Pieter II Bruegel le Jeune ou d’Enfer (1564/1565-1636)

An early 17th century social satire still relevant today, this painting is a rediscovery. While its corpus is well-known, its size is unique.

This nightmarish vision of a blazing Troy borders on the sublime. The subject, highly popular with Flemish collectors in the 17th century and treated here with disturbing eeriness by the artist, echoes very real ancestral fears.

A hefty result had been expected for the first French portrait of a hunter, painted by Jean Daret, which was preempted by a museum. But the price paid for a painting by Pieter Bruegel Younger—over a million euros—was a surprise.

A recurring theme with late 16th-century Northern European artists, here the ruin of Sodom and Gomorrah is brilliantly depicted in a style typical of the great Jan Bruegel.

This sale was a delightful invitation to explore centuries of the past and indulge in reverie—whatever Molière might think.

Rivalling the glowing performances of Asian Week, this village wedding, an oil on panel of 1615, garnered over a million with Aguttes on 13 June. The eldest son of the Bruegel family specialised in this type of scene, with over thirty versions listed from between 1607 and 1626.

Imitating his famous father, Jan "Velvet" Bruegel, Jan II Bruegel, known as the Younger, reinterprets the allegorical theme of the four elements in this work giving full rein to nature.

This is one of Pieter Bruegel the Younger’s many—and most sought-after—copies of a painting by his father.

Paul Touzet was one of France's most renowned post-war experts. The sale of part of his collection of paintings and drawings is an opportunity to pay him a well-deserved tribute.

One icy winter, Pieter Bruegel the Elder painted his Brabant village, Sint-Anna-Pede. In this unique work, his son, Pieter Bruegel the Younger, delivers his version of the composition, one of the famous family’s most highly-prized works.