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1038

Adriaen van StalbemtBathing Nymphs in a Park LandscapeOil on panel (parquetted). 53 x 73.5 cm.

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

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Adriaen van StalbemtBathing Nymphs in a Park LandscapeOil on panel (parquetted). 53 x 73.5 cm.
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Adriaen van Stalbemt
Bathing Nymphs in a Park Landscape

Oil on panel (parquetted). 53 x 73.5 cm.

Provenance
Lempertz auction 609, Cologne, 21.-23.11.1985, lot 7. - Westphalian private collection. - Lempertz auction 929, Cologne, 22.11.2008, lot 1222. - Continental private collection.

Literature
Klaus Ertz und Christa Nitze-Ertz: Adriaen van Stalbemt 1580-1662. Kritischer Katalog der Gemälde, Zeichnungen und Druckgraphik (=Flämische Maler im Umkreis der großen Meister 11), Lingen 2018, p. 351, no. 229.

In the past, this painting was attributed both to Jan Brueghel the Elder and his son Jan Brueghel the Younger. In their catalogue raisonné, published last year, Klaus Ertz and Christa Nitze-Ertz have now been able to assign it to the oeuvre of the Antwerp painter Adriaen van Stalbemt and incorporate it into a group of works connected by the theme of women bathing which they date to the period after 1620. "Our assessment of cat. 229 as a later work by Jan Brueghel the Younger must be corrected. In connection with cat. 221-228 it becomes apparent that this picture is also a work by AvS himself from the time after 1620" (from the German: Ertz, loc. cit., p. 351.)

Adriaen van Stalbemt was born in Antwerp, but since he came from a Protestant family, he spent his youth in Middelburg, which was also Protestant at the time, and it was here that he probably received his education. It was not until 1609 that he returned to Antwerp and was accepted as a master in the Guild of Saint Luke. His appointment to the English court by King Charles I in 1633 testifies to his reputation.

Adriaen van Stalbemt was not only one of the most experienced Flemish landscape painters of his time, but also a virtuoso figure painter who executed figural staffage for the works of numerous fellow Antwerp painters. This quality can also be seen in the present work, especially in the seductive female nudes, which are arranged as if on stage in the foremost plane of the picture, demonstrating the painter's artistic mastery through their complicated postures. It remains uncertain whether the figures represent nymphs or goddesses of Greco-Roman mythology. However, the peacock in the centre of the work could be the attribute of Juno, whilst the sculptures on the balustrade and in the niche at the left edge of the picture suggest Venus, Cupid, and Minerva. The "Venus and Cupid motif" also corresponds to the group comprising a reclining woman with a putto in the lower left corner of the picture. A monkey placed conspicuously in the central axis at the lower edge of the image gazes out towards the viewer. The background for this stage-like presentation is formed by a water feature surrounded by balustrades and a panoramic park landscape with symmetrically arranged topiaries.Adriaen van Stalbemt
Badende Nymphen in einer Parkanlage

Öl auf Holz (parkettiert). 53 x 73,5 cm.

Provenienz
609. Lempertz-Auktion, Köln, 21.-23.11.1985, Lot 7. - Westfälische Privatsammlung. - 929. Lempertz-Auktion, Köln, 22.11.2008, Lot 1222. – Europäische Privatsammlung.

Literatur
Klaus Ertz und Christa Nitze-Ertz: Adriaen van Stalbemt 1580-1662. Kritischer Katalog der Gemälde, Zeichnungen und Druckgraphik (=Flämische Maler im Umkreis der großen Meister 11), Lingen 2018, S. 351, Nr. 229.

Das vorliegende Gemälde wurde in der Vergangenheit sowohl Jan Brueghel d. Ä. als auch seinem Sohn Jan Brueghel d. J. zugeschrieben. Klaus Ertz und Christa Nitze-Ertz haben es in ihrem im vergangenen Jahr erschienenen Werkverzeichnis nun dem Oeuvre des Antwerpener Malers Adriaen van Stalbemt zuweisen können und binden es in eine Gruppe von Werken ein, die durch die Thematik der Frauen beim Bade verbunden sind und die sie auf die Zeit nach 1620 datieren: „Unsere Einschätzung von Kat. 229 als Arbeit Jans d. J. aus später Zeit ist zu korrigieren. Im Zusammenhang mit Kat. 221-228 wird ersichtlich, dass auch dieses Bild eine eigenhändige Arbeit von AvS aus der Zeit nach 1620 ist.“ (Ertz, op. cit., S. 351)
Adriaen van Stalbemt wurde zwar in Antwerpen geboren, da er aber einer protestantischen Familie entstammte, verbrachte er seine Jugend im damals ebenfalls protestantisch geprägten Middelburg, wo er auch seine Ausbildung erfahren haben dürfte. Erst 1609 kehrte er nach Antwerpen zurück und wurde als Meister in die dortige Lukasgilde aufgenommen. Sein überregionales Ansehen belegt die Berufung an den englischen Hof durch König Karl I. im Jahr 1633.
Adriaen van Stalbemt war nicht nur einer der versiertesten flämischen Landschaftsmaler seiner Zeit, sondern auch ein virtuoser Figurenmaler, der für die Werke zahlreicher Antwerpener Malerkollegen die Figurenstaffage ausführte. Diese Qualität zeigt sich auch beim vorliegenden Werk, vor allem in den verführerischen Frauenakten, die bühnenartig in der vorderen Bildebene präsentiert werden und durch ihre komplizierten Körperhaltungen die künstlerische Meisterschaft des Malers demonstrieren. Ob es sich bei den Figuren um Nymphen oder Göttinnen der griechisch-römischen Mythologie handelt, muss offenbleiben. Der Pfau in der Bildmitte könnte jedoch als Attribut auf Juno verweisen, während Skulpturen auf der Balustrade bzw. in einer Nische am linken Bildrand auf Venus und Amor sowie Minerva hindeuten. Das „Venus und Amor-Motiv“ findet eine Entsprechung überdies in der Gruppe der liegenden Frau mit einem Putto in der linken unteren Bildecke. Ein auffällig in der Mittelachse am unteren Bildrand platzierter Affe richtet seinen Blick unverwandt auf den Betrachter. Den Hintergrund für diese bühnenartige Präsentation bilden ein von Balustraden eingefasstes Wasserbassin sowie eine weiträumige Parklandschaft mit symmetrisch angelegten Bosketten.
- - -


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
Adriaen van Stalbemt
Bathing Nymphs in a Park Landscape

Oil on panel (parquetted). 53 x 73.5 cm.

Provenance
Lempertz auction 609, Cologne, 21.-23.11.1985, lot 7. - Westphalian private collection. - Lempertz auction 929, Cologne, 22.11.2008, lot 1222. - Continental private collection.

Literature
Klaus Ertz und Christa Nitze-Ertz: Adriaen van Stalbemt 1580-1662. Kritischer Katalog der Gemälde, Zeichnungen und Druckgraphik (=Flämische Maler im Umkreis der großen Meister 11), Lingen 2018, p. 351, no. 229.

In the past, this painting was attributed both to Jan Brueghel the Elder and his son Jan Brueghel the Younger. In their catalogue raisonné, published last year, Klaus Ertz and Christa Nitze-Ertz have now been able to assign it to the oeuvre of the Antwerp painter Adriaen van Stalbemt and incorporate it into a group of works connected by the theme of women bathing which they date to the period after 1620. "Our assessment of cat. 229 as a later work by Jan Brueghel the Younger must be corrected. In connection with cat. 221-228 it becomes apparent that this picture is also a work by AvS himself from the time after 1620" (from the German: Ertz, loc. cit., p. 351.)

Adriaen van Stalbemt was born in Antwerp, but since he came from a Protestant family, he spent his youth in Middelburg, which was also Protestant at the time, and it was here that he probably received his education. It was not until 1609 that he returned to Antwerp and was accepted as a master in the Guild of Saint Luke. His appointment to the English court by King Charles I in 1633 testifies to his reputation.

Adriaen van Stalbemt was not only one of the most experienced Flemish landscape painters of his time, but also a virtuoso figure painter who executed figural staffage for the works of numerous fellow Antwerp painters. This quality can also be seen in the present work, especially in the seductive female nudes, which are arranged as if on stage in the foremost plane of the picture, demonstrating the painter's artistic mastery through their complicated postures. It remains uncertain whether the figures represent nymphs or goddesses of Greco-Roman mythology. However, the peacock in the centre of the work could be the attribute of Juno, whilst the sculptures on the balustrade and in the niche at the left edge of the picture suggest Venus, Cupid, and Minerva. The "Venus and Cupid motif" also corresponds to the group comprising a reclining woman with a putto in the lower left corner of the picture. A monkey placed conspicuously in the central axis at the lower edge of the image gazes out towards the viewer. The background for this stage-like presentation is formed by a water feature surrounded by balustrades and a panoramic park landscape with symmetrically arranged topiaries.Adriaen van Stalbemt
Badende Nymphen in einer Parkanlage

Öl auf Holz (parkettiert). 53 x 73,5 cm.

Provenienz
609. Lempertz-Auktion, Köln, 21.-23.11.1985, Lot 7. - Westfälische Privatsammlung. - 929. Lempertz-Auktion, Köln, 22.11.2008, Lot 1222. – Europäische Privatsammlung.

Literatur
Klaus Ertz und Christa Nitze-Ertz: Adriaen van Stalbemt 1580-1662. Kritischer Katalog der Gemälde, Zeichnungen und Druckgraphik (=Flämische Maler im Umkreis der großen Meister 11), Lingen 2018, S. 351, Nr. 229.

Das vorliegende Gemälde wurde in der Vergangenheit sowohl Jan Brueghel d. Ä. als auch seinem Sohn Jan Brueghel d. J. zugeschrieben. Klaus Ertz und Christa Nitze-Ertz haben es in ihrem im vergangenen Jahr erschienenen Werkverzeichnis nun dem Oeuvre des Antwerpener Malers Adriaen van Stalbemt zuweisen können und binden es in eine Gruppe von Werken ein, die durch die Thematik der Frauen beim Bade verbunden sind und die sie auf die Zeit nach 1620 datieren: „Unsere Einschätzung von Kat. 229 als Arbeit Jans d. J. aus später Zeit ist zu korrigieren. Im Zusammenhang mit Kat. 221-228 wird ersichtlich, dass auch dieses Bild eine eigenhändige Arbeit von AvS aus der Zeit nach 1620 ist.“ (Ertz, op. cit., S. 351)
Adriaen van Stalbemt wurde zwar in Antwerpen geboren, da er aber einer protestantischen Familie entstammte, verbrachte er seine Jugend im damals ebenfalls protestantisch geprägten Middelburg, wo er auch seine Ausbildung erfahren haben dürfte. Erst 1609 kehrte er nach Antwerpen zurück und wurde als Meister in die dortige Lukasgilde aufgenommen. Sein überregionales Ansehen belegt die Berufung an den englischen Hof durch König Karl I. im Jahr 1633.
Adriaen van Stalbemt war nicht nur einer der versiertesten flämischen Landschaftsmaler seiner Zeit, sondern auch ein virtuoser Figurenmaler, der für die Werke zahlreicher Antwerpener Malerkollegen die Figurenstaffage ausführte. Diese Qualität zeigt sich auch beim vorliegenden Werk, vor allem in den verführerischen Frauenakten, die bühnenartig in der vorderen Bildebene präsentiert werden und durch ihre komplizierten Körperhaltungen die künstlerische Meisterschaft des Malers demonstrieren. Ob es sich bei den Figuren um Nymphen oder Göttinnen der griechisch-römischen Mythologie handelt, muss offenbleiben. Der Pfau in der Bildmitte könnte jedoch als Attribut auf Juno verweisen, während Skulpturen auf der Balustrade bzw. in einer Nische am linken Bildrand auf Venus und Amor sowie Minerva hindeuten. Das „Venus und Amor-Motiv“ findet eine Entsprechung überdies in der Gruppe der liegenden Frau mit einem Putto in der linken unteren Bildecke. Ein auffällig in der Mittelachse am unteren Bildrand platzierter Affe richtet seinen Blick unverwandt auf den Betrachter. Den Hintergrund für diese bühnenartige Präsentation bilden ein von Balustraden eingefasstes Wasserbassin sowie eine weiträumige Parklandschaft mit symmetrisch angelegten Bosketten.
- - -


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

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.
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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer

 

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