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Description: A figure of Saint Michael, Lorraine, circa 1320/1330 This fine quality sculpture is designed for a frontal viewpoint, but the fact that the sides are also carved in such detail indicates that it may have been originally placed before a wall or pillar. The saint is shown standing upon a dragon lain at his feet, which has sunk its teeth into his shield. Saint Michael is shown with his right hand raised, piercing his opponent with his now missing lance, a pose which emphasises the ponderation of his body. Cuts and old pins to the reverse indicate that the figure once bore separately worked wings. Christof Metzger has convincingly ascribed the sculpture to the Lorraine region and dates it to around 1320/1330, whereby he compares it to works from Metz, such as the Madonna in Saint-Dié Cathedral from around 1310/1320, the Madonna of Verdun from around 1315 (Berlin, Skulpturengalerie) and a fragment of a female saint's head from circa 1325 (Paris, Louvre).CertificateDr. Christof Metzger, Vienna (2010). Height 92 cm
Condition Report: The right hand partially missing. Wear with minor losses, minor weathering to the surface. Mounted on a flat metal plinth.View additional info and full condition report
Description: A Swabian reliquiary bust, circa 1470 A bust of a female saint, presumably carved in Ulm. Her finely carved hair falls in waves over the shoulders and back. The glazed opening in the chest originally served as a window through which to view the enclosed relics. 32 x 28 x 14 cm
Condition Report: The former loosely attached crown now lost. Broken and repaired beneath the opening. With some wear.View additional info
Description: A South German bust of a female saint, circa 1480 A depiction of a female saint with her head slightly tilted. Her long hair falls in waves over the cloak draped around her shoulders. Height 20 cm (without socle and crown)
Condition Report: Some wear. The crown recently replaced. Mounted to a wooden socle.View additional info
Description: A figure of the virgin and child attributed to Michael Pacher This fine sculpture is fully carved on all sides, indicating that it may in the original location have been viewable in the round. The Virgin stands in balanced contrapposto with a crescent moon, partially obscured by the hem of her gown, lain at her feet. The Child is held above the Virgin's left hip and wears a long robe, a scepter was probably held in his missing left hand. The drapery of the Virgin's white veil and her long curls are subtly depicted, and the outline of Her body beneath the folds of Her girded robe and heavy golden cloak are also masterfully carved. The sculpture is traditionally brought into connection with the works of Michael Pacher, who was active in Bruneck in South Tyrol in the last third of the 15th century. The similarity in the general composition of the piece and the face of Mary to a statue of the Virgin in the parish church of St. Lorenzo dated to around 1465 support this attribution. Height 72 cm
Condition Report: The Virgin's left forearm, the Child's right arm and one of his fingers lost. A small crack to the back of the plinth. Losses to the crown, but generally minor wear.View additional info and full condition report
Description: A devotional image of Christ as the man of sorrows, probably Utrecht, circa 1480 The figure of Christ in a gilt perizonium is depicted emerging from a sarcophagus shown in perspective. He wears the crown of thorns and holds the wound in his side with his right hand. He is also clothed in a blue mantle fastened at the chest, which is held spread out behind him by two mourning angels (one of whose heads is unfortunately lost). A fine quality and highly expressive piece. 43 x 33 x 8 cm
Condition Report: A horizontal crack to the middle of the statue. Some wear.View additional info
Description: A painted Italian quattrocento cassone. Chest with a folding lid decorated with a landscape and carved medallions, a figural scene to the front, medallions to the sides and the remains of décor to the interior. With handles to the sides. Painted chests like this one are found more frequently in Tuscany and it is possible that it was decorated there. H 55, W 157, D 47 cm.
Condition Report: Age-related amendments, slightly shortened, some parts replaced.View additional info
Description: A figure of Pope Urban I attributed to Lorenz Luchsperger, late 15th century A standing figure of the saint designed for a frontal viewpoint. He is dressed in papal attire with a tiara and cross staff and holds an open book in his hands. The grapes lain on top of the book are probably a later addition. From around the 15th century, this attribute of Bishop Urban, the patron saint of winemakers, was often also ascribed to the pope of the same name who was also venerated on the same day. The composition and especially the drapery of this figure are comparable to the apostles in the parish church of Wiener Neustadt, which were made around 1490 and are attributed to the sculptor Lorenz Luchsperger, who is recorded as of 1472 and is known to have been active in that town. Height 94 cm (without socle)
Condition Report: Losses due to wear and insect damage, especially to the tiara and plinth. The book partially replaced, the cross finial of the staff lost. Mounted to a wooden socle.View additional info and full condition report
Description: Wolfgang Katzheimer, studio of, The Adoration of the Magi CertificateChristof Metzger, Vienna, 16.2.2013.This magnificent panel shows the Three wise men in adoration of the Christ Child. The eldest king kneels before baby Jesus and holds the child, who gazes up lovingly towards his mother from her lap, in both hands. The other kings stand behind the group presenting their gifts, which have been picked out in rich gold tones. Saint Joseph is also shown in the background in his traditional role of observer, and the ox and donkey close the scene to the left edge. A landscape painted in pale green hues stretches out behind the opulently clothed figures in the foreground, and within which we see a shepherd guarding his flock and the faintly silhouetted spires of a town in the distance. Although this motif is meant to represent the outline of Bethlehem, the artist has drawn inspiration from the contemporary architecture of his home town. In place of the sky, the image is surmounted by a gilt background, richly engraved with foliate decor.Christof Metzger (Albertina, Vienna) convincingly attributed the fine panel to the workshop of Wolfgang Katzheimer, the leading painter in Bamberg in the late Gothic era. The tightly arranged figures, naturalistic landscape background and the accentuated facial features - for example the noses - but also the depiction of opulent fabrics such as the pearl- and fur-trimmed garments of the present work are all typical of this workshop's style.The panel most certainly formed the outer wing of a hinged altarpiece, and the rich gilt ground leads us to believe that it was probably the interior image seen only during high religious holidays. It's pendant on the opposite wing was probably the birth of Jesus or the adoration of the shepherds. 101 x 72.5 cmView additional info
Description: A Swabian figure of a holy knight, circa 1500 A large and finely carved figure of a saint dressed in a knight's armour and wearing the Order of the Golden Fleece on a necklace, designed for a frontal and slightly lowered viewpoint. The piece was auctioned by Hugo Helbing in 1930 entitled "Hl. Florian" (St. Florian), and the illustration in the auction catalogue shows a burning house beside his engaged leg and a bucket of water in his right hand. These (possibly unoriginal) attributes have since been removed, and the plinth has been ammended. The style of the figure is comparable to pieces made in the master's workshops of Swabia and Ulm in the late 15th century, such as the figure of Saint George kept in the Victoria and Albert Museum in London under the inv. no. A.26-193. Height 127.5 cm
Condition Report: A vertical crack to the reverse of the head, back and plinth. The left part of the plinth beside the engaged leg is has been replaced (after 1930).View additional info and full condition report
Description: An Austrian figure of Christ at the column, circa 1500 Christ is shown with his arms bound behind his back to a narrow column set onto a round earth plinth. He stands in gentle contrapposto with his right foot advanced and placed upon a stone and his head slightly lowered. The figure is clothed solely in a perizonium, and Christ's thus exposed flesh has been carved finely and in great detail, as have his facial features and hair. The piece has been tentatively ascribed to the little known artist Hans von Villach, which would indicate an origin in Carinthia. Height 56 cm
Condition Report: Christ's bound hands partially missing. Three drilled holes to the head presumably originally held an aureola. Some minor wear.View additional info and full condition report
Description: A wool and silk verdure tapestry "à feuilles de choux" 203 x 180 cm.
Condition Report: The border has been reattached and the lower right corner is a replacement, with repaired earlier insect damage. Lined.View additional info
Description: Master of the Morrison Triptych, attributed to, The Adoration of the Magi An examination of this panel under UV light has shown that it formerly belonged to the seminary of Belchite near Zaragoza, which was destroyed during the Spanish civil war in 1937. A reproduction in Friedländer shows unretouched gaps between the boards which are identical to the present work, and that it formed the central panel of an altar (M.J. Friedländer, op. cit.). After the panels were separated, the whereabouts of the piece remained unknown for many years and its reappearance on the art market is an interesting development.Max J. Friedländer was the first scholar to attribute this altarpiece to the Master of the Morrison Triptych, an anonymous painter known as the creator of an altar formerly owned by the English collector Alfred Morrison, and which is now kept in the Toledo Museum of Art in Ohio. In 1924, Friedländer assembled a group of eight paintings in which a northern Netherlandish influence was visible and which showed stylistic similarity to the Morrison triptych. Based on analysis of this group, W.R. Valentiner suggested in 1955 that this unknown artist could be identified as Simon van Herlam, a north Netherlandish artist whose figures are reminiscent of those of Geertgen tot Sint Jans.Within Friedländer's assembled oeuvre, this panel shows the most similarity to the "Adoration of the Magi" in the collection of John G. Johnson (Philadelphia Museum of Art, inv. 369). The composition and figures in these works compare favourably, especially the Kings and their entourage in the foreground to the left, the Virgin with Her long curly hair and the Child. The architectural background from which two shepherds observe the scene through an arched window is reminiscent of the compositions of Adriaen Isenbrant, and illustrates the strong influence of the school of Bruges in the art of Antwerp between 1515 and 1525.We would like to thank Dr. Heléne Mund for her kind support in cataloging this work. 103 x 70 cmView additional info
Description: A Saxon carved wood Calvary group, circa 1500/1510 An exceedingly well carved high relief - Saxonian around 1500/1510 - with an openwork upper section depicting mourning figures beneath the cross. To the left we see the Virgin kneeling exhausted upon the ground, accompanied by two women, the youthful figure of Saint John and Saint Veronica displaying her veil. Mary Magdalene kneels to the right and looks up towards the crucified Christ, as do the soldiers depicted behind her. The relief is thus recognisable as a fragment and the left side of a depiction of Calvary which would have been located in the center of a large winged altarpiece.Neither the original location of the altarpiece nor the whereabouts of the remaining pieces are known, but the style of the relief and especially of the facial features all point to an origin in Saxony. The leading carver of the time in this area was the Master H.W., who in the past was erroneously brought into connection with the name "Hans Witten", although his actual identity remains a mystery to this day. The following signed works can be attributed with certainty to this master: The "Schöne Tür" in Annaberg, the Borna altarpiece and the sculpture of Saint Helen in Halle, which means he must have been active in Saxony between 1500 and 1520. The maker of the present important work is surely to be sought in this master's circle.The relief's provenance pre 1945 is uncertain. According to a statement by Walter Bornheim from 2.9.1955 (Restitutionskartei, Bundesarchiv Koblenz, B323/658 & 516), the piece was sold by the Bornheim art dealership to Hermann Göring on an unknown date. It is not known where Bornheim himself acquired the work, as he mentioned on the same day with some uncertainty that the work was purchased in "ca. 1938/1938 from Lempertz (?) in Cologne (form. the Vieweg collection, Brunswick)." However, this debatable statement regarding the purchase from Lempertz could not be proven, and despite intensive research, no evidence has been found connecting the work to the Vieweg collection. The complete list of the Berlin art historian Wilhelm von Bode's collection from 1910 has not been found, and there is no trace of the piece in Lepke of Berlin's "Sammlung Vieweg" auction from 18.3.1930, or in the "Nachlass Helene Tepelmann geb. Vieweg" auction of the estate of Helene Vieweg held by Lempertz in Cologne on 1.-2.2.1940. However, if the relief actually originates from the Vieweg collection, it may have been in the possession of the "Aktiengesellschaft Friedr. Vieweg & Sohn" or Helene Tepelmann, who died in 1939. In order to further clarify the provenance of the piece we have submitted it to the "Lostart" database run by the Koordinierungsstelle Magdeburg. We would like to thank Dr. Ilse von zur Mühlen (Staatliche Museen München, provenance research) for the insight into the results of her latest research. 135 x 75.5 cm
Condition Report: With two vertical cracks to the lower edge and wear with minor losses.View additional info
Description: A relief showing the decapitation of Saint Kilian, circle of Veit Stoß, circa 1500/1510 This relief with a pierced top was presumably originally set into the wing of a hinged altarpiece, and its artistic quality and polychromy indicate that it was probably one of the interior panels opened only during high religious holidays. The crumpled figure of the beheaded saint is lain upon the ground before a rugged landscape, and the henchman to his right is shown still holding the sword used for the execution. The scene was identified by Hannes Etzlstorfer as the decapitation of Saint Kilian, who was martyred in 689 together with his companions Kolonat and Totnan, who are also depicted in the relief. As the patron saint of Würzburg and Franconia, Kilian is highly venerated there. Both this fact and the style of the piece allow us to ascribe it to this region, as it shows similarities to works from the circle of the Nuremberg based sculptor Veit Stoß. This artist was active as of 1496, and the present work can be dated to around 1500/1510. 84 x 90 x 7 cm
Condition Report: Three vertical cracks, minor wear. Mounted to a newer wooden back panel.View additional info
Description: A wool and silk tapestry "Les Neuf Preux: Charlemagne". This tapestry, worked in a gothic manner, depicts Charlemagne with his battleaxe and shield raised to do battle.
Condition Report: Restored, the lower border missing. Lined.View additional info
Description: An Italian renaissance carved walnut tabernacle frame. Of architectural design with columns and a broad architrave. H 109, W 84 cm.
Condition Report: With minor damage due to earlier insect infestation.View additional info
Description: Netherlandish School circa 1500, The Virgin and Child 47 x 34 cmView additional info
Description: Flemish School of the early 16th century, The Flight into Egypt The unknown painter of this panel is easily recognisable as a follower of Joachim Patinir. The work shows the Holy Family fleeing through a panoramic landscape reminiscent of those of this great Flemish master. From an elevated viewpoint we are able to look out towards the horizon, where all other colours are gradually diffused by the blue of the heaven. 47 x 36 cmView additional info
Description: Cornelis Engebrechtsz, attributed to, Saint Barbara and Saint Catherine Cornelisz Engebrechtsen's career is closely linked to the town of Leyden, where he was born and later died in 1533. He is primarily renowned for founding something similar to a "school of Leyden", and his most significant pupil and follower was Lucas van Leyden.Although little is known about his early work, his later pieces from after 1500 display a penchant for opulent costumes, and his slim figures with their fine features and hands show unmistakeable elegance. Also typical of his style is the delicate diffusion of colour into bright and shimmering hues.All of these stylistic characteristics can be observed in the present two panels, which probably originally formed the wings of a triptych. The saints occupy almost the entirety of the image, with just a thin stip of landscape visible in the upper section, a motif found in other works by this artist, such as the outer panels of an altarpiece in the Leiden Museum (M. Friedländer, no. 71). each 75.5 x 23.5 cmView additional info
Description: Two Swabian figures of Saint Catherine and Saint Margaret, first half 16th century A matching pair of silhouetted reliefs of female saints standing upon foliate carved brackets. The faces, hair and crowns are all of similar design, and the poses and composition of the gowns complement each other well. Both saints are depicted with their attributes; Catherine with the sword and a fragment of the wheel and Margaret holding a dragon on a leash. Height of each 105 cm, depth 3.5 cm
Condition Report: Minor wear overall; one bracket with a small loss, the other with a breakage.View additional info
Description: A figure of Saint Michael, probably Bavarian, circa 1520/1530 A full-length depiction of the saint standing on a small plinth in lively contrapposto, leaning backwards with his sword arm raised. His left hand presumably originally held a set of scales. The archangel wears a girded robe, a stole and a cloak with curving seams and thick folds which, like the striking physiognomy and style of the hair, bears a strong resemblance to the works of the sculptor Hans Leinberger, who was active in Landshut around 1510/1530. Height 86 cm (without base)
Condition Report: The raised hand and sword are replacements. Losses to the plinth. On a modern wooden plinth.View additional info
Description: A presumably Central German relief showing the massacre of the innocents, circa 1520/1530 This pierced, rectangular high relief panel shows immense sculptural depth. The foreground is taken up by a dramatic depiction of the massacre of the innocents: Two soldiers are shown driving their swords through the bodies of naked children, who a kneeling mother tries desperately to protect. The ground is already littered with several corpses being mourned by further women. The rocky landscape in the background displays an unusual iconographic element - a seated woman, presumably the Madonna, is shown seeking shelter from the carnage in a grotto, with Herod and his messengers depicted to her left. The relief probably originally formed part of a carved altarpiece; the soldiers' tufted headgear provided a criteria for dating the piece to around 1520/1530. 112 x 65 x 7 cm
Condition Report: A small loss beside the head of the standing male figure. With minor wear.View additional info
Description: A figure of Saint Catherine attributed to Daniel Mauch, circa 1535 A standing full-length depiction of the saint holding her attribute, the broken wheel, in her hands. The composition and style of the statue allows it to be unmistakeably localised to Ulm in the early 16th century. This same impish smile can be found in many of Daniel Mauch's works, such as the altarpiece of Maggmannshofen in Kempten from around 1505/1510 (cat. Ulm 2009, op. cit., no. 1), and this pattern of drapery can also be observed in his figure of Saint Barbara in Rechberghausen from circa 1525 (op. cit., no. 37a). Daniel Mauch was active in Ulm as of 1503 but moved to Liège in 1529. Albrecht Miller dates the present work to 1535 and describes it as an important later work.CertificateDr. Albrecht Miller, Ottobrunn (6.4.2010). Height 88 cm
Condition Report: Very minor wear with small losses to the crown and hair. Part of the front edge of the plinth is a replacement.View additional info
Description: A Central German relief of the death of the Virgin, circa 1580 A relief with a curved top, to which a separately carved figure of an apostle with a censer has been applied to the lower left. The dying Virgin is shown lain on a bed in a vaulted interior and surrounded by a circle of the 12 mourning and praying apostles. A dove representing the holy spirit hovers above her head. Saint Peter stands beside the Virgin, placing a candle in her folded hands. The apostle to his right holds a holy water stoop, indicating that Saint Peter probably originally held an aspergillum in his left hand, which is now lost. 91 x 91 x 7 cm
Condition Report: A vertical crack to the center left, two small backed losses to the right half. Minor wear.View additional info
Description: A South German group of Susanna and the Elders, circa 1580 A finely carved depiction of the old testament scene. Susanna is shown seated on a pedestal in the center being cruelly accosted by the two elders, one of whom has lain an arm around her shoulders whilst the other grasps for the towel she is wrapped in. 15.5 x 16 x 7 cm
Condition Report: The left hand of the man on the right missing. With minor wear.View additional info
Description: A South German head of Saint John the Baptist on a platter, 17th century A plain, slightly oval platter on which has been lain the severed head of John the Baptist, turned slightly to the left. He is shown with peaceful features, his eyes closed as if asleep. The finely carved physiognomy, beard and wavy hair are typical of the Baroque period, although the motif of Saint John's head on a platter was developed in the late Gothic era. 13 x 29 x 27 cm
Condition Report: A few small cracks to the head, a crack running across the platter.View additional info
Description: A Nuremberg silver gilt cup and cover. Marks of Paulus Baier, 1613 - 29. Height 29.5 cm, weight 271 g.View additional info
Description: Jacob Jordaens, attributed to, Allegory of the Sciences: Minerva and Chronos Protecting the Sciences against Envy and Ignorance The hitherto unknown „Allegory of the Sciences" by Jacob Jordaens is a second version by the artist of a painting in the Statens Museum for Kunst, Copenhagen (117 x 164 cm). The slightly larger Copenhagen painting, originally painted on panel and later transferred to canvas, has been reduced at the upper edge by 18 cm. The missing part of the Copenhagen painting is still visible on the present picture whereas this painting has been reduced by 13 cm on the left hand side so that the figure of Venus is only partly visible. Like the Copenhagen painting, the present picture can be dated to 1615 according to its brushwork, composition, and palette. Jacob Jordaens opened his own workshop in Antwerp in 1615 and at that time did not have any assistants or pupils.The present work displays an unusual iconographic programme centered around the glorification of the sciences, personified by the bearded old man in the center of the work. He is the only figure clothed in contemporary 17th century costume, and is surrounded by mythological, mainly nude, figures. The man is shown poring over a globe, and it has been proposed that the figure represents the famous cartographer Gerard Mercator (exhib. cat. Brüssel und Kassel, l.b.). To his side we see a young woman dressed in an animal pelt, who is assumed to be an allegory of geometry. In contrast, the group to the right side of the painting is easier to interpret: We see the Athena, the goddess of wisdom, battling a figure representing envy - recognisable by her hair of snakes - above the already felled allegory of ignorance. A nude male figure is shown seated in a low chariot being pulled by two putti and holding a cornucopia filled with pearls and coral. In the past he was interpreted as Neptune, but is now considered to be Chronos. Above the bearded man we see the figure of Pheme announcing the glory of knowledge through the trumpet of fame. To the left edge of the painting we see the head of Fortuna who is shown scattering gold and coins in the direction of the scholar. Jordaen's inspiration for the complex iconography of this piece presumably came from his Flemish contemporaries Rubens and Abraham Janssens. We would like to thank the curators of the exhibition "Jordaens and the Antiquity" (Brussels and Kassel 2012) for scientific advice. 98 x 112 cmView additional info
Description: Gerrit van Honthorst, The Steadfast Philosopher This work depicts a man sitting at a desk which is strewn with a rug and a pile of books and where he has apparently been writing, as he is holding a quill in his right hand and has an open book lain out before him. However, he is not shown leant over his work, but rather with his left hand raised and his head turned to the right. The meaning behind the title of Gerrit van Honthorst's painting "The Steadfast Philosopher" is not immediately clear upon mere inspection of the work, but reveals itself through the knowledge that the painting is a version by the artist himself of a piece kept in the Hohenbuchau Collection (cf. J. Richard Judson: Gerrit van Honthorst, with catalogue raisonné, Doornspijk 1999, no.157, p. 137/38, illus. IX and 73.). This composition includes the additional figure of a half naked young woman to the right. The girl has let her dress fall down to her waist and smiles seductively, nearing the man with blatantly impure intent. However, her charm fails in its purpose, as the scholar turns away, not allowing himself to be distracted from his studies. Art historians have long pondered over the iconography of this image. The popular biblical story of Joseph and Potiphar's wife has been suggested (and subsequently rejected, as the man in the painting is too old to represent the young Joseph), but also the story of Xenokrates and Phryne, which is more fitting. In the end, historians have settled on the more neutral title "The Steadfast Philosopher", which Judson also used for this single figure composition in his catalogue raisonné (Judson/Ekkart, op. cit., p. 138).This depiction of a philosopher illustrates the qualities for which Gerrit van Honthorst's art was celebrated by his contemporaries. These were qualities which he developed through study of the works of Caravaggio and his followers during a sojourn to Rome between 1612 and 1620 - namely the dynamic and monumental way of depicting figures and lifelike corporeality through the skilful use of light and shadow. The mere addition of the folded red carpet in the foreground creates the appearance of immense depth and the figure is provided with a powerful tangibility through the generous drapery of the philosopher's ochre-coloured cloak and the chiaroscuro effect with which Honthorst has modelled for instance his raised hand.In this painting, Gerrit van Honthorst has not simply repeated the left half of the work in the Hohenbuchau Collection and left out the woman, but has tightened the frame around the subject to bring the figure closer to the viewer. This effect is accentuated by the rug in the foreground, which is now cut off by the edge of the image and serves as repoussoir. This tighter composition focussing on a single figure further enhances the dynamic and lifelike appearance of Honthorst's philosopher. The artist has used a technique which we also see in the paintings of musicians he developed in the early 1620s after his return from Rome. The depiction of individual musicians developed from the separation of single figures from groups, a motif originating in the work of the Italian Caravagesques but with its roots in the painting tradition north of the Alps. A fine example of this kind of work is the "Merry Fiddler with Wine Glass" (cf. illus. 2; oil on canvas, 108 x 89 cm, Rijksmuseum, Amsterdam, inv. SK-A-180), a painting with near identical dimensions to the present work. Despite their many differences, Gerrit van Honthorst has utilised the same style of composition in "The Steadfast Philosopher" as he does in his pictures of musicians such as the "Merry Fiddler": He has isolated a single figure from a larger compositional and narrative programme and made it the protagonist of an imposing, life size depiction.In his "Schilderboek" of 1603, the art theoretician Karel van Mander described the life of Michelangelo Merisi da Caravaggio, the brightest star among the painters of Rome, and recommended that young artists emulate his style, if not his questionable life choices. Inspired by such reports, a whole generation of young, talented artists - all of whom born in the 1580s and 1590s - made the journey from Utrecht to Rome to study the art of this great master, among them Hendrik Terbrugghen, Dirck van Baburen, Jan van Bylert and Gerrit van Honthorst. Caravaggio himself died in 1610, but the Netherlandish artists were able to study his works in the churches and collections of the city. Painters throughout Italy and the whole of Europe, including Orazio Gentileschi, Bartolomeo Manfredi, Valentin de Boulogne and Jusepe Ribera also continued to paint in Caravaggio's style. Gerrit van Honthorst lived in the house of Cardinal Giustininani, who owned a substantial collection of art and whose palace was located directly opposite the Church of San Luigi dei Francesi in which many of Caravaggios finest works were kept. Here, the artist was able to study his paintings as well as those of numerous other Italian artists, such as Annibale Carracci and his pupils, and Honthorst became a highly sought-after painter in Rome, particularly of religious subjects. He returned to Utrecht a successful painter in 1620, bringing his new style and motifs from Italy with him, and it was shortly after this return that he painted "The Steadfast Philosopher". 107 x 102 cmView additional info
Description: Abraham Janssens, circle of, Allegory of Sight A bejewelled and elegantly dressed lady is shown before a red curtain with a narrow opening onto a landscape, she has turned away from the viewer to gaze into a mirror, and an eagle is depicted at her side. The mirror and the eagle both indicate that this painting is an allegory of sight which may have belonged to a series illustrating the five senses. Several full series of this type using this motif for the depiction of sight are known, and it was also used for copper engravings in which the composition is ascribed to the artist Pieter van Mol. However, Gregor J. M. Weber considers Pieter van Mol to be the artist who drew the designs for the engravings and not the inventor of the composition (l.c., p. 220), who he assumes to be an artist from the circle of the Antwerp based painter Abraham Janssens from the first decade of the 17th century. He also attributes several other series of paintings, which include depictions of the four seasons or four elements, to this artist. Although recent research has not yet been able to attribute the present work to a specific member of Janssen's workshop or a pupil of his, the obvious fine quality of the painting and the charming motif remain indisputable. 120 x 92 cmView additional info
Description: A Saxon serpentine dish with a wide brim Diameter 34.9 cm.View additional info
Description: A figure of the god Mars by Tiziano Aspetti, 17th century A bronze figure cast in the round depicting the God of war Mars standing upon a breastplate dressed solely in a helmet and cloth around the shoulders, and leaning upon his shield whilst drawing his sword. This model by Tiziano Aspetti has survived in various versions, the best being that kept in the Frick collection in New York. Height 47 cm (without socle).
Condition Report: With cracks running across the neck and to the left above the hip. Mounted to a marble socle.View additional info
Description: An opulent Vienna desk a trois corps With a folding writing surface concealing six small drawers and with nine further drawers to the midsection. H 126, W 105, D 77 cm.
Condition Report: Restored, regilt, replaced losses to the veneer.View additional info
Description: An important Hermannstadt silver partially gilt footed bowl. Marks of Sebastianus Hann, late 17th C. Sebastianus Hann, born in Letschau, was one of the most outstanding baroque goldsmiths in Hungary. His works are characterised by their rich ornamentation and masterful depictions of biblical and historical motifs with finely embossed and chased figures. He carried out many commissions for the princely court of Siebenbürgen, and later that of Wallachia. The epitaph of the Count of Saxony Valentin Franck of Franckenstein - an enthusiastic patron of this artist - is among his greatest works and is now kept in the collection of the Brukenthalmuseum in Hermannstadt. Works of comparable quality by this goldsmith are for the most part already kept in public collections and churches and are thus very rarely available for purchase on the art market. H 34; diameter 34 cm, weight 2200 g.View additional info
Description: An Italian tabernacle cabinet a deux corps H 143, W 105, D 44.5 cm.
Condition Report: Minor age-related wear.View additional info
Description: An important gilt softwood rococo frame a la façon de Venise Possibly originally meant for a painting.
Condition Report: Regilt, the foil/resin used for the verre eglomisé with cracquelure and partially damaged.View additional info
Description: Josse de Momper, Mountain Landscape with Horseman and Woodcutter Monogrammed lower centre (on the wood): M. 41,7 x 65,3 cmView additional info
Description: Pieter Cosyn, View of a Castle Signed and dated lower right: P. Cosin 1655Little is known about the life and work of the Dutch landscape painter Pieter Cosyn, partly due to the fact that over the years his signature has often been erased and replaced with that of more well known artists (W. Bernt: Die Niederländischen Maler des 17. Jahrhunderts, vol. I, p. 45).We do know that he was a painter of the Hague school and that as a successor of Jan van Goyen his colour palette mainly used a variety of yellow tones, tending towards a general monochromy. This influence is notable in the present finely painted view of a castle, which almost appears more drawn than painted, a style in turn influenced by that of the Hague based painter Anthony Croos. 48.5 x 50.5 cmView additional info
Description: Aelbert Cuyp, A Young Shepherd with a Flock of Goats Signed and dated lower center: A: Cuyp Fecit 16(?)Aelbert Cuyp was born into a family of artists in Dordrecht in 1620. His father Jacob Gerritsz Cuyp was a successful painter of portraits and animals, and his half brother Benjamin Gerritsz Cuyp mainly focussed on interior scenes and religious histories. Aelbert Cuyp most likely carried out his apprenticeship and worked in his father's studio in the early 1630s. The present pastoral scene is clearly influenced by Jacob Gerritsz, as this genre was perfectly suited to display his prowess in painting portraits and animals. The father probably also painted the figures in his son's landscapes, and this possibility cannot be excluded within the present work. This fine large-format painting of a youth as a shepherd is most likely an early work of Aelberts Cuyp, although unfortunately only the first two digits of the date located beneath the artist's signature are legible as "16". The pastoral motifs of Jacob and Aelbert Cuyp, who at the time of the elder's death in 1652 both worked in the same studio, were perfectly in tune with the tastes of their Dutch patrons at the dawn of the Golden Age. Both the prosperous Dutch borgeousie and aristocrats were fascinated by the thought of an idealised, happy life in the countryside, and this found particularly charming expression in such depictions of young shepherds and shepherdesses. Aelbert Cuyp himself also eventually rose into the upper stratum of society in his hometown of Dordrecht by marrying the widow of a rich regent in 1658. 90 x 102 cmView additional info
Description: Jan Fyt, Landscape with Dogs and a Huntsman It is the hunting dogs, and not the hunter in the center, who are the protagonists of this landscape. Jan Fyt has depicted them exhausted from the hunt and resting in the shadow of a rock. Some are shown sleeping, others merely at rest and others still are active and running around.This painting exemplifies why Jan Fyt was considered one of the leading still life and animal painters in the Netherlands in the 17th century. He has depicted the dogs in lifelike poses and perfectly captured the softness of their fur. Jan Fyt's paintings were sought-after among collectors for these qualities and sold for high prices, making him one of the most wealthy artists in Antwerp. Due to this high demand for his works, he often painted his most popular compositions numerous times, as is the case with this motif (cf. Dorotheum auction, Vienna, 19.9.1961, lot 39). The original composition was probably first painted during the artist's trip to Italy in the 1630s, where he emancipated himself from the style of his teacher Franz Snyder, and under the influence of Italian painting gravitated towards a colour palette dominated by subtle brown tones. Jan Fyt was primarily known for his still lifes with game, in which he painted the spoils of the hunt in combination with live animals, especially hunting dogs - which in this painting have emancipated themselves from their owner. 57.5 x 82 cmView additional info
Description: An engraved Nuremberg brass chandelier Six branches to the lower section, eight smaller branches to the upper section and with a finial formed as Zeus. H ca. 93, Diameter ca. 90 cm.
Condition Report: One of Zeus' attributes missing.View additional info
Description: An outstanding museum quality wool and silk tapestry with an allegory of Asia. From the series 'la tenture de ménagerie', showing an enthroned King surrounded by acrobats and exotic animals."Je vous conseille absolument de ne pas laisser passer les Grotesques de Beauvais. C´est assurément une chose singulière pour son prix et digne d´un homme de votre goût" (I must advise you not to leave out the grotesque tapestries of Beauvais. They are a once in a lifetime chance at that price and are most certainly worthy of a man of your good taste), wrote the Swedish architect Daniel Cronström to his colleague Nicodemus Tessin (cat. Tapisserien, Weinheim 2002, p. 55). This series of tapestries was the most famous product made in the workshop of Philippe Béhagle, and they were both a renowned French luxury article and a cultural sensation. The level of detail, the marvellous depictions of animals, the dramatic lighting and the vibrant colours all uniquely convey the love of exoticism that pervaded court life at the time of Louis XIV. Boccara was able to discover over 150 tapestries from this series, but the only versions in Germany can be found in Bruchsal castle. A series of six tapestries with differing borders are kept here, one of which is identical to the present work. 296 x 498 cm.
Condition Report: The top slightly shortened, horizontal cut and shut. With minor repairs. Lined.View additional info
Description: A Brunswick architectural cabinet. Decorated with allegories of Caritas, Spes, Iustitia and Melancholia, the tin inlays engraved with mythological scenes.The houses of Welf in Brunswick and Hannover were highly important patrons of cabinet-makers in the late 17th and early 18th century. Their numerous commissions for the furnishings of Herrenhausen palace, construction of which began in 1665, considerably promoted the works of fine craftsmen at this time. Following the ascension of Prince-Elector Georg Ludwig to the English throne and the annexation of the formerly independent city of Brunswick to the Duchy of Brunswick-Wolfenbüttel, the city once again became the main residence of the Dukes of Welf in the mid 18th century. Many articles of furniture were made for this residence, including a Boulle writing cabinet with ivory and brass inlays to the front depicting mythological figures, which is currently on display in Wolfenbüttel Castle. These kinds of inlays can also be found on tabletops and especially wardrobes, which young cabinet-maker's were required to produce in order to become masters as of 1685. The opulent design of these pieces with their fine quality veneers, ivory inlays and the unique but classical form with its elegant crowning element characterise these museum quality works as perfect examples of the north west German high baroque style, the compositions of which were highly influenced by courtly tastes. H 220, W 250, D 80.5 cm.
Condition Report: Restored, the brass lock replaced.View additional info
Description: Alessandro Magnasco, called Il Lissandrino, A Hunter Gutting an Animal The biographer Carlo Giuseppe Ratti referred to the Genoan painter Alessandro Magnasco as a "Pittore di un carattere particolare nelle sue pitture" - a painter whose works display an exceptional character - and the present work illustrates exactly what the artist's first biographer meant with this comment.At first glance one sees only a flurry of colours upon canvas, formed from nervous dashes, sketchy patches and flurried curves. Only gradually do these marks condense within the mind's eye and we begin to recognise the landscape, figure, objects and subject of the painting: The dark grey and brown patches become a steep cliff, the diagonal lines form a frame from which a dead animal hangs, and we see various objects such as a horn, lantern and bowls, and finally the figure of a hunter with a white shirt, blue trousers and a bag. Alessandro Magnasco has transformed a simple genre scene into a painted spectacle, providing a stage for his eccentric style. This eccentricity was not only revealed in his style, but also the unique motifs chosen by this artist, such as Capuchin Monks or beggars. Carlo Giuseppe Ratti was outraged by his contemporaries who often failed to recognise the exceptional character of this artist's capricious works and instead favoured more realistic and detailed pictures by mediochre artists. Although this may have been the case for some collectors in Magnasco's ligurian home town, it certainly did not apply to the sophisticated aristocrats of Florence and Milan, where "il Lissandrino" learnt to paint at 14 years of age under Filippo Abbiati. He painted for Ferdinando de´ Medici in Florence in 1703 before returning to Milan in 1709, where he carried out commissions for various illustrious patrons, including the Austrian Stadtholder Colloredo, the Visconti and the Borromeo families. He found many sources of inspiration in Milan, and more still in Florence, including the work of Jacques Callot, the bawdy genre scenes of the Dutch painters, as well as motifs from Spanish and Italian literature.Alessandro Magnasco was a celebrated artist during his lifetime, but was largely forgotten in the 19th century only to be rediscovered in the 20th. We mainly owe this rediscovery to the Viennese art historian and author Benno Geiger, who carried out extensive research on this artist, published two monographs and organised various exhibitions of his works. The present work was part of Benno Geiger's collection in the early 20th century. 55 x 45 cmView additional info
Description: Alessandro Magnasco, Four Hermits 72 x 55 cmView additional info
Description: French School, View of a Harbour amid Morning Mists This atmospheric morning view of a harbour follows the tradition of Joseph Vernet. The composition with a populous, stage-like foreground looking out over a view of the ocean still shrouded in early morning fog is reminiscent of Vernet's "Morning Mist at Sunrise" in the Alte Pinakothek in Munich (cf. exhib. cat. Claude-Joseph Vernet. (1714-1789), Neue Pinakothek, Munich 1997, no. 5). 40 x 58 cmView additional info
Description: A rare pair of small carved lindenwood Baroque frames Probably originally meant for portraits, now with mirrors. H 37.5, W 22.3 cm.
Condition Report: Damage and very minor losses due to earlier worm infestation.View additional info
Description: An ivory and wood figure of Pantalone H 26.5 cm.
Condition Report: A missing hand has been replaced with an iron hook, a small breakage to the right lid.View additional info
Description: A South German figure of the Virgin of the immaculate conception, mid 18th century An image of the Virgin floating above clouds on a globe with one foot treading upon a snake and a crescent moon. The Madonna's subtle contrapposto is emphasised by the drapery of her cloak, lending the piece a harmonic sense of movement. Height 57 cm (without socle)
Condition Report: Some fingers lost. Vertical cracks. Mounted on a modern wooden socle.View additional info
Description: A North Italian trompe l´oeil painted cabinet á deux corps Additional carved decor to the interior. H 187.5, W 99.5, D 45 cm.
Condition Report: Slight retouches to the painting.View additional info