Painter, copperplate engraver, Etcher, Miniaturist, Wood cutter, b. 1478 - d. 1532
(b Maubeuge, France, 1478; d Antwerp, Belgium, 1532) Flemish painter. In 1508 Gossaert traveled to Rome, together with his patron, Philip of Burgundy, in order to make drawings after ancient sculptures, probably returning to the north in July of 1509. When Philip was named Bishop of Utrecht in 1517, and moved to the Bishop's Palace at Wijk-bij-Duurstede, fifteen miles south of Utrecht, it is likely that Gossaert accompanied him. He is known to have worked in Utrecht during the following years, designing choir stalls and an altar grille for the cathedral. Despite the classicizing influence of his Roman experiences, even after his return from Italy, Gossaert's drawing style retained a nervous, mannerist quality, and is characterized by short, parallel and curving lines, with cross-hatching to emphasize the shading. (Credit: Sotheby’s, New York, The Franz Koenigs Collection of Old Master Drawings and Prints, January 23, 2001, Lot 4)
After Jan Gossaert, Flemish c.1478-1532- Madonna and Child; oil on panel, 37.6 x 28.4 cm. Provenance: Private Collection, UK. Note: The present work is a copy after Gossaert's original composition, with various versions by the artist in the Palace Museum in Wilanów, Poland [Wil.1008] and in the collection of the National Trust at Mount Stewart [1221364]. This image is one of the artist's most popular works, inspiring a number of contemporary and later copies. In the present work, the more elaborate background of the original versions is replaced by a simple black backdrop, focusing the viewer's attention directly on the figure of the Madonna, who looks down lovingly at the infant Christ.
After Jan Gossaert (around 1478 Maubeuge - 1532 Antwerp): The Adoration of the Magi (1505), Earl Carlisle at Castle Howard, from a Masterworks Catalogue, 1905, Photogravure Technique: Photogravure on Paper Date: 1905 Description: From the catalogue: Masterpieces of Painting. Old Masters. Reproductions in Photogravure. With a preface and accompanying text by Wilhelm Bode and Fritz Knapp, Berlin 1905. Please note further offers from the Masterpieces catalogue in our online shop. The photogravure is accompanied by the corresponding picture text by Wilhelm Bode on an additional sheet. Source: Meisterwerke der Malerei. Alte Meister. Reproductionen in Photogravure. Mit einem Vorwort und begleitendem Text von Wilhelm Bode und Fritz Knapp, Berlin 1905 | Book, Religion, Mythology, Genre, Landscape Keywords: 20th century, Renaissance, Biblical, Netherlands, Size: Paper: 50,8 cm x 38,0 cm (20 x 15 in), Depiction: 29,0 cm x 26,5 cm (11,4 x 10,4 in)
19th Cent. oil on canvas with a theme after Jan Gossaert Negentiende eeuws olieverfschilderij op doek naar Jan Gossaert (ca 1478 - 1532) : "Maria en zegenend kindje Jezus" - 76 x 61
Giuditta Olio su tela, cm 97X76 Il dipinto in esame recava un'attribuzione collezionistica a Jan Gossaert (Maubeuge, 1478 ; Anversa, 1532), ma evidenti sono le analogie con lo stile di Ambrosius Benson (Lombardia, 1495 circa ; Bruges, 1550), artista di origini italiane da riconoscere in quell'Ambrogio Benzoni allievo di Gerard David e che nel 1519 è registrato nella corporazione dei pittori di Bruges. Il dipinto raffigura una giovane donna a mezzo busto con la spada e la testa del generale assiro Oloferne in primo piano, secondo un'iconografia tipicamente nordica e altresì impiegata in ambito nordico, sia pur con le dovute differenze gestuali e di posa, per rappresentare figure femminili esemplari. Nel nostro caso, l'immagine trova confronto con una tavola (cm. 88,7X69,5) appartenente all'Alte Pinakothek Monaco di Baviera e datata dalla critica al secondo quarto del XVI secolo (Cfr. https://www.sammlung.pinakothek.de/de/artwork/A9xlyPzLWv).
After Jan Gossaert (around 1478 Maubeuge - 1532 Antwerp): The Adoration of the Magi (1505), Earl Carlisle at Castle Howard, from a Masterworks Catalogue, 1905, Photogravure Technique: Photogravure on Paper Date: 1905 Description: From the catalogue: Masterpieces of Painting. Old Masters. Reproductions in Photogravure. With a preface and accompanying text by Wilhelm Bode and Fritz Knapp, Berlin 1905. Please note further offers from the Masterpieces catalogue in our online shop. The photogravure is accompanied by the corresponding picture text by Wilhelm Bode on an additional sheet. Source: Meisterwerke der Malerei. Alte Meister. Reproductionen in Photogravure. Mit einem Vorwort und begleitendem Text von Wilhelm Bode und Fritz Knapp, Berlin 1905 | Book, Religion, Mythology, Genre, Landscape Keywords: 20th century, Renaissance, Biblical, Netherlands,
CIRCLE OF JAN GOSSAERT, CALLED MABUSE (?MAUBEUGE C.1478-1532 ?ANTWERP) The wings of a triptych: Saints John the Baptist and Mary Magdalene oil on panel 17 ¾ x 8 ¼ in. (45.2 x 21 cm.), each
Attributed to Jan Gossart "Mabuse" (Maubeuge, circa 1478 - Antwerp, 1532) "Virgin and Child (Portrait of Anna van Bergen with her son Hendrik)" Oil on panel. 47,5 x 36 cm. Our hypothesis regarding this painting, of which there are a few copies by Gossart's contemporaries and followers, is that it is the original by Mabuse which belonged to the Marqués de Leganés, registered in the inventory of his collection as number 379 ("Another image of Our Lady with the Child in her arms, holding a handheld rosary by Mabuse, measuring just under half a yard in number three hundred and seventy-nine, valued at twelve hundred Reales"). It was documented for the last time in 1655 and not located since then. The information that supports our hypothesis can be found in the doctoral thesis "El Marqués de Leganés y las Artes" by José Juan Pérez Preciado: "The motif of the rosary in the hands of the Virgin was frequently repeated among Flemish artists of the 15th century. Gossaert used it in a devotional work of which several copies are known. According to Karel van Mander, it was a painting created during Gossaert's service at the court of Adolf de Bourgogne, Marquess of Vere and Teerveuren. The artist used portraits of the nobleman's wife and son. According to Friedländer, the main painting under this iconography that the author created is that of the Metropolitan Museum in New York (inv. 17.190.17 T. 45 x 34). Although others are also preserved in the Royal Museum of Brussels (T. 43.7 x 31; inv. 3377), or in the Dresden Gallery. The fate of the painting is unknown, as it had already left the collection in 1711, when it was claimed by the Count of Altamira, the legal heir to the entire collection. It has not been possible to link any known copy to the work owned by Leganés, although the presence of a copy in the K. Kocherthaler collection in Madrid at the beginning of the 20th century is significant, as Friedländer himself attests." As indicated by the typewritten label on the back, with data from the former owner, it states that it was acquired precisely from the Kuno Kocherthaler collection in Madrid. Therefore, our painting is the one mentioned earlier in the thesis by José Juan Pérez Preciado, which was in Madrid at the beginning of the 20th century and could well be the one belonging to the Marqués de Leganés that has not been located to date. The MET in New York, as mentioned by Preciado, has a Virgin and Child similar to this one in its collections a, painted by a follower of Gossart, with collection number: 17.190.17. The Metropolitan, in its description of the work dating from after 1522, suggests that it may be "a replica of the lost original portrait by Gossart of the noble Anna van Bergen posing with her son Hendrik as the Virgin and Child." The note continues, stating that "portraits in which secular people adopt the appearance of sacred figures may seem provocative to modern sensibilities, but they capture the aspirations of their subjects to emulate the ideals of virtue and piety." As we read in the Museo del Prado's entry on Jan Gossaert, "The signed works that are preserved by Jan Gossaert, known as Mabuse, allude to his origin in Maubeuge, in Hainaut - currently in northern France. Although there is no news of where he was trained, it is possible that he received his education in Bruges, in the workshop of Gérard David (doc. 1484-1523), before 1503 when he enrolled in the Guild of Antwerp. In October 1508, he accompanied Philip of Burgundy to Rome, and during his stay in this city, Gossaert drew ancient statues and architectural monuments for him, becoming the first Flemish painter to directly experience Italian art. Upon returning to Flanders, he introduced classical models into his works, which abound in themes from Antiquity and nudes, such as those he painted in 1516 for Philip of Burgundy in the decoration of the castle of Suytburg in Zeeland, in collaboration with Jacopo de Barbari (ca. 1445-ca. 1515). Simultaneously, Gossaert became interested in 15th-century Flemish painting and copied some artworks, including those of Jan van Eyck (doc. 1422-1441), as he did in this panel at the Prado. His debt to tradition is also evident in his interest in translating the qualities of things, an interest that he maintained even in paintings and drawings of religious or mythological subjects in which classical forms are embodied in human types originating from Flanders (González Mozo, A .: El trazo oculto. Dibujos subyacentes en pinturas de los siglos XV y XVI, Museo Nacional del Prado, 2006, pp. 102-113)." Provenance: Former Kuno Kocherthaler Collection, Madrid. Early 20th century. Private collection. Reference bibliography: - Pérez Preciado, José Juan. (2008). "El Marqués de Leganés y las Artes”. [Tesis de doctorado. Universidad Complutense de Madrid]. Docta Complutense. - Museo del Prado. (s.f.). "Gossaert, Jan". https://www.museodelprado.es/coleccion/artista/gossaert-jan/c0969eda-6fea-4a7c-a868-2b919aa9a01f - Metropolitan Museum of Art. (s.f.). "Virgin and Child". https://www.metmuseum.org/art/collection/search/436539 Medieval.
Jan Gossaert, gen. Mabuse Antwerp 1478 - 1532 Antwerp, Circle of Madonna Flemish 1st half of 16th century Oil on oak panel 57 x 42 cm, with frame 68 x 54,5 cm This museum-quality painting shows the Virgin Mary in a contemplative pose together with the playful baby Jesus sitting on a table in front of her. The scene is set in an interior space. Mary is looking diagonally downwards to the left, while the child is depicted looking to the right. With the index finger of his right hand he points in the same direction, while the back of his left hand touches that of his mother. This intimate posture illustrates the intimate relationship between mother and child. Furthermore, the different directions of gaze typically indicate the Virgin's role as an intercessor, who usually turns towards the viewer. Here the humanity of the child is particularly emphasised, who is depicted naked and is barely clad by the depicted cloth. The child's little feet seem to be kicking merrily, further illustrating the human-like aspect of Christ. Mary, however, is shown extremely pensive and introspective, probably already referring to the future Passion of her son. She wears a luxurious gown with gold borders and a velvety, heavy overgarment draped intricately over her shoulders and arms. The composition is probably a variation of the important late work by the Dutch Renaissance painter Jan Gossaert, called Mabuse. although the artistic execution, location. and colouring are entirely different. The panel painting from 1531 can be seen today in the Cleveland Museum of Art (inv. no. 1972.47). Research has shown that this composition has strong similarities with two works by Albrecht Dürer (1471 Nuremberg - 1528 ibid.): with the drawing of the 93-year-old man from 1521 (Albertina Graphic Collection, inv. no. 3167) and with the painting of Mary and Child with the Pear from 1512 (Kunsthistorisches Museum Picture Gallery, inv. no. 848). Furthermore, Mary's veil draped naturalistically over her head is particularly striking here and is definitely based on Gossaert's work. Unlike Gossaert's work, however, an interior with particularly striking shadows is shown here, with the light coming from the upper left. Furthermore, the colouring and modelling of the skin and fabric are different; these are particularly strong, bright colours that are further emphasised by bold contrasts of light and dark. This combination of dark undergarment with gold border and red cloak is also seen in other Madonna depictions by Gossaert. The painting is also characterised by sharp facial contours as well as blackened outlines of the textile. Other interesting divergent aspects are the child's face, which is modelled less childlike and more kindly, and Mary looking down and away from the child, whereas Gossaert depicts his Mary looking at her child. This is a shift of meaning in the overall expression: both the changed direction of gaze and the location in an interior space make the scene immediately tangible, as if one were looking through a window into a house and finding the group of figures there. These features - luminous colouring and black outlines - are particularly typical of an artist whose name is unknown and who was given the emergency name "Master of the Female Half-Figures". This artist was active in the south of the Netherlands and in Antwerp between 1525 and 1550. His numerous unsigned paintings mostly show single female half-figure portraits, whereby he enjoyed the favour of both ecclesiastical and secular patrons and thus oriented himself to various compositional schemes; most probably also to a type of work after which Gossaert also produced his work. This is therefore an important work by a masterful painter who moved in Gossaert's Circle of.
Jan Gossaert, called Mabuse Antwerp 1478 - 1532 Antwerp, Circle of Flemish 1. half of the 16. century Oil on oak panel 57 x 42 cm, with frame 68 x 54,5 cm This museum-quality painting shows the mother of God, Mary, in a contemplative pose together with the playful baby Jesus sitting on a table in front of her. The scene is set in an interior room. Mary is looking diagonally down to the left, while the child is depicted looking to the right. With the index finger of his right hand, he points in the same direction, while the back of his left-hand touches that of his mother. This tender posture illustrates the intimate relationship between mother and child. Furthermore, the different directions of gaze typically indicate the role of the Virgin as an intercessor who usually turns towards the viewers. Here the humanity of the child is particularly emphasised, being depicted naked and having barely thrown on the draped cloth. The child's little feet seem to be kicking merrily, illustrating the child-like aspect of Christ. Mary, however, is shown extremely pensive and introspective, probably already referring to the future Passion of her son. She wears a luxurious gown with gold trim and a velvety, heavy overgarment draped intricately over her shoulders and arms. The composition is probably a variation of the important late work by the Dutch Renaissance painter Jan Gossaert, called Mabuse (Antwerp 1478 - 1532 ibid.), although the artistic execution, location and colouring are entirely different. The panel painting from 1531 can be seen today in the Cleveland Museum of Art (inv. no. 1972.47). Research has shown that this composition has strong similarities with two works by Albrecht Dürer (1471 Nuremberg - 1528 ibid.): the drawing of the 93-year-old man from 1521 (Albertina Graphic Collection, inv. no. 3167) and the painting of Mary and Child with the Pear from 1512 (Kunsthistorisches Museum Gemäldegalerie, inv. no. 848). Furthermore, Mary's veil draped naturalistically over her head is particularly striking here and is probably definitely based on Gossaert's work. Unlike Gossaert's work, however, an interior with particularly striking shadows is shown here, with the light coming from the upper left. Furthermore, the colouring and modelling of the skin and fabric are different; these are particularly strong, bright colours that are further emphasised by bold contrasts of light and dark. This combination of dark undergarment with gold border and red cloak is also seen in other Madonna depictions by Gossaert. The painting is also characterised by sharp facial contours as well as blackened outlines of the textile. Other interesting divergent aspects are the child's face, which is modelled less childlike and wiser, and Mary's look away from the child, whereas Gossaert depicts his Mary looking towards her child. This is a shift of meaning in the overall expression: both the changed direction of gaze and the location in an interior space make the scene immediately tangible, as if one were looking through a window into a house and finding the group of figures sitting there. These features - luminous colouring and black outlines - are particularly typical of an artist whose name is unknown and who was given the provisional name "Master of the Female Half-Figures". This artist was active in the south of the Netherlands and in Antwerp between 1525 and 1550. His numerous unsigned paintings mostly show single female half-figure portraits, whereby he enjoyed the favour of both ecclesiastical and secular patrons and thus used various compositional schemes; most probably also a model after which Gossaert also produced his work. This is therefore an important work by a masterful painter who moved in Gossaert's circle.
Attributed to Jan Gossaert "Mabuse" (Maubeuge, 1478 - Antwerp 1532) "Virgin and Child" Oil on panel 96 x 72 cm 30.000 - 35.000 € Provenance: -Sold: Cornette de Saint-Cyr, in Paris, March 5, 1993, lot 24; -European Private Collection Bibliography: M. J. Friedländer, Early Netherlandish Painting, Vol. VIII, Leiden/Brussels 1972, page 36 a/b.
PROBABLY ITALIAN WORKSHOP OR SCHOOL OF JAN GOSSAERT (MABUSE) Around 1478 Duurstede (Utrecht)? - 1 October 1532 Antwerp VIRGIN WITH CHILD, IN THE BACKGROUND 'FLIGHT TO EGYPT' IN FRONT OF A WIDE IDEAL LANDSCAPE Oil on poplar panel (?) cradled. 81 x 61 cm (F. 128 x 93 cm). Verso: Several old collection numbers. Part. min. paint losses. Neo-Gothic frame of the 19th century. Provenance: International private collection. JAN GOSSAERT (AUCH MABUSE) (WOHL WERKSTATT/SCHULE) Um 1478 Duurstede (Utrecht)? - 1. Oktober 1532 Antwerpen JUNGFRAU MIT KIND, IM BILDHINTERGRUND VOR WEITER IDEALLANDSCHAFT 'FLUCHT NACH ÄGYPTEN' Öl auf Pappelholztafel (?) parkettiert. 81 x 61 cm (R. 128 x 93 cm). Verso: Mehrere alte Sammlungsnummern. Part. min. Farbverluste. Neogotischer Rahmen des 19. Jh. Provenienz: Internationale Privatsammlung.
Jan Gossaert Mabuse (Netherlands, France, 1478 - 1532) Portrait of a young man, traditionally identified as John Colet, Dean of Saint Paul's (1467-1519), half-length, in a brown coat. Colet was a humanist scholar, Dean of St. Paul's Cathedral from 1505-19, and founder of St. Paul's School, London. He was a friend of Erasmus and an important early leader of Christian humanism. A posthumous portrait drawing of the sitter by Holbein (c.1535; Royal Collection) is based on a lost bust, dated to circa 1519, by Pietro Torrigiano, a cast of which is in the National Portrait Gallery. The original evidently inspired the portrait which formed part of the monument to Colet in St. Paul's Cathedral that was destroyed in the Great Fire of 1666. Provenance: The Dukes of Manchester, Kimbolton Castle, Huntingdonshire, and by descent to, Alexander Drogo Montagu, 10th Duke of Manchester (1902-1977), and by inheritance to the present owner. - Christie's Old Masters Paintings & Sculptures Jul 2020 Auction Literature: Consuelo Montagu, Duchess of Manchester (1853-1909), Catalogue of the Pictures at Kimbolton Castle, p. 12, no. 55, as 'Mabuse', in the Green Drawing Room. Exhibited: Leeds, The National Exhibition of Works of Art, 1868, no. 511, as 'Jan de Mabuse'. London, The New Gallery, Exhibition of the Royal House of Tudor, 1890, no. 9, as 'Jan de Mabuse'. Sight Size: 18 1/8 x 11 in. Overall Framed Size: 25.5 x 18.5 in.
Gosssaert, Jan gen. Mabuse (Nachfolger) Maubeuge um 1478 - Antwerpen 1534 81 x 58 cm The Virgin with Child. Oil/panel. Private collection Aachen, acquired from the 1950s to the 1970s. This well-known composition derives from a model created by Jan Gossaert around 1520 (The Hague, Mauritshuis, inv. no. 830, 25.3 x 29.6 cm). The presentation of the Child playing with his mother's veil, a novelty in Flemish painting, obtained a large audience in Antwerp in the mid-16th century. Originally designed before a dark background, the figures appear here in front of a landscape. Karel van Mander, famous writer of the Schilderboek published in 1604, describes that Paul van Aelst, son of Pieter Coecke, was a skilled copyist of Gossaert. While in The Hague version the master uses the royal blue colour for the Virgin's mantle, it should be noted that in most if not in nearly all later versions the Virgin wears a red coat. Therefore and given other substantial differences that distinguish the later variants from the Mauritshuis painting it is not excluded that they all maybe derive from another, now lost autograph model by Gossaert.
GOSSAERT Jan dit MABUSE (c. 1478 - c. 1536) Huile sur panneau de chêne parqueté "Vierge à l'Enfant au voile sur fond de paysage à la Fuite en Egypte". Attribué à Jan Gossaert dit Mabuse. Ecole flamande. Epoque: XVIème. Dim.:+/-96x73cm.
1478 Maubeuge - 1532 Antwerp. The Mocking of Christ. Oil on copper. Unsigned. H 57, W 43 cm (support). Framed. The present painting is a painterly, extremely successful variation on the mockery of Christ by Jan Gossaert, called Mabuse, which is in the Szépmüvészeti Múzeum in Budapest with the inventory number 4326. It is part of the collection that Count János Pálffy (1829 - 1908) bequeathed to the museum after his death. The posture of Christ, the drapery of the cloth, as well as all architectural elements are based on the Budapest model. The most striking difference is the abandonment of the depiction of the people mocking Christ, which puts the focus on the body of the suffering Christ. In Gossaert's painting, the people are behind the blocks of stone on which Christ is sitting and in front of the wall in the background. We would like to thank Ms Júlia Tátrai, head of the departement of Old Master paintings of the Szépmüvészeti Múzeum, Budapest, for the kind remarks via E-Mail, based on photos, 11.08.2020. Provenance: estate of Curt Edgar Schreiber, former managing director of the watch factory Mauthe, Schwenningen, and successors. Beschreibung 1478 Maubeuge - 1532 Antwerpen. Die Verspottung Christi. Öl auf Kupfer. Unsign. H. 57, B. 43 cm (Bildträger). Gerahmt. Das vorliegende Gemälde ist eine malerisch äußerst gelungene Variation nach der 1527 entstandenen Verspottung Christi von Jan Gossaert, gen. Mabuse, die sich im Szépmüvészeti Múzeum in Budapest mit der Inventarnr. 4326 befindet. Es ist Teil der Sammlung, die Graf János Pálffy (1829 - 1908) dem Museum nach seinem Tod vermachte. Die Haltung Christi, die Drapierung des Tuchs, sowie sämtliche Architekturelemente sind an das Budapester Vorbild angelehnt. Der frappierendste Unterschied ist der Verzicht auf die Darstellung des Volkes, das Jesus verspottet, und somit eine Zentrierung auf den Körper des leidenden Jesus. In Gossaerts Gemälde befindet sich das Volk hinter den Steinblöcken, auf denen Jesus sitzt, mit der Mauer im Hintergrund. Wir danken Frau Júlia Tátrai, Leiterin der Abteilung für Alte Meister des Szépmüvészeti Múzeum, Budapest, für die freundlichen Hinweise via E-Mail, anhand von Photos, 11.08.2020. Provenienz: Nachlass von Curt Edgar Schreiber, ehemaliger Geschäftsführer der Uhrenfabrik Mauthe, Schwenningen, und Nachfolge.
Huile sur cuivre "Le Salvator Mundi". Entourage de Jan Gossaert dit Mabuse. Voir au dos la marque du pannelier K.W. Ecole flamande. Epoque: XVIème. Dim.:+/-23x18cm.
Follower of Jan Gossaert, called Mabuse (?Maubeuge circa 1478-1532 Antwerp) The Madonna and Child oil on panel 48.2 x 38.3cm (19 x 15 1/16in). For further information on this lot please visit the Bonhams website
CIRCLE OF JAN GOSSART, CALLED MABUSE (?MAUBEUGE C. 1478-1532 ?ANTWERP) The Virgin and Child dated '1512' (lower left) oil and gold on panel, arched top 26 1/8 x 17 1/2 in. (66.4 x 44.5 cm.) ,
MADONNA MIT DEM KIND Öl auf Holz, verso gefestigt. 76 x 55 cm. In vergoldetem bemalten Rahmen. Auf einer Veranda an einem Tisch die sitzende Madonna in dunkelblauem Gewand, weißer Kopfbedeckung und rotem faltenreichen Mantel, der teils auf der Tischplatte liegt und auf dem, gehalten von ihrer rechten filigranen Hand, der nackte Jesusknabe sitzt. Dieser mit braunem lockigen Haar, hat sein kleines rechtes Bein erhoben und beide Arme weit auseinandergestreckt und schaut mit seinen braunen Augen seitlich aus dem Bild heraus. Die Madonna selbst mit langem welligen Haar, die Augen halb geschlossen und voller Konzentration liebevoll auf den Knaben blickend. Hinter ihr eine Brüstung mit zwei vorgesetzten Podesten mit je einer goldenen Kugel, einer rot und mit gold verzierten Säule sowie einem auf der rechten Seite hängenden, rot-braunen Vorhang. Der Blick fällt auf die bergige Landschaft mit Häusern und einigen Figuren am hinteren linken Bildrand. Malerei in der typischen Manier des Jan Mabuse Gossaert, bei der die rot-beigen Töne überwiegen, vor dem meist in grau gehaltenen Hintergrund mit grauem, teils heller aufklarendem Horizont. Rest., kleinere Retuschen, minimale Rahmenschäden. (1241142) (18) Jan Mabuse Gossaert ca. 1478 – 1532 Antwerp, circle of MADONNA AND CHILD Oil on panel, reinforced on the reverse. 76 x 55 cm. In painted gilt frame.
Flemish school: Adoration of the magi, oil on panel, 16th C. Work: 89 x 58,5 cm Frame: 107,5 x 76 cm The frame with a label referring to Jan Gossaert (1478-1532). Numerous similarities can also be seen with the work of Pieter Coecke van Aelst (1502-1550) and surroundings, see for example 'Adoration of the wise men' by Coecke van Aelst and studio (first half of the 16th C., sold at Servarts Beaux-Arts, Brussels, 29 November 2005, lot 20; link). In our opinion, the work is closely related with the oeuvre of the 'Master of 1518', also not coincidentally the master of Jan Gossaert and Pieter Coecke van Aelst and father-in-law of the latter. The name Master of 1518 is applied to a painter to whom many works from Antwerp in the earlier 16th century have been attributed on stylistic grounds. The date of 1518 is derived from the date inscribed on the painted wings of a carved wooden altarpiece of the Life of the Virgin in St. Mary's Church in Lübeck, Germany. Some of his compositions were later repeated by Pieter Coecke van Aelst, which has resulted in a possible identification of the master with Pieter Coecke's father-in-law, Jan van Dornicke. His paintings are primarily crowded depictions of religious scenes combining Gothic and Renaissance styles. He frequently incorporated elaborate clothing and architectural ruins (link and link). Compare for example with 'The adoration of the kings Melchior and Caspar', about 1520-1530, now attributed to the 'Master of 1518' (Meester van 1518) and Pieter Coecke van Aelst (former attribution: Meester van de Utrechtse Aanbidding), Aachen, Suermondt-Ludwig-Museum, inv. nr. GK 314 (link).
Huile sur panneau de chêne partiellement renforcé la "Vierge du lait". Suiveur de Jan Gossaert dit Mabuse. Suiveur de. Ecole flamande. Epoque: fin XVIème. (Fissuré). Dim.:36,5x28,5cm.
MARIA MIT DEM KIND UND KIRSCHEN Öl auf Eichenholz. 73 x 47,5 cm. Im oberen Teil passbogig geschlossen, in entsprechend angefertigtem Rahmen. Vor grünem gemusterten Brokathintergrund ist die jugendliche Maria mit dem Kind im Halbbildnis wiedergegeben, vor einer Marmorbank, auf der Kirschen abgelegt sind. Das weiße Kopftuch der Maria schützend über das Haupt des Kindes herabziehend, das den Blick dem Betrachter entgegenrichtet. Von der Darstellung sind einige Variationen – auch von anderen Meistern – überliefert. So ist das vorliegende Gemälde wohl ins 16. Jahrhundert zu datieren. (11506023) (11) Jan Gossaert, also known as “Mabuse”, ca. 1478 Maubeuge – 1532 Mittelburg, attributed Mary and the child with cherries Oil on oak panel. 73 x 47.5 cm.
ECOLE FLAMANDE 16ème SIECLE PAR JAN GOSSAERT dit « MABUSE » (1478-1532) Madone à l’Enfant, 1512 Huile sur panneau de bois parqueté Daté au milieu à gauche La Madone est représentée assise, tenant contre elle de la main droite l’Enfant Jésus. Celui-ci se tient debout, un pied reposant en appui sur le livre de prières que tient la Madone de la main gauche. Les regards sont dirigés l’un vers l’autre, emplis de tendresse et de passion. La couleur de leur peau est pâle rehaussée d’accents rosés sur les joues. La Madone est vêtue d’une robe rouge de Bourgogne et d’une chemise bleu nuancé de mauve. Ses cheveux, blonds dorés, sont finement coiffés et couverts d’un voile blanc tenu dans les mèches par un cerceau de perles orné au centre d’un motif en or jaune. Le voilage retombe sur les épaules, finissant par un bouton en or centré d’un motif triangulaire rouge. Ce bouton est attaché par un fil enroulé à l’une des pointes du voile. Il est très important de noter qu’un repentir visible à l’œil nu est présent sur le front de la vierge et en transparence sous la chevelure, l’artiste dans un premier temps semblait y avoir peint un diadème. La composition pyramidale est compressée sur les côtés et, en réduisant l’espace, elle nous amène directement au sujet principal sans s’y détourner. La lumière est orchestrée comme un projecteur se concentrant sur les visages et sur le sein de la Madone, nu et prêt à allaiter, l’Enfant Jésus y posant la main droite, le tout se détachant sur un fond sombre. La palette est simple, composée de deux couleurs principales organisées par étages nous amenant à la pureté du blanc. Nous connaissons cette composition par une copie présentée à la vente en Italie en 2006. Les œuvres de Jan Gossaert sont très rares, tant sur le marché de l’Art que dans les collections privées, la majeure partie de ses œuvres se trouvant dans les Musées et Institutions comme le Metropolitan Museum of Art à New York, la National Gallery à Londres, le Prado à Madrid, ou encore l’Hermitage à Saint-Pétersbourg. Peintre maniériste, il est probablement le lien précurseur du style « italianisant » de l’Ecole anversoise et même flamande dans son ensemble, cette jonction de l’Art primitif et traditionnel flamand et de la modernité de la Renaissance italienne. Gossaert restera comme profondément novateur. Appelé également « Mabuse » en raison de ses origines de la ville de Maubeuge, il débute à Bruges puis à Anvers. Il accompagne Philippe de Bourgogne, son protecteur et futur évêque d’Utrecht, dans son voyage en Italie pour y rencontrer le Pape. Il se trouve à Rome au moment même où Raphaël et Michel-Ange travaillent au Vatican, ramenant d’Italie une Renaissance à l’Italienne faisant parfois scandale pour ses nus. Provenance : Ancienne collection Jaak Verhaeghe - Hedwige Müller (Preuve d’achat) Exposition : “Master Pieces of Flemish Paintings of the Golden Age”, Musée Royaux des Beaux-Arts, Anvers Belgique The Yomiuri Shimbun, Japon, 2001 (document d’assurance) Texte de l’exposition rédigé par le Dr. Vandamme du Musée d’Anvers sur base de l’étude et des recherches réalisées par le Dr. J.K. Stgeppe. (Document du 28 avril 2000) Condition : Anciennes restaurations Sous glace de protection de face et parquetage coulissant au dos, couvert par un plexiglas anti-humidité. Dimensions : 73,5 x 52 cm
Huile sur panneau de chêne parqueté "Vierge à l'Enfant". D'après Jan Gossaert dit Mabuse. Epoque: XVIème. Travail flamand. (Il existe une douzaine de versions de cette oeuvre réalisées d'après un original aujourd'hui disparu). Dim.:42x33,5cm.
JAN GOSSAERT, CALLED MABUSE Cain Killing Abel. Woodcut, circa 1520. 301x225 mm; 11 7/8x8 7/8 inches. With thread margins or trimmed on the border line, with the border line preserved all around. A very good impression of this extremely scarce, early Netherlandish woodcut. We have found only 3 other Gossaert woodcuts at auction in the past 30 years and no other impressions of this subject. Hollstein 4.
JAN GOSSAERT, CALLED MABUSE The Virgin and Child Seated at the Foot of a Tree. Engraving, 1522. 120x86 mm; 4 3/4x3 1/2 inches, thread margins. Ex-collection unknown collector, brownish black ink stamp with the letter S in a circle (not in Lugt). A superb, well-inked impression of this extremely scarce, early engraving. Gossaert (circa 1478-1532), called Mabuse from his Low Country birthplace, Maubeuge, now a part of France on the French/Belgian border, worked primarily in Antwerp, where he was a member of the artists Guild of St. Luke from 1503 onward. He was one of the first Northern Renaissance painters to visit Italy and Rome, which he did in 1508–09, and a leader of the style known as Romanism, which brought elements of Italian Renaissance painting to the north. He was a contemporary of Albrecht Dürer and the young Lucas van Leyden; according to the Dutch art chronicler Carl van Mander, writing in the late 1500s, Gossaert and van Leyden traveled together in 1527 to Ghent and Mechelen. Gossaert was influenced by the celebrated Netherlandish artists who came before him, notably Jan van Eyck and Rogier van der Weyden. Hollstein 2.
GOSSAERT Jean Mabuse (1478 - 1532) Huile sur toile "La Vierge à l'enfant". Monogrammé en bas à gauche V.A.D. Suiveur de Jean Gossaert. Ecole flamande. Dim.:37.5x29cm.
GOSSAERT, JAN (NACHFOLGER ENDE 16. / ANFANG 17. JAHRUNDERT) (Maubeuge 1478 - 1532 Antwerpen) Maria mit Kind. Öl auf Holz. 85 x 67 cm. Provenienz: Europäische Privatsammlung. Das vorliegende Gemälde geht auf eine um 1520 entstandene Komposition von Jan Gossaert zurück, welche sich heute im Mauritshuis, Den Haag, befindet (Inv. Nr. 830, Öl auf Holz, 25,3 x 29,6 cm). Diese Darstellung war in der Mitte des 16. Jahrhunderts in Antwerpen sehr beliebt, denn sie verband auf eine neuartige Weise eine alltägliche Szene von Mutter und Kind mit einer christlichen Thematik. In dieser Doppeldeutigkeit des Bildinhalts dürfte einer der Gründe für den grossen Erfolg der Komposition nach Gossaerts Tod liegen. LATE 16TH/EARLY 17TH CENTURY FOLLOWER OF GOSSAERT, JAN (Maubeuge 1478 - 1532 Antwerp) Virgin and Child. Oil on panel. 85 x 67 cm.
MABUSE, Maria mit Kind, Frühe Kopie nach, JAN GOSSAERT, Maubeuge 1478-1532 Middelburg, Öl auf Holz, parkettiert, 74,5 x 49,5 cm, Farbabsplitterungen, Wir danken Frau Suzanne Laemers, Rijksbureau voor Kunsthistorische Documentatie (RKD), Den Haag, für die freundliche Unterstützung bei der Zuschreibung.
This well-known composition derives from a model created by Jan Gossaert around 1520 (The Hague, Mauritshuis, inv. no. 830, panel 25.3 x 29.6 cm). The presentation of the Child playing peekaboo with his mother's veil, a novelty in Flemish painting, obtained a large audience in Antwerp in the mid-16th century. Originally designed before a dark background, the two figures appear in a room in front of a wall partially covered with a rich purple curtain and opening out into the surrounding countryside. Both figures look to the viewer, directly engaging him in contemplation of the Holy Family but also watching in close up the secular and simple scene of a mother with her child. This dual aspect of the topic must have been part of its huge success after Gossaert's death.Many variants exist in size, colors and ornamentation. Karel van Mander, famous writer of the Schilderboek published in 1604, reveals that Paul van Aelst, son of Pieter Coeckoe, was a skilled copyist of Gossaert. While in The Hague version the master uses the royal blue color for the Virgin's mantle, it should be noted that in most if not in all copies the Virgin wears a red coat. Therefore and given other substantial differences that distinguish the copies from the Mauritshuis painting it is not excluded that they all derive from another, now lost autograph model by Gossaert.
Circle of GOSSAERT, JAN called MABUSE (Maubeuge 1478 - 1532 Antwerp) Adam accuses Eve. Oil on panel. 32.5 x 41.5 cm. Provenance: - Sloan-Stanley collection (label verso). - Collection of Prof. Willem Mengelberg (label verso). - Mak auction, Amsterdam, 24.4.1952, Lot 61 (as Jan van Scorel). - German private collection GOSSAERT, JAN genannt MABUSE (UMKREIS) (Maubeuge 1478 - 1532 Antwerpen) Adam beschuldigt Eva. Öl auf Holz. 32,5 x 41,5 cm. Provenienz: - Sammlung Sloan-Stanley (verso Etikette). - Sammlung Prof. Willem Mengelberg (verso Etikette). - Auktion Mak, Amsterdam, 24.4.1952, Los 61 (als Jan van Scorel). - Deutsche Privatsammlung. Dieses Gemälde greift die Komposition aus einem Fresko vom Raphael-Schüler Baldassare Peruzzi (1481-1536) in der Volta Dorata im Palazzo della Cancelleria in Rom von 1519 auf. Diese Darstellung des Augenblicks nach dem Sündenfall war eine Seltenheit in der flämischen Malerei, und es wird vermutet, dass Peruzzis Komposition im Umkreis von Jan Gossaert in Flandern Verbreitung fand (siehe Ainsworth, Maryan W. (Hg.): Man, Myth, and Sensual Pleasures. Gossart's Renaissance. The Complete Works, New York 2010, Kat. Nr. 66, S. 312-313).
GOSSAERT, JAN genannt MABUSE (UMKREIS) (Maubeuge 1478 - 1532 Antwerpen) Adam beschuldigt Eva. Öl auf Holz. 32,5 x 41,5 cm. Provenienz: - Sammlung Sloan-Stanley (verso Etikette). - Sammlung Prof. Willem Mengelberg (verso Etikette). - Auktion Mak, Amsterdam, 24.4.1952, Los 61 (als Jan van Scorel). - Deutsche Privatsammlung. Dieses Gemälde greift die Komposition aus einem Fresko vom Raphael-Schüler Baldassare Peruzzi (1481-1536) in der Volta Dorata im Palazzo della Cancelleria in Rom von 1519 auf. Diese Darstellung des Augenblicks nach dem Sündenfall war eine Seltenheit in der flämischen Malerei und es wird vermutet, dass Peruzzis Komposition im Umkreis von Jan Gossaert in Flandern Verbreitung fand (siehe Ainsworth, Maryan W. (Hg.): Man, Myth, and Sensual Pleasures. Gossart's Renaissance. The Complete Works, New York 2010, Kat. Nr. 66, S. 312-313).
GOSSAERT, JAN genannt MABUSE (Maubeuge 1478 - 1532 Antwerpen) Maria mit Kind. Um 1530. Öl auf Holz. 44,5 x 34 cm. Provenienz: - Sammlung Dr. Alfred Hausammann, Zürich, um 1955-2002. - Auktion Christie's, London, 10.7.2002, Los 97 (als 'Sudio of Gossaert'). - Englische Privatsammlung. Ausstellungen: - Schaffhausen, Museum zu Allerheiligen, Meisterwerke Flämischer Malerei, 1955, Nr. 45 (verso Etikette). - Zürich, Kunsthaus, Leihgabe Dr. Hausammann zwischen 1960 bis 2001 (verso auch Etikette). - Rotterdam, Museum Boymans-Van Beuningen/Brügge, Groeningemuseum, Gossaert genaamd Mabuse, 1965. Literatur: - Ausst. Kat. Meisterwerke flämischer Malerei, Museum zu Allerheiligen, Schaffhausen 1955, Kat. Nr. 45, S. 28. - Pauwels, Henri / Hoetink, H. R. / Herzog, Sadja(Hg.) Ausst. Kat. Jan Gossaert genaamd Mabuse, Museum Boymans-Van Beuningen, Rotterdam / Groeningemuseum, Brügge, Rotterdam 1965, Kat. Nr. 30, S. 183-186. - Herzog, Sadja: Jan Gossart called Mabuse (ca. 1478-1532): A Study of His Chronology with a Catalogue of His Works, 3. vols., PhD diss. Bryn Mawr College, Bryn Mawr 1968, S. 371-372, Nr. 94 (unter 'misattributions'). - Sander, Jochen: Anmerkungen zu Gossaert, in: Hamburger, Jeffrey F. / Korteweg, Anne S. (Hg.): Tributes to James H. Marrow: Studies in Late Medieval and Renaissance Painting and manuscript Illumination, Turnhout 2006, S. 421 (426) - 430 (dort als eigenhändiges Werk aufgeführt und um die Mitte der 1520er Jahre datiert). - Ainsworth, Maryan W. et al. (Hg.): Man, Myth, and Sensual Pleasures. Jan Gossart's Renaissance. The Complete Works, New York 2010, Kat. Nr. 19, S. 182-183 mit Abb (dort als eigenhändiges Werk aufgeführt und um 1530 datiert). Dieses bedeutende und qualitätsvolle Gemälde mit Maria und dem Kind von Jan Gossaert wurde kürzlich anlässlich der Vorbereitung des Werkverzeichnisses und der grossen Ausstellung zum Werk des flämischen Meisters im Metropolitan Museum in New York von der Kuratorin Dr. Maryan W. Ainsworth im Original eingehend geprüft und sie konnte sich von der Eigenhändigkeit überzeugen. Dabei stellt dieses Gemälde eine besondere Seltenheit dar, da das überschaubare Oeuvre des Flamen ca. 60 Werke umfasst und sich der Grossteil in namhaften Museen befindet unter anderem dem Metropolitan Museum of Art, New York, der National Gallery in London, der Gemäldegalerie der Staatlichen Museen zu Berlin, dem Museo del Prado in Madrid, und der Eremitage in St. Petersburg. Nur noch zwei Gemälde dieser Thematik sind in Privatbesitz, zu denen die hier angebotene Arbeit zählt. Jan Gossaert, nach seinem Geburtsort Maubeuge im Hennegau auch Mabuse genannt, zählt zu den herausragenden Malern der Renaissance nördlich der Alpen. Sein Oeuvre verbindet die Tradition der altniederländischen Malerei von Jan van Eyck bis Memling mit den künstlerischen Errungenschaften der italienischen Renaissance und setzt diese in eine ideale Symbiose höchster Perfektion um. Gossaert, der im ersten Drittel des 16. Jahrhunderts tätig war, fertige sowohl sakrale wie auch profane Gemälde an, die er für bedeutende Auftraggeber seiner Zeit schuf. So stand er im Dienst Philipps von Burgund, dem er auch 1508/09 nach Italien folgte und wo sich Gossaert mit den Meisterwerken der italienischen Renaissance auseinandersetzen konnte. Das hier angebotene Gemälde Jan Gossaerts mit der Maria und dem Kind befand sich seit circa Mitte der 1950er Jahren in der Sammlung Dr. Alfred Hausammanns in Zürich und war ab 1960 als Leihgabe im Kunsthaus Zürich bis 2001 ausgestellt. Zusätzlich wurde das Gemälde in zwei Ausstellungen gezeigt. 1955 in Schaffhausen in 'Meisterwerke flämischer Malerei' und 1965 in Rotterdam und Brügge in der Ausstellung 'Jan Gossaert genaamd Mabuse'. Fälschlicherweise wurde das Gemälde in der Folgezeit von Sadja Herzog als eine Arbeit eines Nachfolgers verstanden. 2002 kam das Gemälde mit dieser Beschreibung in London zur Versteigerung. Die aktuellen Besitzer veranlassten eine behutsame und professionelle Restaurierung, bei der die alten Übermalungen entfernt und das ursprüngliche Erscheinungsbild wieder zum Vorschein gebracht wurde. Neben der international anerkannten Gossaert -Kennerin, Dr. Ainsworth, die das Gemälde als eigenhändiges Werk Gossaerts im Ausstellungskatalog von 2010, der gleichzeitig als Oeuvreverzeichnis fungiert, aufführt, besteht zudem für Dr. Jochen Sander, Kurator für deutsche, flämische und holländische Malerei im Städel Museum, Frankfurt, kein Zweifel an der Ausführung Jan Gossaerts. Die hier gezeigte Komposition zeigt die Muttergottes vor einer spätgotischen Thronarchitektur aus teilweise filigranem, teilweise massivem Gestein, vor ihr auf grünem Samt sitzt das Jesuskind, beide dem Betrachter frontal zugewandt. Während Maria in einer kontemplativen Haltung, den Blick nach unten gerichtet, ihr Kind beschützend umgreift, zieht das Christuskind durch die ausladende Gestik und den direkten Blickkontakt die Aufmerksamkeit des Betrachters auf sich, und seine kindliche Bewegungsfreudigkeit wird in liebevollerweise zum Ausdruck gebracht. Stilistisch und kompositorisch sieht Maryan W. Ainsworth bei unserem Gemälde starke Parallelen zu der signierten und 1531 datierten Darstellung der Maria mit dem Jesusknaben vor einer Landschaft im Cleveland Museum (Abb.1, Öl auf Holz, 48,9 x 38,4 cm, siehe Ainsworth, ebd., Nr. 20), weshalb sie eine Datierung unserer Tafel um 1530 vorschlägt. Gossaert malte einige weitere vergleichbare Kompositionen mit Maria und dem Kind, die alle in sein Spätwerk um 1525-30 zu datieren sind. So die Versionen in der National Gallery in London (ebd., Nr. 13), in der Gemäldegalerie der Staatlichen Museen zu Berlin (Abb. 2, Inv. Nr. 650, ebd., Nr. 15) und im Museo de Bellas Artes de Bilbao (ebd., Nr. 18). Es kann davon ausgegangen werden, dass sich diese Thematik der Maria mit dem Kind einer wachsenden Nachfrage erfreute und die Gemälde für die private Andacht eines gläubigen Auftraggebers konzipiert waren. Dr. Sander vergleicht unser Gemälde stilistisch auch mit Gossaerts 1527 datierten Danae in der Alten Pinakothek in München, insbesondere mit den 'Knopfaugen' des Christusknaben sowie dem Kopftypus der Madonna, weshalb er auch eine etwas frühere Datierung Mitte der 1520er Jahre in Betracht zieht (Sander ebd., S. 430, Fussnote 22). Bemerkenswert ist sicherlich der Erhaltungszustand dieses hier angebotenen Gemäldes, worauf schon Jochen Sander in seinem Artikel hingewiesen hat (siehe Literatur). Er hebt hervor, dass die wohl auf zwei vertikal angeordneten Eichenholzbrettern gemalte Tafel weitgehend im Originalzustand erhalten geblieben ist. Durch die jüngst durchgeführte Reinigung sind feine Lasuren in den Schattenpartien des Inkarnats zum Vorschein gekommen. Durch Infrarot-Reflektographie lassen sich zusätzlich an einigen Stellen Unterzeichnungen erkennen, die den Arbeitsprozess des Malers nachvollziehen lassen. GOSSAERT, JAN called MABUSE (Maubeuge 1478 - 1532 Antwerp) Mary with Child. ca. 1530. Oil on wood 44.5 x 34 cm. Estimate: CHF 1 800 000.- / 2 200 000.- Provenance: - Collection of Dr. Alfred Hausammann, Zürich, ca. 1955 - 2002. - Auction Christie's, London, 10.7.2002, lot 97 (as 'Studio of Gossaert'). - English Private Collection. Exhibitions: - Schaffhausen, Museum zu Allerheiligen, Meisterwerke Flämischer Malerei, 1955, no. 45 (label verso). - Zürich, Kunsthaus, on loan from Dr. Hausammann, 1960 - 2001 (also label verso). - Rotterdam, Museum Boymans-Van Beuningen/Bruges, Groeningemuseum, Gossaert genaamd Mabuse, 1965. Literature: - Exh. cat. Meisterwerke flämischer Malerei, Museum zu Allerheiligen, Schaffhausen 1955, cat. no. 45, p. 28. - Pauwels, Henri / Hoetink, H. R. / Herzog, Sadja (eds.) exh. cat. Jan Gossaert genaamd Mabuse, Museum Boymans-Van Beuningen, Rotterdam / Groeningemuseum, Bruges, Rotterdam 1965, cat. no. 30, pp. 183-186. - Herzog, Sadja: Jan Gossart called Mabuse (ca. 1478 - 1532): A Study of His Chronology with a Catalogue of His Works, 3. vols., PhD diss. Bryn Mawr College, Bryn Mawr 1968, pp. 371-372, no. 94 (under 'misattributions'). - Sander, Jochen: Anmerkungen zu Gossaert, in: Hamburger, Jeffrey F. / Korteweg, Anne S. (eds.): Tributes to James H. Marrow: Studies in Late Medieval and Renaissance Painting and Manuscript Illumination, Turnhout 2006, pp. 421 (426) - 430 (there listed as an autograph work and dated to the mid-1520s). - Ainsworth, Maryan W. et al. (ed.): Man, Myth, and Sensual Pleasures. Jan Gossart's Renaissance. The Complete Works, New York 2010, cat. no. 19, pp. 182-183 with ill. (listed there as an autograph work and dated to 1530). This important and outstanding painting with Mary and the Child by Jan Gossaert was recently subjected to detailed examination in the original during preparations for the large exhibition and catalogue raisonné of the Flemish master's work at the Metropolitan Museum of Art, New York, by curator Dr. Maryan W. Ainsworth and she was convinced of its authorship. The painting is of exceptional rarity, since the limited oeuvre of the Fleming comprises about 60 works and the majority are in prestigious museums: among others, the Metropolitan Museum of Art in New York, the National Gallery in London, the Gemäldegalerie of the National Museums Berlin, the Museo del Prado in Madrid, and the Hermitage in St. Petersburg. Only two paintings of this subject are in private collections, of which the work offered here is one. Jan Gossaert, also called Mabuse after his birthplace Maubeuge in Hennegau, counts as one of the outstanding painters of the Renaissance north of the Alps. His work combines the tradition of early Netherlandish painting from Jan van Eyck to Memling with the artistic achievements of the Italian Renaissance and transforms them into an ideal synthesis of the highest perfection. Gossaert, who was active in the first third of the 16th century, completed both religious as well as secular paintings, which he created for the major patrons of his day. Thus Gossaert entered into the service of Philip of Burgundy and followed him in 1508/09 to Italy, where he came to terms with the masterpieces of the Italian Renaissance. The painting with Mary and the Child by Jan Gossaert offered here was in the collection of Dr. Alfred Hausammann in Zürich beginning approximately in the mid-1950s, and was on loan to the Kunsthaus Zürich for display from 1960 to 2001. In addition, the painting was shown in two exhibitions: 'Meisterwerke Flämischer Malerei' (Masterpieces of Flemish Painting) at Schaffhausen in 1955 and 'Gossaert genaamd Mabuse' (Gossaert called Mabuse) in Rotterdam and Bruges in 1965. The painting was mistakenly believed to be the work of a follower after the appearance of Sadja Herzog's study. In 2002, the painting came up for auction with this attribution in London. The present owner arranged for a careful and professional restoration in which the old overpainting was removed and the original appearance was again brought to the fore. In addition to the internationally recognized Gossaert connoisseur Dr. Ainsworth, who lists it as an autograph work by Gossaert in her exhibition catalog of 2010 (which also serves as the catalogue raisonné); Dr. Jochen Sander, Curator of German, Flemish and Dutch painting at the Städel Museum, Frankfurt, also has no doubt as to Jan Gossaert's authorship. The composition shown here depicts the Mother of God in front of a late-Gothic architectonic throne, part filigree and part solid stone, with the infant Jesus sitting before her on green velvet. Each is turned towards the viewer in a frontal pose. While Mary assumes a contemplative attitude, gazing downward and embracing her child protectively, the Christ Child through his expansive gestures and direct eye contact, engages the attention of the viewer, and his childlike exuberance is expressed affectionately. Maryan W. Ainsworth sees strong stylistic and compositional parallels between our painting and a depiction of Mary with the infant Jesus before a landscape, signed and dated 1531, in the Cleveland Museum of Art (fig. 1, oil on wood, 48.9 x 38.4 cm, see Ainsworth, ibid., no. 20), and for this reason proposes a dating of 1530 for our panel. Gossaert painted several other similar compositions with the Virgin and Child, all of which are among his late work, dating between 1525 and 1530. These include versions in the National Gallery in London (ibid., no. 13), the Gemäldegalerie of the Berlin State Museums (fig. 2, inv. no. 650, ibid., no. 15) and the Museo de Bellas Artes in Bilbao (ibid., no. 18). It is probable that this theme of the Madonna and Child enjoyed a growing demand and the paintings were conceived for the private worship of devout patrons. Dr. Sander also compares our painting stylistically with Gossaert's 'Danae,' dated 1527, at the Alte Pinakothek in Munich; particularly the attentive gaze of the Child and the Madonna's head type, which leads him to consider a somewhat earlier dating of the middle 1520s as well (Sander ibid., p. 430, footnote 22). It is certainly worth noting as well the preservation of the painting offered here, as Jochen Sander has previously remarked in his article (see Literature). He emphasizes that the picture, probably painted on two vertically arranged oak boards, is largely preserved in its original state. Through the cleaning conducted recently, fine glazes in the shadows of the flesh tones have come to light. With infrared reflectography underdrawing can also be discerned in some places that enables us to reconstruct the artist's working process.
GOSSAERT, JAN genannt MABUSE (ZEITGENÖSSISCHE KOPIE) (Maubeuge 1478 - 1532 Antwerpen) Madonna mit Kind und musizierenden Engeln. Öl auf Holz. 38 x 27,5 cm. Provenienz: - Sammlung Bryan, New York (verso Etikette). - The New York Historical Society Gallery of Art, Inv. Nr. 1867.131. - Galerie Robert Finck, Brüssel. - Deutsche Privatsammlung. Literatur: - Bode, W.: Alte Kunstwerke in den Sammlungen der Vereinigten Saaten, in: Zeitschrift für Bildende Künste, N.F., VI, 1895, S. 14. - Monod, F.: Le Musée de la Société Historique de New York, in: Gazette des Beaux-Arts, XXXVI, 1906, S. 238. - Catalogue of the gallery of art of the New York Historical Society, New York 1915, S. 73, Nr. B-131. - Galerie Robert Finck, Brüssel, Ausstellungskatalog 1981, Nr. 3. Dieses Gemälde geht auf eine bekannte Komposition Jan Gossaerts zurück, von der verschiedene Versionen aus dem Umkreis des flämischen Meisters und Gerard David bekannt sind (siehe Ainsworth, Maryan W. (Hg.): Man, Myth, and Sensual Pleasures. Gossart's Renaissance. The Complete Works, New York 2010, Kat. Nr. 5 und 6, S. 126-139).
Oil on wood Europe, 16th Century - or slightly later Follower of Jan Gossaert called Mabuse (1478-1532) - Flemish painter Double portrait of Anna van Bergen(1492-1541) and her son in the form of the Virgin and Child One Version of this 'Virgin and Child' is in the Metropolitan Museum in New York Overall dimensions, framed: 66.5 x 52 cm; wooden panel: 51.5 x 36.5 cm The painting 'Virgin and Child' has been painted by Jan Gossaert, his workshop and several successors more than once and some of these copies fetch up to 57,000 Euros at international auctions The painting at hand shows a 'Virgin and Child', painted by a successor of the known Flemish artist Jan Gossaert called Mabuse (1478-1532). There exist several versions of this "Virgin and Child" and it is still not known, which one of these is the actual original, which ones are copies by the master himself and which ones are by his workshop or followers. What is known about this painting is that it does not only show Mary and Jesus but is at the same time a double portrait. This information has been provided as early as 1604 by Karel van Mander in his famous Schilder-Boeck, who wrote that Gossaert had portrayed Anna van Bergen (1492-1541), wife of Adolf of Burgundy (1489-1540) as the mother of Christ with her child. The infant Jesus therefore portrays her son Hendrik (1519-1532). Mother and child are placed in front of a monochrome red background that is surrounded by a painted frame. Mary wears an elegant blue robe that is adorned with multi-row stitching partly in gold and a sheer border around her neck. A delicate, hardly visible veil covers her hair and is kept there by a fine ornament made from pearls and gems. The baby Jesus is dressed in a simple white camisole; it sits in front of his mother on an undefined underground, covered by Mary's dress. Just like his mother, he looks directly at the beholder, thus showing of the likeness of their faces. What is very noticeable in this painting are the hands of mother and child and the feet of the latter as they are all arranged very closely to each other and have apparently been studied from all sorts of perspectives. The painting is in an optically good condition, considering its age. The colour layer shows craquelure and fine hairline cracks, colour flaking as well as small damages around the edges. The painting has been covered by a varnish. Underneath this, several colour touch-ups as well small restored areas, one of them being at the border of Mary's face, the others are mainly around the edges, can be seen. The framed dimensions are 66.5 x 52 cm, the dimensions of the wooden panel are 51.5 x 36.5 cm. The panel has been reinforced at the back on the right side; it shows traces of worms (inactive). Jan Gossaert gen. Mabuse (1478-1532) Jan Gossaert gave himself the name Mabuse after his hometown Maubeuge when he entered the St. Luke's gild in Antwerp. Little is known about his early years and his education, but that he moved to Amsterdam in 1503. He travelled to Italy in 1508 under the service of Philipp of Burgundy (1464-1524), a journey that should have a great influence on his work. He returned with Philipp to Zeeland in the Netherlands where he was given the order to paint an altar painting - it is known that Albrecht Dürer travelled to Zeeland especially to see this painting. When Philipp of Burgundy was called to Utrecht, Gossaert followed him there to decorate the bishop's palace. He also had the chance to portray several of the most important persons of the court. He is today known as one of the most important Flemish painters of his age and is considered to be the founder of the more Italian style in Flanders. His journey to Italy is judged to have been the trigger for the soon obligatory travels to Italy for all Flemish artists. His paintings are today in the most important museums all over the world, such as the Alte Pinakothek in Munich, the Kunsthistorische Museum in Vienna, the Louvre, the National Gallery in London as well as the Metropolitan Museum in New York, that held a huge a solo exhibition with his works in 2010/11.
JAN GOSSAERT dit « MABUSE » (1478-1537) Attribué à Vierge à l'Enfant Huile sur panneau double en chêne parqueté au centre. Petits écaillages. Variante de belle qualité d'exécution. Dimensions : 70,5 x 53,5 cm
