bol ferdinand (23 resultados)

No Binding. Condición: Good. Postcard in Good condition, with writing on reverse. Cards are sent in stiff mailers. Postcard.

"Nursing Mother" high-quality facsimile/reprint in giclée print with narrow, white border on 250g Schwarzwaldmühle art print cardboard (30x21cm) after a lithograph published in Berlin in 1820 by Carl Eduard Albert Paalzow after a painting by Bol.

Condición: Good. Steel engraving. 205 x 272 mm. (sheet). Good, light foxing in margins, tears to right sheet edge.Provenance: From the collection of the Late Frederick G. Ruffner, Jr., founder of Gale Research, Detroit.

Condición: Good. Steel engraving. 8 x 10 1/2 in. (sheet). Good, some toning and foxing in sheet margins.

Condición: Good. Steel engraving. 8 1/8 x 10 1/2 in. (sheet). Very Good, some toning along sheet edges, and foxing.

Condición: Good. Steel engraving. 10 3/4 x 8 in. (sheet). Very Good, some toning along sheet edges.

Dimensions: 105 x 84,5 cm Medium & Support: Oil on canvas Description: The composition of the painting offered here is derived from five almost identical portraits of De Ruyter, that were painted by Ferdinand Bol and his workshop in 1667. De Ruyter is depicted in an admiral's uniform, holding a baton in his right hand and on his left side a sabre. Around his neck he wears the chain of the order of St Michael, that was bestowed upon him by the French king Louis XIV as a token of appreciation for his role in the battle against the English. With his right arm he leans on a celestial globe, which stands on a table covered in a red cloth. Some objects on the table are related to navigation on sea, such as a map with the coastline of Flanders and Zeeland. De Ruyter stands in front of stone balustrade and a dark red pulled-up curtain of heavy fabric and two hanging tassels, which offers a view of the sea on the right. Here his flagship ship De Zeven Provinciën (The Seven Provinces) can be recognized. It is known that De Ruyter commissioned and paid for five identical portraits, which were all intended for the admiralty buildings as a reminder and tribute to the successful Four Days Battle in 1666 against the English and the Battle of Chatham in 1667. Four of these five versions are still extant and located in Amsterdam, Den Haag, Greenwich and Hoorn (pl. 1-4). The works are all signed and dated by Bol: FBol. fecit. 1667. Yet, these canvases are not entirely painted by Bol himself; the differences in detailing and the background points to the co-operation of others. Presumably the Greenwich version was the prototype. Bol may have called in Willem van de Velde The Younger (1633 LeidenLondon 1707), a specialist in seascapes and naval battles, to paint the background. Such prestigious collaborations have regularly occurred since the 16th century. By combining specialisms, the most ultimate results were achieved, and the wishes of prosperous clients could be met. The portrait on offer here is a variant of the Portrait of Michiel Adriaensz de Ruyter with his flagship The Seven Provinces in the background (pl. 1-4). Here the portrayed occupies a more prominent place in the composition, so that less of the environment is visible. Less attributes are depicted; for example, the globe and map are missing and the background was not painted by a specialist, rather by a less talented studio employee. The work is also not dated or signed. The person portrayed is cut off somewhat narrowly. During the restoration it became clear that the canvas had been slightly shortened on the left- and right hand side in the past. Since the original string garlands are still visible, it may be assumed that this was not more than 1 to 1,5 cm at each side. The tassel of the red curtain on the right has now been almost completely cut off and his right hand reaches the left edge of the painting. The original composition is somewhat affected by the aforementioned adjustment in size, albeit only slightly. The composition may have initially been comparable in width with the version in the Nautical Training school in Amsterdam and the painting that was auctioned at Sotheby's London in 2018. In these two works the tassel in front of the curtain hangs loose from the frame and the right hand has more space. In the Amsterdam work, De Ruyter does not lean on the baton, but he holds it in his right hand; however, the staff rests on a red-covered table, as is the case in the present work. In the version auctioned in London the admiral holds the baton but does not support it on the table. The manner in which the portrayed rests his left hand on his hip is largely consistent, as well as the clothes and the pulled-up red curtain in the background. The posture of the right hand leaning on the admiral's staff is possibly derived from the 1669 canvas in Copenhagen, on which De Ruyter does not look at the viewer, but has his head turned to the left and is facing the image plane. The element of the hand resting on the baton also appears in the Portrait of Cornelis Tromp (1629-1691), in the Maritime Museum, Amsterdam. Also this Lieutenant-Admiral looks back at us as viewers. The Maritime Museum Zeeland (Maritiem MuZEEum Zeeland) holds a Portrait of Michiel de Ruyter, his head facing left, which is based on the version in Copenhagen. Here, too, the posture of the right hand and the admiral's staff has been adjusted. Apparently this element was a popular means for Bol in varying his compositions. Ferdinand Bol and his apprentices were responsible for a large number of portraits of Michiel de Ruyter in different designs and dimensions. The painting on offer here is not a direct copy of another well-known example but a variant version, using previously used, known elements. It proves that 17th-century painters regularly reused and compiled compositions, postures and attributes, shaping them into new successful versions, such as the present Portrait of Lieutenant-Admiral Michel Adriaensz. De Ruyter. Provenance: Collection Adriaan van der Willigen (1766-1841), by decent Collection Dr. Adriaan van der Willigen (1810-1876), Haarlem, sold circa 1872-76 to Collection Hendrik Dyserinck (1838-1906), Minister of Maritime affairs (1888-1891), by decent, 1891 Collection Hendrik Dyserinck (1872-1930), between November 1926-1930 Collection Adrienne (Allie) Gertrude Dyserinck (1876-1942) and Agnes Maria Dyserinck (1880-1965), his sisters, before 1965, via their cousin Mrs Johanna Wijsmuller-Kleiweg Dyserinck (1872-1938), to her son Collection Willem Jean Wijsmuller (1879 Haarlem Amsterdam 1963), (by decent ?) Collection Willem Jacob Carel 'Jaap' Wijsmuller (1928 Heemstede Breda 2023), by descent Their sale, Vendu veilingen & taxaties Rotterdam, 7 November 2023, lot 2, to J.B. de Roo, Zwijndrecht, by 2023 Available reports (follow the links to download the reports): 2025: Ferdinand Bol and studio. Portrait of Lieutenant-Admiral Michiel Adriaensz. de Ruyter, circ.

Doornspijk, Davaco Publishers, 1982. 382 pp. 300 ills on 141 plts (4 in colour). Hardcover (gilt lettered brown cloth), d./j. 4to. (Aetas Aurea. Monographs on Dutch & Flemisch Painting, Vol. II). = New copy !!Bol (1616-1680) has always been Rembrandt's most famous pupil. Like him he aimed at the high goal of being a history-painter, choosing themes from the bible, classical mythology and allegories as his subject matter. The name of Ferdinand Bol still serves as the collective designation of hundreds of very dissimilar paintings. The present study reduces the number of Bols to a catalogue raisonné of a hard core of under 200 ascertained pictures.

Blattgr. 19 x 15 cm, Papierrand an drei Seiten ca 6 mm. Drugulin 1795, Diep. 2530.

Front page of the Globe of 1907 reproducing the portrait painted by Ferdinand Bol of the Admiral Michiel de Ruyter. 'Geillustreerd Weekblad / De Globe / voor Nederland en Belgie / Zondagsblad van het Nieuwsblad voor Nederland', On the bottom 'No. van 25 Maart 1907. Michiel Adriaensz. De Ruyter.' Front page in colour, mounted on cardboard, total: 444 x 308 mm.

Lefort after Ferdinand Bol Ilustrador. 'PORTRAIT D'UN GEOMETRE / PEINT PAR BOL / DESSINE PAR LEFORT / GRAVE A ST PETERSBOURG PAR J. S. KLAUBER GRAVEUR DE S.M.I. L'EMPEREUR DE TOUTES LES RUSSIES & MEMBRE DE L'ANCIENNE ACADEMIE DE PARIS'A mathematician in academic attire seated at a bench, holding a compass or pointer toward a chalked diagram on the board behind him, which includes trigonometric arcs.Made by Ignaz Sebastian Klauber after Lefort after Ferdinand Bol.Medium: Engraving on hand laid (verge) paper.Sheet size: 26.6 x 35.9 cm (10.47 x 14.13 inch). Image size: 17.8 x 22 cm. (7.01 x 8.66 inch).MATHEMATICIAN, GEOMETRY, TRIGONOMETRY, BLACKBOARD, KLAUBER, FERDINAND BOL, MUSÉE FRANÇAIS, SCIENTIFIC PORTRAIT | PCO-E15-2-33BACKGROUND INFORMATIONMusee Français series, published St. Petersburg, c. 1800-1809.Reference: Wellcome Collection 46982i.Biography engraver: Ignaz Sebastian Klauber (1753-1817) was a German engraver active in Paris, Augsburg, and St. Petersburg. He was court engraver to the Russian Tsar and contributed to the monumental Musée Français project.Biography artist: Ferdinand Bol (1616-1680) was a Dutch Golden Age painter and student of Rembrandt, known for historical scenes and portraits. His works are held in major museums including the Louvre. Condition: very good, given age. Light foxing, creasing, and soiling. Ghosting from matting attached. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

. Geschilderd door Fer. Bol, 1767. Gegraveerd door W. van Senus, 1841. Afmeting: 44 x 32,5 cm. Geleverd in zuurvrij passe-partout. Subtitel: 'Geboren te Vlissingen den 24 Maart 1607. Overleden aan zijne bekomene wonden in de Haven van Syracuse den 20 April 1676. Opgedragen aan Zijne Koninklijke Hoogheid Prins Willem Frederik Hendrik der Nederlanden. Kapitein ter Zee. Door Z.K.H. Onderd. Dienaar W. van Senus.'.

- 1707) after Ferdinand Bol; publisher: Carolus Allard; engraving, dated 1673, without margins sticked on old paper. Size of the engraving without the margins: 41 X 31,5 cm. Delivered in passe-partout.

[Grabado] Holanda, c. 1638-1645. (405 x 330)mm. Agruafuerte sobre papel. Primer estado, buena y nítida impresión de este rarísimo grabado representando el sacrificio de Abraham. Bol (1616-1680) nació en Dordrecht y primero fue aprendiz de Jacob Cuyp antes de mudarse a Ámsterdam y continuar su formación con Rembrandt van Rijn. Tanto Bol como Rembrandt, que hizo un grabado de este tema más adelante en su carrera (1655), sin duda conocían la pintura al óleo del escarifico de Abraham de Pieter Lastman, el mentor de Rembrandt, de 1635. Ambos se basaron en el tratamiento melodramático del tema. Pequeñas manchas en el margen izquierdo. 405x330mm. (16x13").

Condición: ACEPTABLE. Retrato estampado al Aguafuerte y Puntaseca del artista neerlandés Ferdinand Bol, cuyo trabajo está enormemente influido por Rembrandt, habiéndose atribuido incluso este retrato como obra del propio Rembrandt [B.295] hasta no hace mucho. Formato (cm): 7,4x5,6.

Half-length portrait of Admiral Michiel de Ruyter in armor. A page in the left background holds the helmet of the armor. On the right a seascape with a frigate. The top background concealed with a curtain. Signed on the balustrade: "Bol." titled on the bottom: "M.A. DE RUITER. / LUITENANT ADMIRAAL / VAN HOLLAND EN WESTFRIESLAND." and signed on the bottom: "Rein.r Vinkeles, naar het oorspronkelyk Famielje Pourtrait door F. Bol berustende by Mer. de Wed. Elias. / F. BOEKEE excud." Engraving and etching on paper with margins; plate mark: 231 x 157 mm, total: 257 x 197 mm; state II/2; not in v. Someren.

Half-length portrait of admiral Michiel de Ruyter, after Ferdinand Bols's painting: de Ruyter standing at the center of the composition with a baton in his hand. His forearm resting on a globe. Behind him on the left a courtain, on the right a seascape with ships. Signed on the bottom left: 'F. Bol pinx.' and on the right:' J. A. Boland sculps.' l Etching on chine collé; total: 198 x 178 mm; mounted on cardboard, in very good conditions, rare print.

An old bearded man is sitting at a table. He is dressed in many heavy clothes and is warming up his hands on burning coals on the table. Possibly an allegory of Winter. Signed above on the left: "F.Bol f. 1639". After a drawing by F. Bol. Before 1814. Engraving and etching on paper with margins; plate mark: 148 x 131 mm, total: 166 x 146 mm; in outstanding condition; Hollstein 19; Dutuit 20; rov. 19.

Condición: sehr guter Zustand. Radierung, um 1800, von Adam Bartsch (1757 Wien - Hietzing 1821), nach einem Selbstbildnis, auf Bütten. 18,8:14,5 cm. - Sehr guter Abdruck, leicht angeschmutzt.

Etching on cream laid paper, 3 x 2 1/4 inches (76 x 57 mm), margins. In very good condition with some minor losses at the extreme lower right corner. Pencil inscriptions on the verso. Formerly attributed to Rembrandt (B.295), now recognized as being in the manner of Rembrandt by Ferdianand Bol, this impression was likely printed 18th century. [Hollstein 350].

"Königl. Preussische Gemälde-Gallerie. Seiner Majestät dem Känige Friedrich Wilhelm III gewidmet vom Verleger" G. Eduard Müller Berlin um 1820 [Die großformatige und frühe Lithographie an den zwei oberen Ecken auf Unterlagenkarton montiert.] "Breastfeeding Mother" original lithograph approx. 39.5x40cm (illustration) on sturdy laid paper (50x38cm) by Carl Eduard Albert Paalzow after a painting by Bol; Inscribed and dedicated below the depiction: "Royal Prussian Painting Gallery. Dedicated to His Majesty the King Friedrich Wilhelm III . by the publisher" G. Eduard Müller Berlin around 1820 [The large-format and early lithograph mounted on cardboard support in the two upper corners.]".

Bust portrait of painter Ferdinand Bol within an oval frame, holding a glove in his right hand. He is slightly turned to the right, looking at the viewer. He wears a black cap, a blue velvet cloak and a white shirt.The signature of Bol is readable beside him, on the right: FBol, f. 1659.Titled: FERDINAND BOL, Schilder.Signed and dated at bottom right: C:V: Noorde de; 1768.After a small painting (ca. 27,3 x 18,41 cm) at the Indianapolis Museum of Art (inv./cat.nr 79.346) with the following description: 'With his luxurious blue mantle, fine gloves adorned with gold fringe, and self-assured gaze, this man epitomizes the elegance and high status of Bol's patrons in mid-17th-century Amsterdam. While the identity of the sitter is unknown, he may have been connected to the city's magistrates or admiralty, as were many of Bol's sitters after his 1653 marriage into the Amsterdam elite. The small format of the painting suggests that the portrait was executed to be hung in a home.'Although the painting in the US is not identified as a self-portrait, comparing this likeness with the other known pictures of Bol (see inv./cat.nr DM/887/372 at Dordrechts Museum; inv./cat.nr FB-107 at The Leiden Collection, New York City; inv./cat.nr 42.02 Springfield Museum of Fine Arts, Springfield (Massachusetts) The James Philip Gray Collection) it is feasible it represents the artist at 43 years of age.Previously with Mak van Waay (Amsterdam); sold in his sale Openbare verkoping : schilderijen en enkele aquarellen, blauw gedecoreerd Chinees en Japans porselein en aardewerk, gekleurd Chinees en Japans porselein en aardewerk, gekleurd en blauw gedecoreerd Delfts aardewerk en aanverwante soorten . [etc.] 05/18-10 1965, lotnr. 516.At the Regionaal Archief Dordrecht (Dordracum illustratum) is another copy by van Noorde, signed and dated 1770 (inv. nr. 551_36419, ex. 3255).Ingelijst - Framed - Schilder Ferndinand Bol - gesigneerd Watercolor drawing on paper, brush; under passepartout, framed; portrait: 265 x 200 mm, frame: 430 x 360 mm. In great condition.

Interior with man and a woman breastfeeding her child. Very dark room with large window on the right, casting light upon the characters. Very intimate atmosphere.On the bottom right collector's mark of Collection Museum Bern (L.236a); on the verso Legat J.R. Koch 1891 (L. 1578a); Franz Pokorny (L.2036) and unidentified mark (L.2909a). Etching on paper, trimmed to plate mark, total: 187 x 220 mm; only state; bottom and top left corners repaired, tiny portion of top left corner replaced with paper darkened in pen; traces of previous mountings on the verso, very fine and dark impression, rare; Hollstein 4, Bartsch 4.