Jan (1478) Gossaert Paintings & Artwork for Sale | Jan (1478) Gossaert Art Value Price Guide

Jul. 02, 2026
Jan Gossaert 1478 Maubeuge-1532 Anversa Madonna col Bambino
Est: €35,000 - €45,000
olio su tavola
Cambi Casa d'Aste
Nov. 30, 2025
ECOLE FLAMANDE du XVIIème siècle, suiveur de Jan GOSSAERT dit MABUSE (vers 1478-1532) Vierge à l'Enfant dans une architecture Renaissance
Est: €3,000 - €5,000
ECOLE FLAMANDE du XVIIème siècle, suiveur de Jan GOSSAERT dit MABUSE (vers 1478-1532) Vierge à l'Enfant dans une architecture Renaissance Toile Hauteur : 75 cm Largeur : 56,5 cm Restaurations anciennes Provenance : Collection de Monsieur de F, Château dans le Poitou. Natif de Maubeuge, reçu à la guilde d’Anvers en 1503, Jan Gossaert, dit Mabus, a sans doute rencontré des difficultés après la mort de son principal mécène, Philippe de Bourgogne, en 1524. L’atelier qu’il monte alors lui permet de reproduire en série ses madones, pour lesquelles il est longtemps demeuré célèbre, comme en témoigne ce tableau exécuté par un suiveur vers 1600. Leur succès est certainement dû au lien de tendresse manifeste entre la mère tout en majesté et l’enfant, matérialisé ici par les regards et surtout la main protectrice de la mère retenant son enfant par la taille. Se tenant au-dessus d’un parapet, dans un riche palais renaissance, ils se rapprochent du dévot tout en conservant une certaine distance nécessaire à leur respectueuse adoration. L’espièglerie de Jésus, qui tient dans ses mains une croix en or, humanise le Sauveur et nourrit l’empathie des croyants. La plus ancienne version de ce sujet, remontant aux années 1420 et montrant l’Enfant dans une position différente, est conservée au Mauritshuis de La Haye, aux Pays-Bas. Selon Max Jakob Friedländer, les tableaux dans lesquels Jésus croise les jambes ne sont pas dus à l’atelier de Mabuse, mais ont été peints ultérieurement par des imitateurs. Expert : Cabinet Turquin
Osenat
Nov. 25, 2025
Jan Gossaert detto Mabuse, Madonna seduta su una riva che porge una mela al Bambino. 1522 ca.
Est: €2,800 - €5,600
Bulino. mm 137x98. Bartsch, VII, 2. Hollstein, 3. von heusinger (2001), p. 60, figg. 38, 39. Aynsworth, 113. Sulla lastra in basso a destra il monogramma "IMS". Bella prova di questa rarissima incisione nel I stato di 2, avanti l'aggiunta di tratti orizzontali sul fondo (nel presente I stato il fondo è completamente vuoto), e della rimozione del monogramma. La critica recente avanza l'ipotesi che la cancellazione del monogramma indichi che il secondo stato sia stato creato dopo che la lastra non fosse più in utilizzo da parte di Gossaert, e che questa seconda variante potrebbe datare addirittura dopo la morte dell'autore. Bibliografia: Christian von Heusinger, Karl V. von Gossaert: eine unbeschriebene Inkunabel der niederländischen Radierung im Herzog Anton Ulrich-Museum Braunschweig, in "Jahrbuch des Kunsthistorischen Museums Wien. Bd. 2", 2001. Maryan W. Aynsworth (Editor), Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance. The Complete Works, New York-New Haven-London, 2010
Gonnelli Casa d'Aste
Nov. 22, 2025
Jan Gossaert, called Mabuse, in the manner of, Madonna with the Child
Est: €5,000 - €7,000
Jan Gossaert, called Mabuse, in the manner of, Madonna with the Child
Lempertz
Nov. 15, 2025
Jan Gossaert, Follower of
Est: €2,600 - €3,000
Jan Gossaert 1478 Maubeuge - 1532 Antwerp Follower - Madonna with Child - Oil/wood. 53.8 x 39 cm. 62 x 54 cm (dimensions with frame). Decorative frame. Isolated paint losses. Restored. The painting strongly resembles the Madonna with Child in the Kunsthistorisches Museum in Vienna (Inv. No.: Gemäldegalerie, 2048).
Das Kunst- und Auktionshaus Kastern GmbH & Co KG
Jun. 18, 2025
Circle of Jan Gossaert, called Mabuse (Flemish, circa 1478-1532)
Est: £4,000 - £6,000
Circle of Jan Gossaert, called Mabuse (Flemish, circa 1478-1532) Circle of Jan Gossaert, called Mabuse (Flemish, circa 1478-1532) Cain and Abel oil on panel 126.7 x 90.5 cm. (49.9 x 35.6 in.)
Chiswick Auctions
May. 18, 2025
After GOSSAERT (*1478), The Adoration of the Magi (1505), 1905, Photogravure
Est: €90 - €150
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)
Fichter Kunsthandel
May. 02, 2025
Attributed to Jan Gossaert called Mabuse (French, 1478–1532), A Nun in Prayer
Est: £3,000 - £5,000
Attributed to Jan Gossaert called Mabuse (French, 1478–1532) A Nun in Prayer Oil on panel With label verso inscribed, 'Mabuse (Jean de) / 5 - Religieuse en prière' Dimensions: (Panel) 17 in. (H) x 14 in. (W) (Frame) 24 in. (H) x 21 in. (W)
Sloane Street Auctions
Mar. 12, 2025
After Jan Gossaert, Madonna and Child
Est: £300 - £400
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.
Roseberys
Dec. 07, 2024
After GOSSAERT (*1478), The Adoration of the Magi (1505), 1905, Photogravure
Est: €150 - €200
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)
Fichter Kunsthandel
Nov. 16, 2024
19th Cent. oil on canvas with a theme after Jan Gossaert
Est: - €300
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
DVC
May. 27, 2024
PITTORE FIAMMINGO DEL XVI-XVII SECOLO
Est: €3,000 - €5,000
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).
Wannenes Art Auctions
Apr. 20, 2024
After GOSSAERT (*1478), The Adoration of the Magi (1505), 1905, Photogravure
Est: €150 - €200
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,
Fichter Kunsthandel
Jan. 31, 2024
CIRCLE OF JAN GOSSAERT, CALLED MABUSE (?MAUBEUGE C.1478-1532 ?ANTWERP) The
Est: $15,000 - $20,000
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
Christie's
Nov. 23, 2023
ATTRIBUTED TO JAN GOSSART 'MABUSE' (MAUBEUGE, CIRCA 1478 - ANTWERP, 1532)
Est: €25,000 - €40,000
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.
La Suite Subastas
Nov. 14, 2023
Jan Gossaert, gen. Mabuse, Antwerp 1478 - 1532 Antwerp, Circle of, Madonna
Est: €8,000 - €14,000
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.
Tiberius Auctions
May. 13, 2023
Gossaert (Mabuse), Jan
Est: -
Gossaert (Mabuse), Jan 1478 Antwerpen - 1532 Antwerpen (Nachfolger) Madonna mit Kind. Öl/Holz, 109 x 70 cm.
Dusseldorfer Auktionshaus
May. 03, 2023
Dans le style de Jan Mabuse Gossaert (1478-1532)
Est: CHF3,000 - CHF5,000
Dans le style de Jan Mabuse Gossaert (1478-1532) Hercule et Déjanire, huile sur panneau, 90x63 cm
Geneve Encheres
Nov. 15, 2022
Jan Gossaert, called Mabuse, Antwerp 1478 - 1532 Antwerp, Circle of, Flemish
Est: €15,000 - €25,000
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.
Tiberius Auctions
Oct. 19, 2022
Flemish School 16th/17th century
Est: €2,200 - €4,000
Flemish School 16th/17th century The Madonna with The Child After Jan Gossaert (1478-1532) Oil on board
Veritas Art Auctioneers
May. 25, 2022
Attributed to Jan Gossaert "Mabuse" (Maubeuge, 1478 - Antwerp 1532) - "Virgin and Child"
Est: €30,000 - €35,000
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.
Greco Subastas
May. 13, 2022
AMBIT OF JAN GOSSAERT DETTO IL MABUSE (Maubege, ca. 1478 – Antwerp, 1532)
Est: €12,000 - €15,000
Madonna with Child Oil on panel, cm. 87,9x64,2.
Bertolami Fine Art s.r.l.
Mar. 12, 2022
JAN GOSSAERT (AUCH MABUSE) (WOHL WERKSTATT/SCHULE) JUNGFRAU MIT KIND, IM BILDHINTERGRUND VOR WEITER IDEALLANDSCHAFT 'FLUCHT NACH ÄGYPTEN'
Est: €18,000 - €36,000
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.
Hargesheimer Kunstauktionen Düsseldorf
Jan. 09, 2022
JAN MABUSE (1478 - 1532) - IMPORTANT PROVENANCE
Est: $4,000 - $6,000
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.
Helmuth Stone
Dec. 16, 2021
Gosssaert, Jan gen. Mabuse (Nachfolger)
Est: €5,500 - €8,000
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.
Nagel Auction
Dec. 08, 2021
GOSSAERT Jan dit MABUSE (c. 1478 - c. 1536) - Huile sur panneau de chêne parqueté "Vierge à l'Enf
Est: €20,000 - €30,000
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.
Vanderkindere
Nov. 20, 2021
Gossaert, Jan called Mabuse after
Est: -
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.
Auktionshaus Kaupp GmbH
Sep. 14, 2021
Huile sur cuivre "Le Salvator Mundi". Entourage de Jan Gossaert dit Mabuse. Voir au dos la marque du p
Est: €800 - €1,200
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.
Vanderkindere
Oct. 21, 2020
Follower of Jan Gossaert, called Mabuse (?Maubeuge circa 1478-1532 Antwerp) The Madonna and Child
Est: £2,000 - £3,000
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
Bonhams
Oct. 20, 2020
CIRCLE OF JAN GOSSART, CALLED MABUSE (?MAUBEUGE C. 1478-1532 ?ANTWERP),
Est: $100,000 - $150,000
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.) ,
Christie's
Sep. 24, 2020
Jan Mabuse Gossaert, um 1478 – 1532 Antwerpen, Kreis des
Est: €18,000 - €25,000
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.
Hampel Fine Art Auctions
Jun. 16, 2020
Jan Gossaert, called Mabuse - Kain erschlägt seinen Bruder Abel (Buch Genesis 4, 2-4,16) (Cain smiting his brother Abel (Genesis 4:2-4,16))
Est: €20,000 - €25,000
Woodcut on laid paper laid down on fine Japanese tissue. (Around 1520). 30 x 22.5 cm (sheet size).
Karl & Faber
Apr. 22, 2020
FLEMISH SCHOOL: ADORATION OF THE MAGI, OIL ON PANEL, 16TH C.
Est: €20,000 - €40,000
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).
Coronari Auctions
Jan. 21, 2020
TABLEAUX
Est: €650 - €850
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.
Vanderkindere
Dec. 05, 2019
Jan Gossaert, genannt „Mabuse“, um 1478 Maubeuge – 1532 Mittelburg, zug.
Est: €12,000 - €14,000
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.
Hampel Fine Art Auctions
Oct. 16, 2019
TABLEAUX
Est: €2,500 - €3,500
Huile sur panneau de chêne "Vierge à l'Enfant". Attribué à Jan Mabuse. Ecole flamande. Epoque: XVIIème. Dim.:56,8x48,3cm.
Vanderkindere
Oct. 08, 2018
ECOLE FLAMANDE 16ème SIECLE PAR JAN GOSSAERT dit « MABUSE » (1478-1532) Madone à l’Enfant, 1512
Est: €400,000 - €800,000
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
Accademia Fine Art
Jun. 19, 2018
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.
Est: €600 - €800
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.
Vanderkindere
Apr. 19, 2018
Jan Gossart, called Mabuse (?Maubeuge c. 1478-1532 ?Antwerp)
Est: $3,000,000 - $5,000,000
Jan Gossart, called Mabuse (?Maubeuge c. 1478-1532 ?Antwerp) The Virgin and Child oil on panel 17 5/8 x 13 3/8 in. (44.6 x 33.9 cm.)
Christie's
Jun. 07, 2017
DIPINTO
Est: €17,000 - €19,000
Jan Gossaert detto Mabuse (Maubeuge 1478-Anversa 1532) 'Madonna con Bambino' olio su tavola inizi sec.XVI cm. 67x103
Aste Boetto SRL
May. 02, 2017
JAN GOSSAERT, CALLED MABUSE Cain Killing Abel.
Est: $20,000 - $30,000
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.
Swann Auction Galleries
May. 02, 2017
JAN GOSSAERT, CALLED MABUSE The Virgin and Child Seated at the Foot of a Tree.
Est: $50,000 - $80,000
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.
Swann Auction Galleries
Mar. 22, 2017
GOSSAERT Jean Mabuse (1478 - 1532) Huile sur toile "La Vierge à l'enfa
Est: €500 - €700
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.
Vanderkindere
Feb. 20, 2017
DIPINTO
Est: €25,000 - €27,000
Jan Gossaert detto Mabuse (Maubeuge 1478-Anversa 1532) "Madonna con Bambino" olio su tavola inizi sec.XVI cm. 67x103
Aste Boetto SRL
Mar. 08, 2016
Jan Gossaert Mabuse (1478-1532)-circle, Maria with Child holding apple in f
Est: €2,400 - €4,500
Jan Gossaert Mabuse (1478-1532)-circle, Maria with Child holding apple in front of dark background, oil on oak panel, under glass, framed. 28x21cm
Deutsch Auktionen
Dec. 09, 2015
JAN GOSSAERT, CALLED MABUSE | The Virgin and Child
Est: £4,000,000 - £6,000,000
oil on oak panel
Sotheby's
Sep. 18, 2015
GOSSAERT, JAN (NACHFOLGER ENDE 16. / ANFANG 17.
Est: CHF10,000 - CHF15,000
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.
Koller Auctions
Jun. 17, 2015
MABUSE, Maria mit Kind
Est: CHF12,000 - CHF18,000
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.
Galerie Fischer Auktionen AG