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Catalogue Iii Katalog 21(2)7+(/($'Ζ1*$8&7Ζ21+286(6Ζ1(8523( KATALOG III GEMÄLDE ALTE MEISTER – TEIL I CATALOGUE III OLD MASTER PAINTINGS – PART I $8.7Ζ21(1ɋ$8&7Ζ216 MITTWOCH, 25. & DONNERSTAG, 26. SEPTEMBER %HVLFKWLJXQJ)UHLWDJȂ'LHQVWDJ6HSWHPEHU WEDNESDAY, 25 & THURSDAY, 26 SEPTEMBER ([KLELWLRQ)ULGD\Ȃ7XHVGD\6HSWHPEHU KATALOG CATALOGUE III MITTWOCH WEDNESDAY XX 1X Lot 531 SEPTEMBER-AUKTIONEN MITTWOCH, 25. UND DONNERSTAG, 26. SEPTEMBER 2019 SEPTEMBER AUCTIONS WEDNESDAY, 25 AND THURSDAY, 26 SEPTEMBER 2019 KATALOG III CATALOGUE III MITTWOCH, WEDNESDAY, 25. SEPTEMBER 2019 25 SEPTEMBER 2019 AUKTIONSTAGE AUCTION DAYS INFORMATIONEN Mittwoch, 25. und Wednesday, 25 and Hampel Fine Art Auctions GmbH & Co. KG Donnerstag, 26. September 2019 Thursday, 26 September 2019 Schellingstr. 44 / Villa Hampel Beginn 10:00 Uhr Starting 10:00 am 80799 München Telefon +49 (0)89 28 804 - 0 Fax +49 (0)89 28 804 - 300 VORBESICHTIGUNG EXHIBITION offi[email protected] Freitag 20. September 10 –17 Uhr Friday 20 September 10 am – 5 pm www.hampel-auctions.com Samstag 21. September 10 –17 Uhr Saturday 21 September 10 am – 5 pm Sonntag 22. September 10 –17 Uhr Sunday 22 September 10 am – 5 pm Fotos: Zeljko Tomic, Arbnor Gaxheri Montag 23. September 10 –17 Uhr Monday 23 September 10 am – 5 pm Dienstag 24. September 9 –12 Uhr Tuesday 24 September 9 am –12 pm Herrn Dr. Alexander Rauch danken wir für kunstwissenschaftliche Beratung und Katalogtexterstellung (kunstgutachten.de). AUKTIONATOREN Dipl. Kfm. Holger Hampel Vitus Graupner Christoph Bühlmeyer Florin Ruisinger Geschäftsführender Geschäftsführender Kunstauktionator Kunstauktionator Gesellschafter, Gesellschafter, [email protected] [email protected] öffentlich bestellter und Kunstauktionator vereidigter Auktionator [email protected] HAMPEL 1 OLD MASTER PAINTINGS PART I 529 bärtigen König in rotem Mantel, -$19$1'251Ζ&.( 0$67(52)΂΂ der dem Kind IN ZUSAMMENARBEIT MIT eine Prunkschale überreicht. Das Kind auf dem Schoß 3Ζ(7(5&2(&.(9$1$(/67' ΂Ȃ΂ der Mutter greift in die Schale, während Josef, links =8*Ɋ im Bild, der Szene beiwohnt. Ein weiterer der drei Kö- HAUSALTAR-TRIPTYCHON nige ist im Zentrum stehend wiedergegeben, mit ei- Jeweils Öl auf Eichenholz. ner Kopfbedeckung, die er mit der linken Hand em- 70 x 130 cm. porhält sowie mit einem kostbaren Prunkgefäß in In zusammenfassendem neuzeitlichen vergoldeten Form einer Glaskugel, bekrönt mit einem Turm. Die- und teilgefasstem Rahmen. se Königsgabe dürfte wohl in tieferem Sinne zu ver- stehen sein, nicht alleine als in der Bibel beschriebe- Mit dem Thema der Anbetung der Könige in der Mittel- nes kostbares Geschenk, sondern hier auch bereits tafel, in den Seitenflügeln: Anbetung der Hirten (rechts) als eine prophetische Anspielung auf die durch die sowie Darstellung im Tempel. Der ehemalige Flügel- Glaskugel angedeutete, künftige Weltherrschaft Chris- altar in eine Rahmung eingebaut, die sämtliche drei ti, wie wir solche Kugeln später auch in Salvator Mun- Bilder zusammenfasst. Die Oberzonen geschweift, in di-Darstellungen Jesu wiederfinden. Rechts im Bild der Mitte bogig hochziehend, in den Seitentafeln eben- der dunkelhäutige König, ebenfalls mit einem Gastge- falls seitlich hochschwingend. Aufgrund der Bildthe- schenk. Zwischen den architektonischen Bögen Aus- matik der drei Tafelgemälde ist anzunehmen, dass die blick in hügelige Land schaft, in betont blauer Luftpers- Seitenflügel ehemals im geschlossenen Zustand des pektive wiedergegeben, mit einem nach hinten Altars nebeneinanderstanden und das Hauptbild ab- ziehenden Flusslauf. Die Malerei insgesamt von ho- gedeckt hatten, da es nur an Feiertagen geöffnet wur- her Qualität, die vollständig die Antwerpener Schule de. So ist die Hauptthematik des Altars als ein Zyklus- vertritt. detail aus dem Marienleben zu verstehen. Dabei wäre Der Maler Jan van Dornicke wird auch mit dem Not- der jetzt rechte Seitenflügel als erstes Bild zu nennen: namen „Meister von 1518“ bezeichnet, welcher von Hier wird Maria in blauem Kleid, nach rechts gebeugt dem Antwerpener Retabel in der Lübecker Marien- wiedergegeben. Das Jesuskind am Boden liegend, kirche herrührt, dessen Außenflügel datiert, jedoch auch umgeben von zwei Engeln, im Hintergrund ein jünge- nicht signiert sind. Bekannt ist die Zusammenarbeit rer Hirte sowie ein alter bärtiger Mann mit Dudel sack, des Malers mit seinem Schwiegersohn und Gesellen vor dem Hintergrund einer ruinösen Architektur mit Pieter Coecke van Aelst d.Ä., der ab 1522/23 mit in Ausblick in Landschaft. Links im Bild der Heilige Josef der Werkstatt tätig war und diese etwa 1525 selbst mit einer Laterne. Im geschlossenen Zustand zeigte übernahm. Coecke van Aelst d. Ä. war zunächst Schüler die Doppeltafel dann die letzte der Geschehens- des Bernard van Orley (1491/92-1541) und trat 1527 in etappen: Die Darstellung des Kindes im Tempel zu die Sankt Lukas Gilde in Antwerpen als Meister ein, Jerusalem. Hier wird Maria ebenfalls kniend gezeigt, nachdem er in den Jahren 1524-25 Studienreisen in nun aber nach links gerichtet, während sie das Kind Italien unternahm. Dieser italienische Einfluss ist auch dem Oberpriester aushändigt. Im Hintergrund höfische im vorliegenden Gemälde zu spüren, vor allem durch Persönlichkeiten, bei denen es sich, wie so häufig in das hohe Interesse an der Wiedergabe italienischer solchen Auftragswerken, zum Teil um Portraits handeln Architektur, wie wir sie besonders hier im Hauptbild dürfte. wiederfinden, in der Darstellung von reliefdekorierten Der Höhepunkt des dreiteiligen Bildwerkes zeigt die Frührenaissance-Pilastern, den Kapitellen und, wie Anbetung der Könige. Hier ist das zum Teil ruinöse schon erwähnt, der römischen Standfigur über den antike Gebäude mit den nämlichen Rundbögen, wie Säulen. (12014222) (11) wir sie auch in der rechten Tafel sehen, in äußerster Detailgenauigkeit wiedergegeben, nicht zuletzt als Sinn- bild der überwundenen Antike. Demgemäß hat der Maler hier, im Gewölbe der Renaissance-Architektur, schwebende Engel mit einem Rotolus eingebracht, rechts daneben, oberhalb einer vergoldeten Säulen- kapitellstellung, ein geharnischter römischer Soldat als antike Figur. Die Hauptfiguren im unteren Teil zeigen mittig den nach links dem Kind zugeneigten, alten 12 HAMPEL ONLINE Visit www.hampel-auctions.com for around 6.000 additional images. -$19$1'251Ζ&.( 0$67(52)΂΂ IN COLLABORATION WITH PIETER COECKE 9$1$(/677+((/'(5 ΂Ȃ΂ ATTRIBUTED HOME ALTAR TRIPTYCH Each oil on oak panel. 70 x 130 cm. In coherent modern gilt and partially polychrome frame. The Adoration of the Magi is depicted on the central panel and the side panels show The Adoration of the Shepherds (right) and The Presentation of Jesus at the Temple (left). This former winged altar has been set in a frame that combines all three paintings. The tops of the side pan- els are curved and the central panel is surmounted by an arch. The painter Jan van Dornicke, also known by the name of convenience “Master of 1518” due to his Antwerp altarpiece at Saint Mary‘s in Lübeck, although this is also not signed. It is known that he collaborated with his son-in-law and assistant Pieter Coecke van Aelst the Elder, who was active in the workshop since 1522/23 and who took it over in ca. 1525. Coecke van Aelst the Elder was initially a student of Bernard van Orley (1491/92–1541) and was accept- ed as master painter into the Guild of Saint Luke in Antwerp in 1527, after an educational trip to Italy in 1524-25. € 100.000 - € 120.000 INFO | BID Translate all texts into your preferred language on our homepage via Google: www.hampel-auctions.com 13 Detail- abbildungen 14 HAMPEL ONLINE Visit www.hampel-auctions.com for around 6.000 additional images. Translate all texts into your preferred language on our homepage via Google: www.hampel-auctions.com 15 Detailabbildungen der beiden Flügel 16 HAMPEL ONLINE Visit www.hampel-auctions.com for around 6.000 additional images. Translate all texts into your preferred language on our homepage via Google: www.hampel-auctions.com 17 530 MEISTER DES SCHWABACHER MASTER OF THE SCHWABACHER &5Ζ63Ζ186$/7$56Ɋ CRISPINUS ALTAR HEILIGER SEBASTIAN, HEILIGER MARTIN UND SAINT SEBASTIAN, SAINT MARTIN AND HEILIGER ROCHUS SAINT ROCH Öl auf Nadelholz. Oil on conifer panel. 51 x 73,5 cm. 51 x 73.5 cm. Mit dem Originalrahmen, mit späterer Fassung. ca. 1500. Beigegeben ein schriftliches Gutachten von Ludwig Accompanied by an expert’s report by Ludwig Meyer, Meyer, Archiv für Kunstgeschichte, München, vom dated 16 March 2012, Archiv für Kunstgeschichte, 16. März 2012. Munich. Der Meister des Schwabacher Crispinus-Altars ist ein The master of the Schwabacher Crispinus altar is a namentlich nicht identifizierter Künstler, dessen Not- painter whose name has not been identified and name sich von dem Triptychon in der Pfarrkirche Schwa- whose name of convenience derives from a triptych bach (Mittelfranken) herleitet. Die gemalten Seiten- at the parish church of Schwabach (Middle Franconia, flügel des Altars zeigen die beiden Märtyrer mit ihren Germany). The painted side panels of the altar show Attributen, den Schusterwerkzeugen. Eine stilistische two martyrs with their attributes, the shoemaker’s Übereinstimmung zwischen den Heiligen unserer Ta- tools. There are clear stylistic analogies between the fel und den beiden des Schwabacher Crispinus Altars saints depicted in the panels here and the two of the ist deutlich zu erkennen, wobei es sich bei unserer Schwabacher Crispinus, although our panel painting Tafel um eine frühere Arbeit des Meisters handelt. is an earlier work by the master. The depiction
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