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Important Old Master Paintings at the HAMPEL FINE ART Auctions in September 2018 in Munich

On September 26th, 2018 the German auction house Hampel Fine Art Auctions will offer for sale important Old Master paintings.

François Boucher (1703 – 1770, Paris). “La belle villageoise”
François Boucher (1703 – 1770, Paris).
“La belle villageoise”.
Oil on canvas. Relined.
41,5*31,5 cm.
More images here.

François Boucher's (1703 – 1770) major early work “La Belle Villageoise” (estimated at € 230,000 – 350,000) is to be offered at the upcoming auction. The viewer looks into the interior of a rural home, where a young beautiful woman (La belle villageoise) is busy looking after children. She is sitting on a chair on the right holding a little blond girl with a crown braid, who looks tired as she layed her head on the woman's arm. On the left two other children are depicted: a boy sitting on a wooden trunk and carrying a broom and a girl clasping a white kitten. Kitchen utensils and vegetables are shown on the floor, such as a copper kettle and a brass bowl, a cabbage, some cucumbers and radishes.

The painting's authenticity is beyond doubt on the basis of the enclosed expert's reports and statement by Dr. Helge Siefert (Bayerische Staatsgemäldesammlungen, Alte Pinakothek Munich, Department of French Painting of the 18th century).

Notes: After a detailed comparison of details and according to the unanimous opinion of the experts, the painting on offer for sale in this lot is an earlier same-size first version of a painting listed in the catalogue raisonné held today at the Norton Simon-Foundation, Museum Pasadena, USA. The famous paintings were created in the early 1730s, when Boucher returned from Italy. Crucial to the opinion that the present painting is a first version of the Pasadena-painting, is a roentgen and infrared reflectography which shows a window in the background of the left half of the painting, which is not distinguishable in the later variations. For that reason alone, this must be the first composition. This opinion is supported by the technical analysis (roentgen and infrared reflectography) by the Doerner Institut on behalf of the Alte Pinakothek, Munich.

Provenance: P & D Colnaghi & Co Ltd, London, probably Collection du Duc de Luynes, auction 21, November 1793, no. 46, Auction estate unknown, 17 February 1802, no. 44. Collection de M. le Comte de Morny, auction estate unknown, 20 December 1847, no. 41.

Reports: P & D Colnaghi & Co Ltd, London, with letter and expert's report. Alistair Laing, expert valuation in writing with confirmation of the present painting's authenticity and dating it in the early 1730s. Statement by Dr Siefert, Alte Pinakothek München. Expert René Millet, Paris, confirms the above opinions in a note from 2 September 2004.

Literature: A. Ananoff, / D. Wildenstein, François Boucher, Peintures, vol. I. catalogue raisonné, Paris 1976, pp. 210, no. 78. A. Laing, François Boucher, exhibition catalogue, New York, 1986, pp. 145-48, no. 21, fig. 105.

Giovanni Paolo Panini (1691, Piacenza – 1765, Rom). “Roman Ruins with Figures”
Giovanni Paolo Panini (1691, Piacenza – 1765, Rom).
“Roman Ruins with Figures”.
Oil on canvas. Monogrammed.
107*141 cm.
More images here.

A large scale canvas the “Roman Ruins with Figures” (estimated at € 90,000 – 120,000) by Giovanni Paolo Panini (1691 – 1765) is another masterpiece featuring at the upcoming auction. The painting depicts key formal elements belonging to Ancient Roman architecture, such as arches and columns. An impressively large group of columns with Ionic order capitals and carved architraves are shown above the ruins in the lower section of the painting. This painting is a high level piece of art in capriccio genre. It was painted in the 1730-s, when Giovanni Paolo Panini had already become prominent artists, and his paintings were of interest to wealthy Italians.

Giovanni Paolo Panini was probably an apprentice to Francesco Galli Bibiena (1659-1739), who depicted fantasy Ancient Roman city landscapes while working for his theathre production, which implies that Panini could repeat this idea in his artwork. In 1711 Panini got acquainted to Giovanni Antonio Canal (1697-1768), and over the time became more involved into work in capriccio genre, also while decorating interiors at Palazzo De Carolis and Villa Patrizi.

Exhibition: Palazzo Strozzi, Florence, Biennale Mostra Mercato Internazionale Dell'Antiquariato 15.09.-14.10.1973.

Hermann Tom Ring (1521, Münster – 1596), attributed. “Mary with the Child and Her Parents Anna and Joachim”
Hermann Tom Ring (1521, Münster – 1596), attributed.
“Mary with the Child and Her Parents Anna and Joachim”.
Oil on oak panel. Parquetted.
86*127 cm.
More images here.

The religious subject shown in the “Mary with the Child and Her Parents Anna and Joachim”, attributed (estimated at € 100,000 – 150,000) to Hermann Tom Ring (1521 – 1596), is depicted in a contemporary interior giving the painting almost the character of a genre painting. The saints are not characterized by any attributes such as halos, just the traditional postures by Mary with the Child immediately reveal the religious topic, not least in conjunction with a depiction of an angel with dark wings floating in from the right. The large dark grape in the hand is a reference to the Last Supper and therefore Christ's future martyrdom. Essentially the whole depiction's iconography can also be seen as an Anna Selbdritt subject, with the addition of Joachim and the angel whose dark wings – in contrast to the annunciation subject – is probably to be understood as an omen to the death of Jesus. The objects of the interior furnishings are executed in fine painting and are therefore of additional interest and especially charming, for example a concave mirror in the top left, as can also be found in paintings by van Eyck. The wall inscription above the cage "ECCE VIRGO OCCIPIET ET PARIET FILIUM" (Behold, the virgin will be with child and will give birth to a son) originates from the prophecy of Isaiah (chapter 7) and refers to the readings of Saint Joachim, as of course the subject of the painting itself. If the above mentioned attribution is correct, the painting was created by the painter Hermann tom Ring, member of the famous Münster artist family, son of Ludger tom Ring and brother of Ludger II. Hermann was a journeyman in the Netherlands and returned to Münster in 1544 at the latest. After his first work, a self-portrait (ca. 1544) he only painted for the catholic churches in his hometown, where he was voted head of the painter's association from 1569 onwards. In any case this is a high-ranking 16th century painting of museum quality.

Technical testing: Univ. Hamburg, Faculty for Mathematics, computer and natural sciences, centre for wood science, professor Dr Peter Klein (7 August 2018): Technical report of the dendrochronological analysis of the wood panel parts of the painting with the result of the wood growth of the time: not later than 1549, therefore painted (after drying) from ca. 1565.

Literature: T. Riewerts/ P. Pieper, Die Maler Tom Ring, Ludger der Ältere - Hermann - Ludger der Jüngere, Deutscher Buchverlag 1960.

Jan Brueghel the Elder (1568, Brussels – 1625, Antwerp). “A Village Landscape at the Water with Animal Market”
Jan Brueghel the Elder (1568, Brussels – 1625, Antwerp).
“A Village Landscape at the Water with Animal Market”.
Oil on copper. Wooden parquetting on reverse.
25,8*35,5 cm.
More images here.

One of the most important pieces at the upcoming auction is the painting of Flemish Master Jan Brueghel the Elder (1568 – 1625) “A Village Landscape at the Water with Animal Market” (estimated at € 650,000 – 900,000). The artwork shows a scenery from high view point to a flowing river, people in colourful clothes on the market, a wooden bridge and a brick house in the shadow. The foreground makes sharp contrasts with the house depicted in the background in bright sunshine. This light sector of the painting works as an eye-catcher, as it directs the view to the background and then to the people in the order they are depicted at the house, despite village life shown in the foreground.

According to Ertz, Brueghel painted this type of landscape with a village street since 1603. Ertz points out that especially individual elements such as the farmer who seems to wrestle with a stubborn cow or the boat in the left foreground which is about to land as well as the birds who appear to "stand" in the sky are characteristic key motifs of Jan Brueghel the Elder. He lists the following examples for comparison: Village landscape with Animal Market, Oil on panel, 24.8 x 38.4 cm, Elmira, Arnot Art Museum (Ertz / Nitze-Ertz 2008-10, vol. I, cat. 182 with ill.) Stop at the Forge, oil on panel, 23 x 23,5 cm, Dutch private collection (Ertz / Nitze-Ertz 2008-10, vol. I, cat. 170 with ill). Ertz lists four further works to back his attribution of the unsigned painting on offer for sale in this lot.

Expert's report: An expert's report by Dr. Klaus Ertz from 23 May 2012 is enclosed. He examined the painting in the original and after a thorough study he concludes that it is "certain that this is an original by the Flemish master". He notes the excellent condition of the painting despite (then still) being covered in dirty varnish.

Provenance: Christie's, Paris, 21 June 2012, lot 24 (1,274,600 Euro), celebrated as a discovery and painting still with dirty varnish.

Pieter Coecke van Aelst (1502, Aalst – 1550, Brussels). “The Adoration of the Three Magi”
Pieter Coecke van Aelst (1502, Aalst – 1550, Brussels).
“The Adoration of the Three Magi” (ca. 1540).
Oil on panel.
90*106 cm.
More images here.

A thryptich “The Adoration of the Three Magi” (estimated at €100,000 – 150,000) by Pieter Coecke van Aelst (1502 – 1550) depicts three scenes with the events of life of Jesus Christ: the “Adoration of the Shepherds” (on the left), the “Circumcision of Jesus” (on the right) and the “Adoration of the Magi” (in the centre).

Pieter Coecke van Aelst was not only a painter but a sculptor, architect and author. He was an apprentice to Bernard van Orley (1491/1492 –1542), who was a court artist of the Habsburgs. This artwork reflects interest of the Master to architecture with interior with columns is shown in great detail. Pieter Coecke van Aelst's works are kept in the Musée des Beaux-Arts in Valenciennes and the Château d'Écouen (France).

Expert's report: Accompanied by a certificate of authenticity by René Millet.

Giuseppe Bazzani (1690, Mantua – 1769). “The Lamentation of Christ”
Giuseppe Bazzani (1690, Mantua – 1769).
“The Lamentation of Christ”.
Oil on canvas.
96*140 cm.
More images here.

Giuseppe Bazzani (1690 – 1769) depicted the tragedy in his work “The Lamentation of Christ” (estimated at € 100,000 – 120,000) against a total darkness and reaches a great contrast with lighter parts shown in the painting. However, using “sfumato” technique he makes the contours milder, and thus enhances mystic atmosphere of the painting. The moon in the upper left part gives a feeling of air on the contrast with a darkness background.

The name of Italian Master stands next to such artists as Giovanni Battista Pittoni (1687-1767), Giovanni Battista Tiepolo (1696-1770), Francesco Maria Raineri (1676-1785), Giovanni Canti (1653-1716). The artist was very close to his hometown Mantua, and in 1767 he was elected a director of a local art school. His works are part of the Louvre collection, as well as Nationalmuseum in Stockholm.

Provenance: Cleveland Museum (listed in Catalogue).

Literature: Chiara Tellini Perina, Giuseppe Bazzani, Florenz, 1970. Flavio Caroli, Giuseppe Bazzani. E la Linea d'Ombra dell'Arte Lombarda, Mailand 1988. Augusto Morari, Giuseppe Bazzani (1690-1769). Nuovi contributi al catalogo dei dipinti. In: Civiltà mantovana 4. Serie 51, 142, 2016, pp. 55-71.

Картина Франс Снейдерс (1579, Антверпен – 1657), Паулем де Вос (ок. 1591 – 1678). «На охоте»
Frans Snyders (1579, Antwerp – 1657) ibid, attributed, and Paul de Vos (ca. 1591 – 1678).
“The Hounding”.
Oil on canvas. Relined. Restored. Unframed.
320*265 cm.
More images here.

An artwork by Frans Snyders (1579 – 1657) ibid, attributed, and Paul de Vos (1591 – 1678) “The Hounding” (estimated at € 80,000 – 120,000), represents a typical for Frans Synders Flemish landscape, depicting a hilly field with a small stretch of water in the foreground, on the left, and a light background. This artwork is of high importance as a piece of art in this genre and as a painting accomodating many subjects in composition.

Provenance: Private collection, Milan.

Literature: H. Robels, Frans Snyders: Stilleben- und Tiermaler, 1579 – 1657, Munich 1989.

Jacopo di Cione (ca. 1325 Florence - ca. 1398).  “The Sermon of Saint Jacob the Elder”
Jacopo di Cione (ca. 1325 Florence - ca. 1398).
“The Sermon of Saint Jacob the Elder”.
Oil/tempera on poplar panel. In gilt and painted frame (of later date). Surmounted by a pediment.
23,5*16,5 cm. Outside frame dimensions: 29*21,3 cm.
More images here.

“The Sermon of Saint Jacob the Elder” (estimated at € 80,000 – 100,000) by Italian Master Jacopo di Cione (1325 – 1398) depicts the religious scene of the “Acts of the Apostles”.

According to research by Miklós Boskovits, the small painting on offer for sale in this lot is part of a series of panel paintings depicting stories of saints and apostles. According to earlier scholarly opinion (L. Vertova) the panel painting was regarded as a work by a painter from the School of Tuscany. M. Boskovits, then attributed the work to Jacopo di Cione in 1975.

Provenance: Stoclet collection, Brussels. N. Somlion collection, Paris. Moratilla collection, Paris. Since 1945 private collection, Florence.

Literature: L. Vertova, Arte illustrata, June 1972, pp. 242-247, ill. p. 245 (there as Tuscan painter of the 14th century). M. Boskovits, Pittura Fiorentina 1370-1400. Alla vigilia del Rinascimento, Florence 1975 (here listed as Jacopo di Cione – Private collection since 1971, ill. no 107).

Michele Tosini, also known as ”Michele di Ridolfo del Ghirlandaio” (1503 – 1577). “The Coronation of Mary”
Michele Tosini, also known as "Michele di Ridolfo del Ghirlandaio" (1503 – 1577).
“The Coronation of Mary”.
Oil on panel. In broad painted frame.
160*110 cm.
More images here.

As a Mannerist Michele Tosini (1503 – 1577) left his palette reduced in his work “The Coronation of Mary” (estimated at € 70,000 – 120,000). The large-format panel painting was probably formerly an altarpiece with the depiction of The Coronation of Mary. The composition is largely symmetrical. The paintings of the artists are kept in the collection of the National Gallery in London, the University of Glasgow and McMullen Museum of Art of Boston College.

Notes: Small paint chips, consistent with the painting's age. Restored.

Hans Memling (ca. 1433 Seligenstadt – 1494 Brugge), attributed. “Portrait of a Young Man with Cap”
Hans Memling (ca. 1433 Seligenstadt – 1494 Brugge), attributed.
“Portrait of a Young Man with Cap”.
Oil on panel.
32,5*23,5 cm.
More images here.

The “Portrait of a Young Man with Cap” (estimated at € 70,000 – 90,000), attributed to Hans Memling (1433 – 1494) shows a man posing in a dark green coat with puff sleeves and a fur collar.

Pigment analyses by Prof. Manfred Schreiner, Vienna, May 2018, enclosed, defining mainly colourants, which are known since ancient times as well as colourants from the 19th century.

Photos and information: courtesy of Hampel Fine Art Auctions

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