Cornelis (1514) Floris Sold at Auction Prices

Adam and Eve Lament the Death of Abel

Attributed to Cornelis Floris de Vriendt Antwerp circa 1514 - 1575 Adam and Eve Lament the Death of Abel circa 1565 marble, within a giltwood frame relief: 17 by 17 ¼ in.; 43.2 by 43.81 cm

Engraving of Grotesques after Cornelius Floris II, 1556

Joannes van Doetecum the Elder (Dutch, 1530-1605) or Lucas van Doetecum (Flemish, active 1554-1572). After Cornelis (II) Floris de Vriendt (Flemish, 1514-1575). Leaf M, engraving on paper from "Veelderley Veranderinghe van grotissen ende Compertimenten ghemaeckt tot dienste van alle die Conste beminne ende ghebruiken (Various Changes of Caves and Compartments Made for the Service of All Who Love and Use Art)." Published by Hieronymus Cock (Flemish, 1518-1570) in Antwerp, 1556 (published). A stunning engraving on laid paper from one of nine plates of grotesque ornament from a suite of twelve titled "Veelderley Veranderinghe van grotissen ende Compertimenten," all cut by Joannes or Lucas van Doetecum and designed by the Flemish artist Cornelis Floris. Published in 1556 by Hieronymus Cock, the series contained ornamental designs for the use by other artisans in the creation of furniture, vases, textiles etc. Many of the designs used grotesques, which were popular at the time. Size of image: 8.1" W x 12.1" H (20.6 cm x 30.7 cm); of page: 9" W x 13" H (22.9 cm x 33 cm) According to the Victoria and Albert Museum, "Ornament designs like this were copied by artisans, who applied them onto furniture, vases, textiles and so on. The theme of the grotesque was a popular one around this period. Grotesque derives from the Italian word grottesco. The style was inspired by ancient Roman designs discovered at the end of the 15th century in the underground rooms, or grottoes, of the Golden House of Emperor Nero in Rome. Grotesque ornament was used to decorate a wide range of objects, such as ceramics, and the style was much copied by Renaissance artists." Publications like this contributed to the spread of Floris' inventions and style throughout Northern Europe. Cornelis Floris was a Flemish sculptor, architect, draughtsman, medalist and designer of prints and luxury. He operated a large workshop in Antwerp from which he worked on many large construction projects in Flanders, Germany and Denmark. He was one of the designers of the Antwerp City Hall. He developed a new style, which was informed by Flemish traditions, the 16th century Italian Renaissance and possibly the School of Fontainebleau. His innovations spread throughout Northern Europe where they had a major influence on the development of sculpture and architecture in the 16th and early 17th centuries. Provenance: ex-Royal Athena Galleries, New York City, New York, USA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #188520

ATTRIBUTED TO CORNELIS FLORIS (ANTWERP 1514-1575 ANTWERP), CIRCA 1561-1565 ADAM AND EVE LAMENT THE DEATH OF ABEL 16 7/8 x 17 1/8 in. (42.8 x 43.5 cm)

ATTRIBUTED TO CORNELIS FLORIS (ANTWERP 1514-1575 ANTWERP), CIRCA 1561-1565 ADAM AND EVE LAMENT THE DEATH OF ABEL Alabaster relief; Adam, Eve and their daughters surround the body of Abel in the foreground with Cain confronted by God the Father in the background; in an elaborate giltwood rococo frame 16 7/8 x 17 1/8 in. (42.8 x 43.5 cm)

Floris, Cornelis II - nach: Entwurf für ein Groteskenornament

nach. Kartusche mit Groteskenonament und Rollwerk. Kupferstich von Joannes und Lucas van Doetecum. 30,2 x 20,2 cm. (1557). Hollstein (Floris), aus 1-8 und 14-41, Ornamentstichkatalog Rijksmuseum, Amsterdam I, 76.2, Nalis (New Hollstein, Doetecum) 36. Wz. Fisch. Aus einer insgesamt sechzehn Blatt umfassenden Folge des zweiten Buches mit "Veelderleij nieuwe inuentien van antijcksche sepultueren ...". Ausgezeichneter, meist samtener Druck auf die Darstellung geschnitten, mit Spuren der Einfassungslinie. Etwas fleckig, kleine Löchlein, rechts kleine Fehlstelle im Rand, sonst gut.

Floris, Cornelis II: Ornament mit Grotesken, Bandelwerk und zwei Kartuschen

nach. Ornament mit Grotesken, Bandelwerk und zwei Kartuschen. Kupferstich von Joannes und Lucas Doetecum. 30,4 x 20,6 cm. Hollstein (Floris), aus 9-13, Ornamentstichkatalog Rijksmuseum, Amsterdam I, 77.1, Nalis (New Hollstein, Doetecum) 1 II (von III). Wz. Handschuh. Das erste Blatt einer sechsteiligen Folge mit Groteskendekorationen mit Maximen griechischer Weiser, vor der Adresse von Pieter Firens. Ganz ausgezeichneter Druck meist bis an die Einfassungslinie bzw. die Plattenkante geschnitten. Minimal angestaubt, unten rechts der Rand etwas bestoßen, links geschlossener Randeinriss sowie unten links winzige Ausbesserung, sonst sehr gut. Beigegeben nach Hans Vredeman de Vries von denselben zwei Kupferstiche "Offene Halle mit Tonnengewölbe im Oval" und "Blick auf eine Strasse mit Häsuern und einem Palast" (NH 187 II und NH 268).

VRIENDT, Cornelis Floris de, after (ca 1514-1575). 24 etchings by Jan van DOETECUM THE ELDER (active 1554-ca 1600) and Lucas van DOETECUM (active 1554-d. before 1584). Surface decorations, grotesques with strapwork (with maxims of six wise men of Greece) (Holl. 1-6) the complete set of six etchings, 1554, all with a Hand watermark, second state (of three), with wide margins; with Surface decorations, grotesques with strapwork, including cartouches (Holl. 23-34), the complete set of 12 etchings including the title, 1556, all with Jug with Flower watermark, second, final state, with wide margins; and six plates from: Surface decorations, grotesques with strapwork, including cartouches and funeral monuments (Holl. 36, 37, 39, 41-43), six etchings with engraving, from the set of 16, without watermarks, only state, trimmed to the subject; all by the same hands, fine, uniform impressions of these extremely rare prints, published by Hieronymous Cock, Antwerp, some thinly backed with Japan, a few minor defects, generally in good condition (24) P. 12 x 8 in. (304 x 204 mm.) (and similar) S. 16 1/8 x 10 7/8 in. (410 x 276 mm.) (and smaller) Provenance: Dukes of Cadaval, Portugal (not in Lugt) (Holl. 1-6; 23-34) Literature: Henk Nalis, The New Hollstein The Van Doetecum Family, Rotterdam, 1998, part I, p. 5-11; 23-37.

AN ANTWERP 'GROTESQUES' TAPESTRY

Circa 1580, attributed to the workshop of Joost van Herzeele, after a design by Cornelis Floris Woven in wools and silks, depicting an architectural setting with three arcades showing landscapes, flanked and divided by Putti, Satyrs and foliate grotesques, on a red ground, within a simulated egg-and-dart border, minor repairs and areas of reweaving, the upper border rewoven 7 ft. 11 in. (242 cm.) x 9 ft. 9 in. (297 cm.) NOTES DESIGN This magnificent 'grotesque' tapestry is based on a drawing by Cornelis Floris (d. 1575) that is dated 1557. Floris lays out the general structure, but also the details for the supporting herm figures and satyrs as well as the pergola and the lion masks and even the sculptures in the niches to the sides of the central opening. The drawing was later engraved (see illustration), a copy of which is in the BibliothŠque Royale Albert I (Cabinet des Estampes, ) as part of a collection of sixteen prints. ATTRIBUTION AND DATE The design by Floris dictates that this tapestry was not executed before 1557. However, further comparisons reveal a weaving date slightly later than that. This tapestry can be compared to a grotesque tapestry in the Rijksmuseum that has a yellow ground and that illustrates to the center a scene from The Story of Nebuchadnezzar (A.M.L.E. Mulder-Erkelens, Wandtapijten 2, Renaissance, Manierisme en Barok, Amsterdam, 1971, fig. 15). This further example with a similar egg-and-dart inner border as the tapestry offered here, bears the mark 'B A' for Brabant Antwerp and is signed with the weaver's monogram of Joost van Herzeele (d. 1589). The same character of grotesques within an identical egg-and-dart border is also on a tapestry depicting The Festivities of Balthazar which is at chƒteau d'Azay-le-Rideau (J. Coural, Le XVIe SiŠcle Europ‚en, Tapisseries, Paris Mobilier National, exhibition catalogue, Paris, 1965, cat. 32). Herzeele is known to have emigrated from Brussels to Antwerp in 1580, where he established a sizeable workshop. He kept an ambiguous connection to Brussels and signed a petition in 1586 with the title 'master in the tapestry-making craft of Brussels' even though the Brussels tapestry guild very strongly tried to distance itself from tapestry manufacturers that worked outside the city (G. Delmarcel, Flemish Tapestry, Tielt, 1999, p. 177). Shortly thereafter he is known to have emigrated to Hamburg where he died in 1589. It is thus almost certain that this tapestry was woven between 1580 and before 1589 while Herzeele was in Antwerp. COMPARABLE EXAMPLES Very similar grotesques, with allegorical figures for the months in the central arch, were woven by Cornelis de Ronde and Jan van der Vyst in Brussels in the 1560s and are now in Vienna (L. Baldass, Die Wiener Gobelinssammlung, Vienna, 1920, cats. 119 - 130). Interestingly, that series was in the past also attributed to Herzeele, while the grotesques are loosely based on engraving by Cornelis Bos. The precursor to all of these tapestries is, however, a series depicting Triumphs of the Gods after designs by Giovanni Francesco Penni and Giovanni da Udine of 1517 - 1520. It was probably first woven for Leo X while the earliest surviving example is that which was probably woven by the Dermoyen workshop in circa 1540 for Henry VIII and which is today at Windsor Castle (T. Campbell, Tapestry in the Renaissance, exhibition catalogue, New York, 2002, cat. 26, pp. 246 - 252).