Quentin (1465) Massys Paintings & Artwork for Sale | Quentin (1465) Massys Art Value Price Guide

Jul. 15, 2026
QUENTIN MASSYS (cerchia di)
Est: €4,000 - €7,000
(Leuven, 1466; Kiel, 1530) PietÃ Olio su tavola, cm 106X68,5 Questa composizione riflette una delle iconografie piÃ¹ toccanti ideate da Quentin Massys. Raffigurante il dolce abbraccio tra la giovane Maria e il figlio, l'autore offre una composizione di notevole intimitÃ e il legame emotivo tra i protagonisti Ã¨ il piÃ¹ intenso tra tutte le immagini realizzate dal maestro. Massys fu il principale esponente della scuola di Anversa all'inizio del Cinquecento. Partendo dalla tradizione fiamminga, seppe innovare lo stile con un disegno piÃ¹ morbido, un modellato sottile e un uso raffinato del colore. La sua arte, pur ancorata alla tecnica antica, tendeva alla monumentalitÃ . Dipinse soggetti religiosi, ritratti e scene di genere, mostrando una spiccata sensibilitÃ e apertura alle influenze rinascimentali, in particolare a quella di Leonardo da Vinci, di cui conosceva opere e disegni. Le sue composizioni sostituirono i motivi gotici con elementi architettonici e decorativi del Rinascimento. Lievi fessurazioni verticali della tavola giÃ consolidate. La superficie pittorica si presenta in patina con sporcizia superficiale, lievi difetti e abrasioni e cadute di colore, restauri visibili da foto a luce di Wood. Forniamo foto HD del fronte, del verso e a luce di Wood per documentare lo stato di conservazione. Slight vertical breaks of the boards already consolidated. The pictorial surface is in patina with superficial dirt, slight defects and abrasions, color drops, restorations visible in photo under UV. We provide HD photos of the front, the reverse and under UV to document the conservation status.
Wannenes Art Auctions
Jul. 02, 2026
Saint Jerome in his study
Est: £20,000 - £30,000
Property from a Dutch Private Collector Workshop of Quinten Massys Leuven 1466–1530 Kiel near Antwerp Saint Jerome in his study oil on oak panel unframed: 57 x 75.6 cm.; 22½ x 29¾ in. framed: 67 x 86 cm.; 26⅜ x 33⅞ in.
Sotheby's
May. 28, 2026
Flemish school of the first half of the sixteenth century. Follower of Quentin MASSYS (Louvain, ca. 1466 - 1530). "Ecce Homo. Oil on panel.
Est: €15,000 - €18,000
Flemish school of the first half of the sixteenth century. Follower of Quentin MASSYS (Louvain, ca. 1466 - 1530). "Ecce Homo. Oil on panel. Measurements: 24 x 18 cm; 30 x 24 cm (frame). This painting represents a bust Ecce Homo, a widespread iconography in the Flemish environment of the first decades of the sixteenth century, especially in the environment of Quentin Massys and his workshop. The work presents a frontal image of Christ crowned with thorns, with his head slightly inclined, his gaze lowered and a restrained expression of pain and resignation, all features characteristic of the devotional model developed by Massys and widely replicated by his circle. From a stylistic point of view, the panel shows clear links with Massys' language, especially in the construction of the face: the elongated oval, the heavy, half-closed eyelids, the delicate light transition in the flesh tones and the meticulous treatment of the beard and hair with fine, precise brushstrokes. To this is added the use of a golden background, worked with an irregular patina, which refers to solutions still anchored in the tradition of the Flemish primitives, but reinterpreted in a more modern key, as is usual in the production of the master and his immediate environment. The restrained emotional intensity, far from extreme dramatism, as well as the search for an intimate and meditative devotion, are fully within the spiritual ideals that Massys developed in his religious representations. Likewise, the closed composition, the emphasis on the bust and the absence of narrative elements reinforce its function as an image for private contemplation, a format especially in demand in early 16th century Antwerp. Although the quality of the work is remarkable, certain aspects -such as a somewhat more rigid execution in the drawing or less subtlety in some modeling passages- allow us to rule out a direct attribution to the master and point more solidly to an artist active in his circle, with direct knowledge of his models, probably linked to his workshop or to his immediate sphere of influence.
Setdart Auction House
Mar. 10, 2026
After Quentin Massys, Flemish 1465/6-1530- Salvator Mundi
Est: £400 - £600
After Quentin Massys, Flemish 1465/6-1530- Salvator Mundi; oil on canvas, 40 x 32.4 cm. (unframed). Provenance: Private Collection, Germany. Note: The representation of Christ as 'Salvator Mundi', which may well have developed from the earlier Byzantine image of ‘Christos Pantokrator’, depicts Christ straight on, gazing directly out at the viewer, with his hand raised in blessing, wearing royal robes, and often holding an orb surmounted by a cross. This otherworldly, awe-inspiring image of Christ contrasts with his depictions as 'Ecce Homo' or 'Man of Sorrows', which evoke a sense of Christ's humanity and suffering. The subject of 'Salvator Mundi' was popular amongst a number of late-medieval Flemish painters, treated by Jan van Eyck (1390-1441), Hans Memling (1430-1494), and Albrecht Dürer (1471-1528), as well as Massys. The present work is a particularly faithful copy after Massys's original composition in the collection of the Royal Museum of Fine Arts in Antwerp, as the right wing of a diptych, with the Virgin Mary in prayer on the left [241-242]. Numerous early versions of this painting exist, including a very close copy in the collection of Campion Hall at the University of Oxford [142], and another, larger-scale and gilded version, in the National Gallery in London [NG295.1].
Roseberys
Dec. 10, 2025
Flemish school of the first half of the sixteenth century. Follower of Quentin MASSYS (Louvain, ca. 1466 - 1530). "Ecce Homo. Oil on panel.
Est: €15,000 - €18,000
Flemish school of the first half of the sixteenth century. Follower of Quentin MASSYS (Louvain, ca. 1466 - 1530). "Ecce Homo. Oil on panel. Measurements: 24 x 18 cm; 30 x 24 cm (frame). This work, of clear Flemish style, can be adjusted to some painter of this school of the first half of the XVI century, being a connoisseur of the models of the great master Quentin de Massys. As the founder of the Antwerp school, characterized by the achievement of a balanced synthesis between the Flemish tradition and the influence of the Italian Renaissance, Quentin Massys was a character of great influence, with several disciples and followers. He was born in the city of Louvain, although he developed his career in Antwerp. He cultivated religious themes and portraiture, the two most popular genres of the time, and his works often had a clear satirical undertone. He was trained in the language of the Flemish primitives, which prevailed in his formative years. Thus, the intense religious sense, the chromatic sumptuousness and the meticulousness of detail will remain as constants in his style, although with the passage of time the influences of Leonardo da Vinci will be appreciated, and his language will become increasingly delicate and calm. It is believed that he may have known Leonardo's work through the engravings that circulated at the time in Flemish artistic circles, often made by local engravers. In fact, his "Madonna and Child with Lamb" (1513, Poznan, National Museum) is clearly inspired by the Italian's "Madonna and Child with Saint Anne" (ca. 1503, Paris, Louvre). Historians consider, moreover, a possible trip by Massys to Italy, although no documentary sources are preserved to confirm this. In fact, we know little reliable data today about his life, especially about his early life. The son of a blacksmith, it is said that he left the family trade for painting because he considered this art to be more elevated. In any case, there is no documentation of the painters' guild in Louvain before 1494, so there is no concrete evidence that Massys obtained the rank of master there. However, historians generally accept that he must have begun his training there, because he is not recorded in Antwerp as an apprentice. We do know from later sources that he had his own workshop in Antwerp, but only four apprentices were trained there: Adrian van Overbeke, Willem Muelenbroec, Eduart Potugalois and Hennen Boeckmaere, all of whom were registered in his workshop between 1495 and 1510. It is now considered that Joachim Patinir also spent part of his formative years in Massys' workshop, and that he collaborated with the master by painting landscapes for his works. The lack of data about Massys in Antwerp during the following years suggests that he may have traveled to Italy and other cities in the Netherlands. In any case, the foreign influence in his language is deduced from his paintings and is considered an important part of his training already late, in the new century. Regarding the Flemish basis of his language, there are clear traces of the language of Dirk Bouts, who introduced in Leuven the influences of Hans Memling and Rogier van der Weyden.
Setdart Auction House
Nov. 13, 2025
Quentin Metsys (ambito di) (Lovanio 1466 - Anversa 1530)
Est: €2,500 - €3,500
Praying Virgin Oil on panel cm. 27,2x19. Framed Private collection. The painting bears an old brush inscription on the reverse: "ANDREA / PREDITALE / BERGAMASCO / 1525".
Bertolami Fine Art s.r.l.
Nov. 12, 2025
After Quentin Massys, Flemish 1465/6-1530- Portrait of a canon, probably Stephen G
Est: £700 - £900
After Quentin Massys, Flemish 1465/6-1530- Portrait of a canon, probably Stephen Gardiner; oil on panel, 45.1 x 35.6 cm. (unframed). Provenance: Private Collection, Flanders, thence by descent. Private Collection, France, thence by descent. Private Collection, UK. Note: The present work is a copy with minor variations, including the colour of the sitter's clothing, after Massys's original portrait in the Princely Collections of Liechtenstein [GE 928]. The accompanying note for the original describes how: 'There have been various attempts to identify the sitter in the present work, but none has proved wholly convincing. On the evidence of his exquisitely rendered costume, however, he must have been a canon in the sense of being a secular clergyman associated with a cathedral or a collegiate church. Massys ensures that his imposing physical presence all but fills the available space, and shows him seated behind a parapet and in front of a far-ranging and meticulously observed landscape. The way in which he looks straight out at the viewer establishes a timelessly direct contact. The fiction of the image is that he has just looked up from his reading: the fingers of his left hand are keeping two different places in his book, while the pince-nez held in his right hand have evidently just been removed from his nose. The sense of a living, thinking human presence is brilliantly evoked, and indeed this is arguably the greatest of all Massys’ portraits.' The portrait likely depicts Stephen Gardiner (1483-1555), a prominent Catholic bishop and politician during the English Reformation, who served as Lord Chancellor under Queen Mary I.
Roseberys
Sep. 09, 2025
Huile sur panneau "Vierge d'humilité au rosier". Ecole flamande, anversoise
Est: €2,000 - €3,000
Huile sur panneau "Vierge d'humilité au rosier". Ecole flamande, anversoise. Suiveur de Quentin Metsys. Portant au dos la marque de la guilde de Saint-Luc d'Anvers. On y joint une documentation sur la restauration du tableau datant de 1987. Epoque : XVIIème. Dim.:+/-97x72 cm.
Vanderkindere
Dec. 07, 2024
P. JOURDY (*1805) after MASSYS (*1466), The money counters, Lithography
Est: €60 - €100
Paul Jourdy (1805 Dijon - 1856 Paris) after Quentin Massys (1466 Lions - 1530 Antwerp): The money counters, 19th century, Lithography Technique: Lithography on China paper, rolled-on on Paper Date: 19th century Description: The Money Counters, Quentin Massys, 19th century litho Jourdy. Description: Original 19th century lithograph, France, by Jourdy (signed lower right in the stone), The Money Counters. Lithograph on mounted China paper. Keywords: 19th century, Renaissance, Professions, France, Size: Paper: 49,0 cm x 32,0 cm (19,3 x 12,6 in), Plate: 24,0 cm x 16,5 cm (9,4 x 6,5 in)
Fichter Kunsthandel
Dec. 03, 2024
QUINTEN METSYS (1466-1530) (WORKSHOP)
Est: €8,000 - €10,000
Two praying monks. 16th-century work. Oil on panel (pargeted). Formerly titled 'The Hypocrites' (A. de Bosque, 1975, p.361). With expertise: Mr. Maximiliaan Martens, Ghent interdisciplinary Centre for Arts & Science, 20.3.2014, with other dimensions Description FR Deux moines en prière. 16ème siècle. Huile sur panneau (parquetté). Jadis connu sous le titre 'Les Hypocrites' (A. de Bosque, 1975, p.361). Rapport d'expertise: M. Maximiliaan Martens, Centre interdisciplinaire pour les arts et les sciences de Gand, 20.3.2014, dimensions erronées Beschrijving NL Twee biddende monniken. 16de-eeuws werk. Olie op paneel (geparketteerd). Eertijds getiteld 'De Huichelaars' (A. de Bosque, 1975, p.361). Expertiseverslag: Dhr. Maximiliaan Martens, Ghent interdisciplinary Centre for Arts & Science, 20.3.2014, met foutieve afmeting Bijgevoegd:
Bernaerts Auctioneers
Oct. 28, 2024
School of QUENTIN MASSYS (Louvain, 1466-Antwerp, 1530); second third of the XVI century. "Pietà". Oil on panel. Cradled.
Est: €7,000 - €8,000
School of QUENTIN MASSYS (Louvain, 1466-Antwerp, 1530); second third of the 16th century. "Pietà". Oil on panel. Cradled. Measurements: 66 x 50 cm; 88,5 x 73 cm (frame). The work follows the model of Quentin Massys of the cathedral of Seville, although in this case the landscape is not appreciated, but the characters are inscribed in a completely dark background that confirms the intimate and emotional value of the piece. The Virgin resting her head on her son, while holding him from behind, seems to be trying to verse him for the last time. While the body of Christ falls and only the face rises due to the intervention of the Virgin who holds him, already dead, in her arms. The iconography of the Pieta arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first example being found in the city of Coburg, a piece from around 1320. With the passage of time the iconography will spread throughout Europe, and in the seventeenth century, after the Counter-Reformation, it became one of the most important themes of devotional painting. Due to its technical characteristics, the work has certain similarities with the artistic circle of Quentin Massys, who made several paintings on the subject. As the founder of the Antwerp school, characterized by the achievement of a balanced synthesis between the Flemish tradition and the influence of the Italian Renaissance, Quentin Massys was a very influential figure, with several disciples and followers. He was born in the city of Louvain, although he developed his career in Antwerp. He cultivated religious themes and portraiture, the two most popular genres of the time, and his works often had a clear satirical undertone. He was trained in the language of the Flemish primitives, which prevailed in his formative years. Thus, the intense religious sense, the chromatic sumptuousness and the meticulousness of detail will remain as constants in his style, although with the passage of time the influences of Leonardo da Vinci will be appreciated, and his language will become increasingly delicate and calm. It is believed that he may have known Leonardo's work through the engravings that circulated at the time in Flemish artistic circles, often made by local engravers. In fact, his "Madonna and Child with Lamb" (1513, Poznan, National Museum) is clearly inspired by the Italian's "Madonna and Child with Saint Anne" (ca. 1503, Paris, Louvre). Historians consider, moreover, a possible trip by Massys to Italy, although no documentary sources are preserved to confirm this. In fact, we know little reliable data today about his life, especially about his early life. The son of a blacksmith, it is said that he left the family trade for painting because he considered this art to be more elevated. In any case, there is no documentation of the painters' guild in Louvain before 1494, so there is no concrete evidence that Massys obtained the rank of master there. However, historians generally accept that he must have begun his training there, because he is not recorded in Antwerp as an apprentice. We do know from later sources that he had his own workshop in Antwerp, but only four apprentices were trained there: Adrian van Overbeke, Willem Muelenbroec, Eduart Potugalois and Hennen Boeckmaere, all of whom were registered in his workshop between 1495 and 1510. It is now considered that Joachim Patinir also spent part of his formative years in Massys' workshop, and that he collaborated with the master by painting landscapes for his works. The lack of data about Massys in Antwerp during the following years suggests that he may have traveled to Italy and other cities in the Netherlands. In any case, the foreign influence in his language is deduced from his paintings and is considered an important part of his training already late, in the new century. Regarding the Flemish basis of his language, there are clear traces of the language of Dirk Bouts, who introduced in Leuven the influences of Hans Memling and Rogier van der Weyden.
Setdart Auction House
Jul. 02, 2024
QUENTIN METSYS (LEUVEN 1465⁄6-1530 ANTWERP). The Madonna of the Cherries. o
Est: £8,000,000 - £12,000,000
QUENTIN METSYS (LEUVEN 1465⁄6-1530 ANTWERP). The Madonna of the Cherries. oil on panel 29 5⁄8 x 24 ¾ in. (75.3 x 62.9 cm.).
Christie's
Jan. 31, 2024
CIRCLE OF QUINTEN METSYS (LEUVEN 1466-1530 KIEL, NEAR ANTWERP) Christ as Sa
Est: $20,000 - $30,000
CIRCLE OF QUINTEN METSYS (LEUVEN 1466-1530 KIEL, NEAR ANTWERP) Christ as Salvator Mundi oil on panel 16 ¼ x 11 ½ in. (41.3 x 29.2 cm.)
Christie's
Jan. 10, 2024
Quentin Matsys - Lover's Copy, o/masonite
Est: $100 - $300
Quentin Matsys - Lover's Copy, painted by Harvey A. Sandler, oil on masonite, copy of Quentin Matsys - Ill Matched lovers painting from 1525, circa mid 20th C, 24" x 16 3/4", unframed. CONDITION: Good, a few small paint wear spots and rubs.
Barry S. Slosberg Inc
Nov. 29, 2023
Circle of Quentin Massys (Leuven 1466 – Antwerp 1530) - Madonna with Child
Est: €1,400 - €2,800
oil on board 33 x 28.5 cm
Finarte
Nov. 13, 2023
Portrait of Christ
Est: €150 - €200
ANTWERP SCHOOL, FOLLOWER OF QUENTIN MASSYS (1466 - 1530) Portrait of Christ oil on panel framed H : 37.5 cm W : 29 cm
Haynault
Sep. 28, 2023
Quentin Metsys, 1466 Leuven – 1530 Antwerpen, Werkstatt des
Est: €25,000 - €35,000
PIETÀ Öl auf Holz. Parkettiert. 102 x 72 cm. Verso mit alten Etiketten und Inv.Nr. „4083“. In bronziertem Rahmen. Wir danken Max Martens, Ghent, für freundliche Hinweise zur Katalogisierung des Gemäldes. Inmitten einer hügeligen Landschaft, in der Christus vom Kreuz abgenommen worden ist, hält Maria den Leichnam ihres Sohnes, der eine aufsteigende Diagonale beschreibt. Die Darstellung ist in mehreren Versionen bekannt, wobei hier Metsys selbst die Aufsicht über die Ausführung in der Werkstatt geführt haben mag. Provenienz: National Museum, Sydney, Australien. Auktion, Lawson‘s Auctioneers, Sydney 1958. Sammlung Robert Neumann, Sydney. Anmerkung: Eine Pietà, die ebenfalls als Werkstattarbeit anerkannt ist, wird unter der Inv.Nr. 4705 im Museum für Schöne Künste in Brüssel verwahrt. (1371503) (13) Quentin Metsys, 1466 Leuven – 1530 Antwerp, workshop of PIETÀ Oil on panel. Parquetted. 102 x 72 cm. We would like to thank Max Martens, Ghent, for his kind advice. Provenance: National Museum, Sydney, Australia. Auction, Lawson’s Auctioneers, Sydney 1958. Robert Neumann collection, Sydney.
Hampel Fine Art Auctions
Jun. 21, 2023
METSYS QUENTIN (1466 - 1530). SUIVEUR DE. HUILE SUR PANNEAU DE CHÊNE RENFORCÉ "PIÉTA". SUIVEUR DE QU
Est: €400 - €600
Huile sur panneau de chêne renforcé "Piéta". Suiveur de Quentin Metsys. Ecole flamande. Epoque: fin XVIème. Dim.:+/-34x24,5cm.
Vanderkindere
Jun. 10, 2023
P. JOURDY (*1805) after MASSYS (*1466), The money counters, Lithography
Est: €60 - €100
Paul Jourdy (1805 Dijon - 1856 Paris) after Quentin Massys (1466 Lions - 1530 Antwerp): The money counters, 19th century, Lithography Technique: Lithography on China paper, rolled-on on Paper Date: 19th century Description: The Money Counters, Quentin Massys, 19th century litho Jourdy. Description: Original 19th century lithograph, France, by Jourdy (signed lower right in the stone), The Money Counters. Lithograph on mounted China paper. Keywords: 19th century, Renaissance, Professions, France,
Fichter Kunsthandel
Mar. 30, 2023
Quentin Metsys, 1466 Leuven – 1530 Antwerpen, Werkstatt des
Est: €35,000 - €55,000
PIETÀ Öl auf Holz. Parkettiert. 102 x 72 cm. Verso mit alten Etiketten und Inv.Nr. „4083“. In bronziertem Rahmen. Wir danken Max Martens, Ghent, für freundliche Hinweise zur Katalogisierung des Gemäldes. Inmitten einer hügeligen Landschaft, in der Christus vom Kreuz abgenommen worden ist, hält Maria den Leichnam ihres Sohnes, der eine aufsteigende Diagonale beschreibt. Die Darstellung ist in mehreren Versionen bekannt, wobei hier Metsys selbst die Aufsicht über die Ausführung in der Werkstatt geführt haben mag. Provenienz: National Museum, Sydney, Australien. Auktion, Lawson’s Auctioneers, Sydney 1958. Sammlung Robert Neumann, Sydney. Anmerkung: Eine Pietà, die ebenfalls als Werkstattarbeit anerkannt ist, wird unter der Inv.Nr. 4705 im Museum für Schöne Künste in Brüssel verwahrt. (13514325) (13) Quentin Metsys, 166 Leuven - 1530 Antwerp, workshop of PIETÀ Oil on panel. Parquetted. 102 x 72 cm. We would like to thank Max Martens, Ghent, for his kind advice. Provenance: National Museum, Sydney, Australia. Auction, Lawson’s Auctioneers, Sydney 1958 (probably for 90 gns). Robert Neumann collection, Sydney.
Hampel Fine Art Auctions
Dec. 05, 2022
QUINTEN MASSYS (1465/66-1530) (FOLLOWER)
Est: €10,000 - €12,000
Ecce Homo. Triptych. Panel. Latin text in Gothic handwriting on side panels. Underneath the frame, an apocryphal inscription '1472 Lucas Cranach de Oudere 1553'. The rendering of the figure of Christ, - his gaze looking downwards, the buckle-bound cloak around his neck and the bound hands - is inspired by Quinten Massijs' Ecce Homo (Venice, Palazzo Ducale, inv. Cl. I n. 0158, previously attributed to Albrecht Dürer). Therefore, this painting can be situated in the region of Antwerp most likely during the second half of the 16th century. However, several retouchings make the exact date of this painting rather difficult to determine. The side panels are slightly larger than the centre panel and executed in a slightly different style. They both bear a text in gilt Gothic letters on black background. Description FR Ecce homo. Triptyque. Panneau. Texte latin en écriture gothique sur les panneaux latéraux Inscription sur le panneau central du cadre inférieur '1472 Lucas Cranach l'Ancien 1553'. La pose exacte de la figure du Christ - son regard dépressif de côté, le manteau à boucle autour du cou et les mains liées - remonte à la pose incorporée par Quinten Massijs dans son Ecce Homo (Venise, Palazzo Ducale, inv. Cl. I n. 0158, jadis attribué à Albrecht Dürer). Les panneaux latéraux sont légèrement plus grands que le panneau central et sont également peints d'une autre manière. Elles ne sont donc probablement pas les portes de ce triptyque, qui portait traditionnellement le nom de Lucas Cranach l'Ancien. Ils portent tous deux un texte en lettres gothiques dorées sur fond noir. Les traces d'usure rendent une datation exacte presque impossible. Beschrijving NL Ecce Homo. Triptiek. Paneel. Latijnse tekst in Gotisch handschrift op de zijpanelen. Onderaan kader middenpaneel apocrief opschrift '1472 Lucas Cranach de Oude 1553'. Vermoedelijk tweede helft 16de eeuw. De exacte pose van de Christus figuur, - zijn zijwaartse terneergeslagen blik, de met een gesp verbonden mantel rond zijn nek en de gebonden handen - gaan terug op de pose die Quinten Massijs verwerkte in zijn Ecce Homo (Venetië, Palazzo Ducale, inv. Cl. I n. 0158, voordien toegeschreven aan Albrecht Dürer). De zijpanelen zijn iets groter dan het middenpaneel en tevens schildertechnisch anders bewerkt. Zij dragen beide een tekst in vergulde gotische letters op zwarte achtergrond. De overschilderingen van paneel bemoeilijken een exacte datering.
Bernaerts Auctioneers
Nov. 26, 2021
QUENTIN MASSYS (maniera di)
Est: €500 - €800
(Leuven, 1466 - Kiel, 1530) San Girolamo in meditazione Olio su tavola, cm 42X29 La tavola replica una delle opere più celebri di Quentin Massys e che si scalano cronologicamente fra gli anni Venti e Quaranta del XVI secolo, quasi tutte simili ma che si differenziano nell'ambientazione scenica della stanza. Quasi sempre si intravede la finestra invetriata, i brani di natura morta che offrono agli autori lo spunto di intervenire con varianti, evidenziando una volontà di riproporre l'immagine originale in maniera affatto passiva. Il prototipo illustrativo si riconosce nel San Girolamo di Durer del 1521 oggi al Museo di Lisbona. Bibliografia di riferimento: L. Collobi Ragghianti, Dipinti fiamminghi in Italia (1420 - 1570) Catalogo, Bologna 1990. pp. 95-96, n. 196
Wannenes Art Auctions
Nov. 13, 2021
Quentin Massys
Est: €80,000 - €120,000
Quentin Massys I Um 1466 Löwen - 1530 Antwerpen Umkreis oder Nachfolger - Die Beweinung Christi (Pieta) / (Lamentation of Christ) - Öl/Lwd. Doubl. 81,5 x 108,5 cm. Bez. l. u.: M. (...). Alter Rahmen mit Aufsatzleiste in Altarbildform. Fachmännisch rest. Diese mit den charakteristischen Hauptakteuren einer Beweinung Christi - Maria, Johannes und Joseph von Arimathia - versehene Darstellung ist eine malerisch äußerst qualitätvolle Wiederholung des Originalgemäldes von Quentin Massys, von dem eine bekannte Variante sich in den Stedelijke Musea in Löwen befindet (Inv.-Nr. S/37/M). Besonders gelungen erscheint das Gesicht des Joseph von Arimathia, das beinahe schon individualisierende Züge aufweist. - Zertifikat des Art Loss Registers aus dem Jahr 2021 liegt vor.
Das Kunst- und Auktionshaus Kastern GmbH & Co KG
Oct. 20, 2021
Attributed to the workshop of Quinten Metsys (1466-1530), 63 x 51 cm
Est: €6,000 - €8,000
Attributed to the workshop of Quinten Metsys (1466-1530), 63 x 51 cm Attributed to the workshop of Quinten Metsys (1466-1530), the Holy Family with St. John the Baptist in a mountainous landscape, oil on oak panel, 63 x 51 cm. A beautiful group of figures; the early influence visible of the Italian high renaissance in the Flemish paintings of the first decades of the sixteenth century. The composition of the group of figures is geometrically based on triangles and diagonal lines. The facial expression of the Madonna follows the sfumato colour scheme of the Florentine renaissance. The view of the landscape is reminiscent of the school of Joachim Patinir, who often worked together with Quinten Metsys, the founding father of the Antwerp School in the early 16th century. Whereas the figure of Joseph reflects the sense of realism and common sense, the Madonna and the playful St. John and Jesus reflect the idealistic canon of beauty as depicted in the works of Raphael Sanzio da Urbino, Leonardo da Vinci and Giovanni Bellini.
Carlo Bonte Auctions
Jun. 24, 2021
Maler der ersten des 17. Jh, Nachfolge Quentin Massys (1466-1530)
Est: €7,000 - €9,000
DIE MADONNA MIT DEM KIND Öl auf Kupfer. Im Hochoval: 53 x 39 cm. In ovalem, vergoldetem Rahmen. Vor Goldhintergrund das Dreiviertelbildnis der sitzenden Madonna, zärtlich und behutsam den nackten Jesusknaben in einem weißen Tuch in ihren Armen haltend. Mit der rechten Hand umarmt er seine Mutter und blickt sie mit seinen leuchtenden Augen liebevoll an. Sie hat ein feines, weiches Inkarnat, gerötete Wangen und mit leicht gesenkten Augen erwidert sie seinen Blick. Gekleidet ist sie in ein türkisfarbenes Gewand, einen roten Mantel und mit einer weißen, faltenreichen langen Kopfbedeckung. Malerei in qualitätvoller Manier, die auf das Originalgemälde zurückgreift. Kleine Retuschen. Rahmenschäden. Anmerkung: Das rechteckige Gemälde mit der Darstellung der Madonna mit dem Kind von Quentin Massys, jedoch mit Landschaftshintergrund, befindet sich im Detroit Institute of Arts. (1270472) (1) (18)
Hampel Fine Art Auctions
May. 16, 2021
Attrib. METSYS (or MASSYS) Quentin (Flemish 1466-1530), Pieta, Oil on Panel, 102x72cm
Est: $20,000 - $40,000
Attrib. METSYS (or MASSYS), Quentin (Flemish 1466-1530) Pieta Oil on Panel 102x72cm PROVENANCE: National Art Gallery of NSW - two old labels verso, one with a attribution and alternate title 'The Magdalen,' & inventory number #4083; purchased at Lawson's Auctioneers, Sydney 1958 (possibly for 90 gns); Estate Late Robert Neumann, Sydney.
Davidson Auctions
Sep. 29, 2020
Dans le goût de Quentin METSYS Louvain, 1466 - Anvers, 1530 Portrait d'Erasme Huile sur panneau de chêne, une planche
Est: €300 - €400
Dans le goût de Quentin METSYS Louvain, 1466 - Anvers, 1530 Portrait d'Erasme Huile sur panneau de chêne, une planche (Restaurations) h: 44 w: 32 cm Provenance : Acquis auprès de la galerie Marcus, Paris, le 17 avril 1963 par les parents des actuels propriétaires ; Collection particulière, Paris Commentaire : D'après le portrait d'Erasme de Rotterdam par Quentin Metsys (1466-1530), daté de 1517 et conservé à la Galleria Nazionale d'Arte Antica, Rome. Estimation 300 - 400 €
Artcurial
Oct. 15, 2019
SILVIA LEVINSON PERMITTED COPY OF LADY IN WIMPLE
Est: $1,000 - $1,500
Silvia (Sylvia) Levinson (UNITED STATES / NEW YORK, born 1957) oil painting on wooden panel depicting "The Lady in Wimple". A permitted copy by the Metropolitan Museum of Art after the artist Quentin Matsys (FLEMISH / BELGIUM, 1466 - 1529). Signed "Dannenberg" to verso (the artist's maiden name) with Metropolitan Museum of Art stamps. Dannenberg was a member of the Student League of New York and a student of theParsons School of Design. Mounted in a wooden frame with museum plaque to lower center and museum light mounted to top. Board measures approx. 20 1/4" height x 17 3/4" width (51.4cm x 45cm). Measures approx. 38" height x 31" width (96.5cm x 78.7cm) overall including frame and hardware.
Elite Auctioneers, LLC
Aug. 06, 2019
SYLVIA LEVINSON PERMITTED COPY OF LADY IN WIMPLE
Est: $1,000 - $1,500
Sylvia Levinson (UNITED STATES / NEW YORK, born 1957) oil painting on wooden panel depicting "The Lady in Wimple". A permitted copy by the Metropolitan Museum of Art after the artist Quentin Matsys (FLEMISH /BELGIUM, 1466 - 1529). Signed "Dannenberg" to verso (the artist's maiden name) with Metropolitan Museum of Art stamps. Dannenberg was a member of the Studen League of New York and a student of the ParsonsSchool of Design. Mounted in a wooden frame with museum plaque to lower center and museum light mounted to top. Board measures approx. 20 1/4" height x 17 3/4" width (51.4cm x 45cm). Measures approx. 38" height x 31" width (96.5cm x 78.7cm) overall including frame and hardware.
Elite Auctioneers, LLC
Jun. 25, 2019
SUIVEUR DE QUENTIN METSYS (LOUVAIN 1466 - 1530 ANVERS) Le mariage inégal ou le couple mal assorti huile sur panneau, parqueté, fente au panneau 64 x 90 cm. (25 1/8 x 35 ½ in.)
Est: €8,000 - €12,000
SUIVEUR DE QUENTIN METSYS (LOUVAIN 1466 - 1530 ANVERS) Le mariage inégal ou le couple mal assorti huile sur panneau, parqueté, fente au panneau 64 x 90 cm. (25 1/8 x 35 ½ in.)
Christie's
Sep. 22, 2017
16th century follower of MASSYS, QUINTEN
Est: CHF25,000 - CHF35,000
16th century follower of MASSYS, QUINTEN (Löwen 1465/66 - 1530 Antwerp) Christ as Salvator Mundi. Oil on panel. 68.6 x 57.5 cm. Provenance: - Christie's, London, 19.5.1965, Lot 34 (as Master of the Mansi Magdalena). - Lampon collection. - European private collection. --------------- MASSYS, QUINTEN (NACHFOLGER DES 16. JAHRHUNDERTS) (Löwen 1465/66 - 1530 Antwerpen) Christus als Salvator Mundi. Öl auf Holz. 68,6 x 57,5 cm. Provenienz: - Auktion Christie's, London, 19.5.1965, Los 34 (als Meister der Mansi Magdalena). - Sammlung Lampon. - Europäische Privatsammlung. Diese bemerkenswerte und ausdrucksstarke Komposition von Christus als Salvator Mundi (Retter der Welt) geht auf Quinten Massys (1466 1530) Prototyp zurück, der in mehreren Variationen in seiner Werkstatt sowie von seinen unmittelbaren Nachfolgern rezipiert wurde (Koninklijk Museum voor Schone Kunsten Antwerpen, Nr. 241 ). Es erstaunt deshalb nicht, dass das Gemälde ursprünglich mit dem Meister der Mansi Magdalena (tätig um circa 1515-1525) in Verbindung gebracht wurde, der in Massys Nachfolge tätig war. Diese hier angebotene äusserst wirkungsvolle Komposition zeigt, auf eher ungewöhnliche Weise, den gesamten Torso Christi vor einer architektonischen Nische, wobei auch der Globus als Ganzes in die Komposition miteinbezogen wird. Zu den wenigen vergleichbaren Kompositionen gehören die Tafel aus dem North Carolina Museum in Raleigh (GL.60.17.62) und die Darstellung aus dem Grosvenor Museum in Chester (CHEGM: 2006 274). Das Letztere entspricht der gegenwärtigen Tafel vor allem in ihrer monumentalen Erscheinung und der voluminösen Modellierung der Falten in der Gewandung des Christus. Die flämische Abstammung unseres Salvator Mundis manifestiert sich deutlich in dieser grossformatigen Tafel, dennoch bleibt die geographische Platzierung noch nicht ganz geklärt. Die eher unübliche Physiognomie verweist auf eine spanischen Ursprung. Die niederländische Herkunft wird aber wiederum vom Medium unterstrichen, während der goldene Strahlenkranz charakteristisch den Gusto des spanischen Marktes repräsentiert. Grundsätzlich lässt der raffinierte Malstil und die eindeutig flämische Landschaft darauf schliessen, dass dieser Salvator Mundi wohl von einem flämischen Künstler in Spanien oder für einen spanischen Auftraggeber konzipiert wurde.
Koller Auctions
Mar. 18, 2017
Quentin Matsys (Manner of) Virgin & Child Painting
Est: $400 - $600
Vintage oil on board painting in the manner of Old Master Quentin Matsys (Flemish, c.1466-1530), "Virgin and Child Surrounded by Angels," the original of which hangs in the the Museum of Fine Arts in Lyons. Nicely done. Measures 36-1/4" x 24-1/8".
Blackwell Auctions LLC
Apr. 16, 2016
Antoine WIERIX (1555/59-1604) d'après Quentin METSYS (1
Est: €100 - €150
Antoine WIERIX (1555/59-1604) d'après Quentin METSYS (1466-1530) - Saint Luc peignant la Vierge. Belle gravure représentant saint Luc, accompagné d’un bœuf, portraiturant la Vierge à l’enfant assise sur un trône à baldaquin. Nom de l’éditeur en bas au centre : « Gerar. de Iode excu. ». Nom du graveur et de l’auteur de la composition originale en bas à droite : « Anto. Wierinx sculpsit / M. Quintin Mazzis inventor ». Texte en latin dans la marge inférieure : « EN REGINA TVA LUCAS SACRI PVERIQVE / UT CONSTAT TABVLIS EFFIGIENQVE DCCET ». 225 x 296 mm. Épreuve partiellement fixée sur papier fort, trace de pliure verticale, rousseurs et petits manques dans la marge.
Alain & Evelyne Morel de Westgaver
Nov. 12, 2015
ATELIER DE QUENTIN METSYS (ANVERS 1466-1530) Pietà huile sur pann
Est: €15,000 - €20,000
ATELIER DE QUENTIN METSYS (ANVERS 1466-1530) Pietà huile sur panneau 66,3 x 51,1 cm. (26 1/8 x 20 1/8 in.)
Christie's
Jul. 09, 2015
Studio of Quentin Metsys (Leuven 1466-1530 Kiel, near Antwerp)
Est: £60,000 - £80,000
Studio of Quentin Metsys (Leuven 1466-1530 Kiel, near Antwerp) The Madonna of the Cherries oil on oak panel 29 7/8 x 24 5/8 in. (76 x 62.7 cm.)
Christie's
Jul. 08, 2015
Circle of Quentin Matsys (Leuven 1466-1530 Antwerp) The Madonna
Est: -
Circle of Quentin Matsys (Leuven 1466-1530 Antwerp) The Madonna and Child
Bonhams
Jul. 08, 2015
Circle of Quentin Massys (Leuven 1466-1530 Kiel, near Antwerp)
Est: £5,000 - £8,000
Circle of Quentin Massys (Leuven 1466-1530 Kiel, near Antwerp) The Lamentation inscribed 'IN HOC APPARVIT CHARITAS DEI IN NOBIS QVONIA FILIV / SVVM VNIGENITVM MISIT IN MVNDVM VT VIVAMVS PER EVM.' (lower centre) oil on panel 26 1/8 x 20 ¼ in. (66.5 x 51.5 cm.)
Christie's
Jun. 03, 2015
Studio of Quentin Metsys (Leuven 1466-1530 The Virgin and Child
Est: $30,000 - $40,000
Studio of Quentin Metsys (Leuven 1466-1530 The Virgin and Child oil on panel, arched top 15 ¾ x 11 ¾ in. (40 x 29.8 cm.)
Christie's
Mar. 28, 2014
MASSYS, QUENTIN (NACHFOLGER DES 16. JAHRHUNDERTS)
Est: CHF140,000 - CHF180,000
MASSYS, QUENTIN (NACHFOLGER DES 16. JAHRHUNDERTS) (Löwen 1465 - 1530 Antwerpen) Maria mit Kind. Öl auf Holz. 53,5 x 38 cm. Das Gemälde ist im RKD, Den Haag, archiviert.
Koller Auctions
Mar. 27, 2014
Niederländischer Maler in der Stilnachfolge des Quinten Massys, 1466 - 1530
Est: €3,000 - €5,000
ALTER MANN VERLACHT EINE WEINENDE FRAU Öl auf Holz. 37 x 56,5 cm. Verso Sammlungsmarke „Max Grundig" mit Inventarnummer „98". In der Auffassung der karikierenden Darstellungen des Quentin Massys, wobei die Darstellung höchstwahrscheinlich auf einen literarischen oder einen sinnsprüchlichen Hintergrund zurückgeht. (9601792) Wird zum halben Schätzpreis aufgerufen
Hampel Fine Art Auctions
Oct. 30, 2013
Circle of Quentin Matsys (Leuven 1466-1530 Antwerp)
Est: £1,500 - £2,000
The head of Saint John the Baptist oil on panel, tondo 36cm (14 3/16in.) diameter
Bonhams
Oct. 13, 2013
AN IRISH GEORGE I CARVED AND PAINTED TABERNACLE
Est: €2,000 - €4,000
AN IRISH GEORGE I CARVED AND PAINTED TABERNACLE MIRROR, the domed top with carved scallop shell above an inset auricular frame now filled with an oil painting copy on canvas of ''The Misers'' after Quentin Massys (1466-1529), flanked by fluted pilasters and egg and dart banding and rosettes, the scroll form base with central rectangular mirror panel. The entire 162cm wide, 183cm high Provenance: Purchased from Russellstown Park, Duckett Estate, Carlow by the present owners family in 1950's
Adam's
Jul. 28, 2013
Circle of Quentin Metsys (Flemish, 1466-1529)
Est: $2,500 - $4,000
Circle of Quentin Metsys (Massys) (Flemish, 1466-1529), "Mary Magdalene", oil on panel, 26-1/2" x 20-1/2". Framed. This bold portrayal of the grieving Mary Magdalene was possibly part of a larger panel, depicting "Lamentation", a common subject matter in Christian art, a moment when Jesus was taken off the cross and mourned by his mother, Mary Magdalene and his followers. Here, Mary Magdalene is painted at the tomb of Christ, with the sacred vessel, a cup containing myrrh to anoint the body of Jesus. Her contorted body, wringing hands and eyes heavy with tears are all characteristic of works by the first generation of "Antwerp Mannerists". Quentin Metsys, the masterful portraitist who paid great attention to the human character of his subject matter and less to the atmosphere of the scene, was the most proficient proponent of this style. His influence is seen in this painting which we are pleased to offer.
New Orleans Auction Galleries
Jun. 12, 2013
Der heilige Hieronymus
Est: CHF4,000 - CHF6,000
QUENTIN MASSYS, Der heilige Hieronymus, Art des, Louvain um 1466-1530 Antwerpen, Öl auf Lwd., 52,5 x 68 cm,
Galerie Fischer Auktionen AG
Mar. 16, 2013
Massys, Quentin - Nachfolger-Auferstehung der
Est: - €5,000
Massys, Quentin - Nachfolger-Auferstehung der Toten-(Löwen 1466-1530 Antwerpen) Öl/Lwd., auf Holz aufgezogen. 161 x 153 cm. - Altersschäden.
Kunstauktionshaus Schlosser
Jan. 31, 2013
QUINTEN METSYS
Est: $300,000 - $400,000
LEUVEN 1466 -1530 KIEL NEAR ANTWERP VIRGIN IN PRAYER oil on oak panel 16 7/8 by 12 1/4 in.; 43 by 31 cm.
Sotheby's
Aug. 27, 2012
Quinten Massys Antwerpen, 1466-1530. Efter,
Est: kr8,000 - kr10,000
Quinten Massys Antwerpen, 1466-1530. Efter, omkring år 1600. Ecce Homo. Olja på...
Auktionskammare Uppsala
Jul. 26, 2012
MANNER OF QUINTIN METSYS (1466-1530) FLEMISH - A Jew & His Wife, The Money Counters.
Est: £600 - £800
MANNER OF QUINTIN METSYS (1466-1530) FLEMISH - A Jew & His Wife, The Money Counters. Oil On Canvas. Unframed 46" x 37.5".
John Nicholson's Fine Art Auctioneers & Valuers