Palma Vecchio Paintings & Artwork for Sale | Palma Vecchio Art Value Price Guide

Oct. 26, 2024
C. CHABERT (*1825) after PALMA IL VECCHIO (*1480), Man on a boat, around 1850, Lithography
Est: €60 - €100
Charles Chabert (born 1825 Paris) after Palma il Vecchio: Jacopo Palma sen. (around 1480 Serina Alta/Bergamo - 1528 Venice): Man on a boat, c. 1850, Lithography Technique: Lithography on Paper Date: c. 1850 Description: "Man on a boat", colour lithograph of a work by Palme le Vieux (b. 1540). Colour lithograph. From the series: Pictures of the Romanesque School (Ecole des Venise). Inscribed: Palme le Vieux fecit. lmp. lith. de Chabert. Separate text information (In French by Chabert) in the format of the art sheet. Keywords: 19th century, Romanticism, Figurative, France, Size: Paper: 49,4 cm x 32,6 cm (19,4 x 12,8 in), Depiction: 26,4 cm x 17,0 cm (10,4 x 6,7 in)
Fichter Kunsthandel
Oct. 18, 2024
Jacopo Palma Il Vecchio (Serina 1480-Venezia 1528) - Cupid and Venus , 16th century
Est: €4,500 - €9,999
Oil on panel In this work congenial to Jacopo Palma the Elder, Venus and Cupid abandon themselves to an expression of sublime beauty, intertwining their bodies in a composed embrace. The goddess of love, with her divine majesty, envelops the young Cupid with an affectionate but measured maternal tenderness, while the gaze of both merges in a union that oscillates between desire and complicity. The chromatic tones, nuanced and vibrant with light, reveal the quintessence of amorous ecstasy, the purest, almost sacred form of emotional fullness achievable through love. A larger-sized depiction of Venus and Cupid is preserved at the Fitzwilliam Museum in Cambridge. The characters are the same but the poses and sensuality of the more famous work are emphasized, creating a composition that differs from the painting in question. Despite this, it is possible to identify some common elements between the two works attributed to Palma Vecchio, Cupid's arrow, Venus's soft golden hair and the drapery of the fabrics. Furthermore, the physiognomic details of the characters dialogue in a similar way with much more famous works by the artist. The angular nose of the goddess of love and her tapered fingers recall those of the portrait by Francesco Querini preserved at the Pinacoteca Querini Stampalia in Venice. Very delicate and beautiful painting whose state of conservation is good but, through the observation of the surface with the Wood's lamp, one can notice the various pictorial retouches it has undergone in the past. ASOR Studio
ArtLaRosa
Sep. 18, 2024
ATTRIBUTED TO JACOPO PALMA, IL VECCHIO (CALLED PALMA VECCHIO) (1480-1528)
Est: £1,000 - £1,500
ATTRIBUTED TO JACOPO PALMA, IL VECCHIO (CALLED PALMA VECCHIO) (1480-1528) ATTRIBUTED TO JACOPO PALMA, IL VECCHIO (CALLED PALMA VECCHIO) (1480-1528) The penitent St Jerome stamped (lower left) pen and ink with wash 21.5 x 17.5 cm. (8 1/2 x 6 7/8 in.) overall framed: 42 x 34 cm. (16 1/2 x 13 3/8 in.) Provenance Giuseppe Chiantorre [L.540] (b. c.1870) Gustave Soulier [L.1215a] (D.1937)
Chiswick Auctions
Mar. 09, 2024
JACOPO PALMA (NACHFOLGER DES 19. JH.)
Est: €1,200 - €2,400
FOLLOWER OF JACOPO PALMA OF THE 19TH CENTURY ('Also Jacopo Palma il Vecchio') Around 1480 Serina Alta (near Bergamo) - 30 July 1528 Venice JACOB AND RACHEL Oil on canvas. 120 x 86 cm (F. 148 x 112 cm). Min. old rest. Original massive frame of the 19th century. Provenance: Hessian private collection. JACOPO PALMA (NACHFOLGER DES 19. JH.) ('Auch Jacopo Palma il Vecchio') Um 1480 Serina Alta (bei Bergamo) - 30. Juli 1528 Venedig JACOB UND RACHEL Öl auf Leinwand. 120 x 86 cm (R. 148 x 112 cm). Min. altrest. Originaler massiver Rahmen des 19. Jh. Provenienz: Hessische Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Jan. 25, 2024
Palma Vecchio Engraving, Adam Et Eve
Est: $10 - $1,000
Certificate Of Authenticity On Reverse: Adam And Ev E By Professor William Unger After Palma Vecchio. Copper Plate Engraving, Circa 1875. Framed & Under Glass: 11.5" X 9.25" .
Berner's Auction Gallery
Nov. 11, 2023
Saint Barbara, Unsigned Copy of Palma Vecchio.
Est: $400 - $800
This very large oil painting on canvas depicts the panel of Saint Barbara from Palma Vecchio's (Italy, 1480-1528) polyptych at Santa Maria Formosa. The work is housed in a gilt frame. The painting has several scratches, most notably bottom left and upper right. The painting has craquelure, and there are several patches en verso. The frame is scuffed. The canvas measures 86" x 36", and the frame measures 91 1/2" x 41 1/2". Third-party freight shipping or personal pickup is required. Please see our website for our shipping recommendations.
Direct Auction Galleries, Inc.
Sep. 23, 2023
C. CHABERT (*1825) after PALMA IL VECCHIO (*1480), Man on a boat, around 1850, Lithography
Est: €60 - €100
Charles Chabert (born 1825 Paris) after Palma il Vecchio: Jacopo Palma sen. (around 1480 Serina Alta/Bergamo - 1528 Venice): Man on a boat, c. 1850, Lithography Technique: Lithography on Paper Date: c. 1850 Description: "Man on a boat", colour lithograph of a work by Palme le Vieux (b. 1540). Colour lithograph. From the series: Pictures of the Romanesque School (Ecole des Venise). Inscribed: Palme le Vieux fecit. lmp. lith. de Chabert. Separate text information (In French by Chabert) in the format of the art sheet. Keywords: 19th century, Romanticism, Figurative, France,
Fichter Kunsthandel
May. 04, 2023
Jacopo Palma il Vecchio (Serina 1480 - Venezia 1528), Pietà con un angelo
Est: €20,000 - €40,000
L'opera è dotata di una perizia dell'esperto Philip Rylands del 1992 e di una relazione tecnica ad opera di Giudo Nicola del 1989. La produzione di Jacopo Nigretti de Lavalle è interamente dedicata a tre soggetti principali: mitologia, ritratti e soggetti sacri. Nato a Serina ma cresciuto e formatosi alla scuola veneziana di Andrea Previtali, Giovanni Bellini e Giorgione, stringerà un forte legame anche con i contemporanei Lorenzo Lotto e Tiziano. Questa tavola, intensa nei toni e nella presenza psicologica che il pittore utilizza per descrivere l'emotività del momento, è una prova pittorica che dimostra il profondo legame che lega Palma alla scuola pittorica veneziana e ai suoi principali protagonisti. La tela è di un'immediatezza più unica che rara: un esempio evidente è l'evidentissimo pentimento del braccio destro di Cristo, sostenuto dall'angelo, così come il senso di incompiuto che avvolge molti elementi della rappresentazione. Lo sfondo scuro è genericamente utilizzato dall'artista nei ritratti, mentre per la narrazione degli eventi sacri ha preferito utilizzare un fondale di belliniana memoria, molto profondo e fatto di cieli ampi e tersi e di colori accesi. Lo studio dei piani di colore, che costruiscono autonomamente le masse pittoriche quasi senza l'ausilio del disegno, è una soluzione tipica dello studio degli elementi pittorici tipici di Giorgione; sebbene la critica riferisca molte opere al corpus della produzione del nostro artista, è molto difficile intercettare le differenze tra le due, il che rende complessa la definizione dell'intero corpus dell'artista.
Telearte
Feb. 16, 2023
OIL PAINTING BY FOLLOWER OF JACOPO DE NEGRETO known as PALMA IL VECCHIO
Est: €3,000 - €4,000
JACOPO DE NEGRETO detto PALMA IL VECCHIO, seguace di (Serina 1480 - Venezia 1528) SACRA CONVERSAZIONE Olio su tavola, cm. 49 x 67,5 PROVENIENZA Famiglia romana CONDIZIONI DEL DIPINTO Tavola con tarlature e mancanze al bordo in alto ed in basso a destra. Due zone di restauro sul collo del santo a sinistra e sotto la sua mano
Casa d'Aste Babuino
Nov. 03, 2022
Jacopo Palma il Vecchio (Serina 1480 - Venezia 1528), Pietà con un angelo
Est: €48,000 - €66,000
L'opera è dotata di una perizia dell'esperto Philip Rylands del 1992 e di una relazione tecnica ad opera di Giudo Nicola del 1989. La produzione di Jacopo Nigretti de Lavalle è interamente dedicata a tre soggetti principali: mitologia, ritratti e soggetti sacri. Nato a Serina ma cresciuto e formatosi alla scuola veneziana di Andrea Previtali, Giovanni Bellini e Giorgione, stringerà un forte legame anche con i contemporanei Lorenzo Lotto e Tiziano. Questa tavola, intensa nei toni e nella presenza psicologica che il pittore utilizza per descrivere l'emotività del momento, è una prova pittorica che dimostra il profondo legame che lega Palma alla scuola pittorica veneziana e ai suoi principali protagonisti. La tela è di un'immediatezza più unica che rara: un esempio evidente è l'evidentissimo pentimento del braccio destro di Cristo, sostenuto dall'angelo, così come il senso di incompiuto che avvolge molti elementi della rappresentazione. Lo sfondo scuro è genericamente utilizzato dall'artista nei ritratti, mentre per la narrazione degli eventi sacri ha preferito utilizzare un fondale di belliniana memoria, molto profondo e fatto di cieli ampi e tersi e di colori accesi. Lo studio dei piani di colore, che costruiscono autonomamente le masse pittoriche quasi senza l'ausilio del disegno, è una soluzione tipica dello studio degli elementi pittorici tipici di Giorgione; sebbene la critica riferisca molte opere al corpus della produzione del nostro artista, è molto difficile intercettare le differenze tra le due, il che rende complessa la definizione dell'intero corpus dell'artista.
Telearte
Jul. 31, 2022
After Jacopo da Palma (Italian, ca. 1480-1528), "Portrait of a Young Woman, Called La Bella"
Est: $2,000 - $4,000
After Jacopo da Palma called Palma Vecchio (Italian, ca. 1480-1528) "Portrait of a Young Woman, Called La Bella" oil on canvas unsigned, after the 1518/20 portrait now conserved at the Museum Thyssen-Bornemisza, Madrid. Framed. 40" x 33-1/2", framed 47" x 40-1/2" Provenance: Private collection, Houston, Texas.
New Orleans Auction Galleries
Jun. 05, 2022
after Jacopo Palma Il Vecchio La Bella Painting
Est: $800 - $1,200
after PALMA IL VECCHIO, Jacopo, (Italian, 1480-1528): "La Bella", portrait of a beauty, Oil/canvas, 24.5" x 19.5", framed 29" x 24". Condition: Craquelure, scattered inpaint. From the estate of a prominent lawyer from New Rochelle, NY.
Amero Auctions
Sep. 18, 2021
PALMA IL VECCHIO (1480-1528), Man on a boat, around 1850, Lithography
Est: €30 - €50
Jacopo Palma d. Ä., called 'Palma il Vecchio' (um 1480 Serina Alta/Bergamo - 1528 Venedig), Man on a boat, c. 1850, Lithography Technique: Lithography on Paper Date: c. 1850 Description: "Man on a boat", colour lithograph of a work by Palme le Vieux (b. 1540). Colour lithograph. From the series: Pictures of the Romanesque School (Ecole des Venise). Inscribed: Palme le Vieux fecit. lmp. lith. de Chabert. Separate text information (In French by Chabert) in the format of the art sheet. Keywords: , 19th century, Romanticism, Professions, France, Size: 49,4 cm x 32,6 cm, Depiction: 26,4 cm x 17,0 cm Condition: The subject shows some age spots, the sheet has a slight tear at the lower right margin.
Fichter Kunsthandel
Apr. 20, 2021
Huile sur toile marouflée sur toile "La Belle". D'après Jacopo Palma il Vecchio. Epoque XIXème. Dim.
Est: €2,000 - €3,000
Huile sur toile marouflée sur toile "La Belle". D'après Jacopo Palma il Vecchio. Epoque XIXème. Dim.:+/-101,5x87cm.
Vanderkindere
Aug. 06, 2020
JACOPO de NEGRETO PALMA IL VECCHIO (1480-1528), CERCLE Madone à l'Enfant avec des Saints
Est: €1,500 - €2,000
JACOPO de NEGRETO PALMA IL VECCHIO (1480-1528), CERCLE Madone à l'Enfant avec des Saints Huile sur toile marouflée sur panneau. Numéro d'inventaire au dos Fissuré au centre, sans cadre Provenance : Collection privée, Monaco Dimensions: 39,4 x 31,5 cm Madonna and Child with Saints, oil on canvas mounted on panel. Inventory number on the back. Cracked in the center, without frame. Private collection Monte-Carlo
Accademia Fine Art
Nov. 11, 2018
Manner of PALMA VECCHIO, (Italian, ca. 1480 -1528), A Sibyl, oil on canvas, 36 x 28 5/8 in., frame: 41 3/4 x 35 in.
Est: $1,500 - $2,500
Manner of PALMA VECCHIO (Italian, ca. 1480 -1528) A Sibyl oil on canvas 36 x 28 5/8 in., frame: 41 3/4 x 35 in. Provenance: By descent in a Massachusetts family.
Grogan & Company
Aug. 26, 2018
After Jacopo Palma Il Vecchio (1480 - 1528)
Est: $7,000 - $9,000
After Jacopo Palma Il Vecchio (1480 - 1528) "La Bella". With Illegible inscription verso. Oil/Canvas. Sight Size: 24.25 x 19.25 in. Overall Size: 33.25 x 28.25 in. 17th-century copy after Palma's original in the Museo Thyssen-Bornemisza, Madrid (see P. Rylands, Palma Vecchio l'opera completa, Milan 1988, p. 217, cat. no. 4, reproduced p. 114)
Helmuth Stone
Nov. 21, 2017
Jacopo Palma il Vecchio (1480-1828)-follower
Est: €200 - €400
Jacopo Palma il Vecchio (1480-1828)-follower, Portrait of a lady; oil on canvas, framed.
Deutsch Auktionen
Jan. 23, 2017
AFTER JACOPO PALMA IL VECCHIO, (ITALIAN C. 1479-1528)SAINT BARBARA
Est: $2,000 - $3,000
AFTER JACOPO PALMA IL VECCHIO (italian c. 1479-1528) SAINT BARBARA Inscribed ''Ex. opera/Jac. Palma/quod extat/Venezia'' bottom left, oil on canvas, arch-form, in a fine carved and gilded antique frame 38 7/8 x 28 1/8 in. (98.7 x 71.4cm) provenance: Private Collection, Washington, DC. note: The present painting follows the composition by Palma Il Vecchio painted circa 1523, the central image in the St. Barbara Altar, Church of Santa Maria Formosa, Venice.
Freeman's | Hindman
May. 01, 2015
After Jacopo de Negreto Palma il Vecchio (1480-152
Est: £500 - £700
After Jacopo de Negreto Palma il Vecchio (1480-1528) Italian. 'St Barbara', Oil on Canvas, Arched, 13" x 5.5".
John Nicholson's Fine Art Auctioneers & Valuers
Jun. 17, 2014
AFTER JACOPO PALMA IL VECCHIO, (ITALIAN C.1479-1528), ST. BARBARA
Est: $1,000 - $1,500
AFTER JACOPO PALMA IL VECCHIO (italian c.1479-1528)/span ST. BARBARA Oil on canvas, in an arch-form architectural frame 29 1/4 x 12 3/8 in. (74.3 x 31.4cm) provenance: /spanPrivate Collection, Philadelphia, Pennsylvania. note:/span After the original part of the polyptych of St. Barbara in Santa Maria Formosa, Venice.
Freeman's | Hindman
Mar. 23, 2012
Jacopo Nigretti, genannt Palma il Vecchio, 1479 - 1528, zug.
Est: €33,000 - €35,000
PIETÀ CHRISTI MIT EINEM ENGEL Öl auf Holz. Parkettiert. 62,4 x 56,7 cm. Ohne Rahmen. Halbbildnis des vom Kreuz abgenommenen Jesus mit Dornenkrone. Das Haupt leicht geneigt mit geschlossenen Augenlidern. Das Gesicht gerahmt von dunklen Haaren, die seitlich zu den Schultern ziehen. Der rechte Unterarm hochgenommen, hinter der linken Schulter erscheint der Kopf eines Jünglings mit hellbraunem Haar, die Augen sind auf den Betrachter gerichtet, der Mund leicht geöffnet. Der Oberkörper bekleidet mit einem auberginefarbenen Hemd mit breiterem, hellerem Kragen. Die rechte Hand des Jünglings ist hinter dem Haupt herumgeführt und stützt den Kopf in Höhe der Stirn mit einem Tuch, an dem drei Finger seiner Hand sichtbar werden. Links hinten Ausblick in ein Landschaftsdetail mit Bäumen. Eckausbruch an der linken oberen Ecke. Einige Fehlstellen überwiegend an den Rändern. Expertise: Dem Gemälde ist eine Expertise von Philip Rylands vom 19. Oktober 1992 mitgegeben, dem Autor von Palma il Vecchio, L'Opera Completa, Milano (Mondadori) 1988. Ferner: Palma Vecchio, Cambridge (University Press), 1992. Die überzeugende Zuweisung an den genannten Maler erfolgt im Text unter anderem durch Verweise auf Vergleichsbilder wie etwa "Sacra Famiglia" im British Museum London sowie in einem Vergleich mit der Engelsfigur im Altar von Zerman (Mogliano Veneto, um 1515 - 1518). Resümierend hat der Autor des Gutachtens das Werk in die Experimentierphase Palma Vecchios gestellt, in die Jahre zwischen 1515 und 1518. Provenienz: Das Gemälde entstammt der Sammlung Geza von Osmitz, wurde bei Leo Schiedlof Kunstauktionshaus Tauchlauben 8 in Wien, am 12. März 1920 unter der Nummer 46 versteigert. Dort Palma Vecchio bereits zugeschrieben. (850903) Jacopo Nigretti, called Palma il Vecchio, 1479 - 1528, attributed to Oil on Panel. Parquetted. 62.4 x 56.7 cm. Without a frame.
Hampel Fine Art Auctions
Dec. 07, 2011
Circle of Jacopo Negretti, Palma il Vecchio (Serina, near Bergamo c. 1480-1528 Venice)
Est: £25,000 - £35,000
Circle of Jacopo Negretti, Palma il Vecchio (Serina, near Bergamo c. 1480-1528 Venice) The Madonna and Child with Saints John the Baptist and Paul oil on canvas, transferred from panel 29 7/8 x 49 5/8 in. (75.9 x 126.1 cm.) with an inscription in Cyrillic on a cutting from the reverse of the original lining canvas, 'Transferred from wood onto canvas in St. Petersburg The restorer F.Tabuntsov, the year 1855.', and the Russian inscription 'from the bedroom' (on the reverse of the stretcher)
Christie's
Jun. 09, 2010
Jacopo Palma, il Vecchio (Serina 1479/80-1528 Venice)
Est: $150,000 - $200,000
Jacopo Palma, il Vecchio (Serina 1479/80-1528 Venice) Portrait of a woman oil on canvas 31 x 24¼ in. (78.7 x 61.6 cm.)
Christie's
Mar. 31, 2009
Jacopo Negretti, gen. Palma Il Vecchio (Serinalta
Est: -
Jacopo Negretti, gen. Palma Il Vecchio (Serinalta um 1480û1528 Venedig) und Werkstatt Die mystische VermΣhlung der hl. Katharina; lo sposalizio mistico di Santa Caterino, ╓l auf Holz, 48 x 40 cm, in einem Tabernakelrahmen im Renaissancestil, (GS) E 10
Dorotheum
Nov. 27, 2008
JACOBO PALMA IL VECCHIO Italien 1480-1528, hans
Est: kr1,050 - kr1,575
JACOBO PALMA IL VECCHIO Italien 1480-1528, hans krets Studie av manskropp Krita och blyerts på papper, 29 x 19 cm. Crayon/pencil. EXPERTIS: Cabinet De Bayser, Paris PROVENIENS: Gösta Stenman, Stockholm
Stockholms Auktionsverket
Nov. 20, 2007
PALMA il VECCHIO(Serina 1480 - 1527 Venedig) -
Est: €5,200 - €6,000
PALMA il VECCHIO(Serina 1480 - 1527 Venedig) - Nachahmer des 19. Jhdts. "Die Hl. Barbara (in der Kirche Santa Maria Formosa,Venedig)" Öl auf Leinwand, restauriert, ca. 206 x 84 cm
Dorotheum
Mar. 04, 2003
English School (19th Century), after Palma Vecchio (1480-1528) Tarquin and Lucretia' painted on
Est: $475 - $633
card, gilt-metal frame with reeded border, the reverse engraved FROM VENETIANO/ A PICTURE in/ the Royal Colln./ BY PETER OLIVER rectangular, 5in. (127mm.) high Footnote: The original, thought by some to have been by Titian and by others to be by Palma Vecchio is in the Kunsthistoriches Museum, Vienna, but was originally part of the collection of Charles I. A limned copy by Peter Oliver is in the V&A and shows the painting prior to it having been reworked in the 19th Century. This consisted of repainting Lucretia's cloak in order to cover her breast. The fact that her breast is covered in the present lot, implies that it was based on the large painting post reworking rather than the miniature by Oliver.
Bonhams
Jun. 05, 2002
Circle of Jacopo Palma, Called Palma Vecchio (1480-1528)
Est: $4,000 - $6,000
Portrait of a woman turned to the left black chalk 7 7/8 x 7 3/8 in. (200 x 187 mm.).
Christie's
Oct. 03, 2001
JAN SWART VAN GRONINGEN (Groningen c. 1500-after 1553 Antwerp?)
Est: $80,000 - $120,000
The Temptation, with the Rebuke and the Expulsion from the Garden of Eden beyond oil on panel 78 x 65 in. (198.1 x 165.1 cm.) PROVENANCE E. Knocker. T.P. Grange, Esq., London. LITERATURE B. Wallen, Jan van Hemessen. An Antwerp Painter between Reform and Counter Reform, Ann Arbor, Michigan, 1983, figs. 94-95. P.C. Sutton, Dutch Art in America, Washington, 1986, p. 155. NOTES There are few concrete facts around which to soundly construct the life and influences of the Dutch artist, Jan Swart van Groningen. He first emerged as a tangible figure in the art of the woodcut and it was in this context that he was referred to as 'one of the glories of our school' by Karel van Mander, who equally admitted to never having seen a single painting by Swart's hand. He seems to have come to Antwerp from the Northeast as a young man, probably around 1520 (Friedl„nder, Early Netherlandish Painting, XIII, New York and Washington, 1975, pp. 13-16), the same time that Drer is known to have been in the Netherlands. In his woodcuts and drawings, which were often designs for stained glass and tapestries, Swart reveals his debt to the South German printmakers and to Drer in particular, whose work was frequently the inspiration or model for his meticulously rendered landscapes that team with naturalistic detail (see, for instance, Drer's Adam and Eve of 1504 (Hollstein 1) where the two figures are set against a deep forest with numerous animals positioned in the middle distance and at their feet; and St Eustace (Hollstein 60) where the praying saint is accompanied by his pack of hounds). Like the wildlife in the present work, Drer's animals are an important component of the pictorial narrative. Van Mander records that Jan Swart visited Venice, and certainly his sojourn in Italy seems to have been highly influential on his overall compositional style. In the present work, the elongated figures are frozen in complex poses and are firmly inserted in the rhythmically animated terrain. Their gestures and relationships suggest a knowledge of Raphael. The muscular figure of Adam, seated on a bank of earth and with arm reaching out for the forbidden fruit, recalls the same figure in Raphael's Adam and Eve of 1509-10, in the Stanza della Segnatura in the Vatican, Rome. Eve, shown by both artists with left hand raised, is transformed from Raphael's voluptuous seductive maiden into an earthy temptress by the Dutch artist. Of equal importance to the development of Swart's figurative style was his encounter with Jan van Scorel, who returned from Italy to Antwerp around 1525. After his Italian trip, van Scorel peopled his compositions with figures adapted directly from compositions by the great Renaissance artists of Rome and Venice. For instance, his Cleopatra of 1521-1524, in the Rijksmuseum, Amsterdam, recalls Palma Vecchio's 1510 Venus, now in the Gem„ldegalerie, Dresden, while his Saint Sebastian of 1542 (Boymans-van Beuningen Museum, Rotterdam) can be directly related to a figure from Michelangelo's Last Judgement of 1541 in the Vatican, Rome. In determining a plausible date of execution for the present work the influence of the Antwerp Mannerists must also be seen as playing an integral part of the development of this artist. If it was predominantly Drer who influenced the intense detail of Swart's foregrounds, it was the Antwerp artists, Dirk Vellert and Jan van Scorel, whose billowing styles helped form the looser handling of his middle and backgrounds (see for instance, Van Scorel's Baptism of Christ, 1528, in the Frans Halsmuseum, Haarlem). In true Netherlandish style, the narrative in the Minneapolis Adam and Eve continues through a series of episodic scenes peopled by figures of ever decreasing scale. There are few paintings by Jan Swart which have been convincingly dated, but Friedl„nder ( op. cit. p. 15) postulates a date of around 1528 for his St John the Baptist Preaching (Alte Pinakothek, Mnich). The present work is closer in style to The Miracle of the Loaves and the Fishes in the Gronigen Museum voor Stad en Lande, Groningen, which Friedl„nder suggests may have been painted just prior to 1528. It seems likely, therefore, that the present painting was executed in the latter part of the 1520s.
Christie's