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Hans Vredeman De Vries

Netherlands (Leeuwarden 1527 -  Antwerp 1604 ) Wikipedia® : Hans Vredeman De Vries
de VRIES Hans Vredeman Lot Von 10 Bll. Mit Ansichten Von Gartenarchitekturen Und Labyrinthen

Galerie Koller
Sep 18, 2015
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Artworks in Arcadja
39

Some works of Hans Vredeman De Vries

Extracted between 39 works in the catalog of Arcadja
Hans Vredeman De Vries - A Gothic Church Interior

Hans Vredeman De Vries - A Gothic Church Interior

Original
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Lot number: 3018
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Description:
VREDEMAN DE VRIES, HANS (Leeuwarden 1527 - 1604 Antwerp) A Gothic church interior. 1594. Oil on panel. Signed, dated and inscribed lower left on the column: H. Vries 1594 AETA. 67 AN. 24.5 x 39.7 cm. Provenance: - Collection of Julius Franz Herzog zu Saxen Engern und Westfalen (1641-1689), according to coat of arms on wax seal verso. - Collection of Konsul Karl Weniger (1841-1905) (according to Dorotheum catalogue). - Auction of the above, Dorotheum, Vienna, 7.5.1906, Lot 66. - German private collection. - Frye & Sohn, Münster, 1992. - German private collection. Exhibited: - Von Bruegel bis Rubens. Das goldene Jahrhundert der flämischen Malerei. Exh. cat. Wallraf-Richartz-Museum, Cologne, 4.9.-22.11. 1992 / Royal Museum of Fine Arts, Antwerp, 12.12.1992 - 8.3.1993 / Kunsthistorisches Museum, Vienna, 2.4.-20.6.1993. - Divine Interiors. Experience churches in the age of Rubens, Museum Mayer van den Bergh, Antwerp, 17.6.2016-16.10.2016. Literature: - Briels, Jan: Vlaamse schilders en de dageraad van Hollands Gouden Eeuw 1585-1630 met biografieën als bijlage, Royal Museum of Fine Arts, Antwerp, Antwerp 1997, p. 124, ill. 186. - Exh. cat. Von Bruegel bis Rubens. Das goldene Jahrhundert der flämischen Malerei, pub. by Ekkehard Mai and Hans Vlieghe, Wallraf-Richartz-Museum, Cologne, 4.9.-22.11.1992, Cologne 1992, p. 388 -390, no. 58.2 with colour illustration. - Exh. cat. Van Brueghel tot Rubens. De Antwerpse schilderschool 1550-1650, pub. by Erik Vandamme, Royal Museum of Fine Arts, Antwerp, 12.12.1992 - 8.3.1993, Ghent 1992, p. 300-301, no. 144. - Borggrefe, Heiner / Lupkes, Vera / Huvenne, Paul / van Beneden, Ben (ed.): Hans Vredeman de Vries und die Renaissance im Norden, exh. cat. Weserrenaissance-Museum Schloss Brake/ Lemgo, 26.5.- 25.8.2002 / Royal Museum of Fine Arts, Antwerp, 15.9.-8.12.2002, Antwerp 2002, cat. no. 164. - Fusenig, Thomas: Netherlandish Church Pictures around 1600 - Their Meaning and Use. Netherlandish Artists in Gdansk in the Time of Hans Vredeman de Vries, Konferenz im Muzeum Historyczne Miasta Gdanska, 20.-21.11.2003, Gdansk 2006, p. 93-101, p. 94, ill. 2. - Maillet, Bernard M. / Loze, Pierre (et al.): Intérieurs d'Églises 1580-1720. La peinture architecturale des Écoles du Nord, Brussels 2012, no. M-1674. - Baisier, Claire (ed.): Divine Interiors. Experience churches in the age of Rubens, exh. cat. Museum Mayer van den Bergh, Antwerp, 17.6.2016-16.10.2016, Antwerp 2016, cat. no. 5, p. 64-65.
Hans Vredeman De Vries - Church Interior

Hans Vredeman De Vries - Church Interior

Original
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Lot number: 6548
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Description:
Description: Follower of VREDEMAN DE VRIES, PAUL (Antwerp 1567 - 1617 Amsterdam) Church interior. Oil on panel. Barely legibly signed or inscribed centre bottom ...nga 56 x 71.7 cm. --------------- VREDEMAN DE VRIES, PAUL (NACHFOLGER) (Antwerpen 1567 - 1617 Amsterdam) Kircheninterieur. Öl auf Holz. Unten mittig schwer leserlich signiert oder bezeichnet: ...nga 56 x 71,7 cm.
Hans Vredeman De Vries - Lot Von 10 Bll. Mit Ansichten Von Gartenarchitekturen Und Labyrinthen

Hans Vredeman De Vries - Lot Von 10 Bll. Mit Ansichten Von Gartenarchitekturen Und Labyrinthen

Original
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Starting price:

Price:

Lot number: 3642
Other WORKS AT AUCTION
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Description:

DE VRIES, HANS VREDEMAN (Leeuwarden 1527 - 1604, wohl Antwerpen).
Lot von 10 Bll. mit Ansichten von Gartenarchitekturen und Labyrinthen. Kupferstiche, jeweils ca. 18,5 x 24 cm. Fuhring (New Hollstein). - Jeweils mit kleinem Rand um die Plattenkanten. Zwei Blätter mit kleinen Papierverlusten in den Ecken ausserhalb der Darstellungen. Insgesamt gut erhalten. - Selten.

DE VRIES, HANS VREDEMAN (Leeuwarden 1527 - 1604, probably Antwerp).
Lot of 10 sheets with views of garden architecture and labyrinths. Engravings, each approx. 18.5 x 24 cm. Fuhring (New Hollstein). – Each with small margin around the platemark. Two sheets with small paper losses in the corners outside of the images. Generally in good condition. - Rare.
Hans Vredeman De Vries - David Entrusting Uriah With The Letter To Joab

Hans Vredeman De Vries - David Entrusting Uriah With The Letter To Joab

Original -
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Gross Price
Lot number: 1026
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Lot 1026: Hans Vredeman de Vries, Gillis Mostaert, David Entrusting Uriah with the Letter to Joab
Description:
This painting is a fine example of the kinds of works made in cooperation between the two Antwerp artists Hans Vredeman de Vries and Gillis Mostaert, the architecture being painted by de Vries and the figures by Mostaert (exhib. cat. Lemgo 2002, no. 125).Hans Vredeman de Vries was an important intermediary between the Italian Renaissance and the art of the Netherlands. In his work as an architect, architectural theorist and painter, he was partially responsible for introducing central perspective to the Netherlands. His series of prints on perspective published by Hieronymus Cock in Antwerp were a significant source of inspiration for many Netherlandish artists.An opulent Renaissance palace constructed using the classical rules of architecture forms the stage for this Old Testament tale, told in Samuel 11. We see King David handing a letter for the General Joab to the soldier Uriah. In this letter, the King instructs Joab to have the innocent Uriah killed in the front line of an upcoming battle so that David can continue his affair with his wife Bathsheba. The artist has designed the architecture so as to direct the viewer's gaze towards the protagonists. The vanishing point is located directly beside the head of David.This piece is a fine example of a work created in cooperation between de Vries and Mostaert in the late 1560s. Heiner Borggrefe interprets this work, along with the "Massacre of the Roman Triumvirate" and the "Massacre of the Innocents" as a critical commentary by the artists on current political events in Flanders and the repressive politics of the Spanish under Alba and Philipp II. Borggrefe interprets the figure of David as a representation of the Spanish King, and postulates that the work could have been left behind in Antwerp when Hans Vredeman de Vries was forced to flee to Aachen.
39 x 66 cm
Oil on panel
Hans Vredeman De Vries - Trajan And The Widow

Hans Vredeman De Vries - Trajan And The Widow

Original
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Gross Price
Lot number: 729
Other WORKS AT AUCTION
Description:
Provenance

With Jänner, Prague, by 1820;

From whom acquired by an ancestor of the present owner for 20 Louis d'Ors;

Thence by direct descent.

Exhibited

Lemgo, Wesrenaissance-Museum Schloß Brake, Renaissance in Weserraum, 22 April - 1 October 1989, no. 17;

Lemgo, Weserenaissance-Museum Schloß Brake, Hans Vredeman de Vries und die Renaissance im Norden, 26 May - 25 August 2002, and Antwerp, Koninklijk Museum voor Schone Kunsten, 15 September - 8 December 2002, no. 121.

729

PROPERTY FROM A GERMAN PRINCELY FAMILY

Hans Vredeman de Vries

LEEUWARDEN 1527 - 1607 ANTWERP OR HAMBURG

TRAJAN AND THE WIDOW

signed and indistinctly dated on the step lower right: H.VE.VR...SE 1572

oil on oak panel

72.1 by 106.7 cm; 28 3/8 by 42 in.

GBP

Print

The catalogue illustration is too dark. The panel support consists of three horizontal oak planks, flat and uncradled. There are a number of old splts and joins inthe panel which have opened and are now visible. The upper join has opened in the past and is held by a modern wood strip on the reverse, but the paint along its length is beginning to loosen. The lower join is sound, but a parallel split running 1 cm above it on the left hand side for about 20 cm is held by an old batten affixed to the reverse. Other longer splits, of 25 and 40 cm approximately run in from the left and right hand edges respectively of the panel below this about 4 cm from the bottom edge. These are in turn held by battens affixed to the width of the panel behind. The paint surface itself is now dirty and the varnish layer discoloured. Overall the paint surface is very well preserved indeed, with no significant damages or repairs or signs of wear. Inspection under ultra-violet light is impeded by the old varnish but only minor scattered local repairs are in evidence, mostly in the upper parts. Offered with a later gilt wood gallery frame, with palmette and leaf motifs, re-gilded and in good overall condition.
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