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Willem De Poorter

Netherlands (1608 -  1660 )
de POORTER Willem  Allegorie Der Vergänglichkeit

Stahl
Sep 22, 2018
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Artworks in Arcadja
48

Some works of Willem De Poorter

Extracted between 48 works in the catalog of Arcadja
Willem De Poorter -  Allegorie Der Vergänglichkeit

Willem De Poorter - Allegorie Der Vergänglichkeit

Original 1650
Estimate:
Starting price:

Price: Not disclosed
Lot number: 15
Other WORKS AT AUCTION
Description:
Willem de Poorter (Haarlem 1608 - wohl um 1660) Allegorie der Vergänglichkeit Um 1650, Öl/Holz, 59 x 47 cm, r. monogr. W. D. P., verso Ausstellungsetikett der Royal Academy London sowie Etikett der Sammlung E. L. Paget, min. Retuschen. - Neben dem Schmuck und den silbernen Gefäßen als Symbolen des unbeständigen irdischen Reichtums war der ursprünglich vom Mann gehaltene Schädel - der in einer späteren Übermalung durch die Silberdose ersetzt wurde - das sprechendste Motiv der Vergänglichkeit. - Ausstellungen: Royal Academy of Arts, London, Exhibtion of 17th cent. European Arts, 1938, Kat.-Nr. 148. - Literatur: Das Gemälde ist mit Abb. publiziert in: W. Sumowski: Gemälde der Rembrandt-Schüler, Bd. 4, S. 2413, Nr. 1639. - Provenienz: E. L. Paget collection, London, 1938; Christie's London, 24.5.1957, Kat.-Nr. 50; Gallery Alfred Brod, London, 1957; Privatsammlung Niedersachsen. - Holländischer Historien- u. Figurenmaler. P. gehört nach Stil u. Repertoire seiner früheren Werke zu den Schülern Rembrandts, wohl aus dessen Leidener Zeit. Seit 1631 war er in Haarlem als Maler aktiv, 1645 trat er der dortigen Gilde bei. In seinem späteren Werk entwickelte P. große Virtuosität in der Wiedergabe metallener Gerätschaften, die häufig in seinen Gemälde auftauchen. Mus.: Amsterdam (Rijksmus.), St. Petersburg (Eremitage), London (Nat. Gall.), Berlin (Nat.-Gal.), Dresden (Gem.-Gal. Alte Meister), Braunschweig, Kassel u.a. Lit.: Thieme-Becker, Bernt, Sumowski: Gemälde der Rembrandt-Schüler, Meijer/Willigen: A Dictionary of Dutch and Flemish Still-life Painters working in oils, 1525-1725, 2003 u.a. Poorter, Willem de (Haarlem 1608 - wohl um 1660) Allegory of Vanity Ca. 1650, oil/wood, 59 x 47 cm, r. monogr. W. D. P., on the reverse exhibition label of the Royal Academy London as well as collector's label of E. L. Paget, min. retouchings. - Besides the jewelry and the silver vessels as symbols of volatile earthly riches a skull originally held by the men - and later overpainted with a silver box - was the most telling emblem of vanity. - Exhibition: Royal Academy of Arts, London, Exhibtion of 17th cent. European Arts, 1938, no. 148. - Literature: The painting is published with ill.: W. Sumowski: Gemälde der Rembrandt-Schüler, Vol. 4, p. 2413, no. 1639. - Provenance: E. L. Paget collection, London, 1938; Christie's London, 24.5.1957, lot no. 50; Gallery Alfred Brod, London, 1957; private collection Lower Saxony, Germany. - Dutch history and figure painter. By style and repertoire of his early works P. was a pupil of Rembrandt during his Leiden time. He was documented as a painter in Haarlem since 1631, in 1645 he joined the local painter's guild. In his later ouevre P. developed great skill in the depiction of metal vessels which often figure in his paintings. Mus.: Amsterdam (Rijksmus.), St. Petersburg (Eremitage), London (Nat. Gall.), Berlin (Nat.-Gal.), Dresden (Gem.-Gal. Alte Meister), Braunschweig, Kassel a. others. Lit.: Thieme-Becker, Bernt, Sumowski: Gemälde der Rembrandt-Schüler, Meijer/Willigen: A Dictionary of Dutch and Flemish Still-life Painters working in oils, 1525-1725, 2003 a. others.
Willem De Poorter - Christ And The Woman Taken In Adultery

Willem De Poorter - Christ And The Woman Taken In Adultery

Original 1634
Estimate:

Price:

Gross Price
Lot number: 7
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Description:
Lot Description

Willem de Poorter (Haarlem 1608-after 1648 ?)
Christ and the Woman taken in Adultery
with signature and date 'GDOV F.1634' ('GD' linked, centre left)
oil on panel
28 1/8 x 21¾ in. (71.3 x 55.3 cm.)

Provenance

George Pitschaft [Premier Conseiller des Finances, Directeur des Douanes de l'Electeur de Mayence]; his sale (+), Élie, Paris, 11 April 1811, lot 36, as Gerrit Dou '...riche composition, dont la justesse de la pantomime, la savante distribution des groupes, l'intelligence dans la conduite de la lumière, dont le foyer s'attache d'abord au sujet principal, s'enchaîne ensuite et va se dégradant mystérieusement jusqu'à l'extrémité opposée du Tableau, et surtout cette magie dans le clair-obscur, nous rappellent les beaux ouvrages de Rembrandt, son maître...'
Lady Anne Elizabeth Murray (1788-1848), as Dou, and by inheritance to the present owner.

Pre-Lot Text

PROPERTY FROM A PRIVATE COLLECTION
View Lot Notes >

Lot Notes

Previously unpublished, this delicately painted picture was believed to be by Gerrit Dou at the time of the 1811 Paris sale and has recently been recognised as a work by Willem de Poorter. This attribution has been confirmed by Dr. Werner Sumowski, who describes it as 'ein qualitätvolles Werk des Meisters' (written correspondence, 24 February 2013). It can be regarded as one of the finest examples of de Poorter's oeuvre from the late 1640s when he was working most closely under the influence of Rembrandt and Dou.

Based on Willem de Poorter's small-scale biblical and history paintings of the 1630s, it seems highly probable that he received his training in the Leiden workshop of Rembrandt alongside Gerrit Dou, who had been working there since 1628. De Poorter took up the popular subject of Christ and the Woman taken in Adultery once more in a comparable work now in the Gemäldegalerie in Dresden (dated to after 1644 on stylistic grounds). While de Poorter evidently based both of these compositions on Rembrandt's Simeon's Song of Praise (datable to 1631; The Hague, Mauritshuis) - and indeed painted a direct copy of that painting (also Dresden, Gemäldegalerie) - he was also, evidently, looking at Rembrandt's Woman taken in Adultery (circa 1644; London, National Gallery). Here, he moved away from Rembrandt's influence and created his own rendition of the dramatic episode. While retaining the upright format, he sets the crowd against an arrangement of columns and arcades, dispersing the spectators throughout the temple and pushing three figures to the very foreground. Building on the lessons he would have learned in Rembrandt's studio, he plays with light and shadow, placing the exposed adulteress in the spotlight while submerging the hostile Pharisees in the shadows. In the minutely rendered brocade drapery, patterned garment folds and trims, he shows an astonishing sensibility to textures, thus proving himself a talented finschilder.
De Poorter's religious subjects explore the complex and often ontentious relationships between Christ and the temple scribes, the Pharisees and priests, and believers and non-believers. These were popular themes in the seventeenth century, and show Christ's infinite mercy towards the sinful yet repentant woman.
This panel is first recorded in George Pitschaft's sale of 1811. Pitschaft was 'Premier Conseiller des Finances, et Directeur des Douanes' to the elector of Mainz and later went to Paris where he expanded his art collection. After his sale, the painting found its way to England, where it appears in the 1848 probate valuation of Anne Elizabeth Murray (née Cholmley Phipps), the only child of Constantine John Phipps, 2nd Baron Mulgrave, P.C. (1744-1792), and the widow of General Sir John Murray, 8th Bt. of Dunerne (1768 ?-1828). With her husband, Lady Murray formed an excellent collection of Old Masters, which notably included Jean-Antoine Watteau's La Surprise (Christie's, London, 8 July 2008, lot 2, £12,361,250).
Willem De Poorter - Diogenes Searching For An Honest Man

Willem De Poorter - Diogenes Searching For An Honest Man

Original
Estimate:

Price:

Lot number: 159
Other WORKS AT AUCTION
Description:
Lot Description

Willem de Poorter (Haarlem 1608-after 1648) Diogenes searching for an honest man oil on panel 15 5/8 x 18 in. (39.5 x 45.7 cm.)

Provenance

Rohan collection (according to letters of expertise dated 25 February and 21 October 1961). Cevat collection, Lausanne, 1961, as signed and dated 1636 (according to a letter of expertise dated 17 January 1967).

Pre-Lot Text

PROPERTY FROM THE HUBERTUS WALD CHARITABLE FOUNDATION (LOTS 27 & 158-160)

Literature

Die Sammlung Hubertus und Renate Wald, Hamburg, Hamburg, 1998, p. 156.

Exhibited

Oxford, Ashmolean Museum (according to a label recorded in a letter of expertise dated 25 February 1961). Hamburg, Kunsthalle, Rembrandt, oder nicht? Gemälde aus den Kunsthallen Bremen und Hamburg, 15 October 2000-21 January 2001.

View Lot Notes ›
Diogenes (c. 400-325 B.C.), from Sinope, the celebrated Cynic philosopher of Athens, was respected in the Netherlands in the seventeenth century for having abandoned his worldly goods and adopting an ascetic life. Illustrated is the celebrated scene related by Diogenes Laertius in his Lives of the Philosophers, which was adapted and popularised at third hand by the poet Joost van der Vondel in Den Gulden Winckel der Konstilevende Nederlanders of 1613. It is daylight and Diogenes's lantern is lit; he is looking for an honest man in vain, for as he explains to the townsfolk '...in your hearts no reason lives...you are people in name but beasts in fact'.

Willem de Poorter is one of Rembrandt's most fascinating pupils, having studied with the master in the early 1630s. The unidentified statue in the niche in the background, standing in for a generic pagan idol, reappears as a statue of Venus in de Poorter's The Idolatry of Solomon (Amsterdam, Rijksmuseum). This lot is sold with letters of expertise from Horst Gerson, Kurt Bauch and Werner Sumowski.
Willem De Poorter - The Idolatory Of Solomon

Willem De Poorter - The Idolatory Of Solomon

Original
Estimate:

Price:

Gross Price
Lot number: 108
Other WORKS AT AUCTION
Description:
Willem de Poorter (Haarlem 1608-1649/68)
The Idolatory of Solomon
oil on panel
15¾ x 12 3/8 in. (40 x 31.4 cm.)
Pre-Lot Text
The Property of a Family Trust (lots 101-108)
Provenance
Jule Elliott, Westmoreland Street, London; Christie's, London, 31 October 1947, lot 127, as 'De Koninck - The Sacrifice of Moses' (42 gns. to Leggatt).
Captain E.G. Spencer-Churchill, M.C., Northwick Park; (+) Christie's, London, 25 February 1966, lot 114 (400 gns.), where acquired by the present owner.
Literature
E.G. Spencer-Churchill, The Northwick Rescues, 1912-1961, Evesham, 1961, p. 14, no. 48.
W. Sumowski, Gemälde der Rembrandt-Schüler, Landau/Pfalz, 1983, IV, p. 2412, no. 1635; p. 2448 (illus.).
Lot Notes
It is generally supposed that Willem de Poorter received his artistic training in Rembrandt's Leiden workshop in the years around 1628-30. Although there is no documentary evidence to support this assumption, the similarities between de Poorter's small-scale biblical and historical paintings and Rembrandt's output from circa 1630 are so striking that it seems inconceivable that the two artists did not have close contact. The younger artist even made a copy (Dresden, Gemäldegalerie Alte Meister) after Rembrandt's Presentation in the Temple (1631; The Hague, Mauritshuis). De Poorter's choice of composition and use of dramatic lighting were clearly inspired by Rembrandt's example, while his preference for smoothness and finely rendered detail point to the influence of Gerard Dou who worked in the same Leiden workshop from 1628.
De Poorter is documented back in Haarlem in 1631 (the same year that Rembrandt left Leiden for Amsterdam), where he embarked on an independent career that would last less than twenty years yielding an oeuvre that today consititutes approximately fifty pictures. Sacrificial scenes were a recurrent theme in his work although their specific subjects are not always clear. This example was thought by Spencer-Churchill to depict the obscure story of Xuthus of Athens with his wife Creusa and her son Ion at Delphi, although Sumowski doubts this idea suggesting more plausibly that it depicts Solomon's Idolatory, a subject treated on other occasions by the artist, most notably in the picture in the Rijksmuseum (Sumowski, op. cit., no. 1610).
Willem De Poorter - King Saul

Willem De Poorter - King Saul

Original 1630
Estimate:

Price:

Gross Price
Lot number: 67
Other WORKS AT AUCTION
Description:
measurements

26 1/4 by 20 in.

alternate measurements

66.7 by 50.8 cm.

DESCRIPTIONoil on panel
CATALOGUE NOTE
The present composition relates the story of King Saul and and
the young shepherd, David. Saul sufffered from bouts of depression
that could only be lifted by David's harp playing. Here, the mighty
king is depicted alone with a harp and cello. An alternate attribution has been suggested to the artist Willem
Bartsius, by Dr. Werner Sumowski, on the basis of photographs.
The present painting is accompanied by a photocertificate from
Prof. Erik Larsen dated April 30, 1957 that states that the
painting is by Ferdinand Bol and dates to the beginning of the
1630s.
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