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Joos van ClevePorträt eines jungen Mannes Öl auf Holz. 20 x 12,5 cm.ProvenienzHenry Oppenheimer (

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Joos van ClevePorträt eines jungen Mannes Öl auf Holz. 20 x 12,5 cm.ProvenienzHenry Oppenheimer (
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Köln
Joos van Cleve
Porträt eines jungen Mannes

Öl auf Holz. 20 x 12,5 cm.

Provenienz
Henry Oppenheimer (1839-1932 London). - Christie´s London, 24.7.1936, Lot 8. - Koetser Galerie, London, New York 1941. - Nicholas M. Acquavella Galleries, New York. - Privatsammlung New York (?). - Sotheby´s Parke Bernet, New York, 7.6.1984, Lot 13. - Deutsche Privatsammlung.

Ausstellungen
London 1927, Nr. 124 (?). - Koetser Gallery, New York 1941, Nr. 3. - Kassel, Staatliche Kunstsammlungen, als Leihgabe bis ca. 2002.

Literatur
M. J. Friedländer: Die Altniederländische Malerei, Bd. IX, S. 50, Nr. 75. - M. J. Friedländer 1972, Bd. IX, Nr. 75, Abb. 94. - H. Comstock: An early portrait by Joos van Cleve, in: Connoisseur 108, 1941, S. 120-121. - J. O. Hand: Joos van Cleve. The early and mature paintings, Diss. Princeton University 1978, S. 59-61, 294, Nr. 3, Abb. 3. - J. O. Hand: Joos van Cleve. The complete paintings, S. 21, Abb. 11, Katalog Nr. 3, S. 114.

Joos van Cleve hat ein umfangreiches Werk hinterlassen, darunter Altarbilder, Madonnen und eine stattliche Anzahl an Porträts. Die frühen Arbeiten verweisen auf Einflüsse von Jan Joest, der 1505/08 in Kalkar den Hochaltar ausführte, später standen ihm Hans Memling und Gerard David Pate. Um 1530 wurde Joos van Cleve als Porträtist an den Hof Franz I. berufen und sein Stil wurde in der Folge richtungsweisend für die französische Bildnismalerei von 1530-1570.
Von diesen reifen Bildnissen ist unser 1509 datiertes Werk noch weit entfernt. Seine Bedeutung liegt vielmehr darin, dass es als das früheste Porträt im Gesamtwerk van Cleves gelten kann. Etwa zur gleichen Zeit entstand ein Bildnis Kaiser Maximilians I., das die gleiche Rahmung hat. Rahmen und Bild bilden materiell in beiden Fällen eine Einheit.
Die Identität des hier dargestellten jungen Mannes ist nicht bekannt. Vor einem monochromen grünen Hintergrund erweckt der im Dreiviertelprofil kleinformatig Porträtierte den Eindruck von Schlichtheit. Sein Gesichtsausdruck und die im Vergleich zu seinem Kopf relativ schmalen Schultern bekräftigen diese Wirkung. Der Maler verzichtet zudem auf die charakterisierende Funktion der Hände und betont damit den statischen Charakter seines Bildaufbaus. Dieser Effekt wird durch den ruhigen, den Betrachter fixierenden Blick des jungen Mannes verstärkt. Im Bildrahmen trägt das Bildnis die rätselhafte Inschrift: „Et mach Ghesceien“ - "Es möge geschehen“.

Joos van Cleve
Portrait of a Young Man

Oil on panel. 20 x 12.5 cm.

Provenance
Henry Oppenheimer (1839 - 1932 London). - Christie´s London, 24.7.1936, lot 8. - Koetser Galerie, London, New York 1941. - Nicholas M. Acquavella Galleries, New York. – Private collection, New York (?). - Sotheby´s Parke Bernet, New York, 7.6.1984, lot 13. – Private collection, Germany.

Exhibitions
London 1927, no. 124 (?). - Koetser Gallery, New York 1941, no. 3. - Kassel, Staatliche Kunstsamllungen, on loan until around 2002.

Literature
M. J. Friedländer: Die Altniederländische Malerei, vol. IX, p. 50, no. 75. - M. J. Friedländer 1972, vol. IX, no. 75, illus. 94. - H. Comstock: An early portrait by Joos van Cleve, in: Conoisseur 108, 1941, p. 120-121. - J. O. Hand: Joos van Cleve. The early and mature paintings, Diss. Princeton University 1978, p. 59 - 61, 294, no. 3, illus. 3. - J. O. Hand: Joos van Cleve. The complete paintings, p. 21, illus. 11, cat. no. 3, p. 114.

Joos van Cleve left behind a substantial œuvre comprising altarpieces, Madonnas, and a considerable number of portraits. His early works are characterised by the influence of Jan Joest, who painted the high altarpiece of Kalkar in 1505/08, and later by that of Hans Memling and Gerard David. Van Cleve was summoned to the court of Francis I as a portraitist in 1530, and his style would have a major impact on French portrait painting between 1530-1570. The present work, dated 1509, is still a far cry from these mature works, but remains highly significant in that it is the earliest portrait attributed to van Cleve. It was painted at a similar time to a portrait of Emperor Maximilian I housed in an identical frame. In both cases, the image and the frame form an inseparable unit.
The identity of the sitter remains unknown. The young man is depicted seated before a monochrome green background in a three-quarter view. The sitter's pose and the small format of the work evoke a sense of simplicity, which is further accentuated by his comparatively narrow shoulders. The artist dispenses with the expressive inclusion of the hands, emphasising the static qualities of the image. This effect in turn is strengthened by the calm way in which the young man gazes out towards the beholder. The work's frame bears the mysterious inscription “Et mach Ghesceien” - let it be done.
Joos van Cleve
Porträt eines jungen Mannes

Öl auf Holz. 20 x 12,5 cm.

Provenienz
Henry Oppenheimer (1839-1932 London). - Christie´s London, 24.7.1936, Lot 8. - Koetser Galerie, London, New York 1941. - Nicholas M. Acquavella Galleries, New York. - Privatsammlung New York (?). - Sotheby´s Parke Bernet, New York, 7.6.1984, Lot 13. - Deutsche Privatsammlung.

Ausstellungen
London 1927, Nr. 124 (?). - Koetser Gallery, New York 1941, Nr. 3. - Kassel, Staatliche Kunstsammlungen, als Leihgabe bis ca. 2002.

Literatur
M. J. Friedländer: Die Altniederländische Malerei, Bd. IX, S. 50, Nr. 75. - M. J. Friedländer 1972, Bd. IX, Nr. 75, Abb. 94. - H. Comstock: An early portrait by Joos van Cleve, in: Connoisseur 108, 1941, S. 120-121. - J. O. Hand: Joos van Cleve. The early and mature paintings, Diss. Princeton University 1978, S. 59-61, 294, Nr. 3, Abb. 3. - J. O. Hand: Joos van Cleve. The complete paintings, S. 21, Abb. 11, Katalog Nr. 3, S. 114.

Joos van Cleve hat ein umfangreiches Werk hinterlassen, darunter Altarbilder, Madonnen und eine stattliche Anzahl an Porträts. Die frühen Arbeiten verweisen auf Einflüsse von Jan Joest, der 1505/08 in Kalkar den Hochaltar ausführte, später standen ihm Hans Memling und Gerard David Pate. Um 1530 wurde Joos van Cleve als Porträtist an den Hof Franz I. berufen und sein Stil wurde in der Folge richtungsweisend für die französische Bildnismalerei von 1530-1570.
Von diesen reifen Bildnissen ist unser 1509 datiertes Werk noch weit entfernt. Seine Bedeutung liegt vielmehr darin, dass es als das früheste Porträt im Gesamtwerk van Cleves gelten kann. Etwa zur gleichen Zeit entstand ein Bildnis Kaiser Maximilians I., das die gleiche Rahmung hat. Rahmen und Bild bilden materiell in beiden Fällen eine Einheit.
Die Identität des hier dargestellten jungen Mannes ist nicht bekannt. Vor einem monochromen grünen Hintergrund erweckt der im Dreiviertelprofil kleinformatig Porträtierte den Eindruck von Schlichtheit. Sein Gesichtsausdruck und die im Vergleich zu seinem Kopf relativ schmalen Schultern bekräftigen diese Wirkung. Der Maler verzichtet zudem auf die charakterisierende Funktion der Hände und betont damit den statischen Charakter seines Bildaufbaus. Dieser Effekt wird durch den ruhigen, den Betrachter fixierenden Blick des jungen Mannes verstärkt. Im Bildrahmen trägt das Bildnis die rätselhafte Inschrift: „Et mach Ghesceien“ - "Es möge geschehen“.

Joos van Cleve
Portrait of a Young Man

Oil on panel. 20 x 12.5 cm.

Provenance
Henry Oppenheimer (1839 - 1932 London). - Christie´s London, 24.7.1936, lot 8. - Koetser Galerie, London, New York 1941. - Nicholas M. Acquavella Galleries, New York. – Private collection, New York (?). - Sotheby´s Parke Bernet, New York, 7.6.1984, lot 13. – Private collection, Germany.

Exhibitions
London 1927, no. 124 (?). - Koetser Gallery, New York 1941, no. 3. - Kassel, Staatliche Kunstsamllungen, on loan until around 2002.

Literature
M. J. Friedländer: Die Altniederländische Malerei, vol. IX, p. 50, no. 75. - M. J. Friedländer 1972, vol. IX, no. 75, illus. 94. - H. Comstock: An early portrait by Joos van Cleve, in: Conoisseur 108, 1941, p. 120-121. - J. O. Hand: Joos van Cleve. The early and mature paintings, Diss. Princeton University 1978, p. 59 - 61, 294, no. 3, illus. 3. - J. O. Hand: Joos van Cleve. The complete paintings, p. 21, illus. 11, cat. no. 3, p. 114.

Joos van Cleve left behind a substantial œuvre comprising altarpieces, Madonnas, and a considerable number of portraits. His early works are characterised by the influence of Jan Joest, who painted the high altarpiece of Kalkar in 1505/08, and later by that of Hans Memling and Gerard David. Van Cleve was summoned to the court of Francis I as a portraitist in 1530, and his style would have a major impact on French portrait painting between 1530-1570. The present work, dated 1509, is still a far cry from these mature works, but remains highly significant in that it is the earliest portrait attributed to van Cleve. It was painted at a similar time to a portrait of Emperor Maximilian I housed in an identical frame. In both cases, the image and the frame form an inseparable unit.
The identity of the sitter remains unknown. The young man is depicted seated before a monochrome green background in a three-quarter view. The sitter's pose and the small format of the work evoke a sense of simplicity, which is further accentuated by his comparatively narrow shoulders. The artist dispenses with the expressive inclusion of the hands, emphasising the static qualities of the image. This effect in turn is strengthened by the calm way in which the young man gazes out towards the beholder. The work's frame bears the mysterious inscription “Et mach Ghesceien” - let it be done.

Old Master Paintings and Drawings

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Köln
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Germany

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Takuro Ito, Auctioneer

 

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