Bernard van Orley Paintings & Artwork for Sale | Bernard van Orley Art Value Price Guide

Jul. 01, 2026
Virgin and Child
Est: £1,500,000 - £2,000,000
Property from a Distinguished Private Collection Bernard van Orley Brussels c. 1488–1542 Virgin and Child oil on panel unframed: 27.3 x 19.4 cm.; 10¾ x 7⅝ in. framed: 45 x 30.8 cm.; 17¾ x 12⅛ in.
Sotheby's
May. 21, 2026
Bernard van Orley, studio of, The Virgin and child surrounded by musician angels
Est: €40,000 - €60,000
This Early Netherlandish panel painting, created around 1520, is generally attributed to the workshop of Barend van Orley on the basis of a comparable work in the Museo del Prado (Inv. No. P001920). The motif of the *Maria lactans* dates back to a 15th-century iconographic tradition established by Robert Campin – the so-called Master of Flémalle. Characteristic of the Master of Flémalle is the almost horizontal position of the child, who clasped the Virgin’s breast with both hands. The prototype of his work is considered lost. However, a copy, probably largely faithful to the original, survives in the Metropolitan Museum of Art New York (ill. 1; inv. no. 05.39.2); another example is in London. Throughout the 16th century, the motif was taken up in various forms, as this painting demonstrates. Max J. Friedländer attributes all known versions of the ‘Standing Madonna and Child’ to the workshop of Barend van Orley, without identifying any as an autograph work by the master: “The composition, which appears to be derived from the Master of Flémalle—the Madonna in the Apse (cf. M.J. Friedländer, Vol. II, No. 74, pp. 114–116)—has been used by Orley on several occasions”. This attribution appears plausible, as one of the finest versions of the subject in the Museo del Prado is also cautiously attributed to Barend van Orley by the RKD. A comparison of significant details – such as the texture of Mary’s robe, the hymn book held by the singing angels, the architecture in the left-hand section of the painting, as well as Mary’s facial features and the child’s posture – reveals the close relationship between the well-known versions. These similarities suggest that they undoubtedly originated from the same workshop. In terms of painterly quality, the painting under discussion here is particularly impressive for its nuanced rendering of details and lighting, followed by the version in the Museo del Prado. In our painting, Mary’s halo is made of real gold, whilst the shadows of her white cloak are modelled using natural ochre. The coarse texture of the vermilion pigment in the dress, which is clearly visible even under a loupe, also points to an early production method, as later periods developed finer grinding techniques. It is therefore likely that the known versions were executed within the same workshop, but by different hands.
Lempertz
May. 21, 2026
Bernard van Orley, Portrait of a Nobleman
Est: €100,000 - €150,000
This “Portrait of a Young Nobleman” by Bernard van Orley, probably painted around 1520, was for a long time part of the distinguished collection of the Earls of Rosebery at Mentmore House and was sold at a widely noted auction in 1977. Thereafter the work was known only through the black-and-white illustration in the sale catalogue; even on the occasion of the major Brussels exhibition of 2019, Cécile Scailliérez expressed her urgent wish to study this portrait in particular, in order to gain a better understanding of the artist's portraiture: "...en particulier le Portrait de gentilhomme de l'ancienne collection Rosebery à Mentmore, disparu depuis la vente de 1977 et que l'on aimerait pouvoir étudier..." (Scailliérez, op. cit., p. 63). Now that the portrait is coming to auction again after nearly fifty years, it can be studied in the original, and one may conclude with confidence: it is indeed a remarkable, significant, and brilliantly executed portrait by Bernard van Orley. The young nobleman is dressed in the court fashion of the early sixteenth century. A black beret, adorned with a medallion brooch, covers his head. Beneath a linen shirt he wears a sumptuous and exceptionally refined doublet of silk brocade decorated with diagonal slashings, or crevés. One side is red, the other gold; through the slashes the contrasting fabric shows through, so that the vivid colours mutually enhance one another. Over the doublet he wears a dark green schaube, the collar of which is trimmed with a costly gold lattice-work border. In one hand he holds a sheet of paper; with the other he grasps the pommel of a sword. It is above all in the astonishing rendering of these precious textiles that Bernard van Orley's mastery is fully revealed; the quality of the painting leaves no doubt as to its autograph execution. The sitter was in all probability a member of the Brussels court, the residence of Margaret of Austria, Regent of the Netherlands. The self-assured pose, the elegant dress, and the close framing against a neutral background are all characteristic elements of Bernard van Orley's court portraiture, as a comparison with the portrait of Charles of Habsburg, the future Emperor Charles V, makes clear (fig. 1). The production of such portraits formed part of van Orley's duties as court painter. Charles of Habsburg was certainly the more prominent figure at court; it is therefore all the more striking how generously the present portrait is conceived in comparison with his likeness: the picture field is more expansive; the beret is not cropped by the upper edge; the sitter's torso is shown in its entirety; and the posture, particularly the disposition of the hands, appears more open. What preoccupied Scailliérez in this and other portraits by Bernard van Orley was the complete absence of Italian influence ("profondément étranger à l'italianisme"; Scailliérez, op. cit., p. 63), so conspicuous in his large altarpieces and tapestry cartoons. This phenomenon may be explained by a range of political, sociological, and historical conditions that shaped portraiture in Italy and the Netherlands in differing ways. In any case, Bernard van Orley's portraiture reflects the influence of his contemporaries in the transalpine tradition, among them Quentin Massys and Albrecht Dürer, whom he met in person during the latter's celebrated journey through the Netherlands. This northern tradition offered van Orley ample means by which to convey the standing, self-confidence, and taste of a young nobleman at the Habsburg court. BERNARD VAN ORLEY'S PORTRAIT OF A NOBLEMAN IN THE ROTHSCHILD-ROSEBERY COLLECTION AT MENTMORE HOUSE When the works of art and decorative objects at Mentmore House in Buckinghamshire (fig. 2; also known as Mentmore Towers) were dispersed at auction in 1977, the one-hundred-and-twenty-year history of a great English collection came to an end — that of Baron Mayer de Rothschild and the Earls of Rosebery. Mentmore House had been built in the mid-nineteenth century by the former: a monumental country house intended to accommodate a superabundance of artistic treasures. Further country seats established in the region by branches of the Rothschild family in the ensuing decades — Waddesdon Manor, Ascot House, Halton House, Aston Clinton House — gave rise to the sobriquet "Rothschildshire." Mayer de Rothschild's only daughter Hannah married the 5th Earl of Rosebery, and Mentmore House became his second seat. Bernard van Orley's “Portrait of a Young Nobleman” was purchased in 1859 by the London art dealers P. & D. Colnaghi & Co.; it may therefore be surmised that it was acquired for Mentmore House during Mayer de Rothschild's lifetime. It hung — attributed to Mabuse — in the Green Drawing Room, alongside works by Peter Paul Rubens, Alessandro Allori, Giambattista Moroni, and Francesco Guardi. Following the death of the 6th Earl of Rosebery in 1974, the British government declined to acquire Mentmore House together with its collection. The entire contents, including Bernard van Orley's “Portrait of a Young Nobleman”, were subsequently sold at auction, now bearing the correct attribution. Fig. 1: Bernard van Orley, Charles of Habsburg, later Emperor Charles V, Budapest, Szépművészeti Múzeum. Fig. 2: Mentmore House, Buckinghamshire.
Lempertz
Mar. 26, 2026
Bernard van Orley, auch „Barend van Orley“, 1491/92 – 1541, Schule des
Est: €40,000 - €60,000
MARIA LACTANS Öl auf Holz. 40 x 30 cm. In dekorativem teilvergoldetem Rahmen. Maria sitzt, wie oft bei Darstellungen des Künstlers, in einem Innenraum mit einem nach links geöffnetem Ausblick, der hier jedoch nur hinter dem wertvollen, nach rechts gezogenen Vorhang angedeutet wird. Sie steht hinter einer steinernen Brüstung mit wohlfrisierten langen Haaren sowie einem roten Mantelüberwurf und reicht dem vor ihr auf einem goldglänzenden Kissen und weißem Tuch langestreckt liegenden, nackten Jesuskind ihre rechte Brust. Beide blicken sich liebevoll dabei an; das Kind hält zudem in seiner rechten Hand eine Kirsche, weitere davon liegen auf der Brüstung. Die Kirschen sind ein Symbol für die Liebe Christi und sein am Kreuz vergossenes Blut, gleichzeitig aber auch eine Anspielung auf die Frucht des Baumes Eden, die zur Vertreibung von Adam und Eva aus dem Garten Eden führte. Einfühlsame feine Darstellung von Mutter und Kind. Literatur: Weltkunst, 15.11.1967, Abbildung 20/II. (1472321) Bernard van Orley, also known as “Barend van Orley”, 1491/92 Brussels – 1541 ibid., school of THE NURSING MADONNA Oil on panel. 40 x 30 cm. Literature: Weltkunst, 15 November 1967, ill. 20/II.
Hampel Fine Art Auctions
Dec. 04, 2025
An important Flemish Renaissance tapestry from a series with the story of Tobias
Est: €90,000 - €100,000
This tapestry depicts more than one scene from the Book of Tobit. It is structured narratively and can be read from left to right: In the left foreground, Sarah and the maid are winding wool, above them, Tobias and the archangel Raphael - disguised as Azariah - are catching the fish. Next to this, the fish is being gutted. The main scene only begins to the right of the Mannerist temple column that divides the image: Tobias meets his blind father in front of the temple. He gestures towards the archangel, who, under the name Azariah, had advised him to use the fish's gall to cure his father's blindness. In the background, within the temple interior, Tobit is shown praying. The attic of the temple bears the inscription: "CVSTODI NOS DOMINE". The border is designed as a sculptural garland on a coloured background, entwined with large blossoms and fruits. At the bottom are several birds: A parrot, a crane, and pheasants. The tapestry offered here is part of a series of woven depictions from the Old Testament story of the blind Tobit and his son Tobias. Comparable series can be found in the Kunsthistorisches Museum in Vienna and the Palacio Real in Madrid. Further Tobias tapestries are on display at the Winnipeg Art Gallery, the Kasteel-Museum in Gaasbeek, the Schlossmuseum in Arnstadt, the Fitzwilliam Museum in Cambridge, the Farnese Collections, and in the cathedrals of Palma de Mallorca and Tarragona. The Vienna and Madrid series also depict the meeting of Tobit with Tobias and the Archangel Raphael. In terms of composition, the parallels between the Viennese and Madrid tapestries are evident. However, as the scenes are mirrored, Katja Schmitz-von Ledebur assumes that a shared cartoon was not used as a basis. She suggests that the creators of the Madrid series were familiar with the Viennese tapestries during their production. The present tapestry differs in composition from both and still shows a strong affinity with Renaissance painting, for example, with works by Filippo Lippi, the teacher of Botticelli. It therefore seems possible that the series to which the present tapestry belongs is the oldest of the three. The border also shows a striking resemblance to the eight Tobias tapestries in the Kunsthistorisches Museum in Vienna, making it conceivable that both series originated in the same workshop. A smaller-format tapestry, possibly from the same series and showing Tobias catching the fish, was auctioned as lot 1012 at Koller Auctions in Zurich on 26th September 2019. Due to its subject matter, the Tobias series was often commissioned as a wedding gift. Louis De Poortere (1884-1966), an industrialist from Kortrijk in West Flanders, was one of the most prominent entrepreneurs in the Belgian textile industry in the 20th century. His ancestors had operated a textile dyeing business since the mid-19th century. In 1929, he founded his own company specialising in carpets and upholstery fabrics, and quickly gained an international clientele. After his death, the company was successfully continued by his sons Carlo (1917-2002), Jean (1916-2004), Franck (1919-2004), and Pierre (1921-2006). The preview of this lot will take place exclusively at our Brussels premises, Rue du Grand Cerf 6, from 28th October to 4th December.
Lempertz
Nov. 21, 2025
An important Flemish Renaissance tapestry from a series with the story of Tobias / 50 Lots – My Choice | Jubilee Auction Henrik Hanstein, 4.12.2025
Est: €90,000 - €100,000
Please note: This lot will be auctioned in the sale "50 Lots - My Choice | Jubilee Auction Henrik Hanstein” on 4th December 2025, 6 pm. The preview of this lot will take place exclusively at our Brussels premises, 6, rue du Grand Cerf, from 28th October to 4th December. This tapestry depicts more than one scene from the Book of Tobit. It is structured narratively and can be read from left to right: In the left foreground, Sarah and the maid are winding wool, above them, Tobias and the archangel Raphael - disguised as Azariah - are catching the fish. Next to this, the fish is being gutted. The main scene only begins to the right of the Mannerist temple column that divides the image: Tobias meets his blind father in front of the temple. He gestures towards the archangel, who, under the name Azariah, had advised him to use the fish's gall to cure his father's blindness. In the background, within the temple interior, Tobit is shown praying. The attic of the temple bears the inscription: "CVSTODI NOS DOMINE". The border is designed as a sculptural garland on a coloured background, entwined with large blossoms and fruits. At the bottom are several birds: A parrot, a crane, and pheasants. The tapestry offered here is part of a series of woven depictions from the Old Testament story of the blind Tobit and his son Tobias. Comparable series can be found in the Kunsthistorisches Museum in Vienna and the Palacio Real in Madrid. Further Tobias tapestries are on display at the Winnipeg Art Gallery, the Kasteel-Museum in Gaasbeek, the Schlossmuseum in Arnstadt, the Fitzwilliam Museum in Cambridge, the Farnese Collections, and in the cathedrals of Palma de Mallorca and Tarragona. The Vienna and Madrid series also depict the meeting of Tobit with Tobias and the Archangel Raphael. In terms of composition, the parallels between the Viennese and Madrid tapestries are evident. However, as the scenes are mirrored, Katja Schmitz-von Ledebur assumes that a shared cartoon was not used as a basis. She suggests that the creators of the Madrid series were familiar with the Viennese tapestries during their production. The present tapestry differs in composition from both and still shows a strong affinity with Renaissance painting, for example, with works by Filippo Lippi, the teacher of Botticelli. It therefore seems possible that the series to which the present tapestry belongs is the oldest of the three. The border also shows a striking resemblance to the eight Tobias tapestries in the Kunsthistorisches Museum in Vienna, making it conceivable that both series originated in the same workshop. A smaller-format tapestry, possibly from the same series and showing Tobias catching the fish, was auctioned as lot 1012 at Koller Auctions in Zurich on 26th September 2019. Due to its subject matter, the Tobias series was often commissioned as a wedding gift. Louis De Poortere (1884-1966), an industrialist from Kortrijk in West Flanders, was one of the most prominent entrepreneurs in the Belgian textile industry in the 20th century. His ancestors had operated a textile dyeing business since the mid-19th century. In 1929, he founded his own company specialising in carpets and upholstery fabrics, and quickly gained an international clientele. After his death, the company was successfully continued by his sons Carlo (1917-2002), Jean (1916-2004), Franck (1919-2004), and Pierre (1921-2006).
Lempertz
Mar. 27, 2025
Bernard van Orley, 1491/92 Brüssel – 1541 ebenda, Schule des
Est: €10,000 - €15,000
DIE MADONNA MIT DEM JESUSKNABEN Öl auf nach oben abgerundeter Holzplatte, parkettiert. 31 x 24,5 cm. In dekorativem Ädikularahmen. Die Madonna in rotem Gewand, teils am Rand mit Goldstickereien verziert, mit beiden Händen fest den blond gelockten Jesusknaben haltend, der sich mit nach oben ausgestreckten Armen fest an ihre offene Brustseite drückt. Die Madonna in gold-blondem Haar mit kleinem Schmuckkranz blickt liebevoll mit halb geschlossenen Augen nach unten auf das Kind. In der Mitte des Hintergrunds linksseitig ein Gehöft vor einem grünen Wäldchen, rechtsseitig der Madonna ragt ein Kirchturm nach oben. Der weitere Hintergrund wird in überwiegend blauer Farbgebung unter hellblauem/ grau-weißem Himmel wiedergegeben. Malerei in zurückhaltender Farbigkeit, die die Herzlichkeit und die Beziehung zwischen Mutter und Kind und die Bewegtheit des Jesusknaben zeigt. Anmerkung: Eine zweite Version des Gemäldes, das mit der Flucht nach Ägypten bezeichnet wird und auf dem die ganzfigurige sitzende Maria mit dem Jesusknaben und dem rechtsseitig erscheinenden Josef gezeigt wird, befindet sich im Eremitage Museum in Sankt Petersburg. Auffallend auf den Werken des Künstlers ist, dass der Jesusknabe nicht als ruhig sitzendes Kind im Schoß von Maria gezeigt wird, sondern sich mit großen Gesten einzelnen Figuren zuwendet. (1431251) (18) Bernard van Orley, 1491/92 Brussels – 1541 ibid., School of THE VIRGIN AND CHRIST CHILD Oil on panel, rounded at the top, parquetted. 31 x 24.5 cm.
Hampel Fine Art Auctions
Dec. 03, 2024
BERNARD VAN ORLEY (1490-1542) (PUPIL OF)
Est: €30,000 - €40,000
The standing Christ Child embracing the Vrigin Mary. First half 16th century. Oil on panel. A beautiful young Mary, with loose hair and a transparent headscarf, delicately holds the Christ Child who is standing on her lap. Both their face with bright blue eyes, and the nuanced folds in the brightly coloured mantles, were painted by a skilled artist who mastered the art of glazing beautifully to create that typical 16th century panel painting transparency. Christ is embracing Mary with his arms raised. She holds the young child with a hand on his back and belly. This exact pose of both saints was linked by Edwin Buijsen of the RKD in The Hague to an artwork attributed to Bernard van Orley that was sold at Christie's a few years ago ( New York, 29.1.20214, lot 153). Other variants, depicting the same composition, are attributed to the studio or a follower of Bernard of Orley (cf. RKDimages no. 9846). Most of these variants show Christ standing on a small cushion, which is not the case in the present painting. Mary's attire is more in related to the oeuvre of Joos van Cleve (c. 1485-1490 -1540/1541), a contemporary of Berard van Orley, who dressed his Virgin Maries in a similar blue dress with fur on the sleeves, a draped red cloak and a transparent voile. An example is the Virgin Mary at the Szépművészeti Múzeum (inv. 4314) in Budapest or in the Kunsthistorisches Museum (inv. 836) in Vienna. The very fine style of painting, also relates the present painting to Van Cleve's artwork. That is why the anonymous painter, presumably originating from Antwerp, can be situated in the circle of Joos van Cleve. Description FR Marie embrassée par l'Enfant debout. Première moitié du 16ème siècle. Huile sur panneau. Une jeune Marie, les cheveux détachés et un voile transparent sur la tête, tient délicatement le petit enfant Jésus. Leur visages aux yeux d'un bleu éclatant et le plissé nuancé des robes témoignent de l'habileté de la main d'un maître du 16ème siècle. En utilisant plusieurs couches de glacis, il a créé une transparence raffinée dans les couleurs typiques des peintures à l'huile sur panneau de cette période. Nous voyons le Christ bébé, embrassant Marie, les bras levés. Elle tient le jeune Enfant d'une main sur son dos et d'une autre sur son ventre. Edwin Buijsen du RKD de La Haye a associé cette pose à une peinture attribuée à Bernard van Orley qui a été mise sur le marché à New York (Christie's, 29.1.20214, lot 153). D'autres variantes de cette composition sont également attribuées à l'atelier ou à un apprenti de Bernard van Orley (cf. RKDimages no 9846). Les autres variantes connues montrent le Christ debout sur un petit coussin, ce qui n'est pas le cas dans ce tableau. La tenue de Marie se rapproche en outre de l'œuvre de Joos van Cleve (vers 1485-1490 -1540/1541), un contemporain de Berard van Orley. Il peint la jeune Marie dans un manteau rouge et une robe bleue avec de la fourrure sur les manches dans une œuvre similaire au Musée des Beaux-Arts (inv. 4314) de Budapest et dans une peinture au Musée d'Histoire de l'Art (inv. 836) de Vienne. En outre, le style de peinture très fin et détaillé de l'œuvre proposée ici aux enchères ressemble beaucoup à celui de Joos van Cleve, ce qui permet de situer le peintre anonyme, vraisemblablement anversois, dans son environnement. Beschrijving NL Maria omhelsd door het staand Christuskind. Eerste helft 16de eeuw. Olie op paneel. Een jonge Maria met losse haren en een transparante voile over het hoofd, houdt het kleine Christuskind delicaat vast. Zowel hun gezicht met heldere blauwe ogen, als de genuanceerde plooival van de gewaden geeft blijk van een geoefende hand van een 16de-eeuwse meester. Door middel van verscheidene glacislagen creëerde deze een verfijnde transparantie in de kleuren die typerend is voor olieverfschilderijen op paneel uit deze periode. We zien Christus als baby, die met zijn armen omhoog Maria omhelst. Zij houdt het jonge kind vast met één hand op zijn rug en één op de buik. Deze houding werd door Edwin Buijsen van het RKD in Den Haag gelinkt aan een schilderij dat werd toegeschreven aan Bernard van Orley en in New York op de markt kwam ( Christie's, 29.1.20214, lot 153). Andere varianten van deze compositie worden eveneens toegeschreven aan het atelier of een leerlingen van Bernard van Orley (cf. RKDimages nr. 9846). Op de andere gekende varianten staat Christus op een klein kussentje, wat in dit schilderij niet het geval is. Maria's kledij leunt daarnaast dichter aan bij het oeuvre van Joos van Cleve (c. 1485–1490 –1540/1541), een tijdgenoot van Berard van Orley. Hij schildert de jonge Maria in een gelijkaardig rode mantel en blauwe jurk met bont op de mouwen in een gelijkaardig werk in het Museum van Schone Kunsten (inv. 4314) in Boedapest en ook in een schilderij in het Kunsthistorisch Museum (inv. 836) in Wenen. De zeer fijne, gedetailleerde schilderstijl van het werk hier aangeboden op veiling, gelijkt daarnaast sterk op die van Joos van Cleve waardoor de anonieme, vermoedelijk Antwerpse schilder ook in diens omgeving kan gesitueerd worden.
Bernaerts Auctioneers
Nov. 16, 2024
16th Cent. oil on panel by a painter of the Cercle of Bernard van Orley
Est: €1,000 - €1,500
VAN ORLEY BERNARD (1481 - 1541) 16th Cent. oil on panel by a painter of the Cercle of Bernard van Orley VAN ORLEY BERNARD (1481 - 1541) - OMGEVING / CIRKEL van olieverfschilderij op paneel : "Maria en Jezus" - 41 x 27
DVC
Feb. 13, 2024
Bernard Van Orley (1487-1541), Adoration of the kings, signed with monogram, Brussels, oil on oak 64 x 57 cm. (25.2 x 22.4 in.)
Est: €60,000 - €80,000
Bernard Van Orley (1487-1541), Adoration of the kings, signed with monogram, Brussels, oil on oak Bernard van Orley (Brussel 1487-1541) From 1515 onwards, he worked for Margaretha of Austria, governess of the Netherlands, and after she died, Van Orley was employed by her successor, Queen Mary of Hungary. The Madonna and Child type refers to a work by Bernard van Orley that he painted as the left panel of a diptych for Margaret of Austria (National Institute for Art History The Hague, Illustration registry 10016991743), dated ca. 1518 (Max Friedländer, Vol. 8, no. 133). The combination of fictitious ornamental Italian Renaissance architecture and the mobile and contrasting posture of the three kings are typical of Mannerism. Only a few works by Barend Van Orley are monogrammed (see photographs). The artist's monogram is located on the base of the column at the bottom left. On-demand, we can send you the expertise report by Edmond Florens, former head of the Groeninge Museum Bruges restoration laboratory. Provenance: private collection in Bruges.
Carlo Bonte Auctions
Nov. 21, 2023
Bernard Van Orley (1487-1541)-circle
Est: €200 - €400
Bernard Van Orley (1487-1541)-circle. Maria with Child in front of a niche with landscape view. Oil on wooden panel. Framed. On the reverse old number. 28X22 cm.
Deutsch Auktionen
Nov. 15, 2023
ATTRIBUÉ À BERNARD VAN ORLEY (1487⁄1491-1541) ET ATELIER L'Adoration des ma
Est: €15,000 - €25,000
ATTRIBUÉ À BERNARD VAN ORLEY (1487⁄1491-1541) ET ATELIER L'Adoration des mages huile sur toile 34 x 45,5 cm. (13 3⁄8 x 17.15⁄16 in.)
Christie's
Jun. 29, 2023
Bernard van Orley, 1488 Brüssel – 1541 ebenda
Est: €600,000 - €800,000
MARIA MIT DEM KIND, DAS AUF EINEM KISSEN STEHT Öl auf Holz. 35,6 x 27,8 cm. Oberhalb der Darstellung „IHS“ und rechts der bekrönte Name „MARIA“. Um 1520. Dieses herausragende Werk von höchster Qualität wurde um 1996 Edwin Buijsen vom RKD in Den Haag vorgestellt. Buijsen schreibt das vorliegende Gemälde aufgrund von Vergleichen mit einem von Friedländer in den Fürstlichen Höfen in Donaueschingen zitierten Werk dem Meister persönlich zu. Diese Meinung vertritt auch Lats Hendrikman, der das Gemälde im Original begutachtet hat. Er stellt fest, dass das Werk von außergewöhnlicher Qualität ist und viele eindeutige Charakteristika der Werke des Künstlers aus den frühen 1520er Jahren aufweist, was auf eine Datierung in diese Schaffenszeit schließen lässt. Die schlanken Hände der Jungfrau Maria und das pausbäckige Gesicht des Kindes mit dem strähnigen Haar sind typisch für den Künstler. Details wie die Perlen Marias und die goldenen Strähnen ihres wallenden Haares machen van Orleys Gemälde zu einem seiner schönsten und ergreifendsten Beispiele in diesem Genre. Gedankt wird auch Lars Hendrikman und Peter van den Brink, der das Bild vollständig Bernard van Orley zuschreibt nach Begutachtung im Original im Juni 2022. Provenienz: Sotheby‘s, New York, 16. Mai 1996, Lot 2, dort fälschlicherweise als Joos van Cleve zugeschrieben. Privatsammlung USA. Christie‘s, New York, 29. Januar 2014, Lot 153, mit einer Schätzung von 500.000 – 800.000 angeboten und vom gegenwärtigen Besitzer erworben. Ausstellungen: Minneapolis Institute of Arts als Leihgabe als Bernard van Orley, Minneapolis 1997-2013. (1361993) (13) Bernard van Orley, 1488 Brussels – 1541 ibid. THE VIRGIN AND CHRIST CHILD STANDING ON A PILLOW Oil on panel. 35.6 x 27.8 cm. ca. 1520. Inscribed “IHS” above the depiction and “MARIA” on the right, surmounted by a crown. Just before 1996 this outstanding work of the highest quality was presented to Edwin Buijsen of the RKD in The Hague. Buijsen personally attributes the painting on offer in this lot to the master based on comparisons with a work cited by Friedländer held at the Fürstliche Höfe in Donaueschingen. Lats Hendrikman, who examined the original painting, shares this opinion. He notes that the painting is of exceptional quality and shares many of the unique characteristics of the artist’s oeuvre from the early 1520s, suggesting it can be dated to this period. The Virgin Mary’s slender hands and the chubby face of the Christ Child with the lanky hair are typical of the artist. Details such as the Virgin’s pearls and the golden strands of her flowing hair make van Orley’s painting one of his finest and most moving examples of this genre. Lars Hendrikman and Peter van den Brink is to be thanked, who fully attribute the painting to Bernard van Orley after examine the original in June 2022. Provenance: Sotheby’s, New York, 16 May 1996, no. 2, attributed erroneously to Joos van Cleve. Private collection, USA. Christie’s, New York, 29 January 2014, no. 153, offered for sale with an estimate of 500,000 – 800,000 and acquired there by the present owner. Exhibitions: Minneapolis, Minneapolis Institute of Arts, on loan 1997 – 2013, as Bernard van Orley. (†)
Hampel Fine Art Auctions
Mar. 30, 2023
Bernard van Orley, auch genannt "Barend van Orley",1491/92 – 1541, Werkstatt des
Est: €40,000 - €60,000
ANBETUNG DER WEISEN Öl auf Holz. Altparkettiert. 33,5 x 46 cm Verso rotes kleines Lacksiegel. Um 1520/25. Gerahmt. Beigegeben eine Expertise von Prof. Dr. Dr. h.c. Jan de Maere, Rambrouch, 24.05.2022. Gelistet im RKD, 46984 unter: M. J. Friedländer (Abb.Nr. 00074944 sowie 00074917) Standort: BD/RKD-ONS/Fotoarchiv Friedländer). Das Gemälde mittleren, aber betonten Querformates zeigt die Anbetungsszene, unterschiedlich bezeichnet als „der Weisen aus dem Morgenland“, „der Magier“ oder „der Könige“, die dem Kind Gold, Weihrauch und Myrrhe überbringen. Der Bildaufbau symmetrisch, mit Maria im Bildzentrum. In smaragdgrünem Mantel und mit weißem Tuch über braunem Haar wendet sie sich nach rechts, während gleichzeitig das Kind den Knauf des goldenen Gefäßes ergreift, das ihm dargebracht wird. Der bärtige königliche Adorant hat Krone und Zepter am Boden vor dem Kind abgelegt. Diese Stelle hat der Maler nicht zufällig gewählt, soll dies doch Jesus als den künftigen Herrscher der Welt andeuten. Der König rechts dahinter trägt ebenfalls eine Krone und überreicht einen Goldpokal. Links steht der dunkelhäutige Balthasar, betont weiß gekleidet, er trägt ein Prunkgefäß und ein Zepter. Begleitfiguren an den Bildrändern und im mittleren Hintergrund, in dem eine Burganlage zu sehen ist, was ganz im Gegensatz zur Bibellegende steht, aber vielleicht lokale Bedeutung für den Entstehungsraum hat. Dagegen sind die beiden Rundsäulen mit vergoldeten Kapitellen, die hinter Maria stehen und ihre Position seitlich flankieren, als deutlicher Hinweis auf ihre und des Kindes Stellung in der Heilsgeschichte zu verstehen. Der Maler van Orley entstammte einer luxemburgischen Adelsfamilie derer d’Ourle, die nach Brabant zog, wo der Vater des Malers als illegitimes Kind den Adelstitel verlor. Bernard schloss sein Studium als Romanist bei seinem Vater 1512 ab und wandte sich der Malerei zu. Eine Reise nach Italien ist dabei nicht nachzuweisen. Vielmehr orientierte er sich an der Malerei der Zeit, aber auch an italienischen Stichwerken. Vor allem haben die Zeichnungen Raffaels, die für die Kartons der „Scuola Nova“ – speziell für die Gobelinmanufaktur in Brüssel – angefertigt wurden auf seine Motive in der Malerei Einfluss gehabt. Speziell die „Anbetungsszene“, die zwischen 1520 und 1520 gewoben wurde, fand in seinen Bildern einen Niederschlag. 1517 als Meister in der Antwerpener Gilde geführt, wurde er bereits ein Jahr später Hofmaler von Maria von Österreich in den Niederlanden. Festzustellen ist eine enge Beziehung des vorliegenden Gemäldes mit dem Bild desselben Themas, das sich in der J. G. Johnson Collection im Philadelphia Museum befindet (Inv.Nr. 400). Dort sind Maria, das Kind und der davor kniende König in nahezu identischer Weise gezeigt. Einen weiteren Vergleich lässt das Gemälde im Kunsthistorischen Museum Wien (Apostel-Altarblatt) von 1512 zu. Jan van Dornicke aus der Werkstatt des van Orley hatte sich ebenfalls diesem Thema mehrfach gewidmet (Pinacoteca Brera, Mailand). A.R. Provenienz: Das Gemälde hat eine bedeutende Provenienz aufzuweisen und ist bereits in der Kunstliteratur ausgiebig dokumentiert: Vor 1930 Privatbesitz Madrid (dokumentiert durch Versobeschriftung eines Fotos vom Bild durch Max Jacob Friedländer). Leo Blumenreich, Berlin (dokumentiert wie vorig, möglicherweise hat Blumenreich eine Abbildung für Friedländer besorgt). Vor 1930 Kunsthandel Thomas Harris, London (wie vorig). Privatsammlung Cubells, Madrid. Literatur: Aufgeführt und besprochen in: Max Jacob Friedländer, dessen Fotoarchiv. Max Jacob Friedländer, Early Netherlandish painting, Bd. 8: Jan Gossart and Bernart van Orley, Leyden 1972, Nr. 106 c. John David Farmer, van Orley of Brussels, Diss. Princeton University 1981, S. 270ff. (dort Umkreis des). Ferner: Max Jacob Friedländer, Die Antwerpener Manieristen von 1520, in: Jahrbuch der Preußischen Kunstsammlungen, 36, 1915. Max Jacob Friedländer, Die altniederländische Malerei, 14 Bde., Berlin 1924-1937. (13514348) (11) Bernard van Orley, also known as “Barend van Orley”, 1491/92 Brussels – 1541 ibid., workshop of THE ADORATION OF THE MAGI, CA. 1520/25 Oil on panel. Old parquetting. 33.5 x 46 cm. Small red lacquer seal on the reverse. Accompanied by an expert’s report by Professor Dr Dr hc Jan de Maere, Rambrouch, 24 May 2022. Listed at RKD, 46984 as: M. J. Friedländer (ill. no. 00074944 and 00074917) Location: BD/RKD-ONS/Fotoarchiv Friedländer). Provenance: The painting has an important provenance and is already extensively documented in art literature: Before 1930 private collection, Madrid (documented by inscription on the back of a photograph of the painting by as Max Jacob Friedländer). Leo Blumenreich, Berlin (documented as above, possibly Blumenreich obtained a photograph for Friedländer). Before 1930 Kunsthandel Thomas Harris, London (as above). Cubells private collection, Madrid. Literature: Listed and discussed in: Max Jacob Friedländer, his photo archive. Max Jacob Friedländer, Early Netherlandish painting, vol. 8: Jan Gossart and Bernart van Orley, Leyden 1972, no. 106 c. John David Farmer, van Orley of Brussels, Diss. Princeton University 1981, p. 270ff. (there described as circle of). Furthermore: Max Jacob Friedländer, Die Antwerpener Manieristen von 1520, in: Jahrbuch der Preußischen Kunstsammlungen, 36, 1915. Max Jacob Friedländer, Die altniederländische Malerei, 14 Bde., Berlin 1924-1937.
Hampel Fine Art Auctions
May. 19, 2022
Crucifixion Scene
Est: €20,000 - €25,000
ORLEY, BERNARD VAN Brussels ca. 1488 - 1541 follower Title: Crucifixion Scene. Technique: Oil on wood. Measurement: 72.5 x 50cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue
Van Ham Kunstauktionen
Oct. 12, 2021
TABLEAUX Huile sur cuivre "L'Adoration des Mages". Suiveur de l'atelier de Bernard van Orley. Eco
Est: €1,000 - €1,500
TABLEAUX Huile sur cuivre "L'Adoration des Mages". Suiveur de l'atelier de Bernard van Orley. Ecole flamande. Epoque: fin XVIème - début XVIIème. Dim.:+/-25,5x20,5cm.
Vanderkindere
Oct. 07, 2021
BERNARD VAN ORLEY (1490-1542)
Est: €800 - €1,200
Mary with child. Panel. The original composition by Barend of Orley is unknown. A lot of later copies of varying quality exist. A version of this Madonna was described by Friedländer, attributing this composition to Barend van Orley (Max Friedländer, Early netherlandish painting, 1967-1976, dl VIII, nr. 137). See RKDimages 47352 for other later versions. Description FR La Vierge à l'Enfant. Panneau. La composition originale de Barend van Orley n'est pas connue. Il existe de nombreuses copies posterieures de qualité très différente. Une version de cette Vierge à l'Enfant a été décrite par Friedländer, où il attribue cette composition à Barend van Orley (Max Friedländer, Early netherlandish painting, 1967-1976, dl VIII, n° 137). Voir RKD images pour des versions posterieures: https://rkd.nl/explore/images/47352 https://rkd.nl/explore/images/116676 https://rkd.nl/explore/images/108804 https://rkd.nl/explore/images/47353 https://rkd.nl/explore/images/47354 https://rkd.nl/explore/images/47355 https://rkd.nl/explore/images/47356 https://rkd.nl/explore/images/47357 Beschrijving NL Maria met kind. Paneel. De originele compositie van Barend van Orley is niet gekend. Er bestaan veel latere kopieën van erg verschillende kwaliteit. Een versie van deze Madonna werd door Friedländer beschreven waar hij deze compositie toeschrijft aan Barend van Orley (Max Friedländer, Early netherlandish painting, 1967-1976, dl VIII, nr. 137). Zie RKDimages 47352 voor andere latere versies.
Bernaerts Auctioneers
Jun. 02, 2021
Bernard van Orley: Roman Warrior and Servant (?)
Est: €4,000 - €8,000
VAN ORLEY, BERNARD Brussels ca. 1488 - 1541 follower Title: Roman Warrior and Servant (?). Technique: Oil on copper. Measurement: 16,5 x 13,5cm. Frame/Pedestal: Framed. Verso: On the plate an old handwritten attribution to Adam Elsheimer. Provenance: Private ownership, Germany. The composition of the present painting on copper with a subject presumably taken from Roman history is based on the larger painting on wood in the Maximilian Speck von Sternburg Foundation in the Museum der bildenden Künste Leipzig (Inv. No. 1639). Max J. Friedländer and later John David Farmer attributed the Leipzig painting to Bernaert van Orley; Ben Broos questioned this reference in 1987. Van Orley generally painted on wood, while painters in his circle or his successors, who occasionally replicated the master's compositions, also used copper as a carrier.
Van Ham Kunstauktionen
May. 08, 2021
FLEMISH SCHOOL, FOLLOWER OF BERNARD VAN ORLEY (1490-1542): OUR LADY AND CHILD, OIL ON PANEL, EARLY 17TH C.
Est: €3,000 - €6,000
Work: 27 x 21,5 cm Frame: 36,3 x 30,8 cm The iconography based on the interior of the left wing of a diptych by Van Orley, nowadays part of the collection of the Museum of Fine Arts, Ottawa, Canada (link). The dating of the painting was confirmed by 'Laboratoire d'Etude de Oeuvres d'Art par les MEthodes scientifiques' (Louvain-la-Neuve; Prof. R. Van Schoutte, Prof. H. Verougstraete).
Coronari Auctions
Mar. 21, 2021
(Manner of) Bernard Van Orley (Flemish / Dutch, 1488-1541) Oil on Board
Est: $1,000 - $2,000
(Manner of) Bernard Van Orley (Flemish / Dutch, 1488-1541) Oil on Board Undated, unsigned, depicting Madonna and child, having four angels in the background around top sides; artist name stamped on lower center of frame in black letters; black and gold wood frame Category: Fine Art > European Paintings Estimated Sale Time: 11:50 am CST Shipping Status: Leonard Auction, Inc. will provide direct shipping for this lot. Please visit our website for a shipping estimate. Sales Tax: Illinois (8.000%), New Jersey (6.250%), Pennsylvania (8.000%), Washington (10.500%) Links to High Resolution Images: Image #1 Image #2 Image #3 Image #4 Image #5 Image #6 Image #7 Image #8 Image #9 Image #10 Image #11
Leonard Auction
Mar. 11, 2021
BERNARD VAN ORLEY. After. Madonna and Child.
Est: €700 - €800
Tempera on vellum A plaque and a label on the back of the frame attribute it to the Flemish school of the 16th century. According to the original by van Orley that was part of the Robert Gendebien collection in Brussels 27x20 cm.
Balclis
Dec. 15, 2020
Huile sur panneau de chêne parqueté "Vierge à l'Enfant à la pomme". Attribué à Bernard van Orley. Ec
Est: €2,000 - €3,000
Huile sur panneau de chêne parqueté "Vierge à l'Enfant à la pomme". Attribué à Bernard van Orley. Ecole de Bruxelles. (Panneau fissuré). Dim.:+/-42x29cm.
Vanderkindere
Dec. 15, 2020
ATRIBUTED TO BERNARD VAN ORLEY h. 1488 / . "Virgin with the Child"
Est: €48,000 - €64,000
. Oil on board
Ansorena
Sep. 27, 2020
FLEMISH STYLE HAND-WOVEN TAPESTRY BATTLE OF PAVIA
Est: $800 - $1,200
Large Flemish style hand-woven tapestry, Battle of Pavia, Escape of the French army and retreat of the Duke of Alencon beyond the Ticino, early 20th c., after the cartoons by Bernard van Orley (Flemish, 1487-1541), approx 9'3.25"h, 17'2"w Start Price: $600.00
Austin Auction Gallery
Dec. 05, 2019
Bernard van Orley, um 1492 – um 1542, Umkreis des
Est: €120,000 - €150,000
PAAR ALTARFLÜGEL MIT SZENEN AUS DEM LEBEN CHRISTI Öl auf Holz. 121,5 x 34,5 cm (je Flügel). Rückwärtige Inschrift „ELS del doctor (?) vague (?): Regent de Aragon / BRUSCLE ANNO 1540“. In geschweiftem vergoldeten Rahmen. Der rechte Flügel mit dem letzten Abendmahl und darüberliegender Kreuzigung. Der linke Flügel mit dem ungläubigen Thomas, darüber Christi Himmelfahrt. Zwischen den Szenen Fries mit goldenen Tondi zwischen Balustern. (1212101) (13) (†) Bernard van Orley, ca. 1492 - ca. 1542, circle of A PAIR OF ALTAR WINGS WITH SCENES FROM THE LIFE OF CHRIST Oil on panel. 121.5 x 34.5 cm (each wing). Inscribed on the reverse: “ELS del doctor (?) vague (?): Regent de Aragon / BRUSCLE ANNO 1540”. In curved, gilt frame. The left wing depicts The Last Supper with Crucifixion scene above it. The right wing depicts The Incredulity of Saint Thomas and The Ascension of Christ. In between the scenes there is a frieze with golden tondi, interspersed by balusters.
Hampel Fine Art Auctions
Jan. 17, 2019
'APRIL', A FLEMISH MEDALLION MONTHS TAPESTRY, BRUSSELS, EARLY 16TH CENTURY, UNIDENTIFIED DESIGNER, FROM THE CIRCLE OF BERNARD VAN ORLEY (C. 1488–1541) CIRCA 1525 |
Est: £30,000 - £50,000
the central medallion encloses a vignette of activities pertinent to the month of April, overlooked by the figure of Flora (Roman goddess of flowers and Spring, holding a vase of flowers and identified by the inscription), the traditional classical deity associated with the month, who seated in the clouds observes a richly attired nobleman on horseback along with his lady riding side-saddle behind him, in the background the land is been ploughed and seeds sown, and a family looks on, with a child holding a flower and basket, in a landscape brimming with flowers, budding trees and mushrooms, all characteristic of April, the round band encircling the central medallion has winged cherubs alternating with stars, on a soft blue ground, with a bull symbolic of the zodiac Taurus at the top, the upper spandrels with allegorical figural depictions of southerly and easterly winds, Notus and Eolus (Aeolus), and the lower spandrels with a woman weaving a crown of flowers and a man sowing seeds, all within a four-sided compartmentalised border of ribbon bound garlands of fruits and flowers, with further narrow inner and outer yellow and blue twisted borders, the upper corners of the tapestry enclose a snail and the lower corners have masks, with further narrow madder selvedges
Sotheby's
Jan. 15, 2019
VAN ORLEY Bernard (1492 - 1542) - Huile sur pannea
Est: €600 - €800
VAN ORLEY Bernard (1492 - 1542) - Huile sur panneau de chêne "Vierge à l'Enfant". Atelier de Bernard van Orley. Ecole flamande. Epoque: XVIème (?). (Iconographie reprise du volet de retable de Bernard van Orley conservé à Musée des Beaux-Arts du Canada à Ottawa). Dim.:25,5x18,5cm.
Vanderkindere
Dec. 06, 2018
van Orley, Bernard (Holland, 1488-1541) (Nachfolger). Maria mit Kind. Öl und Eitempera auf parkettierter Eichentafel. 43:29,5 cm.
Est: CHF10,000 - CHF12,000
van Orley, Bernard (Holland, 1488-1541) (Nachfolger). Maria mit Kind. Öl und Eitempera auf parkettierter Eichentafel. 43:29,5 cm.
Stuker
Nov. 17, 2018
Bernard Van Orley, Hawking Party, c. 1535
Est: $7,000 - $10,000
Bernard Van Orley (Flemish, c. 1488-1541), "The Emperor Charles V at a hawking party", a design for a tapestry, c. 1535, pen and brown ink, Indian ink wash, heightened with white on paper mounted in paper mat, hinged to outer mat with cellophane tape, 16th century Flemish inscription on verso, Sotheby's catalog from 1946 and exhibition labels from 1927 and 1935 included, 16"w x 10.75"h (sheet), 19.5"w x 14.25"h (inner mat), 21.75"w x 18.25"h (outer mat)
Millea Bros Ltd
May. 25, 2018
van Orley, Bernard (Holland, 14881541) (Nachfolger). Maria mit Kind. Öl und Eitempera auf parkettierter Eichentafel. 43:29,5 cm.
Est: CHF10,000 - CHF12,000
van Orley, Bernard (Holland, 14881541) (Nachfolger). Maria mit Kind. Öl und Eitempera auf parkettierter Eichentafel. 43:29,5 cm.
Stuker
Dec. 17, 2017
Manner of Bernard (Bernaert) Van Orley (Flemish/Dutch, c. 1488-1541) "The Lamentation"
Est: $20,000 - $30,000
Manner of Bernard (Bernaert) Van Orley (Flemish/Dutch, c. 1488-1541) "The Lamentation", oil painting on panel. Provenance: Bachofen Collection, 1818; Paravicini Collection, Basel; Estate of Mr. and Ms. Staehelin-Paravicini, Basel, 23 March 1939, lot 18; John Bass, New York, 1960; Anonymous sale, Parke-Bernet, New York, 24 October 1962, lot 40; Estate of Alexander R. Raydon, Raydon Gallery, New York, NY. Exhibitions: Works of Art of the Fifteenth to Eighteenth Centuries from Basel Private Collections, Basel, 1928, no. 67. Size: 66'' x 57'', 168 x 145 cm (board), 72.5'' x 63.5'', 184 x 161 cm (frame).
Material Culture
Mar. 22, 2017
VAN ORLEY Bernard (1492 - 1542) "David et Bethsabée", plume d'encre br
Est: €400 - €600
VAN ORLEY Bernard (1492 - 1542) "David et Bethsabée", plume d'encre brune, lavis d'encre grise et rehauts de blanc sur papier. Suiveur de Bernard Van Orley (?). Ecole flamande. Dim.:25x40cm.
Vanderkindere
Mar. 22, 2016
ORLEY, BERNARD VAN (CIRCLE OF)
Est: CHF25,000 - CHF35,000
ORLEY, BERNARD VAN (CIRCLE OF) (c.1488 Brussels 1541) Madonna and Child before a river landscape. Oil on panel. 45.5 x 33.5 cm. --------------- ORLEY, BERNARD VAN (UMKREIS) (um 1488 Brüssel 1541) Madonna mit Kind vor einer Flusslandschaft. Öl auf Holz. 45,5 x 33,5 cm. Provenienz: Europäische Privatsammlung.
Koller Auctions
Jun. 23, 2015
The Annunciation
Est: €15,000 - €20,000
Circle of Bernard van Orley (Brussels 1491/92-1542) The Annunciation oil on panel 39.4 x 28.3 cm.
Christie's
Oct. 29, 2014
Bernard van Orley (1487-1541)-circle, Madonna with
Est: €1,500 - €2,500
Bernard van Orley (1487-1541)-circle, Madonna with Child, in front of a partly gilded Flemish tapestry ornament, oil on wooden panel. Old cracks and rubbings, panel bowed, colour outbreaks, old restorations, scratches. 39x32cm
Deutsch Auktionen
Jul. 02, 2013
Bernard van Orley (Brussels c. 1488-1541)
Est: -
Bernard van Orley (Brussels c. 1488-1541) The Holy Women and Saint John inscribed 'OQVA TRISTIS MATER MARIA LO... OQV[A] AFFLEC EVIT ILLA' (lower centre, on the hem of the Virgin's dress) oil on panel 42 5/8 x 35 1/8 in. (108.3 x 89.2 cm.)
Christie's
Jun. 19, 2012
Bernaert (Barend) van Orley, 1488 - 1541, Umkreis des/ zug.
Est: €1,700 - €1,900
JESUS AM ÖLBERG Öl auf Holz. 36 x 25 cm. Das hochformatige Bild zeigt Jesus im oberen Bildteil vor einem Felsen kniend, darauf der Kelch, darüber ein Engel in einer hell erleuchteten Wolke schwebend. Rechts hinten Landschaft mit Gebäuden einer befestigten Stadt, die Jerusalem darstellen soll, weiter zum Geschehen heranziehende Schar mehrerer Personen, die über eine Brücke ziehen - gemäß dem neutestamentlichen Bibeltext um die Gefangennahme Jesu einzuleiten. Die untere Bildhälfte zeigt drei Apostel schlafend am Boden liegend, links Petrus mit dem Schwert, rechts Johannes, dazwischen ein weiterer Apostel ohne erkennbares Attribut. Die Farbigkeit im unteren Teil des Bildes in Grün/ Rot, nimmt Bezug auf die stark smaragdgrüne Wiedergabe der Landschaft oben, bemerkenswert die auffallende Konturenzeichnung feiner, brauner Linien, die dem Gemälde einen grafischen Aspekt geben. Altersbedingt Gebrauchsspuren. (850131)
Hampel Fine Art Auctions
Mar. 23, 2012
Bernaert (Barend) van Orley, 1488 - 1541, Umkreis des/ zug.
Est: €3,500 - €4,500
JESUS AM ÖLBERG Öl auf Holz. 36 x 25 cm. Das hochformatige Bild zeigt Jesus im oberen Bildteil vor einem Felsen kniend, darauf der Kelch, darüber ein Engel in einer hell erleuchteten Wolke schwebend. Rechts hinten Landschaft mit Gebäuden einer befestigten Stadt, die Jerusalem darstellen soll, weiter zum Geschehen heranziehende Schar mehrerer Personen, die über eine Brücke ziehen - gemäß dem neutestamentlichen Bibeltext um die Gefangennahme Jesu einzuleiten. Die untere Bildhälfte zeigt drei Apostel, schlafend am Boden liegend, links Petrus mit dem Schwert, rechts Johannes, dazwischen ein weiterer Apostel ohne erkennbares Attribut. Die Farbigkeit im unteren Teil des Bildes in Grün/ Rot, nimmt Bezug auf die stark smaragdgrüne Wiedergabe der Landschaft oben, bemerkenswert die auffallende Konturenzeichnung feiner, brauner Linien, die dem Gemälde einen grafischen Aspekt geben. Altersbedingt Gebrauchsspuren. (850131)
Hampel Fine Art Auctions
Dec. 08, 2011
WORKSHOP OF BERNARD VAN ORLEY
Est: £30,000 - £40,000
THE PROPERTY OF A GENTLEMAN BRUSSELS CIRCA 1488 - 1541 THE ADORATION OF THE MAGI oil on panel 69 by 52.9 cm.; 27 1/8 by 20 3/4 in.
Sotheby's
Nov. 01, 2011
Workshop of Bernard van Orley (Brussels c. 1488-1541)
Est: €20,000 - €30,000
Workshop of Bernard van Orley (Brussels c. 1488-1541) The Madonna and Child seated in an interior, a view of Brussels with part of its city walls and two towers of the St. Gudula Cathedral in the distance oil on panel, shaped top 22.9 x 13.9 cm.
Christie's
Jul. 07, 2011
STUDIO OF BERNARD VAN ORLEY
Est: £40,000 - £60,000
BRUSSELS CIRCA 1488 - 1541 THE LAMENTATION OF CHRIST AT THE FOOT OF THE CROSS, WITH A DONOR oil on oak panel 50.5 by 47.5 cm.; 19 7/8 by 18 3/4 in.
Sotheby's
Jul. 07, 2010
BERNARD VAN ORLEY
Est: £500,000 - £700,000
BERNARD VAN ORLEY BRUSSELS CIRCA 1488 - 1541 THE VIRGIN AND CHILD ADORED BY SAINT MARTIN AND OTHER SAINTS INCLUDING SAINT PETER, AGNES, MARY MAGDELENE, AND ANTHONY (?), AND BEYOND SAINT MARTIN ORDERING A TREE TO BE FELLED, WITH ON THE VERSO AN ABBOT IN PRAYER, HALF LENGTH, WITHIN A FICTIVE FRAME oil on oak panel, three planks aligned vertically, the verso en grisaille 69.7 by 75.7 cm.; 27 1/2 by 29 3/4 in.
Sotheby's
Nov. 26, 2009
Seguace di Barent van Orley (Bruxelles, circa 1488-1541)
Est: €8,000 - €10,000
Seguace di Barent van Orley (Bruxelles, circa 1488-1541) Cristo deposto con Dio Padre e angeli olio su tavola 90x58.5 cm.
Christie's
Sep. 12, 2009
ORLEY, BERNART VAN 1491/92 Brüssel - ebenda 1542
Est: - €6,000
ORLEY, BERNART VAN 1491/92 Brüssel - ebenda 1542 Christus auf dem Ölberg mit den schlafenden Jüngern im Garten Gethsemane Öl auf Eichenholzplatte, (oben segmentbogenartig gerundet), verso altes Wachssiegel (ungedeutet), 24 cm x 17,3 cm. Rahmen. Provenienz: Privatsammlung Madrid. Ende der 70er Jahre durch Erbfolge Privatsammlung Frankfurt. Gutachten von Max J. Friedländer vom 07.10.1956 ist in Kopieform beigefügt. Friedländer schreibt: 'Umstehend photographiertes Bild ist meiner Ansicht nach ein Werk von v.Orley, aus des Meisters Frühzeit.' Bernart van Orley lernte die Kunst von seinem Vater Valentin (wohl identisch mit Valentin van Orbey, gest. 1532) in Brüssel. Ab 1515 ist er als Hofmaler im Dienste der Stadtherrin Margarete von Österreich in Brüssel tätig und nach deren Tod im Jahr 1530 wurde der Künstler von deren Nachfolgerin Maria von Ungarn übernommen. Während er für die königliche Familie Porträts anfertigte, war er schon früh als Kirchenmaler tätig. Seine Zeitgenossen feierten ihn schon als 'niederländischen Raffael'. Da aber eine Reise van Orleys nach Italien nicht nachweisbar ist, wird vermutet, dass sich der Künstler hauptsächlich bei seinen Zeichnungen seinem Vorbild Raffael durch Stiche Marc Antons annäherte. Beglaubigte Werke des Künstlers vom Bereich der religiösen Malerei befinden sich u.a. im Museum Brüssel, im Louvre in Paris und im Prado in Madrid.
Hargesheimer Kunstauktionen Düsseldorf
Dec. 03, 2008
Circle of Bernard van Orley (Brussels c. 1488-1541)
Est: £7,000 - £10,000
Circle of Bernard van Orley (Brussels c. 1488-1541) The Sacrifice of Isaac inscribed 'IN DVMO·CADITVR·ARIES·QVI·CORNUU'·HEBET' (lower centre) and 'ISAC FILIUS ABRAHAM' (on Isaac's collar) oil on panel, lozenge 17 x 17¾ in. (43.2 x 45.1 cm.) with the coat-of-arms (Azure, a chevron Or; lower left)
Christie's
Jul. 09, 2008
Bernard van Orley , Brussels circa 1488 - 1541 The martyrdom of Saint John the Baptist oil on oak panel
Est: £150,000 - £250,000
Inscribed on the otherwise effaced reverse of the cradled panel: FINIS CORONAT oil on oak panel
Sotheby's
Sep. 18, 2007
*TAPESTRY "ENTRE FENETRE",Renaissance, from the suite of the 12 months after designs by B. VAN ORLEY (Bernard van Orley, 1491-1542), Br
Est: CHF40,000 - CHF70,000
TAPESTRY "ENTRE FENETRE",Renaissance, from the suite of the 12 months after designs by B. VAN ORLEY (Bernard van Orley, 1491-1542), Brussels circa 1525. Figural scene with inscriptions IUNI and BALONA. H 294 cm, W 150 cm. Provenance: from a Paris collection. Very rare tapestry with well conserved colours. TAPISSERIE "ENTRE FENETRE", Renaissance, aus der Folge der 12 Monate nach Vorlagen von B. VAN ORLEY (Bernard van Orley, 1491-1542), Brüssel um 1525. Figurale Darstellung mit Bezeichnungen IUNI und BALONA. H 294 cm, B 150 cm.
Koller Auctions
Jan. 25, 2002
f - *Bernard (Barent) van Orley, circa 1488-1541
Est: $50,000 - $70,000
Black chalk; squared, and with indications of outlines of glass panels, in red chalk; on six joined sheets of paper. This lot contains 1 item(s). Literature:As for the previous lot.See note to the previous lot.
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