Jacob van Loo (c. 1614-1670)

Portrait of a boy, in pink silk dress, playing with two puppies, canvas, in 18th century gilt frame, Provenance: William Drury Lowe Collection, Locko Park, Derbyshire, catalogue 1901 no. 123, as Gerard de Lairesse, Sotheby's London, paintings from the Drury Lowe collection at Locko Park, 6 Dec. 1995, lot 38, 153 x 115.5 cm. Provenance: collection from a mansion in Amsterdam Zuid [1].
Automatically translated by DeepL. The original version is the only legally valid version.
To see the original version, click here.


Go to lot

Jacob van Loo (c. 1614-1670)

Estimate 20 000 - 30 000 EUR

* Not including buyer’s premium.
Please read the conditions of sale for more information.

Sale Information

For sale on Thursday 15 Apr - 10:00 (CEST)
Browse the catalogue Sales terms Sale info

You may also like

A VERY LARGE AND RARE ICON WITH THE VISUAL REPRESENTATION OF THE LORD'S PRAYER 'OUR FATHER' AND THE MOTHER OF GOD 'O VSEPYETAYA MATI' Russian, Old Believer's Workshop, circa 1800 Tempera on wood panel. Finely executed on gold ground. The prayer 'Our Father' rendered allegorically over two register and five scenes each one illustrating a verse; beginning from the central scene at the top frieze, God Father encircled by archangels in a double glory standing for: Our Father, who art in heaven. The lower scenes symbolising the verses: Give us today our daily bread and forgive us our trespasses as we forgive those who trespass against us, and lead us not into temptation but deliver us from evil (Adam and Eve in the Paradise). The figures portrayed with elongated proportions. Painted with bright colours. Minor losses. 80.2 x 28.5 cm. LARGE AND RARE ICON WITH THE 'FATHER UNCLE' AND THE MOTHER OF GOD 'O VSEPYETAJA MATI' Russia, Old Believers' workshop, c. 1800 Wooden panel with two reverse sponki. Egg tempera on chalk ground, gold ground. 80,2 x 28,5 cm. Mirror-symmetrical composition with God the Father enthroned in an aureole in the upper part. He holds up his hands in blessing. Nine archangels, standing on clouds, entourage him (Our Father, who art in heaven). In the centre of the picture a round medallion shows the Eucharistic celebration of the apostles (Hallowed be Thy name, Thy kingdom come, Thy will be done). Below left is the Adoration of the Three Kings, below right Adam and Eve in the Garden of Paradise, below them appears Hell (And lead us not into temptation, but deliver us from evil). In the centre men kneel before a table (Give us this day our daily bread). Min. paint chips.

A FINE ICON SHOWING ST. JOHN THE FORERUNNER AS ANGEL OF THE DESERT WITH A SILVER-GILT AND CLOISONNÉ ENAMEL OKLAD Russia, late 19th century (icon), Russia, Moscow, Jakob Fedorowitsch Mishukov, 1896-1908 Russian, late 19th century (icon), Russian, Moscow, Jakov Fedorovitch Mishukov, 1896-1908 (oklad) Wooden panel with two reverse sponki. Kovcheg, egg tempera on chalk ground, nimben tempera on wood panel with kovcheg. The haloes made of gold. The saint is standing in a rocky landscape. He is shown frontally in full-length. His left hand holds an open scroll. As a hermit he wears a rough camel-hair garment underneath a loosely falling mantle. He is bearing his head in an asteriskos. Overlaid with a finely chased and embossed silver-gilt basma. The border of the silver-gilt basma embellished with repoussé flowers, the spandrels decorated with enameled plaques and the haloes in cloisonné enamel in red, white, green, purple and blues. Marked with city hallmark, assayer's mark, 84 standard and master's mark 'JaM' in Cyrillic. Border minimally restored. 31.8 x 27 cm. FINE ICON WITH JOHN THE PROVIDER, ANGEL OF THE DESERT WITH CLOISONNÉ-EMAIL-OKLAD Russia, late 19th century (icon), Russia, Moscow, Jakob Fedorowitsch Mitschukow, 1896-1908 (oklad) Wooden panel with two reverse sponki. Kovcheg, egg tempera on chalk ground, nimbs gilded. Silver, chased, gilded and enamelled. 31,8 x 27 cm. Hallmarked with mark of the district inspection administration with fineness '84' and master's mark 'JaM' in Cyrillic. In the vertical central axis frontal representation of the saint in full figure. Over his ascetic robe of camel hair he wears a green himation. The sparse vegetation of the background emphasizes his nature. To his right appears a tree with an axe, which refers to Mt 3,10: 'The axe is already laid at the root of the trees. A tree that does not bear good fruit is cut down and thrown into the fire'. The open scroll John presents to the viewer in his raised right hand quotes biblical passages. In a bowl he holds his severed head, while his right hand is raised in blessing. Margin min. rest.

A FINE AND MONUMENTAL ICON SHOWING THE ANASTASIS OF THE RESURRECTION OF CHRIST North Russian, circa 1600 Northern Russia, c. 1600 Tempera on wood panel. The haloes made of gold. The figure of Christ is represented against a mandorla. He tramples on the broken doors of Hades. He drags Adam out of the open mouth of the monster that personifies Hell. Eve is kneeling in supplication to the left of Christ. The crowd behind represents the Just people of the Old Testament, who were also raised by Christ during the Anastasis. In the upper part the Enoch, Elijah and the Good Thief in the paradise. Vertical crack, minor losses. 83 x 67 cm. MONUMENTAL AND FINE ICON WITH THE HADES PASSING OF CHRIST WITH THE LIBERATION OF THE PREVIOUS AND THE RESURRECTION OF CHRIST Northern Russia, c. 1600 Composite of two boards with two reverse sponki. Egg tempera on chalk ground, partial gilding. 83 x 67 cm. In the vertical axis of the picture Christ stands in a radiant mandorla on the broken doors of Hades and frees the forefathers (Adam, Eve, Jacob, Abraham, Isaac etc.). He grasps Adam's wrist and with his other hand shows the redeemed the way to Paradise. The grasping of Adam's wrist symbolizes not only redemptive deliverance, but also the granting of protection. The literary model comes from Nicodemus: The King of Glory ''stretched out his right hand, grasped the forefather Adam, and raised him up. Then he turned also to the rest, and said, Come unto me, all... for behold, I raise you all up again by the wood of the cross [.....]''. In right panel, the Risen Christ stands blessing in an aureole on the opened tomb. Crack along the board joint with small losses of substance.