Los

2034

Ossias BeertBlumenvase in einer Steinnische Öl auf Holz. 71 x 52 cm.GutachtenSchriftliche

In Old Master Paintings, Drawings, and Sculpture

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Ossias BeertBlumenvase in einer Steinnische Öl auf Holz. 71 x 52 cm.GutachtenSchriftliche
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Ossias Beert
Blumenvase in einer Steinnische

Öl auf Holz. 71 x 52 cm.

Gutachten
Schriftliche Bestätigung durch Fred Meijer, RKD, Den Haag, 10.2.2014 (RKD-Nr. 14687).

Provenienz
Auktion Sotheby´s, London, 3.12.1960, Lot 95. - Kunsthandel P. de Boer, Amsterdam. - Deutsche Privatsammlung, seit 1963.

Literatur
Sam Segal: Flowers and Nature. Netherlandish Flower Painting of Four Centuries, Amstelveen 1990, S. 183, Nr. 50b.

Eine runde Vase aus Serpentin in einer Wandnische, bestückt mit prachtvollen Blumen: gelbe Schwertlilien und rote Pfingstrosen, blaue Kornblumen, gelbe Narzissen, weiße und rote Rosen, zudem Tulpen in verschiedenen Farben und Formen. Fred Meijer hat dieses Bild als eigenhändiges Werk des Antwerpener Künstlers Ossias Beert identifiziert, nachdem es lange Zeit als ein Gemälde aus dem Umkreis des Ambrosius Bosschaert galt.
Das Bild zeigt die charakteristischen Elemente des frühen niederländischen Blumenstilllebens kurz nach 1600: die strenge, fast symmetrische Darstellung der Blüten; die Nische, in der die Vase eingestellt ist; die unnatürliche Streckung der Blumen, um jede Blüte in ihrer ganzen Pracht zu präsentieren. Die fälschliche Verortung dieses Stilllebens nach Middelburg in den Umkreis Ambrosius Bosschaerts ist verständlich, insofern dieser zu den frühen Wegbereitern des Blumenstilllebens zählte. Manche Elemente, etwa die Serpentinvase und die flächig die Blüten hinterfangenden Rosenblätter weisen jedoch auf Ossias Beert als Autor des Bildes und damit auf Antwerpen als seinen Entstehungsort hin. Es ist davon auszugehen, dass Ossias Beert diese Gattung durch Jan Brueghel kennenlernte, der das Blumenstück durch seine kapitalen Werke kurz nach 1600 in Antwerpen einführte.

Die Frage, wie das Blumenstillleben als eigenständige Gattung entstand und warum es sehr bald nach seiner Entstehung im Norden wie im Süden der Niederlande so populär wurde, ist nicht gänzlich geklärt. Dieses Bild von Ossias Beert bietet dafür jedoch einige Erklärungen: Zunächst war es die Schönheit und Kostbarkeit der zum Teil von Übersee importierten, zum Teil gezüchteten Blumen, die die Blumen bildwürdig machten - oftmals wurden sie in kostbaren Vasen und Schalen dargestellt. Die präzise Wiedergabe der Blumen in ihrer verschiedenartigen Farbigkeit und Stofflichkeit zeugte zudem von der einzigartigen Fähigkeit der Malerei zur illusionistischen Darstellung der Natur. Diesem Illusionismus diente die Darstellung des Stilllebens in einer Nische, wobei in diesem Bild der Schmetterling an der Kante der Nische diesen Illusionismus noch einmal steigert, indem er die Grenze zwischen Bildraum und realem Raum verwischt.
Ossias Beert war vor allem bekannt für seine Dessertstillleben, die auf einem reich gedeckten Tisch Austern, Gebäck und eben auch Blumen in kostbaren Gefäßen präsentierten. In seinen Blumenstillleben stellte er oftmals Blumen in mehreren Vasen und Schalen dar und arrangierte sie zu einer eleganten Komposition. Beert, der immer in Antwerpen arbeitete, zählte zu den frühen Vertretern der flämischen Stilllebenmalerei, die er nachhaltig prägte.

Ossias Beert
Vase of Flowers in a Stone Niche

Oil on panel. 71 x 52 cm.

Expertise
Written confirmation of authenticity by Fred Meijer of the RKD in The Hague dated 10.2.2014 (RKD-Nr. 14687).

Provenance
Auctioned by Sotheby´s, London, 3.12.1960, lot 95. - P. de Boer art dealers, Amsterdam. - In a German private collection since 1963.

Literature
Sam Segal: Flowers and Nature. Netherlandish Flower Painting of Four Centuries. Amstelveen 1990, p. 183, no. 50b.

This work depicts a serpentine vase in a niche filled with a magnificent bouquet of flowers. We see yellow lilies, red peonies, blue cornflowers, yellow daffodils, red and white roses, and tulips of many forms and colours. Fred Meijer has confirmed the present work to be an authentic piece by Ossias Beert, although it was long considered to be a product of the circle of Ambrosius Bosschaert.
The work displays characteristic elements of early Netherlandish flower still life painting as it was practiced shortly after 1600. The sombre, almost symmetrical arrangement of the blooms, the niche in which the vase stands, and the unnatural lengthening of the stems in order to present every flower from its most favourable angle. The erroneous attribution of the piece to the circle of Ambrosius Bosschaert in Middelburg is understandable as he was one of the earliest proponents of the flower still life. However, various elements such as the serpentine vase and the way the rose petals are depicted like frames around the flowers all point to Ossias Beert as the author of this work and Antwerp as its origin. Ossias Beert presumably first learnt about the flower still life genre through Jan Brueghel, who introduced it to Antwerp in his masterpieces around 1600.
The question of how the flower still life came to establish itself as an independent genre, and how it rose to popularity in both the northern and southern Netherlands so shortly after its genesis has not yet been fully explained. However, this work indicates several possible explanations: The beauty and opulence of the blooms, which were often imported from abroad or specially bred, made these flowers worthy of depiction in art. They were also frequently depicted in valuable containers and vases. The precise depiction of the myriad textures and colours of the flowers demonstrated the remarkable ability of the medium of painting to present an illusionistic mirror image of nature. The depiction of the still life in a niche only served to increase this illusionistic effect, and the butterfly perching on the edge of the stone slab further blurs the line between painted image and reality.
Ossias Beert was primarily known for his dessert still lifes, in which he presented oysters, biscuits, and flowers in opulent containers strewn upon richly laden tables. In his flower still lifes he frequently depicts the blossoms in a variety of bowls and vases, arranging them to elegant compositions. Beert, who was active in Antwerp throughout his entire career, was among the earliest proponents of Flemish still life painting, and exerted a strong and lasting influence on the genre in the years to come.
Ossias Beert
Blumenvase in einer Steinnische

Öl auf Holz. 71 x 52 cm.

Gutachten
Schriftliche Bestätigung durch Fred Meijer, RKD, Den Haag, 10.2.2014 (RKD-Nr. 14687).

Provenienz
Auktion Sotheby´s, London, 3.12.1960, Lot 95. - Kunsthandel P. de Boer, Amsterdam. - Deutsche Privatsammlung, seit 1963.

Literatur
Sam Segal: Flowers and Nature. Netherlandish Flower Painting of Four Centuries, Amstelveen 1990, S. 183, Nr. 50b.

Eine runde Vase aus Serpentin in einer Wandnische, bestückt mit prachtvollen Blumen: gelbe Schwertlilien und rote Pfingstrosen, blaue Kornblumen, gelbe Narzissen, weiße und rote Rosen, zudem Tulpen in verschiedenen Farben und Formen. Fred Meijer hat dieses Bild als eigenhändiges Werk des Antwerpener Künstlers Ossias Beert identifiziert, nachdem es lange Zeit als ein Gemälde aus dem Umkreis des Ambrosius Bosschaert galt.
Das Bild zeigt die charakteristischen Elemente des frühen niederländischen Blumenstilllebens kurz nach 1600: die strenge, fast symmetrische Darstellung der Blüten; die Nische, in der die Vase eingestellt ist; die unnatürliche Streckung der Blumen, um jede Blüte in ihrer ganzen Pracht zu präsentieren. Die fälschliche Verortung dieses Stilllebens nach Middelburg in den Umkreis Ambrosius Bosschaerts ist verständlich, insofern dieser zu den frühen Wegbereitern des Blumenstilllebens zählte. Manche Elemente, etwa die Serpentinvase und die flächig die Blüten hinterfangenden Rosenblätter weisen jedoch auf Ossias Beert als Autor des Bildes und damit auf Antwerpen als seinen Entstehungsort hin. Es ist davon auszugehen, dass Ossias Beert diese Gattung durch Jan Brueghel kennenlernte, der das Blumenstück durch seine kapitalen Werke kurz nach 1600 in Antwerpen einführte.

Die Frage, wie das Blumenstillleben als eigenständige Gattung entstand und warum es sehr bald nach seiner Entstehung im Norden wie im Süden der Niederlande so populär wurde, ist nicht gänzlich geklärt. Dieses Bild von Ossias Beert bietet dafür jedoch einige Erklärungen: Zunächst war es die Schönheit und Kostbarkeit der zum Teil von Übersee importierten, zum Teil gezüchteten Blumen, die die Blumen bildwürdig machten - oftmals wurden sie in kostbaren Vasen und Schalen dargestellt. Die präzise Wiedergabe der Blumen in ihrer verschiedenartigen Farbigkeit und Stofflichkeit zeugte zudem von der einzigartigen Fähigkeit der Malerei zur illusionistischen Darstellung der Natur. Diesem Illusionismus diente die Darstellung des Stilllebens in einer Nische, wobei in diesem Bild der Schmetterling an der Kante der Nische diesen Illusionismus noch einmal steigert, indem er die Grenze zwischen Bildraum und realem Raum verwischt.
Ossias Beert war vor allem bekannt für seine Dessertstillleben, die auf einem reich gedeckten Tisch Austern, Gebäck und eben auch Blumen in kostbaren Gefäßen präsentierten. In seinen Blumenstillleben stellte er oftmals Blumen in mehreren Vasen und Schalen dar und arrangierte sie zu einer eleganten Komposition. Beert, der immer in Antwerpen arbeitete, zählte zu den frühen Vertretern der flämischen Stilllebenmalerei, die er nachhaltig prägte.

Ossias Beert
Vase of Flowers in a Stone Niche

Oil on panel. 71 x 52 cm.

Expertise
Written confirmation of authenticity by Fred Meijer of the RKD in The Hague dated 10.2.2014 (RKD-Nr. 14687).

Provenance
Auctioned by Sotheby´s, London, 3.12.1960, lot 95. - P. de Boer art dealers, Amsterdam. - In a German private collection since 1963.

Literature
Sam Segal: Flowers and Nature. Netherlandish Flower Painting of Four Centuries. Amstelveen 1990, p. 183, no. 50b.

This work depicts a serpentine vase in a niche filled with a magnificent bouquet of flowers. We see yellow lilies, red peonies, blue cornflowers, yellow daffodils, red and white roses, and tulips of many forms and colours. Fred Meijer has confirmed the present work to be an authentic piece by Ossias Beert, although it was long considered to be a product of the circle of Ambrosius Bosschaert.
The work displays characteristic elements of early Netherlandish flower still life painting as it was practiced shortly after 1600. The sombre, almost symmetrical arrangement of the blooms, the niche in which the vase stands, and the unnatural lengthening of the stems in order to present every flower from its most favourable angle. The erroneous attribution of the piece to the circle of Ambrosius Bosschaert in Middelburg is understandable as he was one of the earliest proponents of the flower still life. However, various elements such as the serpentine vase and the way the rose petals are depicted like frames around the flowers all point to Ossias Beert as the author of this work and Antwerp as its origin. Ossias Beert presumably first learnt about the flower still life genre through Jan Brueghel, who introduced it to Antwerp in his masterpieces around 1600.
The question of how the flower still life came to establish itself as an independent genre, and how it rose to popularity in both the northern and southern Netherlands so shortly after its genesis has not yet been fully explained. However, this work indicates several possible explanations: The beauty and opulence of the blooms, which were often imported from abroad or specially bred, made these flowers worthy of depiction in art. They were also frequently depicted in valuable containers and vases. The precise depiction of the myriad textures and colours of the flowers demonstrated the remarkable ability of the medium of painting to present an illusionistic mirror image of nature. The depiction of the still life in a niche only served to increase this illusionistic effect, and the butterfly perching on the edge of the stone slab further blurs the line between painted image and reality.
Ossias Beert was primarily known for his dessert still lifes, in which he presented oysters, biscuits, and flowers in opulent containers strewn upon richly laden tables. In his flower still lifes he frequently depicts the blossoms in a variety of bowls and vases, arranging them to elegant compositions. Beert, who was active in Antwerp throughout his entire career, was among the earliest proponents of Flemish still life painting, and exerted a strong and lasting influence on the genre in the years to come.

Old Master Paintings, Drawings, and Sculpture

Auktionsdatum
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Köln
50667
Germany

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24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not refundable; VAT margin scheme

But also:
19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
- 20.00 % buyer's premium on the amount of the hammer price exceeding 400,001 EUR

And:
24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
7.00 % pre-paid importation VAT on the hammer price, refundible in case of export outside EU
19.00 % VAT on buyer's premium and other charges; not indicated and not refundable; VAT margin scheme

AGB

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Takuro Ito, Auctioneer

 

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