Carel Fabritius - Zugeschrieben (Midden-Beemster bei Amsterdam 1622 - 1654 Delft) Christus am Ölberg, die Jünger weckend Rohrfeder in Bister, mit dem Pinsel stark laviert, rechts neben Christus minimal weiss gehöht / Reed pen in bister, heavily washed with a brush, minimally heightened in white to the right of Christ Um 1641/1642 16,8x20,8 cm / 16.8x20.8 cm Signatur / Signature Oben rechts in der gleichen Feder in Bister "I S / R...[Rijn?]" Top right in the same pen in bister "I S / R...[Rijn?]" Werkverzeichnis / Catalogue Raisonné Cornelis Hofstede de Groot, Die Handzeichnungen Rembrandts, Versuch eines beschreibenden und kritischen Katalogs, Haarlem 1906, Nr. 1504 Wilhelm R. Valentiner, Rembrandt, Des Meisters Handzeichnungen, Stuttgart/Berlin o. J., (um 1925), Bd. 2, Nr. 447 Otto Benesch, The Drawings of Rembrandt, Vol. III, Nr. 513 Martin Royalton-Kisch, Benesch 0513, https://rembrandtcatalogue.net/catalogue-benesch-500a-in-progress/ Cornelis Hofstede de Groot, Die Handzeichnungen Rembrandts, Versuch eines beschreibenden und kritischen Katalogs, Haarlem 1906, no. 1504 Wilhelm R. Valentiner, Rembrandt, Des Meisters Handzeichnungen, Stuttgart/Berlin n.d., (circa 1925), vol. 2, no. 447 Otto Benesch, The Drawings of Rembrandt, vol. III, no. 513 Martin Royalton-Kisch, Benesch 0513, https://rembrandtcatalogue.net/catalogue-benesch-500a-in-progress/ Provenienz / Provenance Slg. Dirk Vis Blokhuyzen (1799-1869, Rotterdam Slg. August Sträter (1810-1897), Aachen, Lugt 787, dessen Sammlung versteigert bei Auktion H.G. Gutekunst, Stuttgart, 10.-14. Mai 1898, Los 175, Lugt 787. Zuschlag für 920.- Goldmark an Arnold, Dresden, sicherlich im Auftrag der Fürsten von Liechtenstein. Im Text des Auktionskataloges ausgezeichnet mit "Herrliche Sepiazeichnung von grossartiger Wirkung, rechts oben bezeichnet: Rijn" Von Lugt in seiner Auktionsbeschreibung unter Nr. 787 speziell erwähnt Slg. Fürsten von Liechtenstein, Wien und Vaduz Auktion Stuttgarter Kunstkabinett, 24.-26. November 1953, Los 854, reprod., angekauft von Slg. Dr. Bernhard Sprengel, Hannover Slg. Eberhard W. Kornfeld, Bern, Lugt 913b Collection Dirk Vis Blokhuyzen (1799-1869, Rotterdam Collection August Sträter (1810-1897), Aachen, Lugt 787, whose collection was auctioned at Auction H.G. Gutekunst, Stuttgart, 10-14 May 1898, lot 175, Lugt 787, knocked down for 920.- Goldmark to Arnold, Dresden, certainly on behalf of the Princes of Liechtenstein. Marked in the text of the auction catalogue as "Magnificent sepia drawing of great effect, inscribed upper right: Rijn" Specifically mentioned by Lugt in his auction description under no. 787 Collection Princes of Liechtenstein, Vienna and Vaduz Auction Stuttgart Art Cabinet, 24-26 November 1953, lot 854, ill., purchased from Collection Dr Bernhard Sprengel, Hanover The Eberhard W. Kornfeld Collection, Bern, Lugt 913b Literatur / Literature Cornelis Hofstede de Groot, Rembrandt Bijbel, Band II, Amsterdam 1912, Nr. 24 Cornelis Hofstede de Groot, Rembrandt Bijbel, vol. II, Amsterdam 1912, no. 24 Ausstellungen / Exhibitions Paris 2011, Musée du Louvre, Rembrandt et la figure du Christ, Kat. Nr. 21, reprod. Tf. I.15 Philadelphia/Detroit 2011, Philadelphia Museum of Art/Detroit Institute of Arts, Rembrandt and the Face of Jesus, Kat. Nr. 21 Paris 2011, Musée du Louvre, Rembrandt et la figure du Christ, cat. no. 21, ill. I.15 Philadelphia/Detroit 2011, Philadelphia Museum of Art/Detroit Institute of Arts, Rembrandt and the Face of Jesus, cat. no. 21 Zustand / Condition Vollkommen frisch in der Erhaltung, rückseitig mit durchgewachsenem Bister Perfectly fresh in condition, on the reverse with a grown through bister Erläuterungen / Comments Otto Benesch hebt die Qualität der Zeichnung hervor: "[…] not only in the brittle structure of the figures, but also in the application of rich washes which lends the chiaroscuro a dramatic effect". Noch George S. Keyes behält die Zuschreibung bei und würdigte das Blatt ausführlich im Katalog zur Ausstellung "Perception et croyance. L'image du Christ et le tournant méditatif de l’art religieux de Rembrandt", die 2011 in Paris, Philadelphia und Detroit gezeigt wurde. Trotz der beeindruckenden Provenienz und ausser Frage stehenden Qualität wird die Zeichnung heute nicht mehr als Werk Rembrandts anerkannt und wurde 2019 nicht von Peter Schatborn in seinen grossformatigen Bilderkorpus zu Rembrandts Zeichnungen aufgenommen (Erik Hinterding / Peter Schatborn, Rembrandt, The Complete Drawings and Etchings, Köln 2019). Schatborn hält das Werk für eine "typische Schülerarbeit. Die Zeichnung ist verglichen mit Rembrandt zu skizzenhaft mit zu losen Linien". Er beschreibt "das Ganze der Zeichnung" als "nicht charakteristisch für Rembrandt". Ähnlichkeiten lassen sich mit Zeichnungen von Ferdinand Bol und Gerbrand van den Eeckhout feststellen. Die aktuellste und wohl auch fundierteste Meinung zur Frage der Zuschreibung stammt von Martin Royalton-Kisch, der die Zeichnung in seinem stets aktualisierten Online-Werkkatalog behandelt und dort, wenn auch noch mit kleinem Vorbehalt, Carel Fabritius zuschreibt: "A characteristic example of a drawing belonging to the "Carel Fabritius" group. […] Benesch (1955/73) described the similarities to other drawings in the group as "not only in the brittle structure of the figures but also in the application of rich washes", although he retained the attribution to Rembrandt. For the figures, compare Benesch 514–15, and for the wash Benesch 500 and Benesch 512. The trees on the right resemble Benesch 498, while those on the left are close to one on the right of Benesch 523. The nearest figure, the awakening St Peter, seems to depend on his appearance in Benesch 1039, a drawing often dated after Fabritius’s death in 1654 but more recently placed c. 1645–47." Otto Benesch emphasises the quality of the drawing: "[...] not only in the brittle structure of the figures, but also in the application of rich washes which lends the chiaroscuro a dramatic effect". George S. Keyes retained the attribution and praised the sheet in detail in the catalogue to the exhibition "Perception et croyance. L'image du Christ et le tournant méditatif de l'art religieux de Rembrandt", which was shown in Paris, Philadelphia and Detroit in 2011. Despite its impressive provenance and unquestionable quality, the drawing is no longer recognised as a work by Rembrandt and was not included by Peter Schatborn in his large-format corpus on Rembrandt's drawings in 2019 (Erik Hinterding / Peter Schatborn, Rembrandt, The Complete Drawings and Etchings, Cologne 2019). Schatborn considers the work to be a "typical student work. Compared to Rembrandt, the drawing is too sketchy with lines that are too loose". He describes "the whole of the drawing" as "not characteristic of Rembrandt". Similarities can be identified with drawings by Ferdinand Bol and Gerbrand van den Eeckhout. The most recent and probably also the most well-founded opinion on the question of attribution comes from Martin Royalton-Kisch, who treats the drawing in his constantly updated online catalogue raisonné and attributes it to Carel Fabritius, albeit with some reservations: "A characteristic example of a drawing belonging to the "Carel Fabritius" group. [...] Benesch (1955/73) described the similarities to other drawings in the group as "not only in the brittle structure of the figures but also in the application of rich washes", although he retained the attribution to Rembrandt. For the figures, compare Benesch 514-15, and for the wash Benesch 500 and Benesch 512. The trees on the right resemble Benesch 498, while those on the left are close to one on the right of Benesch 523. The nearest figure, the awakening St Peter, seems to depend on his appearance in Benesch 1039, a drawing often dated after Fabritius's death in 1654 but more recently placed c. 1645-47." MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2024; 20:20 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 115.- Europa / Europe: CHF 185.- Übrige Länder / Other countries: CHF 235.-
Carel Pietersz Fabritius (1622 - 1654) Holland/ Netherlands. A catalogue raissone by Christopher Brown and published by Cornell University Press. Measures: H 11 1/4" x W 8 3/4"
Poster of Carel Fabritius Dutch (1622-1654) Girl with a broom poster h:55 w: 46 cm. Other Notes: Location: Israel. For estimated delivery time please contact us.
Attribution: Carel Fabritius, 1622-1654, portrait of a young man with velvet beret, oil/ canvas, restored, relined, in the oval approx. 57x44cm, frame, in the upper part small scratches . German Description: Zuschreibung: Carel Fabritius, 1622-1654, Porträt eines jungen Mannes mit Samtbarett, Öl/Lwd, restauriert, doubliert, im Oval ca. 57x44cm, Rahmen, im Oberen Teil kleiner Kratzer
A view of Delft after the explosion of 1654 signed and dated 'Evander Poel 12 octob/1654' (Ev linked, lower left) oil on panel 131/4 x 19 3/8 in. (33.6 x 49.2 cm.) PROVENANCE Winckler Collection. Fran‡ois Duval, Geneva, from whom acquired in 1845 with the rest of the collection by Charles Auguste, Duc de Morny (1811-1865); 'Duval' sale; Phillips, London, 13 May 1846 [=2nd day], lot 67, 'The Town of Br‚da, after the fire occasioned by an explosion of powder - Vander Poel, who has frequently treated this subject, has excelled himself in this instance' (sold 36 gns.). Beriah Botfield (1807-1863), by 1863, by whom bequeathed to the Thynne family. LITERATURE B. Botfield, Catalogue of Pictures at Norton Hall, London, 1863, p. 31, 'The Town of Buda [ sic ] after the Fire, 1654'. T. Crombie, 'Beriah Botfield and his Dutch pictures at Longleat', Apollo, CV, February 1977, p. 106, fig. 12. N. MacLaren, revised by C. Brown, National Gallery Catalogues, Catalogue of the Dutch Schools, London, 1991, p. 307, under no. 1061, p. 308, note 6. NOTES On the morning of Monday, 12 October 1654, around ninety thousand pounds of gunpowder in one of Delft's powder magazines exploded devastating a large part of the city. This momentous event and the ensuing artistic reaction to it has recently been discussed at length in the catalogue of the exhibition Vermeer and the Delft School (New York, Metropolitan Museum, 8 March-27 May 2001; and London, National Gallery, 20 June-16 September 2001). The magazine, known as the Secreet van Holland, was situated in the north-eastern corner of the town, near to the Geergweg. The power of the blast was such that almost all of the buildings in the immediate vicinity were completely destroyed and many beyond damaged to varying degrees. The number of fatalities is unknown, but included the painter Carel Fabritius who was said to have been painting a portrait in his studio on the Doelenstraat at the time of the explosion. News of the disaster spread quickly around the country causing a national sensation. Joost van Vondel and Pieter de Witt both published poems about the event and Elizabeth, Queen of Bohemia visited the city along with many others who came to witness the devastaion at first hand. Of the local artists who responded to the calamity (Daniel Vosmaer and Herman Saftleven among them), none capitalised more on the artistic possibilities of the ravaged scene than Egbert van der Poel. He might well have witnessed the explosion in person and was directly affected by the tragedy in the loss of his daughter, who was buried at the Nieuwe Kerk two days after the blast. The exact number of versions of the present work is not known. One of the best is in the National Gallery, London (see fig. 1), and Maclaren/Brown, loc.cit., list ten versions, including the present work, of which seven are specifically dated 12 October. All exhibit slight variations in the staffage and detail but the composition remains essentially the same. The viewpoint is from behind the former powder magazine, now a pool of water in the right foreground, and shows, from left to right, the Nieuwe Kerk, the Town Hall, the Oude Kerk and the Sint Joris chapel, in the background. The known versions, despite all being dated 1654, were presumably executed over a number of years following the event; the high level of finish in the present work and its close affinities with the National Gallery picture would indicate that like this, both were painted soon after the explosion. Charles Auguste, later duc de Morny, was the son of Hortense de Beauharnais and Charles-Joseph, comte de Flahaut, and thus half-brother to Louis-Napoleon Bonaparte, later the Emperor Napoleon III. He was brought up by his paternal grandmother Madame de Souza (1761-1836), who owned a fine collection of paintings, and from her he inherited his love of art. In 1837 he abandoned his military career and in 1842 entered politics, becoming deputy for Clermont-Ferrard. At the same time he became an avid collector of paintings. During the 1840s he was frequently forced to sell large portions of his collection in order to finance his business speculations. There were five such sales between 1841 and 1848 including the 'Duval' sale in which the present picture was offered. That sale was made up entirely of the collection of Fran‡ois Duval, which Morny had acquired en bloc less than a year before. Amongst other paintings from the same sale was Jan van der Heyden's View of the Westerkerk, Amsterdam (bought in), and Watteau's Gilles and his Family (sold 200 gns.), both in the Wallace collection, London. In 1854 de Morny was appointed Pr‚sident of the Corps Legislatif and his pictures were transferred to the Presidential residence at the H“tel de Lassay. He was sent to Russia in 1856, as Special Emissary to Tsar Alexander II, where he added to his collection, most notably with Rembrandt's Rape of Europa, in the Getty Museum, Los Angeles, and a Head of a Girl by Greuze in the Mus‚e Jacquemart-Andr‚, Paris. The sale held after his death in 1865 lasted eleven days and included such masterpieces as Rembrandt's Portrait of Herman Doomer, in the Metropolitan Mueum, New York; Chardin's Lady with a Bird-Organ, and The Wool Winder, by Greuze, both in the Frick Collection, New York; and The Swing and The Souvenir by Fragonard, both in the Wallace Collection, London. The Winckler collection, mentioned under provenance in the 'Duval' catalogue, probably refers to the Leipzig banker and collector Gottfried Winckler. The picture may well have been in the sale in which the majority of his pictures were dispersed, which took place in Leipzig between 18-20 October 1819, but there do not appear to be any surviving copies of the catalogue. More pictures were sold by his son in Leipzig, on 23 April 1834 but the present work was not amongst them.
