1013
Ambrosius BensonPortrait of a Young Man with an Engagement Ring (Goldsmith?) Oil on panel. 43 x 31
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Beschreibung
Ambrosius Benson
Portrait of a Young Man with an Engagement Ring (Goldsmith?)
Oil on panel. 43 x 31 cm.
Provenance
Private ownership, Germany.
Literature
For this painter, cf.: Max J. Friedländer: Ambrosius Benson als Bildnismaler. In: Jahrbuch der Preußischen Kunstsammlungen, issue 3, 1910, p. 139-148. - For this painter, cf.: Max J. Friedländer: Ambrosius Benson als Bildnismaler. In: Jahrbuch der Preußischen Kunstsammlungen, issue 3, 1910, p. 139-148.
Ambrosius Benson, probably born Benzone or Bensoni, was born in Lombardy but resided in Bruges from 1518 to 1550 and trained there under the painter Gerard David. He was accepted as a “freimeister” by the Bruges Guild of Saint Luke in 1519. Only his later works are signed, which probably attests to his growing self-confidence as an artist as opposed to a mere craftsman. His motifs also underwent considerable changes throughout the years: Alongside religious pieces for the church, Benson later began to carry out numerous commissions for the developing burgher class, such as the present work. He managed his own workshop in Bruges and became a respected and wealthy painter. It is assumed that he is identical with the Master of Segovia, the creator of the unsigned crucifixion triptych in Segovia cathedral.
The present work depicts a young man in a black vest, white shirt and black beret, wearing a gold chain suspending a stylised claw pendant. He holds a glove in his left hand and a ring in his slightly raised right hand, a gesture indicating a promise of marriage. Ambrosius Benson
Porträt eines jungen Mannes mit Verlobungsring (Goldschmied?)
Öl auf Holz. 43 x 31 cm.
Provenienz
Parke-Bernet, New York, Ryan Sale, 19./20. Januar 1940, Lot 220. - M. Knoedler & Co., New York 1957. - Deutsche Privatsammlung.
Literatur
Georges Marlier: Ambrosius Benson et la peinture a Bruges au temps de Charles-Quint, Editions du Musée van Maerlant, Damme 1957, S. 258, 320 u. Abb. 143. - Zum Maler siehe: Max J. Friedländer: Ambrosius Benson als Bildnismaler. In: Jahrbuch der Preußischen Kunstsammlungen, Heft 3, 1910, S. 139-148.
Ambrosius Benson, der ursprünglich wohl Benzone oder Bensoni hieß, wurde in der Lombardei geboren. Zwischen 1518 und 1550 lebte Benson in Brügge und wurde von dem dortigen Maler Gerard David ausgebildet. 1519 wurde er als Freimeister in die Lukasgilde aufgenommen. Nur die späteren Werke Bensons sind signiert, was mit dem Aufkeimen eines künstlerischen und nicht mehr handwerklichen Selbstbewusstseins zusammenhängt. Auch in seinen Darstellungen zeigt sich eine deutliche Wende, denn neben zahlreichen für die Kirche geschaffenen religiösen Werken arbeitete Benson später auch an zahlreichen Aufträgen für das aufkommende Großbürgertum, wie wohl auch bei dem hier vorliegenden Gemälde.
Benson führte in Brügge eine eigene Werkstatt und wurde zu einem angesehenen und wohlhabenden Maler. Man geht davon aus, dass Ambrosius Benson identisch ist mit dem Meister von Segovia, der das nicht signierte und daher nicht eindeutig zuzuordnende Kreuzigungstriptychon in der Kathedrale von Segovia geschaffen hat.
Das vorliegende Gemälde zeigt einen jungen Mann mit schwarzem Wams, darunter einem weißen Hemd sowie einem schwarzen Barett. Um den Hals trägt er eine goldene Kette mit einer stilisierten goldenen Klaue. In seiner linken Hand hält er einen Handschuh, in seiner rechten leicht erhobenen Hand einen Ring. Dieser Zeigegestus deutet auf ein Heiratsversprechen hin.
Portrait of a Young Man with an Engagement Ring (Goldsmith?)
Oil on panel. 43 x 31 cm.
Provenance
Private ownership, Germany.
Literature
For this painter, cf.: Max J. Friedländer: Ambrosius Benson als Bildnismaler. In: Jahrbuch der Preußischen Kunstsammlungen, issue 3, 1910, p. 139-148. - For this painter, cf.: Max J. Friedländer: Ambrosius Benson als Bildnismaler. In: Jahrbuch der Preußischen Kunstsammlungen, issue 3, 1910, p. 139-148.
Ambrosius Benson, probably born Benzone or Bensoni, was born in Lombardy but resided in Bruges from 1518 to 1550 and trained there under the painter Gerard David. He was accepted as a “freimeister” by the Bruges Guild of Saint Luke in 1519. Only his later works are signed, which probably attests to his growing self-confidence as an artist as opposed to a mere craftsman. His motifs also underwent considerable changes throughout the years: Alongside religious pieces for the church, Benson later began to carry out numerous commissions for the developing burgher class, such as the present work. He managed his own workshop in Bruges and became a respected and wealthy painter. It is assumed that he is identical with the Master of Segovia, the creator of the unsigned crucifixion triptych in Segovia cathedral.
The present work depicts a young man in a black vest, white shirt and black beret, wearing a gold chain suspending a stylised claw pendant. He holds a glove in his left hand and a ring in his slightly raised right hand, a gesture indicating a promise of marriage. Ambrosius Benson
Porträt eines jungen Mannes mit Verlobungsring (Goldschmied?)
Öl auf Holz. 43 x 31 cm.
Provenienz
Parke-Bernet, New York, Ryan Sale, 19./20. Januar 1940, Lot 220. - M. Knoedler & Co., New York 1957. - Deutsche Privatsammlung.
Literatur
Georges Marlier: Ambrosius Benson et la peinture a Bruges au temps de Charles-Quint, Editions du Musée van Maerlant, Damme 1957, S. 258, 320 u. Abb. 143. - Zum Maler siehe: Max J. Friedländer: Ambrosius Benson als Bildnismaler. In: Jahrbuch der Preußischen Kunstsammlungen, Heft 3, 1910, S. 139-148.
Ambrosius Benson, der ursprünglich wohl Benzone oder Bensoni hieß, wurde in der Lombardei geboren. Zwischen 1518 und 1550 lebte Benson in Brügge und wurde von dem dortigen Maler Gerard David ausgebildet. 1519 wurde er als Freimeister in die Lukasgilde aufgenommen. Nur die späteren Werke Bensons sind signiert, was mit dem Aufkeimen eines künstlerischen und nicht mehr handwerklichen Selbstbewusstseins zusammenhängt. Auch in seinen Darstellungen zeigt sich eine deutliche Wende, denn neben zahlreichen für die Kirche geschaffenen religiösen Werken arbeitete Benson später auch an zahlreichen Aufträgen für das aufkommende Großbürgertum, wie wohl auch bei dem hier vorliegenden Gemälde.
Benson führte in Brügge eine eigene Werkstatt und wurde zu einem angesehenen und wohlhabenden Maler. Man geht davon aus, dass Ambrosius Benson identisch ist mit dem Meister von Segovia, der das nicht signierte und daher nicht eindeutig zuzuordnende Kreuzigungstriptychon in der Kathedrale von Segovia geschaffen hat.
Das vorliegende Gemälde zeigt einen jungen Mann mit schwarzem Wams, darunter einem weißen Hemd sowie einem schwarzen Barett. Um den Hals trägt er eine goldene Kette mit einer stilisierten goldenen Klaue. In seiner linken Hand hält er einen Handschuh, in seiner rechten leicht erhobenen Hand einen Ring. Dieser Zeigegestus deutet auf ein Heiratsversprechen hin.
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Ambrosius Benson
Portrait of a Young Man with an Engagement Ring (Goldsmith?)
Oil on panel. 43 x 31 cm.
Provenance
Private ownership, Germany.
Literature
For this painter, cf.: Max J. Friedländer: Ambrosius Benson als Bildnismaler. In: Jahrbuch der Preußischen Kunstsammlungen, issue 3, 1910, p. 139-148. - For this painter, cf.: Max J. Friedländer: Ambrosius Benson als Bildnismaler. In: Jahrbuch der Preußischen Kunstsammlungen, issue 3, 1910, p. 139-148.
Ambrosius Benson, probably born Benzone or Bensoni, was born in Lombardy but resided in Bruges from 1518 to 1550 and trained there under the painter Gerard David. He was accepted as a “freimeister” by the Bruges Guild of Saint Luke in 1519. Only his later works are signed, which probably attests to his growing self-confidence as an artist as opposed to a mere craftsman. His motifs also underwent considerable changes throughout the years: Alongside religious pieces for the church, Benson later began to carry out numerous commissions for the developing burgher class, such as the present work. He managed his own workshop in Bruges and became a respected and wealthy painter. It is assumed that he is identical with the Master of Segovia, the creator of the unsigned crucifixion triptych in Segovia cathedral.
The present work depicts a young man in a black vest, white shirt and black beret, wearing a gold chain suspending a stylised claw pendant. He holds a glove in his left hand and a ring in his slightly raised right hand, a gesture indicating a promise of marriage. Ambrosius Benson
Porträt eines jungen Mannes mit Verlobungsring (Goldschmied?)
Öl auf Holz. 43 x 31 cm.
Provenienz
Parke-Bernet, New York, Ryan Sale, 19./20. Januar 1940, Lot 220. - M. Knoedler & Co., New York 1957. - Deutsche Privatsammlung.
Literatur
Georges Marlier: Ambrosius Benson et la peinture a Bruges au temps de Charles-Quint, Editions du Musée van Maerlant, Damme 1957, S. 258, 320 u. Abb. 143. - Zum Maler siehe: Max J. Friedländer: Ambrosius Benson als Bildnismaler. In: Jahrbuch der Preußischen Kunstsammlungen, Heft 3, 1910, S. 139-148.
Ambrosius Benson, der ursprünglich wohl Benzone oder Bensoni hieß, wurde in der Lombardei geboren. Zwischen 1518 und 1550 lebte Benson in Brügge und wurde von dem dortigen Maler Gerard David ausgebildet. 1519 wurde er als Freimeister in die Lukasgilde aufgenommen. Nur die späteren Werke Bensons sind signiert, was mit dem Aufkeimen eines künstlerischen und nicht mehr handwerklichen Selbstbewusstseins zusammenhängt. Auch in seinen Darstellungen zeigt sich eine deutliche Wende, denn neben zahlreichen für die Kirche geschaffenen religiösen Werken arbeitete Benson später auch an zahlreichen Aufträgen für das aufkommende Großbürgertum, wie wohl auch bei dem hier vorliegenden Gemälde.
Benson führte in Brügge eine eigene Werkstatt und wurde zu einem angesehenen und wohlhabenden Maler. Man geht davon aus, dass Ambrosius Benson identisch ist mit dem Meister von Segovia, der das nicht signierte und daher nicht eindeutig zuzuordnende Kreuzigungstriptychon in der Kathedrale von Segovia geschaffen hat.
Das vorliegende Gemälde zeigt einen jungen Mann mit schwarzem Wams, darunter einem weißen Hemd sowie einem schwarzen Barett. Um den Hals trägt er eine goldene Kette mit einer stilisierten goldenen Klaue. In seiner linken Hand hält er einen Handschuh, in seiner rechten leicht erhobenen Hand einen Ring. Dieser Zeigegestus deutet auf ein Heiratsversprechen hin.
Portrait of a Young Man with an Engagement Ring (Goldsmith?)
Oil on panel. 43 x 31 cm.
Provenance
Private ownership, Germany.
Literature
For this painter, cf.: Max J. Friedländer: Ambrosius Benson als Bildnismaler. In: Jahrbuch der Preußischen Kunstsammlungen, issue 3, 1910, p. 139-148. - For this painter, cf.: Max J. Friedländer: Ambrosius Benson als Bildnismaler. In: Jahrbuch der Preußischen Kunstsammlungen, issue 3, 1910, p. 139-148.
Ambrosius Benson, probably born Benzone or Bensoni, was born in Lombardy but resided in Bruges from 1518 to 1550 and trained there under the painter Gerard David. He was accepted as a “freimeister” by the Bruges Guild of Saint Luke in 1519. Only his later works are signed, which probably attests to his growing self-confidence as an artist as opposed to a mere craftsman. His motifs also underwent considerable changes throughout the years: Alongside religious pieces for the church, Benson later began to carry out numerous commissions for the developing burgher class, such as the present work. He managed his own workshop in Bruges and became a respected and wealthy painter. It is assumed that he is identical with the Master of Segovia, the creator of the unsigned crucifixion triptych in Segovia cathedral.
The present work depicts a young man in a black vest, white shirt and black beret, wearing a gold chain suspending a stylised claw pendant. He holds a glove in his left hand and a ring in his slightly raised right hand, a gesture indicating a promise of marriage. Ambrosius Benson
Porträt eines jungen Mannes mit Verlobungsring (Goldschmied?)
Öl auf Holz. 43 x 31 cm.
Provenienz
Parke-Bernet, New York, Ryan Sale, 19./20. Januar 1940, Lot 220. - M. Knoedler & Co., New York 1957. - Deutsche Privatsammlung.
Literatur
Georges Marlier: Ambrosius Benson et la peinture a Bruges au temps de Charles-Quint, Editions du Musée van Maerlant, Damme 1957, S. 258, 320 u. Abb. 143. - Zum Maler siehe: Max J. Friedländer: Ambrosius Benson als Bildnismaler. In: Jahrbuch der Preußischen Kunstsammlungen, Heft 3, 1910, S. 139-148.
Ambrosius Benson, der ursprünglich wohl Benzone oder Bensoni hieß, wurde in der Lombardei geboren. Zwischen 1518 und 1550 lebte Benson in Brügge und wurde von dem dortigen Maler Gerard David ausgebildet. 1519 wurde er als Freimeister in die Lukasgilde aufgenommen. Nur die späteren Werke Bensons sind signiert, was mit dem Aufkeimen eines künstlerischen und nicht mehr handwerklichen Selbstbewusstseins zusammenhängt. Auch in seinen Darstellungen zeigt sich eine deutliche Wende, denn neben zahlreichen für die Kirche geschaffenen religiösen Werken arbeitete Benson später auch an zahlreichen Aufträgen für das aufkommende Großbürgertum, wie wohl auch bei dem hier vorliegenden Gemälde.
Benson führte in Brügge eine eigene Werkstatt und wurde zu einem angesehenen und wohlhabenden Maler. Man geht davon aus, dass Ambrosius Benson identisch ist mit dem Meister von Segovia, der das nicht signierte und daher nicht eindeutig zuzuordnende Kreuzigungstriptychon in der Kathedrale von Segovia geschaffen hat.
Das vorliegende Gemälde zeigt einen jungen Mann mit schwarzem Wams, darunter einem weißen Hemd sowie einem schwarzen Barett. Um den Hals trägt er eine goldene Kette mit einer stilisierten goldenen Klaue. In seiner linken Hand hält er einen Handschuh, in seiner rechten leicht erhobenen Hand einen Ring. Dieser Zeigegestus deutet auf ein Heiratsversprechen hin.
Old Master & 19th Century Paintings, Drawings
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AGB
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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer
