View full screen - View 1 of Lot 5. The Crucifixion |《十字架苦像》.
5

Adriaen Isenbrant

The Crucifixion |《十字架苦像》

VAT reduced rate

Estimate:

200,000

to
- 300,000 GBP

Property from a Distinguished Spanish Private Collection

Adriaen Isenbrant

Adriaen Isenbrant

The Crucifixion |《十字架苦像》

The Crucifixion |《十字架苦像》

Estimate:

200,000

to
- 300,000 GBP

Lot sold:

644,200

GBP

Property from a Distinguished Spanish Private Collection

Adriaen Isenbrant

Bruges circa 1485 - 1551

The Crucifixion



oil on oak panel

60.5 x 49.1 cm.; 23¾ x 19¼ in.


知名西班牙私人收藏

阿德里安・艾森布朗特

布鲁日,約1485 - 1551年

《十字架苦像》


油彩橡木畫板

60.5 x 49.1 公分;23¾ x 19¼ 英寸

The following condition report is provided by Henry Gentle who is an external specialist and not an employee of Sotheby's:


Adriaen Isenbrant

Crucifixion

Oil on panel, unframed


The oak support is well preserved and chamfered.


There is a small 3cm vertical hairline fracture running down through Christ's head, and a small 2cm split running up from the bottom edge in to Mary Magdalene's dress.


The paint layer is stable and secure.


Under u-v light minor scattered loss can be detected along the fractures and there has been some reduction of thinness to the clouds.


Delicate foliage to the tree on the rocky outcrop, mid ground left, and the Magdalene's veil have become a little compromised.


Delicate details and modelling to the figures, the soldiers and the townscape are well preserved and tonal subtleties are well maintained.


Chromatic values are in good original condition, the colours saturating strongly and original glazing preserved.


The painting presents well.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Please note that the penultimate line of provenance should read: Anonymous sale, New York, Sotheby's, 15 January 1993, lot 74. And not as stated in the printed catalogue.

J.-E. Weber;

His sale et al., Brussels, Fievez, 7–8 July 1926, lot 163, reproduced;

G. Nauwelaerts, Brussels, by 1930;

Dr Schönemann, Amsterdam, by 1936 (according to an annotation by Friedländer on the reverse of a photo, Friedländer Archive);

Consul Karl Erik Hedborg, Brussels, by 1949;

Thence by descent until sold London, Sotheby’s, 6 July 1988, lot 12;

With the Alexander Gallery, New York;

With Bob Haboldt, Paris and New York, 1991;

Anonymous sale, New York, Sotheby’s, 15 January 1993, lot 74;

Probably acquired shortly thereafter by the father of the present owners.

M.J. Friedländer, Die Altniederländische Malerei, vol. XI, Leiden 1933, p. 133, no. 163;

M.J. Friedländer, Early Netherlandish Painting, vol. XI, Leiden and Brussels 1974, p. 85, no. 163, reproduced plate 128 (as Isenbrandt);

J.C. Wilson, ‘Workshop patterns and the production of paintings in sixteenth century Bruges’, The Burlington Magazine, 132, 1990, pp. 523–27, reproduced fig. 3 (as attributed to Isenbrandt);

J.C. Wilson, Painting in Bruges at the close of the Middle Ages, Pennsylvania 1998, pp. 122, 223 n. 94, reproduced fig. 56 (as Adriaen Isenbrandt?);

T. Ketelsen, C. Brink and G. Walczak, Die Sammlungen der Hamburger Kunsthalle. Die Niederländischen Gemälde 1500–1800, Hamburg 2001, p. 140, under cat. no. 5231;

S. Urbach, Early Netherlandish Painting. Old Masters Gallery Catalogue. Szépmüvészeti Múzeum Budapest, London 2015, vol. I, p. 219, under cat. no. 18, reproduced fig. 18.11.

Bruges, Musée Communal, Gerard David, 18 June – 21 August 1949, no. 31;

London, Wildenstein Gallery, Gerard David and his followers, 1949, no. 23;

Bordeaux, Galerie des Beaux-Arts, Flandres, Espagne Portugal: des Primitifs à Rubens, 19 May – 31 July 1954, no. 36 (as Isenbrandt)