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Leonaert Bramer Sold at Auction Prices

Painter, b. 1596 - d. 1674

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        • Attrib. to Leonard Bramer (1596-1674), Pilate washing his hands, Dutch 17thC School, oil on oak 42 x 62 cm. (16.5 x 24.4 in.), Frame: 55 x 74 cm. (21.6 x 29.1 in.)
          Feb. 13, 2024

          Attrib. to Leonard Bramer (1596-1674), Pilate washing his hands, Dutch 17thC School, oil on oak 42 x 62 cm. (16.5 x 24.4 in.), Frame: 55 x 74 cm. (21.6 x 29.1 in.)

          Est: €1,800 - €2,500

          Attrib. to Leonard Bramer (1596-1674), Pilate washing his hands, Dutch 17thC School, oil on oak

          Carlo Bonte Auctions
        • ATTRIBUTED TO LEONAERT BRAMER (DELFT 1596-1674) Samson and Delilah oil on p
          Jan. 31, 2024

          ATTRIBUTED TO LEONAERT BRAMER (DELFT 1596-1674) Samson and Delilah oil on p

          Est: $8,000 - $12,000

          ATTRIBUTED TO LEONAERT BRAMER (DELFT 1596-1674) Samson and Delilah oil on panel 13 ½ x 19 1⁄8 in. (34.3 x 48.6 cm.)

          Christie's
        • Leonaert BRAMER (1594-1674), 'Die Gefangennahme Christi' / 'The arrest of Christ'
          Jan. 13, 2024

          Leonaert BRAMER (1594-1674), 'Die Gefangennahme Christi' / 'The arrest of Christ'

          Est: €6,000 - €12,000

          Technik: Öl auf ovaler Holztafel, auf Hintergrund montiert, gerahmt, Signatur: unsigniert, Maße: 45,7 x 62,2 cm, Provenienz: The John Barton Payne Collection, Virginia Museum of Fine Arts, Richmond, Inventar Nr. 19-1-2, 1932, Christie's Auktion, New York, 2006, danach Europäische Privatsammlung, Werkverzeichnis: Leonaert Bramer, S127.4, Zustand: gut, vereinzelt wenig retuschiert, gefirnist, Kommentar: 'Bramer war ein niederländischer Maler und Bauzeichner dessen Stil stark von den karawaggesken Künstlern beeinflusst war, deren Werke er auf seinen Reisen in Italien sah. Er bevorzugte italienische Themen, darunter mythologische, allegorische, historische und biblische Szenen, gegenüber den traditionelleren holländischen Stillleben, Porträts und Genrestücken - wie das vorliegende Gemälde zeigt.' (Vgl. Prof. Frima Fox Hofrichter, Katalog Christie's 2006), Schätzpreis: 9000-18.000 Euro.

          Auktionshaus Schwab
        • LEONARD BRAMER (attr. a)
          Dec. 11, 2023

          LEONARD BRAMER (attr. a)

          Est: €800 - €1,200

          (Delft, 1596 ; 1674) Cena in Emmaus Olio su tela, cm 118X146,5 L'opera è corredata da una scheda critica di Ferdinando Arisi che l'attribuisce a Leonard Bramer.

          Wannenes Art Auctions
        • Attr Leonard Bramer (Netherlands, Italy 1596-1674)
          Nov. 29, 2023

          Attr Leonard Bramer (Netherlands, Italy 1596-1674)

          Est: $2,000 - $3,000

          Attributed Leonard Bramer (Netherlands, Italy, 1596 - 1674) Oil on Canvas. Appears to be unsigned. Condition: having been relined, having a tear to the center of the canvas. Provenance: Private Florida collector. Size: 25.25 x 31 in. Unframed. Bramer was a Dutch painter, best known for probably being one of the teachers of Johannes Vermeer, although there is no similarity between their work. Bramer's dark and exotic style is unlike Vermeer's style.

          Helmuth Stone
        • Leonaert BRAMER Delft, 1596 - 1674 Le reniement de saint Pierre Huile sur panneau doublé et parqueté
          Nov. 22, 2023

          Leonaert BRAMER Delft, 1596 - 1674 Le reniement de saint Pierre Huile sur panneau doublé et parqueté

          Est: €12,000 - €15,000

          Leonaert BRAMER Delft, 1596 - 1674 Le reniement de saint Pierre Huile sur panneau doublé et parqueté Signé 'L Bramer' sur le banc à droite The denial of Saint Peter, oil on panel, signed, by L. Bramer h: 65 w: 81 cm Provenance : Acquis chez Heim, Paris, le 2 mars 1981, par l'actuelle propriétaire ; Collection particulière, Paris Bibliographie : Jacques Foucart, " Le Pyrame et Thisbé de Leonaert Bramer (1596-1674) ", in 'La Revue du Louvre', n° 5, Paris, 1990, p. 382, repr. fig. 18 Jane ten Brink Goldsmith, 'Leonaert Bramer, 1596-1674: ingenious painter and draftsman in Rome and Delft', cat. exp. Delft, Stedelijk Museum Het Prinsenhof, Zwolle, 1994, p. 291, n° S133.1, repr. Commentaire : " Toutes ses peintures sont rehaussées par le prestige des effets de flambeaux et s'enveloppent des mystères de la nuit1 " : en quelques mots, Charles Blanc résume la singularité de l'art du hollandais Leonaert Bramer, tout en regrettant que cet étonnant artiste ne connaisse pas la renommée qu'il mérite. Le peintre est aujourd'hui encore bien souvent inclus dans la nébuleuse rembranesque dont il se distingue néanmoins par une esthétique particulière et une utilisation du clair-obscur qui lui est propre. Cette manière est le fruit de sa formation et d'un séjour italien d'une dizaine d'années, au cours duquel il se nourrit du coloris vénitien et découvre les productions de l'Allemand Adam Elsheimer qui laissèrent sur lui une empreinte durable. De retour à Delft en 1628, Bramer reçoit des commandes de décors et de tableaux de chevalet, développant un clair-obscur vibrant, détachant ses figures sur des fonds sombres par de scintillants effets de lumière. Sur le panneau que nous présentons, où une assemblée de personnages évolue dans l'obscurité du soir de la veille de la Passion, des petits accents brillants viennent rompre les ténèbres et faire étinceler l'acier des armures et le satin des pourpoints. Un temps identifié comme illustrant la vocation de saint Matthieu, probablement en raison de ses résonnances avec la célèbre composition du Caravage, notre tableau représente en fait le reniement de saint Pierre que l'on devine à gauche, près du feu dans la résidence du grand prêtre comme l'indique l'Evangile, approché par une jeune servante qui le désigne comme l'un des compagnons de Jésus, ce que l'apôtre niera (Lc 22, 54-62). En décrivant le sujet principal dans la partie gauche de sa composition, Bramer en propose une vision en immersion, invitant le spectateur à la table des joueurs et des soldats qui passent le temps en attendant le lever du jour de la Passion. 1. Ch. Blanc, 'Histoire des peintres de toutes les écoles. Ecole hollandaise', t. I, Paris, 1883, p. 2. Estimation 12 000 - 15 000 €

          Artcurial
        • Attrib. to Leonard Bramer (1596-1674), Pilate washing his hands, Dutch 17thC School, oil on oak 42 x 62 cm. (16.5 x 24.4 in.), Frame: 55 x 74 cm. (21.6 x 29.1 in.)
          Oct. 04, 2023

          Attrib. to Leonard Bramer (1596-1674), Pilate washing his hands, Dutch 17thC School, oil on oak 42 x 62 cm. (16.5 x 24.4 in.), Frame: 55 x 74 cm. (21.6 x 29.1 in.)

          Est: €2,000 - €3,000

          Attrib. to Leonard Bramer (1596-1674), Pilate washing his hands, Dutch 17thC School, oil on oak

          Carlo Bonte Auctions
        • Leonard Bramer (Dutch, 1596-1674)
          Sep. 26, 2023

          Leonard Bramer (Dutch, 1596-1674)

          Est: £400 - £600

          Leonard Bramer (Dutch, 1596-1674) Leonard Bramer (Dutch, 1596-1674) King Nebuchadnezzar watching Shadrach, Meshach and Abed-Nego in the fiery furnace faintly initialled l.c., with collector's mark l.l., pen and ink and grey wash 22 x17.5cm, unframed Provenance: Sotheby's(?) William Bateson (Lugt 2604A), London, 24 April 1929, lot 197; Sotheby's, 'The Collection of Professor J Isaacs', 27 February 1964, lot 156, where purchased by the present vendor. Condition Report: overall: 38.5 x 30cm The work has been attached to a sheet of card with two small pieces of tape applied to the reverse of the left edge. There is a border of discolouration to the front where the work has been previously framed with a mount.

          Sworders
        • F. PILOTY (*1786) after BRAMER (*1596), Man with mousetrap, around 1811, Lithography
          Sep. 23, 2023

          F. PILOTY (*1786) after BRAMER (*1596), Man with mousetrap, around 1811, Lithography

          Est: €150 - €200

          Ferdinand Piloty sen. (1786 Homburg - 1844 Munich) after Leonaert Bramer (1596 - 1674 ): "Man with a Mousetrap", incunabulum of lithography, 1811-1816, c. 1811, Lithography Technique: Lithography on Paper, mounted on Paper Date: c. 1811 Description: Full-bearded man in monk's habit with mousetrap frightens women at a reel, with defensive movement. Chalk with light loose clay, few highlights, limited, signed underneath: L. Bramer / F: Pilotj del. Drawing Gr. Sammlung München 1244. (Winkler, Die Frühzeit der Deutschen Lithographie, p. 362: No. 965, 47.2.Dussler, (München II), p.151, No. XLVII, 2.: "Spinning women, to whom a man meets with a small box"). Keywords: 19th century, Figurative, People, Germany,

          Fichter Kunsthandel
        • Leonard Bramer (Delft 1596 - 1674) attribuito
          Sep. 19, 2023

          Leonard Bramer (Delft 1596 - 1674) attribuito

          Est: €500 - €800

          Leonard Bramer (Delft 1596 - 1674) attribuito Sosta dei viandanti Olio su ardesia 29 x 34,5 cm Leonard Bramer (Delft 1596 - 1674) attributed Stopover for travelers Oil on slate 29 x 34,5 cm

          Lucas Aste
        • LEONARD BRAMER (attr. a)
          Jun. 28, 2023

          LEONARD BRAMER (attr. a)

          Est: €1,500 - €2,000

          (Delft, 1596 ; 1674) Cena in Emmaus Olio su tela, cm 118X146,5 L'opera è corredata da una scheda critica di Ferdinando Arisi che l'attribuisce a Leonard Bramer.

          Wannenes Art Auctions
        • Leonaert Bramer, Christ among the Doctors
          May. 20, 2023

          Leonaert Bramer, Christ among the Doctors

          Est: €5,000 - €7,000

          Certificate Walther Bernt, Munich, 29.9.1974. In his 1974 expertise, Walther Bernt mentions a monogram "B" at the lower right, which, however, cannot be found today. He assumes that our painting is no. 102 in Heinrich Wichmann's catalogue raisonné (Leonaert Bramer. Sein Leben und seine Kunst, Leipzig 1923, p. 118).

          Kunsthaus Lempertz KG
        • LEONARD BRAMER
          May. 18, 2023

          LEONARD BRAMER

          Est: €2,000 - €3,000

          (Delft, 1596 ; 1674) Mosè e il vitello d'oro Olio su ardesia, cm 34,5X45 Provenienza: Palermo, collezione privata Le prime notizie sull'artista si datano al 1614 quando era in Francia, per poi raggiungere Roma partendo da Marsiglia sostando a Genova e Livorno, arrivando nella Città Eterna probabilmente nel 1616 dove alloggiò in Via della Croce (1619-20), in Via dei Pontefici e successivamente in Via Ripetta (Hoogewerff 1942 e 1952). Dopo il 18 ottobre 1627 non si hanno di lui più notizie e i documenti narrano che fu coinvolto in un accoltellamento che lo costrinse alla fuga, mentre Claude Lorrain tentò inutilmente di mediare con la parte lesa (Cfr. P. Cavazzini, Nobiltà e bassezze nella biografia dei pittori di genere, in I bassifondi del Barocco. La Roma del vizio e della Miseria, catalogo della mostra a cura di F. Cappelletti e A. Lemoine, Roma 2014, pp. 57-67). La produzione dell'artista conta soprattutto quadri di genere e soggetti storici, realizzati prevalentemente su lastre di ardesia creando affascinanti composizioni a 'lume di notte' dal forte sapore caravaggesco. Sappiamo che i suoi primi committenti furono il principe Mario Farnese, il cardinale Scaglia e la famiglia Giustiniani, sedotti dal peculiare talento del giovane, il cui stile trovava altresì confronto con quello di François de Nome. Si comprende quindi che Bramer era partecipe di quell'ambiente cosmopolita e del 'dissenso' ma altresì contiguo ai modi di Adam Elsheimer, Filippo Napoletano, Agostino Tassi e quei pittori dell'Italia settentrionale attivi a Roma quali Carlo Saraceni, Alessandro Turchi detto l'Orbetto e Marcantonio Bassetti. Il dipinto qui presentato è caratteristico della sua produzione e si confronta agevolmente con le due lavagne appartenenti alla collezione Chigi Saracini, dove sono raffigurati in una impenetrabile oscurità il Trionfo di David con la testa di Golia e il Trionfo di Giuditta (Cfr. R. Spinelli, Oltre la scuola senese. Dipinti del Seicento e del Settecento nella collezione Chigi Saracini, catalogo della mostra di Siena, Firenze 2005, pp. 104-106, n. 51a-b), in cui possiamo osservare una similare conduzione pittorica, con le figure che emergono dal fondo scuro ottenuto 'a risparmio'. Altri utili paragoni si ottengono guardando le opere conservate alla Galleria Pallavicini e in collezione Meluzzi a Roma, rese note da Luigi Salerno. Bibliografia di riferimento: L. Salerno, Pittori di paesaggio del Seicento a Roma, Roma 1977; 78, I, 48.2-48.5, pp. 274-279 M. Chiarini, Gallerie e Musei di Firenze. I dipinti olandesi del Seicento e del Settecento Roma 1989, ad vocem L. Laureati, in Pietra Dipinta. Tesori nascosti del '500 e del '600 da una collezione privata milanese, catalogo della mostra a cura di M. Bona Castellotti, Milano 2000, pp. 46, n. 12

          Wannenes Art Auctions
        • Léonard Bramer: Communion in the House of Simon the Pharisee
          May. 15, 2023

          Léonard Bramer: Communion in the House of Simon the Pharisee

          Est: €15,000 - €18,000

          BRAMER, LÉONARD Delft 1596 - 1674 Title: Communion in the House of Simon the Pharisee. Technique: Oil on an old copper printing plate. Measurement: 19,5 x 26cm. Frame: Framed. Verso: Printing plate of a map. Provenance: Private ownership, Belgium. Explanations to the Catalogue

          Van Ham Kunstauktionen
        • Leonard Bramer, 1596 – 1674, zugeschrieben
          Mar. 30, 2023

          Leonard Bramer, 1596 – 1674, zugeschrieben

          Est: €3,000 - €5,000

          RASTENDE HIRTEN BEI NACHT Öl auf Schieferplatte. 26,5 x 51 cm. In vergoldetem Profilrahmen. Weite Ebene von sanften Hügelketten zum Horizont hin abgeschlossen. Das nächtliche Schwarz, das der Künstler geschickt durch den dunklen Malgrund zu nutzen verstand, wird gebrochen durch eine liegende Mondsichel, durch deren Licht sich die Bäume und die Viehherde abzeichnet, und durch ein kleines Feuer, um das sich mehrere Figuren versammelt haben, von denen eine ihre Hände zu wärmen sucht. Von Bramer sind einige ähnliche Nachtszenen bekannt, wie etwa das beim RKD unter Nummer 301405 verzeichnete Gemälde. (13500211) (3) (13)

          Hampel Fine Art Auctions
        • F. PILOTY (*1786) after BRAMER (*1596), Monks, novices and wanderers, around 1808, Lithography
          Mar. 11, 2023

          F. PILOTY (*1786) after BRAMER (*1596), Monks, novices and wanderers, around 1808, Lithography

          Est: €135 - €225

          Ferdinand Piloty sen. (1786 Homburg - 1844 Munich) after Leonaert Bramer (1596 - 1674 ): Monks with young novice meet wanderer, c. 1808, Lithography Technique: Lithography on Paper Inscription: At the lower part signed in the printing plate: "L: Bramer. | F: Piloty del:". Date: c. 1808 Description: Ferdinand Piloty was a German lithographer who made a name for himself especially through the print reproduction of old hand drawings. In Munich between 1808 and 1815, together with Johann Nepomuk Strixner, he published an extensive series of lithographs after the old masters' drawings. The varied oeuvre highlights the full skill of the two artists, who copied the drawings onto the stone with a sensitive eye and whose reproductions give a good impression of the original work. Characteristically, many of the sheets are based on a subtly coloured clay plate with scratch-outs, presumably intended to imitate white highlights and different paper colours of the originals. Piloty and Strixner used the technique of lithography in all its facets and always strove to give their reprints the same delicacy and depth that characterise the Old Masters' hand drawings. Keywords: Lithograph series, Old Masters, Countryside, Study, Monks, Monastery, Farewell, 19th century, Romanticism, Fashion, Germany,

          Fichter Kunsthandel
        • F. PILOTY (*1786) after BRAMER (*1596), Monk and supplicant, around 1808, Lithography
          Mar. 11, 2023

          F. PILOTY (*1786) after BRAMER (*1596), Monk and supplicant, around 1808, Lithography

          Est: €135 - €225

          Ferdinand Piloty sen. (1786 Homburg - 1844 Munich) after Leonaert Bramer (1596 - 1674 ): Monk and supplicant, Small genre scene, c. 1808, Lithography Technique: Lithography over tinted stone on Paper Inscription: At the lower part signed in the printing plate: "L: Bramer | F: Piloty del:". Date: c. 1808 Description: Ferdinand Piloty was a German lithographer who made a name for himself especially through the print reproduction of old hand drawings. In Munich between 1808 and 1815, together with Johann Nepomuk Strixner, he published an extensive series of lithographs after the old masters' drawings. The varied oeuvre highlights the full skill of the two artists, who copied the drawings onto the stone with a sensitive eye and whose reproductions give a good impression of the original work. Characteristic of many of the sheets is the base of a subtly coloured clay plate with scratch-outs, presumably intended to imitate white highlights and different paper colours of the originals. Piloty and Strixner used the technique of lithography in all its facets and always strove to give their reprints the same delicacy and depth that characterise the Old Masters' hand drawings. Keywords: Lithograph series, Old Masters, study, monk, monastery, alms, habit, 19th century, Romanticism, Religious, Germany,

          Fichter Kunsthandel
        • F. PILOTY (*1786) after BRAMER (*1596), Supplicant and monk, around 1808, Lithography
          Mar. 11, 2023

          F. PILOTY (*1786) after BRAMER (*1596), Supplicant and monk, around 1808, Lithography

          Est: €135 - €225

          Ferdinand Piloty sen. (1786 Homburg - 1844 Munich) after Leonaert Bramer (1596 - 1674 ): Supplicant and Monk, Little Glad Scene, c. 1808, Lithography Technique: Lithography over tinted stone on Paper Inscription: At the lower part signed in the printing plate: "L: Bramer | F: Piloty del:". Date: c. 1808 Description: Ferdinand Piloty was a German lithographer who made a name for himself especially through the print reproduction of old hand drawings. In Munich between 1808 and 1815, together with Johann Nepomuk Strixner, he published an extensive series of lithographs after the old masters' drawings. The varied oeuvre highlights the full skill of the two artists, who copied the drawings onto the stone with a sensitive eye and whose reproductions give a good impression of the original work. Characteristic of many of the sheets is the base of a subtly coloured clay plate with scratch-outs, presumably intended to imitate white highlights and different paper colours of the originals. Piloty and Strixner used the technique of lithography in all its facets and always strove to give their reprints the same delicacy and depth that characterise the Old Masters' hand drawings. Keywords: Lithograph series, Old Masters, study, monk, monastery, alms, habit, 19th century, Romanticism, Religious, Germany,

          Fichter Kunsthandel
        • Leonard BRAMER (1596-1674) zugeschrieben, Genreszenerie, Öl auf Holz.
          Dec. 09, 2022

          Leonard BRAMER (1596-1674) zugeschrieben, Genreszenerie, Öl auf Holz.

          Est: -

          Leonard BRAMER (1596-1674) zugeschrieben, Genreszenerie, Öl auf Holz, verso bez. L:Barmer, Der Bader bei seiner nächtlichen Arbeit, Maße: ca. 27,5 x 20,4 cm, stark gedunkelt, angeschmutzt.

          Auktionshaus Königstein GmbH
        • Bramer, Leonaert (Attrib.) — Nächtliche Szene mit Soldaten um einen Tisch
          Nov. 25, 2022

          Bramer, Leonaert (Attrib.) — Nächtliche Szene mit Soldaten um einen Tisch

          Est: -

          Bramer, Leonaert - attributed to — Night scene with soldiers around a table (Delft 1596-1674 ibid.) Oil on panel or marble. 15 x 20,3 cm. - Upper left corner with a tear. // Bramer, Leonaert (Attrib.) — Nächtliche Szene mit Soldaten um einen Tisch — (Delft 1596-1674 ebd.) Öl/Marmor (?). 15 x 20,3 cm. - Linke obere Ecke mit Riss.

          Kunstauktionshaus Schlosser
        • Leonaert BRAMER Delft, 1596 - 1674 Le reniement de saint Pierre Huile sur panneau doublé et parqueté
          Nov. 09, 2022

          Leonaert BRAMER Delft, 1596 - 1674 Le reniement de saint Pierre Huile sur panneau doublé et parqueté

          Est: €20,000 - €30,000

          Leonaert BRAMER Delft, 1596 - 1674 Le reniement de saint Pierre Huile sur panneau doublé et parqueté Signé 'L Bramer' sur le banc à droite The Denial of Saint Peter, oil on panel, signed, by L. Bramer h: 65 w: 81 cm Provenance : Acquis chez Heim, Paris, le 2 mars 1981, par l'actuelle propriétaire ; Collection particulière, Paris Bibliographie : Jacques Foucart, " Le Pyrame et Thisbé de Leonaert Bramer (1596-1674) ", in 'La Revue du Louvre', n° 5, Paris, 1990, p. 382, repr. fig. 18 Jane ten Brink Goldsmith, 'Leonaert Bramer, 1596-1674: ingenious painter and draftsman in Rome and Delft', cat. exp. Delft, Stedelijk Museum Het Prinsenhof, Zwolle, 1994, p. 291, n° S133.1, repr. Commentaire : " Toutes ses peintures sont rehaussées par le prestige des effets de flambeaux et s'enveloppent des mystères de la nuit1 " : en quelques mots, Charles Blanc résume la singularité de l'art du hollandais Leonaert Bramer, tout en regrettant que cet étonnant artiste ne connaisse pas la renommée qu'il mérite. Le peintre est aujourd'hui encore bien souvent inclus dans la nébuleuse rembranesque dont il se distingue néanmoins par une esthétique particulière et une utilisation du clair-obscur qui lui est propre. Cette manière est le fruit de sa formation et d'un séjour italien d'une dizaine d'années, au cours duquel il se nourrit du coloris vénitien et découvre les productions de l'Allemand Adam Elsheimer qui laissèrent sur lui une empreinte durable. De retour à Delft en 1628, Bramer reçoit des commandes de décors et de tableaux de chevalet, développant un clair-obscur vibrant, détachant ses figures sur des fonds sombres par de scintillants effets de lumière. Sur le panneau que nous présentons, où une assemblée de personnages évolue dans l'obscurité du soir de la veille de la Passion, des petits accents brillants viennent rompre les ténèbres et faire étinceler l'acier des armures et le satin des pourpoints. Un temps identifié comme illustrant la vocation de saint Matthieu, probablement en raison de ses résonnances avec la célèbre composition du Caravage, notre tableau représente en fait le reniement de saint Pierre que l'on devine à gauche, près du feu dans la résidence du grand prêtre comme l'indique l'Evangile, approché par une jeune servante qui le désigne comme l'un des compagnons de Jésus, ce que l'apôtre niera (Lc 22, 54-62). En décrivant le sujet principal dans la partie gauche de sa composition, Bramer en propose une vision en immersion, invitant le spectateur à la table des joueurs et des soldats qui passent le temps en attendant le lever du jour de la Passion. 1. Ch. Blanc, 'Histoire des peintres de toutes les écoles. Ecole hollandaise', t. I, Paris, 1883, p. 2. Estimation 20 000 - 30 000 €

          Artcurial
        • Attributed to LEONAERT BRAMER
          Sep. 23, 2022

          Attributed to LEONAERT BRAMER

          Est: CHF7,000 - CHF10,000

          Attributed to LEONAERT BRAMER (1596 Delft vor 1674) Battle scene. Oil on copper. 27 × 36.5 cm. Provenance: European collection. --------------- LEONAERT BRAMER, zugeschrieben (1596 Delft vor 1674) Gefechtsszene. Öl auf Kupfer. 27 × 36,5 cm. Provenienz: Europäische Sammlung. ---------------

          Koller Auctions
        • Leonard BRAMER (1596-1674) zugeschrieben, Genreszenerie, Öl auf Holz.
          Jun. 17, 2022

          Leonard BRAMER (1596-1674) zugeschrieben, Genreszenerie, Öl auf Holz.

          Est: -

          Leonard BRAMER (1596-1674) zugeschrieben, Genreszenerie, Öl auf Holz, verso bez. L:Barmer, Der Bader bei seiner nächtlichen Arbeit, Maße: ca. 27,5 x 20,4 cm, stark gedunkelt, angeschmutzt.

          Auktionshaus Königstein GmbH
        • Leonaert Bramer, Night Scene with two Women and a Donkey
          May. 21, 2022

          Leonaert Bramer, Night Scene with two Women and a Donkey

          Est: €3,000 - €4,000

          Leonaert Bramer travelled to Italy via France in 1615, and it became his home for 13 years. In Italy he became acquainted with the use of slate panels, which were used there more frequently as a substrate for paintings. Thus, most of his works painted on slate, such as the present one, can probably be dated to these Italian years. Bramer often chose unusual motifs that are sometimes difficult to identify today. The subject of the present work has yet to be identified. Since the artist created numerous series of illustrations on paper, including for the Aeneid, Ovid's Metamorphoses and for various Spanish novels, a literary model could be conceivable for this night scene. The painting is listed in the RKD (Rijksbureau voor Kunsthistorische Documentatie) in The Hague, as an authentic work by this artist under the no. 283204.

          Kunsthaus Lempertz KG
        • BRAMER, Leonaert (1596-1674). Album containing 25 brush and grey ink and watercolour
          May. 10, 2022

          BRAMER, Leonaert (1596-1674). Album containing 25 brush and grey ink and watercolour

          Est: €18,000 - €20,000

          BRAMER, Leonaert (1596-1674). Album containing 25 brush and grey ink and watercolour drawings presenting scenes from Ovid's Metamorphoses. Painted on vellum and tipped in on 24 lvs. Bound in 18th c. mottled cf. bind. w. dec. gilt spine.

          Burgersdijk & Niermans
        • Leonard BRAMER (1596-1674) zugeschrieben, Genreszenerie, Öl auf Holz.
          Mar. 25, 2022

          Leonard BRAMER (1596-1674) zugeschrieben, Genreszenerie, Öl auf Holz.

          Est: -

          Leonard BRAMER (1596-1674) zugeschrieben, Genreszenerie, Öl auf Holz, verso bez. L:Barmer, Der Bader bei seiner nächtlichen Arbeit, Maße: ca. 27,5 x 20,4 cm, stark gedunkelt, angeschmutzt.

          Auktionshaus Königstein GmbH
        • Bramer, Leonaert/Leonard (1596 - 1674) womöglich,
          Feb. 19, 2022

          Bramer, Leonaert/Leonard (1596 - 1674) womöglich,

          Est: -

          Bramer, Leonaert/Leonard (1596 - 1674) womöglich, "Kämpfende Pferde", Öl auf Schiefer, auf Holz, womöglich Signaturreste unten rechts (weitgehend übermalt), 30 x 46 cm, alter Riss restauriert, kleine Farbabsprünge, Retuschen. In der niederländischen Malerei der Frühen Neuzeit ist Schiefer als Malgrund äußerst ungewöhnlich. Vergleichbare Werke finden sich im Oeuvres Leonaert Bramers, der Schiefer als Bildträger wohl während seines mehrjährigen Italien-Aufenthalt kennenlernte und diesen für seine Chiaroscuro-Werke auch in Delft häufig verwendete.

          Auktionshaus Plückbaum
        • LEONARD BRAMER (scuola di)
          Feb. 08, 2022

          LEONARD BRAMER (scuola di)

          Est: €400 - €700

          (Delft, 1596 - 1674) Partenza del Figliol Prodigo Olio su tavola, cm 46X63 Il dipinto riflette una cifra stilistica d'ascendenza nordica, ispirata da Rembrandt e dai primi caravaggeschi. Le figure, grazie alla peculiarità del supporto e alle vibranti pennellate, spiccano sulla superficie secondo una tecnica esecutiva che riconosciamo nelle opere di Leonard Bramer, artista di Delft giunto in Italia poco dopo il 1616 e documentato a Roma dal 1618 al 1629. Nella città capitolina il pittore dipinse per il principe Mario Farnese, per il cardinale Scaglia e la famiglia Giustiniani. Di particolare importanza per la formazione italiana di Bramer, sono le opere degli innumerevoli artisti nordici ivi presenti, creatori di affascinanti visioni notturne.

          Wannenes Art Auctions
        • Leonaert Bramer (1596-1674), 'Die Gefangennahme Christi' / 'The capture of Christ'
          Jan. 04, 2022

          Leonaert Bramer (1596-1674), 'Die Gefangennahme Christi' / 'The capture of Christ'

          Est: €12,000 - €24,000

          Technik: Öl auf ovaler Holzplatte, Signatur: unsigniert, verso mit roter Inventar-Nr. '19. 1.2.', mit handgeschriebenem Vorbesitzeretikett, Maße: 45,7 x 62,2 cm, Provenienz: aus europäischer Privatsammlung, am 31.10. 2013 in der Old Masters & British Paintings Auction bei Christie's in London versteigert; 1932 von John Barton Payne, US-amerikanischem Politiker und Juristen, an das Museum of Fine Arts in Virginia als Schenkung übergeben. Zustand: gut, gefirnist, retuschiert, früherer Riss an der Verbindungsstelle gekittet und retuschiert, Kommentar: Der Delfter Künstler Leonaert Bramer ist ein Rembrandtschüler, von dessen Themenwahl und Hell-Dunkel-Malstil er stark beeinflusst wurde. Der berühmte Kupferstich nach einem Selbstporträt verrät die Positionierung zu seinem Meister und als Delfter Künstler zur niederländischen Tradition, wenngleich Bramer wie viele seiner Zeitgenossen in Rom die Vorbilder italienischer Meister studierte. Ähnliche Sujets wie 'Die Gefangennahme Christi' in kleinen bis mittleren Formaten aus der Hand des Malers sind u.a. 'Christi Verspottung', 'König Salomon im Tempel betend', ' Die Königin von Saba vor Salomon'. Literatur: Jane Ten Brink Goldsmith: Leonaert Bramer (1596-1674): ingenious painter and draughtsman in Rome and Delft; Ausst. Delft, 09.09.-13.11. 1994, Gemeente Musea, Zwolle 1994; o.A.: Catalogue of the paintings in the John Barton Payne Collection: given in memory of his wife and mother to the Commonwealth of Virginia, 1921 + Technique: oil on oval wooden panel, Signature: unsigned, verso with red inventory no. '19. 1.2.', with handwritten previous owner's label, Dimensions: 45,7 x 62,2 cm, Provenance: from a European private collection, sold at Christie's Old Masters & British Paintings Auction in London on 31.10. 2013; donated to the Museum of Fine Arts in Virginia in 1932 by John Barton Payne, US politician and lawyer. Condition: good, firnist, retouched, earlier tear at the joint repaired and retouched, Comment: The Delft artist Leonaert Bramer was a student of Rembrandt, by whose choice of subject and chiaroscuro painting style he was strongly influenced. The famous copper engraving after a self-portrait reveals his positioning to his master and, as a Delft artist, to the Dutch tradition, although Bramer, like many of his contemporaries, studied the models of Italian masters in Rome. Similar subjects to 'The Capture of Christ' in small to medium formats from the painter's hand include 'Christ's Mockery', 'King Solomon Praying in the Temple', ' The Queen of Sheba before Solomon'. Literature: Jane Ten Brink Goldsmith: Leonaert Bramer (1596-1674): ingenious painter and draughtsman in Rome and Delft; Ausst. Delft, 09.09.-13.11. 1994, Gemeente Musea, Zwolle 1994; o.A.:Catalogue of the paintings in the John Barton Payne Collection: given in memory of his wife and mother to the Commonwealth of Virginia, 1921

          Auktionshaus Schwab
        • Brink Goldsmith, J. ten a.o. Leonaert Bramer, 1596-1674. Ingenious painter and draughtsman in Rome and Delft.
          Nov. 23, 2021

          Brink Goldsmith, J. ten a.o. Leonaert Bramer, 1596-1674. Ingenious painter and draughtsman in Rome and Delft.

          Est: €70 - €90

          Brink Goldsmith, J. ten a.o. Leonaert Bramer, 1596-1674. Ingenious painter and draughtsman in Rome and Delft. Zwolle/ Delft, Waanders/ Stedelijk Mus. het Prinsenhof, (1994), 331,(1)p., 306 (full-p.) (col.) ills., orig. giltlettered cl. w. dustwr., 4to. Gerson, H. Philips Koninck. Ein Beitrag zur Erforschung der Holländischen Malerei des XVII. Jahrhunderts. Mit vollständigem Oeuvrekatalog. Berlin, Gebr. Mann, 1980, 2nd ed., 192p., 189 monochr. ills. on 64 plates, orig. cl. w. dustwr., 4to. Brown, C. Carel Fabritius. Complete Edition with a Catalogue Raisonné. Oxford, Phaidon, 1981, 168p., 1 col. plate, ills., orig. cl. w. dustwr., 4to. - AND 2 others on Michael Sweerts and David Teniers the Younger.

          Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
        • Leonaert Bramer, Martyrdom of a Saint
          Nov. 20, 2021

          Leonaert Bramer, Martyrdom of a Saint

          Est: €5,000 - €8,000

          RefMas121121 Paintings on slate are unusual in Dutch painting. The only Dutch painter known to have used this material as a substrate was Leonaert Bramer, who settled in Delft following a stay of several years in Italy, rising to become the leading painter in the city. It is likely that Bramer first encountered the use of slate as a substrate whilst in Italy, as it was relatively common there. The artist also played an important role in the dissemination of chiaroscuro painting from Italy to Holland. His unique style is characterised by dramatic plays of light, often deriving from artificial light sources such as the burning torch used in the present work, and a penchant for nocturnal scenes to facilitate these effects, alongside a colour palette dominated by shades of grey and brown. This painting is registered with the RKD in The Hague under the number 217079 as an authentic work by this artist.

          Kunsthaus Lempertz KG
        • Leonaert Bramer (1596-1674), 'Die Gefangennahme Christi' / 'The capture of Christ'
          Oct. 16, 2021

          Leonaert Bramer (1596-1674), 'Die Gefangennahme Christi' / 'The capture of Christ'

          Est: €12,000 - €24,000

          Technik: Öl auf ovaler Holzplatte, Signatur: unsigniert, verso mit roter Inventar-Nr. '19. 1.2.', mit handgeschriebenem Vorbesitzeretikett, Maße: 45,7 x 62,2 cm, Provenienz: aus europäischer Privatsammlung, am 31.10. 2013 in der Old Masters & British Paintings Auction bei Christie's in London versteigert; 1932 von John Barton Payne, US-amerikanischem Politiker und Juristen, an das Museum of Fine Arts in Virginia als Schenkung übergeben. Zustand: gut, gefirnist, retuschiert, früherer Riss an der Verbindungsstelle gekittet und retuschiert, Kommentar: Der Delfter Künstler Leonaert Bramer ist ein Rembrandtschüler, von dessen Themenwahl und Hell-Dunkel-Malstil er stark beeinflusst wurde. Der berühmte Kupferstich nach einem Selbstporträt verrät die Positionierung zu seinem Meister und als Delfter Künstler zur niederländischen Tradition, wenngleich Bramer wie viele seiner Zeitgenossen in Rom die Vorbilder italienischer Meister studierte. Ähnliche Sujets wie 'Die Gefangennahme Christi' in kleinen bis mittleren Formaten aus der Hand des Malers sind u.a. 'Christi Verspottung', 'König Salomon im Tempel betend', ' Die Königin von Saba vor Salomon'. Literatur: Jane Ten Brink Goldsmith: Leonaert Bramer (1596-1674): ingenious painter and draughtsman in Rome and Delft; Ausst. Delft, 09.09.-13.11. 1994, Gemeente Musea, Zwolle 1994; o.A.: Catalogue of the paintings in the John Barton Payne Collection: given in memory of his wife and mother to the Commonwealth of Virginia, 1921 + Technique: oil on oval wooden panel, Signature: unsigned, verso with red inventory no. '19. 1.2.', with handwritten previous owner's label, Dimensions: 45,7 x 62,2 cm, Provenance: from a European private collection, sold at Christie's Old Masters & British Paintings Auction in London on 31.10. 2013; donated to the Museum of Fine Arts in Virginia in 1932 by John Barton Payne, US politician and lawyer. Condition: good, firnist, retouched, earlier tear at the joint repaired and retouched, Comment: The Delft artist Leonaert Bramer was a student of Rembrandt, by whose choice of subject and chiaroscuro painting style he was strongly influenced. The famous copper engraving after a self-portrait reveals his positioning to his master and, as a Delft artist, to the Dutch tradition, although Bramer, like many of his contemporaries, studied the models of Italian masters in Rome. Similar subjects to 'The Capture of Christ' in small to medium formats from the painter's hand include 'Christ's Mockery', 'King Solomon Praying in the Temple', ' The Queen of Sheba before Solomon'. Literature: Jane Ten Brink Goldsmith: Leonaert Bramer (1596-1674): ingenious painter and draughtsman in Rome and Delft; Ausst. Delft, 09.09.-13.11. 1994, Gemeente Musea, Zwolle 1994; o.A.:Catalogue of the paintings in the John Barton Payne Collection: given in memory of his wife and mother to the Commonwealth of Virginia, 1921

          Auktionshaus Schwab
        • BRAMER LEONARD
          Sep. 27, 2021

          BRAMER LEONARD

          Est: €2,500 - €2,800

          LEONARD BRAMER (1596-1674) 'L'antefatto della parabola evangelica del servitore spietato' olio su tavola cm. 43x32 autentica su fotografia del Prof.Ferdinando Arisi

          Aste Boetto SRL
        • BRAMER, LEONAERT
          Jul. 14, 2021

          BRAMER, LEONAERT

          Est: €8,000 - €12,000

          BRAMER, LEONAERT Delft 1596 - 1674 45,5 x 63 cm, oval The Arrest of Christ. Oil/panel. Richmond, Virginia Museum of Fine Arts, The John Barton Payne Collection (inv. no. 19-1-2; cat. 1966, p. 144); Christie's New York Oct 17 2006 (lot 233); Reinhold Hofstätter, Collection, Vienna; Southern German private collection. During his stay in Italy, Bramer seems to have been impressed by Adam Elsheimer and the Caravaggists; early on, his depictions show a preference for artificial lighting and sharp contrasts. He also adopted from Italy a penchant for historical, mythological and biblical subjects instead of traditional Dutch motifs such as still life, portrait and genre painting. Lit.: Published in Jane ten Brink Goldsmith et al., Leonaert Bramer 1596-1674. Ingenious Painter and Draughtsman in Rome and Delft, Zwolle 1994, catalogue raisonné p. 290, no. S127,4.

          Nagel Auction
        • THREE STUDIES OF A SEATED MAN.
          Jun. 17, 2021

          THREE STUDIES OF A SEATED MAN.

          Est: €750 - €1,000

          Drawing, black chalk, pen and grey ink, grey wash heightened with white, 18 x 28,5 cm, brown paper, unsigned (small tear without loss at lower corners). - Prov. C.G. Matthes (Lugt 2871).

          Arenberg Auctions
        • Bramer, Leonhard: Der ungläubige Thomas
          Jun. 11, 2021

          Bramer, Leonhard: Der ungläubige Thomas

          Est: €600 - €750

          Der ungläubige Thomas. Pinsel in Schwarz, grau laviert, Feder in Weiß auf graublauem Bütten. 20,9 x 27,9 cm. Unterhalb der Darstellung von fremder Hand in Bleistift bez. "ungl Thomas". - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

          Galerie Bassenge
        • Leonaert BRAMER Delft, 1596 - 1674 Recto : Le cortège du mouton ; Verso : L'étal du boucher Plume et encre noire, lavis gris et reha..
          Jun. 09, 2021

          Leonaert BRAMER Delft, 1596 - 1674 Recto : Le cortège du mouton ; Verso : L'étal du boucher Plume et encre noire, lavis gris et reha..

          Est: €2,000 - €3,000

          Leonaert BRAMER Delft, 1596 - 1674 Recto : Le cortège du mouton ; Verso : L'étal du boucher Plume et encre noire, lavis gris et rehauts de blanc Front : The cortege of the sheep ; back : The butcher's stall, pen and black ink, grey wash and white highlights, by L. Bramer h: 36 w: 29,50 cm Provenance : Collection Dr. W. Euler ; Galerie Sabrina Forster, Düsseldorf, jusqu'en 2008 ; Collection particulière, Bruxelles Estimation 2 000 - 3 000 €

          Artcurial
        • Dutch School. 17th century. Attributed to Leonaert Bramer (Delft, 1596 - 1674) 
          Jun. 08, 2021

          Dutch School. 17th century. Attributed to Leonaert Bramer (Delft, 1596 - 1674) 

          Est: €3,500 - €4,000

          Dutch School. 17th century. Attributed to Leonaert Bramer (Delft, 1596 - 1674)  Oil, possibly on slate. 13,5 x 17 cm.   It has been repaired due to a small tear.

          La Suite Subastas
        • LEONAERT BRAMER​. Attributed to. Solomon's judgment.
          Jun. 03, 2021

          LEONAERT BRAMER​. Attributed to. Solomon's judgment.

          Est: €1,800 - €2,000

          Oil on canvas With signature: "LB" 42.5x55 cm.

          Balclis
        • Bramer, Leonaert (Delft 1596-1674)
          Mar. 25, 2021

          Bramer, Leonaert (Delft 1596-1674)

          Est: €2,200 - €2,640

          Der zwölfjährige Jesus im Tempel vor staunenden Schriftgelehrten, welche die Erklärung des Knaben in Büchern nachzuvollziehen suchen. Jesus steht hinter hohem Pult mit barocker Kartuschenkonsole. Die Priester in reichen Gewändern mit orientalischen Kopfbedeckungen. Rechts lichte Gewölbe, aus denen Maria und Joseph hereinblicken. Holz. 60×82,5 cm. R.

          Leo Spik
        • LEONAERT BRAMER​. Attributed to. Solomon's judgment.
          Mar. 11, 2021

          LEONAERT BRAMER​. Attributed to. Solomon's judgment.

          Est: €2,500 - €3,000

          Oil on canvas With signature: "LB" 42.5x55 cm.

          Balclis
        • Tanz der Salome
          Feb. 24, 2021

          Tanz der Salome

          Est: €400 - €500

          Bramer, Léonard. Delft 1596 - 1674. Nachfolge. Tanz der Salome. Öl auf Holz. 43 x 61cm. Rahmen. Voraussichtliche Versandkosten für dieses Lot: Deutschland: 50,00 Euro inkl. 7,98 Euro MwSt EU: 95,00 Euro inkl. 15,17 Euro MwSt Weltweit: 160,00 Euro inkl. 25,55 Euro MwSt zzgl. Versandversicherung Sonderregelungen Art & Interior ART & INTERIOR Erläuterungen zum Katalog Léonard Bramer Niederlande 17.Jh. Originale Neues Testament Gemälde Historische Personen Voraussichtliche Versandkosten für dieses Lot: Deutschland: 50,00 Euro inkl. 7,98 Euro MwSt EU: 95,00 Euro inkl. 15,17 Euro MwSt Weltweit: 160,00 Euro inkl. 25,55 Euro MwSt zzgl. Versandversicherung

          Van Ham Kunstauktionen
        • Bramer, Leonaert (Attrib.): Nächtliche Szene mit Soldaten um einen Tisch
          Nov. 27, 2020

          Bramer, Leonaert (Attrib.): Nächtliche Szene mit Soldaten um einen Tisch

          Est: -

          Bramer, Leonaert - attributed to — Night scene with soldiers around a table (Delft 1596-1674 ibid.) Oil on panel or marble. 15 x 20,3 cm. - Upper left corner with a tear. // Bramer, Leonaert (Attrib.) Nächtliche Szene mit Soldaten um einen Tisch (Delft 1596-1674 ebd.) Öl/Marmor (?). 15 x 20,3 cm. - Linke obere Ecke mit Riss.

          Kunstauktionshaus Schlosser
        • Leonard Bramer - Jupiter und Merkur bei Philemon und Baucis
          Nov. 14, 2020

          Leonard Bramer - Jupiter und Merkur bei Philemon und Baucis

          Est: €1,200 - €1,440

          Pinsel in Schwarz, grau laviert und mit Deckweiß gehöht auf graugrünem Bütten mit Wz. „Anker mit Blume im Kreis“. 16,8 x 19,2 cm (Blattgröße 21,1 x 30,3 cm). Bezeichnet von alter Hand unten mittig, paginiert unten rechts, verso unleserlich bezeichnet. differenzbesteuert (VAT: Margin Scheme)

          Karl & Faber
        • LEONARD BRAMER
          Sep. 24, 2020

          LEONARD BRAMER

          Est: €1,500 - €2,500

          (Delft, 1596 - 1674) Interno di taverna con figure olio su lavagna, cm 25X37 Il dipinto riflette una cifra stilistica d'ascendenza nordica, ispirata da Adam Elsheimer e dai primi caravaggeschi. Le figure, grazie alla peculiarità del supporto e alle vibranti pennellate, spiccano sulla superficie, secondo una tecnica esecutiva che riconosciamo nelle opere di Leonard Bramer, artista di Delft giunto in Italia poco dopo il 1616 e documentato a Roma dal 1618 al 1629. Nella città capitolina il pittore dipinse per il principe Mario Farnese, per il cardinale Scaglia e la famiglia Giustiniani. Di particolare importanza per la formazione italiana di Bramer, sono le opere degli innumerevoli artisti nordici ivi presenti, creatori di affascinanti visioni notturne. Lo stile di Bramer ricorda inoltre le composizioni di Francois de Nomè, un artista il cui gusto pittorico trova origine nel cosmopolita ambiente romano, dove si eseguono in anni precoci le prime tele a carattere esoterico e magico, che con Filippo Napoletano e Salvator Rosa troveranno un consenso notevole da parte dei collezionisti e amatori d'arte. A pieno sostegno della paternità del dipinto al Bramer, contribuiscono i confronti con le sue opere certe, conservate presso la Galleria Pallavicini e nella collezione Meluzzi di Roma, rese note da Luigi Salerno e quelle appartenenti alle collezioni fiorentine pubblicate da Marco Chiarini. Segnaliamo, inoltre, una lavagna raffigurante 'Gesù cade sotto la croce' nelle civiche raccolte del Castello Sforzesco. Bibliografia di riferimento: L. Salerno, Pittori di paesaggio del Seicento a Roma, Roma 1977-1978, I, 48.2, 48.5, pp. 274 ; 279 M. Chiarini, Gallerie e Musei di Firenze. I dipinti olandesi del Seicento e del Settecento, Roma 1989, ad vocem J. Ten Brink Goldsmith, P. Huys Janssen, Leonard Bramer 1596 ; 1674: ingenius Painter and Draughtsman in Rome and Delft, catalogo della mostra, Delft 1994, ad vocem

          Wannenes Art Auctions
        • LEONARD BRAMER (attr. a)
          Sep. 24, 2020

          LEONARD BRAMER (attr. a)

          Est: €800 - €1,200

          (Delft, 1596 - 1674) Paesaggio boschivo notturno con figure Olio su lavagna, cm 28X36 Le ossidazioni delle vernici e delle stesure impongono la dovuta prudenza attributiva, tuttavia è indubbio che il dipinto possieda quelle caratteristiche di stile e scrittura tipiche di Leonard Bramer. In primo luogo, si deve osservare come pur nell'essenzialità scenica, l'autore sia in grado di emanare una narrativa di straordinaria validità, in cui ben dimostra il senso del soprannome datogli di Leonardo delle Notti. Scendendo nel dettaglio basta cogliere la resa del paesaggio boschivo illuminato dalla torcia e in modo particolare i riflessi che la stessa disegna sul terreno creando un gioco di ombre e vibrazioni di lume di non comune efficacia e che anticipano gli espedienti scenici di Rembrandt. L'opera trova di conseguenza una perfetta condivisione d'intenti con le opere precoci dei caravaggeschi nordici attivi a Roma dove il nostro giunse intorno al 1516 e dove fu verosimilmente colpito dalle composizioni di Filippo Napoletano.

          Wannenes Art Auctions
        • Leonard Bramer, 1596 Delft – 1674 ebenda
          Aug. 24, 2020

          Leonard Bramer, 1596 Delft – 1674 ebenda

          Est: -

          Tusche Zeichnung/Büttenpapier mit Deckweiß gehöht. Die Verspottung der Ceres. Sie hat die Welt nach ihrer Tochter Persephone abgesucht, die von Pluto, dem Herrscher der Unterwelt, entführt worden war. Als sie in eine kleine Hütte kam, bat sie eine alte Frau um etwas Wasser. Weil Ceres schnell trank, verspottete sie ein kleiner Junge wegen ihrer Gier. Wütend warf Ceres ihr Getränk auf den Jungen und verwandelte ihn in eine Eidechse. Leonard Bramer wurde besonders bekannt für sein Zeichenbuch, das als "Hofstede de Groot album" bekannt ist und 80 Zeichnungen enthalte. Die vorliegende Zeichnung ist das Titelblatt des Zeichenbuchs und trägt die Inschrift "Dies ist mein Zeichenbuch“. Rechts unten in brauner Feder paginiert „72“ und mit Wasserzeichen - Anker im Kreis- versehen. Guter Zustand, Fl. am Rand. Wohl Italien, um 1619-27. H x B ohne Rahmen ca. 15,5 x 17,8 cm. H x B mit Rahmen ca. 52 x 46,5 cm. u. Gl., ger.

          Kunst & Auktionshaus Walter Ginhart
        • Leonaert Bramer (1596–1674) Scene with Men Playing Music and Singing
          Aug. 17, 2020

          Leonaert Bramer (1596–1674) Scene with Men Playing Music and Singing

          Est: €3,000 - €5,000

          Leonaert Bramer, known as "Leonardo della Notte" (Leonardo of the Night) for his copies in the Dutch painters association (schildersbent) in Rome, is known for his shady scenes. The painting shows a pub scene with men playing music and singing, the one on the right carries a sword. The artist thematically joins the Utrecht Caravaggists, but he transposes the inn scenes with soldiers and musicians introduced by the Caravaggists into his new, stylistic idiom with a preference for dark and night scenes with ghostly figures.

          Fine Antiques Prague s.r.o.
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