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Gabriel Metsu

Netherlands (Leiden 1629 -  Amsterdam 1667 ) Wikipedia® : Gabriel Metsu
METSU Gabriel A Notary Sharpening His Pen, In An Interior

Christie's
Dec 3, 2013
Find artworks, auction results, sale prices and pictures of Gabriel Metsu at auctions worldwide.
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Variants on Artist's name :

Metsu, Gerard

 

Along with Gabriel Metsu, our clients also searched for the following authors:
Albert Jansz. Klomp, Martinus N. Nellius, Aernout Smit, Jan Ii Brueghel, Pieter Jansz. Quast, Frans Ii Francken, Peter Paul Rubens
Artworks in Arcadja
195

Some works of Gabriel Metsu

Extracted between 195 works in the catalog of Arcadja
Gabriel Metsu -  Ecce Homo

Gabriel Metsu - Ecce Homo

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Lot number: 1285
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Description: Signed upper centre: G Metsu[e]
The present \“Ecce Homo\” is a work of Metsu's later phase, which was characterised by a return to religious subjects. This last period incorporates three other paintings: \“Noli me tangere\” (Kunsthistorisches Museum, Vienna), \“Saint Dorothy\” (private collection) and the \“Crucifixion\” painted in 1664 (Pinacoteca Capitolina, Rome). Adriaan Waiboer, author of Metsu's catalogue raisonné, describes the phase as follows: \“Though not his typical genre scenes, these paintings are among the most stunning works of Metsu's career.\” (Waiboer 2012, op. cit., S.115).
Gabriel Metsu - As The Old Sang, So The Young Pipe

Gabriel Metsu - As The Old Sang, So The Young Pipe

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Lot number: 1080
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Lot 1080: Gabriel Metsu, As the Old Sang, So the Young Pipe

(39 views)
Description:

Signed upper left: G Metsu (written on a piece of paper on the wall "Soo de ouden songen, soo piepen de jongen").

The subject of Gabriel Metsu's As the Old Sang, So the Young Pipe (Soo de ouden songen, soo piepen de jongen), a Dutch proverb that mocks the way in which children imitate adults, is inscribed on the sheet of paper in the top left corner. The painting dates from the artist's first years in Amsterdam, where he had taken up residence in the mid-1650s. Metsu's move from his town of birth Leiden to Amsterdam had a dramatic impact on his career. He shifted from large biblical and mythological scenes in the manner of Nicolaus Knupfer and Jan-Baptist Weenix to more intimate genre scenes influenced by Gerrit Dou. As the Old Sang, So the Young Pipe is strongly reminiscent of Dou's depictions of old people in ramshackle interiors. The subject matter, however, did not derive from Dou. Instead Metsu's painting calls to mind works by Jan Steen and Jacob Jordaens, both of whom repeatedly painted this proverb. However, it lacks the boisterous atmosphere that characterises Steen's and Jordaens's paintings, exemplifying Metsu's tendency to soften emotions.

We would like to thank Dr. Adriaan E. Waiboer, Dublin, for this catalogue entry.

Gabriel Metsu
Dimensions:

51 x 42 cm
Medium:

Oil on canvas (relined)
Gabriel Metsu - A Notary Sharpening His Pen, In An Interior

Gabriel Metsu - A Notary Sharpening His Pen, In An Interior

Original
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Lot number: 2
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Description:
Gabriel Metsu (Leiden 1629-1667 Amsterdam) A notary sharpening his pen, in an interior oil on panel, painted oval 15¾ x 12¾ in. (40 x 32.5 cm.)
(Probably) Gerard Bicker van Zwieten, Princengragt, The Hague; his sale, on the premises, The Hague, 12 April 1741, lot 152 (30 florins), where described as \\‘Een Heer sittende aan een Tafel met boeken &c. door den selve [Metsu] hoog 1 voet 3 ½ duim breed 1 voet\\’\\’\\’\\’. Anonymous sale; Sotheby\\’\\’\\’\\’s, Amsterdam, 1 June 1987, lot 18, as Thomas Wyck (15,000 florins).
PROPERTY FROM A SWISS PRIVATE COLLECTION
(Probably) C. Hofstede de Groot, A Catalogue Raisonné etc., London, 1908, I, p. 262, no. 25. A.E. Waiboer, Gabriel Metsu, New Haven, 2012, p. 168, no. A-9.
Gabriel Metsu was one of the leading painters of the Leiden school. Only 38 years old when he died, the chronology of his oeuvre is often difficult to establish with certainty, but Waiboer (op. cit.) dates the present picture to circa 1653, painted before he moved to Amsterdam in 1657. It was in the years 1653-54 that Metsu began to distance himself from the influence of Nicolaus Knupfer (c. 1603-1655/60), the Utrecht painter who specialised in biblical and mythological subjects, and began to seek inspiration from a wider variety of artists. This panel, thematically unrelated to and much smaller than the Knupferian paintings he had executed in the early 1650s, is evidence of the artist\\’\\’\\’\\’s change of direction. The tone is meditative, rather than didactic or narrative, and there is a new emphasis on the rendering of everyday objects – the large folios, documents, seals and inkstand – which suggests Metsu\\’\\’\\’\\’s imagination may have been captured by the book still lifes of Leiden artists, such as Jan Davidsz. de Heem (1606-1683/4) or Jan Lievens (1607-1674).

Metsu was most strongly influenced by the work of Gerrit Dou (1613-1675), the pre-eminent painter of genre scenes in Leiden and founder of the fijnschilderij tradition for which the city\\’\\’\\’\\’s artists are so renowned. A Notary with a Book (private collection; op. cit., p. 168, no. A-8) is perhaps the first painting in which Metsu makes a conscious reference to the work of Dou, specifically in the niche-format of the open window and the figure who leans out with an open folio, just as in Dou\\’\\’\\’\\’s Painter with Pipe and Book (Amsterdam, Rijksmuseum). The present picture is so closely related to A Notary with a Book stylistically, thematically, and in dimensions, that it seems beyond doubt that Metsu painted both works at around the same time, or even simultaneously, though the original black oval frame that surrounds this picture precludes the notion that they may have been intended as pendants. Although Dou painted the subject of a man mending a quill, Metsu\\’\\’\\’\\’s picture is formally closer to An old man sharpening his pen by Dou\\’\\’\\’\\’s student Frans van Mieris (1635-1681).

The creamy brushwork and colouring in this panel is characteristic of Metsu\\’\\’\\’\\’s earlier work, but although the facial type of the bearded man is identical to that of the central Pharisee in his Christ and the Woman taken in Adultery, similarly dated 1653 (Paris, Musée du Louvre), the emphasis on the physiognomy of the notary is a departure from the figures that populate his biblical scenes. Metsu\\’\\’\\’\\’s greatest contribution to the genre and work of the Leiden artists was perhaps his ability to infuse works with psychological understanding, a quiet dignified introspection which is as much the subject of this picture as the figure of the notary himself.

This picture reveals Metsu as an artist combining the influence of his contemporaries with his own innovation. Nor is it impossible to detect the inspiration he may have derived from artists of the past working in his native city. Indeed, the man\\’\\’\\’\\’s lined face and contemplative expression, coupled with the stress on learning and knowledge in the forms of his papers and quill, render him almost Jerome-like, as if Metsu were harking back to the work of his civic forebear, Lucas van Leyden (c. 1494-1533).
Gabriel Metsu - So Die Alten Sungen, So Pfeifen Die Jungen

Gabriel Metsu - So Die Alten Sungen, So Pfeifen Die Jungen

Original
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Lot number: 1068
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Description:
GABRIEL METSU

1629 Leiden - 1667 Amsterdam

"SO DIE ALTEN SUNGEN, SO PFEIFEN DIE JUNGEN"

Signiert oben links:

G Metsu (auf dem Blatt Papier an der Wand mit "Soo de ouden songen, soo piepen de jongen").
Öl auf Leinwand (doubliert). 51 x 42 cm.
Léopold Joseph Cocquereau (Lugt 7147), Versteigerung seiner Sammlung Brüssel 25. August 1806, Nr. 63. - Marquis de Garnay, Paris, 1907. - E. Deschaux, Paris, 1931. - Duc de Bojano, 1936. - Christie´s London 11.4.1975, Nr. 36. - Christie´s London 9.7.1976, Nr. 175. - Gebr. Douwes Kunsthandel, Amsterdam/London ca. 1980. - Deutsche Privatsammlung.
Gebr. Douwes, London 1980, Nr. 6 mit Abb.
Adriaan E. Waiboer: Gabriel Metsu: Life and Work. A Catalogue Raisonné, Nr. A-24, New Haven 2011.
Das Bildmotiv von Gabriel Metsus “So die Alten sungen, so pfeifen die Jungen” (Soo de ouden songen, soo piepen de jongen) stammt von einem holländisches Sprichwort, dass die Art und Weise verulkt, in der Kinder Erwachsene nachahmen. Es ist auf dem Zettel an der Wand links oben zu lesen. Das Gemälde stammt aus den ersten Jahren des Künstlers in Amsterdam, wo sich Metsu Mitte der 1650er Jahre niedergelassen hatte. Der Umzug von seiner Heimatstadt Leiden nach Amsterdam hatte spürbare Folgen für seine künstlerische Entwicklung. Denn Metsu wechselte von den großen biblischen und mythologischen Szenen in der Art des Nicolaus Knüpfer und Jan-Baptist Weenix über zu intimeren Genreszenen unter dem Einfluss von Gerrit Dou. An dessen Darstellungen von alten Leuten in ärmlichen Interieurs erinnert zweifellos unser Bild. Das Sujet hingegen stammt nicht von Dou. Vielmehr haben Jan Steen und Jacob Jordaens häufig Sprichwörter in Bilder umgesetzt, die allerdings einen deutlich derberen, ungestümeren Charakter haben. Metsus Genreszenen sind ruhiger und milder

Wir danken Dr. Adriaan E. Waiboer, Dublin, für diesen Katalogeintrag.

The subject of Gabriel Metsu's

As the Old Sang, So the Young Pipe (Soo de ouden songen, soo piepen de jongen)
,

a Dutch proverb that mocks the way in which children imitate adults
,

is inscribed on the sheet of paper in the top left corner. The painting dates from the artist's first years in Amsterdam, where he had taken up residence in the mid-1650s. Metsu's move from his town of birth Leiden to Amsterdam made a dramatic impact on his career. He shifted from large biblical and mythological scenes in the manner of Nicolaus Knupfer and Jan-Baptist Weenix to more intimate genre scenes influenced by Gerrit Dou.

As the Old Sang, So the Young Pipe

is strongly reminiscent of Dou's depictions of old people in ramshackle interiors. The subject matter, however, did not derive from Dou. Instead Metsu's painting calls to mind works by Jan Steen and Jacob Jordaens, both of whom repeatedly painted this proverb. However, it lacks the boisterous atmosphere that characterises Steen's and Jordaens's paintings, yet Metsu's tendency to soften emotions.

We thank Dr. Adriaan E. Waiboer, Dublin, for this catalogue entry.
Gabriel Metsu - A Smoker Lighting His Pipe

Gabriel Metsu - A Smoker Lighting His Pipe

Original
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Gross Price
Lot number: 13
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Lot Description

Gabriel Metsu (Leiden 1629-1667 Amsterdam) A smoker lighting his pipe signed 'G. Metsu.' (centre right, on the edge of the table) oil on panel 9 x 8¼ in. (22.8 x 20.8 cm.)

Provenance

(Probably) Anonymous sale; Saubert, Paris, 25 March 1793, lot 55, 'L'intérieur d'un appartement où l'on voit un homme vêtu d'un habit brun et linge blanc rabattu sur le col, la tête couverte d'un chapeau. Il est assis devant une table et allumant sa pipe; à côté est un réchaux, un verre, un bocal et un linge. Ce tableau, qui est d'une touche legère et savante, est du beau faire de ce maître. Haut. 9 pouces, larg. 8 pouces et demi'. (Probably) Chevalier Ferréol de Bonnemaison (1766-1826); sale, Lebrun, Paris, 15 July 1802, lot 92, 'Un hollandais vu jusqu'aux genoux, allumant sa pipe dans un réchaud placé sur une table, sur laquelle est encore un flacon, un papier arabésque, un verre, &c. Dire que c'est du plus beau faire du maître, c'est annoncer un petit chef-d'oeuvre. - H. 9 pouc. larg. 8. B.' (500 francs to Bouteville). with John Mitchell, London, from whom acquired by the family of the present owner.

Pre-Lot Text

THE PROPERTY OF A PRIVATE COLLECTOR

Literature

G. Gudlaugson, 'Kanttekeningen bij de ontwikkeling van Metsu', Oud Holland, LXXXIII, 1968, pp. 19 and 25, fig. 8. F.W. Robinson, Gabriel Metsu, New York, 1974, p. 48, fig. 112.

View Lot Notes ›
Gabriel Metsu was a founding member of the Guild of Saint Luke in Leiden, the city known for its fijnschilders ('fine painters'), exemplified by Gerrit Dou. Around 1650, Metsu probably spent time in Utrecht, as his paintings from this period resemble the works of Utrecht artists Nicolaus Knupfer and Jan Baptist Weenix, after which he settled in Amsterdam, in 1657. There, he painted scenes of elegant young women in rich interiors in the vein of Gerard ter Borch as well as more rough-hewn figures, among them a group of smokers (Robinson, op. cit., nos. 108-114, pp. 48, 164-6).

In this picture, a man in a brown jacket, white collar and broad-brimmed hat sits at a table smoking a pipe. To seventeenth-century viewers, this subject could evoke vanitas associations, the rapid diffusion of smoke suggesting the transience of life. Metsu, however, suppressed any overt narrative. Rather he emphasised the studied naturalism of the scene, carefully delineating the line of the man's mouth clenching his pipe and the tension in his wrist. As Linda Stone-Ferrier has pointed out, Metsu was inspired by his immediate surroundings: a picture of a smoker now in the Rijksmuseum, Amsterdam (inventory no. SK-A-250) includes a barrel bearing the symbol of the Red Stag, a tavern near Metsu's home on the Prisengracht (L. Stone-Ferrier, 'Gabriel Metsu's Vegetable Market at Amsterdam: Seventeenth-Century Dutch Market Paintings and Horticulture', Art Bulletin, LXXI, 1989, p. 448). The figure in this panel -- his pipe, coat with buttons on the sleeve and wooden chair identical to that in the Rijksmuseum picture -- may too have been inspired by a local man.

Metsu's pictures were sought after by the urban elite in the cities where he worked, Leiden and Amsterdam. Yet he also had several noble patrons, including August II, King of Poland and Elector of Saxony, who owned an unidentified 'tobacco smoker' (A. Waiboer et al., Gabriel Metsu, New Haven and London, 2010, p. 119). In the eighteenth century, Metsu's fame continued to grow and his paintings were more desirable than those of his contemporary Johannes Vermeer, with whom he exchanged mutual influence (Waiboer et al., op. cit., pp. 29-51).
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