DER SCHLAF DES MARS Öl auf Leinwand. 116 x 85,5 cm. In breitem ornamental reliefierten Rahmen. Beigegeben eine Expertise von Wayne Franits, vom 9. März 2014 sowie eine weitere Expertise von Gianni Papi, vom 15. April 2019, in Kopie. An einer Kriegstrommel sitzend und mit einer Hand ein Schwert mit gebogenen Parierbügeln haltend, der geharnischte Mars. Seine rechte Hand stützt seinen (kriegs)müden Kopf, der von einem Helm mit weißem Federbausch überfangen wird. Das Gemälde markiert thematisch wohl zusammenfallend mit dem Westfälischen Frieden das Ende des 80jährigen Krieges (1568-1648). Das hier angebotene Gemälde wird im Werkverzeichnis von 2007 als Werkstattversion des im Centraal Museum in Utrecht verwahrten Gemäldes gleichen Themas anerkannt. Es wird darin betont, dass das Original direkt als Vorbild genommen wurde, nicht etwa eine Zeichnung oder eine weitere Version. In der Expertise des Werkverzeichnisverfassers Franits aus dem Jahr 2014 bestätigt dieser wiederum eine Beteiligung des Meisters Ter Brugghen nach Untersuchung des Originals. Provenienz: The Independant Gallery, London. Pall Mall Studios, London, 1922. Privatsammlung, England. Sotheby‘s Auktion, New York, Januar 1988, Lot 213. Literatur: The Burlington Magazine, 40, April 1922. Benedict Nicolson, Hendrick ter Brugghen, London 1958, S. 75-76, 102, Kat.Nr. A42, Tafel 41a. E. de Jong, De Slapende Mars van Dendrick Hendrick ter Brugghen, Utrecht 1980, S. 29, Abb. 16. Leonard J. Slatkes, Wayne E. Franits, The painting of Hendrick ter Brugghen, Catalogue Raisonné, 2007, S. 147, W13, Tafel 43a. Wayne E. Franits, in: Lights and Shadows, Caravaggism in Europe, Ausstellungskatalog, Rom 2015, Kat. Nr. 30, S. 86-87. Gianni Papi, in: Da Artemisia a Hackert. La collezione di un antiquario, Reggia di Caserta, Foligno 2019, Kat.Nr. 26, S. 56-57. Ausstellungen: Rijksmuseum Amsterdam, 80 Years‘ War: The Birth of the Netherlands, 12. Oktober 2018- 20. Januar 2019. (1430357) (13) Hendrick ter Brugghen, 1588 Deventer – 1629 Utrecht, and workshop MARS ASLEEP Oil on canvas. 116 x 85.5 cm. Accompanied by an expert’s report by Wayne Franits, 9 March 2014 and another by Gianni Papi, 15 April 2019, in copy. Provenance: The Independent Gallery, London. Pall Mall Studios, London, 1922. Private collection, England. Sotheby’s, New York, January 1988, lot 213. Literature: The Burlington Magazine, 40, April 1922. Benedict Nicolson, Hendrick ter Brugghen, London 1958, pp. 75-76, 102, cat. no. A42, plate 41a. E. de Jong, De Slapende Mars van Dendrick Hendrick ter Brugghen, Utrecht 1980, p. 29, ill. 16. Leonard J. Slatkes, Wayne Franits, The painting of Hendrick ter Brugghen, Catalogue Raisonné, 2007, p. 147, W13, plate 43a. Wayne Franits in: Lights and Shadows, Caravaggism in Europe, exhibition catalogue, Rome 2015, cat. no. 30, pp. 86-87. Gianni Papi, in: Da Artemisia a Hackert. La collezione di un antiquario, Reggia di Caserta, Foligno 2019, cat. no. 26, pp. 56-57. Exhibitions: Amsterdam, Rijksmuseum, 80 Years’ War: The Birth of the Netherlands, 12 October 2018 – 20 January 2019. (†)
(The Hague? 1588–1629 Utrecht) Saint John the Baptist, signed and indistinctly dated on the lower edge: HT (ligated) Brugghen fecit, oil on canvas, 66 x 87.5 cm, framed Provenance: Private collection, Germany; art market, Germany; where acquired by the present owner We are grateful to Wayne Franits for confirming the attribution of the present painting after examination in the original. We are also grateful to Gianni Papi and Tommaso Borgogelli for both independently endorsing the attribution. The present Saint John the Baptist is an important addition to the oeuvre of the Dutch Caravaggist painter, Hendrick ter Brugghen. According to Franits it is ter Brugghen’s earliest known work with a date of execution of 1610, in the middle of the artist’s Italian soujourn, which extended from his probable arrival in Rome around 1607–1608, to his departure for the Dutch Republic in 1614. Still little is known about ter Brugghen’s Italian period and the present painting is important for the reconstruction of the artist’s corpus of works from this period. Hendrick ter Brugghen depicts the young saint in a landscape setting, posed within a rocky outcropping with his left arm resting on a stone slab. The saint’s expression is subdued, if not melancholic, but most likely he is slumbering beside his attribute, the lamb. His other attribute, a cross-shaped staff, rests against his left arm. The depiction of this subject was popular in the sixteenth and seventeenth centuries and there are several significant Italian pictorial precedents, among them Caravaggio’s Saint John the Baptist from circa 1604–1606, now in the Galleria Corsini, Rome (inv. no. 433). The present composition also relates to a woodcut by Antonio da Trento after Parmigianino (The Metropolitan Museum of Art, New York, acc. no. 2012.136.119) that depicts Saint John the Baptist in a similar seated pose with his left arm resting on a rock and the lamb in the lower right corner. Hendrick ter Brugghen has long been considered one of the greatest Dutch painters of the Golden Age: He was most likely born in The Hague, where he presumably received rudimentary art lessons. Later, he studied with Utrecht’s preeminent painter, Abraham Bloemaert. Thereafter, ter Brugghen traveled to Italy to further his artistic education. His Italian sojourn probably lasted no more than six years and during this time in Rome, Caravaggism was beginning to flourish, owing to the immense popularity of the style. By the Autumn of 1614 ter Brugghen had returned to the Netherlands, living in Utrecht, and by 1616 he had enrolled as a master painter in the city’s Guild of St. Luke. Over the years, ter Brugghen achieved great professional success. He died in early November 1629, at the relatively young age of 41 or 42. The precise cause of his death is not known, though a plague was raging in Utrecht during the weeks leading up to death, so it is possible that he was one of its many victims.
Ecce Homo, Oil on Canvas. Attributed to Hendrick Ter Brugghen (1588-1629). Holes, some paint losses, cracking. Framed size: 23.75" x 26.25. Sight size: 13.5" x 16.75". Part two of a single-owner Lancaster, Ohio collection. We sold the first part of this collection last July. All sales final. Invoices above $2500 must be paid with cash, cashier's check or wire transfer. In-house shipping is available. Pickup is Tuesday, Oct. 15 from 1 pm to 3 pm in Carroll, OH or by appointment by Nov. 1. We can provide in-house shipping for this item. We pack once the lot is paid for. Once packed up we will send you an invoice for shipping and handling. Shipping questions: shipping@burnsbid.com Sales tax will be collected on all bidders. If tax exempt, make sure your certification is submitted with the bid platform.
MUSIKERGRUPPE Öl auf Leinwand. Doubliert. 72 x 72 cm. In vergoldetem Rahmen mit Eierstab. Das quadratische Bildformat ist bei Werken des Ter Brugghen nicht selten zu finden. Die Halbfiguren der Musiker sind somit dicht gedrängt ins Format eingebunden, je eine Zweier- und Dreiergruppe lassen einen Durchblick nach hinten zu. Mit Violine, Geigenbogen und Flöte sind die beiden im Vordergrund gezeigt, dahinter wohl eine Sängerin mit einem abgegriffenen Notenblatt. Eine Person hält einen (bitteren?) Apfel in der Hand. Eine Deutungserklärung ließe mehrere Schlüsse zu. Die beiden links Stehenden blicken auf den Betrachter mit Betroffenheit. Eindeutig jedoch steht der allen hier Gezeigten eigene Gesichtsausdruck mit einer Aussage in Zusammenhang, die vorläufig Rätsel aufgibt. Denkbar wäre das bittere Los des Berufsstandes der Musiker und ihres kargen Einkommens. Ter Brugghen, ein Schüler des Abraham Bloemaert, ging um 1604 nach Italien als Caravaggio noch lebte. Ab da übernahm auch er den weithin geübten Carravaggismus, was in diesem Bild jedoch noch keineswegs deutlich erkennbar ist. Die Darstellung oft auch nur wenig begütert bekleideter Musiker ist zu einem seiner Hauptthemen geworden. Ein Flötenspieler mit gleicher Mütze von 1627 findet sich auch in einem weiteren seiner Gemälde (Puschkin-Museum). A.R. (13703111) (11) Hendrick ter Brugghen, 1588 – 1629, attributed A GROUP OF MUSICIANS Oil on canvas. Relined. 72 x 72 cm. In gilt frame with bead and reel décor. Ter Brugghen often uses a square picture format. He was a student of Abraham Bloemaert, he travelled to Italy in 1604 while Caravaggio was still alive. From then on, he also adopted the widely popular Caravaggism, which is, however, not yet noticeable in the painting on offer for sale here. The depiction of musicians, some of them in humble attire, became one of his favourite subjects. A flute player with the same hat dating to 1627 and other works by him are held at The Pushkin State Museum of Fine Arts in Moscow. (†)
(The Hague 1588–1629 Utrecht) A lute player, oil on canvas, 76 x 63.5 cm, framed Provenance: probable sale, Sotheby’s, London, 7 December 1927, lot 25 (as Van Honthorst, to Mori); Henri Albert Vermunt (1891–1969), Hamburg and Rottach-Egern am Tegernsee, acquired between 1927–1954; by descent to the present owner Exhibited: Utrecht, Centraal Museum, Utrecht, Caravaggio and Europe, 15 December 2018 – 24 March 2019 Utrecht, Centraal Museum, Nieuw Licht op de Gouden Eeuw; Hendrick ter Brugghen en tijdgenoten, 13 November 1986 – 12 January 1987, p. 144, under cat. no. 24 Literature: B. Nicolson, Hendrick Terbrugghen, London 1958, p. 96, under cat. no. A66; Staatsgalerie Stuttgart, Katalog der Staatsgalerie Stuttgart: Alte Meister, Stuttgart 1962, p. 216; B. Nicolson, The International Caravaggesque Movement: Lists of Pictures by Caravaggio and His Followers throughout Europe from 1590 to 1650, Oxford 1979, pp. 99–100 (as copy no. 2); B. Nicolson, Caravaggism in Europe, revised ed., 3 vols., ed. by L, Vertova, Turin 1989, vol. 1, p. 193, under cat. no. 1147; L. J. Slatkes & W. Franits, The Paintings of Hendrick ter Brugghen 1588–1629: Catalogue Raisonné, Amsterdam/Philadelphia 2007, p. 195, cat. no. R101, (as a copy, location unknown) We are grateful to Wayne Franits for confirming the attribution of the present painting to Hendrick ter Brugghen after inspection of the original. He dates it to circa 1626. His certificate from 21 June 2022, is available. The present Lute Player is a significant addition to ter Brugghen’s oeuvre and is described by Franits as the prime of three extant autograph versions of the composition. The close-up, almost life-sized composition, lends the work a realism and immediacy, further enlivened by dramatic lighting effects which pick-out the musician’s ruddy complexion and seem to dance upon the varied flesh tones of his fingers as they pluck the carefully modelled form of the lute. Executed in Utrecht, the present work is contemporaneous with one of ter Brugghen’s most significant paintings, The Concert also painted around 1626 and conserved in the National Gallery, London (inv. no. NG6483). Both exude the influence of earlier related works painted by Caravaggio during the Italian master’s Roman period, such as The Musicians, in the Metropolitan Museum, New York (inv. no. 52.81). The hidden meanings of these musical depictions, as well those by ter Brugghen’s Utrecht Caravaggisti contemporaries Dirck van Baburen (1596–1624) and Gerrit van Honthorst (1592–1656), remain the subject of scholarly debate. However, all three Utrecht painters spent formative sojourns in Rome’s ‘red light district’, Santa Maria del Popolo. There they imbibed Caravaggio’s influence both from the late master’s works in its parish church, and from the painter’s Italian and Northern European followers who lodged in the quarter. In the Low Countries, Luit was slang for female genitalia, and the instrument was regularly depicted in art as being the attribute of courtesans, while the feathered cap has a similar association with licentiousness, as evidenced by a 1614 poem by Roemer Visscher which describes men who ‘triumphantly place Cupid’s feathered hat on their lecherous heads’. The present painting then has an arresting vivacity, and one can only speculate who the lute player is looking up at, his mouth open in song, and the feather upon his headdress drooping seductively. Franits further notes the ‘dazzling garments’ as depicted by ter Brugghen in the shimmering blue silk doublet in the present work. These sorts of costumes, according to Franits ‘cannot be identified with contemporary wear’ but may be possibly associated with the ‘Burgundian’ dress worn by chambers of rhetoric, or Rederijkers, as these amateur dramatic societies were known’. As Franits states: ‘regardless of the iconographic and sartorial roots of this fashion, it likely served as a distancing mechanism for viewers perusing the artists’ compelling subject matter’. Ter Brugghen, long considered one of greatest proponents of the Dutch Gouden Eeuw, trained in Utrecht as a pupil of Abraham Bloemaert (1566–1651). Likely in Rome by 1608, and returning to the Netherlands around 1614, ter Brugghen was a member in Rome of the Bentvueghels. This Bacchanalian society of Northern artists in the Eternal City held Neo-Pagan masses in the Church of Santa Constanza, and scrawled graffiti both there and on the walls of raucous taverns, which seems in keeping with the suggestive and exuberant air of the present picture. Previously published as a ‘rejected work’ by Franits and L. J. Slatkes, known only from historic reproductions, as one of a number of replicas after ter Brugghen’s presumed prime version of the composition in the Staatsgalerie, Stuttgart (see literature), the present picture has now been rightfully restored to ter Brugghen’s oeuvre by Franits after examination in the original. Franits notes the significant pentimenti in the current picture, with ter Brugghen working out his compositional changes directly onto the canvas. X-rays reveal changes to the position of both hands, and particularly to the thumb of the right hand, as if to make the appearance of playing a chord more convincing. The alterations made to the pose of the Lute player in the present picture are repeated, without revision, in the two extant other autograph versions, one in the Koelliker Collection, Milan and the previously mentioned version in the Staatsgalerie Stuttgart. The present canvas furthermore shows evidence that it was previously used for a horizontal composition, then scraped and repurposed for the present vertically orientated work. Franits states that the present work ‘was the prototype for all the other pictures. Moreover, these somewhat drastic changes to our painting should be considered highly intentional and purposeful, certainly not of the type that one would find in a mere copy by a workshop pupil. To the contrary they must be tied directly to ter Brugghen himself’. Franits concludes ‘[…] the evidence confirms that our picture was the prime version that generated two additional autograph replicas and a sizeable number of workshop copies’, rendering the present work an outstanding example of Northern Caravaggism. Technical analysis by Gianluca Poldi: As IR reflectography and X-rays demonstrate, some small variations occurred during painting. In particular, the changes in the profile of the left border of the lute, the edge of the left sleeve cuff, in some shadows of the blouse, and very probably the position of the right thumb (originally lower) and of some lute keys. It also seems the painter began to paint the left hand a little lower down. No evident signs of underdrawing are noted, but it is likely there was a form of drawing, perhaps with a chalk or directly with a brush, which could not be identified with diagnostic methodologies. Compared to the Stuttgart version, here the lute has a larger bowl and appears more rotated towards the observer, therefore the pegbox is lengthened, and also the left arm of the musician is differently placed. Finally, the man’s face is less symmetrical, more distorted in the act of singing. Regarding pigments, non-invasive spectroscopies detected smalt blue (coarsely grinded to keep its intense colour) mixed to lead white in some areas of the blouse, while in other zones black pigment was found instead of blue, meaning this garment was studied with subtle changes of colour, and indeed the sleeves appear – more clearly observing false colour IR imaging – to have been first designed in stripes, as in other paintings by ter Brugghen. Flesh tones, as digital microscopy shows, are a mixture of lead white, yellow, brown and red ochres, some particles of vermillion and large grains of green earth; black pigment, not finely grinded, is added in the shadows. Green earth also appears in the white cuff, correcting its hue. The dark background is obtained by mixing lead white, a black and a yellow pigment.
HENDRICK TER BRUGGHEN (THE HAGUE 1588-1629 UTRECHT) Unequal lovers signed in monogram 'HTB' (lower right, on the pewter vessel) oil on canvas 29 1/4 x 34 1/2 in. (74.3 x 89.2 cm) Read more
Maestro caravaggista della scuola di Utrecht Uomo con boccale e pipa Olio su tavola 72 x 55,5 cm Il più insigne Maestro della compagine è Hendrick Terbrugghen (Aia 1588 - Utrecht 1629), il quale è ritenuto l’anello di congiunzione tra Caravaggio e Veermer. Avendo vissuto dieci anni in Italia (1604 - 1614), operò nell’ambito del Saraceni. Le sue figure a mezzo busto si avvicinano allo spettatore, esaltando la potenza evocativa e la sua alta perizia tecnica. Nelle sue opere l’illuminazione artificiale tende ad avvolgere la scena anziché esasperarla, donando un senso d'atmosfera sospesa e malinconica. La produzione estrema del pittore vide un cambiamento stilistico con un arricchimento dei colori e una ricercata delicatezza tonale. Gherardo delle Notti, per molti anni l’unico caravaggista nordico conosciuto, visse a Roma tra il 1609 e il 1620. S’impose al pubblico con una serie di Natività, dove partendo dagli studi del Caravaggio ottenne spettacolari effetti notturni, grazie ai quali è ricordato nel suo soprannome. Apprezzato dai Medici, molte sue opere sono oggi conservate a Firenze. Nelle sue scene di genere, invece, oltre al Caravaggio osserva anche il Gentileschi, e grazie alla sua minuziosa tecnica unita ai colori vivaci ottenne eteree espressioni cristalline. Dirck van Baburen (Wijk bij Duurstede 1595 circa - Utrecht 1624), artista dalla personalità seducente, dopo un breve triennio romano (1617 - 1620) tornò in Olanda, ammorbidendo il suo chiaroscuro e aumentando la sua ricercata espressione. Dipinse figure singole o riunite per gioco o per esercitarsi in musica, vestite con colori chiari scolpiti di luce viva. Altro pittore da citare è Jan van Bijert (Utrecht 1597 o 1598 - 1671). Con il suo temperamento eclettico, applicò il suo caravaggismo framezzato da suggestioni colte dal Gentileschi, Gherardo delle Notti e dai bolognesi incontrati a Roma negli anni venti del Seicento. Dipinse figure singole a mezzo busto o gruppi di persone, secondo i soggetti alla moda dell’epoca, intenti a suonare, ad amoreggiare o in eleganti banchetti, nelle quali traspare una certa monumentalità. Per completezza, seppur non operanti in città, vanno considerati parte del gruppo: J.G van Bronchorst, Matthias Stomer, David de Haen, Christian van Couwenbergh, Paulus Bor, W.P. Crabeth. Caravaggio master of the Utrecht school Man with mug and pipe Oil on canvas 72 x 55,5 cm
MUSIKERGRUPPE Öl auf Leinwand. Doubliert. 72 x 72 cm. In vergoldetem Rahmen mit Eierstab. Das quadratische Bildformat ist bei Werken des Ter Brugghen nicht selten zu finden. Die Halbfiguren der Musiker sind somit dicht gedrängt ins Format eingebunden, je eine Zweier- und Dreiergruppe lassen einen Durchblick nach hinten zu. Mit Violine, Geigenbogen und Flöte sind die beiden im Vordergrund gezeigt, dahinter wohl eine Sängerin mit einem abgegriffenen Notenblatt. Eine Person hält einen (bitteren?) Apfel in der Hand. Eine Deutungserklärung ließe mehrere Schlüsse zu. Die beiden links Stehenden blicken auf den Betrachter mit Betroffenheit. Eindeutig jedoch steht der allen hier Gezeigten eigene Gesichtsausdruck mit einer Aussage in Zusammenhang, die vorläufig Rätsel aufgibt. Denkbar wäre das bittere Los des Berufsstandes der Musiker und ihres kargen Einkommens. Ter Brugghen, ein Schüler des Abraham Bloemaert, ging um 1604 nach Italien als Caravaggio noch lebte. Ab da übernahm auch er den weithin geübten Carravaggismus, was in diesem Bild jedoch noch keineswegs deutlich erkennbar ist. Die Darstellung oft auch nur wenig begütert bekleideter Musiker ist zu einem seiner Hauptthemen geworden. Ein Flötenspieler mit gleicher Mütze von 1627 findet sich auch in einem weiteren seiner Gemälde (Puschkin-Museum). A.R. (12501413) (11) Hendrick ter Brugghen, 1588 - 1629, attributed A GROUP OF MUSICIANS Oil on canvas. Relined. 72 x 72 cm. In gilt frame with bead and reel décor. Ter Brugghen often uses a square picture format. He was a student of Abraham Bloemaert, he travelled to Italy in 1604 while Caravaggio was still alive. From then on, he also adopted the widely popular Caravaggism, which is, however, not yet noticeable in the painting on offer for sale here. The depiction of musicians, some of them in humble attire, became one of his favourite subjects. A flute player with the same hat dating to 1627 and other works by him are held at The Pushkin State Museum of Fine Arts in Moscow.
Hendrick ter Brugghen is one of the right Caravaggists who took up Michelangelo Merisi da Caravaggio's new, realistically staged presentation and thematic and brought it to the Netherlands. He was in Rome from 1608 to 1614. In addition to religious and allegorical paintings and historical pictures, it is known for individual depictions of soldiers and musicians that motifs were introduced by Caravaggio and his successors. The study shows the head of an older soldier, whose beard is already gray and looks to the side with a serious look. The red sash shows that it is an officer. He wears a Cabasset helmet on his head, which was particularly common in Italy and Spain from the 16th to the middle of the 17th century.
MUSIKERGRUPPE Öl auf Leinwand. Doubliert. 72 x 72 cm. In vergoldetem Rahmen mit Eierstab. Das quadratische Bildformat ist bei Werken des Ter Brugghen nicht selten zu finden. Die Halbfiguren der Musiker sind somit dicht gedrängt ins Format eingebunden, je eine Zweier- und Dreiergruppe lassen einen Durchblick nach hinten zu. Mit Violine, Geigenbogen und Flöte sind die beiden im Vordergrund gezeigt, dahinter wohl eine Sängerin mit einem abgegriffenen Notenblatt. Eine Person hält einen (bitteren?) Apfel in der Hand. Eine Deutungserklärung ließe mehrere Schlüsse zu. Die beiden links Stehenden blicken auf den Betrachter mit Betroffenheit. Eindeutig jedoch steht der allen hier Gezeigten eigene Gesichtsausdruck mit einer Aussage in Zusammenhang, die vorläufig Rätsel aufgibt. Denkbar wäre das bittere Los des Berufsstandes der Musiker und ihres kargen Einkommens. Ter Brugghen, ein Schüler des Abraham Bloemaert, ging um 1604 nach Italien als Caravaggio noch lebte. Ab da übernahm auch er den weithin geübten Carravaggismus, was in diesem Bild jedoch noch keineswegs deutlich erkennbar ist. Die Darstellung oft auch nur wenig begütert bekleideter Musiker ist zu einem seiner Hauptthemen geworden. Ein Flötenspieler mit gleicher Mütze von 1627 findet sich auch in einem weiteren seiner Gemälde (Puschkin-Museum). A.R. (12501413) (11) Hendrick ter Brugghen, 1588 – 1629, attributed A GROUP OF MUSICIANS Oil on canvas. Relined. 72 x 72 cm. In gilt frame with bead and reel décor. Ter Brugghen often uses a square picture format. He was a student of Abraham Bloemaert, he travelled to Italy in 1604 while Caravaggio was still alive. From then on, he also adopted the widely popular Caravaggism, which is, however, not yet noticeable in the painting on offer for sale here. The depiction of musicians, some of them in humble attire, became one of his favourite subjects. A flute player with the same hat dating to 1627 and other works by him are held at The Pushkin State Museum of Fine Arts in Moscow.
TER BRUGGHEN Hendrick (1588 - 1629) Huile sur toile marouflée sur toile "Portrait d'un contrebassiste". Atelier d'Hendrick ter Brugghen. Ecole hollandaise. Dim.:76,5x64cm.
JUNGER GEIGENSPIELER MIT FEDERBARETT Öl auf Leinwand. 90 x 66 cm. Im ebonisierten Flammleistenrahmen. Ganz im Stil des holländischen 17. Jahrhunderts, nach Motiven der beiden genannten Künstler, ist der junge Geiger in Lebensgröße wiedergegeben, mit lächelndem Blick dem Betrachter gegenüber. In den Händen hält er Geige und Barock-Bogen. Obwohl von Judith Leyster mehrere Violinspieler bekannt geworden sind, ist doch der auffallende Federschmuck am Barett ein typisches Merkmal für die Musikantendarstellungen des ter Brugghen, so ist das Vorbild möglicherweise dort zu suchen. (1241114) (2) (11) Painter in the style of Judith Leyster (1600/ 10 – 1660) or Hendrick ter Brugghen (1588 – 1629) YOUNG VIOLINIST WITH FEATHERED BONNET Oil on canvas. 90 x 66 cm. In ebonized frame with ripple moulding.
KNABE BEIM FLÖTENSPIEL Öl auf Leinwand. Doubliert. 56,5 x 64 cm. Ungerahmt. Halbbildnis nach links mit entblößter Schulter und schwarzem Barett. Mit beiden Händen hält er die Holzflöte an den Mund; die Farbigkeit tonig, Hintergrund in Oliv-grau, die Beleuchtung von links oben. Das Gemälde bildinhaltlich eine Variation zu dem berühmten Bild in der Kasseler Gemäldegalerie Wilhelmshöhe „Blockflötespielender Knabe“ von 1621. Das Thema ein Beispiel für die so häufig im Werk ter Brugghens zu findenden, in Nahansicht wiedergegebenen, jungen Musiker. Rest. (12113112) (11)
Attribué à Hendrik TER BRUGGHEN (1588-1629) Saint Pierre repentant Toile Restaurations anciennes Attr. to H. Ter Brugghen, Saint Peter repentant, canvas 70 x 91 CM • 27 1/2 X 35 7/8 IN. €20,000-30,000 Exposition Maîtres anciens du XVIe au XVIIIesiècle, Galerie Serre et Leegenhoek, 1992, Société Labatut, n°7, repr.; Bibliographie -Catalogue de l’exposition de la galerie Serre et Leegenhoek, Maîtres anciens du XVIe au XVIIIesiècle, 1992, Société Labatut, pp. 28 à 32, n°7 -Catalogue de l’exposition Stichting Victor Restauratie en natuurwetensnschappelijk onderzoek in het Centraal Museum, Utrecht, Centraal Museum, 2007, p.36 (repr. avec dimensions erronées, comme attribué à) -Liesbeth M. Helmus, in cat. exp., Caravaggio and Europe Brings Rome 1600-1630 to Utrecht, Utrecht, Centraal Museum - Munich, Alte Pinakothek, 2018-2019, p.106, fig.51 (repr. comme workshop). Il existe une autre version de cette composition au Centraal Museum d’Utrecht (inv. 15762), de dimensions à peu près comparables (toile, 67,7 x 85,8 CM) signée et datée de 161[6]. Connue depuis les années 1930, elle a été achetée par le musée en 1967. Son attribution a été très discutée à cette époque; la nôtre est réapparue vingt ans après. La pose du saint est identique et la principale variante concerne la position de la paire de clefs, ici à gauche et accrochée au mur à droite dans l’autre. La différence la plus évidente, mais qui n’est pas due à l’artiste, concerne le vêtement tel une masse uniforme noir de jais, sans profondeur, suite au fait que cette partie a été entièrement repeinte. Dans notre tableau, le bleu de smalt, très beau lorsqu’il est neuf et connu pour être très fragile, a pris un aspect un peu vitreux, mais a pu être conservé -et parfaitement dans la manche au niveau du poignet-, ce qui montre que les deux œuvres ont été peintes avec les mêmes matériaux et pigments, dont l’évolution a été problématique. On est donc en présence de tableaux peints juste au retour de Ter Brugghen de Rome, vers 1615, et qui comptent parmi ses premiers connus, sa maturité étant assez tardive. On peut les comparer au Repas à Emmaüs du Toledo Museum of Art (1616), et plus particulièrement du vieillard de profil à gauche. La référence pour ses œuvres précoces est l’Adoration des Mages du Rijkmuseum à Amsterdam, datée de 1619, dans laquelle le roi agenouillé au premier plan est identique à notre figure. Celui-ci a été aussi rapproché du personnage à droite dans le Saint Étienne pleuré par Gamaliel et Nicodème du Pensionate de Saraceni, conservé au Museum of fine Arts de Boston, autre preuve du caractère encore italianisant et proche du creuset caravagesque romain. Il faut encore évoquer le jeune Georges de la Tour dont les diurnes sont influencés par la peinture de jeunesse de Ter Brugghen, sans qu’on puisse dire s’il les a vues dans la Ville éternelle ou à Utrecht (on comparera les deux tableaux du Prado, Le vielleur aveugle et le Saint Jérôme, vers 1620-1630, du lorrain à ce saint Pierre). Another version is at the Utrecht Centraal Museum, with comparable dimensions (canvas, 67,7 x 85,8 cm) signed and dated 161[6]. It had been known since the 1930's and was bought by the museum in 1967. Its attribution was questionned a lot at that time ; our version reappeared twenty years later. The posing of the saint is identical, the main variation remais in the position of the keys, here on the left, while hanged on the wall on the right in the other. The most obvious difference, but not due to the artist, is the piece of clothing looking like a shapeless black form , depthless, due to the fact that this part had been entirely painted over. In our painting, the smalt blue, beautiful when new, and known for its fragility, got a glassy aspect, but could have been kept -and perfectly in the sleeve around the wrist-, which shows that the two paintings were painted with the same pigments and materials, whose evolution was problematic. While the maturity of the artist is quite late, we have here one of the first painting made by Ter Brugghen, after he came back from Rome, around 1615, and which we count among the first known pieces. We can compare it to the Diner at Emmaüs at the Toledo Museum of Art (1616), and more specificly to the old man in a profil on the left. The reference for his early work is the Adoration of the Magi at the Rijkmuseum in Amsterdam, dated from 1619, in which the king, kneeling in the foreground, is identical to our figure. He was also put in relation with the figure on the right in the Saint Etienne cryed by Gamaliel and Nicodemus from the Pensionate of Saraceni, preserved in the Museum of fine Arts of Boston, another clue of the italian character and even closer of the roman caravagesque stream. We must also recall the young Georges de la Tour whose daylight compositions are influenced by the youth work of Ter Brugghen, without being sure if he saw it in Rome or in Utrecht (we compare the two paintings of the Prado, the old blind man and the Saint Jerome, circa 1620-1630, by de la Tour to this Saint Peter).
copy after Hendrick ter Brugghen (1588-1629) flute playing boy from 1621, copy around 1900,oil / canvas, 70 x 55 cm, scratches, frame chipped . German Description: Kopie nach Hendrick ter Brugghen (1588-1629) Blockflöte spielender Knabe von 1621, Kopie um 1900, Öl/Lwd, ca. 70 x 55 cm, l. Kratzspuren, Rahmen l. best.
STUDIO OF HENDRICK TER BRUGGHEN (1588-1629): A MAN PLAYING A LUTE; AND A MAN PLAYING A VIOLA DA BRACCIO Two oil on canvas, 1622, indistinctly signed with initials 'TB' and dated lower right and indistinctly signed with initials 'HTB' and dated lower left respectively, lined. Both 27 x 23 in., 36 x 32 in. (frame). Provenance: Pootjes, Ardenhout, The Netherlands; Christophe Janet, New York, 1984; Linda and Gerald Guterman, Ltd., New York. Exhibited: New York, Christophe Janet Ltd., The Intimate Vision as Seen Through a Selection of Seventeenth Century Dutch Paintings, 1984, no. 5 (as by Ter Brugghen). Literature: L.J. Slatkes and W. Frantis, The Paintings of Hendrick ter Brugghen, 1588-1629: Catalogue Raisonné, Amsterdam and Philadelphia 2007, pp. 233-234, cat. nos. WTBVB14 and WTBVB15, reproduced, plates 109 and 110 (as Joint workshop of ter Brugghen and van Baburen).
Manner of Hendrick Terbrugghen (Dutch, 1588-1629), "The Lute Player", oil on canvas, unsigned, 44-1/8" x 38-1/8". Presented in a carved wood frame with hand-painted border.
SZENE DES ALTEN TESTAMENTS, MÖGLICHERWEISE AUS DER JOSEFSLEGENDE Öl auf Leinwand. 175 x 220 cm. Großformatiges und ebenso großfiguriges Gemälde einer Szene, die noch nicht eindeutig identifiziert ist. Die Hauptfiguren sind ein links stehender Jüngling in rotem Mantel mit Reisestock und Turban sowie ein Hund zu seiner linken. Rechts kniet eine stattlich gekleidete, junge Frau mit hochgebundenem Haar und zusammengelegten Händen in bittender Geste. Zwischen den beiden Figuren ein an einem Pult kniender, älterer Mann, ebenfalls in Turban, das Gesicht in sich versunken. Seitlich an den Bildrändern zwei geharnischte Männer in Begleitung weiterer Personen im Gespräch. Im Hintergrund ein Torbogen mit Durchblick auf eine Burgmauer mit Turm. (940752) Hendrick ter Brugghen, 1588 Utrecht - 1629 Utrecht, workshop of Oil on canvas. 175 x 220 cm.
PROPERTY FROM A EUROPEAN PRIVATE COLLECTION DEVENTER 1588 - 1629 UTRECHT A BRAVO SMOKING possible remains of signature lower right oil on canvas 67.1 by 56.6 cm.; 26 1/2 by 22 1/4 in.
HENDRICK TERBRUGGHEN DEVENTER 1588 - 1629 UTRECHT A LUTEPLAYER CAROUSING WITH A YOUNG WOMAN HOLDING A ROEMER signed with monogram on the brooch of the luteplayer's beret: HTB oil on canvas 105.5 by 86.4 cm.; 41 1/2 by 34 in.
PROPERTY FROM A PRIVATE COLLECTION f - HENDRICK TERBRUGGHEN DEVENTER 1588 - 1629 UTRECHT THE ANNUNCIATION oil on canvas PROVENANCE With Edward Speelman, London, 1974; Anonymous sale, London, Christie's, 8 July 1994, lot 80. LITERATURE AND REFERENCES V. Bloch, Michael Sweerts, The Hague 1968, p. 16, reproduced plate 1; B. Nicolson, "Terbrugghen since 1960", in Album amicorum J.G. van Gelder, The Hague 1973, p. 239; B. Nicolson, The International Caravaggesque Movement, Oxford 1979, p. 98; L.J. Slatkes, in Nieuw Licht op de Gouden Eeuw. Hendrick ter Brugghen en tijdgenoten, exhibition catalogue, Utrecht, Centraal Museum, 14 November 1986 - 11 January 1987, pp. 164, 166-7, reproduced fig. 99; R. Klessmann, "Utrechter Caravaggisten zwischen Manierismus und Klassizismus", in Hendrick ter Brugghen und die Nachfolger Caravaggios in Holland, Braunschweig 1987, p. 63, reproduced on p. 64, no. 73; B. Nicolson, Caravaggism in Europe, ed. L. Vertova, Turin 1990, vol. I, p. 191. CATALOGUE NOTE Although this painting only came to light ten years after Benedict Nicholson's 1958 monograph on Terbrugghen, he discussed it at length in his addendum published in 1973 in the Festschrift for J.G. van Gelder (see Literature). He suggested a possible dating around 1622, noting the influence of a lost Annunciation by Dirk van Baburen, now known only through a copy by Jan Janssens (reproduced in Slatkes, Literature, fig. 98). Slatkes himself subsequently dated the lost Baburen circa 1623 and suggested a date for the present painting around 1624-25 (op. cit., p.164), a view also accepted by Klessmann (Literature, 1987). The gesture of Gabriel pointing heavenwards was re-used by Terbrugghen in his later and larger treatment of the same subject painted in 1629, formerly in the Begijnhofkerk at Diest, and now in the Openbaar Centrum voor Maatschappelijk Welzijn, and again in his Liberation of Saint Peter at Schwerin which dates form the same year (both reproduced in B. Nicolson, Hendrick Terbrugghen, London 1958, pp. 62-3, 92, cat. nos. A25 and A61, plates 100 and 102). This painting may very well be that cited in a promissory note dated 18 April 1638 (published in A. Bredius, Kunstler-Inventare, The Hague, 1915-22, p. 1147) from the artist Lucas Luce authorising the painter Anthoni Kentelingh to ask the widow of a certain Ryssen at Deventer to hand over to him: "...that painting which represents the Annunciation to Mary, made by the late master Hendrick Terbrugghen, which he has bought on the 5th of the current month for the sum of 240 florins...". It is not clear to which of the two known versions of this subject painted by Terbrugghen this may refer, but as Slatkes points out (op.cit., p. 168) it seems likely that the Diest painting was in fact commissioned directly by the Begijnhofkerk, as Diest not only had very close ties to the ruling House of Orange from the early 15th century onwards but had also patronised another caravaggesque artist, Theodoor van Loon. In view of this it seems likely that the Ryssen document does in fact refer to the present painting.
