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Pieter Coecke van Aelst Sold at Auction Prices

Painter, b. 1502 - d. 1550

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        • Pieter Coecke van Aelst d. Ä., 1502/07 – 1550, Nachfolge
          Dec. 07, 2023

          Pieter Coecke van Aelst d. Ä., 1502/07 – 1550, Nachfolge

          Est: €6,000 - €8,000

          DIE HEILIGE FAMILIE Öl auf Holz. 84 x 65 cm. Vergoldeter Rahmen im gotischen Stil. Der genannte Maler, ein Schüler des Bernard van Orley, war auch als Literat und Übersetzer antiker Schriften tätig, darüber hinaus als Verleger. Seine Bekanntheit führte zu mannigfachen Wiederholungen seiner Werke im Schülerkreis. So ist auch das vorliegende Bildmotiv öfter aufgetaucht, meist mit Detailveränderungen und in unterschiedlichen Formaten. Inhaltlich weist die Darstellung etliche allegorische Einzelheiten auf, wie etwa die dunkle Traube, die Josef dem Kind entgegenhält, die als Verweis auf den Wein des Abendmahls und den Opfertod zu verstehen ist. Ebenso weisen der Apfel in der Hand Mariens und die Kirschen auf die verbotenen Früchte des Paradieses. Rest. (1380862) (11)

          Hampel Fine Art Auctions
        • Pieter Coecke van Aelst (attribuito_a) (Flemish 1502-1550) - Madonna with book and baby Jesus.
          Oct. 27, 2023

          Pieter Coecke van Aelst (attribuito_a) (Flemish 1502-1550) - Madonna with book and baby Jesus.

          Est: €9,000 - €9,999,999

          Oil painting on wood "An excellent Flemish Renaissance painter, he lived in Italy where he had the opportunity to appreciate the art of his contemporary Italian painters. He was a great admirer of Raphael, who often is inspired, as for example in this painting, although he remains essentially atheistic within his own canons and stylistic developments. He made an important contribution to the great Renaissance art in Flanders. Draftsman, painter and publisher of architectural treatises, he was disputed by the most famous figures of the his time: Charles V, Francis I King of France, Henry VIII of England, Cosimo I dei Medici. In this work the influence of Italian Renaissance ways is evident. He initiated the transition from the late Gothic concept in the Netherlands to the Renaissance one. The writings and treatises of Sebastiano Serlio were an example to him. This simple painting, probably for a private commission, is in some way inspired by Raphael's Madonna del Connestabile. In fact, the representation of the Madonna and the child is rendered in a real and fluid way, giving naturalness to the scene. He abolishes the landscape background and focuses the figuration on the two characters, thus giving more strength to the spiritual meaning. A sad and melancholic harmony shines through and is palpable, at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy about the death of Jesus, with sweet resignation while the child orders her to read by pointing with his finger. The shapes are well calibrated and the gestures of the pointing child and of the Madonna who holds him protectively around her waist make the scene happy and full of harmony. A light that seems to come from a window focuses the characters and illuminates the painted clothes in a soft and fluid way. He was an example for all those Dutch-mannerist painters of the second half of the 16th century. 40x30, oil on panel. Provenance: illustrates family from Catania." ASORstudio < /div>

          ArtLaRosa
        • Pieter Coecke van Aelst d. Ä., 1502/07 – 1550, zugeschrieben
          Sep. 28, 2023

          Pieter Coecke van Aelst d. Ä., 1502/07 – 1550, zugeschrieben

          Est: €30,000 - €45,000

          DIE ANBETUNG DER HEILIGEN DREI KÖNIGE Öl auf Holz. Parkettiert. 150 x 148 cm. Unterhalb einer Architektur mit breiter verzierter Mittelsäule die sitzende Maria in blau-braunem Gewand, auf ihrem rechten Oberschenkel den schlanken, blond gelockten, nackten Jesusknaben haltend, der seinen rechten Arm zum Segensgestus erhoben hat, und den ältesten der drei Heiligen Könige anblickt. Der kniende ältere König mit langem grau-weißen Bart trägt ein edles goldbesticktes Gewand und einen kurzen Hermelinumhang. Hinter ihm ein weiterer farbiger König mit Gaben sowie rechtsseitig der dritte halbkniende König. Im Hintergrund werden unterhalb eines Rundtempels zwei weitere Szenen aus dem Leben Jesu dargestellt: Linksseitig die Darbringung im Tempel und rechtsseitig Christus predigt den Schriftgelehrten. Feine qualitätvolle Malerei in der typischen Manier des Künstlers. Anmerkung: Eine vergleichbare Darstellung ist auf der Mitteltafel eines Triptychons des Künstlers zu finden, das am 29. Januar 2021 bei Sotheby‘s, New York, Lot 103 versteigert wurde. Vergleichbare Motive lassen sich auch im Werk des Joos van Cleeve (um 1485- um 1540) und bei Antwerpener Meistern der ersten Hälfte des 16. Jahrhunderts finden. (13713335) (18) Pieter Coecke van Aelst the Elder, 1502/07 – 1550, attributed THE ADORATION OF THE MAGI Oil on panel. Parquetted. 150 x 148 cm. Notes: A similar depiction by the artist is shown on the central panel of a triptych, sold at auction at Sotheby’s, New York, lot 103 on 29 January 2021. Comparable motifs can also be found in the oeuvre of Joos van Cleeve and the Antwerp masters in the first half of the 16th century.

          Hampel Fine Art Auctions
        • Follower of Pieter Coecke van Aelst (Aelst 1502-1550 Brussels) The Adoration of the Magi
          Jul. 05, 2023

          Follower of Pieter Coecke van Aelst (Aelst 1502-1550 Brussels) The Adoration of the Magi

          Est: £10,000 - £15,000

          Follower of Pieter Coecke van Aelst (Aelst 1502-1550 Brussels) The Adoration of the Magi oil on panel, extended by 6cm along the upper edge, with both corners made up 87.6 x 67.2cm (34 1/2 x 26 7/16in).

          Bonhams
        • Pieter Coecke van Aelst d. Ä., 1502/07 – 1550, zug. und seine Werkstatt
          Jun. 29, 2023

          Pieter Coecke van Aelst d. Ä., 1502/07 – 1550, zug. und seine Werkstatt

          Est: €35,000 - €45,000

          DAS LETZTE ABENDMAHL Öl auf Holz. 66 x 88 cm. Das Gemälde zeigt einen Innenraum mit großem Tisch und weißer Decke, im Zentrum sitzend Jesus, umgeben von den zwölf Aposteln, unmittelbar nachdem dieser ihnen beim letzten gemeinsamen Essen am Vorabend seiner Kreuzigung gesagt hatte „Einer von Euch wird mich verraten.“ (Neues Testament Mt 26,21). Das Gemälde geht auf die berühmteste Darstellung des letzten Abendmahls des italienischen Malers Leonardo da Vinci (1452-1519) zurück; sie schmückt die Nordwand des Refektoriums des Dominikanerklosters Santa Maria delle Grazie in Mailand. Die Jesus umgebenden Apostel sind teils in ein Gespräch verwickelt, teils nachdenklich blickend. Im Vordergrund rechts, an einem leicht umkippenden Hocker stehend, Judas in gelb-grüner Gewandung, auf dem Hocker den Geldbeutel als Lohn für den Verrat festhaltend, dabei Jesus anblickend und mit seinem rechten Finger auf sich zeigend, um zu fragen „War ich es Jesus?“. Im Vordergrund auf dem gekachelten Boden zwei spielende Hunde sowie am rechten Bildrand eine kleine Obstschale und linksseitig ein großer Korb mit Früchten. Nach links führt über einen kleinen Treppenabsatz ein Gang aus dem Raum hinaus ins Freie, in dem eine Figur Krüge für das Mahl hereinträgt. Die Apostel in teils kräftiger farbiger Kleidung, die, ebenso wie Jesus, durch die Beleuchtung besonders hervorgehoben wird gegenüber dem dunkleren Hintergrund. Auf dem Werk von da Vinci sind die Apostel alle zu Seiten Jesu zu finden, ferner auch keine Gegenstände oder Hunde im Vordergrund. Es existieren zahlreiche Wiederholungen durch den Künstler sowie dessen Werkstatt, die sich teils in großen Museen befinden, aber auch auf dem Markt angeboten werden. Die auffälligsten Unterschiede zwischen der hier vorliegenden Version und den meisten anderen sind das vereinfachte Schachbrettmuster des Bodens, der fast schwarzbraune Hintergrund der beiden Wände seitlich des mittleren Fensters und die starke Farbigkeit der Kleidungsstücke. Durch das Fenster im Hintergrund ist ein Torbogen zu erkennen, der auch von anderen Versionen abweicht. In den links und rechts davon liegenden verzierten Fenstern sind große Medaillen zu erkennen, auf denen linksseitig die Ermordung Kains sowie rechtsseitig die Geschichte von David und Goliath wiedergegeben werden. Teils werden die Darstellungen vertauscht wiedergegeben. (1360631) (18) Pieter Coecke van Aelst the Elder, 1502/07 Aalst – 1550 Brussels, (attributed) and his workshop THE LAST SUPPER Oil on panel. 66 x 88 cm.

          Hampel Fine Art Auctions
        • Pieter Coecke van Aelst (attribuito_a) (Flemish 1502-1550) - Madonna with book and baby Jesus.
          Jun. 16, 2023

          Pieter Coecke van Aelst (attribuito_a) (Flemish 1502-1550) - Madonna with book and baby Jesus.

          Est: €9,000 - €9,999,999

          Oil painting on panel "Excellent Flemish Renaissance painter who lived in Italy where he was able to appreciate the art of his contemporary Italian painters. He was a great admirer of Raphael, to whom he often he is inspired, as for example in this painting, although substantially he remains an atheist within his own canons and stylistic developments. He made an important contribution to the great Renaissance art in Flanders. Draftsman, painter and publisher of architectural treatises, he was disputed by the most famous characters of the of his time: Charles V, Francis I King of France, Henry VIII of England, Cosimo I dei Medici.In this work the influence of the Italian Renaissance styles is evident.He initiates the passage and transition from the late Gothic conception in the Netherlands to the Renaissance. The writings and treatises of Sebastiano Serlio were an example for him. This painting, simple, probably for a private commission, is inspired in some way by the Madonna del Connestabile by Raphael. In fact, the representation of the Madonna and child is rendered in a real and fluid way, giving naturalness to the scene. He abolishes the landscape background and focuses the figuration on the two characters thus giving more strength to the spiritual meaning. A sad and melancholy harmony transpires and is palpable, at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy on the death of Jesus, with sweet resignation while the child enjoins her to read by pointing with his finger. The forms are well calibrated and the gestures of the child pointing and of the Madonna who clasps him to the waist in a protective way, make the scene happy and full of harmony. A light that seems to come from a window centers the characters and illuminates the painted clothes in a soft and fluid way. He was an example for all those Dutch Mannerist painters of the second half of the 16th century. 40x30, oil on panel. Provenance: illustrates a family from Catania." ASORstudio < /div>

          ArtLaRosa
        • Follower of Pieter Coecke van Aelst (Aelst 1502-1550 Brussels) The Madonna and Child
          Apr. 04, 2023

          Follower of Pieter Coecke van Aelst (Aelst 1502-1550 Brussels) The Madonna and Child

          Est: £4,000 - £6,000

          Follower of Pieter Coecke van Aelst (Aelst 1502-1550 Brussels) The Madonna and Child oil on panel 27.7 x 20.2cm (10 7/8 x 7 15/16in).

          Bonhams
        • Pieter Coecke van Aelst, 1502 Aalst – 1550 Brüssel, Umkreis
          Dec. 08, 2022

          Pieter Coecke van Aelst, 1502 Aalst – 1550 Brüssel, Umkreis

          Est: €90,000 - €120,000

          DIE ANBETUNG DER DREI KÖNIGE, UM 1540 Öl auf Holz. 90 x 106 cm. Beigegeben ein Zertifikat von René Millet. Das Triptychon zeigt drei Episoden aus der Jugend Christi: die Anbetung der Hirten auf der linken Tafel, die Beschneidung Christi auf der rechten sowie, auf der Haupttafel in der Mitte, die Anbetung der Heiligen drei Könige. Pieter Coecke van Aelst war ein flämischer Künstler, der sowohl als Architekt, Maler, Bildhauer und Schriftsteller tätig war. Er war Schüler bei Van Orley, dem Hofmaler der Habsburger, und verbringt die Jahre zwischen 1521 und 1525 in Italien, wo er sich mit den Meisterwerken der Antike und dem Gedankengut der Renaissance vertraut macht. Seine Begeisterung für Architektur wird in der „Anbetung der Heiligen drei Könige“ in der Darstellung antiker Pfeiler und Porphyrsäulen deutlich. Pieter Coecke van Aelst griff das Thema mit variierender Bildkomposition in mehreren seiner Werke auf, wie etwa die Varianten im Schloss von Ecouen und im Musée des Beaux-Arts in Valenciennes. (†) (1341456) (10) Pieter Coecke van Aelst, 1502 Aalst – 1550 Brussels, circle of THE ADORATION OF THE THREE MAGI, ca.1540 Oil on panel. 90 x 106 cm. Accompanied by a certificate by René Millet. (†)

          Hampel Fine Art Auctions
        • Pieter Coecke van Aelst d. Ä., 1502/07 Aalst – 1550 Brüssel, zugeschrieben
          Dec. 08, 2022

          Pieter Coecke van Aelst d. Ä., 1502/07 Aalst – 1550 Brüssel, zugeschrieben

          Est: €30,000 - €60,000

          Maria lactans vor einer Stadt Öl auf Holz. Parkettiert. 62 x 47,5 cm. Verso mit einem roten und einem blauen Siegel. In ebonisiertem Profilrahmen. An einem Tisch, dessen Deckplatte weit über die Zarge hinausragt und durch Überschneidung des Schoßes Mariens zum dreidimensionalen Eindruck des Gemäldes beiträgt, sitzt rechts Maria mit entblößter Brust. Diese führt sie zärtlich dem Christuskind zu, das in ihrem Arm liegt, um es zu nähren. Auf dem Tisch neben einer Fayencevase mit ihr attributiv zukommender Lilie - als Zeichen ihrer Reinheit - mehrere Früchte mit christlich-symbolischem Charakter. Rechts überfängt ein Baum mit seinen Zweigen die Personengruppe und löst damit formal das Ehrentuch ab, welches zuvor üblich war. Links im Mittelgrund ein Hortus conclusus, der in der Mariensymbolik eine übergeordnete Rolle spielt und im Hohenlied im Alten Testament (Hld 4,12) auftaucht: „Meine Schwester, liebe Braut, du bist ein verschlossener Garten, eine verschlossene Quelle, ein versiegelter Born“. Sinnfällig ist entsprechend der Verkündigungsengel dargestellt, wie er die einzige Öffnung in der Mauer betritt in Richtung Mariae mit dem Kinde. Auf der Mauer des Hortus conclusus und im Garten selbst sehen wir auch einen Pfau, der wiederum als Sinnbild der Unsterblichkeit gilt, da sein Fleisch unverweslich sein soll (Augustinus, de civit Dei 21,4). Der Garten gehört zu einer Stadt, die durch einen Kirchturm eingeleitet wird und in einer Höhenburg ihr vorläufiges Ende nimmt, bevor der Horizont von einer Hügelkette markiert wird. Das Motiv Maria Lactans ist uns von van Aelst bzw. seiner Werkstatt und Nachfolge in mehreren Bildwerken überliefert, wenngleich das Motiv des auf dem Schoß der Maria tollenden Jesuskindes, welches nach einem Apfel greift, häufiger anzutreffen ist. (1330153) (13) Pieter Coecke van Aelst the Elder, 1502/07 Aalst – 1550 Brussels, attributed THE NURSING MADONNA OUTSIDE A CITY Oil on panel. Parquetted. 62 x 47.5 cm. Verso with a red and a blue seal. Several depictions of the Nursing Madonna by van Aelst or his workshop and followers are known, although the motif of the Christ Child frolicking on the Virgin’s lap, reaching for the apple, is more common.

          Hampel Fine Art Auctions
        • Pieter Coecke van Aelst (1502-1550)-school
          Sep. 27, 2022

          Pieter Coecke van Aelst (1502-1550)-school

          Est: €750 - €1,500

          Pieter Coecke van Aelst (1502-1550)-school, Adoration of the magis , oil on wooden panel , framed, 50x35 cm

          Deutsch Auktionen
        • Pieter Coecke van Aelst d. Ä., 1502/07 Aalst – 1550 Brüssel, zugeschrieben
          Sep. 22, 2022

          Pieter Coecke van Aelst d. Ä., 1502/07 Aalst – 1550 Brüssel, zugeschrieben

          Est: €40,000 - €60,000

          Maria lactans vor einer Stadt Öl auf Holz. Parkettiert. 62 x 47,5 cm. Verso mit einem roten und einem blauen Siegel. In ebonisiertem Profilrahmen. An einem Tisch, dessen Deckplatte weit über die Zarge hinausragt und durch Überschneidung des Schoßes Mariens zum dreidimensionalen Eindruck des Gemäldes beiträgt, sitzt rechts Maria mit entblößter Brust. Diese führt sie zärtlich dem Christuskind zu, das in ihrem Arm liegt, um es zu nähren. Auf dem Tisch neben einer Fayencevase mit ihr attributiv zukommender Lilie – als Zeichen ihrer Reinheit – mehrere Früchte mit christlich-symbolischem Charakter. Rechts überfängt ein Baum mit seinen Zweigen die Personengruppe und löst damit formal das Ehrentuch ab, welches zuvor üblich war. Links im Mittelgrund ein Hortus conclusus, der in der Mariensymbolik eine übergeordnete Rolle spielt und im Hohenlied im Alten Testament (Hld 4,12) auftaucht: „Meine Schwester, liebe Braut, du bist ein verschlossener Garten, eine verschlossene Quelle, ein versiegelter Born“. Sinnfällig ist entsprechend der Verkündigungsengel dargestellt, wie er die einzige Öffnung in der Mauer betritt in Richtung Mariae mit dem Kinde. Auf der Mauer des Hortus conclusus und im Garten selbst sehen wir auch einen Pfau, der wiederum als Sinnbild der Unsterblichkeit gilt, da sein Fleisch unverweslich sein soll (Augustinus, de civit Dei 21,4). Der Garten gehört zu einer Stadt, die durch einen Kirchturm eingeleitet wird und in einer Höhenburg ihr vorläufiges Ende nimmt, bevor der Horizont von einer Hügelkette markiert wird. Das Motiv Maria Lactans ist uns von van Aelst bzw. seiner Werkstatt und Nachfolge in mehreren Bildwerken überliefert, wenngleich das Motiv des auf dem Schoß der Maria tollenden Jesuskindes, welches nach einem Apfel greift, häufiger anzutreffen ist. (1330153) (13) Pieter Coecke van Aelst the Elder, 1502/07 Aalst – 1550 Brussels, attributed THE NURSING MADONNA OUTSIDE A CITY Oil on panel. Parquetted. 62 x 47.5 cm. Verso with a red and a blue seal. Several depictions of the Nursing Madonna by van Aelst or his workshop and followers are known, although the motif of the Christ Child frolicking on the Virgin’s lap, reaching for the apple, is more common.

          Hampel Fine Art Auctions
        • Follower of Pieter Coecke van Aelst (Aelst 1502-1550 Brussels) The Madonna and Child
          Apr. 12, 2022

          Follower of Pieter Coecke van Aelst (Aelst 1502-1550 Brussels) The Madonna and Child

          Est: £3,000 - £5,000

          Follower of Pieter Coecke van Aelst (Aelst 1502-1550 Brussels) The Madonna and Child oil on copper 30.4 x 26.1cm (11 15/16 x 10 1/4in). For further information on this lot please visit the Bonhams website

          Bonhams
        • Pieter Coecke van Aelst 1502–1550, Nachfolge
          Mar. 23, 2022

          Pieter Coecke van Aelst 1502–1550, Nachfolge

          Est: CHF3,000 - CHF5,000

          Pieter Coecke van Aelst 1502–1550, Nachfolge Das Urteil des Salomon Öl auf Holz 65 x 57 cm

          Artcurial Beurret Bailly Widmer
        • Pieter Coecke van Aelst I (1502-1550) - Moeurs et facon des Turcs
          Mar. 03, 2022

          Pieter Coecke van Aelst I (1502-1550) - Moeurs et facon des Turcs

          Est: €800 - €1,600

          Les moeurs et fachons de faire de Turcs / The customs and manners of the Turks,. This is one from fourteen blocks making a frieze divided by hermes into seven vignettes. The drawings were made by Pieter Coecke van Aelst in Istanbul around 1533/34, he als cut the wood blocks who were published in 1553 by his widow Maaike Verhulst. Very rare.

          Old Master Print
        • Pieter Coecke van Aelst (attribuito a) (Flemish 1502-1550) - Madonna with book and baby Jesus.
          Dec. 11, 2021

          Pieter Coecke van Aelst (attribuito a) (Flemish 1502-1550) - Madonna with book and baby Jesus.

          Est: €12,000 - €9,999,999

          Oil painting on wood"An excellent Flemish Renaissance painter who lived in Italy where he was able to appreciate the art of his contemporary Italian painters. He was a great admirer of Raphael, to whom he often he is inspired, as for example in this painting, although he essentially remains an atheist within his own canons and stylistic developments. He has made an important contribution to the great Renaissance art in Flanders. his time: Charles V, Francis I King of France, Henry VIII of England, Cosimo I dei Medici. The influence of the Italian Renaissance ways is evident in this work. He initiates the passage and transition from the late Gothic conception in the Netherlands to that of the Renaissance. The writings and treatises of Sebastiano Serlio were an example to him. This simple painting, probably for a private commission, is in some way inspired by the Madonn a del Connestabile by Raphael. In fact, the representation of the Madonna and child is rendered in a real and fluid way, giving naturalness to the scene. He abolishes the landscape background and focuses the figuration on the two characters thus giving more strength to the spiritual meaning. A sad and melancholy harmony transpires and is palpable, at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy on the death of Jesus, with sweet resignation while the child orders her to read by pointing with her finger. The shapes are well calibrated and the gestures of the pointing child and of the Madonna who holds him to his waist in a protective way, make the scene happy and redundant with harmony. A light that seems to come from a window focuses the characters and illuminates the painted clothes in a soft and fluid way. He was an example for all those Dutch-Mannerist painters of the second half of the 16th century. 40x30, oil on panel. Provenance: illustrates Catania family. "ASORstudio < / div>

          ArtLaRosa
        • Pieter I Coecke van Aelst und Werkstatt, 1502/07 Aalst – 1550 Brüssel
          Dec. 09, 2021

          Pieter I Coecke van Aelst und Werkstatt, 1502/07 Aalst – 1550 Brüssel

          Est: €25,000 - €35,000

          MARIA LACTANS Öl auf Holz. 31 x 22 cm. In dunklem Rahmen mit Teilvergoldung und Goldmalerei. Halbfigur der hinter einer niedrigen grünen Brüstung stehenden jugendlichen Maria mit langen dunkelblonden Haaren, einem grünen Gewand und leuchtend rotem Mantel vor weiter harmonischer Landschaft unter hohem hellblauem Himmel. Sie hält mit ihrer schmalen rechten Hand den auf einem weißen Tuch auf einem goldbestickten Kissen liegenden Jesusknaben und bietet ihm mit ihrer linken Hand die freie rechte Brust. Mutter und Kind schauen sich dabei liebevoll in die Augen. Feine qualitätvolle Malerei in harmonischer Farbgebung mit besonderer Herausstellung des zarten Inkarnats von Maria und dem Kind. Vergleichbare Darstellungen lassen sich mehrfach im Werk des Künstlers finden. Anmerkung: Maria lactans bezeichnet das Bildmotiv der stillenden oder der dem Kind die Brust reichenden Maria und gehört zu einem der häufigsten Motive bei der Darstellung von Maria mit dem Kind in der Kunstgeschichte. (1291942) (1) (18) Pieter I Coecke van Aelst and workshop, 1502/07 Aalst - 1550 Brussels MARIA LACTANSOil on panel. 31 x 22 cm.

          Hampel Fine Art Auctions
        • COECKE VAN AELST Pieter (1502 - 1550) - Huile sur panneau de chêne "Le Golgotha". Entourage ou su
          Dec. 08, 2021

          COECKE VAN AELST Pieter (1502 - 1550) - Huile sur panneau de chêne "Le Golgotha". Entourage ou su

          Est: €3,500 - €4,500

          COECKE VAN AELST Pieter (1502 - 1550) Huile sur panneau de chêne "Le Golgotha". Entourage ou suiveur de Pieter Coecke van Aelst. Ecole flamande. Epoque: c.1580. Dim.:+/-90x66,5cm.

          Vanderkindere
        • Pieter I Coecke van Aelst, 1502/07 Aalst – 1550 Brüssel, zug.
          Jun. 24, 2021

          Pieter I Coecke van Aelst, 1502/07 Aalst – 1550 Brüssel, zug.

          Est: €40,000 - €60,000

          TRIPTYCHON MIT ANBETUNG DER KÖNIGE IN BETHLEHEM Öl auf Eichenholz. Mitteltafel: 71,5 x 45,5 cm. Breite der Seitentafeln: 18 cm. In geschlossenem Zustand: 82 x 57,5 cm. Breite in geöffnetem Zustand: 116 cm. Jeweils oben bogig geschlossen, in den original ebonisierten Rahmungen mit vergoldeten Innenprofilen. Das Triptychon, in relativ kleinerem Format, war wohl für den Hausaltar eines adeligen Stifters in Auftrag gegeben worden. Die zentrale Darstellung zeigt Maria links thronartig sitzend, das Kind an ihrer Brust, rechts davor zwei der Heiligen Drei Könige mit ihren Geschenken in Form goldener Prunkgefäße. Besonders reich in Goldbrokat mit Ornamentschmuck gekleidet, der bärtige, barhäuptige König, in kniender Haltung. Der rückwärts Stehende ist mit Turban und Zepter dargestellt. Der dunkelhäutige dritte der Könige, im rechten Flügel, ebenso reich gekleidet, steht außerhalb der loggienartigen Architektur der Mitteltafel, die in den Pilastern deutlich Stilformen der italienischen Frührenaissance aufweisen. Der linke Seitenflügel zeigt die Gestalt des Heiligen Josef, in rotem Kleid, auf einen Stock gestützt, vor einer Bogenarchitektur mit oberem Rundfenster (nicht selten diente die Josefsfigur gleichzeitig als Bildnis des Auftraggebers). Die Ausblicke im Hintergrund zeigen in den Seitenflügeln Waldlandschaften, im Mittelbild dagegen eine Burg mit Turm neben einem Giebelhaus. Davor zwei Gestalten, die als synchronoptische Schilderung des Herankommens der Könige verstanden werden können. Auffallend ist die Pracht, mit der hier nicht allein die Erscheinung der Könige zelebriert wird, sondern auch die herrschaftliche Architektur selbst, in der sich die Anbetung vollzieht. Im Gegensatz zu den sonst üblichen Elementen oder Andeutungen eines Stalles, wie etwa bei Rogier van der Weyden (1399-1464), wird hier die Bedeutung des apokryph geschilderten Geschehens bewusst erhöht. In ähnlicher Weise finden wir die Frührenaissance-Pilaster in einem Gemälde desselben Themas im Kunsthistorischen Museum zu Wien (Inv. Nr. 944), von einem anonymen Niederländischen Künstler um 1520. Stilistisch lasen sich Einflüsse der großen Meister der flämischen Kunst feststellen, so etwa von Gerard David (um 1460-1523). Allerdings dürfte das Triptychon erst um 1530 entstanden sein. Das in der Mitteltafel oben eingefügte Wappen wurde wohl eine spätere Zutat sein. Darin das rote Jerusalemkreuz, ein Jakobsmuschel-Wappen und die Papsttiara mit Petrusschlüssel sowie das Katharinenrad. Dies weist darauf hin, dass der Auftraggeber später wohl eine Pilgerreise nach Rom und Jerusalem unternommen hatte, was hier dokumentiert werden sollte. A. R. (1261701) (11) Pieter I Coecke van Aelst, 1502/07 Aalst - 1550 Brussels, attributed TRIPTYCH WITH THE ADORATION OF THE MAGI Oil on oak panel. Central panel: 71.5 x 45.5 cm. Width of side panels: 18 cm. Dimensions (closed): 82 x 57.5 cm. Width (open): 116 cm. Each panel arched at the top, in original ebonized frame with gilt moulding. The relatively small format of this triptych suggests that it was commissioned as a house altar by a noble family. The style is reminiscent of great Flemish masters such as Gerard David (ca. 1460-1523), but it seems likely that the triptych was created after ca. 1530. The coat of arms on the central panel appears to have been added at a later date.

          Hampel Fine Art Auctions
        • Pieter Coecke Van Aelst or workshop. Adoration
          Jun. 23, 2021

          Pieter Coecke Van Aelst or workshop. Adoration

          Est: -

          Tríptico. Óleo sobre tabla. En la tabla central la Virgen María con el Niño en brazos recibe los presentes del oro y el incienso de los Reyes Gaspar y Melchor que ofrecen sus presentes descubiertos y en actitud devota mientras el Niño juguetea con la copa. Al fondo se aprecia la arquitectura característica de Van Aelst con dos soldados que conversan en un segundo plano, grupos de figuras en el camino y una bandada de aves que continúa en la tabla de la izquierda. La tabla derecha muestra a un San José anciano que se apoya en su cayado con animales en el establo en segundo plano y una arquitectura ruinosa al fondo. La tabla izquierda representa al Rey Baltasar con ricos ropajes ofreciendo el recipiente de mirra. Tras él un fondo arquitectónico, aves en el cielo y personajes en el camino. El tema de la Adoración de los Reyes era uno de los temas favoritos de los pintores de Amberes ya que les permitía representar personajes exóticos y exuberantes riquezas. Los presentes que llegaban desde tierras lejanas simbolizaban la importancia del comercio exterior para el nuevo e importante grupo de mecenas que constituían los comerciantes de Amberes. Pieter Coecke van Aelst fue pintor, grabador, dibujante y editor. Según Van Malder, estudia con Bernard van Orley en Bruselas. Pieter Coecke hereda un taller importante con abundante producción. Una de sus hijas será la esposa de Pieter Brueghel el Viejo. Su actividad no se redujo a la dirección del taller y la ejecución de pinturas, también realizó diseños para vidrieras y tapices y se interesó por la arquitectura. Tradujo a Vitruvio y a Sebastiano Serlio. Su estilo es considerado como manierista antuerpiense y cercano a las últimas obras de Rafael evolucionando hacia un lenguaje cercano a los romanistas.

          Duran Arte y Subastas
        • Tableaux Huile sur panneau de chêne parqueté "Présentation de l'Enfant J
          Jun. 15, 2021

          Tableaux Huile sur panneau de chêne parqueté "Présentation de l'Enfant J

          Est: €2,500 - €3,500

          Tableaux Huile sur panneau de chêne parqueté "Présentation de l'Enfant Jésus aux Rois mages". Entourage de Pieter Coecke Van Aelst. Ecole flamande. Epoque: XVIème. Dim.:+/-58x49cm. COECKE VAN AELST Pieter (1502 - 1550). Entourage de.

          Vanderkindere
        • PIETER COECKE VAN AELST. Pentecost.
          Jun. 03, 2021

          PIETER COECKE VAN AELST. Pentecost.

          Est: €25,000 - €30,000

          Oil on panel It was part of a triptych dedicated to the Ascension of Christ Bibliography: Georges Marlier, Pierre Coeck d'Alost, Editions Robert Fink, Brussels, 1966, p. 14 57x50 cm.

          Balclis
        • PIETER COECKE VAN AELST. Jesus before Caiaphas.
          Jun. 03, 2021

          PIETER COECKE VAN AELST. Jesus before Caiaphas.

          Est: €25,000 - €30,000

          Oil on panel It was part of a triptych dedicated to the Ascension of Christ Bibliography: Georges Marlier, Pierre Coeck d'Alost, Editions Robert Fink, Brussels, 1966, p. 14 57x50 cm.

          Balclis
        • PIETER COECKE VAN AELST Alost 1502 - Brussels 1550 The Arrest of Christ. H. 1525 Oil on panel
          May. 18, 2021

          PIETER COECKE VAN AELST Alost 1502 - Brussels 1550 The Arrest of Christ. H. 1525 Oil on panel

          Est: €35,000 - €70,000

          PIETER COECKE VAN AELST Alost 1502 - Brussels 1550 The Arrest of Christ. H. 1525 Oil on panel size 49 x 39.5 cm Origin: - Sotheby's London, Old Master Paintings, June 4, 1990, lot 26. - Private collection, Madrid. Pieter Coecke van Aelst is considered one of the great Mannerist painters of the so-called Antwerp school. His restless spirit led him to travel to various places in Europe such as Italy, Constantinople and Brussels where he was appointed court painter to Emperor Charles V. His deep knowledge of other genres of art such as architecture, sculpture or engraving are reflected in many Of his works. The present work represents the moment of the Arrest of Christ when a group of soldiers sent by the priests and Pharisees consummate the betrayal of Judas. At the far left of the composition, Simón Pedro raises the sword with which he will cut Malco's ear. The calm figure of Jesus contrasts with the dawning executioners that surround him. This work can be related to a cycle of paintings dedicated to the life of Christ, now scattered, among which is Jesus on the way to Emmaus (private collection) and the Entry of Jesus into Jerusalem from the Bonnefanten in Maastricht.

          Subastas Segre
        • PIETER COECKE VAN AELST. Jesus before Caiaphas.
          Mar. 11, 2021

          PIETER COECKE VAN AELST. Jesus before Caiaphas.

          Est: €25,000 - €30,000

          Oil on panel It was part of a triptych dedicated to the Ascension of Christ Bibliography: Georges Marlier, Pierre Coeck d'Alost, Editions Robert Fink, Brussels, 1966, p. 14 57x50 cm.

          Balclis
        • PIETER COECKE VAN AELST. Pentecost.
          Mar. 11, 2021

          PIETER COECKE VAN AELST. Pentecost.

          Est: €25,000 - €30,000

          Oil on panel It was part of a triptych dedicated to the Ascension of Christ Bibliography: Georges Marlier, Pierre Coeck d'Alost, Editions Robert Fink, Brussels, 1966, p. 14 57x50 cm.

          Balclis
        • Huile sur panneau de chêne renforcé "La Sainte Famille sur fond de paysage". Atelier de Pieter Coeck
          Feb. 23, 2021

          Huile sur panneau de chêne renforcé "La Sainte Famille sur fond de paysage". Atelier de Pieter Coeck

          Est: €4,000 - €6,000

          Huile sur panneau de chêne renforcé "La Sainte Famille sur fond de paysage". Atelier de Pieter Coecke van Aelst. Ecole flamande, Anvers. Epoque: XVIème. (Voir au dos, des traces de cachets à la cire rouge). Dim.:87,5x56,5cm.

          Vanderkindere
        • Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), Alleged artist. Madonna
          Dec. 19, 2020

          Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), Alleged artist. Madonna

          Est: -

          Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), Alleged artist. Madonna with the book and baby Jesus. 40x30, oil paint on panel. From wealthy Catania family. "The excellent Flemish Renaissance painter has lived in Italy, where he got to appreciate the art of his contemporaries Italian painters. It was a great Raphael estimator, which are often exhales, such as this painting, while substantially stayed within his own stylistic and developments. He made an important contribution to the body of the great Renaissance art in Flanders. Designer, painter and publisher of architectural treatises was disputed by the most famous people of his time, Charles V, King Francis I of France, Henry VIII of England, Cosimo I de 'Medici. In this work is evident influence of the Italian Renaissance style. He starts in the Netherlands the transition and the transition from late Gothic to Renaissance conception. The writings and treatises of Sebastiano Serlio were the sample. This painting, simple, probably for a private commission is inspired in some way to Our Lady of Constable by Raffaelo. In fact, the representation of the Madonna and child is rendered in a real and fluid, giving naturalness to the scene. He abolishes the background landscape and figuration focuses on two characters thus giving more strength to the spiritual meaning. Shines and is palpable harmony sad and melancholic at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy of the death of Jesus, with gentle resignation that the child enjoins the reading pointing with his finger. The forms are well-balanced is the child's gestures indicating and Mary, who holds him to life protectively, rlateono happy and redundant scene of harmony. A light that appears to be from a window centered characters and illuminates the painted clothes in a soft and fluid. It was an example for all those olandesi- Mannerist painters of the second mid book 500."ASORstudio

          ArtLaRosa
        • Atelier de Pieter COECKE van AELST Aelst, 1502 - Bruxelles, 1550 La Cène Huile sur panneau de chêne, trois planches, parqueté
          Nov. 18, 2020

          Atelier de Pieter COECKE van AELST Aelst, 1502 - Bruxelles, 1550 La Cène Huile sur panneau de chêne, trois planches, parqueté

          Est: €80,000 - €120,000

          Atelier de Pieter COECKE van AELST Aelst, 1502 - Bruxelles, 1550 La Cène Huile sur panneau de chêne, trois planches, parqueté Daté '1528' dans le médaillon à droite vers le bas (Légèrement agrandi d'une planche en partie supérieure et sur le côté droit) Dans un cadre en chêne sculpté et redoré, travail français d'époque Louis XV The Last Supper, oil on oak panel, dated, workshop of P. Coecke van Aelst h: 68,50 w: 81 cm Provenance : Collection des barons de Samatan ; Collection particulière du Centre de la France Expositions : En prêt à la Pinacothèque de Paris, au sein des collections permanentes Bibliographie : Danièle Séraphin, Jacques Lauprêtre, 'Le testament des ombres. Mise en scène de Martin Luther par Pieter Coecke van Aelst', Paris, 2013 Elizabeth A. H. Cleland, 'Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry', 2014, p. 352, note 9 du chapitre 5 Commentaire : Le Dernier souper de Pieter Coecke van Aelst est une des images les plus populaires des écoles du Nord de la première partie du XVIe siècle. Astucieuse combinaison de La Cène de Léonard de Vinci (1498, Milan), de la gravure de Marcantonio Raimondi d'après Raphaël traitant le même sujet (vers 1510-1520) ou encore de la gravure d'Albrecht Dürer de 1523, les références de cette composition sont nombreuses, jusque dans les détails. Ainsi le médaillon de droite sur le mur illustrant la lutte de Caïn et Abel est directement issue d'une gravure de Jan Gossaert, dit Mabuse. D'autres détails renforcent le sujet du tableau, celui du sacrifice du Christ pour sauver le monde, comme par exemple le médaillon de gauche illustrant David vainqueur de Goliath tandis que la scène en arrière-plan dans la fenêtre montrant Jésus entrant à Jérusalem annonce la Cène. Le très bel état de conservation de notre panneau permet de se faire aisément un avis sur sa grande qualité d'exécution. Nous distinguons un précis dessin au crayon sur une préparation gris-blanche usuelle à Anvers en cette première partie de XVIe siècle. Plus de quarante versions de cette représentation de la Cène, par Pieter Coecke ou son atelier, avec ou sans la participation du maître, ont été relevées par Linda Jansen. Toutes sont datées entre 1527 et 1550, faisant de la nôtre - datée 1528 - l'une des premières. Les variantes sont infimes entre ces différentes versions, seule la qualité d'exécution les distingue ainsi que leur taille puisque deux formats récurrents coexistent : 50 x 60 cm environ ou 60 x 80 cm environ. L'organisation de l'atelier de l'artiste est bien connue. Il coordonne plusieurs chevalets et dirige ainsi ses apprentis, élèves ou collaborateurs. Pour une composition comme celle du Dernier souper un carton, une matrice, devait être utilisé afin de reporter avec exactitude les proportions du motif d'un panneau à l'autre. La préparation gris blanc assurait un marquage facile au crayon noir avec lequel le dessin était parfaitement repris avant d'apposer la couleur. Le merveilleux état de conservation de notre version permet d'en savourer chaque détail. Du combat de chiens au centre (motif que l'on retrouve rarement car un seul chien est d'ordinaire représenté), aux natures mortes de fruits dans des corbeilles d'osiers, les expressions toutes différentes et très marquées des apôtres jusqu'à celle rêveuse et distante de celui situé en bout de table à gauche qui fut un temps assimilé à Luther s'éloignant de l'Eglise en ces années 1525-1530. Le pain posé sur le bord de la table au centre va t'il tomber ? Oui le corps du Christ va tomber, il va être offert en sacrifice le lendemain de cette ultime Cène. Nous remercions Peter van den Brink et Linda Jansen pour leur aide à la description de cette œuvre. (échanges en date de février 2020). Estimation 80 000 - 120 000 €

          Artcurial
        • PIETER COECKE VAN AELST (cerchia di)
          Sep. 24, 2020

          PIETER COECKE VAN AELST (cerchia di)

          Est: €500 - €800

          (Aalst, 1502 - Bruxelles, 1550) Ultima cena Olio su tavola, cm 39X52 Nel 1527 Pieter Coecke Van Aelst era già registrato nella Gilda di Anversa quale maestro e stampatore e tra i suoi allievi citiamo Pieter Bruegel il Vecchio. L'interesse per il manierismo italiano, la cui influenza è evidente nelle sue opere, lo portì a pubblicare le traduzioni di Vitruvio e del Serlio. Ci restano numerosi disegni firmati, tutti all'Albertina di Vienna e al British Museum di Londra, mentre una delle opere più celebri è proprio l'Ultima cena di cui si conoscono ben 22 repliche.

          Wannenes Art Auctions
        • Pieter Coecke van Aelst d. Ä., 1502/07 – 1550, Art des
          Jul. 02, 2020

          Pieter Coecke van Aelst d. Ä., 1502/07 – 1550, Art des

          Est: €12,000 - €15,000

          CHRISTI HIMMELFAHRT Öl auf Holz. 43 x 29 cm. In profiliertem Holzrahmen. Hochformatige Bildtafel mit plastisch hervorquellender Wolkenbank, aus welcher eine dargestellte Gruppe hervorzutreten scheint. Es sind dies Christus, von zwei Putti in die Lüfte gehoben und unter ihm die vier Evangelisten Matthäus (Adler), Markus (Löwe), Lukas (Stier) und Johannes (Mensch, hier geflügelt). Am unteren Bildrand das Zitat aus Lucas 1,33 „(Et) regnabit in domo Iacob in eternum“ (Er wird über das Haus Jacob regieren in Ewigkeit). Anmerkung: Die Komposition lehnt sich stark an Werke von Pieter Coecke van Aelst d.Ä. an, bei welchem neben den schwebenden Figuren des Gottvater oder dem Heiligen Geist in Gestalt einer Taube, Christus meist über einer größeren Personengruppe in der Mitteltafel eines Altars zu sehen ist. So zum Beispiel der Altar in der Staatlichen Kunsthalle Karlsruhe (Inv. Nr. 153). Am nächsten steht dem vorliegenden Gemälde natürlich die Komposition aus der Alten Pinakothek München, welche sich wiederum stark an das im Palazzo Pitti befindliche Gemälde von Raffael von 1518 „Vision des Propheten Ezechiel von der Auferweckung Israels“ orientiert und die Hauptfigur der Vision Gottes bereits in die Figur Christi übersetzt hat. Das Münchener Bild wird Pieter Coecke van Aelst d.Ä. gegeben. Während der vorliegende Maler die Gemäldegröße an das Bild in Florenz anglich, misst das Bild in der Münchener Pinakothek 91 x 68 cm. (1230717) (13) Pieter Coecke van Aelst the elder, 1502/07 – 1550, style of ASCENSION DAY Oil on panel. 43 x 29 cm. In profiled wooden frame. Notes: The composition follows works by Pieter Coecke van Aelst I an, in which usually depicts Christ sitting above a larger group of figures in the central panel of the altar surrounded by the floating figure of God the Father and the Holy Ghost in the shape of a dove. An example of this is an altar held at the Staatliche Kunsthalle Karlsruhe (inv. no. 153).

          Hampel Fine Art Auctions
        • Pieter Coecke van Aelst
          Jun. 09, 2020

          Pieter Coecke van Aelst

          Est: €400,000 - €600,000

          Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Aelst 1502–1550 Brussels) The Adoration of the Magi, oil on panel, 112 x 75 cm, framed Provenance: with Lambert J. Nieuwenhuys, Brussels; Willem II, King of the Netherlands (1792-1849), acquired from L. J. Nieuwenhuys, December 1840, for Hfl. 3.300 (as Lucas van Leyden); sale, De Vries, Roos & Brondgees, Collection King Wilhelm II, Gothic Hall, Royal Palace, The Hague, 12-20 August 1850, lot 45 (as Lucas van Leyden); acquired after the sale by Willem Frederik Karel, Prince of the Netherlands (1797-1881), younger brother of King Willem II; by descent to his daughter Wilhelmina Frederika Anna Elisabeth Maria (1841-1910), Princess of Wied, Princess of the Netherlands, Neuwied; by descent to her elder son Friedrich Wilhelm Hermann Otto Karl, Prince of Wied (1872-1945), Neuwied; by descent to his wife, Pauline Olga Helene Emma, Princess of Wied, Princess of Württemberg (1877-1965); after her death offered for sale by her descendants; sale, Sotheby’s, London, 5 July 1967, lot 10 (as the Master of 1518, to Hollstein for £ 6.500); Private collection, Germany Exhibited: Düsseldorf, Kunsthistorische Ausstellung, 1904, pp. 77-78, no. 185 (as Herri met de Bles; at the time with monogram L and date 1525 which were later additions) Literature: C. J. Nieuwenhuys, Description de la Galerie des tableaux de S. M. Le Roi des Pays-Bas, avec quelques remarques sur l’histoire des peintres et sur le progress de l’art, Brussels 1843, pp. 101-104, no. 40; M. J. Friedländer, Die Altniederländische Malerei, Die Antwerpener Manieristen, Adriaen Ysenbrandt, Berlin 1933, vol. XI, p. 124, no. 92 (as ‘Der Meister von 1518. Oben dreieckig, ursprünglich wohl geschweift. Falsch signiert L. Die Komposition ist mehrmals kopiert worden’); M. J. Friedländer, Early Netherlandish Painting, 1974, vol. XI, p. 76, no. 92, pl. 85 (as Master of 1518); E. Hinterding, F. Horsch, ‘A small but choice collection’, The Art Gallery of King Willem II of the Netherlands (1792-1849), Zwolle 1989, pp. 20, note 65, 43, note 178, 69, no. 45 (as Master of 1518) The present Adoration of the Magi is a newly-attributed early masterpiece by the Flemish Renaissance polymath Pieter Coecke van Aelst. Painted around 1523, it may be seen as a crowning achievement of the young journeyman, then working in the Antwerp studio of the Master of 1518. Originally conceived for a private oratory or chapel, the high quality of the painted surface and the intricate underdrawing, revealed by infrared reflectography, place the present composition among the finest representations of this biblical subject in early modern Flanders. Coecke’ s marriage of empirical observation with his reception of Romanic styles later saw him lauded also for his designs of tapestries, stained glass, woodcuts, decorations and goldwork. Noted by contemporaries and early art historians, Lodovico Guicciardini called him ‘great’. Georg Braun described him as ‘most excellent’ and in 1604 Karel van Mander celebrated him as ‘ingenious and knowledgeable’ (see E. Cleland, Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry, New York, 2014, p. 2). We are grateful to Peter van den Brink for attributing the present painting to Pieter Coecke van Aelst, and for his assistance in cataloguing this lot. The Genesis of the Adoration of the Magi The painting has been fully documented with the aid of infrared reflectography (IRR). The IRR displays the underdrawings of the composition, applied with brush and black paint on what appears to be a layer of lead white on top of the ground. The underdrawings are clearly freehanded, applied with brille and energy. All the figures in the foreground were prepared in detail, with elegant, meandering contour lines; the shadows were prepared in advance by means of hatching, parallel strokes, as well as some limited cross-hatching for the deeper shadows. The figures in the middle ground are only loosely sketched in preparation and the figures in the back not at all; they were only added during the paint stage. It is a system that was used again and again in early 16th century Antwerp painters’ studios and we encounter this type of underdrawing not only with the Master of 1518, but also with the so-called Master of the Antwerp Adoration, Adriaen van Overbeke and Jan de Beer. The absence of underdrawing for the brocade and other decorative motifs, visible in the finished painting, was also typical of early 16th century Antwerp painters’ studios. A close examination of the painting and the underlying drawing reveals the various changes the painter of the Adoration of the Magi carried through. Many of these corrections have to do with small shifts in the position of hands or faces, clearly meant to improve and finalize the composition. The Christ Child itself is a good example to demonstrate this. The underdrawing shows that the right hand was directed more towards the kneeling Caspar, whereas Christ’s left hand had already disappeared inside the golden cup. In painting the scene, the artist decided to show a more restrained Christ Child, since greed is hardly a virtue. At the lower right of the composition the entrance to the Nativity Grotto is visible. In the first arrangement of our Adoration of the Magi, it appears that a ladder was foreseen to the left of the cave entrance, a rather puzzling idea that was abandoned in favour of the present stone staircase. The Geburtshöhle, as it is called in German, is a recurring motif in Christian iconography that was especially popular in early 16th century painting and it occurs in almost every single Antwerp Adoration of the time, as can be witnessed in the various examples that were painted by Jan de Beer and his contemporaries. The most dramatic change in the composition, however, is to be found in the upper right portion of the painting’s architectural setting. Hanging from a ring set into the arch’s tracery, the artist had planned to paint a decorative festoon, held by two putti on either side, at the entrance of the vaulted gateway. While the ring and putti were repositioned, playing an extraordinary act of pantomime, the festoon never reached the painted stage. It is quite likely that the idea of a painted festoon was abandoned in favour of an enlarged tower. The present type of underdrawing is most certainly comparable with the handwriting of the Master of 1518, visible in the Lübeck altarpiece, its predella panels in Stuttgart, the Crucifixion triptych in the Holy Blood-Museum in Bruges and the Marriage of the Virgin in St. Louis. However, although the drawings may be comparable, both in function and in method, they differ stylistically and appear not to be by the same hand. The lines of the Lübeck and Bruges underdrawings are a type of highly finished underdrawing that looks like a woodcut in its fixed pattern of parallel- and cross-hatching for the modeling of forms and system of lighting throughout the composition. Employed by other Antwerp Mannerist artists this style of underdrawing is commonly referred to as the ‘woodcut convention’ (see M. W. Ainsworth, Pieter Coecke van Aelst as a Panel Painter, in: E. Cleland a. o., Grand Design. Pieter Coecke van Aelst and Renaissance Tapestry, exhibition catalogue, New York 2014, p. 26). Indeed, this very specific type of underdrawing is reminiscent of Dürer woodcuts, where the linear quality and flat two-dimensional approach are in the forefront, creating a clearly readable pattern for assistants to take up the task of painting in the various elements of the composition. Quite often such a pattern is the result of the use of a cartoon, followed by tracing the lines in brush and black paint. In the Lübeck altarpiece underdrawing and painting seem to be two different sides of the coin, two separate parts of the genesis of the altarpiece, not necessarily executed by the same artist. The underdrawing of the Adoration of the Magi differs stylistically from the Lübeck altarpiece, and more importantly, seems to part of one single process, from the hand of a single artist. As can be judged from the preparation of the greyish white cloak of the black magus Balthasar, the underdrawing has been applied with a swift brush, searching for the right contour lines and volume. This creative energy in the underdrawing phase differs fundamentally with the finished underdrawing in the ‘woodcut convention,’ that has been prepared with the painted composition in mind. When the Adoration of the Magi is compared with the various painted scenes of the Lübeck Altarpiece, there can hardly be any doubt that our painter was trained in the studio of the Master of 1518, whoever he may have been. The colour pattern is strikingly similar and so are the elongated figures, for example Balthasar with his counterpart in the Lübeck Adoration of the Magi. The elegant dancing step of our Balthasar was quite literally replicated from the figure on the extreme left of the Betrothal of the Virgin, next to the young Joseph. The decorative architectural backdrop is evidently based on the examples of the Master of 1518, visible in the Lübeck Altarpiece and even the festoon, held by two putti, as was initially planned for the Adoration, is visible in paint in the background of the Betrothal of the Virgin. However, the figures of the Master of 1518 show his preference for a two-dimensional presentation, as can be seen in its most extreme form in the Magdalene of the Crucifixion triptych in the Holy Blood Museum in Bruges. By contrast, the painter of the Adoration of the Magi placed his figures in different planes of the composition and tried to give them more volume and plasticity. That he did not succeed everywhere can be regarded as a token of his lack of experience. The young Pieter Coecke in the Studio of the Master of 1518 The Adoration of the Magi is in fact a youthful work by Pieter Coecke van Aelst, who probably finished his training with Bernard van Orley in Brussels, before he came to Antwerp, where he married Anna van Dornicke, before 1526 and became a citizen of Antwerp automatically. In 1527 he would enroll into the Guild of Saint Luke as a free master and started his own workshop. The Adoration of the Magi no doubt was produced when Coecke was still active as assistant or journeyman in the studio of the Master of 1518 and therefore remains within the broad stylistic contours of the older painter. A date between 1522 and 1527 therefore seems most likely, like several other paintings that have been discussed recently within the same context, such as a triptych with the Adoration of the Magi in the collection of Hester Diamond, New York, Christ carrying the Cross in the Basel Kunstmuseum and Christ taking leave of his mother in Glasgow Kelvingrove Art Gallery and Museum. The triptych with the Adoration of the Magi in New York lends itself perfectly well to a detailed stylistic comparison. That work of art is probably the earliest of the four mentioned, slightly earlier than our painting with the same subject. The architecture, the vistas, the use of plans and especially the facial types are interchangeable in such a way that it is safe to assume the same painter at work here. The facial type and even the slightly sad expression of Melchior, to the right of our Adoration, is literally repeated in the figure of the High Priest in the The Presentation of Christ in the Temple. The present Virgin with her downcast eyes finds herself repeated in her counterpart on the left wing of the New York altarpiece and the young man with the trumpet has taken the guise of an angel. The paintings in Glasgow and Basel appear to have been painted slightly later, circa 1525-26 and show how the young painter developed in such a short period. An example of which can be seen in the complicated composition of the Basel picture, with the enormous dynamic of the figures engaged in the procession, far removed from Coecke’s beginnings with the Master of 1518. A Royal Provenance The present Adoration of the Magi has a royal provenance. Between 1840 and 1850 it was part of the collection of King William II of the Netherlands. William started collecting long before he would occupy the throne in October 1840; he bought his first paintings in 1815 or 1816, when the Dutch Royal Family still used Brussels as a part-time residence. His first collection was largely destroyed when a fire broke out in the right wing of the Brussels palace where the young prince resided. In 1823 he acquired an important group of Early Netherlandish paintings from the art dealer L.J. Nieuwenhuys. By the end of 1823 he had amassed a collection of nearly fifty paintings, thirty-seven of which were characterized as ‘Gothic’, including masterpieces by Van Eyck, Memling, Van der Weyden and Simon Marmion. William’s love for ‘Flemish Primitives’ was probably fed by the fact that he felt more at home in the Roman Catholic south than the Protestant north, and he spent much of his time in the palace at Brussels.15th and 16th century sacred works became widely available in Europe under the rule of Napoleon Bonaparte. The Nieuwenhuys family dominated this art market in the Rhineland where the ‘Säkularisation’ of 1802 made altarpieces – usually fragmented – accessible to art collectors. Combined with the ‘rediscovery’ of the Flemish primitives this led to a burgeoning enthusiasm for the collecting of early German and Netherlandish art. Following the Belgian revolution, William’s collection in Brussels was held hostage until 1840, when he had succeeded his father as King of the Netherlands. Shortly after William’s accession, he acquired the present Adoration of the Magi from Lambert J. Nieuwenhuys, for 3300 guilders. This sale was recorded (with the panel at that time being listed as a work by Lucas van Leyden) in an annotated copy of the 1840 auction catalogue, formerly owned by the treasurer of the King’s estate, now in the archives of the RKD. In 1842, the present panel was hung in the newly built Gothic Hall, behind the Kneuterdijk Palace in The Hague, which was specifically built for William’s collection. In a watercolour of the interior of the Gothic Hall, made by Huib van Hove in 1842, the present panel with its typical shape and the frame it still had in the twentieth century, can be found in the right-hand corner in the back, next to Jan Provoost’s The Virgin Mary in Glory, now conserved in the Hermitage, St Petersburg (inv. no. ГЭ-417). When the King’s collection was auctioned after his death in 1850, the ‘Gothic’ pictures accounted for one third of the sale, among them the present Coecke van Aelst work (with regard to the background or the circumstances of the sale, see Hinterding/Horsch 1989, pp. 38-45; of its content, ibid., pp. 55-114). Several pictures did not find a buyer, probably due to the high reserves, including the Adoration of the Magi. The painting was subsequently sold for the reserve price to Prince Frederik, the younger brother of the deceased William II, together with nineteen other old master paintings, including the Simon Marmion and the triptych of the Heereman family by Jacob Cornelisz. van Oostsanen, conserved at the Rijksmuseum, Amsterdam. Subsequently the Adoration of the Magi remained in Neuwied in the Rhineland for nearly a century, where Frederik’s daughter Marie resided after she married the Prince of Wied. The painting stayed in Frederik’s family until it was offered for sale in 1967. After the sale, the painting remained in private German hands and has now surfaced for the first time since 1967. When the present picture was exhibited at the Kunsthistorische Ausstellung in Düsseldorf in 1904, it was wrongfully attributed to Herri met de Bles. This was, however, a misconceived suggestion that the painting was of the same hand as the Adoration of the Magi in the Alte Pinakothek, Munich, who was later re-named Pseudo Bles, due to the fact that the original attribution was based on a falsified signature. This Bles-group remained a ‘name of convenience’ for a long time, until Friedländer brought some order in the staggering amount of anonymous triptychs, fragments from compound altarpieces and devotional pictures that were made in the first quarter of the sixteenth century in Antwerp (see M. J. Friedländer, Die altniederländische Malerei, vol. XI, Die Antwerpener Manieristen. Adriaen Ysenbrant, Berlin 1933). It was Friedländer who gave the present Adoration of the Magi to the Master of 1518. The Master of 1518 was identified, and named from the large altarpiece of the Life of the Virgin in Our Lady’s Church in Lübeck, which is placed within a chapel that bears the inscription ‘1518.‘ With this altarpiece Friedländer grouped many pictures that shared the same stylistic features. Conclusion The Adoration of the Magi is the centre panel of a triptych, from which the wings, as so often, were separated in the past. The original shape of the top of the panel was altered as well. It most likely would have been comparable to the central Adoration of the Hester Diamond triptych, in its original form. The separation of the centre panel and wings as well as the altered shape, a frequent practice of late 18th and early 19th centuries, occurred before the sale of the panel to King William II, evidenced in the watercolor of the 1840s. The high quality of the painted surface as well as the typical underdrawing were the work of the young Pieter Coecke van Aelst, at the time he was still producing paintings as a journeyman in the Antwerp studio of the Master of 1518. The painting can be dated to circa 1523, in-between the Hester Diamond Adoration triptych and the Basel Christ carrying the Cross and is a significant addition the Flemish polymath’s early oeuvre. Technical analysis by Gianluca Poldi: Many non-invasive spectroscopic measures were carried out to study the pigments. The artist chose azurite as the only blue, used together with lead white in different proportions for the sky, the mountains, the various blue clothes including the deep blue of the Virgin Mary’s cloak. The same mineral pigment was employed, together with red lake, to obtain grey-purple tones of some garments. A cobalt blue pigment constitutes the modern integrations in the sky. All the green areas are made with verdigris (copper acetate), mixed with lead white or lead-tin yellow to achieve brighter colours. This yellow was used alone in the lights of the tree foliage, in light yellow clothes and in many objects to imitate gold, while shadows are obtained with yellow and brown ochre.  Bright, intense red clothes are based on vermillion, shadowed with red lake. A good quality coccid-derived red lake was used in many areas, such as the Virgin’s red dress and the outer part of Caspar’s ermine mantle.

          Dorotheum
        • Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), Alleged artist. Madonna
          Jun. 01, 2020

          Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), Alleged artist. Madonna

          Est: -

          Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), Alleged artist. Madonna with the book and baby Jesus. 40x30, oil paint on panel. From wealthy Catania family. "The excellent Flemish Renaissance painter has lived in Italy, where he got to appreciate the art of his contemporaries Italian painters. It was a great Raphael estimator, which are often exhales, such as this painting, while substantially stayed within his own stylistic and developments. He made an important contribution to the body of the great Renaissance art in Flanders. Designer, painter and publisher of architectural treatises was disputed by the most famous people of his time, Charles V, King Francis I of France, Henry VIII of England, Cosimo I de 'Medici. In this work is evident influence of the Italian Renaissance style. He starts in the Netherlands the transition and the transition from late Gothic to Renaissance conception. The writings and treatises of Sebastiano Serlio were the sample. This painting, simple, probably for a private commission is inspired in some way to Our Lady of Constable by Raffaelo. In fact, the representation of the Madonna and child is rendered in a real and fluid, giving naturalness to the scene. He abolishes the background landscape and figuration focuses on two characters thus giving more strength to the spiritual meaning. Shines and is palpable harmony sad and melancholic at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy of the death of Jesus, with gentle resignation that the child enjoins the reading pointing with his finger. The forms are well-balanced is the child's gestures indicating and Mary, who holds him to life protectively, rlateono happy and redundant scene of harmony. A light that appears to be from a window centered characters and illuminates the painted clothes in a soft and fluid. It was an example for all those olandesi- Mannerist painters of the second half of the book 500."STUDIO ASOR

          ArtLaRosa
        • Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), Alleged artist. Madonna
          May. 16, 2020

          Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), Alleged artist. Madonna

          Est: -

          Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), Alleged artist. Madonna with the book and baby Jesus. 40x30, oil paint on panel. From wealthy Catania family. "The excellent Flemish Renaissance painter has lived in Italy, where he got to appreciate the art of his contemporaries Italian painters. It was a great Raphael estimator, which are often exhales, such as this painting, while substantially stayed within his own stylistic and developments. He made an important contribution to the body of the great Renaissance art in Flanders. Designer, painter and publisher of architectural treatises was disputed by the most famous people of his time, Charles V, King Francis I of France, Henry VIII of England, Cosimo I de 'Medici. In this work is evident influence of the Italian Renaissance style. He starts in the Netherlands the transition and the transition from late Gothic to Renaissance conception. The writings and treatises of Sebastiano Serlio were the sample. This painting, simple, probably for a private commission is inspired in some way to Our Lady of Constable by Raffaelo. In fact, the representation of the Madonna and child is rendered in a real and fluid, giving naturalness to the scene. He abolishes the background landscape and figuration focuses on two characters thus giving more strength to the spiritual meaning. Shines and is palpable harmony sad and melancholic at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy of the death of Jesus, with gentle resignation that the child enjoins the reading pointing with his finger. The forms are well-balanced is the child's gestures indicating and Mary, who holds him to life protectively, rlateono happy and redundant scene of harmony. A light that appears to be from a window centered characters and illuminates the painted clothes in a soft and fluid. It was an example for all those olandesi- Mannerist painters of the second half of the book 500."STUDIO ASOR

          ArtLaRosa
        • Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), attrib. Madonna with the
          Mar. 23, 2020

          Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), attrib. Madonna with the

          Est: -

          Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), attrib. Madonna with the book. The excellent Flemish Renaissance painter has lived in Italy, where he got to appreciate the art of his contemporaries Italian painters. It was a great Raphael estimator, which are often exhales, such as this painting, while substantially rimanlateo within his own stylistic and developments. He made an important contribution to the body of the great Renaissance art in Flanders. Designer, painter and publisher of architectural treatises was disputed by the most famous people of his time, Charles V, King Francis I of France, Henry VIII of England, Cosimo I de 'Medici. In this work is evident influence of the Italian Renaissance style. He starts in the Netherlands the transition and the transition from late Gothic to Renaissance conception. The writings and treatises of Sebastiano Serlio were the sample. This painting, simple, probably for a private commission is inspired in some way to Our Lady of Constable by Raffaelo. In fact, the representation of the Madonna and child is rendered in a real and fluid, giving naturalness to the scene. He abolishes the background landscape and figuration focuses on two characters thus giving more strength to the spiritual meaning. Shines and is palpable harmony sad and melancholic at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy of the death of Jesus, with gentle resignation that the child enjoins the reading pointing with his finger. The forms are well-balanced is the child's gestures indicating and Mary, who holds him to life protectively, rlateono happy and redundant scene of harmony. A light that appears to be from a window centered characters and illuminates the painted clothes in a soft and fluid. It was an example for all those olandesi- Mannerist painters of the second half of the book 500. Madonna and baby Jesus. 40x30, oil on panel. Provenance: illustrates Catania family.

          ArtLaRosa
        • CIRCLE OF PIETER COECKE VAN AELST (AALST 1502 - BRUSSELS 1550), AFTER JAN GOSSAERT CALLED MABUSE
          Mar. 17, 2020

          CIRCLE OF PIETER COECKE VAN AELST (AALST 1502 - BRUSSELS 1550), AFTER JAN GOSSAERT CALLED MABUSE

          Est: £15,000 - £25,000

          CIRCLE OF PIETERCOECKE VAN AELST (AALST 1502 - BRUSSELS 1550), AFTER JAN GOSSAERT CALLED MABUSE Madonna and child playing with the veil, with the flight into Egypt beyond oil on panel 96.5 x 74 cm (38 x 29 in) Provenance: Sale: Cornette de Saint-Cyr, Paris, 5th March 1993, lot 24 Private Collection, Spain There are many period copies (with variations) known after the now-lost composition by Jan Gossaert from 1520 (see: Friedlander, Early Netherlandish Paintings , vol. 8, Leyden, 1972, pl. 36 a/b)

          Chiswick Auctions
        • Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), attrib. Madonna with the
          Mar. 07, 2020

          Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), attrib. Madonna with the

          Est: -

          Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), attrib. Madonna with the book. The excellent Flemish Renaissance painter has lived in Italy, where he got to appreciate the art of his contemporaries Italian painters. It was a great Raphael estimator, which are often exhales, such as this painting, while substantially rimanlateo within his own stylistic and developments. He made an important contribution to the body of the great Renaissance art in Flanders. Designer, painter and publisher of architectural treatises was disputed by the most famous people of his time, Charles V, King Francis I of France, Henry VIII of England, Cosimo I de 'Medici. In this work is evident influence of the Italian Renaissance style. He starts in the Netherlands the transition and the transition from late Gothic to Renaissance conception. The writings and treatises of Sebastiano Serlio were the sample. This painting, simple, probably for a private commission is inspired in some way to Our Lady of Constable by Raffaelo. In fact, the representation of the Madonna and child is rendered in a real and fluid, giving naturalness to the scene. He abolishes the background landscape and figuration focuses on two characters thus giving more strength to the spiritual meaning. Shines and is palpable harmony sad and melancholic at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy of the death of Jesus, with gentle resignation that the child enjoins the reading pointing with his finger. The forms are well-balanced is the child's gestures indicating and Mary, who holds him to life protectively, rlateono happy and redundant scene of harmony. A light that appears to be from a window centered characters and illuminates the painted clothes in a soft and fluid. It was an example for all those olandesi- Mannerist painters of the second half of the book 500. Madonna and baby Jesus. 40x30, oil on panel. Provenance: illustrates Catania family.

          ArtLaRosa
        • Pieter Coecke van Aelst d. Ä., 1502/07 Aalst – 1550 Brüssel, zug.
          Dec. 05, 2019

          Pieter Coecke van Aelst d. Ä., 1502/07 Aalst – 1550 Brüssel, zug.

          Est: €20,000 - €30,000

          PIETÀ Öl auf Holz. Durchmesser: 25 cm. Eine Gloriole, welche radial von Gelb nach Rosa reicht, hinterfängt die Darstellung. Das Kreuz, nunmehr am oberen Bildrand als senkrechter Balken erkennbar, markiert den Sinngehalt des Geschehens, welches der Pieta vorausgeht. Stilistisch kann das vorliegende Gemälde an Aelst oder dessen Umkreis zugeschrieben werden. (12115126) (13) Pieter Coecke van Aelst (or Pierre Coeck d‘Aloste), 1502 Aalst - 1550 Brussels, attributed PIETÀ Oil on panel. Diameter: 25 cm. The present painting‘s style can be attributed to Aelst or his circle.

          Hampel Fine Art Auctions
        • Pieter Coecke v. Aelst - Moeurs et facon des Turcs
          Oct. 24, 2019

          Pieter Coecke v. Aelst - Moeurs et facon des Turcs

          Est: €1,000 - €2,000

          Les moeurs et fachons de faire de Turcs / The customs and manners of the Turks,. This is one from fourteen blocks making a frieze divided by hermes into seven vignettes. The drawings were made by Pieter Coecke van Aelst in Istambul around 1533/34, he als cut the wood blocks who were published in 1553 by his widow Maaike Verhulst. Very rare.

          Old Master Print
        • TABLEAUX
          Oct. 15, 2019

          TABLEAUX

          Est: €20,000 - €30,000

          Huile sur panneau de chêne parqueté "Vierge à l'Enfant au voile". Probablement, partie centrale d'un triptyque. Attribué à l'atelier de Pieter Coecke Van Aalst. Dim. Ecole flamande. Epoque: XVIème. (Ancienne collection P. ou F. De Witte). Dim.:+/-110x70cm.

          Vanderkindere
        • Pieter Coecke v. Aelst - Moeurs et facon des Turcs
          Oct. 01, 2019

          Pieter Coecke v. Aelst - Moeurs et facon des Turcs

          Est: €1,000 - €2,000

          Les moeurs et fachons de faire de Turcs / The customs and manners of the Turks,. This is one from fourteen blocks making a frieze divided by hermes into seven vignettes. The drawings were made by Pieter Coecke van Aelst in Istambul around 1533/34, he als cut the wood blocks who were published in 1553 by his widow Maaike Verhulst. Very rare.

          Old Master Print
        • THE HOLY FAMILY WITH AN ANGEL
          Jun. 06, 2019

          THE HOLY FAMILY WITH AN ANGEL

          Est: -

          This unique panel painting of the Holy Family is a work of exceptional quality that impresses with its deliberate composition outline, harmoniously balanced color, and excellently executed brushwork in the fabric. The individual figures are also charmingly and soulfully portrayed. The figure of the Virgin Mary, as the closest intermediary to God, is here the personification of motherhood, humility |and dedication, sitting at the table dressed in a red cloak and on her lap holding the naked Christ Child, who is clutching at her. The background is divided into two halves. On the right half Joseph is leaning towards the pair through a window that offers |a view of the landscape. Pieter Coecke van Aelst was an excellent Flemish painter, sculptor, architect, and designer of wood engravings, goldsmith work, stained windows and tapestries. He worked in Antwerp and Brussels and was appointed court painter to Charles V. He was also a polyglot, translating ancient Roman and modern Italian architectural treatises about architecture into Flemish, French and German. |His books played a pivotal role in the dissemination of Renaissance ideas and contributed to the transition from the late Gothic style in Northern Europe. From Italy he returned to Antwerp, where he inherited his father’s very productive workshop. The original The Holy Family with an Angel (right-angle panel, portrait orientation, 95 x 72 cm) is in a private collection. This work by his follower is also of high painterly quality. The subject of the painting was very popular and frequently repeated in various smaller iterations, with various backgrounds, architecture or landscapes or a different interpretation of Mary’s shroud (as documents at the Rijksbureau voor kunsthistorische Documentatie in The Hague demonstrate). The painting accurately characterizes the style of Pieter Coeck, with an ample landscape with tree avenues, a path and houses in the background. The painting's important provenance further increases the value of the painting: it is originally from the Esterhazy collection. Consulted with PhDr. Hana Seifertová. Restored.

          Arthouse Hejtmánek
        • 17th century Antwerp or Netherland School.
          May. 30, 2019

          17th century Antwerp or Netherland School.

          Est: €3,500 - €4,500

          17th century Antwerp or Netherland School. "Saint Jerome in his study" Oil on board. 41 x 62 cm. This St Jerome derives from works by Marinus van Reymerswaele (Reimerswaal, circa 1493 o 1497- Goes, hacia 1546 o 1567 ), Pieter Coecke van Aelst (Alost, 1502 – Brussels, 1550) o Joos van Cleve (Cleve?, h. 1485 - Amberes, 1540-1541) The have we have found several versions auctioned very similar, but the closest examples, are always being attributed to disciples of Marinus van Reymerswaele, or the Master himself. As other reference, we find a similar painting, but more developed, wich was auctioned in Sotheby's London on July 9, 2015, as a circle by Pieter Coecke van Aelst. The composition ultimately derives from Albrecht Dürer's celebrated work of 1521, now in the Museu Nacional de arte antiga in Lisbon. In this period St. Jerome was often represented on the desk in front of the skull. The skull itself joins the nearly-extinguished candles in calling attention to the transience of the world. Provenance: - Former Schäfer collection. - Private collection Barcelona

          La Suite Subastas
        • *PIETER I COECKE VAN AELST (1502-1550) (atelier)
          May. 06, 2019

          *PIETER I COECKE VAN AELST (1502-1550) (atelier)

          Est: €15,000 - €20,000

          *PIETER I COECKE VAN AELST (1502-1550) (atelier) Triptiek in olieverf op paneel met centraal de Aanbidding der Koningen, op het linkerpaneel Balthazar en op het rechterpaneel de heilige Jozef. Gevat in één kader. Restauraties. De voorstelling gaat vermoedelijk terug op een compositie van de Meester van 1518 (geïdentificeerd als Jan van Dornicke), die actief was in Antwerpen tussen 1509 en 1527 en wiens atelier na zijn dood werd overgenomen door zijn schoonzoon, Pieter Coecke van Aelst. De talrijke versies die van deze voorstelling bewaard zijn gebleven getuigen van de grote productie van het atelier en van de populariteit van de voorstelling waarbij de exotische koningen in hun weelderige gewaden en luxueuze geschenken kennelijk tot de verbeelding moeten hebben gesproken. Er bevinden zich zeer vergelijkbare werken maar met sterker uitgewerkte achtergronden toegeschreven aan beide kunstenaars in Utrecht (104 x 64.5, 107.5 x 28.5, Museum Catharijneconvent, inv./cat.nr ABM s 56) en in Aken (107 x 69; 107 x 28.5, Suermondt-Ludwig-Museum, inv./cat.nr GK 314). Ook in Brussel wordt een zeer gelijkaardig middenpaneel bewaard, toegeschreven aan Pieter Coecke van Aelst (Koninklijke Musea voor Schone Kunsten België, 105 x 72 cm, inv. nr. 386). Al deze werken worden gedateerd in de periode 1520-1530. 106 x 70 (middenpaneel/panneau central); 106 x 30.5 (zijpaneel/panneau latéral) French Translation *PIETER I COECKE VAN AELST (1502-1550) (atelier) Triptyque à l'huile sur panneau figurant l'Adoration des Rois sur le panneau central, le roi Balthasar sur le panneau latéral gauche et saint Joseph sur le panneau latéral droit. L'ensemble dans un seul cadre. Restaurations. Ce tableau remonte probablement à une composition de la main du Maître de 1518 (identifié comme Jan Van Dornicke), actif à Anvers entre 1509 et 1527. Après son décès, son atelier a été repris par son beau-fils Pieter Coecke van Aelst. Les nombreuses versions connues de cette composition sont autant des temoins de la grande production de l'atelier ainsi que de la popularité de ce sujet où les mages éxotiques vêtus de manière luxueuse et apportant des cadeaux précieux appelaient au goût de l'époque. On retrouve des oeuvres très similaires, toutes datant de 1520-1530, à Utrecht (triptyque, 104 x 64.5, 107.5 x 28.5, Museum Catharijneconvent, nr. ABM s 56) et à Aachen (triptyque, Suermondt-Ludwig-Museum, nr GK 314, 107 x 69; 107 x 28.5), et un panneau central à Bruxelles (105 x 72, Musée Royal des Beaux Arts, nr. 386). 106 x 70 (middenpaneel/panneau central); 106 x 30.5 (zijpaneel/panneau latéral) English Translation *PIETER I COECKE VAN AELST (1502-1550) (workshop) Triptych in oil on panel with central the Adoration of the Kings, on the left panel Balthazar and on the right panel Saint Joseph. Set in one frame. Restorations. The depiction is probably based on a composition by the Master from 1518 (identified as Jan van Dornicke), who was active in Antwerp between 1509 and 1527 and whose studio was taken over by his son-in-law, Pieter Coecke van Aelst, after his death. The numerous versions that have been preserved of this composition recall the great production of the studio and the popularity of the theme, in which the exotic kings with their colourful garments and luxurious gifts must have been extremely appealing to the 16th century viewer. Very similar works, although with more elaborate backgrounds, have been attributed to both artists (e.g. Triptych, Utrecht, 104 x 64.5, 107.5 x 28.5, Museum Catharijneconvent, inv./cat.nr ABM s 56; triptych, Aachen, 107 x 69; 107 x 28.5, Suermondt-Ludwig-Museum, inv./cat.nr GK 314). Furthermore the Royal Museum of Fine Arts in Brussels holds a very similar central panel, attributed to Pieter Coecke van Aelst (105 x 72 cm, inv. No. 386). All these works date from the period 1520-1530. 106 x 70 (middenpaneel/panneau central); 106 x 30.5 (zijpaneel/p

          Bernaerts Auctioneers
        • PIETER I COECKE VAN AELST (1502-1550) (omgeving)
          May. 06, 2019

          PIETER I COECKE VAN AELST (1502-1550) (omgeving)

          Est: €3,000 - €4,000

          PIETER I COECKE VAN AELST (1502-1550) (omgeving) Aanbidding der herders. Paneel. Restauraties en retouches. Herkomst: Luik, A. Eymael, 1905; Antwerpen, veiling collection du feu M. R. Dubois-Eymael, 24-25.3.1924, lot 34, als Lambert Lombard 61.5 x 51 French Translation PIETER I COECKE VAN AELST (1502-1550) (entourage) Adoration des bergers. Panneau. Restaurations et retouches. Provenance: Liège, A Eymael, 1905, Anvers, vente collection du feu M. R. Dubois-Eymael, 24-25.3.1924, lot 34, comme Lambert Lombard 61.5 x 51 English Translation PIETER I COECKE VAN AELST (1502-1550) (circle) Adoration of the shepherds. Panel. Restorations and touch-ups. Provenance: Liege, A. Eymael, 1905; Antwerp, sale collection M. R. Dubois-Eymael, 24-25.3.1924, lot 34, as Lambert Lombard. 61.5 x 51

          Bernaerts Auctioneers
        • Pieter Coecke van Aelst I and Workshop (Aelst 1502-1550 Brussels) The Penit
          May. 01, 2019

          Pieter Coecke van Aelst I and Workshop (Aelst 1502-1550 Brussels) The Penit

          Est: $60,000 - $80,000

          Pieter Coecke van Aelst I and Workshop (Aelst 1502-1550 Brussels) The Penitent Saint Jerome oil on panel, unframed 30 ¼ x 21 7/8 in. (76.8 x 55.8 cm.)

          Christie's
        • Pieter COECKE van AELST Aelst, 1502 - Bruxelles, 1550 L'Annonciation Panneau de chêne, parqueté, de forme chantournée en partie supé..
          Mar. 27, 2019

          Pieter COECKE van AELST Aelst, 1502 - Bruxelles, 1550 L'Annonciation Panneau de chêne, parqueté, de forme chantournée en partie supé..

          Est: €80,000 - €120,000

          Pieter COECKE van AELST Aelst, 1502 - Bruxelles, 1550 L'Annonciation Panneau de chêne, parqueté, de forme chantournée en partie supérieure (Restaurations) The Annunciation, oil on oak panel, by P. Coecke van Aelst h: 107 w: 70,50 cm Commentaire : Pieter Coecke est un acteur très important pour les échanges artistiques entre la Flandre et l'Italie au début du XVIe siècle. C'est à lui que Raphaël adresse les cartons qu'il a dessinés en 1515 et 1516 pour la tenture des Actes des Apôtres qui doit être tissée à Bruxelles et il fait partie de la première génération de peintres flamands qui voyagent en Italie. A son retour, il s'installe définitivement à Anvers, vers 1522, et y épouse la fille du peintre Jan van Dornicke dont il reprendra l'atelier. Il traduit en flamand le traité d'architecture de Serlio, architecte qui a séjourné à Rome en même temps que lui. Editée entre 1539 et 1550, cette traduction diffuse les lois de la perspective utilisées ici pour dessiner le pavement et ordonner des éléments d'architecture empruntés à l'ouvrage : colonnes et emmarchements à décor Renaissance. Cette structuration de l'espace se retrouve dans plusieurs de ses œuvres. Artiste polyvalent, il est connu comme peintre, architecte, dessinateur, et éditeur. Sa renommée lui vaut d'être nommé " peintre ordinaire " de Charles Quint et Marie de Hongrie. Il travaille pour des œuvres exposées aux yeux de tous, vitraux ou tapisseries, qui sont des vecteurs efficaces pour la diffusion de ce que l'histoire de l'art retient comme le " maniérisme anversois ". Cette Annonciation en est un très bel exemple. Détournant le regard comme il sied au sujet, la Vierge est encore très marquée par les primitifs flamands tandis que la posture déhanchée de l'ange, l'ampleur de son geste et le mouvement de son vêtement sont déjà maniéristes. Il n'apporte pas de lys comme le voudrait l'iconographie traditionnelle mais porte le bâton des messagers. Le Protévangile de Jacques situe la scène dans la maison de Marie : " Et ayant pris une cruche, elle alla puiser de l'eau, et voici qu'elle entendit une voix qui disait : -je te salue Marie pleine de grâce, le Seigneur est avec toi, tu es bénie entre toutes les femmes. Marie regardait à droite et à gauche afin de savoir d'où venait cette voix. Et, étant effrayée, elle entra dans sa maison et elle posa sa cruche et, ayant pris la pourpre, elle s'assit sur son siège pour travailler. Et voici que l'ange du Seigneur parut en sa présence et lui dit : -Ne crains rien Marie, tu as trouvé grâce devant le Seigneur ". Deux oranges et des burettes sont posées sur le buffet. Le motif apparaît aussi sur une console à droite de la cheminée, dans l'Annonciation de Rogier van der Weyden conservée au Louvre. En néerlandais, les oranges, sinaasappel, sont des " pommes de Chine ". La Bible ne précisant pas la nature du fruit défendu, la tradition en a fait une pomme dont le nom latin, malum, signifie aussi le Mal mais certains artistes, se souvenant que le paradis terrestre est situé en Orient, la remplacent par une orange, plus exotique. Ici, les deux oranges, image du péché originel commis par Adam et Eve, rappellent que Marie est, dans la Bible, la seconde Eve comme Jésus sera le second Adam. Les trois livres à côté, disposés en forme d'autel, sont le signe du sacrifice à venir. Pieter Coecke place volontiers des objets entre le sujet du tableau et le spectateur, donnant ainsi du réalisme à la scène tout en marquant la distance qui convient entre le sacré et le profane. Le bougeoir tient ici ce rôle. Marie n'a pas encore répondu, seul son " Oui " allumera la bougie pour éclairer le monde. Une légende raconte que, la nuit de la Nativité, une chatte a déposé à la crèche sa portée de chatons et cet animal est parfois associé à la Vierge. Lorenzo Lotto, par exemple, en introduit une dans l'Annonciation datée de 1527, conservée à la Pinacothèque de Recanati. Nous remercions Peter van de Brink qui a confirmé l'attribution de ce tableau le 3 avril 2014. Estimation 80 000 - 120 000 €

          Artcurial
        • Ecole anversoise vers 1550 Entourage de Pieter Coecke van Aelst La Nativité et La Circoncision Paire d'huiles sur panneaux de chêne,..
          Mar. 27, 2019

          Ecole anversoise vers 1550 Entourage de Pieter Coecke van Aelst La Nativité et La Circoncision Paire d'huiles sur panneaux de chêne,..

          Est: €6,000 - €8,000

          Ecole anversoise vers 1550 Entourage de Pieter Coecke van Aelst La Nativité et La Circoncision Paire d'huiles sur panneaux de chêne, volets de retable, une planche Une ancienne étiquette numérotée 'B 33' au verso de l'un des cadres 56,50 x 32,50 cm (22,24 x 12,8 in.) et 56,50 x 33,50 cm (22,24 x 13,20 in.) (Restes de polychromie en camaïeu gris au verso du second) The Nativity and the Circumcision, oil on panel, a pair, School of Antwerp, ca. 1550 Estimation 6 000 - 8 000 €

          Artcurial
        • *PIETER I COECKE VAN AELST (1502-1550) (atelier) Triptiek in olieverf op paneel met centr
          Dec. 10, 2018

          *PIETER I COECKE VAN AELST (1502-1550) (atelier) Triptiek in olieverf op paneel met centr

          Est: €60,000 - €80,000

          *PIETER I COECKE VAN AELST (1502-1550) (atelier) Triptiek in olieverf op paneel met centraal de Aanbidding der Koningen, op het linkerpaneel Balthazar en op het rechterpaneel de heilige Jozef. Gevat in één kader. De voorstelling gaat vermoedelijk terug op een compositie van de Meester van 1518 (geïdentificeerd als Jan van Dornicke), die actief was in Antwerpen tussen 1509 en 1527 en wiens atelier na zijn dood werd overgenomen door zijn schoonzoon, Pieter Coecke van Aelst. De talrijke versies die van deze voorstelling bewaard zijn gebleven getuigen van de grote productie van het atelier en van de populariteit van de voorstelling waarbij de exotische koningen in hun weelderige gewaden en luxueuze geschenken kennelijk tot de verbeelding moeten hebben gesproken. Er bevinden zich zeer vergelijkbare werken maar met sterker uitgewerkte achtergronden toegeschreven aan beide kunstenaars in Utrecht (104 x 64.5, 107.5 x 28.5, Museum Catharijneconvent, inv./cat.nr ABM s 56) en in Aken (107 x 69; 107 x 28.5, Suermondt-Ludwig-Museum, inv./cat.nr GK 314). Ook in Brussel wordt een zeer gelijkaardig middenpaneel bewaard, toegeschreven aan Pieter Coecke van Aelst (Koninklijke Musea voor Schone Kunsten België, 105 x 72 cm, inv. nr. 386). Al deze werken worden gedateerd in de periode 1520-1530. 106 x 70 (middenpaneel/panneau central); 106 x 30.5 (zijpaneel/panneau latéral) *PIETER I COECKE VAN AELST (1502-1550) (atelier) Triptyque à l'huile sur panneau figurant l'Adoration des Rois sur le panneau central, le roi Balthasar sur le panneau latéral gauche et saint Joseph sur le panneau latéral droit. L'ensemble dans un seul cadre. Ce tableau remonte probablement à une composition de la main du Maître de 1518 (identifié comme Jan Van Dornicke), actif à Anvers entre 1509 et 1527. Après son décès, son atelier a été repris par son beau-fils Pieter Coecke van Aelst. Les nombreuses versions connues de cette composition sont autant des temoins de la grande production de l'atelier ainsi que de la popularité de ce sujet où les mages éxotiques vêtus de manière luxueuse et apportant des cadeaux précieux appelaient au goût de l'époque. On retrouve des oeuvres très similaires, toutes datant de 1520-1530, à Utrecht (triptyque, 104 x 64.5, 107.5 x 28.5, Museum Catharijneconvent, nr. ABM s 56) et à Aachen (triptyque, Suermondt-Ludwig-Museum, nr GK 314, 107 x 69; 107 x 28.5), et un panneau central à Bruxelles (105 x 72, Musée Royal des Beaux Arts, nr. 386). 106 x 70 (middenpaneel/panneau central); 106 x 30.5 (zijpaneel/panneau latéral) ENGLISH *PIETER I COECKE VAN AELST (1502-1550) (workshop) Triptych in oil on panel with central the Adoration of the Kings, on the left panel Balthazar and on the right panel Saint Joseph. Set in one frame. The depiction is probably based on a composition by the Master from 1518 (identified as Jan van Dornicke), who was active in Antwerp between 1509 and 1527 and whose studio was taken over by his son-in-law, Pieter Coecke van Aelst, after his death. The numerous versions that have been preserved of this composition recall the great production of the studio and the popularity of the theme, in which the exotic kings with their colourful garments and luxurious gifts must have been extremely appealing to the 16th century viewer. Very similar works, although with more elaborate backgrounds, have been attributed to both artists (e.g. Triptych, Utrecht, 104 x 64.5, 107.5 x 28.5, Museum Catharijneconvent, inv./cat.nr ABM s 56; triptych, Aachen, 107 x 69; 107 x 28.5, Suermondt-Ludwig-Museum, inv./cat.nr GK 314). Furthermore the Royal Museum of Fine Arts in Brussels holds a very similar central panel, attributed to Pieter Coecke van Aelst (105 x 72 cm, inv. No. 386). All these works date from the period 1520-1530. 106 x 70 (middenpaneel/panneau central); 106 x 30.5 (zijpaneel/panneau latéral)

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