Jacob Ochtervelt Sold at Auction Prices

JACOB OCHTERVELT (Rotterdam, Germany, 1634 - Amsterdam, Netherlands, 1682). "Private concert", 1668. Oil on canvas. Relined. It has an old label from the collection of the Boijmans Museum, to which it belonged

JACOB OCHTERVELT (Rotterdam, Germany, 1634 - Amsterdam, Netherlands, 1682). "Private concert", 1668. Oil on canvas. Relined. It has an old label from the collection of the Boijmans Museum, to which it belonged. It appears referenced in the database of the Boijmans Museum: RKD nº 1001201926. Measurements: 76 x 74cm; 92 x 90 cm (frame) In this canvas Ochtervelt shows us one of his refined interior scenes, starring a lady wrapped in a loose silk dress, with an expression of rapture on her face as she listens to the character who sings only for her while a violinist and a lute player accompany them. The filtered lighting, focusing mainly on the couple, accentuates the intimacy of the environment. The characters are placed in the foreground, allowing the author to capture the sumptuousness of the fabrics and the delicacy of the objects, worked with meticulous attention to quality. The lighting lends a studied baroque theatricality to the whole. According to the Flemish painter and writer Arnold Houbraken (1660-1719), biographer of numerous artists, Jacob Ochtervelt was trained in the workshop of Nicolaes Berchem in Haarlem. There he probably coincided with Pieter de Hooch between 1646, the year Berchem returned from Italy, and 1655, when Ochtervelt is documented back in Rotterdam. In the same year he married Dirkje Meesters. His early works show the influence of Italianate painters such as his master Berchem, Jan Baptist Weenix and Ludolf de Jongh. From the mid-1650s he began to paint genre scenes set in gardens with classical architecture; these works are characterized by the monumentality of the figures and are reminiscent of the paintings of Karel du Jardin. He would also incorporate an almost theatrical lighting, characteristic of the Caravaggist painters. Gradually, Ochtervelt will create his own style, concentrating on interior scenes of prosperous bourgeois, in which the figures, and especially the different qualities of their clothes, are treated with great meticulousness and care, showing in this point affinities with the work of Frans Miers the Elder. His great contribution to the genre were some original pieces of comfortable interiors, such as "The Grape Seller" (Hermitage, St. Petersburg) or "Street Musicians at the Door" (Saint Louis Art Museum), in which a group of street characters, generally musicians or peddlers, are glimpsed through the entrance door. These scenes, set on the doorstep, allowed Ochtervelt to explore the contrast and connections between characters from different social classes. His entry into the Rotterdam guild of St. Luke is not documented, but in 1667 he is mentioned among the candidates for the presidency of the institution ("Hoodfman") for the period from 1667 to 1669. In 1674 he moved to Amsterdam, where he worked until his death in 1682. The works of his last period reveal the general complexity of the last third of the 17th century in Holland, when classicist currents began to come into fashion as opposed to Dutch realism. Works by Ochtervelt can now be seen in the Thyssen-Bornemisza Museum, the Hermitage in St. Pertersburg, the National Gallery in London, the Rijksmuseum in Amsterdam, the Metropolitan in New York, the Louvre in Paris, the Kunsthistorisches in Vienna, the E.G. Bührle Collection in Zurich, the Statens Museum por Kunst in Copenhagen and the Museum der Bildenden Künste in Leipzig, among other public and private collections.

Attribué à Jacob OCHTERVELT Rotterdam, 1634 - 1682, Amsterdam Femme à la lettre

Attribué à Jacob OCHTERVELT Rotterdam, 1634 - 1682, Amsterdam Femme à la lettre Huile sur panneau 17 x 15 cm - 6 11/16 in. Woman holding a Letter, oil on panel

Jacob OCHTERVELT (1634-1682), circle of

Jacob OCHTERVELT (1634-1682), circle of Cavalier and Lady Oil on canvas, relined, monogrammed lower left 75 x 61 cm Provenance: Jules Porgès Collection; Galerie Fischer, Lucerne, June 2, 1981, lot. 478 According to the RKD, the painting is now attributed to Bernardus VAN SCHENDEL (1649-1709), but the monogram does not match.

Ochtervelt Jacob, Scena galante

olio su tela, W. 73 - H. 75 Cm, Expertise Dott.ssa Raffaella Colace

Jacob van OCHTERVELT Rotterdam, vers 1634/1635 - Amsterdam, 1682 Le retour du marché Toile

Jacob van OCHTERVELT Rotterdam, vers 1634/1635 - Amsterdam, 1682 Le retour du marché Toile The return from the market, canvas, by J. van Ochtervelt h: 89,50 w: 72 cm Provenance : Vente anonyme ; Cologne, Van Ham Kunstauktionen, 4 novembre 2002, n° 1174 Commentaire : Jacob Ochtervelt appartient à la seconde génération de peintres hollandais spécialisés dans la scène de genre. Il reprend l'héritage de la manière fine de Gabriel Metsu et Gérard ter Borch, amenant une lumière différente, plus tamisée. Il met en scène la différence de classes sociales opposées et insiste sur l'élégance des costumes. On le compare parfois à Pieter de Hooch, dont il fut le condisciple lors de son apprentissage chez Nicolaes Berchem, et à Vermeer quand il introduit dans ses compositions des musiciens et des instruments de musique. Il est le principal représentant de la scène de genre à Rotterdam de 1650 à 1672 avant de s'établir à Amsterdam en 1674. Dans une chambre, une dame, élégamment habillée d'un corsage et d'une robe en satin blanc avec une passementerie argentée, reçoit de sa servante un paquet, probablement un manchon. Le petit chien à ses pieds, compagnon habituel des courtisanes, la présence du lit au second plan, dont les rideaux sont entrouverts, nous indiquent que nous sommes dans une maison de tolérance, un thème fréquent dans la peinture hollandaise de la deuxième moitié au XVIIe siècle. A droite, le bougeoir, avec la bougie penchée et éteinte, est associé au proverbe " 'De kaars uit, de schaame uit' ", soit : " Bougie éteinte, plus de honte " (cet élément précis se retrouve dans de nombreux tableaux hollandais du XVIIe siècle, de ter Borch, Netscher, Metsu …). Les autres tableaux à sujet de bordels d'Ochtervelt mettent en scène plus de personnages ('Le jeu de tric-trac', Leipzig, musée des Beaux-Arts). On y retrouve la table recouverte d'un tapis anatolien et le sceau en cuivre au premier plan. La figure principale de notre tableau peut être rapprochée de celle du 'Soldat offrant de la monnaie à une jeune femme' (ancienne collection F. Kleinberger, voir S. Donahue Kuretsky, 'The paintings of Jacob Ochtervelt (1634-1682), with catalogue raisonné', Montclair, 1979, p. 83, n° 69, ill. 80). Nous remercions la professeur Susan Donahue Kuretsky de nous avoir confirmé l'attribution à Jacob Ochtervelt de ce tableau d'après une photographie numérique, le 8 février 2021. Estimation 8 000 - 12 000 €

Jacob Ochtervelt (Rotterdam 1634 - Rotterdam um 1708), workshop. The Sleeping Soldier.

Oil/canvas, 84,5 x 69,5 cm, on the stretcher and on the reverse seals, rest., relined. - Literature: Cf.: S. Donahue Kuretsky: J. O., 1979, Nr. 100. - Dutch figure and portrait painter, a main master of elegant domestic scenes. Together with P. de Hooch, O. was a student of N. Berchem. His gallant societies, virtuously painted in captivating materiality, lead over to the painting of the Rococo. Mus.: St. Petersburg (Eremitage), London, Berlin, Chicago a. others. Lit.: Thieme-Becker.

Jacob Ochtervelt (Rotterdam 1634 - Amsterdam 1682)

Elegant Company in an Interior, Playing Rock Paper Scissors (c. 1675) Oil on canvas, 81.7 x 68.4 cm Provenance: - Private collection, France - Private collection, the Netherlands Note: The authenticity of this lot was confirmed to the consignor by Ms. Susan Donahue Kuretsky, author of the catalogue raisonné The Paintings of Jacob Ochtervelt, 1634-1682. It is most likely that the present lot is the first known Western painting depicting the hand game 'Rock Paper Scissors'. The game is usually played between two people, in which each player simultaneously forms one of three shapes with an outstretched hand. These shapes are ‘rock’ (a closed fist), ‘paper’ (a flat hand), and ‘scissors’ (a fist with the index finger and middle finger extended, forming a V). The first known mention of the game was in the book Wuzazu by the Chinese Ming-dynasty writer Xie Zhaozhi (c. 1600), who wrote that the game dated back to the time of the Chinese Han dynasty (206 BC - 220 C). In the book, the game was called ‘shoushiling’. Throughout Japanese history there are frequent references to sansukumi-ken, meaning ken (fist) games where ‘the three who are afraid of one another’ (i.e. A beats B, B beats C, and C beats A). This type of game originated in China before being imported to Japan and subsequently also becoming popular among the Japanese. The earliest Japanese sansukumi-ken game was imported directly from China. In mushi-ken the ‘frog’ (represented by the thumb) triumphs over the ‘slug’ (represented by the little finger), which, in turn prevails over the ‘snake’ (represented by the index finger), which triumphs over the ‘frog’. Although this game was imported from China the Japanese version differs in the animals represented. Today, the best-known sansukumi-ken is called jan-ken, which is a variation of the Chinese games introduced in the seventeenth century. Jan-ken uses the rock, paper, and scissors signs and is the game that the modern version of rock paper scissors derives from directly. Hand-games using gestures to represent the three conflicting elements of rock, paper, and scissors have been most common since the modern version of the game was created in the late nineteenth century, between the Edo and Meiji periods. In the 1921 article about cricket in the Sydney Morning Herald described ‘stone, scissors, and paper’ as method which he "came across when travelling on the Continent once". Another article, from the same year, in the Washington Herald described it as a method of Chinese gambling. In Britain in 1924 it was described in a letter to The Times as a hand game, possibly of Mediterranean origin, called 'zhot'. A reader then wrote in to say that the game ‘zhot’ referred to was evidently Jan-ken-pon, which she had often seen played throughout Japan. Although at this date the game appears to have been new enough to British readers to need explaining, the appearance by 1927 of a popular thriller with the title Scissors Cut Paper, followed by Stone Blunts Scissors (1929), suggests it quickly became popular. Handshakes have long been crucial to art world deals, but in 2005, a different gesture determined the outcome of a multimillion dollar agreement. The Japanese electronics giant Maspro Denkoh Corporation had decided to auction off works from its art collection - described by Jonathan Rendell as “a jewel in the crown” - worth about $20 million, during the Impressionist and modern art sales in New York. Unable to choose whether to consign the trove to Sotheby’s or Christie’s, company president Takashi Hashiyama put the decision in the auction houses’ hands: representatives from each company would visit Maspro’s Tokyo office to compete in a game of rock, paper, scissors. The rival auction houses approached the impending game very differently. Kanae Ishibashi, the then president of Christie's in Japan, took the challenge seriously. She consulted the 11-year-old twin daughters of Nicholas Maclean, the international director of Christie's Impressionist and modern art department at the time. The twins suggested Ishibashi to start with scissors as "Rock is way too obvious, and scissors beats paper". Sotheby's, on the other hand, believed the game would come down to chance and had no strategy in mind. Instead of the usual method of playing the game with the hands, the teams were given a form explaining the rules. They were then asked to write one word in Japanese - rock, paper or scissors - on the paper. Christie's was the winner: scissors beat paper. Please note: condition reports and additional photos are available upon request. For more information: info@aagauctioneers.com

Attributed to Jacob Ochtervelt (Rotterdam 1634-1682 Amsterdam) An interior with a lady giving alms to beggars

Attributed to Jacob Ochtervelt (Rotterdam 1634-1682 Amsterdam) An interior with a lady giving alms to beggars indistinctly signed '***hter***' (on the floor, lower right) oil on canvas 47.3 x 40.9cm (18 5/8 x 16 1/8in). For further information on this lot please visit the Bonhams website

OCHTERVELT JACOB (ca 1634 - 1708/10) fraai olieverfschilderij op doek met een aangenaam, geanimeerd genretafereel met verschillende personages in een interieur : "Muzikale namiddag" - 58 x 49 toegeschreven aan

OCHTERVELT JACOB (ca 1634 - 1708/10) fraai olieverfschilderij op doek met een aangenaam, geanimeerd genretafereel met verschillende personages in een interieur : "Muzikale namiddag" - 58 x 49 toegeschreven aan late 17th Cent. oil on canvas - attributed to Jacob Ochtervelt

OCHTERVELT JACOB (ca 1634 - 1708/10) fraai olieverfschilderij op doek met een aangena

OCHTERVELT JACOB (ca 1634 - 1708/10) fraai olieverfschilderij op doek met een aangenaam, geanimeerd genretafereel met verschillende personages in een interieur : "Muzikale namiddag" - 58 x 49 toegeschreven aan late 17th Cent. oil on canvas - attributed to Jacob Ochtervelt

JACOB OCHTERVELT (ROTTERDAM 1634-1682 AMSTERDAM) The Visit oil on canvas 27 3/4 x 23

JACOB OCHTERVELT (ROTTERDAM 1634-1682 AMSTERDAM) The Visit oil on canvas 27 3/4 x 23 1/8 in. (70.4 x 58.8 cm.)

JACOB OCHTERVELT (ROTTERDAM 1634-1682

JACOB OCHTERVELT (ROTTERDAM 1634-1682 AMSTERDAM) ET ATELIER L’aumône huile sur toile 47,4 x 41,3 cm. (18 5/8 x 16º in.)

Jacob Ochtervelt (Rotterdam 1634-1682 The Visit oil on canvas 70.

Jacob Ochtervelt (Rotterdam 1634-1682 The Visit oil on canvas 70.4 x 58.6 cm.

Jacob Ochtervelt (Rotterdam 1634-1682 Amsterdam)

Jacob Ochtervelt (Rotterdam 1634-1682 Amsterdam) An interior with an elegant woman playing a lute and a man playing a flute, a maid by the fireplace beyond oil on canvas 33 3/8 x 27 ¼ in. (84.8 x 69.2 cm.)

JACOB OCHTERVELT | A musician, holding a trumpet and a hat, leaning over a stone niche

oil on panel

ORNATE FRAMED & MATTED PRINT - "THE MUSICIANS" BY JACOB OCHTERVELT - ONLINE BIDDERS PLEASE ARRANGE SHIPPING

ORNATE FRAMED & MATTED PRINT - "THE MUSICIANS" BY JACOB OCHTERVELT - ONLINE BIDDERS PLEASE ARRANGE SHIPPING

Jacob Ochtervelt Holland c:a 1634-1708 Hans art.

Jacob Ochtervelt Holland c:a 1634-1708 Hans art. Interiör med musicerande sällskap. Olja på uppfodrad duk, 49,5 x 42 In the manner of. Oil on relined canvas, 49.5 x 42 cm.

Circle of Jacob Ochtervelt (Rotterdam 1634-1682 Amsterdam) A game of draughts 20 1/2 x 17in (52 x 43.2cm)

A game of draughts oil on canvas 20 1/2 x 17in (52 x 43.2cm)

OCHTERVELT, JACOB (KOPIE WOHL DES 17.

OCHTERVELT, JACOB (KOPIE WOHL DES 17. JAHRHUNDERTS) (um 1634 Rotterdam um 1682) Edle Dame mit Dienerin in einem Interieur. Öl auf Leinwand. 75 x 62 cm. Mit einem Schreiben von Dr. Eduard Plietzsch vom 7. 12. 1955, in dem er die Autorschaft Jacob Ochtervelt bestätigt.

Jacob OCHTERVELT (1634-1682) Le couple Huile sur

Jacob OCHTERVELT (1634-1682) Le couple Huile sur panneau, signée sur l'entablement. 26 x 22 cm

Circle of Jacob Ochtervelt (Rotterdam 1634-1682 Amsterdam) A game of draughts 20 1/2 x 17in (52 x 43.2cm)

A game of draughts oil on canvas 20 1/2 x 17in (52 x 43.2cm)

OCHTERVELT, JACOB(circa 1634 Rotterdam circa

OCHTERVELT, JACOB (circa 1634 Rotterdam circa 1682) Woman with a dog on her lap. Oil on panel. 37 x 30.5 cm. OCHTERVELT, JACOB (um 1634 Rotterdam um 1682) Frau mit Hund auf dem Schoss. Öl auf Holz. 37 x 30,5 cm.

Jacob Ochtervelt (Rotterdam 1634-1682 Amsterdam) Portrait of a gentleman, bust-length, in a white silk chemise and a red waistcoat,

Portrait of a gentleman, bust-length, in a white silk chemise and a red waistcoat, holding a trumpet, standing at an arched window bears indistinct initials 'F*V*' (on window ledge, lower left) oil on panel 26.2 x 20.8cm (10 5/16 x 8 3/16in).

Jacob Ochtervelt , Rotterdam 1634 - 1682 Amsterdam "The Lemon Slice" oil on panel

oil on panel

Attributed to Jacob Ochtervelt , Rotterdam 1634 - 1682 Amsterdam A man with a feathered head, making an obscene gesture oil on panel, oval

indistinctly signed lower right: o. f. oil on panel, oval

Jacob Ochtervelt Rotterdam 1634 - 1682 Amsterdam , A singing violinist, probably a self-portrait, set within a niche oil on panel

OCHTERVELT, JACOB (1634 Rotterdam 1682), Im Stil von Die Musikstunde. Öl auf Leinwand. 54 x 43 cm.

OCHTERVELT, JACOB (1634 Rotterdam 1682), Im Stil von Die Musikstunde. Öl auf Leinwand. 54 x 43 cm.

MANNER OF JACOB OCHTERVELT (1634-1710) A Lady

MANNER OF JACOB OCHTERVELT (1634-1710) A Lady Asleep bears signature 'Metsu' (centre right) oil on panel 14 x 9in (35.6 x 22.8cm)

ATTRIBUTED TO JACOB OCHTERVELT ROTTERDAM 1634 - 1682 AMSTERDAM

OTHER PROPERTIES AN INTERIOR WITH TWO ELEGANT LADIES MAKING THEIR TOILET TOGETHER WITH A MAID MAKING THE BED AND A DOG ON A CHAIR measurements note 80.5 by 66.5 cm. oil on canvas NOTE Dr Susan Donahue Kuretsky has tentatively confirmed the attribution to Ochtervelt on the basis of digital photographs. She believes this to be a late work by the artist and dates it to the 1670s. The lady in the foreground is reminiscent of figures in other works Ochtervelt produced in this period, as are the colouring and overall composition. A good example of this is Ochtervelt's Family portrait, of circa 1671, in the Norton Simon Museum, Pasadena, California, in which a similar composition can be seen with a seated figure in the foreground and a standing figure in the centre (see S. Donahue Kuretsky, The paintings of Jacob Ochtervelt (1634-1682), Oxford 1979, p. 81, cat. no. 66, reproduced fig. 157).

Jacob Ochtervelt (Rotterdam 1634-1682 Amsterdam)

A musical party in an interior oil on canvas 33 x 26 1/2 in. (83.8 x 67.3 cm.)

Jacob Ochtervelt (Rotterdam 1634-1682 Amsterdam)

A musical party in an interior oil on canvas 33 x 261/2 in. (83.8 x 67.3 cm.) PROVENANCE Lichnowski collection. P. Cassirer, Amsterdam, 1927-8. with Galerie Fleischmann, Munich, 1929-30. B. Mont, New York, 1950. with Newhouse Galleries, New York, 1955. Jefferson Patterson, by whom gifted to the Dayton Art Institute, Ohio, in 1960. LITERATURE E. Plietzsch, 'Jacob Ochtervelt', Pantheon, August 1937, XX, p. 368, fig. 3. The Dayton Art Institute Annual Report, 1959-60, p. 10, no. 60.9, illustrated. E. Plietzsch, Holl„ndische und fl„mische Maler des XVII Jahrhunderts, Leipzig, 1960, p. 65, fig. 1. S.D. Kuretsky, The Paintings of Jacob Ochtervelt, Montclair, 1979, p. 95, no. 102, fig. 115. NOTES Kuretsky ( loc. cit. ) dates the present picture on technical grounds and from the use of classical sculpture to late in the artist's career, in circa 1680. As she points out, the dog in the foreground recurs in the artist's Music Lesson in the National Gallery, London, and the seated woman on the right is adapted from the singer in the Concert in a Garden in the Hermitage, St. Petersburg.

JACOB OCHTERVELT (Rotterdam 1634-1682)

A musical company in a garden oil on canvas 463/4 x 421/8 in. (118.7 x 107 cm.) PROVENANCE J. Odon; (+) sale, Amsterdam, 6 September 1784, lot 33. with Vermeer Gallery, London, 1925. A. Reyre, London, 1928. Prince Thun; sale, Galerie Fischer, Lucerne, 13 August-2 September 1933, lot 31 (with different dimensions to both the present painting and a copy of the composition; see note below). Sven Bostr”m, Stockholm. with Gebr. Douwes, Amsterdam. LITERATURE H. Wichmann, 'Die Meisters des holl„ndischen Interieurs-Ausstelling' April-May 1929, in der 'Galerie Dr. Sch„ffer Berlin', Kunstchronik, 63, II, May 1929. W.R. Valentiner, 'Pieter de Hooch', Klassiker der Kunst, 1929, pp. xxix, p. 289, illustrated p. 191. E. Plietzsch, 'Jacob Ochtervelt', Pantheon, XX, 1937, p. 368. E. Plietzsch, Holl„ndische und fl„mische Maler des XVII Jahrhunderts, 1960, p. 64, pl. 98. Weltkunst, XXXIV, no. 10, 15 May 1964. S. Donahue Kuretsky, The Paintings of Jacob Ochtervelt, Oxford, 1979, pp. 54-55, no. 6, fig. 14. EXHIBITION Berlin, Galerie Sch„ffer, Die Meister des holl„ndischen Interieurs, April-May, 1929, no. 67, pl. 27. Rotterdam, Museum Boymans-van Beuningen, Vermeer: Oorsprong en Invloed, 9 July-9 October 1935, no. 75, pl. 113. Amsterdam, Gebr. Douwes, Tentoonstelling van Schilderijen en Tekeningen, 28 April-28 May 1964, no. 1. New York, Metropolitan Museum of Art, International Exhibition under the Auspices of La Conf‚deration Internationale des Negotiants en Oeuvres d'Art, 19 October 1974-5 January 1975, no. 13. NOTES In her monograph on the artist, Susan Donahue Kuretsky dates the present work to circa 1655 and notes that it is probably the companion piece to a Merry Company with a Violinist formerly in the collection of Walter P. Chrysler, Norfolk, Virginia, (sold, Sotheby's, New York, 1 June 1989, lot 53). She further notes the difficulty in constructing a firm provenance for the present work due to the confusion between it and a copy, formerly with Julius B”hler, Munich.