Ca. 1500. Oil/oak panel. Central panel 34,5 x 28 cm, lateral panels each 34 x 11 cm. Rest. A classic late medieval iconography shows the Madonna in blue and red in a 'hortus conclusus', which is only hinted at by a brick lawn bench. She wears a discreet pearl ornament on her forehead, which our artist may have seen in the work of Hans Memling, who was active in the neighborhood. A continuous landscape connects the three panels of the altar. The grisailles on the outer sides show Saints Rochus and Katharina and suggest the first names of the donor couple.Translated with DeepL.com (free version) - Provenance: Private collection South Sweden - Dutch painter. Nothing is known for certain about the artist's training; he may have been a pupil of Albert van Ouwater in Haarlem. In 1484 he became a master of the Bruges painters' guild, where he lived in the artists' quarter in the neighborhood of Hans Memling, among others. In 1501, D. was dean of the guild. Mus.: Paris (Louvre), London (Nat. Gall.), New York (Metrop. Mus.), Munich (Alte Pinakothek), Frankfurt (Städel) a. others Lit.: Thieme-Becker, Bénézit a. others.
DAVID, GERARD um 1460 Oudewater - 1532 Brügge Follower 16th/17th C. Title: Lamentation of Christ. Technique: Oil and tempera on wood. Measurement: 33 x 26.5cm. Frame: Framed. Provenance: Collection Geheimrat Josef Cremer, Dortmund; his estate auction at A. Wertheim's, Berlin, 29.05.1929, lot 20; since then private ownership, Germany. Gerard David is generally considered the last great painter of the Bruges School. Compared to Hans Memling, he was distinguished by a more monumental effect in composition and a deeper, more harmonious colour intensity with original experiments in foreshortening and grouping of figures. Although he was only rediscovered and reassessed by art historians in the 19th century, he exerted a lasting influence on Bruges painting during his lifetime and in the decades after his death, both among miniaturists and panel painters such as Adriaen Isenbrant and Ambrosius Benson. Some of his works even became icons, such as the famous " Madonna and Child with the Milk Soup" or the "Lamentation". The present painting was painted in the late 16th and early 17th century by a successor of Gerard David after the famous prototype of 1510 (private collection, 17 x 17.5 cm). This type of painting was reproduced many times, with some variations, especially in the background behind the group of the Madonna with Christ, to produce small-format objects for private devotion. The current framing was added later, probably in the 19th century, to adapt the painting to an altarpiece or to give it a neo-Gothic touch in keeping with the artistic revival of antiquity. Explanations to the Catalogue Estimated shipping costs for this lot: Germany: 32,77 Euro plus 6,23 Euro VAT EU: 50,42 Euro plus 9,58 Euro VAT Worldwide: 92,44 Euro plus 17,56 Euro VAT additional shipping insurance
PIETÀ Öl auf Holz. 33,2 x 27,2 cm. Vor Goldgrund und dem Holzbalken des Kreuzes stehend Maria in weißem, über den Kopf führendem Umhang, darunter ein dunkles Gewand tragend. Sie hält in den zarten Händen den Kopf ihres vom Kreuz genommenen Sohnes, liebevoll und eng an ihre linke Wange geschmiegt. Mit traurigen tränenreichen Augen blickt sie nach unten. Berührende und bewegende Darstellung von Maria, die ihren toten Sohn hält. Das Gemälde in der Nachfolge eines Originals von Gerard David. (13511219) (18)
KREUZABNAHME CHRISTI Öl auf Eichenholz. 29 x 22 cm. In kleinem Bildformat werden die beiden Figuren Maria und der vom Kreuz abgenommene Christus in Halbbildnissen nahe an den Betrachter herangeführt. Die Mutter hält den Oberkörper des Sohnes mit beiden Armen umfangen, die linke Hand stützt mit dem weißen Leichentuch den Kopf Christi. Kreuzstamm und Leiter links oben nur kurz sichtbar, rechts Ausblick in die Landschaft Jerusalems mit Mauern und Türmen. Ausführung in feinpinseliger Technik. A.R. (1320662) (11)
Work: 115 x 60 cm Frame: 124,5 x 68,5 cm The painting is a typical product of the 16th C. school of Bruges. The reverse with an attribution to Gerard David himself.
FOLLOWER OF GERARD DAVID (OUDEWATER 1460 - BRUGES 1563) Crucifixion with the Virgin and St John the Evangelist Bears inscription christus heeft eens · voor vele sonde gheleede · die rechtveedighe voor · / · die onrechtveedighe · opdat hi mis god zoude · ende is ghedoot na · / · den vleelche · maer levendich gemaect na den gheest · 1 peteri 3 (lower edge) oil on panel 58.4 x 37.8 cm (23 x 16 in) unframed
*GERARD DAVID (1460-1523) (kopie naar) Piëta. Paneel. In kader achter glas. Gezien het eerder koele koloriet van deze 16de eeuwse kopie zouden we de kunstenaar mogelijk in hispano-Vlaamse context kunnen situeren. Het groot aantal bewaarde kopieën getuigt van de populariteit van onderhavige voorstelling. Deze devotieschilderijen werden geproduceerd voor huiselijk gebruik en konden op de vrije markt worden gekocht, vooral in Antwerpen. Van Miegroet vermeldt zeven versies waarvan de toeschrijvingen variëren van 'Gerard David' (17 x 17.5, Amsterdam, collectie M.P.W.) tot 'atelier' en 'Spaanse navolger' (20 x 18, bewaarplaats onbekend). Voorts bevindt er zich nog een eigentijdse kopie in de collectie van het Musée Fabre, Montpellier (20 x 17, inv./cat.nr 876-3-10) en één in die van het Philadelphia Museum of Art (18.8 x 18.3, inv. 54). 32.5 x 22.5 *GERARD DAVID (1460-1523) (copie d'après) Pietà. Panneau. Encadré sous verre. Etant donné les couleurs plutôt froides de cette copie datant du 16ème siècle, l'artiste pourrait être situé dans un contexte hispano-flamand. Le grand nombre de copies conservées témoigne de la popularité de ce sujet. Ces tableaux de dévotion étaient destinés au culte domestique et achetés sur le marché libre, surtout à Anvers. Van Miegroet mentionne sept versions dont les attributions varient de 'Gerard David' (17 x 17.5, Amsterdam, collection M.P.W.), à 'atelier' et 'suiveur espagnol' (20 x 18, lieu de conservation inconnue). Il existe une copie d'époque dans les collections du Musée Fabre à Montpellier (20 x 17, inv./cat.nr. 876-3-10) et une autre au Philadelphia Museum of Art (18.8 x 18.3, inv. 54). 32.5 x 22.5 ENGLISH *GERARD DAVID (1460-1523) (copie of) Pietà. Panel. Framed behind glass. Given the rather cold colours of this 16th century copy, it is possible that we have to situate the artist in an hispano-Flemish context. As there are a large number of copies known, the composition must have been a popular one. These devotion paintings were produced for domestic use and could be bought on the free market, especially in Antwerp. Van Miegroet mentions seven versions with attribution varying from 'Gerard David' (17 x 17.5, Amsterdam, collection M.P.W.) to 'workshop' and 'Spanish follower' (20 x 18, current location unknown). The Musée Fabre in Montpellier holds another period copy (20 x 17, inv./cat.nr 876-3-10) as well as the Philadelphia Museum of Art (18.8 x 18.3, inv. 54). 32.5 x 22.5
Crocifissione olio su tavola, con sommità centinata, cm 79,5 x 56,5 PROVENIENZA: Christie's, Roma, 1 giugno 1999, lotto 577 come "Scuola fiamminga seconda metà del secolo XVI", aggiudicato a lire 9,200,000. Il dipinto presente nel lotto è circoscrivibile alla cerchia di Gerard David (Oudewater, ca. 1460 - Bruges 1523). 1
GERARD DAVID (OUDEWATER, NEAR GOUDA C. 1460-1523 BRUGES) AND WORKSHOP The Virgin and Child with the Stigmatization of Saint Francis of Assisi and Saint John the Baptist in the Wilderness oil on panel, arched top 25 7/8 x 15 7/8 in. (65.8 x 40.4 cm.), the upper corners made up into a rectangle
MANNER OF OR SCHOOL OF GERARD DAVID (Netherlands, c. 1460-1523), "Pieta", oil and gilding on oak panel, in later Florentine gilt and polychrome entabulature, OS: 27 1/2" x 17 3/4", SS: 17 3/4" x 12 1/2", slightly bowed.
Studio of Gerard David (Oudewater 1440/70-1523 Bruges) The Baptism of Christ, Saint John the Baptist preaching in a wooded glen beyond oil on panel 31.7 x 25.5 cm.
PROPERTY FROM A EUROPEAN PRIVATE COLLECTION OUDEWATER NEAR GOUDA CIRCA 1460 - 1523 BRUGES THE LAMENTATION oil on panel 57.8 by 48 cm.; 22 3/4 by 19 1/4 in.
Workshop of Gerard David (Oudewater, near Gouda c. 1460-1523 Bruges) The Holy Virgin and Child with the Milk Soup oil on panel, unframed 16¾ x 12 7/8 in. (42.5 x 32.6 cm.)
The Holy Family oil on panel 16 1/8 x 13 in. (41 x 33 cm.) PROVENANCE Martin Le Roy (died 1918), by whom acquired in 1887, and by descent through his daughter to Jean Joseph Marquet de Vasselot (1871-1946). Thence by decent to the present owner. LITERATURE G. Hulin de Loo, Exposition de tableaux flamands... Catalogue critique, Ghent, 1902, no. 343, as Gerard David and possibly with studio participation. G. Migeon, 'La Collection Martin Le Roy', Les Arts, Paris, November 1902, as attributed to David. M. J. Friedl„nder, Meisterwerke der niederl„ndischen Malerei des XV u. XVI. Jahrhunderts auf der Austellung zu Brugge 1902, Munich, 1903, p. 23, as a late work by David. E. von Bodenhausen, Gerard David und Seine Schule, Munich, 1905, p. 188, no. 40, as David. F. Dulberg, Die Ausstellung der altniederl„ndischen Meister in Brugge, Zeitschrift fur bildende Kunst, XIV, 1903, pp. 49-57 and 135-142. Collection Martin Le Roy, p. 75, no. 21, pl. XIX. M. J. Friedl„nder, Early Netherlandish Painting, 1975, Leiden, VIb, p. 108, no. 218, plate 222, as David. S. Ringbom, Icon to Narrative..., 1965, 2nd ed., Doornspijk, 1983, p. 98, fig. 52. H. J. Miegroet, Gerard David, Antwerp, 1989, p. 317, no. 61, as 'follower' of David, but where incorrectly illustrated and confused with the Clemens version, now in Cologne. EXHIBITION Bruges, Catalogue de l'exposition des Primitifs Flamands, 1902, no. 343, as Massys. NOTES Gerard David is known as the last of the 'Flemish Primitives'. Although born in the northern Netherlands, he moved to Bruges as a young man, and most of his work expresses the impassive, unmannered, microscopically realistic approach peculiar to south Netherlandish art in the time of Jan van Eyck. David was adept at combining the artistic styles of several important south Netherlandish predecessors, adapting, for example, the compositions of van Eyck and the technique of Hugo van der Goes. He was also influenced by Hans Memling, whose example led him to refine and polish his cruder northern Netherlandish style and to adopt the popular theme of the Virgin and Child enthroned. It is hard to form a chronology of David's oeuvre, as the only dated works are from the period 1498-1509. Moreover, there are no signed works. However, there are approximately 60 paintings that can be securely attributed to him: about half are single devotional panels, mainly Epiphanies and scenes from the Passion of Christ. There are about ten religious triptychs and one or two polyptychs, but only one secular work, the Cambyses diptych in the Groeningemuseum, and only one surviving portrait, the Portrait of an Ecclesiastic in the National Gallery, London. In contrast to Memling, who had a very large private clientele, David worked primarily for churches, monasteries, convents, societies and magistrates. By January 1484, David had settled in Bruges and became a master of the Guild of Saint Luke there. He became dean of the guild in 1501 and from this year received a series of important altarpiece commissions. In 1515 a "Meester Gheraert van Brugghe" (almost certainly Gerard David) became a member of the Guild of Saint Luke in Antwerp, by then a more dynamic center than Bruges, and it is likely here that David executed the present painting, possibly with some studio assistance. David's late work, into which category the present painting falls, is characterized by an almost intimate character, with soft, sfumato -like rendering of volumes and misty, subdued coloring, rich in contrast, anticipating that of Adriaen Isenbrandt (in fact, Friedl„nder, op. cit., 1975, XI, plate 144, lists one of the copies of this composition as by Isenbrandt). Other paintings from this period include the Rest on the Flight into Egypt (Museo del Prado, Madrid; National Gallery of Art, Washington, D.C.), the various versions of the Virgin with the porridge spoon (for example, the Aurora Trust painting), and the Adoration of the Magi (National Gallery, London). Also recognizable is David's characteristic rendering of faces, slightly flat with high foreheads, almond-shaped eyes, thick eyelids, straight mouths and pronounced chins. The composition is paralleled in a number of respects in other works by the artist. The type of Saint Joseph recalls one of the Magi in David's Adoration of the Magi (National Gallery, London; Friedl„nder, op. cit., VIb, pl. 193), but in the present panel, as the highly original depiction of the two rotting apples confirms, the elderly father who gazes to the spectator has some premonition of the Child's future fate. The pendant of the London picture, the Deposition (Friedl„nder, pl. 201), shows the Virgin resting her face on that of the dead Christ and, despite its Byzantine antecendents the way the infant Christ leans against the Virgin's cheek must allude also to the iconographic tradition of the Deposition . The composition evidently postdates that of the Virgin with the porridge spoon (Friedl„nder, pl. 208), and it is surely significant that the mullioned window appears in a similar position in this: in one version, in the Mus‚es de la Ville, Strasbourg (Friedl„nder, pl. 212) the same building appears as in the present design, in which the porridge bowl is shown with its cover carefully displaced to reveal its contents, upon which in turn the rotting apples rest. So poignant and poetic an image is understandable in the work of the elderly artist - for David was perhaps about 60 when it was painted, long past the average life span of his time. David's skill in faithfully representing everyday objects such as tableware and food prefigures the worldly outlook of Pieter Aertsen and 17th-century still-life painting, and is beautifully displayed in the fruit and bowl that Saint Joseph holds in the present painting. Also notable here is the accurate and atmospheric rendering of the background landscape. In general, the importance that David accorded to landscapes within his compositions is fundamental for the later development of panoramic landscape painting as practiced by artists such as Joachim Patenir onwards. David makes the scene intimate and homelike. In Byzantine icons, images of the Virgin and Child pressed cheek-to-cheek are called Elesa, and this emphasis on tenderness is typical for late Paleologan Byzantine icons, which made their appearance in the 12th century. Perhaps also one of the principle sources of this motherly gesture may have been the Louvain tradition established by Dieric Bouts. SALESROOM NOTICE Please note the full attribution of this panel to David given in the catalogue follows the views of Friedlaender, von Bodenhausen and others. However, there remains considerable lack of clarity as to the extent of studio participation in David's later compositions. Some more recent commentators consider this work to have been executed wholly by the workshop during the lifetime of the artist, and thus, the attribution should now read: 'Workshop of Gerard David'.
The Virgin and Child with the stigmatisation of Saint Francis of Assisi and Saint John the Baptist in the Wilderness oil on panel, originally arched top 253/4 x 153/4 in. (65.5 x 40.2 cm.) PROVENANCE Edward Solly (1776-1844), Berlin. LITERATURE J.G. van Gelder, 'The Gerard David Exhibition at Bruges', Burlington Magazine, XCI, 1949, p. 254, as Gerard David. M.J. Friedl„nder, Early Netherlandish Painting, Leiden, VI, part II, p. 117, no. Add.299, fig. 269, as Gerard David. H. van Miegroet, Gerard David, Antwerp, 1989, p. 316, no. 58, under 'Paintings by Followers and Imitators.' EXHIBITION Bruges, Groeningemuseum, Gerard David, 18 June-21 August 1949, no. 20. Schaffhausen, Museum zu Allerheiligen, Meisterwerke Fl„mischer Malerei, 1955, no. 19. NOTES Previously regarded as an autograph work by David, Hans van Miegroet questioned the attribution in his 1989 monograph and catalogue raisonn‚ of David's works ( loc. cit.). The composition is, however, certainly indebted to David: the hieratic image of the enthroned Madonna - the Byzantine Hodegetria, traditionally thought to derive from Saint Luke - comes out of prototype evolved by Van Eyck in such images as the Dresden triptych or the Madonna Van de Paele, but it was David who first combined that image with a landscape setting - in, for example, the Rest on the Flight into Egypt in the Prado, Madrid, or the eponymous painting in the National Gallery of Art, Washington, D.C. The Virgin and Child are separated from the background landscape by a wall, a depiction of the hortus conclusus that alludes to the phrase from the Song of Songs: 'A garden enclosed is my sister, my spouse'. The Virgin holds a rose, as in the Deipara Virgo in the Norton Simon Museum, Pasadena, referring to her well-known epithet 'rose without thorns'. The figures in the background, depicting Saints Francis of Assisi and Jonh the Baptist, are an unusual combination that recur in David's early Nativity triptych in the Metropolitan Museum of Art, New York. Particularly interesting is the tower in the distance, a topographical reference to the Church of Our Lady in Bruges. Although no longer accepted as a fully autograph David, the painting is of high quality. Stylistically, it corresponds with a group of works that all owe closely to David, and that have been suggested as representing the early work of Adriaen Isenbrandt, who is known to have worked in David's studio. Edward Solly made a fortune during the Napoleonic wars from his family's enormous timber importing business based in Saint Mary Axe in London. Around 1811 he seems to have quite suddenly developed a passion for collecting art and, in the following nine years, he amassed the largest private collection of pictures formed in the nineteeth century, consisting of no less than 3,000 works. Having fallen into financial difficulties, Solly offered the collection to the Prussian state, which purchased it in 1821. A substantial part of the pictures went on public display when the Royal Gallery of Berlin opened in 1830. The paintings were then transferred to the Kaiser Friedrich Museum in 1904, and form the basis of the Berlin collections today. Solly subsequently formed in London a second, smaller collection consisting almost exclusively of sixteenth-century Italian pictures, including such works as Crivelli's Annunciation and Lorenzo Lotto's Portrait of a family, both now in the National Gallery.
