BARTHOLOMÄUS BRUYN I (WESEL or COLOGNE 1493-1555 COLOGNE)
BARTHOLOMÄUS BRUYN I (WESEL or COLOGNE 1493-1555 COLOGNE)
BARTHOLOMÄUS BRUYN I (WESEL or COLOGNE 1493-1555 COLOGNE)
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BARTHOLOMÄUS BRUYN I (WESEL or COLOGNE 1493-1555 COLOGNE)
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Property Restituted to the Heirs of Ralph von Klemperer
BARTHOLOMÄUS BRUYN I (WESEL or COLOGNE 1493-1555 COLOGNE)

The exterior wings of an altarpiece: The Virgin and Child with Saint Anne; and Saint Elizabeth of Hungary Giving Alms

细节
BARTHOLOMÄUS BRUYN I (WESEL or COLOGNE 1493-1555 COLOGNE)
The exterior wings of an altarpiece: The Virgin and Child with Saint Anne; and Saint Elizabeth of Hungary Giving Alms
oil on panel
15 ½ x 7 ¼ in. (39.5 x 18 cm.), each(2)
a pair
来源
Johann Georg Schmitz (1761-1845), Cologne; his deceased sale, J.M. Heberle, Cologne, 20 September 1846, lot 59, where acquired by,
Christophe Rhaban Ruhl (1802-1875), Cologne; his deceased sale, J.M. Heberle, Cologne, 13 May 1876, lots 11-12 (sold with the interior of the wings, lots 9-10).
Consul Eduard Friedrich Weber (1830-1907), Hamburg, by 1904; his deceased sale, Rudolph Lepke, Berlin, 20-22 February 1912, lot 65, where acquired by,
Gustav von Klemperer (1852-1926), Dresden, and by descent to,
Ralph Leopold von Klemperer (1884-1956), Dresden, by whom sold circa 1937.
Eugène Leopold Garbáty (1885-1966), Schloss Alt-Döbern, Nieder-Lausitz and later Shorehaven, CT; [The Property of Eugene L. Garbaty, Esq.], Sotheby’s, London, 25 April 1956, lot 74, acquired for £380 by the following,
with Thomas Agnew & Sons, London, by October 1956.
The Elwood and Olive Hosmer Collection, Charles R. Hosmer House, Montreal, and by inheritance to their cousin's wife,
Mrs. Lucille Elizabeth Pillow, née Fairbank (1883-1969), Montreal, circa 1960, and by descent.
Gifted to Beaverbrook Art Gallery, Fredericton, Canada, November 1996.
Restituted to the heirs of Ralph von Klemperer by Beaverbrook Art Gallery in 2024.
出版
J.J. Merlo, Nachrichten von dem Leben und den Werken Kölnischer Künstler, Cologne, 1850, p. 71.
G. Parthey, Deutscher Bildersaal, I, Berlin, 1863, pp. 210-211, no. 30.
J. von Pflugk-Hartung, 'Die Weber'sche Gemäldesammlung', Repertorium für Kunstwissenschaft, 1885, p. 82.
E. Firmenich-Richartz, Bartholomaeus Bruyn und seine Schule: eine kunsthistorische studie, Leipzig, 1891, pp. 60 and 109.
K. Woermann, Wissenschaftliches verzeichnis der Älteren Gemälde der Galerie Weber in Hamburg, Dresden, 1892, p. 52, no. 59.
E. Firmenich-Richartz, Katalog der kunsthistorischen Ausstellung in Düsseldorf, Dusseldorf, 1904, p. 30, no. 70.
L. Scheibler, 'Die kunsthistorische Ausstellung zu Düsseldorf 1904. Die altniederländischen und altdeutschen Gemälde', Repertorium für Kunst-wissenschaft, 1904, p. 561, no. 70.
K. Woermann, Wissenschaftliches Verzeichnis der älteren Gemälde der Galerie Weber in Hamburg, Dresden, 1907, no. 59.
'Der Kunstmarkt - von den Auktionen. Die Auktion der Sammlung Weber', Der Cicerone, 1912, p. 188, no. 65.
Advertisement, The Burlington Magazine, XCVIII, no. 643, October 1956, p. ix, illustrated.
J. Tümmers, Die Altarbilder des älteren Bartholomäus Bruyn, Cologne, 1964, p. 77, nos. A 71-72.
S. Blöcker, N. Buchmann, G. Goldberg and R. Krischel, Lust und Verlust II. Corpus-Band zu Kölner Gemäldesammlungen 1800-1860, Cologne, 1998, p. 334, no. 59b.
展览
Dusseldorf, Kunsthistorische Ausstellung, 1904, no. 70.
Wallraf-Richartz-Museum, Cologne, Barthel Bruyn, 1493–1555, 1955, nos. 254 and 255.
Montreal, Montreal Museum of Fine Arts, Canada Collects: European Painting, 19 January-21 February 1960, nos. 89 and 90.
Montreal, The Montreal Museum of Fine Arts, Images of the Saints, 5 March-4 April 1965, nos. 41 and 42.

荣誉呈献

Taylor Alessio
Taylor Alessio Junior Specialist, Head of Part II

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拍品专文

Christie’s is honored to offer this lot on behalf of the heirs of Ralph von Klemperer (1884-1956), by whom it was sold to fund his family’s escape from Nazi Germany. Hailing from a prominent German-Jewish banking family, Ralph was a member of supervisory boards of various commercial and industrial organizations in Dresden. He also co-founded the Dresden Rotary Club. His wife, Lili, was the daughter of Oskar Huldschinsky, an iron and coal mining industrialist who became a major art collector and patron, acquiring works by Old Masters and modern artists such as Tiepolo, Botticelli, Rodin, and Degas. Together, Ralph and Lili would continue this tradition, likewise putting together a notable art collection, including the present panels by Bartholomäus Bruyn I, which Ralph had inherited from his father (fig. 1). As conditions under the Nazi regime grew increasingly dire for Jews in the mid-1930s, Ralph made plans for his family to flee. However, Nazi legislation required Jews who left the German Reich to first pay a punitive flight tax. To raise the vast sum required, Ralph was forced to sell the Bruyn panels and other precious artworks. Ultimately, Ralph, Lili, and their family were able to safely emigrate to South Africa. The Bruyn panels were returned to Ralph’s heirs in 2024.

Bruyn is regarded as one the foremost portrait painters of his generation. In addition to portrait commissions for wealthy patrons in Cologne, he completed important religious commissions, including two pairs of wings for the high altar of the Cathedral in Essen completed in 1525 – the masterpiece of the artist's early religious output – and an altarpiece representing scenes from the life of Saint Victor and Saint Helena for the high altar of the church of Saint Victor in Xantan, datable to between 1529 and 1534.

Executed on an intimate scale that indicates they were intended for private devotion, the present panels would have originally formed the exterior wings of a small triptych. They remained integrated with their corresponding interior wings, depicting Saint Agnes and Saint Cecilia, each respectively accompanied by a female donor, until at least 1876, when they were sold as a separate lot from the collection of Christophe Rhaban Ruhl (loc. cit.). As Horst Joks Tümmers records (loc. cit.), the inner wings were ultimately sold at Kunsthaus Lempertz, 14 November 1962 and included coats of arms on the donors’ prie-dieux that identified them as members of the Grafen von Manderscheid family (left panel) and Grafen von Moers family (right panel). Though the wings are well documented, the triptych's central panel has yet to be identified. The scholar dates all four works to around 1525-1530 (ibid.).

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