Portrait of a man holding a book, half-length, in a fur-trimmed mantle and a black hat, 1544. Dated above in the centre '1544'. Oil on panel, shaped top, in an integral frame. Mounted in a wooden case with green velvet, behind glass. The manner in which this man is portrayed characterises the genre of portrait painting in the city of Cologne during the second quarter of the 16th century. The naturalistic rendering of the face, the clothing - including the rather too small beret -, and the choice of the top-rounded panel situates this portrait of an unidentified sitter in the studio of Bartholomäus Bruyn I. The high quality in the brushwork in the face, makes an attribution to the master himself not unlikely, although the same technical quality is not found in the rendering of the hands. Possibly he relied on studio assistants for the hands. It is known that Bartholomäus Bruyn had a productive studio in which – according to the archives- also his two sons were active. Bruyn’s religious paintings, as well as his portraits, depict a strong influence of Joos van Cleve (c. 1485/90-1540/41), who, like Bartholomäus, was an apprentice in the studio of Jan Joest (c. 1450/60-1519). Bartholomäus Bruyn was one of the leading portrait painters of prosperous city of Cologne. He was a member of the city council (Rat der Vierundvierzig) in 1518 and 1521, and later councillor (Ratsherrn) in 1549 and 1553. As many of Bartholomäus Bruyns' patrons were distinguished couples who had there double portraits made as diptychs, it is not unlikely that a pendant depicting the spouse of the anonymous man was created alongside this panel. Similarly, the portrait of Elisabeth Bellinghausen (c. 1518- c. 1577) in the collection of the Mauritshuis was recently reunited with that her fiancé Jakob Omphalius (1500-1567) after being separated for more than 100 years.¹ Description FR Portrait d'un homme avec un col en fourrure et un livre à la main, 1544. Huile sur panneau. Daté en haut au centre. Monté dans un cadre en bois avec finition intérieure en velours vert olive, derrière un verre protecteur. La manière dont cet homme est représenté est typique de l'art du portrait à Cologne dans le deuxième quart du 16ème siècle. La tenue vestimentaire situe cet homme non identifié dans l'entourage de Bartholomäus Bruyn I, l'un des principaux portraitistes de cette prospère cité allemande. Les peintures religieuses de Bruyn, tout comme ses portraits, sont fortement influencées par Joos van Cleve (ca. 1485/90-1540/41), qui, comme Bartholomäus, fut l'élève de Jan Joest à Wesel (ca. 1450/60-1519). Les fonds colorés stériles aux couleurs vives, l'attention portée aux détails et le rendu naturaliste du visage témoignent d'une grande interaction entre les Pays-Bas et les villes allemandes voisines. Bartholomäus Bruyn devait diriger un atelier productif dans lequel travaillaient également ses deux fils. Outre son activité de peintre, il a également été membre du conseil municipal (Rat der Vierundvierzig) en 1518 et 1521, et plus tard dans sa vie, il a été conseiller (Ratsherrn) en 1549 et 1553. Il existe peut-être un pendant de la femme de cet homme au béret noir. De nombreux clients de Bartholomäus Bruyn étaient des couples distingués qui ont fait réaliser des doubles portraits sous forme de diptyques. Dans la collection du Mauritshuis, par exemple, Elisabeth Bellinghausen (v. 1518- v. 1577) et son fiancé Jakob Omphalius (1500-1567) ont été récemment réunis après avoir été séparés pendant plus de 100 ans.¹ Beschrijving NL Portret van een man met bontkraag en boek in de hand, 1544. Olie op paneel. Bovenaan centraal gedateerd. Gemonteerd in houten kader binnenin afgewerkt met olijfgroen fluweel, achter glas. De wijze waarop deze man is geportretteerd, kenmerkt het genre van het portret in Keulen tijdens het tweede kwart van de 16de eeuw. De naturalistische weergave van het gelaat, de kledij met eerder te kleine hoofdtooi en de keuze voor bovenaan afgerond paneel situeren dit portret van een ongeïdentificeerde man in het atelier van Bartholomäus Bruyn I. De hoge kwaliteit in de weergave van het gezicht maken een toeschrijving aan de meester zelf niet onwaarschijnlijk, al is ditzelfde niveau niet aan te treffen in de weergave van de handen. Mogelijk deed hij hiervoor beroep op ateliermedewerkers waarin ook zijn twee zonen werkzaam waren. Zijn religieuze schilderijen, alsook zijn portretten, vertonen een grote invloed van Joos van Cleve (ca. 1485/90-1540/41), die net als Bartholomäus een leerling was in het atelier van Jan Joest (ca. 1450/60-1519). Bartholomäus Bruyn was één van de voornaamste portretschilders van het welvarende Keulen, daarnaast was hij in 1518 en 1521 lid van de stadsraad (Rat der Vierundvierzig), en later raadsheer (Ratsherrn) in 1549 en 1553. Mogelijk bestaat er een pendant van de echtgenote van deze man met zwarte baret. Vele van Bartholomäus Bruyns' opdrachtgevers waren voorname echtparen die een dubbelportret als diptiek lieten vervaardigen. Zo werden recent in de collectie van het Mauritshuis Elisabeth Bellinghausen (ca. 1518- ca. 1577) en haar verloofde Jakob Omphalius (1500-1567) herenigd na meer dan 100 jaar van elkaar gescheiden te zijn.¹
BRUYN, BARTHOLOMAEUS 1493 Lower Rhine - 1555 Cologne and workshop Title: Portrait of a wealthy Man with his Son. Technique: Oil on wood. Measurement: 47 x 35,5cm. Frame: Framed. Provenance: Private ownership, Germany. We are grateful to Roland Krischel, Cologne, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph. Bartholomaeus Bruyn Germany Renaissance 15th C. Old Masters Framed Portrait Painting Explanations to the Catalogue Estimated shipping costs for this lot: Germany: 36,97 Euro plus 7,03 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 100,84 Euro plus 19,16 Euro VAT additional shipping insurance
(Wesel 1493–1555) Three panels from the Cyriacus Altar: Pope Marcellus ordains Cyriacus as a Deacon; Saint Cyriacus is led to Prison; and Saint Cyriacus refuses Idolatry, oil on panel, 39 x 35.5 cm, 39.7 x 38.7 cm, 39.7 x 39.4 cm, framed, a set of three (3) Provenance: Stiftskirche St. Kunibert, Cologne 1532–1802/04; Freiherr Johann Wilhelm Carl Adolph von Hüpsch (1730–1805), Cologne; Großherzogliches Museum, Altes Schloss, Darmstadt, by 1820–1843; art market, Rhineland; Hugo Garthe (1821–1876), Cologne, 1877; with Fritz Rothmann (1893–1983), Berlin, 1930; bought by Kurt Rohde (1882–1950), Berlin, 1930; by descent to Elisabeth Rohde (1915–2013), Berlin; her sale, Grisebach, Berlin, 3 July 2015, lot 3020; where acquired by the present owner Exhibited: Cologne, Kunsthaus Lempertz am Neumarkt, Barthel Bruyn, 1493–1555, Gesamtverzeichnis seiner Bildnisse und Altarwerke: Gedächtnisausstellung aus Anlaß seines vierhundertsten Todesjahres, June – August 1955, cat. no. 175; Darmstadt, Hessisches Landesmuseum, Der Cyriacusaltar aus St. Kunibert in Köln, 9 May – 30 June 1991, nos. 3, 12, 13; Münster, Landesmuseum für Kunst und Kulturgeschichte, on loan 1959–2015, inv. no. 1701-03LG Literature: F. Back, Großherzogliches Hessisches Landes-Museum Darmstadt. Verzeichnis der Gemälde, Darmstadt 1914, p. 38, no. 36b (as lost; only ‘Der Heilige Ewald ins Gefängnis geführt’); Wallraf-Richartz-Museum, Barthel Bruyn, 1493–1555, Gesamtverzeichnis seiner Bildnisse und Altarwerke: Gedächtnisausstellung aus Anlaß seines vierhundertsten Todesjahres, exhibition catalogue, Cologne 1955, pp. 51–52, cat. no. 175; H.-J. Tümmers, Die Altarbilder des älteren Bartholomäus Bruyn. Mit einem kritischen Katalog, Cologne 1964, pp. 92–93, nos. A111, A116, A117; G. Goldberg, G. Scheffler, Altdeutsche Gemälde. Köln und Nordwestdeutschland. Gemäldekatalog der Bayerischen Staatsgemäldesammlungen, XIV, Munich 1972, pp. 69ff.; P. Pieper, Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster. Die deutschen, niederländischen und italienischen Tafelbilder bis um 1530, Münster 1986, pp. 418–23, nos. 201–203; M. Feltes, Architektur und Landschaft als Ort christlicher Ikonographie. Eine Untersuchung zur niederrheinischen Tafelmalerei des 15. Jahrhunderts, diss. ms., Aachen 1987, pp. 292–93, 403, ill. 241; T. Jülich, in: Der Cyriacusaltar aus St. Kunibert in Köln, booklet to the exhibition in the Hessischen Landesmuseum, Darmstadt 1991, p. 22, p. 24, no. 3; p. 28, nos. 12, 13; B. Rosendahl, St. Kunibert, Cologne 1995, p. 298, ill. 15; S. Blöcker et al., Lust und Verlust II. Corpus-Band zu Kölner Gemäldesammlungen 1800–1860, Cologne 1998, cat. no. 17b, p. 36 (only Pope Marcellus ordains Cyriacus as a Deacon, as Master of the Cyriacus Altar); A. Lorenz, Westfälisches Landesmuseum für Kunst und Kulturgeschichte. Renaissance und Barock, Münster 2000, pp. 23–24 (only Saint Cyriacus is led to Prison and Saint Cyriacus refuses Idoltary) The present three panels render episodes from the life of Saint Cyriacus with a richness and vivacity that is characteristic of the accomplished hand of the Rheinish master Barthel Bruyn the Elder. Cyriacus was a Roman nobleman who converted to Christianity before being martyred during the Diocletian Persecution at the start of the fourth century AD. The panels are important to understanding the development of Bruyn’s oeuvre and have been frequently published and discussed by scholars. A first reconstruction of this altar was attempted by Horst-Johannes Tümmers in 1964, who had difficulty in interpreting the depictions as belonging to the legend of the Two Ewalds. Tümmers observed the altar’s relationship with the much larger Xanten Altar, executed between 1529 and 1534, and spoke of ‘Mannerist elements’. What is especially characteristic are the tightly fitting clothes with the bodies’ outlines shining through, the elongated thighs, and small heads. Bruyn shows a preference for profiles, swirling hems, and cold, thin colours. In regard to the altar’s iconography, Tümmers wrote that it was difficult to associate the pictures of the altar with the legend of the Two Ewalds. While the two brothers are distinguished by their white and black hair, the deacon’s hair in the paintings is always blackish brown. There are no pictures showing two brothers. If previously it was believed that the inner wings of the altar also depicted the legend of the Two Ewalds, Gissela Goldberg and Gisela Scheffler have convincingly shown that the present panels actually illustrate the legend of Saint Cyriacus. The present panel depicting the Saint blessed by Pope Marcellus is the first one of the story. The story continues on the central panel and right wing with the six paintings conserved in Munich (Bayerische Staatsgemäldesammlungen). This is then followed by the two pictures in Darmstadt (Hessisches Landesmuseum) on the lower left. The positions of the two other paintings which are offered here in the lower row of the central panel are unknown. A panel which depicted the construction of a church has been lost. When the present panels were on loan to the Westfälisches Landesmuseum in Münster, Paul Pieper, who was the director at that time, wrote in his publication about the altar’s reconstruction the following: ‘The three panels belonged to a winged altar, the reconstruction of which is not entirely certain. The altar showed three standing figures of saints on the outer sides of each wing, with Saint Ewald the Black appearing at the centre of the left wing and Saint Ewald the White appearing at the centre of the right wing, accompanied by Saints Clement and Cunibert on the left wing and Saints Nicholas and Anthony on the right wing. Between Pope Clement and the Saint Ewald the Black kneels the donor, whose banner calls upon the holy martyr Cyriacus, who does not appear on the outer wings however. With the wings open, there is a wall of about 16 images in two rows, with four images appearing on each wing and eight images of roughly equal size on the central panel – a scheme already used in the fourteenth century, for example in the Passionsaltar by the master Bertram von Minden in Hanover. The left outer wing is in Darmstadt, while the right outer wing is on the art market; of the small pictures on the inner sides, six are in Munich, two are in Darmstadt, three are on loan in Münster (the present paintings), and two were formerly in a private collection in Berlin. The whereabouts of two further paintings are presently unknown. […] ‘The pictures were part of an altar consecrated to Saint Cyriacus, which according to the last will of the estate administrator Roricus Michelbach, canon of the Basilica of St. Kunibert in Cologne, was commissioned by the latter from Barthel Bruyn the Elder in 1532. Michelbach is documented as canon of St. Kunibert between 1517 and 1529 and must have died at a point in time between January 1529 and November 1531.’ Pieper further mentions that according to Horst-Johannes Tümmers ‘this altar must already have been disassembled before 1820, its parts having been scattered among different owners. Six panels came to Munich in 1827 through the Boisserée Collection, and parts of the left wing entered the Landesmuseum Darmstadt via the Hüpsch Collection. The paintings in Münster were probably among the six panels from the legend of the Two Ewalds’ sold at auction by Lempertz in Cologne on 17 September 1877 as coming from the collection of Hugo Garthe.’ Paul Pieper’s conclusion is that the attribution to Barthel Bruyn the Elder is indisputable. The altar must have been executed shortly after 1532, and it is an early work by the painter. In 1992, Theo Jülich wrote in the booklet accompanying the exhibition in the Hessisches Landesmuseum, Darmstadt (see literature): ‘Following the suggested reconstructions, all of the pictures of the Cyriacus Altar are known except for one smaller picture […]. The scenes are painted on horizontally joined oak panels. Each of the inner wings showed four further scenes of the life of this saint, whereas the outer wings consisted of a single depiction of three saints on either side, four times as large. The wings consisted of vertically joined panels; as they were cut apart, the respective panels are considerably thinner today and contrary to the other panels show a vertical grain pattern. The individual scenes of the legend were separated by a black painted line, so that only the outer edges of each panel have a painted edge. Therefore, the sequence of the individual panels can be reconstructed with utmost certainty from the technical and iconographic findings.’ Barthel Bruyn was the great pioneer of the Cologne school of painting and was succeeded in this endeavour by his son Barthel Bruyn the Younger (1530–1607), who, like his father was noted for his refined portraits. Indeed, some of these works by, both father and son, have been confused with portraits by Hans Holbein, a testament to their quality. Altarpieces such as the present ones are characteristic of the earlier period of Barthel Bruyn the Elder’s career, when the style of his master, Jan Joest (1450–1519) is most apparent. Joest was active in Haarlem, and trained Bruyn in his workshop alongside Joos van Cleve, which may explain the brilliance and richness of Bruyn’s colouring and handling of diverse textures. The use of contrapposto in the figures in the present three panels also suggest a familiarity with the narrative compositions of Raphael and Michelangelo, which Bruyn probably knew through engravings of their works by the Italian print maker Marcantonio Raimondi. Technical analysis by Gianluca Poldi: The present works are painted over a white ground that have been applied on hardwood panels. In the panel Pope Marcellus ordains Cyriacus as a deacon, the support is thinner and made of two vertically-joined wooden boards – almost certainly oak. In the other two panels the wood fibres are horizontal however, indicating that the painter, for some unknown reason, worked on two different kinds of supports. All three paintings are characterised by an outline underdrawing, quite free, made with a brush in black ink, evidently by the same hand, that have not always been followed through in the pictorial phase. In fact, there are various notable pentiments, as in: the position of the feet of the two figures on the right in St. Cyriacus refuses idolatry, where too the base of the column has also been shortened, allowing for a better perspective of the scene. In Pope Marcellus, an object (possibly a lectern) was initially drawn on top of the altar but was then overpainted by the artist. Some revisions occur also in the architecture, testifying that in all probability the scenes were largely conceived without much foreplaning, possibly even without relying on paper drawings or perhaps only on sketches. Some hatching is also present to create shadows, as in the hat and face of the cardinal and in some of the clothes. Pigments, detected by reflectance spectroscopy, include: a quite finely grinded azurite in all the blue-based areas; lead-tin yellow; lead white; vermillion; probably both carmine-type red lake and madder lake. The green tights of the man on the right of Pope Marcellus ordains Cyriacus as a Deacon are obtained from a mixture of azurite and lead-tin yellow.
The present work depicting an unknown gentleman originates from the collection of the Frankfurt businessman, art collector and patron Georg Hartmann (1870-1954), who had strong ties to the Städelsches Kunstmuseum in Frankfurt. The work is not listed in Hildegard Westhoff-Krummacher's 1965 catalogue raissonné, but can be attributed to this artist on stylistic grounds. The piece is comparable to the portraits of Cologne patricians carried out by Bruyn and his studio in around 1530/40. Barthel Bruyn the Elder is first recorded in Cologne in 1515/16. Apart from several sojourns to the Netherlands, Cologne remained his primary place of work and his style was highly influential for the development of art in the city.
BRUYN, BARTHOLOMAEUS 1493 Lower Rhine - 1555 Cologne and workshop Title: Portrait of a wealthy Man with his Son. Technique: Oil on wood. Measurement: 47 x 35,5cm. Frame: Framed. Provenance: Private ownership, Germany. We are grateful to Roland Krischel, Cologne, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph. Explanations to the Catalogue
(Colonia, 1530 - tra il 1607 e il 1610) Crocifissione Olio su tavola, cm 32X25 Nato a Colonia e allievo del padre Arnt, dal 1547 circa lo sappiamo attivo con la bottega di famiglia nei chiostri del Karmelitenkloster di Colonia. I suoi unici dipinti firmati sono un dittico raffigurante Cristo che porta la croce e una Vanitas, che databili al 1560 sono conservati al Rheinisches Landesmuseum di Bonn. L'artista si dedicì pure al genere ritrattistico sull'esempio paterno, solitamente a mezzo busto su uno sfondo scuro, con il viso al centro e i dettagli descritti in modo chiaro, in modo particolare le mani. Nel 1555, Bruyn ereditì il laboratorio e continuì a servire la stessa clientela e lo sappiamo attivo negli affari civici di Colonia e nel 1567 fu eletto nel consiglio comunale.
BILDNIS EINES MANNES, HORN IN SEINEN HÄNDEN HALTEND Öl auf Holz, Tondo. Durchmesser: 15 cm. In quadratischem Holzrahmen. Brustbildnis des vollbärtigen Mannes nach rechts in grünlicher Landschaft mit der Silhouette eines Gebäudes auf der rechten Seite. Er trägt über seinem weißen Hemd einen roten Umhang, auf dem Kopf eine braune Kopfbedeckung und in seiner rechten Hand ein goldenes Horn. Er hat eine kräftige Nase, schmale rote Lippen und seine braunen Augen schauen rechts aus dem Bild heraus. Malerei in harmonischer Farbgebung. Minimale Retuschen. (12520910) (18)
Bartholomäus Bruyn I (Wesel or Cologne 1493-1555 Cologne) The Adoration of the Shepherds; and Saints Michael and Ursula oil on panel 35 ½ x 23 ¼ in. (90.2 x 59.1 cm.) (2)a pair
Barthel Bruyn le vieux (vers 1493 et 1553-1557), entourage de. Portraits de donateurs et leurs enfants. Paire de volets de triptyque en chêne peint. Dim: 42,2x29 cm à vue chaque. Restaurations d'usage.
ATTRIBUTED TO BARTHEL BRUYN I (WESEL 1493-1555 COLOGNE) Portrait of a lady, said to be Princess Sybille of Cleves, halflength, wearing a black costume, gold chain and an elaborate headdress, holding a book and rose bud oil on panel, laid down to panel, shaped top 19 x 14 in. (48.1 x 35.5 cm.)
Huile sur panneau "Portrait d'une dame à l'âge de 37 ans en l'an 1541". D'après Bartholomaeus Bruyn le Vieux. Par le copiste Van der Veken. Ecole belge. Epoque : XIXème. Dim.:38x27,5cm.
BARTHOLOMÄUS BRUYN THE ELDER (ATTR.) Wesel 1493 - 1555 Cologne PORTRAIT OF A MAN WITH FUR COLLAR Oil on panel, cradled. 74 cm by 49 cm. Verso: Attached to stretcher bars an old collection label of the Santa Barbara Museum of Art in California. Min. rest. Frame. Details des Sammlungsvermerks: TITLE: PORTRAIT OF A NOBLEMAN COUNTRY: Germany CLASS: Details of the collection label: BASE OR FRAME: 33 7/8 x 28 ¼ ARTIST: Bryun, Batholomeus DATES: 1493-1557 CREDIT: Gift of TITLE: PORTRAIT OF A NOBLEMAN COUNTRY: Germany CLASS: Painting MEDIUM (A): oil on cradled panel (sight) OBJECT SIZE: 24 1/2 x 18 3/4 (sight) BASE OR FRAME: 33 7/8 x 28 ¼ ARTIST: Bryun, Batholomeus DATES: 1493-1557 CREDIT: Gift of Dr. and Mrs. Miklos Rosza MUSEUM NO. 64.4 SANTA BARBARA MUSEUM OF ART 1130 STATE STREET SANTA BARBARA, CALIF.
Manner of Bartholomaus "Barthel" Bruyn the Elder (German/Cologne, 1493-1555), "Portrait of a Nobleman", oil on thin wood panel mounted on cradled board, verso with "Santa Barbara Museum of Art" label, 24-1/2" x 18-3/4". Presented in a later cove-molded gilt and ebonized carved wood frame. Provenance: Gift of Dr. and Mrs. Miklos Rozsa to Santa Barbara Museum of Art, Santa Barbara, California; Private collection, New Orleans, Louisiana.
Bruyn d. Ä., Bartholomäus 1493 - 1555 Köln, Umkreis Stifterbildnisse eines Patrizierpaares Herren- und Damenporträt. Ganzfiguren nach rechts bzw. links kniend. Auf der Rahmenrückseite des Damenporträts auf den Resten eines Klebeetiketts schwer lesbar bezeichnet. Öl auf Holz. Je ca. 118 x 66 cm. Passiger Abschluss. Min. besch. Rest. Rahmen min. besch. Der am Niederrhein geborene Bartholomäus Bruyn d. Ä. muss um 1512 seine Lehrzeit bei Jan Joest von Kalkar beendet haben und in Köln in der Werkstatt eines noch unbekannten Künstlers gearbeitet haben. Bereits 1518 wurde der junge Meister in ein bürgerliches Ehrenamt gewählt. Kurze Zeit darauf beginnt Bartholomäus Bruyn mit der Ausführung von Arbeiten für hochrangige Auftraggeber. Bruyn gilt als prägend für die Entwicklung des eigenständigen Typus des kölnisch-niederrheinischen Porträts, seine Bildnisse sind als eine Art bürgerliche Herrscherbildnisse aufzufassen. Die Auftraggeber, in der Regel gut situierte Patrizier, wie z. B. in späterer Zeit die Familie Weinsberg, präsentieren sich in kostbarer Kleidung und mit wenigen, umso wertvolleren Schmuckstücken in durchaus distanzierter Haltung. Provenienz: Fränkische Privatsammlung.
BRUYN, BARTHOLOMAEUS d. Ä. (IN DER ART, WOHL 19. JAHRHUNDERT) (Niederrhein 1493 - 1555 Köln) Porträt einer jungen Frau im Alter von 25 Jahren. Öl auf Holz. Oben links und rechts mit Bezeichnung und Datierung: AETATIS 25. Ao. 1549. 55 x 46 cm. Provenienz: Schweizer Privatbesitz. Probably 19th century, in the style of BRUYN, BARTHOLOMAEUS THE ELDER (Niederrhein 1493 - 1555 Cologne) Portrait of a young woman at the age of 25. Oil on panel. With inscription and date upper left and right: AETATIS 25. Ao. 1549. 55 x 46 cm. Provenance: Swiss private collection.
Attribution: Bartholomaeus Bruyn the Elder 1493 Wesel-1555 Cologne, Annunciation, Oil / panel oak, restored several times, about 34x23cm, frame, certificate by Bodmer 1930, painted in the tradition of the early Dutch school to van Eyck and van Weiden, fine translucent painting, high materiality, some colors enamel-like transparent construed, lighting coming from the top left modified by the angel, the relationship of angel and Mary in the movement of the Scriptures and the doveas a unit construed addressed directly Trinity, age-related good condition
Bartholomäus Bruyn the Elder, attributed to, The Ascension of Christ CertificateDr. Alfred Stange, Tutzing 1.11.1960.This painting, which can be dated to around 1520, was originally attributed to Bartholomäus Bruyn the Elder by Alfred Stange, who described the painting as a "characteristic early work" in which the young artist still orientates himself heavily towards the style of his teacher, the Master of St. Severin from Cologne. 93 x 56 cm
Bartholomäus Bruyn I (Wesel or Cologne 1493-1555 Cologne) The Adoration of the Shepherds; and Saints Michael and Ursula oil on panel 35½ x 23¼ in. (90.2 x 59.1 cm.) two (2)
Bruyn, Bartholomaeus 1493 Lower Rhine Region - 1555 Cologne - attributed Madonna Panel of a house altar. Verso polychrome and gilt. Mixed media on wood. 37 x 22,5cm. Neo-gothic gilt frame. German Text Bruyn, Bartholomaeus 1493 Niederrhein - 1555 Köln - zugeschrieben Madonnentafel eines Hausaltärchens. Rückseitig farbig gefasst und vergoldet. Mischtechnik auf Holz. 37 x 22,5cm. Neogotischer vergoldeter Rahmen.
Bartholomäus Bruyn the Younger (Cologne c.1530-1607/10) Portrait of a gentleman, half-length, with a glove and a book; and A portrait of a lady, three-quarter length, holding a prayer book with inscriptions on the upper edges, the first 'ANNO.1539.AETATIS.SVE.65.'; the second 'ANNO.1539.AETATIS.SVE.26.' oil on panel, shaped top, in an integral frame 18¼ x 13¼ in. (46.3 x 33.6 cm.), each a pair (2)
Workshop of Barthel Bruyn I (Wesel or Cologne 1493-1555 Cologne) Portrait of Goeddert Hittorp (1490-1573), aged 57, half-length, in a fur-trimmed coat and a hat, holding gloves; and Portrait of Gertrud Hittorp, aged 26, half-length, holding a flower the first inscribed and dated 'ANNO DÑI. 1547. AETATIS SVE. 57.' (upper right); the second inscribed and dated 'ANNO DÑI. 1547. AETATIS SVE. 26.' (upper left), both with coats-of-arms oil on panel, shaped tops 20 3/8 x 14 in. (51.5 x 35.6 cm.) a pair (2)
Master of the Andreas Hertwig Portrait active Silesia 2nd third of the 16th century Portrait of a man aged 25, half-length, in a black coat and hat inscribed and dated 'M.D.XLIII.DE.XX.NOVEMB[R]E/.AETATIS.XXV' (upper left) oil on panel, marouflaged 27½ x 20 in. 70 x 50.8 cm.
Barthel Bruyn I (Wesel 1493-1555 Cologne) Portrait of Gerhard von Westerburg (1486-after 1539), half-length, in a fur-trimmed mantle and a black hat dated and inscribed with the age of the sitter '1524 38' (upper left and right) oil on panel 24½ x 20 5/8 in. (62.3 x 52.4 cm.)
the former charged upper right with the coat-of-arms of the von Gail family of Oldenburg and bears inscription on the frame: DAT DEVS ADDIT TEMPVS ET SEOVITVR AETAS./ ANNO 1560. AETATIS SVAE 26 the latter charged upper left with the coat-of-arms of the von Wedigh family of Westphalia, ennobled in 1503, and bears inscription on the frame: DAT DEVS ADDIT TEMPVS ET SEOVITVR AETAS./ ANNO 1565 AETATIS SVAE 21 a pair, both oil on panel, shaped top, in their original frames Quantity: 2
BRUYN, BARTHOLOMÄUS I (Wesel 1493 - 1555 Cologne), workshop Portrait of a noble lady. Circa 1535. Oil on panel. 55.5 x 41.3 cm. Our thanks to Ludwig Meyer, Art Historical Archive, Munich for this attribution based on a photograph. BRUYN, BARTHOLOMÄUS I (Wesel 1493 - 1555 Köln), Werkstatt Bildnis einer Edeldame. Um 1535. Öl auf Holz. 55,5 x 41,3 cm.
Workshop of Barthel Bruyn (Wesel or Cologne 1493-1555 Cologne) Portrait of Goeddert Hittorp (1490-1573), aged 57, half-length, in a fur-trimmed coat and a hat, holding gloves; and Portrait of Gertrud Hittorp, aged 26, half-length, in a head-dress, holding a flower the first inscribed and dated 'ANNO DÑI. 1547. AETATIS SVE. 57.' (upper right); the second inscribed and dated 'ANNO DÑI. 1547. AETATIS SVE. 26.' (upper left), both with coats-of-arms oil on panel, shaped tops 20 3/8 x 14 in. (51.5 x 35.6 cm.) a pair (2)
PROPERTY FROM A EUROPEAN FAMILY OF TITLE A TRIPTYCH REPRESENTING THE CRUCIFIXION, FLANKED BY THE AGONY IN THE GARDEN AND THE RESURRECTION, WITH SCENES FROM THE PASSION BEYOND A TRIPTYCH REPRESENTING THE CRUCIFIXION, FLANKED BY THE AGONY IN THE GARDEN AND THE RESURRECTION, WITH SCENES FROM THE PASSION BEYOND measurements note central panel: 100.5 by 66.8 cm.; 39 1/2 by 26 1/4 in. wings (each): 103 by 31cm.; 40 1/2 by 12 1/4 in. overall (including frame): 112 by 156.5 cm.; 44 by 61 1/2 in. oil on oak panel, in a partially engaged (and possibly original) frame PROVENANCE Don Juan Manuel Manzanedo y González, Primer Marqués de Manzanedo, y Primer Duque de Santoña (created Marques in 1864); By descent to Don Juan Manuel Mitjans y Domecq, Marqués de Manzanedo y de Santurce, y Duque de Santoña (b. 1951); Thence by descent to the present owners. NOTE Traditionally attributed to Hugo van der Goes, this hitherto unrecorded altarpiece has only recently been correctly identified as an early work by Bartholomäus (or Barthel) Bruyn the Elder, the leading painter working in Cologne during the first half of the 16th Century. The work can be dated circa 1515-20 by comparison with a similar triptych by the artist representing The Crucifixion, flanked by Saint Agnes and a Bishop Saint, today in the Alte Pinakothek, Munich (see Fig. 1).1 Both altarpieces share numerous affinities, most strikingly in the disposition of the Christ figure on the cross, the pose of the Virgin, the arrangement of the landscape, and the detailed treatment of the skull, stones and foliage in the immediate foreground. In his 1964 monograph on the altarpieces of Barthel Bruyn, Horst-Johs Tümmers dates the Munich altarpiece, on stylistic grounds, to relatively early within Bruyn's career, circa 1515-20; a likely dating for the present work.2 Bruyn's surviving oeuvre reveals a coherent and distinctive stylistic development throughout the artist's career. His earliest works date from around 1512 and during the formative years 1512-15 his style underwent a rapid transformation, emerging from the pictorial tradition of the local Cologne school (in particular the work of the Master of Saint Severin, to whom Bruyn is believed to have been apprenticed) to a greater dependence on the Netherlandish tradition, known directly to Bruyn through the work of Jan Joest (an artist from the Lower Rhine -- probably Calcar -- but who worked in Haarlem and Brussels during the early 16th century), who is recorded as either father-in-law or brother-in-law to the younger artist. Although the exaggerated gestures and (in some cases) distinctly Germanic features of the soldiers and apostles within the wings of the present altarpiece find parallels with works by Bruyn from this initial phase of his production,3 the triptych reveals a greater sophistication in the depiction of form and spatial setting from the artist's works prior to 1515 and also seemingly slightly post-dates his first documented altarpiece (painted for Dr. Pieter von Clapis, law professor at the University of Cologne), representing The Coronation of the Virgin, which dates from 1515-16 and is today in a private collection, Germany.4 As displayed in the Munich, Von Clapis and present altarpiece, works from this point of the artist's production (circa 1515-20) are characterised by the use of large blocks of primary colours and the placement of the figures across the front of the picture plane, positioned before a landscape that functions primarily as a backdrop to the protagonists rather than a spatial setting within which the narrative unfolds. By the time Bruyn received his key commission to paint the high altar of Essen Cathedral, granted in 1522 (although final payment was not made until 1525), this one-dimensional use of the picture plane had already given way to a more sophisticated use of perspective, in which the artist positions the figures deeper within the picture plane, thereby linking the narrative from the foreground through to the distance with greater harmony and effect.5 The Essen altarpiece also reveals a stylistic evolution beyond that of the present work, characterised as it is by the profound influence of the work of Joos van Cleve on Bruyn's style, which came into effect from the 1520s onwards, and is chiefly manifested in the adoption of classicizing ornamentation to the architecture, the depiction of more elaborate draperies and a greater characterisation of the facial types than in our altarpiece and other works by the artist produced prior to 1520. In turn, this Antwerp-derived phase of the artist's production would subsequently give way from the 1530s onwards to Bruyn's assimilation of the work of the leading painters of the Italian High Renaissance, in particular Raphael and Michelangelo, known to him at second hand through the prints of Marcantonio Raimondi and the work of Romanist painters Jan van Scorel and Martin van Heemskerck, which dominated his style up until his death in 1555. Bruyn's reputation as the pre-eminent painter in Cologne was built upon his remarkable skill as a painter of altarpieces and his establishment of an important tradition of portraiture in Cologne (where no portrait tradition had prior existed), which would continue through until the end of the 16th century through the work of his son Bartholomäus Bruyn the Younger. One of only three surviving triptychs by Bruyn from around 1515-20, the present work constitutes an important new discovery and a significant addition to the artist's oeuvre. 1. See G. Goldberg & G. Scheffler, Bayerische Staatsgemäldesammlungen Alte Pinakothek, Münich, Altdeutsche Gemälde, Munich 1972, vol. XIV, pp. 44-49, reproduced fig. 162-64. 2. See H.-J. Tümmers, Die Altarbilder des Alteren Bartholomäus Bruyn, Cologne 1964, p. 60, nos. A29-A33, reproduced p. 162. 3. For example, compare Bruyn's painting of The Resurrection, datable circa 1512-15, for which see Tümmers, op. cit., pp. 50-51, no. A10, reproduced p. 150. 4. Tümmers, op. cit., pp. 48-49, nos. A4-A6, reproduced p. 148. 5. See Tümmers, ibid., pp. 64-69, nos. A40-43, reproduced pp. 165-175.
Portrait of Maria Pastoir, n‚e Unverdorben, aged 30, three-quarter-length, in a black dress and white headdress with a jewelled belt, a pink in her right hand inscribed and dated 'ANNO DNI.1544./æTATIS SVE. 30.' (upper left) oil on panel, upper corners made up 173/4 x 13 7/8 in. (45.1 x 35.3 cm.) PROVENANCE Grand Duchess Olga of Russia (1822-1892), wife of King Charles I of Wurttemberg (1823-1891), by whom bequeathed to P. von Baldinger, Stuttgart. With Steinmeyer, Paris, 1914. M. van Gelder, Chateau Zeecrabbe, Uccle. Dr. Hans Wetzlar; Sotheby Mak van Waay, Amsterdam, 9 June 1977, lot 92 (to Dreesmann). Dr Anton C.R. Dreesmann (inventory no. A-23). LITERATURE A. Woltmann, Holbein und seine Zeit, Leipzig, 1844, II, p. 348. Catalogue of the Van Gelder collection, II, no. 135. H. Westhoff-Krummacher, Barthel Bruyn der Žltere als Bildnismaler, Munich, 1965, pp. 131-2, no. 49, illustrated p. 133. EXHIBITION Laren, Singer Museum, De Kunst van het Verzamelen, 1966, no. 10. NOTES The sitter was the daughter of Ratsherr (Councillor) Heinrich Unverdorben and Gertrude Kikius; born in 1493 (despite the inscription, which may have been altered, see Westhoff-Krummacher, loc. cit. ), she was still alive by 1577. Her husband, Johannes Pastoir (1506-c. 1568) was Schultheiss (Mayor) of Deutz, on the outskirts of Cologne; the couple lived in the Budengasse. Maria's portrait was originally painted as a pendant to that of her husband (fig. a; formerly in the Galerie fr alte Kunst, Gr„feling, Munich), and the shaped top of the latter portrait would presumably have been mirrored by the original shape of the present picture. The artist was one of the leading artists of sixteenth-century Cologne; he founded an important school of portraiture in the city, which had, until then, no indigenous tradition in that field. His portraits, mostly of the patrician citizens of Cologne - mayors, public officials, businessmen and scholars - are lively and expressive, painted without flattery or idealism; the present picture is a good example of that honest, yet respectful treatment with which Bruyn portrayed his fellow citizens - an attitude that was perhaps unsurprising given that Bruyn was himself active in Cologne's civic affairs, elected in 1549 and 1553 to the City Council. His portraits were worked up from preliminary sketches, often taken in a single sitting, of which a few survive, including six in the Louvre, Paris (see Westhoff-Krummacher, op. cit., pp. 186-193). The majority of his sitters are, like the present picture, placed waist-length against a green or blue background, although occasionally he included drapery, architectural elements or a landscape, as in the Portrait of Arnold von Brauweiler, Mayor of Cologne of 1535 (Cologne, Wallraf-Richartz-Museum).
Portraits of a gentleman and his wife, both half-length: he, aged 44, behind a wooden ledge, in a fur-lined black coat and a black hat, a letter in his left hand and gloves in his right; she, aged 42, in a black coat with an embroidered belt and a white headdress, holding a book. both inscribed and dated, the first 'ANNO.1535 AETATIS.44', the second 'ANNO 1535. AETATIS.42' (both upper center) oil on panel, shaped tops 22 5/8 x 16 in. (57.3 x 40.7 cm.) a pair (2) PROVENANCE Carl Salomonsen; sale, Winkel & Magnussen, Copenhagen, 1944, lot 16.
