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1013

Bernard van Orley, circle ofThe Virgin and Child in a LandscapeOil on panel. 50 x 32 cm.

In Paintings and Drawings 15th - 19th C. / Sculpt...

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Bernard van Orley, circle ofThe Virgin and Child in a LandscapeOil on panel. 50 x 32 cm.
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Köln
Bernard van Orley, circle of
The Virgin and Child in a Landscape

Oil on panel. 50 x 32 cm.

Provenance
Private collection in Troppau (North Mähren), 1913. - South German private collection.

Literature
M. J. Friedländer: Early Netherlandish Painting, VIII, Jan Gossart and Bernard van Orley, Leyden-Brussels, 1972, p. 108, no. 126 g.

The composition derives from a model created by Bernard van Orley around 1516 in which the Virgin and Child are represented full length on the grass sitting next to a fountain in an enclosed garden before a Renaissance city view (Milan, Pinacoteca Ambrosiana, inv. no 46, panel, 62 x 50 cm). Several versions exist with different settings, such as the one shown here.
The figures are depicted in a close-up view in front of a wooded landscape near a medieval castle. Mary is represented half-length nursing the Infant Jesus. She inclines Her head to the right and holds Christ in Her left arm, whilst He also looks up towards the right. A long transparent veil covers the Virgin's long curly hair and part of Her forehead. She wears an underdress with golden brocade at the cuffs under a red gown. The Child's body is partly covered by a large white cloth.
A similar version with regards to the presentation of the figures once belonged to the Staatliche Museen zu Berlin (M. J. Friedländer, op. cit., no. 126c). Such compositions were produced throughout Flanders in the first half of the 16th century and were highly well received. Whilst Bernard van Orley retained close ties with his home town of Brussels all his life, the archives reveal that his father Valentin was active in Antwerp in 1512, as testified by his inscription in the local Guild of St. Luke. At the same time at least two of Bernard's brothers, Evrard and Gommaire, likewise painters, settled in Scheldt, which had become the major trading centre in the region. With models circulating from one workshop to another during the fairs and between cities, there is no indication that the author of this panel, obviously under Bernard van Orley's influence, would have been active in Brussels rather than in Antwerp, where a wider range of clients within the rich merchant class and many devout citizens were to be found.Bernard van Orley, Umkreis
Madonna mit Kind vor einer Landschaft

Öl auf Holz. 50 x 32 cm.

Provenienz
Privatsammlung in Troppau (Nord-Mähren) 1913. - Württembergische Privatsammlung.

Literatur
M. J. Friedländer: Early Netherlandish Painting, VIII, Jan Gossart and Bernard van Orley, Leyden/Brussels, 1972, S. 108, Nr. 126 g.

Vorbild für diese Komposition ist eine 1516 entstandene Tafel des flämischen Malers Bernard van Orley, die sich in der Pinacoteca Amrosiana in Mailand befindet. Sie zeigt die Jungfrau mit dem Kind in einem geschlossenen Garten auf dem Gras und neben einem Brunnen sitzend. Im Hintergrund ist eine Renaissance-Stadt zu sehen. Von diesem berühmten Vorbild gibt es mehrere Versionen unterschiedlicher Gestaltungen.
Auf unserem Gemälde ist die Muttergottes näher an den Bildrand gerückt und als Halbfigur vor einer bewaldeten Landschaft in der Nähe einer mittelalterlichen Burg zu sehen. Sie neigt ihren Kopf nach rechts und hält Christus im linken Arm. Ein feiner, durchsichtiger Schleier bedeckt ihr langes, lockiges Haar und teilweise auch ihre Stirn. Sie trägt ein Unterkleid mit goldenem Brokat an den Manschetten und darüber ein rotes Kleid. Der Körper des Kindes ist teilweise mit einem weißen Tuch bedeckt.
Eine ähnliche Version in Bezug auf die Präsentation der Figuren gehörte einst den Staatlichen Museen zu Berlin (M. J. Friedländer, op. cit., Nr. 126c). Solche Kompositionen wurden in der ersten Hälfte des 16. Jahrhunderts in ganz Flandern produziert und fanden großen Anklang. Während Bernard van Orley sein Leben lang enge Beziehungen zu seiner Heimatstadt Brüssel unterhielt, belegen Archivdokumente, dass sein Vater Valentin 1512 in Antwerpen tätig war. Gleichzeitig ließen sich mindestens zwei von Bernards Brüdern, Evrard und Gommaire, ebenfalls Maler, in Antwerpen nieder. Da die Vorbilder der großen Meister zwischen den Städten und von Werkstatt zu Werkstatt zirkulierten, gibt es keinerlei Hinweis dazu, ob der Maler unseres Bildes in Brüssel oder in Antwerpen tätig war, wo eine breitere Kundschaft unter den reichen Kaufleuten und den vielen gläubigen Bürgern zu finden war.
- - -

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

Bernard van Orley, circle of
The Virgin and Child in a Landscape

Oil on panel. 50 x 32 cm.

Provenance
Private collection in Troppau (North Mähren), 1913. - South German private collection.

Literature
M. J. Friedländer: Early Netherlandish Painting, VIII, Jan Gossart and Bernard van Orley, Leyden-Brussels, 1972, p. 108, no. 126 g.

The composition derives from a model created by Bernard van Orley around 1516 in which the Virgin and Child are represented full length on the grass sitting next to a fountain in an enclosed garden before a Renaissance city view (Milan, Pinacoteca Ambrosiana, inv. no 46, panel, 62 x 50 cm). Several versions exist with different settings, such as the one shown here.
The figures are depicted in a close-up view in front of a wooded landscape near a medieval castle. Mary is represented half-length nursing the Infant Jesus. She inclines Her head to the right and holds Christ in Her left arm, whilst He also looks up towards the right. A long transparent veil covers the Virgin's long curly hair and part of Her forehead. She wears an underdress with golden brocade at the cuffs under a red gown. The Child's body is partly covered by a large white cloth.
A similar version with regards to the presentation of the figures once belonged to the Staatliche Museen zu Berlin (M. J. Friedländer, op. cit., no. 126c). Such compositions were produced throughout Flanders in the first half of the 16th century and were highly well received. Whilst Bernard van Orley retained close ties with his home town of Brussels all his life, the archives reveal that his father Valentin was active in Antwerp in 1512, as testified by his inscription in the local Guild of St. Luke. At the same time at least two of Bernard's brothers, Evrard and Gommaire, likewise painters, settled in Scheldt, which had become the major trading centre in the region. With models circulating from one workshop to another during the fairs and between cities, there is no indication that the author of this panel, obviously under Bernard van Orley's influence, would have been active in Brussels rather than in Antwerp, where a wider range of clients within the rich merchant class and many devout citizens were to be found.Bernard van Orley, Umkreis
Madonna mit Kind vor einer Landschaft

Öl auf Holz. 50 x 32 cm.

Provenienz
Privatsammlung in Troppau (Nord-Mähren) 1913. - Württembergische Privatsammlung.

Literatur
M. J. Friedländer: Early Netherlandish Painting, VIII, Jan Gossart and Bernard van Orley, Leyden/Brussels, 1972, S. 108, Nr. 126 g.

Vorbild für diese Komposition ist eine 1516 entstandene Tafel des flämischen Malers Bernard van Orley, die sich in der Pinacoteca Amrosiana in Mailand befindet. Sie zeigt die Jungfrau mit dem Kind in einem geschlossenen Garten auf dem Gras und neben einem Brunnen sitzend. Im Hintergrund ist eine Renaissance-Stadt zu sehen. Von diesem berühmten Vorbild gibt es mehrere Versionen unterschiedlicher Gestaltungen.
Auf unserem Gemälde ist die Muttergottes näher an den Bildrand gerückt und als Halbfigur vor einer bewaldeten Landschaft in der Nähe einer mittelalterlichen Burg zu sehen. Sie neigt ihren Kopf nach rechts und hält Christus im linken Arm. Ein feiner, durchsichtiger Schleier bedeckt ihr langes, lockiges Haar und teilweise auch ihre Stirn. Sie trägt ein Unterkleid mit goldenem Brokat an den Manschetten und darüber ein rotes Kleid. Der Körper des Kindes ist teilweise mit einem weißen Tuch bedeckt.
Eine ähnliche Version in Bezug auf die Präsentation der Figuren gehörte einst den Staatlichen Museen zu Berlin (M. J. Friedländer, op. cit., Nr. 126c). Solche Kompositionen wurden in der ersten Hälfte des 16. Jahrhunderts in ganz Flandern produziert und fanden großen Anklang. Während Bernard van Orley sein Leben lang enge Beziehungen zu seiner Heimatstadt Brüssel unterhielt, belegen Archivdokumente, dass sein Vater Valentin 1512 in Antwerpen tätig war. Gleichzeitig ließen sich mindestens zwei von Bernards Brüdern, Evrard und Gommaire, ebenfalls Maler, in Antwerpen nieder. Da die Vorbilder der großen Meister zwischen den Städten und von Werkstatt zu Werkstatt zirkulierten, gibt es keinerlei Hinweis dazu, ob der Maler unseres Bildes in Brüssel oder in Antwerpen tätig war, wo eine breitere Kundschaft unter den reichen Kaufleuten und den vielen gläubigen Bürgern zu finden war.
- - -

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

Paintings and Drawings 15th - 19th C. / Sculpture and Works of Art

Auktionsdatum
Lose: 1000 - 1229
Lose: 1300 - 1380
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

3 % live surcharge plus VAT

Different terms on lot level:

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

or

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

or

24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
7.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

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.

The gold content of objects without fineness stamps are ascertained using an acid test. The size and quality of gemstones are ascertained within the settings, unless mentioned otherwise. Assessments of the clarity and colour of gemstones are subject to the subjective perception. Minor divergences from the values provided do not represent deficiencies. References to gemmological certifications are used purely for informational purposes, and do not provide a guarantee. The watches listed have been opened to be catalogued, but we cannot guarantee for their accuracy and function.
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 two years after the date of the sale if the object in question proves not to be authentic.
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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. 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. 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.
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 24 % calculated on the hammer price plus 19 % value added tax calculated (VAT) on the surcharge 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 ** an additional 7 % for import tax will be added. On lots which are characterised by an *, the buyer shall pay a premium of 24 % on a hammer price up to € 400.000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (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 author died after 31.12.1943, a charge of 1,9 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12.500.-. 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 attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. 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 also reserves the right to refuse such a request if it is deemed appropriate.
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.
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 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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