Georg Gartner Sold at Auction Prices

b. 1575 - d. 1654

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    • Georg Gärtner the Younger
      Oct. 25, 2023

      Georg Gärtner the Younger

      Est: €15,000 - €20,000

      (Nuremberg 1575/80–1654) The Virgin with the Swaddled Child in a landscape, oil on panel, 37 x 26.5 cm, framed We are grateful to Rainer Stüwe for confirming the attribution of the present painting to Georg Gärtner the Younger. His extensive report, dated May 2023, accompanies the present lot. Georg Gärtner the Younger was a German painter and engraver active in Nuremberg in the first half of the seventeenth century. When Hans Hoffmann died in 1591/92, Georg Gärtner the Younger became one of the foremost exponents of the so-called Dürer Renaissance, a phenomenon of increased interest in Albrecht Dürer’s works that spread throughout Europe in the late sixteenth and early seventeenth centuries, with a particularly strong foothold in Dürer’s hometown of Nuremberg and at the Imperial court of Prague. Gärtner trained in his father’s workshop, which he took over in 1612. Under his stewardship, the workshop gradually expanded and became one of the leading ones in Nuremberg. Gärtner was dean of the local painters’ guild from 1620–24, and again from 1638–42. Praised to be a ‘felicissimus Düreri imitator’, he and his workshop produced variations after Dürer’s works, emulating his style but developing a highly individual artistic language. The Virgin Mary in the present painting rests with the Infant in her arms on a stone bench with a red velvet cushion. The corners are decorated with golden tassels. Over a wide crimson dress, Mary wears an olive-green robe that falls over her knees in many folds to the floor. Above the breast, the gold braid is held together by a brooch set with ruby and pearls. The Child, swaddled up to the back of the head in white linen sheets, sleeps peacefully in her arms. A wide river landscape with green to pale blue hills opens up to the left behind the figures. A bright strip of sky above the horizon indicates the beginning of dawn and shifts the scene to the early hours of the morning. The two haloes of the figures stand out against the morning sky in very soft transitions from pale yellow to red-orange. The painter of the present panel based his work on an engraving by Albrecht Dürer dated 1520, which was created shortly before his trip to the Netherlands and which is mentioned in his travel diary as one of the “three new Marys” (Bartsch 38/Meder 40a/c). As the painter sought to enhance Dürer’s engraving by achieving a smoother and more brilliant painterly effect and by lending more spatial depth to the composition, some minor alterations can be observed. Rainer Stüwe remarks: “Dürer’s haloes appear radiant to glary, but in the painting, they have a soft shimmer; the change of the Child’s cross-nimbus to a round one reduces the striking effect of the exemplary engraving to a softer one. The proportions of the picture panel are also slightly wider than the engraving, giving more space for the scenery behind the figures. The background is freshened by two young trees and a partially visible bush. All in all, the landscape is rendered more clearly than on the engraving. The two trees in particular with the high viewpoint of the landscape taken from Dürer’s copperplate remind of Dutch models of Joachim Patinier. In summary, it can be stated that the painting reshaped the prototype in a consistent way towards a softer, winsome impression and improved it entirely in the spirit of the so-called Dürer Renaissance”. Stüwe continues: “The stylistic differentiation from Dürer’s engraving points strongly to the well-known Dürer copyist Georg Gärtner of Nuremberg. In particular, the emphasis on soft flesh tones and softly shimmering light effects is very characteristic for Gärtner”. A work of high quality, Stüwe suggests that the Madonna and Child has been executed around 1620/30.

      Dorotheum
    • Georg Gärtner d. Ä, Portrait of Hans Sachs
      May. 20, 2023

      Georg Gärtner d. Ä, Portrait of Hans Sachs

      Est: €30,000 - €35,000

      Monogrammed upper right: GG (conjoined) This miniature portrait of the Nuremberg master singer Hans Sachs is a work from the famous "Praun's Cabinet" that has been lost since the 19th century. This collection of several thousand pieces was assembled by the Nuremberg merchant Paul II Praun (1588-1616). In the mid-1690s, Praun moved part of his collection to Bologna, where he considerably expanded it until his death in 1616. Immediately after his death, his brother Jacob drew up an inventory of the collection in Italy, which comprised about 700 items. According to his will, the collection was to be brought to Nuremberg and kept there in the Praun house as inalienable family property. For almost 200 years, this wish was fulfilled until financial difficulties led to the dissolution of the collection in around 1800. Some individual pieces were sold directly by the family, then the Nuremberg art dealer Johann Friedrich Frauenholz (1758-1822) and two partners took over the holdings "en bloc" in 1801 and sold them off over the following years. The present portrait was among them, as evidenced by the lacquer seal of Friedrich Frauenholz on each of the four wooden strips that make up the frame of the piece (ill. 3). The first inventory of 1616 lists 28 works by Hans Hoffmann. Among these, one is described as follows: "No. 103: Hanß Sachßen conterfect, auf einem Welschen kartenblat" (Achilles-Syndram, p. 119). A hundred years later, in a second inventory from 1719, this item can be identified with number 51: "No. 56 Hans Sachsen contrefait in ein kleinen Rämlein mit vergulden leisten", with the addition: "by Hanß Hoffmann" (Achilles-Syndram, p.186). The engraver Friedrich Fleischmann (1791 Nuremberg - 1834 Munich) produced a portrait of Hans Sachs at the beginning of the 19th century, for which the present portrait obviously served as a model (see ill. 1). This time, too, Hans Hoffmann is named as the artist. Finally, the portrait is also attributed to him on an additional sheet, probably from the 19th century, which is loosely attached to the back of the the piece: "Volksdichter und Meistersinger HANS SACHS gemalt von H. Hoffmann" (ill. 2). As certain as the provenance of the miniature portrait is on the basis of the correspondences with the inventories of Praun's collection, the false attribution to Hans Hoffmann, which persisted so stubbornly into the 19th century despite the monogram "GG", is all the more astonishing. The reason probably lies in Hoffmann's greater degree of fame. Both Hoffmann and Gärtner are among the representatives of the so-called "Dürer Renaissance", which led to numerous copies and stylistic adoptions by Nuremberg artists in the late 16th century. Unfortunately, it has not yet been possible to compile a numerically significant oeuvre of Georg Gärtner the Elder. There are only a few works that can be attributed to him with certainty or which are clearly signed. Others are confused with those of his son of the same name, with whom he is said to have shared a workshop. A further factor complicating the compilation of his oeuvre is the fact that both the father and the younger Gärtner often executed copies after Dürer or Pencz, for which there was a keen demand, but which are of little help in the development of an individual style. Two paintings of the Apostles after Georg Pencz, for example, also have the monogram GG and at the same time the Latinised signature "Giorgius Hortolanus". In view of this scant information, the discovery of this miniature portrait by Georg Gärtner, which is as finely painted as it is astonishingly well preserved, is particularly gratifying. The drawing is thought to date from around 1580/90, was created in Nuremberg and acquired by Paul Praun before he moved to Bologna. The model could have been an engraving by Joost Amman, who also depicted the master singer as an old man in an engraving in the 1570s.

      Kunsthaus Lempertz KG
    • Georg Gärtner II (Nuremberg c. 1575/80-1654) - Christ as the Man of Sorrows
      Jul. 06, 2018

      Georg Gärtner II (Nuremberg c. 1575/80-1654) - Christ as the Man of Sorrows

      Est: £20,000 - £30,000

      Georg Gärtner II (Nuremberg c. 1575/80-1654) Christ as the Man of Sorrows oil on panel 13 7/8 x 10 1/8 in. (35.4 x 26.3 cm.)

      Christie's
    • GEORG GÄRTNER THE YOUNGER | Saint John the Evangelist
      Feb. 02, 2018

      GEORG GÄRTNER THE YOUNGER | Saint John the Evangelist

      Est: $60,000 - $80,000

      oil on panel

      Sotheby's
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