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ONE OF THE LEADING AUCTION HOUSES IN EUROPE KATALOG III GEMÄLDE ALTE MEISTER – TEIL 1 CATALOGUE III OLD MASTER PAINTINGS – PART 1 AUKTIONEN / AUCTIONS: DONNERSTAG, 25. & FREITAG, 26. MÄRZ 2021 KATALOG Besichtigung:* Samstag, 20. März – Dienstag, 23. März 2021 CATALOGUE THURSDAY, 25 & FRIDAY, 26 MARCH 2021 III Exhibition:* Saturday, 20 March – Tuesday, 23 March 2021 DONNERSTAG THURSDAY * Unter Vorbehalt / Subject to reservation OLD MASTER PAINTINGS PART I A126_Zwischentitel.indd 14-15 05.03.21 10:26 OLD MASTER PAINTINGS PART I A126_Zwischentitel.indd 14-15 05.03.21 10:26 561 UMBRISCH/TOSKANISCHER MEISTER SCHOOL OF UMBRIA/TUSCANY, DES 16. JAHRHUNDERTS 16TH CENTURY JESUS AUF DEM SALBSTEIN MIT MARIA UND THE BODY OF THE DEAD CHRIST ON THE JOSEF VON ARIMATHÄA EMBALMING STONE WITH MARY AND JOSEPH OF ARIMATHEA Öl auf Holz. Parkettiert. 79 x 60 cm. Oil on panel. Parquetted. In aufwändig gearbeitetem vergoldeten Rahmen. 79 x 60 cm. In elaborate gilt frame. Der Leichnam Christi wird in aufrecht sitzender Haltung von Maria gestützt und mit beiden Händen gehalten. The body of Christ is supported and held with both Rechts Josef von Arimathäa, der bibelgemäß das Recht hands in an upright seated position by the Virgin Mary. der Grablegung von Pilatus erhalten hat und hier mit Joseph of Arimathea is shown on the right clasping ineinandergelegten Händen gezeigt wird. Seiner Würde his hands. According to the Bible, he received permis- und Bedeutung entsprechend trägt er eine rote, auf- sion for Christ’s entombment from Pilate. fallende Kopfbedeckung sowie ein leuchtend rotes A prototype for this painting is a work with the same Gewand, darüber einen grünlich schimmernder Man- subject by Pietro Perugino (ca. 1445 - 1523), painted tel. Bei der weiblichen Gestalt links ist an die Dritte ca. 1495, which is today held at the Clark Art Institute, der „Drei Marien“ zu denken, von denen die Bibel- Williamstown, Massachusetts, US. This is not just a kommentare schildern, denn weder handelt es sich copy but a variation of the depiction, while retaining hier um die Mutter Maria, noch um die stets jugendlich the composition and figures. There are significant dif- gezeigte Maria Magdalena. ferences in form and content, especially with regards Vorbild zu diesem Gemälde ist das gleichthematische to the colouration of the clothing. Instead of the dark Werk des Pietro Perugino (um 1445-1523), gemalt um dress worn by the man on the right, the colour here is 1495, heute im Clark Art Institute, Williamstown, Mas- an early example of appearing to be luminous, which sachusetts. Jedoch handelt es sich hier nicht um eine is typical for the early Florentine Mannerist style. bloße Kopie, sondern eine Abwandlung der Darstel- These differences would suggest that the painting lung unter Beibehaltung von Komposition und Figuren. was created shortly after 1500, already under the in- So lassen sich wesentliche inhaltliche und formale Un- fluence of Florentine Mannerism and possibly rather terschiede ausmachen: im Gegensatz zu Peruginos created by a Tuscan master. Restored. Version wird hier die Dornenkrone auf dem Stein lie- gend gezeigt; die Seitenwunde Christi ist weiter unten € 30.000 - € 35.000 INFO | BID positioniert, die Wundmale deutlicher akzentuiert. Auf die Aufschrift „Sepulcrum Christi“ im Peruginos Bild an Sistrix der Steinvorderseite hat der Maler verzichtet, sodass hier vielleicht auch vom Maler selbst an den Salbstein gedacht werden konnte, dessen Rosafarbe wir auch in Andrea Mantegnas (1431-1506) „Christo morto“ finden (um 1480/90). Dieser rosafarbene Stein, eine Reliquie des Christentums, 1453 durch die Eroberung Konstantinopels an die Osmanen verloren, findet sich tatsächlich auch in der Grabeskirche in Jerusalem. So wurde dieser Gemäldetyp vor allem in der Pestzeit zu einem weit verbreiteten Andachtsmotiv. Aber besonders die Farben der Kleider hat der Maler entgegen dem Vorbild abgewandelt. Statt dem dunklen Kleid des Mannes rechts, zeigt die Farbe hier bereits ein „aus sich selbst heraus“-Aufleuchten, was als typi- sche Stilistik des frühen florentinischen Manierismus zu sehen ist. Diese Unterschiede lassen daran denken, dass es sich hier um ein kurz nach 1500 entstandenes, bereits unter dem Einfluss des florentinischen Manierismus stehendes Werk handelt, möglicherweise eher von einem toskanischen Meister. Restauriert. A.R. (1260112) (3) (11) 14 HAMPEL ONLINE Visit www.hampel-auctions.com for around 7.000 additional images. 562 BENEDETTO CARPACCIO, BENEDETTO CARPACCIO, TÄTIG 1500 – 1572 ACTIVE 1500 - 1572 Benedetto Carpaccio war Sohn von Vittore Carpaccio Anmerkung: Benedetto Carpaccio was the son of Vittore Carpaccio und wurde wahrscheinlich in Venedig in den ersten Dem vorliegenden Gemälde können drei weitere and was probably born in Venice in the first years of Jahren des 16. Jahrhunderts geboren, wo er auch den Werke des genannten Künstlers zur Seite gestellt 16th century, where he worked most of his life. Großteil seiner Schaffensperiode verbrachte. werden, so die „Maria mit dem Kinde zwischen San THE VIRGIN AND CHILD ON A PEDESTAL WITH MARIA MIT DEM KINDE ÜBER EINEM PODEST Nicola di Bari und dem Heiligen Johannes der Täufer” PUTTI MAKING MUSIC MIT MUSIZIERENDEN PUTTI in der Kathedrale Santa Maria Asuntam von 1538, dessen Marmorthron bis hin zu den architektonischen Oil on canvas. Relined. Öl auf Leinwand. Doubliert. Vasenaufsätzen und dem landschaftlichen Hinter­ Ca. 145 x 96 cm. Ca. 145 x 96 cm. grund mit dem vorliegenden Gemälde vergleichbar In gilt frame with three­dimensional ornamental In vergoldetem plastisch ornamental verziertem Holz­ ist. Des Weiteren eine „Maria mit dem Kind zwischen décor. rahmen. dem Heiligen Thomas und San Bartolomeo” im Civi­ co Museo Sartorio in Trieste welches zudem einen Notes: Ein Thron gearbeitet aus weißem Marmor mit Akan­ Putto mit Saiteninstrument zu den Füßen Mariens A good example for comparison is a painting by the thusblatt­ und Schuppenzier, in symmetrischem Auf­ zeigt. Als weiterer Vergleich ein Gemälde, welche je­ artist titled The Virgin and Christ Child between Saint bau, mit unter den Stufen dekorierten Pietra dura-­ doch Govanni Speranza zugeschrieben wird und in Nicholas of Bari and Saint John the Baptist the Cathe­ Einlagen, mit den Besitzern zugeordneten italienischen den Musei Civici in Vincenza verwahrt wird, welches dral of the Assumption of the Blessed Virgin Mary Wappen und darüber sitzenden zwei Saiteninstru­ jedoch mehrere Figuren zeigt und dessen Pietra dated 1538. The marble throne, the architectural vase mente spielenden Putti mit Nimben, die flächig in den dura­ Grund den gesamten Vordergrund ausfüllt. tops and the landscape background are similar to the Raum hineinragen. Der Thron mit Akanthusblattgesims painting on offer for sale here. There is also a similar und zwei vergoldeten Vasenaufsätzen. Auf dem Thron Literatur: depiction titled The Virgin and Child between Saint sitzend die nach links gewandte Maria in blau­ rotem Vgl. Franco R. Pesenti, Benedetto Carpaccio, in: Thomas and Saint Bartholomew held at the Civico Gewand, das blaue Übergewand goldverbrämt, das Dizionario biografico degli italiani, Band 20, Rom 1977. Museo Sartorio in Trieste, which also shows a putto Untergewand mit Granatapfelmuster und weißen Säu­ Vgl. M. Muraro, Carpaccio, Florenz 1966. playing a string instrument at the feet of the Virgin. men. Auf ihrem Schoß ein Kissen mit Blütenmuster Vgl. G. Perocco, L‘opera completa de Carpaccio, A third example is a painting attributed to Giovanni und Quasten, darauf sitzend das von beiden Händen Mailand 1967. (1241091) (13) Speranza and held at the Musei Civici in Vicenza, Mariae gehaltene Christuskind, in weißes Tuch ge­ which shows several figures and fills the entire hüllt, einen Lorbeerzweig haltend und den Betrachter foreground and pietra dura background. anblickend, während der Blick Mariens der Fürsorge ihres Kindes gilt. Hinter dem Thron Ausblick auf eine Literature: italienische Landschaft mit Architektur, mit einem Compare F. R. Pesenti, Benedetto Carpaccio, in: Campanile und einer dahinterliegenden Domkuppel Dizionario biografico degli italiani, vol. 20, Rome 1977. sowie abschließendem Gebirge in Lichtperspektive. Compare M. Muraro, Carpaccio, Florence 1966. Compare G. Perocco, L‘opera completa de Carpaccio, Milan 1967. € 100.000 ­ € 120.000 Sistrix INFO | BID 16 HAMPEL ONLINE Visit www.hampel-auctions.com for around 7.000 additional images. 563 JAN VAN DORNICKE, JAN VAN DORNICKE UM 1470 – UM 1527, ZUG. CA. 1470 – CA. 1527, ATTRIBUTED MARIA LACTANS IN LANDSCHAFT MARIA LACTANS IN LANDSCAPE Öl auf Eichenholz. Parkettiert. Oil on oak panel. Parquetted. 61 x 47 cm 61 x 47 cm Für eine Zuschreibung an den genannten Künstler For an attribution to the artist speaks that other pain- spricht, dass bei van Dornicke in seinen Bildern zuwei- tings by van Dornicke show widely spread arrange- len ein breit im Vordergrund ausgelegter Faltenwurf zu ments of folds in the foreground. This is particularly be obachten ist. Dies ist besonders in dem Kreuzi - evident in the Cruxifiction Triptych dated 1520 (Museu gungs-Triptychon von 1520 (Museu de Arte de Sao de Arte de São Paulo) but also in several other works Paulo) zu sehen, aber auch in mehreren seither be- that have come to light since then (The Adoration, kannt gewordenen weiteren Werken, wie z.B. „Die Lempertz, 11. 2003 or The Adoration of the Magi, Anbetung der Könige“, Auktion Lempertz, Köln, 15. Hampel 12. 2008). The youthful depiction of the Virgin November 2003, Lot 1098, oder „Anbetung der Kö- is shown at the centre of the painting, sitting on a nige“, Auktion Hampel, München, 5. Dezember 2008, raised sloping meadow. As is the case in other paint- Lot 135. ings by van Dornicke, the red dress is highlighted in Die jugendliche Maria ist hier im Bildzentrum auf einem the painting on offer for sale here is also spread out erhöhten Wiesenhang sitzend dargestellt. Wie bei van widely across the grass to show off the most compli- Dornicke zu beobachten, wird auch hier das rote Kleid cated arrangements of the folds with great mastery. über die Gräser hinweg betont weit ausgebreitet, In very good condition, with only few retouches. nicht zuletzt, um die kompliziertesten Faltenwürfe meisterhaft vorzuführen.
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    remote sensing Article Open Source Riverscapes: Analyzing the Corridor of the Naryn River in Kyrgyzstan Based on Open Access Data Florian Betz * , Magdalena Lauermann and Bernd Cyffka Catholic University Eichstaett-Ingolstadt, Applied Physical Geography, 85072 Eichstaett, Germany; [email protected] (M.L.); bernd.cyff[email protected] (B.C.) * Correspondence: fl[email protected]; Tel.: +49-8421-9323106 Received: 8 July 2020; Accepted: 5 August 2020; Published: 6 August 2020 Abstract: In fluvial geomorphology as well as in freshwater ecology, rivers are commonly seen as nested hierarchical systems functioning over a range of spatial and temporal scales. Thus, for a comprehensive assessment, information on various scales is required. Over the past decade, remote sensing-based approaches have become increasingly popular in river science to increase the spatial scale of analysis. However, data-scarce areas have been widely ignored so far, even if most remaining free flowing rivers are located in such areas. In this study, we suggest an approach for river corridor mapping based on open access data only, in order to foster large-scale analysis of river systems in data-scarce areas. We take the more than 600 km long Naryn River in Kyrgyzstan as an example, and demonstrate the potential of the SRTM-1 elevation model and Landsat OLI imagery in the automated mapping of various riverscape parameters, like the riparian zone extent, distribution of riparian vegetation, active channel width and confinement, as well as stream power. For each parameter, a rigor validation is performed to evaluate the performance of the applied datasets. The results demonstrate that our approach to riverscape mapping is capable of providing sufficiently accurate results for reach-averaged parameters, and is thus well-suited to large-scale river corridor assessment in data-scarce regions.
  • Het Gastmaal Van Acheloüs Een Antwerps Fenomeen

    Het Gastmaal Van Acheloüs Een Antwerps Fenomeen

    HET GASTMAAL VAN ACHELOÜS EEN ANTWERPS FENOMEEN Aantal woorden: 32.822 Julien Delagrange Studentennummer: 01308910 Promotor: Prof. dr. Koenraad Jonckheere Masterproef voorgelegd voor het behalen van de graad master in de richting Kunstwetenschappen Academiejaar: 2017 - 2018 i De auteur en de promotor geven de toelating deze studie als geheel voor consultatie beschikbaar te stellen voor persoonlijk gebruik. Elk ander gebruik valt onder de beperkingen van het auteursrecht, in het bijzonder met betrekking tot de verplichting de bron uitdrukkelijk te vermelden bij het aanhalen van gegevens uit deze studie. Het auteursrecht betreffende de gegevens vermeld in deze studie berust bij de promotor. Het auteursrecht beperkt zich tot de wijze waarop de auteur de problematiek van het onderwerp heeft benaderd en neergeschreven. De auteur respecteert daarbij het oorspronkelijke auteursrecht van de individueel geciteerde studies en eventueel bijhorende documentatie, zoals tabellen en figuren. ii iii Dankwoord ‘Thesissen’ is niet alleen het meervoud van het woord ‘thesis’, het is ook een werkwoord. Na talloze uren ‘thesissen’ is het eindelijk zo ver en schrijf ik mijn dankwoord. Dit biedt mij de mogelijkheid om een aantal personen te bedanken zonder wie het niet mogelijk zou geweest zijn om dit proefschrift tot een goed einde te brengen. In eerste instantie uit ik mijn dankbaarheid aan mijn promotor, prof. dr. Koenraad Jonckheere. Naast de constructieve gespreksmomenten leerde ik dat een kritische en nieuwsgierige geest van primordiaal belang is voor de onderzoeker. Ik ben ook zeer dankbaar voor het onderwerp dat mijn promotor mij toereikte. Ondanks de vele zware loodjes kan ik nog steeds zeggen dat ik met heel veel plezier aan dit onderzoek heb gewerkt.