Peter Candid Paintings & Artwork for Sale | Peter Candid Art Value Price Guide

May. 16, 2024
Peter de Witte the Elder (Peter Candid), attributed to, Study for a Mythological Scene (Venus mourning Adonis?)
Est: €1,400 - €1,800
This sketch could be an initial idea for an interior design, an artistic field in which Candid was active, particularly for the Munich Residence.
Kunsthaus Lempertz KG
Feb. 21, 2024
Pieter de Witte, detto Pietro Candido (Bruges 1548 - Monaco 1628), Coppia di olii su rame Raffiguranti A) Annunciazione B) Martirio di Santa Caterina d'Alessandria
Est: €2,100 - €4,200
Pieter de Witte, detto Pietro Candido (Bruges 1548 - Monaco 1628), Coppia di olii su rame Raffiguranti A) Annunciazione B) Martirio di Santa Caterina d'Alessandria cm 30,5x31
Casa D'aste Guidoriccio
Jun. 28, 2023
PIETER DE WITTE detto PIETRO CANDIDO (attr. a)
Est: €1,500 - €2,500
(Bruges, 1548 ; Monaco, 1628) Ultima Cena Olio su tavola, cm 41,5X74,5 La tavola rivela la mano di un pittore nordeuropeo con affinità alla cultura italianizzante cinquecentesca. Nel nostro caso osserviamo una stesura preziosa dalle tonalità brillanti. Le evidenti influenze della pittura manierista, combinate ad un ductus nordico, accreditano l'attribuzione del dipinto a Pieter de Witte. L'artista anche fuscultore e architetto, accademico delle Arti e discepolo di Giorgio Vasari, con il quale collaborò a diverse commissioni per i Medici e lavorò alla cupola di Santa Maria dei Fiore. Dopo un breve soggiorno a Roma, si trasferì a Volterra dove dipinse pale d'altare per il Duomo e per varie chiese del circondario, per poi raggiungere Monaco nel 1586 divenendo pittore di corte di Guglielmo V prima e di Massimiliano I poi, fino alla sua morte nel 1628.
Wannenes Art Auctions
Jun. 16, 2023
Candid, Peter
Est: €500 - €800
Candid, Peter (um 1548-1628), Nachfolge. Kirchliche Würdenträger in ihren Ornaten. 2 Bll. Zeichnungen. Farbige Tuschen, je zwei Figuren, am Unterrand altbezeichnet: Der Pabst, Ein Cardinal, Ein Patriarch, Ein Bischof. Wz. Reichscanzlei (ein Blatt) u. Schiff (ein Blatt). 17./18.Jh. 22:17 u. 22:16,5 cm. Auf dünnes Papier geheftet. – Kanzleipapier hat sich spätestens im ersten Viertel des 17.Jhs. eingeführt, vgl. Weiss, S. 42 f., mit Nachweis für 1623 anhand der Sächsischen Taxordnung. – Provenienz: Vorbildersammlung Tiroler Glasmalerei-Anstalt, Innsbruck; beiliegend Geschäftskarte, Adressen Innsbruck und Wien, sowie Mariendarstellung, Fotografie mit Stempel der Tiroler Glasmalerei.
Schneider-Henn
May. 25, 2023
Peter Candid (Um 1548 Brügge - München 1628) – Euterpe (Euterpe)
Est: €4,000 - €5,000
Pen in black and grey, grey wash, highlighted in white and squared in red chalk, on brownish laid paper, older mounting. (Around 1603). Inscribed: "DVLCILOQVIS / CALAMOS / EVTERPE / FLATIBVS / VRGET" (Euterpe entices a melodious breath from the flute) lower centre. Inscribed "22" in the corner lower left. With remnants of a margin line in black pen.
Karl & Faber
May. 18, 2023
Peter de Witte "Peter Candid" (Bruges, 1540/48 - Munich, 1628) "The Last Supper"
Est: €40,000 - €50,000
Peter de Witte "Peter Candid" (Bruges, 1540/48 - Munich, 1628) "The Last Supper" Oil on panel 92 x 143 cm 40.000 - 50.000 € With export permit within the European Economic Community There is a Johannes Sadeler's engraving after the painting of the Flemish painter Pieter de Witte (also known in Italy as Pietro Candido) that has enabled to identify at least four versions of it, being this painting auctioned the original one. Bibliography: OLLERO BUTLER, Jacobo "Algunas novedades acerca de la pintura flamenca del Siglo XVI en España: Pieter de Witte y Denis Calvaert" Universidad Autónoma de Madrid. Anuario del Departamento de Historia y Teoría del Arte, Vol. III, 1991
Greco Subastas
Mar. 30, 2023
Peter Candid, 1548 Brügge – 1628 München, Nachfolge des
Est: €5,800 - €7,000
ANBETUNG DER HIRTEN Öl auf Leinwand. Doubliert. 100 x 133 cm. In vergoldetem ornamental verziertem Rahmen. Pyramidale Komposition der sitzenden Maria im Zentrum mit dem Jesuskind auf ihrem Schoß den Johannesknaben segnend, der seinen Kreuzstab in Händen hält. Flankiert von Josef und einem Hirten. Die Komposition orientiert sich unter anderem an Werken des Antonio Solario. Leinwand im unteren Bilddrittel mit Horizontalnaht. (1351684) (13)
Hampel Fine Art Auctions
Mar. 31, 2022
Peter Candid, (follower of) - Representation of the month of April: the falconry
Est: €4,000 - €6,000
Oil on canvas. 94 x 98 cm. Relined. Restored. Minor damage. Minor damage to frame (105.5 x 110.5 cm). Literature: Volk-Knüttel, Brigitte, Wandteppiche für den Münchener Hof nach Entwürfen von Peter Candid. Munich - Berlin 1976, page 84, illustration 13 (the painting from the Weinmüller auction, classified as circle of Candid \"Candid-Umkreis\") and page 140 f., catalogue number 37 with illustrations 120, 121 (the tapestry showing the month of April).
Neumeister
Mar. 12, 2022
PIETER (PETER) DE WITTE (AUCH CANDID) (SCHULE) DAS LETZTE ABENDMAHL
Est: €2,400 - €4,800
PIETER (PETER) DE WITTE (ALSO CANDID) (SCHOOL) c. 1548 Bruges - 1628 Munich THE LAST SUPPER Oil on canvas (relined). 104 x 185 cm. Part. old rest., old retouching. Provenance: International collection. PIETER (PETER) DE WITTE (AUCH CANDID) (SCHULE) Um 1548 Brügge - 1628 München DAS LETZTE ABENDMAHL Öl auf Leinwand (doubl.). 104 x 185 cm. Part. altrest., Altretuschen. Provenienz: Internationaler Sammlungsbesitz.
Hargesheimer Kunstauktionen Düsseldorf
Oct. 16, 2021
Candid, Peter nach
Est: €340 - €500
(1548 Brügge - München 1628). Allegorien der 4 Jahreszeiten (sehr seltene, prächtige Folge) und Tag/Nacht. 6 Kupferstiche von C. G. v. Amling. 1698-1700. Jwls. 28,7 x 16,4 cm. Dies, Nox, Ver, Aestas, Autumnus, Hiems. - ╔Dabei╗: Aestas. bis zum Plattenrand beschn. R
Kiefer Buch- und Kunstauktionen
Jun. 17, 2021
DE WITTE PIETER (1548 - 1628) Martyrdom of Saint Ursula.
Est: €1,500 - €2,500
DE WITTE PIETER (1548 - 1628). Martyrdom of Saint Ursula.. Stamp on the bottom right. Preparatory drawing for the painting of the church of San Michele in Monaco. Bibliography: Drawing as the genesis of painting, Edifir Edizioni, Firenze, 2004, p. 62. . Cm 20,00 x 28,50.
Capitolium Art
Mar. 18, 2021
PIETER DE WITTE dettoÂ PIETRO CANDIDOÂ (attr. a)
Est: €3,000 - €5,000
(Bruges, 1548 - Monaco, 1628) San Paolo Olio su tela, cm 44X32,5 La tela rivela la mano di un pittore nordeuropeo con affinità alla cultura italianizzante e cinquecentesca. Nel nostro caso osserviamo una stesura preziosa dalle tonalità brillanti e sorprendono, a esempio, gli occhi cerulei del Santo. Le evidenti influenze della pittura manierista, combinate ad un ductus nordico, accreditano l'attribuzione del dipinto a Pieter de Witte.
Wannenes Art Auctions
Nov. 27, 2020
Papst Gregor der Große
Est: €2,100 - €2,600
Öl / Lwd. 99 x 70,5 cm Rest., doubliert, Craquelé. Rückseitig auf altem Klebezettel bez. "No: 13 Pe: Candit" sowie Reste einer Seite wohl aus einem deutschen Versteigerungskatalog. Rahmen Provenienz: Lempertz, Köln, Alte Kunst-Auktion 23.11.1996, Los Nr. 1016.
Scheublein Art & Auktionen
Jun. 30, 2020
Pieter de Witte detto Pietro il Candido (Bruges 1548 - Monaco 1628), San Paolo
Est: €30,000 - €40,000
olio su tela, cm 275x182 datato 1585 sul basamento del tavolino, La tela, di notevoli dimensioni e di grande impatto, appare senz’altro il frutto di una pittura colta e sofisticata. Datata 1585, si affilia di tutto punto al clima intellettuale di fine Cinquecento e alle formule ricercate del tardo Manierismo, sistemandosi con una certa agevolezza nel catalogo del fiammingo, naturalizzato italiano, Peter de Witte, meglio noto come Pietro Candido. Cresciuto nella capitale del granducato mediceo dove si era trasferito insieme al padre arazziere, Pietro di Elia de Witte, Pietro Candido debuttò a Volterra nel 1578 con la pala, firmata e datata, dipinta per la cattedrale su commissione del capitano fiorentino Francesco Giorgi. L’opera, un esempio di precoce eclettismo, già lascia trasparire quelle doti di attento ed estroso assimilatore che ne caratterizzeranno l’intera produzione, ben manifeste anche nel nostro esemplare. Nel 1582 Candido raggiunse Roma, secondo la testimonianza del Van Mander, in compagnia del Vasari che affiancò sul cantiere vaticano della Sala Regia e poi ancora, rientrato a Firenze l’anno successivo, sulla cupola di Santa Maria del Fiore. Sebbene non ci siano pervenute prove documentarie ad avvalorare tale collaborazione, è certo che l’aretino dovette esercitare sul nostro artista grande fascinazione e imprimersi come un marchio a fuoco sul suo immaginario. Nel dipinto in esame, San Paolo, inquadrato entro una nicchia semicircolare, si staglia trionfante contro un fondale architettonico che acquisisce profondità grazie alla pavimentazione a scacchiera. Sulla sinistra, dietro un’elegante savonarola, spicca l’attributo immancabile della spada che ricorda l’antefatto della sua attività di persecutore prima della miracolosa conversione avvenuta sulla via di Damasco. Dalla parte opposta, un tavolino basso si sorregge su un raffinato basamento d’oro a mo’ di figura stilofora alata. Il santo è drappeggiato nei suoi colori tradizionali, il verde e il rosso, e indossa preziosi calzari. Candido si muove con disinvoltura tra continui rimandi alla grande tradizione umanistico-rinascimentale, attingendo ad una ricca esperienza figurativa saggiata durante il suo tirocinio romano, e consolidata a Firenze sugli esempi dei colleghi toscani, uno fra tutti Alessandro Allori, cui si rifanno gli accostamenti tonali audaci e la tavolozza cangiante. Chiari retaggi della sua permanenza nell’Urbe si colgono negli esiti michelangioleschi della figura che non si risparmia alcune citazioni letterarie piuttosto smaccate. Nell’attitudine della posa riecheggia senza difficoltà il Platone raffaellesco che nella “Scuola di Atene” punta l’indice alzato verso il mondo delle idee, nella tela qui oggetto di studio, divenuto, per effetto di quell’eterno e necessario dialogo che si instaura nel Cinquecento tra Antico e Moderno, il Regno dei Cieli. Anche l’intenso e acuto psicologismo dell’espressione omaggia i risultati della scultura rinascimentale maestra e le invenzioni marmoree del Buonaroti: impossibile non cogliere il rimando al suo “Mosé” di San Pietro in Vincoli, il volto contratto e la lunga barba divisa in treccioline ordinate. È noto come il nostro artista si cimentasse a modellare la creta con una certa abilità per studiare le anatomie e mettere a punto l’articolazione dei panneggi. Non è un caso che qui riesca nel suo intento di esaltare il vigoroso modellato plastico dei volumi. Con una gamba San Paolo incede nel tipico contrapposto della statuaria antica mentre il panneggio ne simula il virtuosistico effetto bagnato. L’ipotesi attributiva sin qui avanzata tramite speculazioni di natura stilistica sembra trovare conforto nella data -1585- fissata dall’autore sul basamento del tavolino. E in effetti, all’interno del corpus dell’artista fiammingo, l’opera trova convincente collocazione ad esperienza romana già compiuta, nell’alveo dell’ultima parentesi fiorentina. Candido lasciò l’Italia alla volta di Monaco di Baviera nel 1586 per prendere servizio presso la corte ducale. Ci piace credere che, estremo testamento di quella brillante carriera italiana, il “valente giovane alevato in Fiorenza” si sia congedato dalla sua terra adottiva con il nostro San Paolo, ormai pronto ad esportare in Germania il prodotto del Manierismo nostrano.
Cambi Casa d'Aste
Dec. 10, 2019
ARCHÉOLOGIE
Est: €900 - €1,200
Statuette munie d'une anse représentant une "Jeune femme au drapé" en terre cuite et argile blanche. Travail de la Grande Grèce, Canosa (Pouilles). Epoque: IVème - IIIème siècle avant Jésus-Christ. (On y joint un certificat d'André De Munter daté de 2003 et portant le cachet du greffier F. Coene N. à Bruxelles). H.:30,5cm.
Vanderkindere
Oct. 19, 2019
Follower of CANDID, Peter Saint Francis in prayer. [Munich] c. 1600 Drawing
Est: €100 - €120
Follower of CANDID, Peter Saint Francis in prayer. [Munich] c. 1600 Drawing, pen and black ink, brown and yellow wash, heightened with white, 38,6 x 23,5 cm, yellow prepared paper with watermark, unsigned (borders repaired, large horiz. folding crease at centre, some spots and stains, lead white partly oxidized, small hole in lower right corner). The overall composition and technique of this drawing of a kneeling St Francis comes close to attributed drawings by Peter Candid, also known as Peter de Witte (1546-1628), was an artist born in Bruges and who worked most of his life at the court of Munich. In particular a drawing with "St Wilhelm kneeling before the Virgin and Child", now in a private collection, shows a similar composition and rendering of volume and shade. The execution of the present drawing, however, is less dynamic. Ref. T. Vignau-Wilberg, "In Europa zu Hause - Niedeländer in München um 1600", München 2006, no. C26.
Arenberg Auctions
Jun. 25, 2019
Peter de Witte "Peter Candid" (Bruges, 1540/48 - Munich, 1628) "The Last Supper"
Est: -
Peter de Witte "Peter Candid" (Bruges, 1540/48 - Munich, 1628) "The Last Supper" Oil on canvas 92 x 143 cm 60.000 - 70.000 € With export permit within the European Economic Community There is a Johannes Sadeler's engraving after the painting of the Flemish painter Pieter de Witte (also known in Italy as Pietro Candido) that has enabled to identify at least four versions of it, being this painting auctioned the original one. Bibliography: OLLERO BUTLER, Jacobo "Algunas novedades acerca de la pintura flamenca del Siglo XVI en España: Pieter de Witte y Denis Calvaert" Universidad Autónoma de Madrid. Anuario del Departamento de Historia y Teoría del Arte, Vol. III, 1991
Goya Subastas
Nov. 14, 2018
Pieter de Witte, known as Pietro Candido (Bruges, 1548 - Munich, 1628)
Est: €5,000 - €7,000
Pieter de Witte, known as Pietro Candido (Bruges, 1548 - Munich, 1628), attributed to Christ Child adored by sheperds Oil on copper, cm. 21x27. Framed The painting is accompanied by an expertise by Dr. Emilio Negro.
Bertolami Fine Art s.r.l.
Mar. 03, 2018
Frans Floris Engraving Titled "Gesta Romanarum" 1558
Est: $4,200 - $7,800
Very Rare 16th Century Original Engraving of Flemish old master Frans Floris de Vriendt (1516 - 1570)(Frans Floris the Elder) work known as "Gesta Romanarum" | Description: Engraving: The dead King and his sons; a naked bearded man tied to a tree and shot with an arrow with a group of figures before him; one of the figures has a quiver of arrows and bow; a man converses with a bearded elder who gestures with his finger; by Frans Floris Print made by: Balthasar van den Bos; After: Frans Floris; Published by: Jacob Spenckhuysen (Spinchusius); School/style: Netherlandish; Date: 1558; Materials: Paper; Technique: Engraving; Approx. Dimensions: Height: 14.96 inches; 380 millimetres; Width: 17.7 inches; 450 millimetres; Inscription Content: Lettered on a rock at left "Francis Florus / inventor / Beltha'silvi' fecit". Below "Jacobus Spinchusius / excudebat / 1558". Below left in a cartouche ten lines of text "De vader met zÿn twee sonnen ... harten / GESTA ROM CAP XV"; Bibliography: Van de Velde 1975 142; Hollstein 16; New Hollstein (Dutch & Flemish) 160 (Frans Floris); Associated Title: Gesta Romanarum; Biography of Artist: Frans Floris, Frans Floris the Elder or Frans Floris de Vriendt (1517 – 1 October 1570) was a Flemish painter mainly known for his history paintings and portraits. He played an important role in the movement in Northern Renaissance painting referred to as Romanism. The Romanists had typically travelled to Italy to study the works of leading Italian High Renaissance artists such as Michelangelo, Raphael and their followers. Their art assimilated these Italian influences into the Northern painting tradition; Condition: Slightly trimmed within plate mark. Has losses at edges and a repaired tear. Has been mounted.
Worthington Galleries
Dec. 03, 2017
Peter De Witte The Elder (Peter Candid) Oil Painting Entitled ” The Annunciation” (Attr.)
Est: $2,500 - $7,500
Large 17th Century Oil Painting attributed to Old Master Peter De Witte The Elder (Peter Candid) (1548 – 1628) or the School / Circle of Peter Candid | Era: 17th Century | Entitled: "The Annunciation" | Style: Classical/Baroque | Framed | Dimensions: 37 x 45 Inches (Image Only); 41" x 49" (With Frame) | Peter Candid also known as Peter de Witte (other name variations: Peter de Wit, Pieter de Witte, Peter Candido, Pietro Candido) (c. 1548 – 1628) was a Flemish-born Mannerist painter, tapestry designer and draughtsman active in Italy and Bavaria where he worked for many courts. Candid was the teacher of Johann Ulrich Loth (Munich, Germany). Peter Candid died in Munich, Germany in 1628. Regarding the attribution of this painting - Some have suggested that the painting, if not painted by Candid, may be by his Pupil Johann Ulrich Loth (1590 – 1662) or Johann Ulrich’s son Johann Carl Loth (1632 – 1698).
Worthington Galleries
Oct. 11, 2017
"L'Ascension", plume d'encre sanguine et lavis d'encre grise sur papier col
Est: €2,500 - €3,500
"L'Ascension", plume d'encre sanguine et lavis d'encre grise sur papier collé en plein. Par Pieter de Witte dit Peter Candid. Ecole flamande. (* et **). Dim.:298x190cm.
Vanderkindere
Apr. 27, 2017
ATTRIBUTED TO PIETER DE WITTE, - CALLED PIETRO CANDIDO
Est: $50,000 - $70,000
ATTRIBUTED TO PIETER DE WITTE, CALLED PIETRO CANDIDO (BRUGES C. 1548-1628 MUNICH) The Rest on the Flight into Egypt oil on canvas 29 5/8 x 38 3/4 in. (75.3 x 98.4 cm.)
Christie's
Mar. 08, 2016
Peter Candid de Witte (1548-1628)-manner, Madonna with the sleeping Jesus a
Est: €1,800 - €2,800
Peter Candid de Witte (1548-1628)-manner, Madonna with the sleeping Jesus and Saint John surrounded by two angels holding a green carpet; oil on wooden panel. 113x86,5cm
Deutsch Auktionen
Jan. 22, 2016
School of Pieter de Witte, the Elder, also known as Peter Candid (Dutch, 1548-1628), Christ Receiving the Children, Unsigned, identifie
Est: $4,000 - $6,000
School of Pieter de Witte, the Elder, also known as Peter Candid (Dutch, 1548-1628) Christ Receiving the Children Unsigned, identified on a label from the Museum of Fine Arts, Boston, affixed to the reverse, and with a label from Doll & Richards, Boston, affixed to the frame. Oil on panel, 21 1/4 x 16 3/4 in. (54.0 x 42.5 cm), framed. Condition: Retouch, possible skinning, fine stable craquelure, high gloss varnish, surface grime. Provenance: A Massachusetts estate. N.B. Museum of Fine Arts records show that Maxim Karolik lent this painting to the museum on October 2, 1945. It was returned to his estate on March 24, 1964. Peter CANDID (1548-1628) Pieter DE WITTE , Pietro CANDIDO PHOTOS sent to MFA for provenance information and to Jim Welu for review.
Skinner
Sep. 24, 2015
Pietro Candido, 1548 Brügge - 1628 München, zug.
Est: €2,000 - €3,000
Pietro Candido, 1548 Brügge - 1628 München, zug. NOLI ME TANGERE Öl auf Leinwand. Doubliert. 66 x 48 cm. Gerahmt. Die Darstellung der Begegnung zwischen dem auferstandenen Christus und Maria Magdalena folgt einem Bildentwurf von Bartholomeus Spranger, der die beiden Figuren in Halbfigurenansicht in einer weiten Landschaft nah an den Betrachter gerückt hat und so zu diesem eine unmittelbare Nähe herstellt. Das Gemälde von Spranger (1546 - 1611) befindet sich im Nationalmuseum von Rumänien, Bukarest. (1010476) (12) Pietro Candido, 1548 Bruges - 1628 Munich, attributed NOLI ME TANGERE Oil on canvas. Relined. 66 x 48 cm.
Hampel Fine Art Auctions
May. 29, 2015
Candid, Pieter - zugeschrieben: um 1600. Die Madonna in Anbetung
Est: €1,500 - €1,800
zugeschrieben. Die Madonna in Anbetung. Feder in Braun und Weiß, braun laviert, auf braun grundiertem Papier. 15,5 x 10,3 cm. Links oben mit Feder in Braun paginiert "10". Die Zeichnung entspricht stilistisch vollkommen den Skizzenblättern Peter Candids. - Provenienz: Süddeutsche Privatsammlung.
Bassenge Auctions
May. 16, 2013
Attribué à Pieter de WITTE dit Pietro CANDIDO (vers 1548 - 1628) Les pèlerins d’Emmaüs, d’après Pontormo Crayon noir et lavis brun ...
Est: €1,000 - €1,200
Attribué à Pieter de WITTE dit Pietro CANDIDO (vers 1548 - 1628) Les pèlerins d’Emmaüs, d’après Pontormo Crayon noir et lavis brun 35 x 24 cm Collé en plein, taches, petites déchirures sur les bords Le tableau est conservé à la Galerie des Offices Provenance : Vente anonyme, Paris, Hôtel Drouot, Maitres Ader-Picard-Tajan, le 16 mars 1990, n°22, repr.
Tajan
Nov. 16, 2012
Candid, Peter ('Pieter de Witte') 1548 Bruges -
Est: €4,500 - €5,000
Candid, Peter ('Pieter de Witte') 1548 Bruges - 1628 Munich - artist's school Allegory of Summer. Oil on canvas. Relined. 102 x 131cm. German Text Candid, Peter ('Pieter de Witte') 1548 Brügge - 1628 München - Schule Allegorie des Sommers. Öl auf Leinwand. Doubliert. 102 x 131cm.
Van Ham Kunstauktionen
Dec. 09, 2011
Peter Candid, 1548 - 1628, zug./ Werkstatt des
Est: €6,000 - €8,000
ALLEGORIE DER EITELKEIT Öl auf Weichholz. 41 x 28 cm. Die als schöne, junge Frau dargestellte allegorische Gestalt der Eitelkeit in Dreiviertelfigur nach links stehend, hält einen Handspiegel in der rechten Hand, das Gelenk und der Daumen von einer Schlange umringelt. Stolz trägt sie das blaue, ihre Figur betonende Mieder mit goldener Spange und steinbesetztem Gürtel, der rötlich schimmernde, helle Seidenrock mit der linken Hand seitlich hochgezogen, in knittrige Falten gelegt, ein Umhang an den Ärmeln geschlitzt, mit Fransen dekoriert, innen grün gefüttert. Im goldbraunen, lockigen Haar ein Lorbeerkranz - auch auf die Eitelkeit des Ruhms bezogen - während an der Kopfhinterseite die Wahrheit verratende, alte Frauenmaske angebracht ist, die beiden Gesichter durch eine rote Bind getrennt, darüber eine Perlenkette. Trockener, spröder Farbauftrag, ganz im Zeitstil der süddeutschen, manieristischen Spätrenaissance, die Farbigkeit, insbesondere der changierenden Rot- und Gelbtöne im Kleid, sind in der süddeutschen Malerei im Kreis von Peter Candid von den italienischen Malern wie Rosso Fiorentino und anderen hergeleitet worden. Das Gemälde in tadelloser Erhaltung. Verso original braun-grau bemalt (um Spannungen zu vermeiden). Kaum merklicher, senkrechter Schwundriss im linken Teil der Holzplatte. (842135)
Hampel Fine Art Auctions
Jan. 26, 2011
Attributed to Pieter de Witte, called Peter Candid (Bruges c. 1548-1628 Munich)
Est: $80,000 - $120,000
Attributed to Pieter de Witte, called Peter Candid (Bruges c. 1548-1628 Munich) The Annunciation oil on panel 91¼ x 68¼ in. (231.8 x 173.3 cm.)
Christie's
Jan. 11, 2011
Circle of Pieter de Witte, called Pietro Candido (Bruges 1540/8-1628 Munich)
Est: £700 - £1,000
Circle of Pieter de Witte, called Pietro Candido (Bruges 1540/8-1628 Munich) Study of a kneeling angel indistinctly inscribed '**ien' (lower left) red chalk, unframed 9¼ x 6¾ in. (23.5 x 17.2 cm.)
Christie's
Jul. 07, 2010
Pieter de Witte, called Pietro Candido (Bruges 1540/8-1628 Munich)
Est: £20,000 - £30,000
Pieter de Witte, called Pietro Candido (Bruges 1540/8-1628 Munich) The Annunciation with inscriptions '[...] Roncalli [...]' (lower right margin) black chalk, pen and brown ink, brown wash, heightened with white, on blue paper, pen and brown ink framing lines, squared in red chalk 14 5/8 x 10 in. (37.3 x 25.4 cm.)
Christie's
Nov. 20, 2007
Peter CANDID(ursprünglich de WITT oder de
Est: €300 - €320
Peter CANDID(ursprünglich de WITT oder de WITTE)(Brügge um 1548 - 1628 München) -Karl Gustav AMLING (AMBLING)(Nürnberg 1651 - 1702 München) "Otto von Wittelsbach läßt Landshut und die Burg errichten" Kupferstich, 1697, ca. 23,5 x 38 cm (Bild), an der äußeren Linie knapp beschnitten, fehlt Ecke mit 4 mm (ohne Bildverlust), auf Unterkarton lose montiert
Dorotheum
Nov. 20, 2007
Peter CANDID(ursprünglich de WITT oder de
Est: €300 - €320
Peter CANDID(ursprünglich de WITT oder de WITTE)(Brügge um 1548 - 1628 München) -Karl Gustav AMLING (AMBLING)(Nürnberg 1651 - 1702 München) "Otto von Wittelsbach läßt Landshut und die Burg errichten" Kupferstich, in der Platte signiert und datiert: 1697, ca.30,5 x 45 cm, Mittelfalte, angeschmutzt
Dorotheum
Nov. 16, 2007
Portrait of the duchess of Bavaria.
Est: - €8,000
Oil on canvas. Relined. 34 x 24,5cm. Framed.
Van Ham Kunstauktionen
Jan. 26, 2006
PETER DE WITTE, CALLED CANDID BRUGES CIRCA 1548 - 1628 MUNICH
Est: $50,000 - $70,000
ST. MARGARET OF ANTIOCH measurements note 20 1/4 by 13 1/8 in.; 51.4 by 33.5 cm. oil on panel PROVENANCE Tiroler Landesmuseum Ferdinandeum, Innsbruck; Their sale, Vienna, Dorotheum, November 8-9, 1938, lot 243. NOTE Peter Candid emigrated from the Netherlands to Florence as a child where he probably started his artistic apprenticeship. Between 1572 and 1573 he worked with Giorgio Vasari on the frescoes of the Sala Regia in the Vatican. He also painted a number of large, grand altarpieces in Volterra. In 1586, he entered the service of Maximilian of Bavaria, leaving Tuscany for Munich. The strong influence of Vasari is evident in this elegant panel depicting St. Margaret of Antioch and indicates that it was painted while Candid was living in Florence. When sold in 1938 (see Provenance), it was with a companion of the same size (lot 242) depicting St. Catherine of Alexandria whose cult was often linked to that of St. Margaret's. According to legend, St. Margaret was cast into prison by the governor or Antioch and was swallowed whole by the devil in the form of a dragon. Armed with a cross, she pierced its belly and split the monster open, allowing her to walk free. She was eventually beheaded.
Sotheby's
Jul. 09, 2002
Pieter de Wit, called Peter Candid (Bruges 1548-1628 Munich)
Est: $46,800 - $78,000
The battle of Otto von Wittelsbach and Henry the Lion black chalk, pen and black ink, grey wash, watercolour, squared in red chalk 51/4 x 12 1/8 in. (134 x 308 mm.) NOTES A design for one of a series of ten tapestries depicting scenes from the life of Otto von Wittelsbach, commissioned by Duke Maximilian of Bavaria in 1603. B. Volk-Knttel, Wandteppiche fr den Mnchener hof nach Entwrfen von Peter Candid, Munich, 1976, no. 8, pls. 97-8. Candid, who had been active in Munich since 1586 and was the leading painter at court following the death of Friedrich Sustris in 1599, worked up the compositions following the iconographic suggestions of the historian Marx Welser. Five tapestries showed important political events in Otto's career, while five showed his battles. The conflict shown in the present drawing depicts the struggle between Otto and Henry, Duke of Saxony and Bavaria, which in 1180 led to the Emperor transferring the Dukedom of Bavaria to Otto. As such it represents the symbolic foundation of the Wittelsbach dynasty to which Maximilian was heir and which ruled Bavaria until the 19th Century. The tapestries were woven in Munich under the direction of Hans van der Biest, who was brought from Enghien by Maximilian in 1604, and were intended to decorate the newly renovated Residenz Schloss. The first version of the Battle with Henry the Lion tapestry was finished by 1610 after 16 to 18 months of weaving. This editio princeps was executed with the inclusion of costly gold and silver thread, while a second, simpler version based on the same cartoons was woven in wool and silk at the Paris workshops of Marc Comans and Rapha‰l de la Planche after 1614. The drawing is in reverse to the tapestry, and beyond the repositioning of the horseman to the left of the drawing, shows very few compositional differences. A number of other drawings are connected with the project. A drawing related to the falling figure to the left of the drawing, which appears in the centre-right of the tapestry, is in Munich, B. Volk-Knttel, Peter Candid Zeichnungen, exhib. cat., Munich, Staatliche Graphische Sammlung, 1979, no. 25. A group of compositional drawings, of the same technique as the present sheet, are also in Munich (B. Volk-Knttel, op. cit., nos. 54-71) and a further four are in the Louvre, F. Lugt, Inventaire g‚n‚ral des dessins des ‚coles du Nord, maŒtres des anciens Pays-Bas n‚s avant 1550, Paris, 1968, nos. 676-9.
Christie's
Nov. 02, 2001
Studio of Pieter de Witte, called Candid (Bruges 1548-1628 Munich)
Est: $28,000 - $42,000
The Month of June oil on canvas 511/4 x 701/2 in. (130.2 x 178.5 cm.) PROVENANCE The Abbey of Heisterbach, K”nigswinter, in the Heisterbacher Hof until the late 19th Century. Schloss Birlinghoven, Siegburg, 1907. Anon. Sale, Christie's, London, 24 April 1998, lot 81 (sold œ26,000). LITERATURE E. Renard, Die Kunstdenkm„ler des Siegkreises, V, 1907, p. 253. NOTES This is one of a series of twelve paintings, probably designed as modelli for a set of tapestries created in 1612-14 for Maximilian I of Bavaria by Hans van der Biest and his workshop (B. Volk-Knttel, Wandteppiche fr den Mnchner Hof nach Entwrfen von Peter Candid, 1976, p. 141, no. 39, figs. 124-7), that were hung in the Trierzimmer of the Residenz in Munich. The preparatory drawings for the project, now in the Staatliche Graphische Sammlung in Munich, are by Pieter Candid, who, as court painter to Maximilian, acted as overseer, and who with his studio produced the modelli. The present picture is, in fact, a reverse composition to the tapestry, but faces the same direction as the corresponding drawing ( ibid., p. 172, no. 109, fig. 63). Although all twelve pictures were recorded as being together at Schloss Birlinghoven in 1907, Volk-Knttel mentions only four of the paintings, regarding only two to be largely by Candid himself. Those two, The Month of April and Spring, depict the Elector, his wife, Elizabeth von Lothringen, and their children, which might explain why they received the artist's personal attention. The others in the series appear to be by various hands, although The Month of March, sold at Sotheby's, 20 April 1988, lot 51, is similar in style to the present picture.
Christie's