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Classic. Part 1 (Lots 1-225)

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225 results

Lot 2 - BARTHOLOMÄUS BRUYN I (1493-1555) - (to be attributed to) Portrait of a man holding a book, half-length, in a fur-trimmed mantle and a black hat, 1544. Dated above in the centre '1544'. Oil on panel, shaped top, in an integral frame. Mounted in a wooden case with green velvet, behind glass. 32 x 23 cm (47.5 x 38 x 6.5 cm) The manner in which this man is portrayed characterises the genre of portrait painting in the city of Cologne during the second quarter of the 16th century. The naturalistic rendering of the face, the clothing - including the rather too small beret -, and the choice of the top-rounded panel situates this portrait of an unidentified sitter in the studio of Bartholomäus Bruyn I. The high quality in the brushwork in the face, makes an attribution to the master himself not unlikely, although the same technical quality is not found in the rendering of the hands. Possibly he relied on studio assistants for the hands. It is known that Bartholomäus Bruyn had a productive studio in which – according to the archives- also his two sons were active. Bruyn’s religious paintings, as well as his portraits, depict a strong influence of Joos van Cleve (c. 1485/90-1540/41), who, like Bartholomäus, was an apprentice in the studio of Jan Joest (c. 1450/60-1519). Bartholomäus Bruyn was one of the leading portrait painters of prosperous city of Cologne. He was a member of the city council (Rat der Vierundvierzig) in 1518 and 1521, and later councillor (Ratsherrn) in 1549 and 1553. As many of Bartholomäus Bruyns' patrons were distinguished couples who had there double portraits made as diptychs, it is not unlikely that a pendant depicting the spouse of the anonymous man was created alongside this panel. Similarly, the portrait of Elisabeth Bellinghausen (c. 1518- c. 1577) in the collection of the Mauritshuis was recently reunited with that her fiancé Jakob Omphalius (1500-1567) after being separated for more than 100 years.¹ Lit.: 1. https://www.codart.nl/acquisitions/mauritshuis-acquires-portrait-of-jakob-omphalius-by-batholomaus-bruyn/, consulted on 7.5.2024.

Estim. 6 000 - 8 000 EUR

Lot 3 - MEESTER VAN PAULUS EN BARNABAS - Christ carrying the cross. Antwerp. Second quarter 16th century. Oil on panel. Retouchings. 83 x 112.5 cm (99 x 128.5 cm) The name ‘Master of Paul and Barnabas’ refers to a group of paintings attributed by several art historians to one anonymous master active in Antwerp around 1530-1540. F. Winkler linked this group of paintings to a panel depicting St. Paul and Barnabas at Lystra in the collection of the Museum of Fine Arts (inv. 4315) in Budapest which eventually lead to his current name. The anonymous painter was previously identified as Jan van Hemessen (c. 1500-1556/57), Jan van Amstel (c. 1500-ca. 1540), the young Pieter Aertsen (1508-1575) and Jan Mandijn (c. 1500-ca. 1560).¹ The attribution to Jan van Hemessen seemed evident as the Master of Paul and Barnabas provided the smaller figures in several his large compositions. For example Van Hemessen's brothel scene in the collection of the Staatliche Kunsthalle Karlsruhe (inv. 152), above in the sky on a grand triptych depicting the Last Judgment in the Church of St. Jacob in Antwerp (cf. RKD images no. 216196 and in a triptych depicting Saint Sebastian in the collection of the Petit Palais in Paris (cf. RKDimages no. 55521). We know that Jan van Hemessen relied on several collaborators to complete his backgrounds including the Brunswick Monogrammist (act. 1525-1545).² This may explain why Sotheby's attributed the present panel to the Brunswick Monogrammist when they featured the present painting their 1993 December sale (London, 8.12.1993, lot 51). It is less known that addition to Jan van Hemessen's compositions, the Master of Paul and Barnabas also provided the staffage figures in some of Herri met de Bles’ (act. 1533-1566) landscapes including the landscape with King David and Bathsheba in the Isabella Stewart Gardner Museum (inv. P25W40) in Boston.³ The mannerist figures of the Master of Paul and Barnabas are characterized by pointed faces with deep eye sockets, narrow ankles with pronounced heels, distinct hand gestures with thin fingers, and flowy costumes in warm-toned colours. The present Carrying of the Cross is a new addition to the small group of paintings in which the figures of the Master of Paul and Barnabas come into the foreground. In addition to the Budapest painting mentioned above, the KMSKB houses a painting depicting the The Healing of the Paralytic of Capernaum (inv. 12065) . An equally impressive architectural setting - presumably added by another hand - can be found on a panel depicting the Feast of Ahasuerus, auctioned on October 22, 2019 at Dorotheum (lot 150). Finally, the Hermitage in St. Petersburg, The National Gallery in Washington, the Staatliche Kunstsammlungen in Kassel, the Bonnefanten Museum in Maastricht, the Descalzas Reales and the BNP Paribas Fortis bank also own paintings by the Master of Paul and Barnabas.⁴ This small group of paintings has not yet revealed all its secrets. Both the identity of the intriguing anonymous painter as well as his impressive artistic network, offer an opportunity for further research. We thank Jean-Pierre De Bruyn for sharing his opinion regarding the attribution to the Master of Paul and Barnabas based on high-resolution photographs. 1. Jean-Pierre De Bruyn, De Meester van Paulus en Barnabas (Jan Mandijn ?) en een vroeg werk van Pieter Aertsen, in: 'Rubens and his world', Antwerp 1985, pp. 17-29. 2. This anonymous artist is identified by some art historians as Jan van Amstel, cf. Matthias Ubl, Der Braunschweiger Monogrammist. Wegbereiter der niederländischen Genremalerei vor Bruegel, Rijksmuseum (Michael Imhof), 2014. 3. Voir Jacques Toussaint (éd.), Autour de Henri Bles, Société Archéologique de Namur, 2000, cat. nos 4, 9, 10 et 20. 4. For an illustration of these paintings, cf. op cit. De Bruyn, 1985 et Ana Diéguez Rodríguez, 'Una crucifixión del Maestro de Pablo y Barnabás en las Descalzas Reales' in Reales sitios. Vol. 51, 2014, no. 199, pp. 76-80.

Estim. 12 000 - 15 000 EUR

Lot 10 - SEBASTIAAN VRANCX (1573-1647) - (after) The battle between Lekkerbeetje and Braut on the heath of Vught. Panel (cradled). 160 x 125 cm (202 x 160 cm) Depicted on this exceptionally large panel is a battle during the Eighty Years' War. Gerard Abrahamsz. (1560-1600), nicknamed ‘Lekkerbeetje’, initially served under Prince Maurice of Orange (1567-1625), but defected to the Spanish side. On February 5, 1600, he was killed on Vuchterheide, near 's-Hertogenbosch, as leader of a squad of twenty-two cuirassiers, in a duel with several Dutch opponents, led by the Frenchman Charles de Bréauté. In this scene, Lekkerbeetje is lying on the ground in the lower left, fatally struck by a pistol shot from De Bréauté. In the background, we see the city of Den Bosch in the left, and Vught and a windmill on the right. Several variants of this painting exist, including a copy in the collection of the KMSKB (inv. 2568) and the Groeninge Museum (inv. 0000.GRO1364.I). Most of the paintings in this group are attributed to a follower of Sebastiaen Vrancx. The present whereabouts of the Vrancx prototype are unknown. Yet, with certainty we do know he painted such scene as the printmaker Joannes van Doetechum II (1558/62-1630) made a large engraving after the painting by Sebastiaan Vranckx in 1631 with the inscription "Sebastiaen Vrancx Inventor" (cf. a print in the Rijksmuseum collection, inv. RP-P-OB-76.973), http://hdl.handle.net/10934/RM0001.COLLECT.370280).

Estim. 10 000 - 15 000 EUR

Lot 11 - DIRCK HENDRICKSZ CENTEN (c.1542-1618) - (circle) Mary with Child and angels in interior. Oil on canvas. This domestic scene depicts rather rare late 16th century iconography, in which the angels help with the caring tasks for the Christ child. More often angels are depicting while making music. One angel is arranging the cradle, while another is warming a cloth near the fire. Through a vista in the background, the artist provides a view on the activities withing the garden. In 1993, Christie's in Rome presented a similar scene attributed to Dirck Hendricksz Centen (Rome, 30.11.1993, lot 277). In this painting, Centen adds a Saint Anne as well as an additional figure in the doorway at the back left. Another variant of the same composition, with an attribution to the studio of Maerten de Vos (1531-1603), went under the hammer at Aguttes on June 22, 2023 (lot 11). Finally, a third - albeit mirror-image – exists that was attributed by a Spanish auction house to an anonymous master of the Spanish school. The existence of several variants of the same composition, including one mirror-image of the composition, suggests that an important prototype existed, possibly also in print form. The furniture and architecture probably situate the prototype in the Southern Netherlands. This also applies to the anonymous painter, who managed to match Dirck Henricksz Centen in the delicate rendering of the Holy Mary, painting one of the more successful interpretations of this known composition. 97 x 72 cm (128 x 104.5 cm)

Estim. 4 000 - 5 000 EUR

Lot 12 - ADRIAEN VAN UTRECHT (1599-1652) - The rooster and the pearl, 1649. Oil on canvas. Signed and dated upper left 'Adriaan Van utrecht / fecit Anno 1649'. Adriaen van Utrecht is one of the best known game and animal painters of 17th century. As a talented epigone of Frans Snijders (1579-1657), he allows this genre to flourish in the region of Antwerp and far beyond. He painted fruit, flower and vanitas still lifes, garlands, market and scenes of mainly domesticated birds in the context of a farm. This ‘subgenre’ of poultry at the farm will later culminate in the oeuvre of Northern Dutch painter Melchior d'Hondecoeter (c. 1636-1695). Yet something this Dutch painter did not learn from his Flemish predecessor, is the narrative element that Van Utrecht regularly incorporated into his bird scenes. At the centre of the canvas we see a large white rooster-presumably a Flemish Braekel-surrounded by chickens and chicks. Next to his claw lies a gold pendant on the ground, decorated with a rectangular gemstone and a large white pearl. A hen is inspecting the piece of jewellery up close. With this detail, Adriaen van Utrecht, illustrates the ancient fable of the ‘Rooster and the Pearl’ attributed to the Greek poet Aesopus (ca. 620 B.C.- ca. 560 B.C.E.) who is considered as the founder of the animal fable. ‘The rooster and the pearl’ reads as follows: "A rooster was once walking up and down the yard among the chickens when he suddenly saw something glinting among the straw. "Ho! ho!" he said, "that's for me," and quickly rooted it out from under the straw. What did it turn out to be, just a pearl lost by accident in the garden? "You may be a treasure," said Master Rooster, "to the people who appreciate you, but to me I would rather have a single grain of barley than a beak full of pearls."( based on Joseph Jacobs, "The Fables of Aesop," Houston, 1992). The moral that can be derived from this fable, is that wisdom comes before wealth. Only those who have the knowledge to appreciate something valuable are able to benefit from it. Such fables accompanied by emblematic illustrations were enormously popular during the 16th and 17th century. Many reworked Aesopus' fables including Marcus Geeraerts (c. 1520-ca. 1590) and Eduard de Dene (1505-1576) with their illustrated "De warachtighe fabulen der dieren," published in 1567. The same illustrations were used by Joost van Vondel (1587-1679) in his 'Vorsteliicke warande der dieren' from 1617. It is likely that Adriaen van Utrecht was inspired by one of these two publications to enrich this farm scene with an intellectual layer. An exceptionally thick layer of varnish, on the other hand, is something the artist did not foresee. This causes the rather dark character of the painting that will undoubtedly reveal its sparkle like a hidden pearl after cleaning. 85 x 112 cm Condition: Dit schilderij bevindt zich naar onze mening in redelijke staat al dient de zeer dikke en vergeelde vernislaag verwijderd te worden. Deze opvallend dikke vernislaag vertoont ook een veel craquelé. Het is niet duidelijk of deze craquelé doorloopt tot in de verflaag.

Estim. 20 000 - 25 000 EUR

Lot 13 - ADRIAEN BOOGAERT (1587-1631) - (to be attributed to) Kitchen piece with the Supper at Emmaus, c. 1620. Oil on canvas. 127 x 168 cm In 2012, Fred G. Meijer attributed this canvas to the painter Adriaen Boogaert. As such, it was also included in the database of RKDimages no. 243320. However, the known oeuvre of Adriaen Boogaert is very rare. A signed bird still life was sold at Christie's in 1998 (London, 16.12.1998, lot 133) which may serve as a point of reference for the attribution of this colorful kitchen piece. Adriaen Boogaert was born in Norway and probably moved with his father to the Netherlands in 1593 where he lived in Amsterdam. When his wife died in 1628, it appears that he was already abroad. Thus, according to Horst Gerson, he was in the service of the Elector of Mainz.¹ Among other things, in 1619-22 he provided the side panels of the high altar of the Cathedral of Münster with scenes from the life of the Apostle Paul (cf. RKDimages no. 284895). Boogaert combines the sumptuous kitchen scene of a young maid threading poultry on a spit in front of a table filled with beef, lobster and several vegetables with the Emmaus meal in a contrasting, extremely austere background. This remarkably discreet introduction of a Biblical motif, was the perfect instrument to mirror the vice of worldly pleasures with a Christian moralizing perspective. Both the signed bird still life, and the Sint Paul side panels in Münster, suggest that Boogaert was at home in both genres: still life and the largest religious scenes. In this painting, he combines the two in a strikingly modern manner. 1. Horst Gerson, 'Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jahrhunderts, Amsterdam, 1983, p. p. 267, 475.

Estim. 12 000 - 15 000 EUR

Lot 15 - FRANS FRANCKEN II (1581-1642) - (workshop) The Annunciation surrounded by a garland of flowers. Antwerp, c. 1620-1640. Oil on panel. Reverse marked with the brand of the Antwerp panel-maker's guild and an unidentified mark 'A'. Provenance: Private collection Wezembeek-Oppem The depiction of religious scenes in a floral wreath was an Antwerp speciality during the period 1620-1640. Numerous similar scenes have survived to the present day. Usually they were the product of a collaboration between a painter specialised in painting figures and another who was responsible for the flowers. Many similar variants are attributed to the prolific studio of Frans Francken. However, it can be assumed that, given the popularity of this type of paintings, many hitherto anonymous studio collaborators contributed to the production of these paintings. According to Joost van der Auwera, the letter 'A' on the reverse is no panel maker's mark. Since it features several times together with the brand of the Antwerp panel-makers' guild and a maker's mark, another function must be attached to it. Which one is not clear. (cf. http://jordaensvandyck.org/article/de-antwerpse-tafereelmakers-en-hun-merken/). 64 x 48 cm (82 x 65.5 cm) 28.05.2024 Lot update: The estimation was adjusted. 14.06.2024 Lot update: We thank Prof em Dr Jørgen Wadum for explaining to us the two panel marks on the reverse: the Antwerp brandmark (datable 1617-1626) and the letter 'A'. This letter was punched in on panels by various panel makers as a 'year-letter' during the guild year October 1621- October 1622, the production year of the panel.

Estim. 3 000 - 4 000 EUR

Lot 18 - ABRAHAM GOVAERTS (1589-1626) - Wooded landscape with carts, travellers, and shepherds in front of a village. C. 1615-1620. Oil on panel. Provenance: London, Sir Charles Clore et al. Christie's, 10.12.1982, lot 32 Sotheby's, 10.12.2002, lot 362 Gallery Gismondi, Paris, c. 2003 Gallery Pintelon, Aalst, 11.6.2006 Private collection, Heverlee Certificate and expert report: Robert Pintelon, 11.2.2006 Abraham Govaerts' oeuvre is considered as one of the culminations within the subgenre of the forest landscape. His spherical, dark forests serve as backdrops for scenes that were painted by the best figure painters of Antwerp such as Hendrick van Balen (1575-1632), Frans Francken II (1581-1642), Hans Jordaens III (ca.1595-1643) and Louis de Caulery (1579/81-1621) amongst others. Ursula Härting and Kathleen Borms write that the bustling activity in the village is a rather unusual subject in Govaerts' oeuvre. The transparency in the paint that matches the rest of the landscape may suggest that Govaerts himself added the figures in this landscape. Based on comparison with dated paintings in which similar figures can be found, the present artwork can be dated around 1615-1620. Härting and Borms mention that there may be a signature under the frame. Unfortunately, this does not appear to be the case. Nevertheless, thanks to the delicate transparency in the colourful clouds, the detail in the tree leaves and the ingenuity with which the twisted tree trunks are painted, there is no doubt about the hand of the master. 52.7 x 82.5 cm (69 x 100 cm) Lit.: K. Borms, Abraham Govaerts (1589-1626) zijn leven en artistieke bedrijvigheid, bijdrage tot de studie van de vroegzeventiende-eeuwse Antwerpse landschapschilderkunst, ongepubliceerde licenciaatsverhandeling, Katholieke Universiteit Leuven, 1988, G.27; Ursula Härting & Kathleen Borms, 'Abraham Govaerts. Der Waldmaler (1589-1626)', 2003, cat. nr. 86.

Estim. 15 000 - 20 000 EUR

Lot 61 - Mère de Dieu du buisson ardent non ardent avec vita. - An icon depicting the Mother of God of the Burning Bush with vita. Tempera on panel. Provenance and certificate: Collection G. Burmensky, Antwerp, s.d. Prof. Dr. E. Voordeckers, Eikon, R.771.014 Expo: Center for art & culture, St.-Pietersabdij, Ghent, 10.6.-15.8.1978, cat.no. 328 This icon depicts the Burning Unburned Bush, a theme dedicated to the glorification of the Mother of God. The composition consists of a combination of star and flower. The star is formed by two intersecting panes, one green and one red. On the red points of the star are the symbols of the four evangelists: angels holding symbols of the Mother of God are on the points of the green star and on the eight petals of flowers between the star points. In the heart of star and flower, surrounded by cherubs, the Mother of God is depicted, with the Child on the left arm and with the right arm clasping a ladder, allusion to the vision of Jacob's heavenly ladder. In the lower centre, star and flower sprout from the scene of the Tree of Jesse, while in the top centre the New Testament Trinity is represented, surrounded by angels and Deis figures. In the upper left corner is the vision of the Burning Bush of Abraham, which gave its name to this icon; above right is the vision of Isaiah, whose mouth is being cleansed by a seraph with glowing coal; below left is Ezekiel's vision of the closed temple gate, and below right is the vision of Jacob's heavenly ladder. Single kovceg. Protected against warping of the wood by two wedges, embedded in the back of panel across the full width and in dovetail bond. 62.9 x 54.2 cm

Estim. 1 500 - 2 000 EUR