Los

4

QUINTEN MASSYSBetende Maria

In Meisterwerke der Sammlung Bischoff / Masterpie...

Diese Auktion ist eine LIVE Auktion! Sie müssen für diese Auktion registriert und als Bieter freigeschaltet sein, um bieten zu können.
Sie wurden überboten. Um die größte Chance zu haben zu gewinnen, erhöhen Sie bitte Ihr Maximal Gebot.
Ihre Registrierung wurde noch nicht durch das Auktionshaus genehmigt. Bitte, prüfen Sie Ihr E-Mail Konto für mehr Details.
Leider wurde Ihre Registrierung durch das Auktionshaus abgelehnt. Sie können das Auktionshaus direkt kontaktieren über +49 (0)221 9257290 um mehr Informationen zu erhalten.
Sie sind zurzeit Höchstbietender! Um sicher zustellen, dass Sie das Los ersteigern, melden Sie sich zum Live Bieten an unter , oder erhöhen Sie ihr Maximalgebot.
Geben Sie jetzt ein Gebot ab! Ihre Registrierung war erfolgreich.
Entschuldigung, die Gebotsabgabephase ist leider beendet. Es erscheinen täglich 1000 neue Lose auf lot-tissimo.com, bitte starten Sie eine neue Anfrage.
Das Bieten auf dieser Auktion hat noch nicht begonnen. Bitte, registrieren Sie sich jetzt, so dass Sie zugelassen werden bis die Auktion startet.
Bieten ist beendet
QUINTEN MASSYSBetende Maria
Sie interessieren sich für den Preis dieses Losest?
Preisdatenbank abonnieren
Köln


QUINTEN MASSYS
Betende Maria

Öl auf Holz. 44 x 33,5 cm.

Provenienz
Kunsthandel P. De Boer, Amsterdam. – 547. Lempertz-Auktion, Köln, 20.-22.11.1975, Lot 117. – H. Becker, Dortmund. – Hans M. Cramer, Den Haag, 1977.

Literatur
Andrée de Bosque: Quentin Metsys, Brüssel 1975, S. 252-3, Nr. 316, Abb. S. 251 und S. 390. – Hans M. Cramer, Addendum 3, Den Haag 1977, Nr. 107, mit Abb. – Larry Silver: The Paintings of Quinten Massys with Catalogue Raisonné, Oxford 1984, S. 230, unter Nr. 49. – Petra Müller, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 28-30, Nr. 12, mit Abb.

Vor einem dunklen Hintergrund zeigt die kleine Tafel das Brustbild Mariens mit gefalteten Händen. Meisterlich ausgeführt sind das zarte Inkarnat ihres Gesichtes und der Hände, das Weiß des um den Kopf geschlungenen und im Nacken gebundenen Tuchs sowie das strahlende Blau Ihres Mantels mit goldener Stickerei am Halsausschnitt und den Ärmeln. Die Tafel stellt sich als ein hervorragendes Werk der Übergangszeit zwischen spätgotischer und Renaissancekunst in den Niederlanden im frühen 16. Jahrhundert dar.
In ihrer Monografie über Quinten Massys hat Andrée de Bosque 1975 den formalen und ikonographischen Zusammenhang des Bildes mit einem Flügel eines Diptychons dieses Malers im Museo Nacional del Prado erkannt. Der gleiche Bildausschnitt und eine nahezu identische Darstellung Mariens ist dort nur seitenverkehrt dargestellt. Daraus ist zu schließen, dass es auch für das vorliegende Bild einen „Segnenden Christus“ als Gegenstück gegeben haben wird. Ein weiteres Bilderpaar mit dem gleichen Motiv von Quinten Massys, das aber früher zu datieren ist, befindet sich im Königlichen Museum von Antwerpen.
De Bosque hat unser Bild wohl im Original gesehen. Sie beschreibt es in ihrem Buch ausführlich und fasst ihr Urteil so zusammen: „La Vierge de la collection allemande est d´un qualité superieure à celle du Prado et se rapproche, bien qu´elle soit d´un style archaisant, de la Vierge du Louvre de 1529“. Während sie bei dem Madrider Diptychon - ursprünglich aus dem persönlichen Besitz von König Philipp II. von Spanien stammend - auch die Hand des Schülers und Sohnes Jan Massys zu erkennen glaubt, sieht sie unser Bild als ein eigenhändiges Werk des Vaters. Diesem Urteil schlossen sich Ekkehard Mai und seine Mitarbeiterin Petra Müller 1993 (op. cit.) an und übernahmen die Zuschreibung an Quinten Massys.
Larry Silver ging in seiner 1984 erschienenen Monographie über Quinten Massys hingegen auf unser Bild zunächst nicht näher ein und erwähnt es lediglich im Zusammenhang mit dem Madrider Diptychon - für ihn ein Werk Quintens - als eine Kopie. Nach einer aktuellen hochauflösenden Photographie bestätigt Larry Silver nun hingegen die Zuschreibung an den Antwerpener Maler und bezeichnet das Bild sogar als „a major work by Massys“, das er in die späten 1520er datiert.
Die zahlreichen Andachtsbilder, die dieser bedeutende Antwerpener Meister neben großen Altarbildern ausführte, sind Heiligen- und vor allem Madonnendarstellungen. In kleinem Format wurden diese Bilder für bürgerliche Auftraggeber zur persönlichen Andacht hergestellt. Dabei wurde die Madonna entsprechend ihrer theologischen Rolle als Fürsprecherin zwischen dem Betenden und dem Gottesssohn als Vermittlerin verehrt. Das Sujet bearbeitete Massys besonders häufig im letzten Jahrzehnt vor seinem Tod, was auch zur Datierung unseres Andachtsbild von Larry Silver in das Spätwerk des Künstlers passt.



QUINTEN MASSYS
Mary in Prayer

Oil on panel. 44 x 33.5 cm.

Provenance
With P. De Boer, Amsterdam;
Anonymous sale, Lempertz, Cologne, 20-22 November 1975, lot 117;
H. Becker, Dortmund;
Hans M. Cramer, The Hague, 1977.

Literature
Andrée de Bosque: Quinten Metsys, Brussels 1975, p. 252-53, no. 316, reproduced p. 251 and p. 390;
Hans M. Cramer, Addendum 3, The Hague 1977, no. 107, reproduced;
Larry Silver: The Paintings of Quinten Massys with Catalogue Raisonné, Oxford 1984, p. 230, under no. 49;
Petra Müller, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 28-9, no. 12, reproduced.

The small panel shows a portrait of the Virgin Mary with hands folded, in front of a dark background. The delicate  esh tones of her face and hands, the white of the scarf wrapped around her head and tied at her neck are masterfully executed. This same display of skilled handling
is also found in the radiant blue of her coat with gold embroidery
and sleeves. The panel is an excellent work of the transitional period between late gothic and Renaissance art of the Netherlands in the early 16th century.
In her 1975 monograph on Quinten Massys, Andrée de Bosque recognised the formal and iconographic connection of the picture with a wing of a diptych by this painter in the Museo Nacional del Prado  
(ill. 1). The Prado painting shows the same cropped detail of an almost identical representation of the Virgin but viewed from the other side. From this it can be concluded that there would have been a Christ Blessing as counterpart for our picture. Another pair of paintings by Quinten Massys with the same motif, but dated earlier, can be found in the Koninklijk Museum voor Schone Kunsten Antwerp.
De Bosque has possibly seen our picture in the original. She describes  it in detail in her book and summarises her judgement as follows:  
“La Vierge de la collection allemande est d'une qualité supérieure à celle du Prado et se rapproche, bien qu'elle soit d'un style archaisant, de la Vierge du Louvre de 1529”. While she believes to recognise the hand also of his student and son, Jan Massys, in the Madrid diptych - originally from the personal collection of King Philipp II of Spain - she sees our painting as a work by the father himself. Ekkehard Mai and his associate Petra Müller concurred with this judgement in 1993 (op. cit.) and adopted the attribution to Quinten Massys. Larry Silver, on the other hand, did not initially reference our painting in his 1984 monography about Quinten Massys in any detail, mentioning it only in connection with the Madrid diptych - which he believes to be by Quinten - as a copy. However, having viewed a recent high-resolution photograph, Larry Silver now con rms the attribution to the Antwerp painter and even describes the picture as “a major work by Massys”, which he dates to the late 1520s.
The many devotional pictures which this important Antwerp master executed, in addition to large altar pictures, are depictions of saints and the Madonna in particular. These pictures were produced in small format for bourgeois clients for personal devotion. The Madonna was worshiped as mediator according to her theological role as intercessor between those praying and the Son of God. Massys turned to this subject particularly often in the last decade before his death which also  ts Larry Silver's dating of our devotional picture to within the artist's late work.



QUINTEN MASSYS
Betende Maria

Öl auf Holz. 44 x 33,5 cm.

Provenienz
Kunsthandel P. De Boer, Amsterdam. – 547. Lempertz-Auktion, Köln, 20.-22.11.1975, Lot 117. – H. Becker, Dortmund. – Hans M. Cramer, Den Haag, 1977.

Literatur
Andrée de Bosque: Quentin Metsys, Brüssel 1975, S. 252-3, Nr. 316, Abb. S. 251 und S. 390. – Hans M. Cramer, Addendum 3, Den Haag 1977, Nr. 107, mit Abb. – Larry Silver: The Paintings of Quinten Massys with Catalogue Raisonné, Oxford 1984, S. 230, unter Nr. 49. – Petra Müller, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 28-30, Nr. 12, mit Abb.

Vor einem dunklen Hintergrund zeigt die kleine Tafel das Brustbild Mariens mit gefalteten Händen. Meisterlich ausgeführt sind das zarte Inkarnat ihres Gesichtes und der Hände, das Weiß des um den Kopf geschlungenen und im Nacken gebundenen Tuchs sowie das strahlende Blau Ihres Mantels mit goldener Stickerei am Halsausschnitt und den Ärmeln. Die Tafel stellt sich als ein hervorragendes Werk der Übergangszeit zwischen spätgotischer und Renaissancekunst in den Niederlanden im frühen 16. Jahrhundert dar.
In ihrer Monografie über Quinten Massys hat Andrée de Bosque 1975 den formalen und ikonographischen Zusammenhang des Bildes mit einem Flügel eines Diptychons dieses Malers im Museo Nacional del Prado erkannt. Der gleiche Bildausschnitt und eine nahezu identische Darstellung Mariens ist dort nur seitenverkehrt dargestellt. Daraus ist zu schließen, dass es auch für das vorliegende Bild einen „Segnenden Christus“ als Gegenstück gegeben haben wird. Ein weiteres Bilderpaar mit dem gleichen Motiv von Quinten Massys, das aber früher zu datieren ist, befindet sich im Königlichen Museum von Antwerpen.
De Bosque hat unser Bild wohl im Original gesehen. Sie beschreibt es in ihrem Buch ausführlich und fasst ihr Urteil so zusammen: „La Vierge de la collection allemande est d´un qualité superieure à celle du Prado et se rapproche, bien qu´elle soit d´un style archaisant, de la Vierge du Louvre de 1529“. Während sie bei dem Madrider Diptychon - ursprünglich aus dem persönlichen Besitz von König Philipp II. von Spanien stammend - auch die Hand des Schülers und Sohnes Jan Massys zu erkennen glaubt, sieht sie unser Bild als ein eigenhändiges Werk des Vaters. Diesem Urteil schlossen sich Ekkehard Mai und seine Mitarbeiterin Petra Müller 1993 (op. cit.) an und übernahmen die Zuschreibung an Quinten Massys.
Larry Silver ging in seiner 1984 erschienenen Monographie über Quinten Massys hingegen auf unser Bild zunächst nicht näher ein und erwähnt es lediglich im Zusammenhang mit dem Madrider Diptychon - für ihn ein Werk Quintens - als eine Kopie. Nach einer aktuellen hochauflösenden Photographie bestätigt Larry Silver nun hingegen die Zuschreibung an den Antwerpener Maler und bezeichnet das Bild sogar als „a major work by Massys“, das er in die späten 1520er datiert.
Die zahlreichen Andachtsbilder, die dieser bedeutende Antwerpener Meister neben großen Altarbildern ausführte, sind Heiligen- und vor allem Madonnendarstellungen. In kleinem Format wurden diese Bilder für bürgerliche Auftraggeber zur persönlichen Andacht hergestellt. Dabei wurde die Madonna entsprechend ihrer theologischen Rolle als Fürsprecherin zwischen dem Betenden und dem Gottesssohn als Vermittlerin verehrt. Das Sujet bearbeitete Massys besonders häufig im letzten Jahrzehnt vor seinem Tod, was auch zur Datierung unseres Andachtsbild von Larry Silver in das Spätwerk des Künstlers passt.



QUINTEN MASSYS
Mary in Prayer

Oil on panel. 44 x 33.5 cm.

Provenance
With P. De Boer, Amsterdam;
Anonymous sale, Lempertz, Cologne, 20-22 November 1975, lot 117;
H. Becker, Dortmund;
Hans M. Cramer, The Hague, 1977.

Literature
Andrée de Bosque: Quinten Metsys, Brussels 1975, p. 252-53, no. 316, reproduced p. 251 and p. 390;
Hans M. Cramer, Addendum 3, The Hague 1977, no. 107, reproduced;
Larry Silver: The Paintings of Quinten Massys with Catalogue Raisonné, Oxford 1984, p. 230, under no. 49;
Petra Müller, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 28-9, no. 12, reproduced.

The small panel shows a portrait of the Virgin Mary with hands folded, in front of a dark background. The delicate  esh tones of her face and hands, the white of the scarf wrapped around her head and tied at her neck are masterfully executed. This same display of skilled handling
is also found in the radiant blue of her coat with gold embroidery
and sleeves. The panel is an excellent work of the transitional period between late gothic and Renaissance art of the Netherlands in the early 16th century.
In her 1975 monograph on Quinten Massys, Andrée de Bosque recognised the formal and iconographic connection of the picture with a wing of a diptych by this painter in the Museo Nacional del Prado  
(ill. 1). The Prado painting shows the same cropped detail of an almost identical representation of the Virgin but viewed from the other side. From this it can be concluded that there would have been a Christ Blessing as counterpart for our picture. Another pair of paintings by Quinten Massys with the same motif, but dated earlier, can be found in the Koninklijk Museum voor Schone Kunsten Antwerp.
De Bosque has possibly seen our picture in the original. She describes  it in detail in her book and summarises her judgement as follows:  
“La Vierge de la collection allemande est d'une qualité supérieure à celle du Prado et se rapproche, bien qu'elle soit d'un style archaisant, de la Vierge du Louvre de 1529”. While she believes to recognise the hand also of his student and son, Jan Massys, in the Madrid diptych - originally from the personal collection of King Philipp II of Spain - she sees our painting as a work by the father himself. Ekkehard Mai and his associate Petra Müller concurred with this judgement in 1993 (op. cit.) and adopted the attribution to Quinten Massys. Larry Silver, on the other hand, did not initially reference our painting in his 1984 monography about Quinten Massys in any detail, mentioning it only in connection with the Madrid diptych - which he believes to be by Quinten - as a copy. However, having viewed a recent high-resolution photograph, Larry Silver now con rms the attribution to the Antwerp painter and even describes the picture as “a major work by Massys”, which he dates to the late 1520s.
The many devotional pictures which this important Antwerp master executed, in addition to large altar pictures, are depictions of saints and the Madonna in particular. These pictures were produced in small format for bourgeois clients for personal devotion. The Madonna was worshiped as mediator according to her theological role as intercessor between those praying and the Son of God. Massys turned to this subject particularly often in the last decade before his death which also  ts Larry Silver's dating of our devotional picture to within the artist's late work.


Meisterwerke der Sammlung Bischoff / Masterpieces from the Bischoff Collection

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.

Wichtige Informationen

25 % buyer's premium on the hammer price
(20 % on the part of the hammer price exceeding 400,001 EUR)

3 % live provision plus 16 % VAT

AGB

standard | standard



Conditions of sale
1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Commercial 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.
4. Warranty claims are excluded. In the event of variances from the catalogue descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of three years after the date of the sale if the object in question proves not to be authentic.
5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere due to violation of due dilligence according to §§ 41 ff. KGSG are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.
6. Submission of bids. Lempertz reserves the right to approve bidders for the auction and especially the right to make this approval dependent upon successful identification in terms of § 1 para. 3 GWG. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, telephonically or via the internet. The placing of bids in absentia must reach Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with the lot number and item description. In the event of ambiguities, the listed lot number becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b-d of the Civil Code) do not apply. Telephone bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.
7. Carrying out the auction: The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid, especially when the bidder cannot be successfully identified in terms of § 1 para. 3 GWG. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Written bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence. Further information can be found in our privacy policy at www.lempertz.com/ datenschutzerklärung.html
8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400,000 a premium of 25 % calculated on the hammer price plus 16 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400,000 (margin scheme). On lots which are characterized by N, an additional 7 % for import tax will be charged. On lots which are characterized by an R, the buyer shall pay the statutory VAT of 16 % on the hammer price and the buyer’s premium (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose authors are either still alive or deceased for less than 70 years (§ 64 UrhG), a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. For payments which amount to EUR 10,000.00 or more, Lempertz is obliged to make a copy of the photo ID of the buyer according to §3 of the German Money Laundry Act (GWG). This applies also to cases in which payments of EUR 10,000.00 or more are being made for more than one invoice. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
10. Successful bidders shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however reserves the right to refuse such a request if it is deemed appropriate. The transfer is subject to successful identification (§ 1 para. 3 GWG) of the bidder and of the person to whom the invoice is transferred. Invoices will only be issued to those persons actually responsible for settling the invoices.
11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per 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 instead of 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.
12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the German law for the protection of cultural goods 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.
Regarding the treatment of personal data, we would like to point out the data protection notice on our website.
Henrik Hanstein, sworn public auctioneer

Vollständige AGBs