Los

1209

Bartholomäus Bruyn d. Ä.Bildnis eines MannesÖl auf Holz. 72,5 x 48,5 cm.Wohl originaler Rahmen.

In Old Masters & 19th Century Art

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Bartholomäus Bruyn d. Ä.Bildnis eines MannesÖl auf Holz. 72,5 x 48,5 cm.Wohl originaler Rahmen.
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Bartholomäus Bruyn d. Ä.
Bildnis eines Mannes

Öl auf Holz. 72,5 x 48,5 cm.
Wohl originaler Rahmen.

Gutachten
Max Friedländer 1922 (Etikett auf der Rückseite).

Provenienz
Lempertz, Köln, vor 1922 (?). - Slg. J. & S. Goldschmidt, New York. - Slg. Benjamin Stern, New York. - Slg. Felix Coulet, New York. - Heinz Kisters, Kreuzlingen. - Schweizer Privatsammlung.

Ausstellungen
American Art Association, Anderson Gallery, New York, 1934, Nr. 834.

Literatur
Charles L. Kuhn: A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections, 1936, S. 28 Nr. 35. - Mrs. B. Stern Collection, Sales Catalogue, Abb. S. 223.

Barthel Bruyn d. Ä. hat Köln im 16. Jahrhundert zu einem Zentrum der bürgerlichen Porträtmalerei gemacht. Rund 120 Bildnisse wurden ihm von Hildegard Westhoff-Krummacher zugeschrieben, in ihrem 1965 veröffentlichten Werkverzeichnis ist unser damals noch in den Vereinigten Staaten befindliche Gemälde allerdings nicht aufgeführt.

Barthel Bruyn d. Ä. ist 1515 und 1516 erstmals in Köln fassbar. Trotz einiger Reisen in die benachbarten Niederlande blieb er tief verwurzelt in dieser Stadt, wie er ebenso die hier produzierte Malerei prägte. Seine Bildnisse stellen allesamt die unabhängige bürgerliche Lebensform dar, die an diesem Ort vorherrschte. Das ist ein wirkliches Alleinstellungsmerkmal von Barthel Bruyn d. Ä.: Holbein war der Porträtist des englischen Königshofes, Cranach porträtierte für den kurfürstlich-sächsischen Hof, die Brüder Tom Ring waren für den westfälischen Adel tätig, Gossaert und van Orley waren Hofporträtisten der Margarethe von Österreich in Brüssel, und Joos van Cleve arbeitete für Franz I.

Unser verhältnismäßig großes Bildnis eines (Kölner?) Patriziers ist mit seinem geschweiften oberen Abschluss und der leicht diagonal positionierten Gestalt, die - wie immer bei Bruyn - dem Blick des Betrachters entweicht, ein charakteristisches Werk dieses Malers und der Kölner Porträtkunst um 1530/40.

Bartholomäus Bruyn the Elder
Portrait of a Man

Oil on panel. 72.5 x 48.5 cm.
Possibly in original frame..

Expertise
Max Friedländer 1922 (labelled to the reverse).

Provenance
Lempertz, Cologne before 1922 (?). - Collection of J. & S. Goldschmidt, New York. - Collection of Benjamin Stern, New York. - Collection of Felix Coulet, New York. - Heinz Kisters, Kreuzlingen. - Swiss private collection.

Exhibitions
American Art Association, Anderson Gallery, New York, 1934, no. 834.

Literature
Charles L. Kuhn: A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections, 1936, p. 28, no.35.
Mrs. B. Stern Collection, Sales Catalogue, illus. p. 223.

In the 16th century, Barthel Bruyn the Elder transformed Cologne into a centre of middle-class portrait painting. Hildegard Westhoff-Krummacher has attributed around 120 portraits to this artist. The present work is not included in her 1965 catalogue raisonné, possibly because it was still in the US at the time of publication.

Barthel Bruyn the Elder is documented in Cologne for the first time in 1515 and 1516. Despite several sojourns to the Netherlands, he remained deeply rooted in Cologne and his style remained highly influential for later artists in the city. His portraits reflect the independent culture of Cologne's burgher class. This is what makes Bruyn's works so unique, just as Holbein was the portraitist of the English court, Cranach of the Saxon Electoral court, the Tom Ring brothers were the painters of the Westphalian aristocracy, Gossaert and van Orley the court painters of Margaret of Austria in Brussels, and Joos van Cleve that of Francis I. This comparatively large portrait of a patrician, presumably from Cologne, in a curved frame depicts the sitter facing diagonally, his gaze averted from the viewer as in all of Bruyn's portraits, and is a characteristic example of Cologne portraiture in around 1530-1540.
Bartholomäus Bruyn d. Ä.
Bildnis eines Mannes

Öl auf Holz. 72,5 x 48,5 cm.
Wohl originaler Rahmen.

Gutachten
Max Friedländer 1922 (Etikett auf der Rückseite).

Provenienz
Lempertz, Köln, vor 1922 (?). - Slg. J. & S. Goldschmidt, New York. - Slg. Benjamin Stern, New York. - Slg. Felix Coulet, New York. - Heinz Kisters, Kreuzlingen. - Schweizer Privatsammlung.

Ausstellungen
American Art Association, Anderson Gallery, New York, 1934, Nr. 834.

Literatur
Charles L. Kuhn: A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections, 1936, S. 28 Nr. 35. - Mrs. B. Stern Collection, Sales Catalogue, Abb. S. 223.

Barthel Bruyn d. Ä. hat Köln im 16. Jahrhundert zu einem Zentrum der bürgerlichen Porträtmalerei gemacht. Rund 120 Bildnisse wurden ihm von Hildegard Westhoff-Krummacher zugeschrieben, in ihrem 1965 veröffentlichten Werkverzeichnis ist unser damals noch in den Vereinigten Staaten befindliche Gemälde allerdings nicht aufgeführt.

Barthel Bruyn d. Ä. ist 1515 und 1516 erstmals in Köln fassbar. Trotz einiger Reisen in die benachbarten Niederlande blieb er tief verwurzelt in dieser Stadt, wie er ebenso die hier produzierte Malerei prägte. Seine Bildnisse stellen allesamt die unabhängige bürgerliche Lebensform dar, die an diesem Ort vorherrschte. Das ist ein wirkliches Alleinstellungsmerkmal von Barthel Bruyn d. Ä.: Holbein war der Porträtist des englischen Königshofes, Cranach porträtierte für den kurfürstlich-sächsischen Hof, die Brüder Tom Ring waren für den westfälischen Adel tätig, Gossaert und van Orley waren Hofporträtisten der Margarethe von Österreich in Brüssel, und Joos van Cleve arbeitete für Franz I.

Unser verhältnismäßig großes Bildnis eines (Kölner?) Patriziers ist mit seinem geschweiften oberen Abschluss und der leicht diagonal positionierten Gestalt, die - wie immer bei Bruyn - dem Blick des Betrachters entweicht, ein charakteristisches Werk dieses Malers und der Kölner Porträtkunst um 1530/40.

Bartholomäus Bruyn the Elder
Portrait of a Man

Oil on panel. 72.5 x 48.5 cm.
Possibly in original frame..

Expertise
Max Friedländer 1922 (labelled to the reverse).

Provenance
Lempertz, Cologne before 1922 (?). - Collection of J. & S. Goldschmidt, New York. - Collection of Benjamin Stern, New York. - Collection of Felix Coulet, New York. - Heinz Kisters, Kreuzlingen. - Swiss private collection.

Exhibitions
American Art Association, Anderson Gallery, New York, 1934, no. 834.

Literature
Charles L. Kuhn: A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections, 1936, p. 28, no.35.
Mrs. B. Stern Collection, Sales Catalogue, illus. p. 223.

In the 16th century, Barthel Bruyn the Elder transformed Cologne into a centre of middle-class portrait painting. Hildegard Westhoff-Krummacher has attributed around 120 portraits to this artist. The present work is not included in her 1965 catalogue raisonné, possibly because it was still in the US at the time of publication.

Barthel Bruyn the Elder is documented in Cologne for the first time in 1515 and 1516. Despite several sojourns to the Netherlands, he remained deeply rooted in Cologne and his style remained highly influential for later artists in the city. His portraits reflect the independent culture of Cologne's burgher class. This is what makes Bruyn's works so unique, just as Holbein was the portraitist of the English court, Cranach of the Saxon Electoral court, the Tom Ring brothers were the painters of the Westphalian aristocracy, Gossaert and van Orley the court painters of Margaret of Austria in Brussels, and Joos van Cleve that of Francis I. This comparatively large portrait of a patrician, presumably from Cologne, in a curved frame depicts the sitter facing diagonally, his gaze averted from the viewer as in all of Bruyn's portraits, and is a characteristic example of Cologne portraiture in around 1530-1540.

Old Masters & 19th Century Art

Auktionsdatum
Lose: 1200-1371
Lose: 1500-1583
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

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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 reclaimable; VAT margin scheme

Some lots:

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, only reclaimable in case of export to a country outside the EU
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

 

Some lots:

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

AGB

Conditions of Sale

1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain -anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.

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11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part month. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
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13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer

 

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