Caspar Fraisinger Sold at Auction Prices

Painter, copperplate engraver, b. 1550 - d. 1599

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    • CASPAR FRAISINGER - zugeschrieben : Weiblicher Halbakt mit drei Kindern,
      Oct. 19, 2024

      CASPAR FRAISINGER - zugeschrieben : Weiblicher Halbakt mit drei Kindern,

      Est: €300 - €450

      CASPAR FRAISINGER - zugeschrieben Ochsenhausen 1550/1560 - vor 1599 Ingolstadt Weiblicher Halbakt mit drei Kindern, rechts Jesus am Kreuz daneben die eherne Schlange. Federzeichnung in Schwarz. Mit alter Zuschreibung auf der Unterlage. Auf Bütten. 15,3 x 10,2 cm. Leicht stockfleckig. Mit kleinen dünnen Papierstellen und winzigen Randfehlstellen, meist an den hinterlegten Seitenrändern. Vermutlich als Vorlage für einen Kupferstich vorgesehen. [ms]

      Winterberg-Kunst
    • CASPAR FRAISINGER - zugeschrieben Ochsenhausen 1550/1560 - vor 1599 Ingolstadt: Weiblicher Halbakt mit drei Kindern, rechts Jesus am Kreuz daneben die eherne Schlange.
      May. 07, 2022

      CASPAR FRAISINGER - zugeschrieben Ochsenhausen 1550/1560 - vor 1599 Ingolstadt: Weiblicher Halbakt mit drei Kindern, rechts Jesus am Kreuz daneben die eherne Schlange.

      Est: €500 - €680

      CASPAR FRAISINGER - zugeschrieben Ochsenhausen 1550/1560 - vor 1599 Ingolstadt Weiblicher Halbakt mit drei Kindern, rechts Jesus am Kreuz daneben die eherne Schlange. Federzeichnung in Schwarz. Mit alter Zuschreibung auf der Unterlage. Auf Bütten. 15,3 x 10,2 cm. Leicht stockfleckig. Mit kleinen dünnen Papierstellen und winzigen Randfehlstellen, meist an den hinterlegten Seitenrändern. Vermutlich als Vorlage für einen Kupferstich vorgesehen. [bg]

      Winterberg-Kunst
    • Attribué à Caspar FREISINGER (Ochsenhausen 1560 - Ingolstadt 1599) La résurrection de Lazare
      May. 29, 2020

      Attribué à Caspar FREISINGER (Ochsenhausen 1560 - Ingolstadt 1599) La résurrection de Lazare

      Est: €500 - €600

      Attribué à Caspar FREISINGER (Ochsenhausen 1560 - Ingolstadt 1599) La résurrection de Lazare Plume et encre noire, lavis gris et lavis de sanguine sur traits de crayon noir. Ancienne étiquette apposée au verso de l'encadrement à la plume et encre brune peu lisible. (Bande de papier ajoutée dans le bas, manque au coin inférieur gauche, pliures et petites taches). 18 x 32 cm

      Ader
    • Atelier de Caspar FREISINGER (Ochsenhausen 1560- Ingolstadt 1599) Présentation de la Vierge au Temple Plume et encre noire, lavis br...
      Mar. 31, 2014

      Atelier de Caspar FREISINGER (Ochsenhausen 1560- Ingolstadt 1599) Présentation de la Vierge au Temple Plume et encre noire, lavis br...

      Est: €500 - €600

      Atelier de Caspar FREISINGER (Ochsenhausen 1560- Ingolstadt 1599) Présentation de la Vierge au Temple Plume et encre noire, lavis brun sur traits de crayon noir 235×167 cm (Rousseurs, petites taches et petits trous) Provenance : ancienne collection Bernhard Funck, son cachet au verso (L.3835)

      Piasa
    • Caspar Freisinger (Ochsenhausen 1560-1599 Ingolstadt)
      Jul. 09, 2009

      Caspar Freisinger (Ochsenhausen 1560-1599 Ingolstadt)

      Est: £1,000 - £1,500

      Caspar Freisinger (Ochsenhausen 1560-1599 Ingolstadt) Saint Christopher and the Christ Child Sketches in black chalk (verso) pen and brown ink, brown and grey wash, watermark horse and rider 11¼ x 8 in. (28.6 x 20.3 cm.), unframed

      Christie's
    • Caspar Freisinger(Germany 1560-1599) Saint
      Mar. 31, 2008

      Caspar Freisinger(Germany 1560-1599) Saint

      Est: €6,000 - €7,000

      Caspar Freisinger(Germany 1560-1599) Saint Christoph and the Christ Child, pen and brown ink, brown and grey wash, on paper, 28.4 x 20 cm, slightly stained, mounted, unframed, (Sch)Diego López de Escuriaz (active at the Escorial between 1587-1597)The two present works are part of an interesting group of drawings by Spanish artists active at the El Escorial monastary northwest of Madrid (founded in 1563 by Philipp II) in the late 16th century. The drawings were conceived as designs for embroideries on liturgical garments, such as tunicles and dalmaticas, or for ornamental decorations on altars. The almost one hundred sheets produced in this context can be dated between 1587 and 1598. Many of these designs, including the present pair, were perforated for transfer. However, together with most of the other Escorial drawings, these two sheets do not show any traces of a perforation. It is assumed that a second set of cartons replaced the drawings in question, which were then used for transfer to the cloth, so that the original drawings could be preserved in an album for posterity. The drawings executed in pen and brown ink and brown wash on greenish-blue paper constitute the majority of the drawings; they are preserved in two albums in the Escorial's library. Apart from these, only few Spanish designs for embroideries have been preserved. Several drawings which may once have been part of these albums seem to have left the Escorial in the middle of the 19th century, such as four drawings kept at the Biblioteca Nacional in Madrid; a small group is also preserved outside Madrid, e.g. in the Louvre, the Musée des Beaux-Arts in Orléans, the National Gallery in Edinburgh, the Yale University Art Gallery in New Haven, the Metropolitan Museum of Art, and the Pierpont Morgan Library in New York. It has been stated that several artists and their workshops, as well as several workshop assistants, participated in the preparations of these embroidery designs fort he Escorial. The leading artists of this group, whose names are known through payment records, were Miguel Barroso (c.1538-1591) and Diego López de Escuriaz. Only very little is known about the life and the career of López, apart from the fact, that he was the head oft he Escorial workshop and was paid very well for his designs. In September 1587, for example, he received 327 reales in silver for eight such garment designs. In 1975 Diego Angulo and Alfonso Pérez Sánchez listed in their catalogue raisonné of the corpus of Spanish drawings a total of twenty drawings by López for the Escorial, all of which are preserved in the monastery's library. The present two drawings can be assigned to the oeuvre of López, based on stylistic comparison with other embroidery designs attributed to him. The delicate execution of the pen drawings and the application of wash and white heightenings can be connected to the characterization of individual figures in López' work. The types of faces and the treatment of the drapery in the two drawings of the Visitation and Saint John the Baptist find their parallels in other designs by that artist. This holds also true for the treatment of architecture and landscape features, such as the study of a tree and the arrangement of the rocks in the foreground. The donkey in the Visitation recalls similar animals in drawings preserved at the Escorial. Among the few embroidery designs by López de Escuriaz preserved outside of Spain, our pair of drawings is comparable with an Adoration of the Magi in the Louvre, a Last Supper at the Yale University Art Gallery, and a Flight into Egypt in the collection of the Musée des Beaux-Arts in Orléans.

      Dorotheum
    • The Road to Calvary
      Jul. 03, 2007

      The Road to Calvary

      Est: £7,000 - £10,000

      Caspar Freisinger (Ochsenhausen circa 1560-1599 Ingolstadt) The Road to Calvary dated 'A o. 1590. penultimo aprilis [29 April 1590]' pen and brown ink, brown and red wash 7¼ x 5¼ in. (184 x 131 mm.)

      Christie's
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