Null Circle of Jan Brueghel the Younger,
Flemish 1601-1678-

The Virgin and Chil…

Description

Circle of Jan Brueghel the Younger, Flemish 1601-1678- The Virgin and Child within a garland of flowers; oil on copper, 20.9 x 16.9 cm. (unframed).

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Circle of Jan Brueghel the Younger, Flemish 1601-1678- The Virgin and Child within a garland of flowers; oil on copper, 20.9 x 16.9 cm. (unframed).

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Matthäus Merian the Elder, Augsburg from a bird's eye view View from a bird's eye view of the Free Imperial City of Augsburg with its fortifications, houses and important buildings, on the left legend with the designation of the 29 most important buildings of the city such as the "Unser Fraw Domkirch [the Augsburg High Cathedral of the Visitation of the Virgin Mary]" and lists the town hall as well as the Fuggerhaus and Zeughaus, above Latin and German designation "Augusta Vindelicorum - Augspurg [sic.]", upper left the Habsburg coat of arms and upper right the city coat of arms with the Swiss stone nut on a capital, signed lower right in the plate "M. Merian fecit", copper engraving on laid paper, light-stained, framed behind glass and passepartout, plate dimensions approx. 20 x 31.5 cm. Artist information: Swiss engraver, bookseller and publisher (1593 Basel to 1650 Schwalbach), 1606-09 pupil of the engraver Dietrich Meyer and the glass painter Christof Murer in Zurich, 1610 with Friedrich Brentel in Strasbourg, 1625 took over the art business of his father-in-law Johann Theodor de Bry in Frankfurt am Main, after his death, his sons Matthäus the Younger and Caspar and later their descendants continued to run the publishing house under the name "Merian's Heirs" until 1727 and completed his main works "Topographia Germaniae" and "Theatrum Europaeum", Source: Thieme-Becker and Internet.

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Ludwig Adam Kunz, Table Still Life opulent arrangement of a hare, carp, lobster and oysters next to a bouquet of peonies in a silver Historicist vase, an etagere with fruit and melons and a white cockatoo on a flowerpot, Bruckmann "Münchner Maler des 19./20. Jh." notes: "... he attempted to succeed Frans Snyder, Jan Fyt or Jan Brueghel the Elder. His works have an old-masterly colouring, the objects are brought out of deep darkness in brilliant, rich colours by a warm, luminous incident light. In terms of subject matter, Kunz mainly focussed on still lifes of flowers and fruit, which he occasionally enlivened with animals - in particular a monkey or a parrot. He was also a master in the depiction of precious objects such as old wine glasses or ivory and silver tankards. ...", glazed, partially slightly impasto painting, oil on wood panel, signed and dated "L. Adam Kunz 1911" top right, old handwritten label on the reverse "Adam Ludw. Ad. Kunz - Vienna 1857-1929 Munich "Prunkstilleben" Wood 35.5 x 57 cm, a. Tellerrand bez. 1911", in need of minor restoration, originally framed in a gilt stucco frame, rebate dimensions approx. 35.5 x 57 cm. Artist information: actually Ludwig Adam Kunz, German-Austrian painterAustrian painter (1857 Vienna - 1929 Munich-Maria Einsiedel), regarded as the "Lenbach of still life painting", initially studied sculpture under Victor Oskar Tilgner, 1873-75 studied sculpture at the Vienna Academy, 1875 turned to painting and until 1878 pupil of the genre painter Josef Fux in Vienna, from 1878 further training in Munich with Franz von Lenbach and Friedrich August von Kaulbach, influenced by the painting of Peter Paul Rubens and Hans Makart, 1885-96 stay in Paris and supported by Mihály von Munkácsy, from 1896 Kunz lived in the Asam-Schlössl in the Munich district of Thalkirchen-Maria Einsiedel, Appointed professor at the Munich Academy in 1896, member of the Munich Artists' Association, exhibited at the Vienna, Dresden and Berlin art exhibitions, the Madrid Columbus Exhibition in 1892 and the Munich Glass Palace from 1917-27, received various honours such as the Great Golden Medal at the International Art Exhibition in Munich in 1897, on friendly terms with Lenbach, both artists sometimes created joint works in a division of labour, like their artistic role models Rubens and Brueghel, Lenbach painted the portraits and Kunz the framing garland of flowers, source: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", ÖBL, Boetticher, Müller-Singer, Bruckmann "Münchner Maler des 19./20th century", Dressler, Fuchs, Paviere and Wikipedia.

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