Abraham Bloemaert, Crispijn van de Passe I, Hans Rottenhammer, Jacob de Gheyn II, Johann König, Marten de Vos, Jacques de Gheyn II, Hans Rottenhammer, Crispijn van de Passe I, Abraham Bloemaert
Catalan school of the first half of the fifteenth century
The Coronation of the Virgin.
The Coronation of the Virgin.
Tempera and gold fund panel. Vertical boards. On the reverse two horizontal crosspieces. 62.5 x 60.8 cm. Reversals of gold funds and incised crown.
Tuscan School of the last quarter of the fifteenth century
Virgin and Child Jesus with cherries.
Virgin and Child Jesus with cherries.
Tempera and oil on panel. Two vertical boards. Two horizontal crosspieces. 60 x 44 cm. Accidents. The frontal composition of the Virgin and Child Jesus firmly stuck to his legs originated in sculpted models of Andrea del Verrocchio (1435 - 1488), or his entourage, the example of the low - Marble Relief Fontebuoni the Madonna of the Bargello Museum (Florence), or in various painted works like those of the Museum of Berlin, Frankfurt or the Metropolitan Museum. These models, which are related to the type of so-called "Madonna window sill," inspired after the year 1475 both the Umbrian artists (Perugino Bernardino Pinturrichio or Bartolomeo Caporali) than Tuscany (Sandro Botticelli, Domenico Ghirlandaio, Alessio Baldovinetti). The cherries He holds in his hand ymbolize Paradise, and as such bear the fruit name of Paradise. The presentation of the child Jesus naked, unveiled, was seen as an illustration in the Renaissance painting of the dogma of the Incarnation.
Flemish School circa 1600
Penitent Mary Magdalene
Penitent Mary Magdalene
Oil on panel. Oak. Parquetry. 70 x 108 cm. On the theme of the Penitent Magdalene surrounded by the attributes of meditation.
Johann König - NUREMBERG 1586 - 1642
THE RAINBOW AFTER THE FLOOD
Gouache on paper laid down on panel;
signed lower centre: Jo: König. fe
115 by 173 mm
Johann König (1586–1642) was a German painter. The son of a Nuremberg goldsmith, König was a follower of Adam Elsheimer. He is known today primarily forhis finely painted copper panels. Born in Nuremberg, the son of goldsmith Arnold König. He might have spent his apprentice years in Augsburg.
In 1614 he received the painter rights by the local gild. In 1622 he became a member of the painters' guild, a year later, he became a member of the Great Council. After 1620 he worked with Matthias Gundelach and Johann Matthias Kager together on the decorations of Augsburg Town Hall created by Elias Holl.
In 1631 he return to Nuremberg, where he died after further work in March 1942.
Maerten de Vos - ANTWERP 1532 - 1603
JONAH CAST ON SHORE BY THE FISH
Pen and brown ink and wash, within brown ink framing lines, indented for transfer
213 by 180 mm
Maerten de Vos - ANTWERP 1532 - 1603
JONAH CAST INTO THE SEA
Pen and brown ink and wash, within partial brown ink framing lines, indented for transfer
216 by 183 mm
Marten de Vos (1532 – 4 December 1603), was a leading Antwerp painter and draughtsman in the late sixteenth century. He travelled to Italy and adopted the mannerist style popular at the time. De Vos was also highly influenced by the colors of Venetian painting, and might have worked in the studio of Tintoretto. Following the iconoclastic destruction in 1566, he was one of the artists largely responsible for redecorating churches with new altarpieces in Antwerp. Many of these, such as St. Luke Painting the Virgin (1602), painted for the Guild of St. Luke in the Antwerp Schilderkamer, or painter's room, and the Marriage at Cana (1597), painted for the wine merchants guild, were commissioned by leading Antwerp institutions.
He was also the founder of the society of the Romanists, which brought together artists, connoisseurs and humanists who had travelled to Rome and appreciated its humanist culture.
THE PROPHETESS HANNAH DECIDING THAT THE INFANT SAMUEL SHALL BE LENT TO THE LORD
Pen and brown ink and wash on blue-grey paper;
bears attributions, verso, to Parmigianino (in red and black chalk), and to de Gheyn (pencil)
275 by 145 mm
Jacob de Gheyn II (c. 1565 – March 29, 1629) was a Dutch painter and engraver, whose work shows the transition from Northern Mannerism to Dutch realism over the course of his career.
De Gheyn was born in Antwerp and received his first training from his father, Jacob de Gheyn I, a glass painter, engraver, and draftsman. In 1585, he moved to Haarlem, where he studied under Hendrik Goltzius for the next five years. He moved again, to Leiden, in the middle of the 1590s. His work attracted the attention of wealthy sponsors, and his first commission was for an engraving of the Siege of Geertruidenberg from Maurice of Nassau, Prince of Orange.
Around 1600, de Gheyn abandoned engraving, and focused on painting and etching. Moving to The Hague in 1605, he was employed often by Dutch royalty. De Gheyn painted some of the earliest female nudes, vanitas, and floral still lifes in Dutch art. He is credited with creating over 1,500 drawings, including landscapes and natural history illustrations. He produced 117 engravings for the military manual The Exercise of Armes while living in Amsterdam.
CHRIST AND THE WOMAN OF SAMARIA
Inscribed in brown ink, lower right: Joh. Rottenhammer and bears number, top right: N. 40.
Pen and black ink and grey wash
202 by 160 mm
THE VIRGIN AND ST. ANNE WITH THE CHRIST CHILD AND ST. JOHN THE BAPTIST
Pen and brown ink and wash, over black chalk, heightened with white, within black ink framing lines
162 by 204 mm
THE ADORATION OF THE GOLDEN CALF
Pen and brown ink and wash, over black chalk
262 by 212 mm
Johann Rottenhammer, or Hans Rottenhammer (1564 – 14 August 1625), was a German painter, born in Munich. He specialized in highly finished paintings on a small scale.
He studied until 1588 under Hans Donauer the Elder. In 1593-4 (and perhaps earlier) he was in Rome, and he then settled in Venice from 1595-6 to 1606, before returning to Germany and settling in Augsburg, working also in Munich. He died in Augsburg, apparently in some poverty.
This richly worked drawing, with its complex, multi-layered composition and dynamic, rhythmic penwork, is stylistically typical of the drawings that Rottenhammer produced during his stay in Venice in the 1590s and the early 1600s. As the biographer Carlo Ridolfi noted in 16481, during these years Rottenhammer was very close with the great Venetian master Jacopo Palma, called Palma il Giovane. It is the combination of the influence of Palma with the northern elements of Rottenhammer’s earlier works that defines his drawing style of this period. More
AN ANGEL CARRYING A BANNER, HALF-LENGTH
Black chalk with stumping, heightened with white, on light brown paper;
Signed with monogram in brown ink, top centre: CVP, and bears numbering in brown ink, verso: 15
268 by 199 mm
Crispijn van de Passe the Elder, or de Passe (c.1564, Arnemuiden - buried 6 March 1637, Utrecht) was a Dutch publisher, engraver and founder of a dynasty of engravers comparable to the Wierix family and the Sadelers, though mostly at a more mundane commercial level. Most of their engravings were portraits, book title-pages, and the like, with relatively few grander narrative subjects. As with the other dynasties, their style is very similar, and hard to tell apart in the absence of a signature or date, or evidence of location. Many of the family could produce their own designs, and have left drawings.
It is likely that the present drawing represents an earlier stage in the process of designing the print to which it relates. Although de Passe was a prolific printmaker, relatively few of his preparatory drawings are known, and this is an exceptionally accomplished, grand example of his draughtsmanship. More
SAINT LUKE
Pen and brown ink and greenish-grey wash, heightened with white, within black chalk and ink framing lines;
dated, lower left: 1629, and bears attribution, lower right margin: Blomart
206 by 163 mm
Luke the Evangelist is one of the Four Evangelists—the four authors of canonical Gospels of Jesus Christ. Luke was a native of Antioch in Syria. The early church fathers ascribed to him authorship of both the Gospel according to Luke and the book of Acts of the Apostles. Prominent figures in early Christianity reaffirmed his authorship, although both secular, and religious, discussions have taken place due to the lack of evidence as to the identity of the author of the works.
The Pauline epistle to the Colossians refers to him as a doctor; thus he is thought to have been both a physician and a disciple of Paul. Christians since the faith's early years have regarded him as a saint. He is believed to have died a martyr, although accounts of the events do vary.
Abraham Bloemaert (1566 - 27 January 1651) was a Dutch painter and printmaker in etching and engraving. He was one of the "Haarlem Mannerists" from about 1585, but in the new century altered his style to fit new Baroque trends. He mostly painted history subjects and some landscapes. He was an important teacher, who trained most of the Utrecht Caravaggisti, at least for a period. More
It was not unusual for Bloemaert to make repetitions of his own drawings. This composition of St. Luke is known in three versions, of which Bolten (loc. cit.) describes this as the best; the others are in Amsterdam and Naples. This was originally one of a series of four drawings depicting the four Evangelists.
It is possible that the present drawing and the three related depictions of the Evangelists may have been made in connection with paintings; in the mid 17th century a set of four such paintings by Bloemaert was recorded in the collection of Thomas Howard, Earl of Arundel, but nothing more is known of their appearance or subsequent fate. More
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