge with a bunch of grapes
Bonhams
Apr. 29, 2015
JEAN BAPTISTE MOREL | The Madonna and child in a floral garland
Est: £6,000 - £8,000
oil on canvas
Sotheby's
Jan. 23, 2014
Jean Baptiste Morel
Est: £7,000 - £10,000
oil on canvas,113 by 92.4 cm.; 44 1/2 by 36 3/8 in.
Sotheby's
Mar. 18, 2013
Jean Baptiste Morel (1662-1732) École flamande
Est: €6,000 - €8,000
Jean Baptiste Morel (1662-1732) École flamande Huile sur toile (rentoilée): Jardinière fleurie sur un entablement. Signée en bas à droite: Morel. (restaurations et à restaurer). Voir illustration. Dimensions : 99 x 89
Horta
Nov. 12, 2012
Jean Baptiste Morel (Antwerp 1662 - Brussels 1732)
Est: €6,000 - €8,000
Still life of flowers - Oil on canvas, 72.2 x 58.4 cm - Provenance: Private collection, Belgium - N.B. I: - Jean Baptiste Morel was born in 1662 in Antwerp. He was a pupil of the Flemish painter Nicolaes van Verendael (Antwerp 1640 - 1691), who specialised in the painting of vases with flowers. He painted bouquets and fruits just like his tutor. Due to his talent in depicting flower vases and other inanemate objects he achieved fame and was called to the Court of Brussels. There he was asked to decorate the palaces and was given his mayor commissions. Morel died in 1732 in Brussels. - N.B. II: We are grateful to Mr. Fred Meijer for his assistance in cataloguing this lot.
AAG Auctioneers
Nov. 29, 2011
Jan Baptist Morel, ascribed to: Flower garland with roses and tulips.
Est: kr40,000 - kr50,000
Flower garland with roses and tulips. Unsigned. Oil on canvas laid on board. 75 x 57 cm.
Bruun Rasmussen Auctioneers
Mar. 18, 2005
Flamisch (Jean-Baptiste Morel, 1662 Antwerpen o. Luttich - 1732 o. 1754 Brussel (?), Art des) 1. Halfte 18. Jh. Blumenbouquet aus Tulpen Nelken, Rosen und anderen Bluten vor Landschaftshintergrund. R. u. Reste einer Signatur (?) "Nicolas Morel". Ol
Est: €2,000 -
Flamisch (Jean-Baptiste Morel, 1662 Antwerpen o. Luttich - 1732 o. 1754 Brussel (?), Art des) 1. Halfte 18. Jh. Blumenbouquet aus Tulpen Nelken, Rosen und anderen Bluten vor Landschaftshintergrund. R. u. Reste einer Signatur (?) "Nicolas Morel". Ol auf Lwd. 39.5 x 56cm. Doubliert. Rest. Vgl. Thieme, Ulrich / Becker, Felix, Allgemeines Lexikon der bildenden Kunstler. Bd. XXV. Leipzig 1931, S. 133: "Morel Jean-Bapt. (haufig falschlich: Nicolas)".
Neumeister