A LATE 19TH CENTURY OAK AND EBONY INLAID AESTHETIC PERIOD HALL BENCH

A LATE 19TH CENTURY OAK AND EBONY INLAID AESTHETIC PERIOD HALL BENCH with stylised pierced back and inlaid panel above-shaped ends joined by an under stretcher (107cm wide 89cm high )

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A LATE 19TH CENTURY OAK AND EBONY INLAID AESTHETIC PERIOD HALL BENCH

Estimate 800 - 1 200 GBP

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For sale on Thursday 11 Jul : 10:00 (BST)

embsay-mills, United Kingdom

Hutchinson Scott
+441756798333

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AMBROSIUS BENSON and Workshop; ca. 1600 (Lombardy, active in Bruges from 1518 - Bruges, 1550). "Madonna and Child. Oil on oak panel. Engatillada. The painting shows some paint splashes, repainting and restorations. It has an ebony frame following 17th century models. Measurements: 94 x 73 cm; 135 x 115 cm (frame). This work follows the models of the painting attributed to Ambrosius Benson which belongs to the collection of the Museum of Fine Arts in Seville. The Virgin is seated, three-quarter length, with the Child, who embraces her, standing on her lap. Mary's silky hair falls in waves of golden tones over the red mantle, which stands out against the dark background. The work shows a strong stylistic influence of Roger van der Weyden and is repeated with minor variations on numerous occasions in the 16th-century Bruges school. It also bears similarities to a painting in the collection of the Museum of Saragossa from the Monastery of Veruela. Ambroisus Benson was one of the so-called masters of the tradition, a successor of Van der Goes, and was influenced by Van Eyck, Van der Weyden and the Flemish Primitives in general. However, his work reveals 16th-century features from Italy, such as the triangular composition that can be seen in the present work. In fact, he was originally from Lombardy, so his painting sometimes has more Italian features. Particularly important was his personal use of colour, with a predominance of maroon tones in contrast to the whites and light tones of the flesh tones, which are thus very much emphasised in the composition. Also typical of his work is the velvety quality of the cloaks. Benson was a painter of religious subjects and portraits and trained with Gerard David in Bruges from 1518, the year in which he became a citizen. However, he had problems with his master that led to legal proceedings and by 1519 he was registered with the Painters' Guild as an independent master. From the following year onwards there was a clear increase in his activity and between 1522 and 1530 he rented between one and three stalls at the annual market to sell his paintings. Benson held high positions in the painters' guild, his works fetched very high prices and he had several apprentices, including two of his sons, Willem and Jan. Although only two signed works by Benson ("Triptych of Saint Anthony of Padua" in the Musées Royaux des Beaux-Arts in Belgium and "The Holy Family" in a private collection) and seven dated works are known, more than 150 paintings have been attributed to him on the basis of stylistic criteria. Benson's workshop produced a significant output and, like that of Adriaen Isenbrandt, his works were generally intended for the Iberian market. His painting was highly appreciated in Spain, although Benson never visited the country. With regard to his language, despite his adherence to tradition he formed, together with Isenbrandt and Jan Provost, the last generation of Bruges painters characterised by a break with the Gothic tradition and the introduction into their style of the innovations of the Italian Renaissance. This influence can be seen in their artistic style and in effects such as monumentality, as their themes and compositions are generally in the Flemish tradition. On the other hand, the variety of themes and formats that characterises his production may be due to the fact that he worked in a workshop with numerous collaborators. In all his works, whether religious themes, portraits or secular works, Benson is an excellent example of the crossover between north and south, between tradition and innovation. His works are now held in the world's leading art galleries, including the Museo del Prado, the Metropolitan Museum in New York, the National Gallery in London, the Kunsthistorisches Museum in Vienna, the Thyssen-Bornemisza, the Ashmolean Museum in Oxford and the Bilbao Fine Arts Museum.During the 15th century, the Dutch realist style had a strong influence abroad, especially in Italy, but in the 16th century the situation was reversed. The Italian Renaissance spread throughout Europe, and Antwerp became the centre of the Flemish school, supplanting Bruges and acting as a centre for the penetration of Italian influences. Thus, Mannerist influences arrive in the Netherlands, superimposed on the 15th-century style.

A LATE 19TH CENTURY OAK AND EBONY INLAID AESTHETIC PERIOD HALL BENCH

A LATE 19TH CENTURY OAK AND EBONY INLAID AESTHETIC PERIOD HALL BENCH with stylised pierced back and inlaid panel above-shaped ends joined by an under stretcher (107cm wide 89cm high )

A LATE 19TH CENTURY OAK AND EBONY INLAID AESTHETIC PERIOD HALL BENCH

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