Justus van Egmont Sold at Auction Prices

Egmont, Justus, van (1602 Leiden - 1674 Antwerp, Dutch-Flemish painter, collaborator in the workshop of Peter Paul Rubens in Antwerp, court painter to the kings Louis XIII and XIV) inscribed,

Egmont, Justus, van (1602 Leiden - 1674 Antwerp, Dutch-Flemish painter, collaborator in the workshop of Peter Paul Rubens in Antwerp, court painter to the kings Louis XIII and XIV) inscribed, "Madonna with Child and Angel",(1602 Leiden - 1674 Antwerp, Dutch-Flemish painter, collaborator in the workshop of Peter Paul Rubens in Antwerp, court painter to the kings Louis XIII and XIV) inscribed, "Madonna with Child and Angel", oil on canvas, Latin inscription on the plinth alludes to the Passion of Christ and translates as: Why, Mother, do you offer him flowers? Why, winged one, do you offer him grapes? One day he will wear a crown of thorns, 131 x 112 cm, 131 x 112 cm, colour flaking, restored cracks Egmont, Justus, van (1602 Leiden - 1674 Antwerpen, niederländisch-flämischer Maler, Mitarbeit in der Werkstatt des Peter Paul Rubens in Antwerpen, Hofmaler der Könige Ludwig XIII. und XIV.) zugeschrieben, "Madonna mit Kind und Engel", Öl auf Leinwand doubliert, lateinische Inschrift auf dem Sockel deutet die Passion Christi an und meint übersetzt: Warum, Mutter, bietest Du ihm Blumen? Warum, Beflügelter, bietest Du ihm Trauben? Eines Tages wird er eine Dornenkrone tragen, 131 x 112 cm, Farbabplatzungen, restaurierte Risse

Justus van Egmont, attributed to, The Virgin and Child with an Angel

A refined Flemish Baroque depiction attributed to the Leiden-born Justus van Egmont, a later collaborator of Rubens. The Latin text on the base of the Virgin's throne explicitly alludes to the Passion of Christ, one of the the central iconographies of 17th century religious art ("Why, Mother, do you offer him flowers? Why, winged one, do you offer him grapes? One day he will wear a crown of thorns").

JUSTUS VAN EGMONT (LEIDA 1601 - ANVERSA 1674) BOTTEGA DI

Justus van Egmont (Leida 1601 - Anversa 1674) bottega di Ritratto di Luigi II Borbone Condé Olio su tela 60 x 50 cm La tela è una ripresa del volto che il maestro olandese ha dipinto nel ritratto di Luigi Borbone Condé conservato al Museo Condé di Parigi. L'opera è conservata in una cornice coeva. Justus van Egmont (Leiden 1601 - Antwerp 1674) workshop of Portrait of Louis II Bourbon Condé Oil on canvas 60 x 50 cm The canvas is a reproduction of the face that the Dutch master painted in the portrait of Louis Bourbon Condé preserved in the Condé Museum in Paris. The artwork is preserved in a coeval frame.

JUSTUS VAN EGMONT (attr. a)

(Leida, 1601 - Anversa, 1674) Ritratto di gentiluomo Olio su tela, cm 76X62 Formatosi ad Anversa con Gaspar van den Hoecke e dopo aver lavorato con Anthony van Dyck, van Egmont frequentò la bottega di Peter Paul Rubens. Si trasferì in Francia nel 1628 dove fu pittore di corte per la Casa d'Orléans, contribuendo a fondare l'Académie de Peinture et de Sculpture. Successivamente tornò nelle Fiandre dove è documentato ad Anversa e Bruxelles dipingendo prevalentemente ritratti.

Justus van Egmont o Juste d'Egmont (Leida 1601 - Anversa 1674)

Justus van Egmont o Juste d'Egmont (Leida 1601 - Anversa 1674) Ritratto di Charles de La Porte, duc de La Meilleraie Olio su tela 74,5 x 59,5 cm Il presente dipinto, che eccelle per la straordinaria qualità e per stato di conservazione, sembra corrispondere all’opera che Justus van Egmont realizzò nel 1648, sinora creduta perduta. Essa era conosciuta, sino ad oggi, sia grazie ad una incisione datata 1662 e realizzata da Robert Nanteuil (Reims 1623 - Parigi 1678), sia per una miniatura eseguita dallo svizzero Jean Petitot (Ginevra 1607 - Vevey 1691), conservata presso la Collezione Reale d’Inghilterra. Per un confronto qualitativo, si possono osservare i ritratti conservati presso il Kunsthistorisches Museum di Vienna. Dopo la formazione ad Anversa con Gasper van den Hoecke, Justus van Egmont fece praticantato con Antony van Dyck e Peter Paul Rubens. Si trasferì in Francia nel 1628, dove fu pittore di corte per i Sovrani di Casa d'Orléans. In Francia contribuì a fondare l'Académie de peinture et de sculpture. Successivamente tornò nelle Fiandre, operando tra Anversa e Bruxelles. Realizzò principalmente ritratti, alcune opere di soggetto storico, nonché disegni per cinque diverse serie di arazzi. Justus van Egmont, Juste d'Egmont (Leiden 1601 - Antwerp 1674) Portrait of Charles de La Porte, duc de La Meilleraie Oil on canvas 74,5 x 59,5 cm This painting, which excels for its extraordinary quality and for the state of preservation, appears to correspond to the artwork, believed lost until now, that Justus van Egmont painted in 1648. It was known, until now, thanks to an engraving, dated 1662 and made by Robert Nanteuil (Reims 1623 - Paris 1678), and for a miniature made by the Swiss Jean Petitot (Geneva 1607 - Vevey 1691), kept in the Royal Collection of England. For a qualitative comparison, one can look at the portraits kept in the Kunsthistorisches Museum, in Vienna.

JUSTE D'EGMONT (LEYDE 1601-1674 ANVERS) Portrait présumé de Françoise-Marg

JUSTE D'EGMONT (LEYDE 1601-1674 ANVERS) Portrait présumé de Françoise-Marguerite de Sévigné, comtesse de Grignan... huile sur toile 101,5 x 71,5 cm (40 x 28 in.)

Justus Van Egmont (1601-1674) Oil (Antwerp, Belgium

"Louise Francoise de la Baume LeBlanc Duchesse" (1644-1710) Sight 24 x 23.5

Attribué à Juste d'EGMONT Leyde, 1601 - Anvers, 1674 Portrait de Louis XIII à cheval Huile sur cuivre

Attribué à Juste d'EGMONT Leyde, 1601 - Anvers, 1674 Portrait de Louis XIII à cheval Huile sur cuivre Porte un numéro '229' au verso (Planéité légèrement irrégulière) Sans cadre Portrait of Louis XIII on horseback, oil on copper, attr. to Juste d'Egmont h: 42,50 w: 34,50 cm Commentaire : Ayant collaboré aux tableaux de la galerie de Médicis au palais du Luxembourg, Juste d'Egmont accompagne Rubens à Paris en janvier 1625 pour leur présentation. Il travaille alors dans le plus proche environnement du roi et de la reine mère, rejoignant l'atelier de Simon Vouet. Reconnu pour ses talents de portraitiste à la cour de Louis XIII puis de Louis XIV, il obtient le titre de peintre du roi et exécute plusieurs portraits de la famille royale et des grands du royaume. Une autre version de ce portrait équestre sur cuivre est conservée dans les collections de l'Ashmolean Museum of Art à Oxford (63 x 50 cm, inv. WA1845.18). Estimation 2 000 - 3 000 €

VAN EGMONT JUSTUS (1601 - 1674) zeventiende eeuws olieverfschilderij op kop

VAN EGMONT JUSTUS (1601 - 1674) zeventiende eeuws olieverfschilderij op koper : "Portret van een man" - 53 x 40 toegeschreven aan 17th Cent. oil on copper attributed to Justus van Egmont

17th Cent. oil on copper attributed to Justus van Egmont

VAN EGMONT JUSTUS (1601 - 1674) zeventiende eeuws olieverfschilderij op koper : "Portret van een man" - 53 x 40 toegeschreven aan 17th Cent. oil on copper attributed to Justus van Egmont

ATTRIBUTED TO JUSTUS VAN EGMONT (1601-1674): PORTRAIT DU GRAND CONDE (LOUIS DE BOURBON)

ATTRIBUTED TO JUSTUS VAN EGMONT (1601-1674): PORTRAIT DU GRAND CONDE (LOUIS DE BOURBON) Oil on canvas, unsigned. 47 x 37 in., 57 x 47 in. (frame). Note: Louis de Bourbon (1621-1686), the Prince of Conde, was a French military general known as le Grand Conde for his battlefield prowess. He was part of the Conde branch of the House of Bourbon. Provenance: Collection M. Ghislain Prouvost, Chateau Du Vert Bois; Sold Sotheby''s, Paris, December 9, 2005, Lot 13.

Attribué à Juste d’Egmont (1601-1674)

Attribué à Juste d’Egmont (1601-1674) Portrait de dame dans un paysage Cuivre Restaurations anciennes et petits manques Attr. to Juste d’Egmont, portrait of a lady in a landscape, copper 15,5 x 10 cm - 6 1/8 X 3 15/16 IN.

Justus van Egmont (Leiden 1601-1674 Antwerp) A personification of

Justus van Egmont (Leiden 1601-1674 Antwerp) A personification of Taste: A young woman with a basket of fruit and thieving... oil on panel 47 ¼ x 19 ¾ in. (120 x 50 cm.)

(École hollandaise) - [Attribué à EGMONT, Justus von (1601-1674)].- 3 scènes de la vie de César. 3 DESSINS ORIGINAUX, pierre noire et rehauts de blanc, sur papier bleu, 14 x 27 cm, fixés par les bords sup. sous passe-partout.

(École hollandaise) - [Attribué à EGMONT, Justus von (1601-1674)].- 3 scènes de la vie de César. 3 DESSINS ORIGINAUX, pierre noire et rehauts de blanc, sur papier bleu, 14 x 27 cm, fixés par les bords sup. sous passe-partout.

Justus van Egmont (Leiden 1601-1674 Antwerp)

Portrait of a lady, three-quarter-length, in a black embroidered dress and a white lace collar, holding roses oil on canvas, oval, corners made up 101.3 x 68.8cm (39 7/8 x 27 1/16in).

Justus van Egmont (Leiden 1601-1674 Antwerp) Portrait of a lady, three-quarter-length, in a black embroidered dress

Portrait of a lady, three-quarter-length, in a black embroidered dress and a white lace collar, holding roses oil on canvas, oval, corners made up 101.3 x 68.8cm (39 7/8 x 27 1/16in).

JUSTUS VAN EGMONT Flandern 1601-1674, tillskriven

JUSTUS VAN EGMONT Flandern 1601-1674, tillskriven Porträtt av kung Karl X Gustav (1622-1660) klädd som härförare iförd rustning och hermelinbrämad mantel - knästycke Olja på duk, 122 x 87,5 cm. Ymnigt skulpterad och bronserad originalram i barock, 170 x 130 cm. Registrerad i Svenska Porträttarkivet, SPA S.n. 16 PROVENIENS Sanno...

La Justicia persiguiendo al Amor, tapiz de Bruselas en lana, hacia 1630

La Justicia persiguiendo al Amor, tapiz de Bruselas en lana, hacia 1630 Realizado a parir del cartón de Justus van Egmont (Leyden,1601-Amberes, 1674) y tejido en el taller de Franz van den Hecke (activo en Bruselas en el segundo tercio del siglo XVII). Firmado por el tapicero y con iniciales de Bruselas-Brabante.Orla arquitectónica rematada por dintel con medallón con paisaje y guirnaldas de frutas y laterales con hermas. Forma parte de la serie de cinco paños titulada "Los sufrimientos del Amor". Piezas tejidas con el mismo modelo pero con orlas diferentes en: Palacio de La Granja de San Ildefonso de Segovia y en el Alcazar de Sevilla.

EGMONT, JUSTUS VAN (circle, 1601-1674). Portrait

EGMONT, JUSTUS VAN (circle, 1601-1674). Portrait of a young lady wearing a brown dress decorated with pearls. Oil/canvas/canvas. 41 x 32 cm

Juste d'EGMONT (Leyde, 1601 - Anvers, 1674) PORTRAIT DU GRAND CONDE DEVANT LE CHAMPS DE BATAILLE DE ROCROI Sur sa toile d'origine

ATTRIBUÉ À JUSTE D'EGMONT (LEYDE 1601 - ANVERS 1674)

PORTRAIT DE MARIE ANNE MANCINI EN CHASSERESSE [ATTRIBUTED TO JUSTE D'EGMONT PORTRAIT OF MARIE-ANNE MANCINI AS A HUNTRESS] measurements note 157 x 104 cm ; 61 3/4 x 41 in Porte une inscription en haut à droite MARIANNE. DE / MANCHINY./DEPUIS DUCHESSE / DE BOUILLON Huile sur toile NOTE Soeur de Marie et d'Hortense, Marie-Anne Mancini (Rome 1646-Paris 1714) mena une vie moins tapageuse que ses aînées. Elle épousa le neveu de Turenne, Maurice Godefroy de La Tour, duc de Bouillon, dont elle se sépara rapidement. Très portée sur les lettres, elle se lia d'amitié avec La Fontaine, molière, Benserade... et son salon était très réputé pour ses réunions littéraires.

ATTRIBUÉ À JUSTE D'EGMONT (LEYDE 1601 - ANVERS 1674)

PORTRAIT DU GRAND CONDÉ [ATTRIBUTED TO JUSTE D'EGMONT PORTRAIT OF THE GRAND CONDÉ] measurements note 118,5 x 94 cm ; 46 2/3 x 37 in Huile sur toile PROVENANCE Vente anonyme, Paris, étude Tajan, 25 juin 1998, lot 239, où il fut acquis par l'actuel propriétaire. LITERATURE L.Faton, "Deux énigmatiques portraits d'hommes", in Dossier de l'art, Paris, avril 1997, n°37, reproduit. NOTE Louis II de Bourbon, quatrième prince de Condé, dit le Grand Condé (Paris 1621-1686) était le fils de Henri II de Bourbon et l'époux d'une nièce de Richelieu. A 22 ans, il fut chargé du commandement des armées du Nord contre les Espagnols. Il se distingua rapidement à la victoire e Rocroi en 1643. Après la défaite de Blémeau, il passa dans l'armée espagnole. Puis, la paix des Pyrénées le réconcilie avec la France en 1659.

Justus van Egmont (Leiden 1601-1674 Antwerp)

Zenobia, Queen of Palmyra, and the Emperor Aurelian: a cartoon for a tapestry oil on canvas, unframed 301/2 x 27 in. (77.5 x 68.6 cm.) NOTES This is a cartoon for one of a set of tapestries depicting The History of Zenobia, Queen of Palmyra, of which a complete set is preserved in the Spanish Royal Collection (see J. de Vega, et al., Catalogo de Tapices del Patrimonio Nacional, 1986, II, pp. 164-172, the tapestry corresponding to the present design illustrated p. 171). The iconography derives from the late fourth century Historia Augusta, and relates to the capture of Tyana in Aurelian's Palmyrene war of AD 272-3. We are grateful to Professor Hans Vlieghe for the attribution, given on the basis of photographs.

JUSTUS VAN EGMONT (1601-1674) AN ALLEGORICAL SCENE.

Black chalk and pen and brown ink heightened with white. 351 by 485 mm. The attribution of this drawing is due to Anne-Marie Logan, who compares it with a stylistically and iconographically very similar drawing of Fame Crowning a Victorious General, in an American private collection (see Anne-Marie Logan, Flemish Drawings in the Age of Rubens, exhib. cat., Wellesley/Cleveland 1993, cat. 18, illus.). The latter in turn served as the basis for a far more precisely executed, worked-up drawing, possibly a frontispiece design, now at Yale (Logan, op. cit., cat. 19, illus.). In their allegorical conception and compositional structure, all three of these drawings strongly reflect van Egmont's early training in the studio of Rubens, and his involvement with the Medici cycle. Soon after this apprenticeship he travelled to Paris, where he remained for some 25 years (circa 1628-54), working for illustrious patrons such as the Duc d'Orleans and Marshal Daumont, and becoming, in 1648, a founder member of the Academie Royale. This grand allegorical design may perhaps date from the artist's French period, but more probably from after his return to Antwerp, as the costumes seem more Flemish and the complex and obscure iconography cannot easily be explained in the context of French history. Although the precise subject depicted has yet to be identified, the child towards the left of this composition is clearly a vital element- the drawing may have been made to celebrate a real royal birth, but equally the baby may represent the helpless, infant nation, which the military triumphs of the figure in armour had somehow served to protect. We are very grateful to Eunice Williams for her assistance in cataloguing this lot.