Coecke van Aelst (Pieter) The Turks in MDXXXIII, one of 100 copies, presentation copy from the author's son, inscribed on title, printed in red and black, 11 plates, occasional light finger-soiling, some marginal tears or small loss with expert tissue repairs, disbound, retaining contemporary green cloth boards, bookplate, housed in modern black box, loose lid with printed paper label, a little rubbed, [Atabey 261; Blackmer 379], large oblong folio, Privately Printed for William Stirling Maxwell, 1873.
Circle of Pieter Coecke van Aelst (Belgian, 1502-1550) Adoration of the Magi Oil on panel Dimensions: (Frame) 36 in. (H) x 48 in. (W) (Panel) 30.5 in. (H) x 44 in. (W)
Oil painting on board "An excellent Flemish Renaissance painter, he lived in Italy where he had the opportunity to appreciate the art of his contemporary Italian painters. He was a great admirer of Raphael, who often inspired him, as in this painting, even though he remained substantially atheist within his own stylistic canons and developments. He made an important contribution to the great Renaissance art in Flanders. A designer, painter and editor of architectural treatises, he was sought after by the most famous figures of his time: Charles V, Francis I King of France, Henry VIII of England, Cosimo I de' Medici. The influence of Italian Renaissance styles is evident in this work. He started the passage and transition from the late Gothic to the Renaissance conception in the Netherlands. The writings and treatises of Sebastiano Serlio were an example to him. This simple painting, probably for a private commission, is inspired in some way by Raphael's Madonna del Connestabile. In fact, the representation of the Madonna and Child is rendered in a real and fluid manner, giving naturalness to the scene. He abolishes the landscape background and focuses the figuration on the two characters, thus giving more strength to the spiritual meaning. A sad and melancholic harmony shines through and is palpable, at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy on the death of Jesus, with sweet resignation while the child orders her to read by pointing with his finger. The shapes are well calibrated and the gestures of the child pointing and of the Madonna who holds him protectively around the waist, make the scene happy and full of harmony. A light that seems to come from a window focuses the characters and illuminates the painted clothes in a soft and fluid way. It was an example for all those Dutch-Mannerist painters of the second half of the 16th century. 40x30, oil on panel. Provenance: illustrates a family from Catania." ASORstudio
Aelst, Pieter Coecke van (Aalst 1502 - 1550 Brussels) Circle, "Adoration of the Shepherds",(Aalst 1502 - 1550 Brussels) Circle, "Adoration of the Shepherds", Oil and tempera on panelled wood, 47 x 35 cm. The work can be seen compositionally in connection with Pieter Coecke van Aelst's "Adoration of the Shepherds" in the National Museum in Warsaw (inv. no. 184809 MNW).No.: 184809 MNW). Pieter Coecke van Aelst joined the workshop of the artist Jan van Dornicke (also Master of 1518) after his marriage to his daughter and took it over after his death. The depicted scene and composition is known in several slightly different versions and is frequently found in the altarpieces of van Dornicke and his workshop. Here, it complements the Adoration of the Magi on the centre panel as the left-hand wing of the altarpiece and the Flight of the Holy Family into Egypt on the right-hand wing. Aelst, Pieter Coecke van (Aalst 1502 - 1550 Brüssel) Umkreis, "Anbetung der Hirten", Öl und Tempera auf Holz parkettiert, 47 x 35 cm. Das Werk ist kompositionell im Zusammenhang mit Pieter Coecke van Aelst "Anbetung der Hirten" im Nationalmuseum in Warschau zu sehen (Inv.-Nr.: 184809 MNW). Pieter Coecke van Aelst trat nach seiner Heirat der Tochter des Künstlers Jan van Dornicke ( auch Meister von 1518), in dessen Werkstatt ein und übernahm diese nach seinem Tod. Die dargestellte Szene und Komposition ist in mehreren, sich leicht unterscheidenden Ausführungen bekannt und häufiger in den Altar-Triptychen van Dornickes und seiner Werkstatt wiederzufinden. Hier ergänzt diese als linken Altarflügel die Anbetung der Könige auf der Mitteltafel und die Flucht der Heiligen Familie nach Ägypten auf dem rechten Flügel.
Oil on oak panel. Provenance: Frances Amherst; Bishop of Northhampton; Monsignor Joseph Canon Burcke JLC; St. Bede's College, Manchester; Private collection, Madrid. Bibliography: Christa Grössinger, North-European panel Painters. A catalog of Netherlandish & German paintings before 1600 in English churches & colleges, London, 1992, pp. 150-152, no. 39, figs. 138, 140, 141; Kurt Löcher, Ein niederländischer Dreikönigs altar des 16. Jahrhunderts imKölner Dom und verwandete Alterretablen in Kölner Kirchen, Kölner Comblatt. Jahbuch des Zentral-Dombau-Vereins 67, 2002, pp. 212-213, fig. 12. At the beginning of the 16th century, the city of Antwerp experienced very rapid growth that would Late up making it the most important cultural and commercial center north of the Alps. This was due to different factors such as, for example, the high number of potentially rich and prosperous clients and patrons who had settled in the city and also due to the export of works and the local market. The lack of a strong pictorial tradition, the liberal norms of the city's painters' guild, as well as the presence of artists from various schools, turned this enclave into a cultural melting pot with a high production of composite altarpieces, triptychs, diptychs and everything. type of paintings with a religious theme. This important work, painted in 1528 by the young Pieter Coecke van Aelst, is an example that perfectly illustrates the cultural and artistic effervescence of the city of Antwerp in the first third of the 16th century. Following the usual practice at the time, he was inspired by a model that had enjoyed great fortune: an original composition created by the Master of 1518, the name given in 1915 by Max Friedländer to the painter of the Altarpiece of the Life of the Virgin of the Church of Saint Mary of Lübeck in Germany. There are different versions of this from his workshop, preserved in different places such as: the Museum of Fine Arts of Asturias; Johann Peter Weyer collection from Cologne; Galleria Regionale de Palermo or the one that was in the Viuda de Cervera collection in Cadiz. Another version, made by an unknown painter, is located in the Lazaro Galdiano Museum in Madrid and in the Galleria Rob Smeets in Milan and on the property of Jackson Higgs, in New York, two versions attributed to the hand of the Master of the Adoration of Lille. The specialist Peter van der Brink studied this work in depth, assigning it to the painter Pieter Coecke van Aelst, pointing out that, among all the triptychs mentioned above, it is the only one that is signed and presents extraordinary quality, both in the elaboration of the figures and in the execution of architectures.Its formal characteristics fit perfectly with other works made by Coecke in his early period, such as the different representations of the Last Supper dated 1529, 1530 and 1531. Löcher, in the study of this work published in 2002, indicated by far It is true that the donors were painted in a second phase, following a procedure quite common in works of this typology, as were the figures of Saint Augustine and Saint Ambrose on the external faces. The studies carried out with infrared indicate that the specialist was correct since the portraits were painted on the figures, already completely finished, of King Baltasar and Saint Joseph. Its execution took place shortly after the altarpiece was completed, in Cologne, around the year 1530, possibly by Bartholomeus Bruyn the Younger. The fantastic altarpiece, as indicated by the specialists who have dedicated themselves to its study, was bought on the free market of Antwerp in Our Lady's Pand, probably by an abbot of the Augustinian order who had his portrait painted in the left wing by Bruyn. The presence on the external faces of the doors of Saint Augustine, as patron of the order, and Saint Ambrose, his mentor, also reinforce this origin. Attached is a study of the work carried out by the specialist Peter van den Brink. Measurements: 106.5 x 73 cm. (Center panel); 105.5 x 31 cm. (At)
Property from a Distinguished Spanish Private Collection Pieter Coecke van Aelst and Studio Aalst 1502 - 1550 Brussels The Virgin and Child in a loggia Oil on panel 51,5 x 37 cm ; 20¼ by 14⅝ in. ____________________________________________ Provenant d'une prestigieuse collection particulière espagnole Pieter Coecke van Aelst et Atelier Alost 1502 - 1550 Bruxelles Vierge à l'Enfant dans une abside Huile sur panneau 51,5 x 37 cm ; 20¼ by 14⅝ in.
(Aalst, 1502 - Bruxelles, 1550) Adorazione dei Magi Olio su tavola, cm 76X101,5 Il trittico si riconosce alla mano di un pittore appartenente alla cerchia Pieter Coecke van Aelst o a un suo diretto seguace e la composizione trova confronto con il trittico della collezione Mainz E Weinmuller (Cfr. https://rkd.nl/imageslite/385389 ; https://rkd.nl/imageslite/3095198). Secondo Karel van Mander, Coecke fu allievo di Bernard van Orley e Jan van Dornicke, divenendo maestro nel 1527, dando vita a una fiorente bottega con innumerevoli allievi e collaboratori dediti all'esecuzione di opere su tavola destinate a tutta Europa e modelli per arazzi commissionati dai più importanti mecenati dell'epoca, come Enrico VIII, Francesco I di Francia, gli Asburgo e i Medici. Per questo motivo i dipinti attribuiti a Coecke variano notevolmente per stile e qualità, a seconda della preponderanza o meno dell'intervento dell'atelier o da una esecuzione autonoma da parte di allievi che ne perpetuano la maniera. Bibliografia di riferimento: G. Marlier, Pierre Coeck d'Alost e la renaissance flamande. Brüssel 1966, ad vocem A. Born, Essai d'analyse critique du maniérisme anversois de Max Jacob Friedländer suivi d'une révision du groupe des oeuvres du Maître de 1518, ongepubliceerde dissertatie Universiteit Gent, 2010, ad vocem
PIETER COECKE VAN AELST(Aalst, 1502 - Brussels,1550) "Triptych". Oil on panel. It presents restorations on the pictorial surface. Measurements: 107,5 x 48 cm (central panel); 107 x 174 cm (side panels). In the center of this triptych is represented the ascension of Christ to the heavens, being this observer by the apostles and the Virgin. On the right side Pilate has just judged Jesus, who is being carried by two soldiers and finally, on the left side of the composition we can appreciate Jesus on the resurrected tomb. These scenes show a great normativity with respect to the biblical story, but this coherence is not only thematic but also aesthetic, since in the three works the use of a chromatic range of clear and bright colors predominates in the composition. In addition, despite the distortion of the anatomies presented by all the characters, a great dynamism can be appreciated in the piece, which is granted by the harmonization of a classical compositional structure, using a triangular pattern in all the scenes. The iconography and the composition repeat models of the 15th century, but the triangular arrangement, the plastic rotundity of the figures and the subtle modeling of the faces and the anatomy of the Child, as well as the architectures, respond to the new Italian language. In the 16th century, following the introduction of the novelties of the Italian Renaissance, the Flemish style evolved towards a more classical and sculptural sense, while retaining its own characteristics. In this context is Pieter Coecke van Aelst or Pieter Coecke van Aelst the Elder, who was a Flemish painter, sculptor, architect, author and designer of woodcuts, goldsmiths, stained glass and tapestries. His main subjects were Christian religious themes. In the words of the Prado Museum "at first his painting seems to have been influenced by his master Bernard van Orley and his father-in-law Jan van Dornicke. Later, his style, described as Antuerpian Mannerist, and close to the tradition of the last works of Raphael, evolves towards a language close to that of the Romanists". He worked in Antwerp and Brussels and was appointed court painter to Charles V, Holy Roman Emperor. Coecke van Aelst was a polyglot. He published translations into Flemish (Dutch), French and German of architectural treatises from ancient Rome and modern Italy. These publications played a key role in the dissemination of Renaissance ideas in northern Europe. They contributed to the transition in northern Europe from the then predominant late Gothic style to a modern "antique-oriented" architecture. Pieter Coecke van Aelst was the son of the deputy mayor of Aalst. The early Flemish biographer Karel van Mander wrote in his Schilder-boeck published in 1604 that Coecke van Aelst studied with Bernard van Orley, a prominent Renaissance painter based in Brussels. There are no documents to prove this apprenticeship, but there are strong stylistic similarities between the styles of the two artists. According to Karel van Mander, Pieter Coecke van Aelst later studied in Italy. Although there is no firm evidence that Coecke van Aelst traveled to Italy, stylistic evidence supports this idea. However, the Italian influence could also be attributed to the fact that Raphael's tapestry cartoons were available in Brussels. It presents restorations on the pictorial surface.
CIRCLE OF PIETER COECKE VAN AELST (AELST 1502-1550 BRUSSELS) AND THE MASTER OF The Calling of Saint Matthew with a view of the Antwerp Harbor oil on panel 32 x 44 ½ in. (81.3 x 113 cm.)
ATELIER OF PIETER COECKE VAN AELST Aelst 1502 - Brussels 1550 THE HOLY FAMILY Oil on oak panel (rounded at the top). 90 x 58 cm (R. 102 x 70 cm). Part. min. rest., slight old retouching. Original framing (centre section of a triptych). Provenance: International collection. PIETER COECKE VAN AELST (ATELIER) Aelst 1502 - Brüssel 1550 DIE HEILGE FAMILIE Öl auf Eichenholztafel (oben gerundet). 90 x 58 cm (R. 102 x 70 cm). Part. min. rest., leichte Altretuschen. Originalrahmung (Mittelteil eines Triptychons). Provenienz: Internationaler Sammlungsbesitz.
Circle or workshop of Pieter Coecke van Aelst the Elder (Flemish, 1502-1550) A triptych: The Adoration of the Magi; with Saint Joseph (right panel) and Balthazar (left panel). Oil on three oak panels, mounted on oak panels, inscribed "NAC" on the column fragment on the right of the right panel edge and on the seal of Balthazar's hat inscribed "SAPI V. Mias. Dioc. Nictu" (I will give you wisdom). 38 1/5 x 51 1/5in. (97 x 130cm.) (total), 34 5/8in. (88 x 55.5cm.) (centre panel), 34 5/8 x 9 1/4in. (88 x 23.5cm.) (outer panels). *Provenance: Dobiaschofsky Auktionen AG, Bern, May 2017, lot 328. Galerie Jürg Stuker, Bern, auction 118, November 1973, lot 762 (there as a work by the Master of the Death of Mary). Private collection, Switzerland. This beautiful triptych was likely to have been produced during the first half of the sixteenth century either in the workshop of Pieter Coecke van Aelst or by an artist in his circle. No signed and very few documented paintings by the artist have survived. While this triptych bears a close resemblance to other triptychs ascribed to Pieter Coecke van Aelst it is a unique work of art with its own idiosyncrasies and not a copy or replica. It is primarily distinguished by the intriguing inscription "NAC" on the column fragment and the Latin inscription on the seal of Balthazar's hat, features which do not appear in other versions. The Latin inscription "SAPI V. Dioc. Nictu" (I will give you my wisdom) is a biblical reference taken from Luke 21:15. The Adoration of the Magi and the Holy Family are the subjects of many works ascribed to Pieter Coecke van Aelst or his workshop and there are still further replicas and copies. The art historian and researcher, Linda Jansen, who specialises in early Netherlandish painting and technical art history, has identified three groups; those produced under the master's direct supervision, those created independently by assistants and those produced outside of the workshop. She acknowledges, however, that it is difficult to distinguish between these three groups. The subject is discussed in her article "Serial products in the workshop of Pieter Coecke van Aelst: A working hypothesis" (La peinture ancienne et ses proceeds, Leuven/Paris/Dudley 2006, p. 173-180). She regards the present triptych as an intriguing work, not least due to the inscriptions, yet not by the artist's own hand. This view is shared by Dr Suzane Laemers, Curator of Fifteenth and Sixteenth Century Netherlandish Painting at the RKD (Netherlands Institute for Art History in the Hague) who considers the present work's authorship as likely to be within the circle of the artist. In this present work the artist has opposed traditional practice by incorporating the figures in the wings into the central composition. Normally, at this date, the two wings of a triptych were not integrated into the main subject in the centre. This new approach created a sense of symmetry and breadth and was adopted by artists of the next generation. As shown here, Coecke van Aelst's compositions repeatedly demonstrate a strong Italian influence thought to derive from time spent in Rome as a young man, although there is no firm evidence that he travelled to Italy. This emerges in his work from the late 1520's when the influence of the work of Raphael and his pupil Guilio Romano becomes apparent. He certainly made numerous drawings of classical architecture and sculpture and later his interest in classical architecture was manifest in his translations of the architectural treatises by Sebastiano Serlio and Vitruvius into Flemish. Coecke van Aelst travelled to Constantinople in 1533 where he spent a year trying to persuade the Turkish sultan to give him commissions for tapestries. No commissions were forthcoming however he produced many drawings whilst he was there and acquired an abiding interest in that country which is often manifest in his work. While in Turkey he produced the preliminary designs for his woodcuts on the theme "Costumes and customs of the Turks" which were published posthumously in 1553. The exotically dressed and turbaned figure of Melchior in the present triptych owes much to this influence. At this time the wise men were traditionally depicted as of different ages and by the Renaissance the youngest was depicted as an African, as Balthazar is here, probably to reflect the universal acknowledgement of Christ's divinity. Born in 1502, Pieter Coecke van Aelst was the son of the deputy mayor of Aelst, a city north-west of Brussels. He was a highly versatile and talented painter, sculptor, architect, designer and translator into multiple languages. He lived and worked mainly in Antwerp where he joined the Guild of Saint Luke in 1527 and received many major commissions, including for the design of stained-glass windows for Antwerp Cathedral. He also received a stipend from the Antwerp city government. He operated a large workshop where his numerous assistants followed his original designs and produced works under his supervision. Through both his marriages and his children he was connected to several prominent artists and printmakers including Martens van Dornicke, Hubertus Goltzius and the Breughel family. He was appointed court painter to Charles V a few months prior to his death in 1550.
DIE HEILIGE FAMILIE Öl auf Holz. 84 x 65 cm. Vergoldeter Rahmen im gotischen Stil. Der genannte Maler, ein Schüler des Bernard van Orley, war auch als Literat und Übersetzer antiker Schriften tätig, darüber hinaus als Verleger. Seine Bekanntheit führte zu mannigfachen Wiederholungen seiner Werke im Schülerkreis. So ist auch das vorliegende Bildmotiv öfter aufgetaucht, meist mit Detailveränderungen und in unterschiedlichen Formaten. Inhaltlich weist die Darstellung etliche allegorische Einzelheiten auf, wie etwa die dunkle Traube, die Josef dem Kind entgegenhält, die als Verweis auf den Wein des Abendmahls und den Opfertod zu verstehen ist. Ebenso weisen der Apfel in der Hand Mariens und die Kirschen auf die verbotenen Früchte des Paradieses. Rest. (1380862) (11)
Oil painting on wood "An excellent Flemish Renaissance painter, he lived in Italy where he had the opportunity to appreciate the art of his contemporary Italian painters. He was a great admirer of Raphael, who often is inspired, as for example in this painting, although he remains essentially atheistic within his own canons and stylistic developments. He made an important contribution to the great Renaissance art in Flanders. Draftsman, painter and publisher of architectural treatises, he was disputed by the most famous figures of the his time: Charles V, Francis I King of France, Henry VIII of England, Cosimo I dei Medici. In this work the influence of Italian Renaissance ways is evident. He initiated the transition from the late Gothic concept in the Netherlands to the Renaissance one. The writings and treatises of Sebastiano Serlio were an example to him. This simple painting, probably for a private commission, is in some way inspired by Raphael's Madonna del Connestabile. In fact, the representation of the Madonna and the child is rendered in a real and fluid way, giving naturalness to the scene. He abolishes the landscape background and focuses the figuration on the two characters, thus giving more strength to the spiritual meaning. A sad and melancholic harmony shines through and is palpable, at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy about the death of Jesus, with sweet resignation while the child orders her to read by pointing with his finger. The shapes are well calibrated and the gestures of the pointing child and of the Madonna who holds him protectively around her waist make the scene happy and full of harmony. A light that seems to come from a window focuses the characters and illuminates the painted clothes in a soft and fluid way. He was an example for all those Dutch-mannerist painters of the second half of the 16th century. 40x30, oil on panel. Provenance: illustrates family from Catania." ASORstudio < /div>
DIE ANBETUNG DER HEILIGEN DREI KÖNIGE Öl auf Holz. Parkettiert. 150 x 148 cm. Unterhalb einer Architektur mit breiter verzierter Mittelsäule die sitzende Maria in blau-braunem Gewand, auf ihrem rechten Oberschenkel den schlanken, blond gelockten, nackten Jesusknaben haltend, der seinen rechten Arm zum Segensgestus erhoben hat, und den ältesten der drei Heiligen Könige anblickt. Der kniende ältere König mit langem grau-weißen Bart trägt ein edles goldbesticktes Gewand und einen kurzen Hermelinumhang. Hinter ihm ein weiterer farbiger König mit Gaben sowie rechtsseitig der dritte halbkniende König. Im Hintergrund werden unterhalb eines Rundtempels zwei weitere Szenen aus dem Leben Jesu dargestellt: Linksseitig die Darbringung im Tempel und rechtsseitig Christus predigt den Schriftgelehrten. Feine qualitätvolle Malerei in der typischen Manier des Künstlers. Anmerkung: Eine vergleichbare Darstellung ist auf der Mitteltafel eines Triptychons des Künstlers zu finden, das am 29. Januar 2021 bei Sotheby‘s, New York, Lot 103 versteigert wurde. Vergleichbare Motive lassen sich auch im Werk des Joos van Cleeve (um 1485- um 1540) und bei Antwerpener Meistern der ersten Hälfte des 16. Jahrhunderts finden. (13713335) (18) Pieter Coecke van Aelst the Elder, 1502/07 – 1550, attributed THE ADORATION OF THE MAGI Oil on panel. Parquetted. 150 x 148 cm. Notes: A similar depiction by the artist is shown on the central panel of a triptych, sold at auction at Sotheby’s, New York, lot 103 on 29 January 2021. Comparable motifs can also be found in the oeuvre of Joos van Cleeve and the Antwerp masters in the first half of the 16th century.
Follower of Pieter Coecke van Aelst (Aelst 1502-1550 Brussels) The Adoration of the Magi oil on panel, extended by 6cm along the upper edge, with both corners made up 87.6 x 67.2cm (34 1/2 x 26 7/16in).
DAS LETZTE ABENDMAHL Öl auf Holz. 66 x 88 cm. Das Gemälde zeigt einen Innenraum mit großem Tisch und weißer Decke, im Zentrum sitzend Jesus, umgeben von den zwölf Aposteln, unmittelbar nachdem dieser ihnen beim letzten gemeinsamen Essen am Vorabend seiner Kreuzigung gesagt hatte „Einer von Euch wird mich verraten.“ (Neues Testament Mt 26,21). Das Gemälde geht auf die berühmteste Darstellung des letzten Abendmahls des italienischen Malers Leonardo da Vinci (1452-1519) zurück; sie schmückt die Nordwand des Refektoriums des Dominikanerklosters Santa Maria delle Grazie in Mailand. Die Jesus umgebenden Apostel sind teils in ein Gespräch verwickelt, teils nachdenklich blickend. Im Vordergrund rechts, an einem leicht umkippenden Hocker stehend, Judas in gelb-grüner Gewandung, auf dem Hocker den Geldbeutel als Lohn für den Verrat festhaltend, dabei Jesus anblickend und mit seinem rechten Finger auf sich zeigend, um zu fragen „War ich es Jesus?“. Im Vordergrund auf dem gekachelten Boden zwei spielende Hunde sowie am rechten Bildrand eine kleine Obstschale und linksseitig ein großer Korb mit Früchten. Nach links führt über einen kleinen Treppenabsatz ein Gang aus dem Raum hinaus ins Freie, in dem eine Figur Krüge für das Mahl hereinträgt. Die Apostel in teils kräftiger farbiger Kleidung, die, ebenso wie Jesus, durch die Beleuchtung besonders hervorgehoben wird gegenüber dem dunkleren Hintergrund. Auf dem Werk von da Vinci sind die Apostel alle zu Seiten Jesu zu finden, ferner auch keine Gegenstände oder Hunde im Vordergrund. Es existieren zahlreiche Wiederholungen durch den Künstler sowie dessen Werkstatt, die sich teils in großen Museen befinden, aber auch auf dem Markt angeboten werden. Die auffälligsten Unterschiede zwischen der hier vorliegenden Version und den meisten anderen sind das vereinfachte Schachbrettmuster des Bodens, der fast schwarzbraune Hintergrund der beiden Wände seitlich des mittleren Fensters und die starke Farbigkeit der Kleidungsstücke. Durch das Fenster im Hintergrund ist ein Torbogen zu erkennen, der auch von anderen Versionen abweicht. In den links und rechts davon liegenden verzierten Fenstern sind große Medaillen zu erkennen, auf denen linksseitig die Ermordung Kains sowie rechtsseitig die Geschichte von David und Goliath wiedergegeben werden. Teils werden die Darstellungen vertauscht wiedergegeben. (1360631) (18) Pieter Coecke van Aelst the Elder, 1502/07 Aalst – 1550 Brussels, (attributed) and his workshop THE LAST SUPPER Oil on panel. 66 x 88 cm.
Oil painting on panel "Excellent Flemish Renaissance painter who lived in Italy where he was able to appreciate the art of his contemporary Italian painters. He was a great admirer of Raphael, to whom he often he is inspired, as for example in this painting, although substantially he remains an atheist within his own canons and stylistic developments. He made an important contribution to the great Renaissance art in Flanders. Draftsman, painter and publisher of architectural treatises, he was disputed by the most famous characters of the of his time: Charles V, Francis I King of France, Henry VIII of England, Cosimo I dei Medici.In this work the influence of the Italian Renaissance styles is evident.He initiates the passage and transition from the late Gothic conception in the Netherlands to the Renaissance. The writings and treatises of Sebastiano Serlio were an example for him. This painting, simple, probably for a private commission, is inspired in some way by the Madonna del Connestabile by Raphael. In fact, the representation of the Madonna and child is rendered in a real and fluid way, giving naturalness to the scene. He abolishes the landscape background and focuses the figuration on the two characters thus giving more strength to the spiritual meaning. A sad and melancholy harmony transpires and is palpable, at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy on the death of Jesus, with sweet resignation while the child enjoins her to read by pointing with his finger. The forms are well calibrated and the gestures of the child pointing and of the Madonna who clasps him to the waist in a protective way, make the scene happy and full of harmony. A light that seems to come from a window centers the characters and illuminates the painted clothes in a soft and fluid way. He was an example for all those Dutch Mannerist painters of the second half of the 16th century. 40x30, oil on panel. Provenance: illustrates a family from Catania." ASORstudio < /div>
DIE ANBETUNG DER DREI KÖNIGE, UM 1540 Öl auf Holz. 90 x 106 cm. Beigegeben ein Zertifikat von René Millet. Das Triptychon zeigt drei Episoden aus der Jugend Christi: die Anbetung der Hirten auf der linken Tafel, die Beschneidung Christi auf der rechten sowie, auf der Haupttafel in der Mitte, die Anbetung der Heiligen drei Könige. Pieter Coecke van Aelst war ein flämischer Künstler, der sowohl als Architekt, Maler, Bildhauer und Schriftsteller tätig war. Er war Schüler bei Van Orley, dem Hofmaler der Habsburger, und verbringt die Jahre zwischen 1521 und 1525 in Italien, wo er sich mit den Meisterwerken der Antike und dem Gedankengut der Renaissance vertraut macht. Seine Begeisterung für Architektur wird in der „Anbetung der Heiligen drei Könige“ in der Darstellung antiker Pfeiler und Porphyrsäulen deutlich. Pieter Coecke van Aelst griff das Thema mit variierender Bildkomposition in mehreren seiner Werke auf, wie etwa die Varianten im Schloss von Ecouen und im Musée des Beaux-Arts in Valenciennes. (†) (1341456) (10) Pieter Coecke van Aelst, 1502 Aalst – 1550 Brussels, circle of THE ADORATION OF THE THREE MAGI, ca.1540 Oil on panel. 90 x 106 cm. Accompanied by a certificate by René Millet. (†)
Maria lactans vor einer Stadt Öl auf Holz. Parkettiert. 62 x 47,5 cm. Verso mit einem roten und einem blauen Siegel. In ebonisiertem Profilrahmen. An einem Tisch, dessen Deckplatte weit über die Zarge hinausragt und durch Überschneidung des Schoßes Mariens zum dreidimensionalen Eindruck des Gemäldes beiträgt, sitzt rechts Maria mit entblößter Brust. Diese führt sie zärtlich dem Christuskind zu, das in ihrem Arm liegt, um es zu nähren. Auf dem Tisch neben einer Fayencevase mit ihr attributiv zukommender Lilie - als Zeichen ihrer Reinheit - mehrere Früchte mit christlich-symbolischem Charakter. Rechts überfängt ein Baum mit seinen Zweigen die Personengruppe und löst damit formal das Ehrentuch ab, welches zuvor üblich war. Links im Mittelgrund ein Hortus conclusus, der in der Mariensymbolik eine übergeordnete Rolle spielt und im Hohenlied im Alten Testament (Hld 4,12) auftaucht: „Meine Schwester, liebe Braut, du bist ein verschlossener Garten, eine verschlossene Quelle, ein versiegelter Born“. Sinnfällig ist entsprechend der Verkündigungsengel dargestellt, wie er die einzige Öffnung in der Mauer betritt in Richtung Mariae mit dem Kinde. Auf der Mauer des Hortus conclusus und im Garten selbst sehen wir auch einen Pfau, der wiederum als Sinnbild der Unsterblichkeit gilt, da sein Fleisch unverweslich sein soll (Augustinus, de civit Dei 21,4). Der Garten gehört zu einer Stadt, die durch einen Kirchturm eingeleitet wird und in einer Höhenburg ihr vorläufiges Ende nimmt, bevor der Horizont von einer Hügelkette markiert wird. Das Motiv Maria Lactans ist uns von van Aelst bzw. seiner Werkstatt und Nachfolge in mehreren Bildwerken überliefert, wenngleich das Motiv des auf dem Schoß der Maria tollenden Jesuskindes, welches nach einem Apfel greift, häufiger anzutreffen ist. (1330153) (13) Pieter Coecke van Aelst the Elder, 1502/07 Aalst – 1550 Brussels, attributed THE NURSING MADONNA OUTSIDE A CITY Oil on panel. Parquetted. 62 x 47.5 cm. Verso with a red and a blue seal. Several depictions of the Nursing Madonna by van Aelst or his workshop and followers are known, although the motif of the Christ Child frolicking on the Virgin’s lap, reaching for the apple, is more common.
Maria lactans vor einer Stadt Öl auf Holz. Parkettiert. 62 x 47,5 cm. Verso mit einem roten und einem blauen Siegel. In ebonisiertem Profilrahmen. An einem Tisch, dessen Deckplatte weit über die Zarge hinausragt und durch Überschneidung des Schoßes Mariens zum dreidimensionalen Eindruck des Gemäldes beiträgt, sitzt rechts Maria mit entblößter Brust. Diese führt sie zärtlich dem Christuskind zu, das in ihrem Arm liegt, um es zu nähren. Auf dem Tisch neben einer Fayencevase mit ihr attributiv zukommender Lilie – als Zeichen ihrer Reinheit – mehrere Früchte mit christlich-symbolischem Charakter. Rechts überfängt ein Baum mit seinen Zweigen die Personengruppe und löst damit formal das Ehrentuch ab, welches zuvor üblich war. Links im Mittelgrund ein Hortus conclusus, der in der Mariensymbolik eine übergeordnete Rolle spielt und im Hohenlied im Alten Testament (Hld 4,12) auftaucht: „Meine Schwester, liebe Braut, du bist ein verschlossener Garten, eine verschlossene Quelle, ein versiegelter Born“. Sinnfällig ist entsprechend der Verkündigungsengel dargestellt, wie er die einzige Öffnung in der Mauer betritt in Richtung Mariae mit dem Kinde. Auf der Mauer des Hortus conclusus und im Garten selbst sehen wir auch einen Pfau, der wiederum als Sinnbild der Unsterblichkeit gilt, da sein Fleisch unverweslich sein soll (Augustinus, de civit Dei 21,4). Der Garten gehört zu einer Stadt, die durch einen Kirchturm eingeleitet wird und in einer Höhenburg ihr vorläufiges Ende nimmt, bevor der Horizont von einer Hügelkette markiert wird. Das Motiv Maria Lactans ist uns von van Aelst bzw. seiner Werkstatt und Nachfolge in mehreren Bildwerken überliefert, wenngleich das Motiv des auf dem Schoß der Maria tollenden Jesuskindes, welches nach einem Apfel greift, häufiger anzutreffen ist. (1330153) (13) Pieter Coecke van Aelst the Elder, 1502/07 Aalst – 1550 Brussels, attributed THE NURSING MADONNA OUTSIDE A CITY Oil on panel. Parquetted. 62 x 47.5 cm. Verso with a red and a blue seal. Several depictions of the Nursing Madonna by van Aelst or his workshop and followers are known, although the motif of the Christ Child frolicking on the Virgin’s lap, reaching for the apple, is more common.
Follower of Pieter Coecke van Aelst (Aelst 1502-1550 Brussels) The Madonna and Child oil on copper 30.4 x 26.1cm (11 15/16 x 10 1/4in). For further information on this lot please visit the Bonhams website
Les moeurs et fachons de faire de Turcs / The customs and manners of the Turks,. This is one from fourteen blocks making a frieze divided by hermes into seven vignettes. The drawings were made by Pieter Coecke van Aelst in Istanbul around 1533/34, he als cut the wood blocks who were published in 1553 by his widow Maaike Verhulst. Very rare.
Oil painting on wood"An excellent Flemish Renaissance painter who lived in Italy where he was able to appreciate the art of his contemporary Italian painters. He was a great admirer of Raphael, to whom he often he is inspired, as for example in this painting, although he essentially remains an atheist within his own canons and stylistic developments. He has made an important contribution to the great Renaissance art in Flanders. his time: Charles V, Francis I King of France, Henry VIII of England, Cosimo I dei Medici. The influence of the Italian Renaissance ways is evident in this work. He initiates the passage and transition from the late Gothic conception in the Netherlands to that of the Renaissance. The writings and treatises of Sebastiano Serlio were an example to him. This simple painting, probably for a private commission, is in some way inspired by the Madonn a del Connestabile by Raphael. In fact, the representation of the Madonna and child is rendered in a real and fluid way, giving naturalness to the scene. He abolishes the landscape background and focuses the figuration on the two characters thus giving more strength to the spiritual meaning. A sad and melancholy harmony transpires and is palpable, at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy on the death of Jesus, with sweet resignation while the child orders her to read by pointing with her finger. The shapes are well calibrated and the gestures of the pointing child and of the Madonna who holds him to his waist in a protective way, make the scene happy and redundant with harmony. A light that seems to come from a window focuses the characters and illuminates the painted clothes in a soft and fluid way. He was an example for all those Dutch-Mannerist painters of the second half of the 16th century. 40x30, oil on panel. Provenance: illustrates Catania family. "ASORstudio < / div>
MARIA LACTANS Öl auf Holz. 31 x 22 cm. In dunklem Rahmen mit Teilvergoldung und Goldmalerei. Halbfigur der hinter einer niedrigen grünen Brüstung stehenden jugendlichen Maria mit langen dunkelblonden Haaren, einem grünen Gewand und leuchtend rotem Mantel vor weiter harmonischer Landschaft unter hohem hellblauem Himmel. Sie hält mit ihrer schmalen rechten Hand den auf einem weißen Tuch auf einem goldbestickten Kissen liegenden Jesusknaben und bietet ihm mit ihrer linken Hand die freie rechte Brust. Mutter und Kind schauen sich dabei liebevoll in die Augen. Feine qualitätvolle Malerei in harmonischer Farbgebung mit besonderer Herausstellung des zarten Inkarnats von Maria und dem Kind. Vergleichbare Darstellungen lassen sich mehrfach im Werk des Künstlers finden. Anmerkung: Maria lactans bezeichnet das Bildmotiv der stillenden oder der dem Kind die Brust reichenden Maria und gehört zu einem der häufigsten Motive bei der Darstellung von Maria mit dem Kind in der Kunstgeschichte. (1291942) (1) (18) Pieter I Coecke van Aelst and workshop, 1502/07 Aalst - 1550 Brussels MARIA LACTANSOil on panel. 31 x 22 cm.
COECKE VAN AELST Pieter (1502 - 1550) Huile sur panneau de chêne "Le Golgotha". Entourage ou suiveur de Pieter Coecke van Aelst. Ecole flamande. Epoque: c.1580. Dim.:+/-90x66,5cm.
TRIPTYCHON MIT ANBETUNG DER KÖNIGE IN BETHLEHEM Öl auf Eichenholz. Mitteltafel: 71,5 x 45,5 cm. Breite der Seitentafeln: 18 cm. In geschlossenem Zustand: 82 x 57,5 cm. Breite in geöffnetem Zustand: 116 cm. Jeweils oben bogig geschlossen, in den original ebonisierten Rahmungen mit vergoldeten Innenprofilen. Das Triptychon, in relativ kleinerem Format, war wohl für den Hausaltar eines adeligen Stifters in Auftrag gegeben worden. Die zentrale Darstellung zeigt Maria links thronartig sitzend, das Kind an ihrer Brust, rechts davor zwei der Heiligen Drei Könige mit ihren Geschenken in Form goldener Prunkgefäße. Besonders reich in Goldbrokat mit Ornamentschmuck gekleidet, der bärtige, barhäuptige König, in kniender Haltung. Der rückwärts Stehende ist mit Turban und Zepter dargestellt. Der dunkelhäutige dritte der Könige, im rechten Flügel, ebenso reich gekleidet, steht außerhalb der loggienartigen Architektur der Mitteltafel, die in den Pilastern deutlich Stilformen der italienischen Frührenaissance aufweisen. Der linke Seitenflügel zeigt die Gestalt des Heiligen Josef, in rotem Kleid, auf einen Stock gestützt, vor einer Bogenarchitektur mit oberem Rundfenster (nicht selten diente die Josefsfigur gleichzeitig als Bildnis des Auftraggebers). Die Ausblicke im Hintergrund zeigen in den Seitenflügeln Waldlandschaften, im Mittelbild dagegen eine Burg mit Turm neben einem Giebelhaus. Davor zwei Gestalten, die als synchronoptische Schilderung des Herankommens der Könige verstanden werden können. Auffallend ist die Pracht, mit der hier nicht allein die Erscheinung der Könige zelebriert wird, sondern auch die herrschaftliche Architektur selbst, in der sich die Anbetung vollzieht. Im Gegensatz zu den sonst üblichen Elementen oder Andeutungen eines Stalles, wie etwa bei Rogier van der Weyden (1399-1464), wird hier die Bedeutung des apokryph geschilderten Geschehens bewusst erhöht. In ähnlicher Weise finden wir die Frührenaissance-Pilaster in einem Gemälde desselben Themas im Kunsthistorischen Museum zu Wien (Inv. Nr. 944), von einem anonymen Niederländischen Künstler um 1520. Stilistisch lasen sich Einflüsse der großen Meister der flämischen Kunst feststellen, so etwa von Gerard David (um 1460-1523). Allerdings dürfte das Triptychon erst um 1530 entstanden sein. Das in der Mitteltafel oben eingefügte Wappen wurde wohl eine spätere Zutat sein. Darin das rote Jerusalemkreuz, ein Jakobsmuschel-Wappen und die Papsttiara mit Petrusschlüssel sowie das Katharinenrad. Dies weist darauf hin, dass der Auftraggeber später wohl eine Pilgerreise nach Rom und Jerusalem unternommen hatte, was hier dokumentiert werden sollte. A. R. (1261701) (11) Pieter I Coecke van Aelst, 1502/07 Aalst - 1550 Brussels, attributed TRIPTYCH WITH THE ADORATION OF THE MAGI Oil on oak panel. Central panel: 71.5 x 45.5 cm. Width of side panels: 18 cm. Dimensions (closed): 82 x 57.5 cm. Width (open): 116 cm. Each panel arched at the top, in original ebonized frame with gilt moulding. The relatively small format of this triptych suggests that it was commissioned as a house altar by a noble family. The style is reminiscent of great Flemish masters such as Gerard David (ca. 1460-1523), but it seems likely that the triptych was created after ca. 1530. The coat of arms on the central panel appears to have been added at a later date.
Tríptico. Óleo sobre tabla. En la tabla central la Virgen María con el Niño en brazos recibe los presentes del oro y el incienso de los Reyes Gaspar y Melchor que ofrecen sus presentes descubiertos y en actitud devota mientras el Niño juguetea con la copa. Al fondo se aprecia la arquitectura característica de Van Aelst con dos soldados que conversan en un segundo plano, grupos de figuras en el camino y una bandada de aves que continúa en la tabla de la izquierda. La tabla derecha muestra a un San José anciano que se apoya en su cayado con animales en el establo en segundo plano y una arquitectura ruinosa al fondo. La tabla izquierda representa al Rey Baltasar con ricos ropajes ofreciendo el recipiente de mirra. Tras él un fondo arquitectónico, aves en el cielo y personajes en el camino. El tema de la Adoración de los Reyes era uno de los temas favoritos de los pintores de Amberes ya que les permitía representar personajes exóticos y exuberantes riquezas. Los presentes que llegaban desde tierras lejanas simbolizaban la importancia del comercio exterior para el nuevo e importante grupo de mecenas que constituían los comerciantes de Amberes. Pieter Coecke van Aelst fue pintor, grabador, dibujante y editor. Según Van Malder, estudia con Bernard van Orley en Bruselas. Pieter Coecke hereda un taller importante con abundante producción. Una de sus hijas será la esposa de Pieter Brueghel el Viejo. Su actividad no se redujo a la dirección del taller y la ejecución de pinturas, también realizó diseños para vidrieras y tapices y se interesó por la arquitectura. Tradujo a Vitruvio y a Sebastiano Serlio. Su estilo es considerado como manierista antuerpiense y cercano a las últimas obras de Rafael evolucionando hacia un lenguaje cercano a los romanistas.
Tableaux Huile sur panneau de chêne parqueté "Présentation de l'Enfant Jésus aux Rois mages". Entourage de Pieter Coecke Van Aelst. Ecole flamande. Epoque: XVIème. Dim.:+/-58x49cm. COECKE VAN AELST Pieter (1502 - 1550). Entourage de.
Oil on panel It was part of a triptych dedicated to the Ascension of Christ Bibliography: Georges Marlier, Pierre Coeck d'Alost, Editions Robert Fink, Brussels, 1966, p. 14 57x50 cm.
Oil on panel It was part of a triptych dedicated to the Ascension of Christ Bibliography: Georges Marlier, Pierre Coeck d'Alost, Editions Robert Fink, Brussels, 1966, p. 14 57x50 cm.
PIETER COECKE VAN AELST Alost 1502 - Brussels 1550 The Arrest of Christ. H. 1525 Oil on panel size 49 x 39.5 cm Origin: - Sotheby's London, Old Master Paintings, June 4, 1990, lot 26. - Private collection, Madrid. Pieter Coecke van Aelst is considered one of the great Mannerist painters of the so-called Antwerp school. His restless spirit led him to travel to various places in Europe such as Italy, Constantinople and Brussels where he was appointed court painter to Emperor Charles V. His deep knowledge of other genres of art such as architecture, sculpture or engraving are reflected in many Of his works. The present work represents the moment of the Arrest of Christ when a group of soldiers sent by the priests and Pharisees consummate the betrayal of Judas. At the far left of the composition, Simón Pedro raises the sword with which he will cut Malco's ear. The calm figure of Jesus contrasts with the dawning executioners that surround him. This work can be related to a cycle of paintings dedicated to the life of Christ, now scattered, among which is Jesus on the way to Emmaus (private collection) and the Entry of Jesus into Jerusalem from the Bonnefanten in Maastricht.
Oil on panel It was part of a triptych dedicated to the Ascension of Christ Bibliography: Georges Marlier, Pierre Coeck d'Alost, Editions Robert Fink, Brussels, 1966, p. 14 57x50 cm.
Oil on panel It was part of a triptych dedicated to the Ascension of Christ Bibliography: Georges Marlier, Pierre Coeck d'Alost, Editions Robert Fink, Brussels, 1966, p. 14 57x50 cm.
Huile sur panneau de chêne renforcé "La Sainte Famille sur fond de paysage". Atelier de Pieter Coecke van Aelst. Ecole flamande, Anvers. Epoque: XVIème. (Voir au dos, des traces de cachets à la cire rouge). Dim.:87,5x56,5cm.
Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), Alleged artist. Madonna with the book and baby Jesus. 40x30, oil paint on panel. From wealthy Catania family. "The excellent Flemish Renaissance painter has lived in Italy, where he got to appreciate the art of his contemporaries Italian painters. It was a great Raphael estimator, which are often exhales, such as this painting, while substantially stayed within his own stylistic and developments. He made an important contribution to the body of the great Renaissance art in Flanders. Designer, painter and publisher of architectural treatises was disputed by the most famous people of his time, Charles V, King Francis I of France, Henry VIII of England, Cosimo I de 'Medici. In this work is evident influence of the Italian Renaissance style. He starts in the Netherlands the transition and the transition from late Gothic to Renaissance conception. The writings and treatises of Sebastiano Serlio were the sample. This painting, simple, probably for a private commission is inspired in some way to Our Lady of Constable by Raffaelo. In fact, the representation of the Madonna and child is rendered in a real and fluid, giving naturalness to the scene. He abolishes the background landscape and figuration focuses on two characters thus giving more strength to the spiritual meaning. Shines and is palpable harmony sad and melancholic at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy of the death of Jesus, with gentle resignation that the child enjoins the reading pointing with his finger. The forms are well-balanced is the child's gestures indicating and Mary, who holds him to life protectively, rlateono happy and redundant scene of harmony. A light that appears to be from a window centered characters and illuminates the painted clothes in a soft and fluid. It was an example for all those olandesi- Mannerist painters of the second mid book 500."ASORstudio
Atelier de Pieter COECKE van AELST Aelst, 1502 - Bruxelles, 1550 La Cène Huile sur panneau de chêne, trois planches, parqueté Daté '1528' dans le médaillon à droite vers le bas (Légèrement agrandi d'une planche en partie supérieure et sur le côté droit) Dans un cadre en chêne sculpté et redoré, travail français d'époque Louis XV The Last Supper, oil on oak panel, dated, workshop of P. Coecke van Aelst h: 68,50 w: 81 cm Provenance : Collection des barons de Samatan ; Collection particulière du Centre de la France Expositions : En prêt à la Pinacothèque de Paris, au sein des collections permanentes Bibliographie : Danièle Séraphin, Jacques Lauprêtre, 'Le testament des ombres. Mise en scène de Martin Luther par Pieter Coecke van Aelst', Paris, 2013 Elizabeth A. H. Cleland, 'Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry', 2014, p. 352, note 9 du chapitre 5 Commentaire : Le Dernier souper de Pieter Coecke van Aelst est une des images les plus populaires des écoles du Nord de la première partie du XVIe siècle. Astucieuse combinaison de La Cène de Léonard de Vinci (1498, Milan), de la gravure de Marcantonio Raimondi d'après Raphaël traitant le même sujet (vers 1510-1520) ou encore de la gravure d'Albrecht Dürer de 1523, les références de cette composition sont nombreuses, jusque dans les détails. Ainsi le médaillon de droite sur le mur illustrant la lutte de Caïn et Abel est directement issue d'une gravure de Jan Gossaert, dit Mabuse. D'autres détails renforcent le sujet du tableau, celui du sacrifice du Christ pour sauver le monde, comme par exemple le médaillon de gauche illustrant David vainqueur de Goliath tandis que la scène en arrière-plan dans la fenêtre montrant Jésus entrant à Jérusalem annonce la Cène. Le très bel état de conservation de notre panneau permet de se faire aisément un avis sur sa grande qualité d'exécution. Nous distinguons un précis dessin au crayon sur une préparation gris-blanche usuelle à Anvers en cette première partie de XVIe siècle. Plus de quarante versions de cette représentation de la Cène, par Pieter Coecke ou son atelier, avec ou sans la participation du maître, ont été relevées par Linda Jansen. Toutes sont datées entre 1527 et 1550, faisant de la nôtre - datée 1528 - l'une des premières. Les variantes sont infimes entre ces différentes versions, seule la qualité d'exécution les distingue ainsi que leur taille puisque deux formats récurrents coexistent : 50 x 60 cm environ ou 60 x 80 cm environ. L'organisation de l'atelier de l'artiste est bien connue. Il coordonne plusieurs chevalets et dirige ainsi ses apprentis, élèves ou collaborateurs. Pour une composition comme celle du Dernier souper un carton, une matrice, devait être utilisé afin de reporter avec exactitude les proportions du motif d'un panneau à l'autre. La préparation gris blanc assurait un marquage facile au crayon noir avec lequel le dessin était parfaitement repris avant d'apposer la couleur. Le merveilleux état de conservation de notre version permet d'en savourer chaque détail. Du combat de chiens au centre (motif que l'on retrouve rarement car un seul chien est d'ordinaire représenté), aux natures mortes de fruits dans des corbeilles d'osiers, les expressions toutes différentes et très marquées des apôtres jusqu'à celle rêveuse et distante de celui situé en bout de table à gauche qui fut un temps assimilé à Luther s'éloignant de l'Eglise en ces années 1525-1530. Le pain posé sur le bord de la table au centre va t'il tomber ? Oui le corps du Christ va tomber, il va être offert en sacrifice le lendemain de cette ultime Cène. Nous remercions Peter van den Brink et Linda Jansen pour leur aide à la description de cette œuvre. (échanges en date de février 2020). Estimation 80 000 - 120 000 €
(Aalst, 1502 - Bruxelles, 1550) Ultima cena Olio su tavola, cm 39X52 Nel 1527 Pieter Coecke Van Aelst era già registrato nella Gilda di Anversa quale maestro e stampatore e tra i suoi allievi citiamo Pieter Bruegel il Vecchio. L'interesse per il manierismo italiano, la cui influenza è evidente nelle sue opere, lo portì a pubblicare le traduzioni di Vitruvio e del Serlio. Ci restano numerosi disegni firmati, tutti all'Albertina di Vienna e al British Museum di Londra, mentre una delle opere più celebri è proprio l'Ultima cena di cui si conoscono ben 22 repliche.
CHRISTI HIMMELFAHRT Öl auf Holz. 43 x 29 cm. In profiliertem Holzrahmen. Hochformatige Bildtafel mit plastisch hervorquellender Wolkenbank, aus welcher eine dargestellte Gruppe hervorzutreten scheint. Es sind dies Christus, von zwei Putti in die Lüfte gehoben und unter ihm die vier Evangelisten Matthäus (Adler), Markus (Löwe), Lukas (Stier) und Johannes (Mensch, hier geflügelt). Am unteren Bildrand das Zitat aus Lucas 1,33 „(Et) regnabit in domo Iacob in eternum“ (Er wird über das Haus Jacob regieren in Ewigkeit). Anmerkung: Die Komposition lehnt sich stark an Werke von Pieter Coecke van Aelst d.Ä. an, bei welchem neben den schwebenden Figuren des Gottvater oder dem Heiligen Geist in Gestalt einer Taube, Christus meist über einer größeren Personengruppe in der Mitteltafel eines Altars zu sehen ist. So zum Beispiel der Altar in der Staatlichen Kunsthalle Karlsruhe (Inv. Nr. 153). Am nächsten steht dem vorliegenden Gemälde natürlich die Komposition aus der Alten Pinakothek München, welche sich wiederum stark an das im Palazzo Pitti befindliche Gemälde von Raffael von 1518 „Vision des Propheten Ezechiel von der Auferweckung Israels“ orientiert und die Hauptfigur der Vision Gottes bereits in die Figur Christi übersetzt hat. Das Münchener Bild wird Pieter Coecke van Aelst d.Ä. gegeben. Während der vorliegende Maler die Gemäldegröße an das Bild in Florenz anglich, misst das Bild in der Münchener Pinakothek 91 x 68 cm. (1230717) (13) Pieter Coecke van Aelst the elder, 1502/07 – 1550, style of ASCENSION DAY Oil on panel. 43 x 29 cm. In profiled wooden frame. Notes: The composition follows works by Pieter Coecke van Aelst I an, in which usually depicts Christ sitting above a larger group of figures in the central panel of the altar surrounded by the floating figure of God the Father and the Holy Ghost in the shape of a dove. An example of this is an altar held at the Staatliche Kunsthalle Karlsruhe (inv. no. 153).
Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Aelst 1502–1550 Brussels) The Adoration of the Magi, oil on panel, 112 x 75 cm, framed Provenance: with Lambert J. Nieuwenhuys, Brussels; Willem II, King of the Netherlands (1792-1849), acquired from L. J. Nieuwenhuys, December 1840, for Hfl. 3.300 (as Lucas van Leyden); sale, De Vries, Roos & Brondgees, Collection King Wilhelm II, Gothic Hall, Royal Palace, The Hague, 12-20 August 1850, lot 45 (as Lucas van Leyden); acquired after the sale by Willem Frederik Karel, Prince of the Netherlands (1797-1881), younger brother of King Willem II; by descent to his daughter Wilhelmina Frederika Anna Elisabeth Maria (1841-1910), Princess of Wied, Princess of the Netherlands, Neuwied; by descent to her elder son Friedrich Wilhelm Hermann Otto Karl, Prince of Wied (1872-1945), Neuwied; by descent to his wife, Pauline Olga Helene Emma, Princess of Wied, Princess of Württemberg (1877-1965); after her death offered for sale by her descendants; sale, Sotheby’s, London, 5 July 1967, lot 10 (as the Master of 1518, to Hollstein for £ 6.500); Private collection, Germany Exhibited: Düsseldorf, Kunsthistorische Ausstellung, 1904, pp. 77-78, no. 185 (as Herri met de Bles; at the time with monogram L and date 1525 which were later additions) Literature: C. J. Nieuwenhuys, Description de la Galerie des tableaux de S. M. Le Roi des Pays-Bas, avec quelques remarques sur l’histoire des peintres et sur le progress de l’art, Brussels 1843, pp. 101-104, no. 40; M. J. Friedländer, Die Altniederländische Malerei, Die Antwerpener Manieristen, Adriaen Ysenbrandt, Berlin 1933, vol. XI, p. 124, no. 92 (as ‘Der Meister von 1518. Oben dreieckig, ursprünglich wohl geschweift. Falsch signiert L. Die Komposition ist mehrmals kopiert worden’); M. J. Friedländer, Early Netherlandish Painting, 1974, vol. XI, p. 76, no. 92, pl. 85 (as Master of 1518); E. Hinterding, F. Horsch, ‘A small but choice collection’, The Art Gallery of King Willem II of the Netherlands (1792-1849), Zwolle 1989, pp. 20, note 65, 43, note 178, 69, no. 45 (as Master of 1518) The present Adoration of the Magi is a newly-attributed early masterpiece by the Flemish Renaissance polymath Pieter Coecke van Aelst. Painted around 1523, it may be seen as a crowning achievement of the young journeyman, then working in the Antwerp studio of the Master of 1518. Originally conceived for a private oratory or chapel, the high quality of the painted surface and the intricate underdrawing, revealed by infrared reflectography, place the present composition among the finest representations of this biblical subject in early modern Flanders. Coecke’ s marriage of empirical observation with his reception of Romanic styles later saw him lauded also for his designs of tapestries, stained glass, woodcuts, decorations and goldwork. Noted by contemporaries and early art historians, Lodovico Guicciardini called him ‘great’. Georg Braun described him as ‘most excellent’ and in 1604 Karel van Mander celebrated him as ‘ingenious and knowledgeable’ (see E. Cleland, Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry, New York, 2014, p. 2). We are grateful to Peter van den Brink for attributing the present painting to Pieter Coecke van Aelst, and for his assistance in cataloguing this lot. The Genesis of the Adoration of the Magi The painting has been fully documented with the aid of infrared reflectography (IRR). The IRR displays the underdrawings of the composition, applied with brush and black paint on what appears to be a layer of lead white on top of the ground. The underdrawings are clearly freehanded, applied with brille and energy. All the figures in the foreground were prepared in detail, with elegant, meandering contour lines; the shadows were prepared in advance by means of hatching, parallel strokes, as well as some limited cross-hatching for the deeper shadows. The figures in the middle ground are only loosely sketched in preparation and the figures in the back not at all; they were only added during the paint stage. It is a system that was used again and again in early 16th century Antwerp painters’ studios and we encounter this type of underdrawing not only with the Master of 1518, but also with the so-called Master of the Antwerp Adoration, Adriaen van Overbeke and Jan de Beer. The absence of underdrawing for the brocade and other decorative motifs, visible in the finished painting, was also typical of early 16th century Antwerp painters’ studios. A close examination of the painting and the underlying drawing reveals the various changes the painter of the Adoration of the Magi carried through. Many of these corrections have to do with small shifts in the position of hands or faces, clearly meant to improve and finalize the composition. The Christ Child itself is a good example to demonstrate this. The underdrawing shows that the right hand was directed more towards the kneeling Caspar, whereas Christ’s left hand had already disappeared inside the golden cup. In painting the scene, the artist decided to show a more restrained Christ Child, since greed is hardly a virtue. At the lower right of the composition the entrance to the Nativity Grotto is visible. In the first arrangement of our Adoration of the Magi, it appears that a ladder was foreseen to the left of the cave entrance, a rather puzzling idea that was abandoned in favour of the present stone staircase. The Geburtshöhle, as it is called in German, is a recurring motif in Christian iconography that was especially popular in early 16th century painting and it occurs in almost every single Antwerp Adoration of the time, as can be witnessed in the various examples that were painted by Jan de Beer and his contemporaries. The most dramatic change in the composition, however, is to be found in the upper right portion of the painting’s architectural setting. Hanging from a ring set into the arch’s tracery, the artist had planned to paint a decorative festoon, held by two putti on either side, at the entrance of the vaulted gateway. While the ring and putti were repositioned, playing an extraordinary act of pantomime, the festoon never reached the painted stage. It is quite likely that the idea of a painted festoon was abandoned in favour of an enlarged tower. The present type of underdrawing is most certainly comparable with the handwriting of the Master of 1518, visible in the Lübeck altarpiece, its predella panels in Stuttgart, the Crucifixion triptych in the Holy Blood-Museum in Bruges and the Marriage of the Virgin in St. Louis. However, although the drawings may be comparable, both in function and in method, they differ stylistically and appear not to be by the same hand. The lines of the Lübeck and Bruges underdrawings are a type of highly finished underdrawing that looks like a woodcut in its fixed pattern of parallel- and cross-hatching for the modeling of forms and system of lighting throughout the composition. Employed by other Antwerp Mannerist artists this style of underdrawing is commonly referred to as the ‘woodcut convention’ (see M. W. Ainsworth, Pieter Coecke van Aelst as a Panel Painter, in: E. Cleland a. o., Grand Design. Pieter Coecke van Aelst and Renaissance Tapestry, exhibition catalogue, New York 2014, p. 26). Indeed, this very specific type of underdrawing is reminiscent of Dürer woodcuts, where the linear quality and flat two-dimensional approach are in the forefront, creating a clearly readable pattern for assistants to take up the task of painting in the various elements of the composition. Quite often such a pattern is the result of the use of a cartoon, followed by tracing the lines in brush and black paint. In the Lübeck altarpiece underdrawing and painting seem to be two different sides of the coin, two separate parts of the genesis of the altarpiece, not necessarily executed by the same artist. The underdrawing of the Adoration of the Magi differs stylistically from the Lübeck altarpiece, and more importantly, seems to part of one single process, from the hand of a single artist. As can be judged from the preparation of the greyish white cloak of the black magus Balthasar, the underdrawing has been applied with a swift brush, searching for the right contour lines and volume. This creative energy in the underdrawing phase differs fundamentally with the finished underdrawing in the ‘woodcut convention,’ that has been prepared with the painted composition in mind. When the Adoration of the Magi is compared with the various painted scenes of the Lübeck Altarpiece, there can hardly be any doubt that our painter was trained in the studio of the Master of 1518, whoever he may have been. The colour pattern is strikingly similar and so are the elongated figures, for example Balthasar with his counterpart in the Lübeck Adoration of the Magi. The elegant dancing step of our Balthasar was quite literally replicated from the figure on the extreme left of the Betrothal of the Virgin, next to the young Joseph. The decorative architectural backdrop is evidently based on the examples of the Master of 1518, visible in the Lübeck Altarpiece and even the festoon, held by two putti, as was initially planned for the Adoration, is visible in paint in the background of the Betrothal of the Virgin. However, the figures of the Master of 1518 show his preference for a two-dimensional presentation, as can be seen in its most extreme form in the Magdalene of the Crucifixion triptych in the Holy Blood Museum in Bruges. By contrast, the painter of the Adoration of the Magi placed his figures in different planes of the composition and tried to give them more volume and plasticity. That he did not succeed everywhere can be regarded as a token of his lack of experience. The young Pieter Coecke in the Studio of the Master of 1518 The Adoration of the Magi is in fact a youthful work by Pieter Coecke van Aelst, who probably finished his training with Bernard van Orley in Brussels, before he came to Antwerp, where he married Anna van Dornicke, before 1526 and became a citizen of Antwerp automatically. In 1527 he would enroll into the Guild of Saint Luke as a free master and started his own workshop. The Adoration of the Magi no doubt was produced when Coecke was still active as assistant or journeyman in the studio of the Master of 1518 and therefore remains within the broad stylistic contours of the older painter. A date between 1522 and 1527 therefore seems most likely, like several other paintings that have been discussed recently within the same context, such as a triptych with the Adoration of the Magi in the collection of Hester Diamond, New York, Christ carrying the Cross in the Basel Kunstmuseum and Christ taking leave of his mother in Glasgow Kelvingrove Art Gallery and Museum. The triptych with the Adoration of the Magi in New York lends itself perfectly well to a detailed stylistic comparison. That work of art is probably the earliest of the four mentioned, slightly earlier than our painting with the same subject. The architecture, the vistas, the use of plans and especially the facial types are interchangeable in such a way that it is safe to assume the same painter at work here. The facial type and even the slightly sad expression of Melchior, to the right of our Adoration, is literally repeated in the figure of the High Priest in the The Presentation of Christ in the Temple. The present Virgin with her downcast eyes finds herself repeated in her counterpart on the left wing of the New York altarpiece and the young man with the trumpet has taken the guise of an angel. The paintings in Glasgow and Basel appear to have been painted slightly later, circa 1525-26 and show how the young painter developed in such a short period. An example of which can be seen in the complicated composition of the Basel picture, with the enormous dynamic of the figures engaged in the procession, far removed from Coecke’s beginnings with the Master of 1518. A Royal Provenance The present Adoration of the Magi has a royal provenance. Between 1840 and 1850 it was part of the collection of King William II of the Netherlands. William started collecting long before he would occupy the throne in October 1840; he bought his first paintings in 1815 or 1816, when the Dutch Royal Family still used Brussels as a part-time residence. His first collection was largely destroyed when a fire broke out in the right wing of the Brussels palace where the young prince resided. In 1823 he acquired an important group of Early Netherlandish paintings from the art dealer L.J. Nieuwenhuys. By the end of 1823 he had amassed a collection of nearly fifty paintings, thirty-seven of which were characterized as ‘Gothic’, including masterpieces by Van Eyck, Memling, Van der Weyden and Simon Marmion. William’s love for ‘Flemish Primitives’ was probably fed by the fact that he felt more at home in the Roman Catholic south than the Protestant north, and he spent much of his time in the palace at Brussels.15th and 16th century sacred works became widely available in Europe under the rule of Napoleon Bonaparte. The Nieuwenhuys family dominated this art market in the Rhineland where the ‘Säkularisation’ of 1802 made altarpieces – usually fragmented – accessible to art collectors. Combined with the ‘rediscovery’ of the Flemish primitives this led to a burgeoning enthusiasm for the collecting of early German and Netherlandish art. Following the Belgian revolution, William’s collection in Brussels was held hostage until 1840, when he had succeeded his father as King of the Netherlands. Shortly after William’s accession, he acquired the present Adoration of the Magi from Lambert J. Nieuwenhuys, for 3300 guilders. This sale was recorded (with the panel at that time being listed as a work by Lucas van Leyden) in an annotated copy of the 1840 auction catalogue, formerly owned by the treasurer of the King’s estate, now in the archives of the RKD. In 1842, the present panel was hung in the newly built Gothic Hall, behind the Kneuterdijk Palace in The Hague, which was specifically built for William’s collection. In a watercolour of the interior of the Gothic Hall, made by Huib van Hove in 1842, the present panel with its typical shape and the frame it still had in the twentieth century, can be found in the right-hand corner in the back, next to Jan Provoost’s The Virgin Mary in Glory, now conserved in the Hermitage, St Petersburg (inv. no. ГЭ-417). When the King’s collection was auctioned after his death in 1850, the ‘Gothic’ pictures accounted for one third of the sale, among them the present Coecke van Aelst work (with regard to the background or the circumstances of the sale, see Hinterding/Horsch 1989, pp. 38-45; of its content, ibid., pp. 55-114). Several pictures did not find a buyer, probably due to the high reserves, including the Adoration of the Magi. The painting was subsequently sold for the reserve price to Prince Frederik, the younger brother of the deceased William II, together with nineteen other old master paintings, including the Simon Marmion and the triptych of the Heereman family by Jacob Cornelisz. van Oostsanen, conserved at the Rijksmuseum, Amsterdam. Subsequently the Adoration of the Magi remained in Neuwied in the Rhineland for nearly a century, where Frederik’s daughter Marie resided after she married the Prince of Wied. The painting stayed in Frederik’s family until it was offered for sale in 1967. After the sale, the painting remained in private German hands and has now surfaced for the first time since 1967. When the present picture was exhibited at the Kunsthistorische Ausstellung in Düsseldorf in 1904, it was wrongfully attributed to Herri met de Bles. This was, however, a misconceived suggestion that the painting was of the same hand as the Adoration of the Magi in the Alte Pinakothek, Munich, who was later re-named Pseudo Bles, due to the fact that the original attribution was based on a falsified signature. This Bles-group remained a ‘name of convenience’ for a long time, until Friedländer brought some order in the staggering amount of anonymous triptychs, fragments from compound altarpieces and devotional pictures that were made in the first quarter of the sixteenth century in Antwerp (see M. J. Friedländer, Die altniederländische Malerei, vol. XI, Die Antwerpener Manieristen. Adriaen Ysenbrant, Berlin 1933). It was Friedländer who gave the present Adoration of the Magi to the Master of 1518. The Master of 1518 was identified, and named from the large altarpiece of the Life of the Virgin in Our Lady’s Church in Lübeck, which is placed within a chapel that bears the inscription ‘1518.‘ With this altarpiece Friedländer grouped many pictures that shared the same stylistic features. Conclusion The Adoration of the Magi is the centre panel of a triptych, from which the wings, as so often, were separated in the past. The original shape of the top of the panel was altered as well. It most likely would have been comparable to the central Adoration of the Hester Diamond triptych, in its original form. The separation of the centre panel and wings as well as the altered shape, a frequent practice of late 18th and early 19th centuries, occurred before the sale of the panel to King William II, evidenced in the watercolor of the 1840s. The high quality of the painted surface as well as the typical underdrawing were the work of the young Pieter Coecke van Aelst, at the time he was still producing paintings as a journeyman in the Antwerp studio of the Master of 1518. The painting can be dated to circa 1523, in-between the Hester Diamond Adoration triptych and the Basel Christ carrying the Cross and is a significant addition the Flemish polymath’s early oeuvre. Technical analysis by Gianluca Poldi: Many non-invasive spectroscopic measures were carried out to study the pigments. The artist chose azurite as the only blue, used together with lead white in different proportions for the sky, the mountains, the various blue clothes including the deep blue of the Virgin Mary’s cloak. The same mineral pigment was employed, together with red lake, to obtain grey-purple tones of some garments. A cobalt blue pigment constitutes the modern integrations in the sky. All the green areas are made with verdigris (copper acetate), mixed with lead white or lead-tin yellow to achieve brighter colours. This yellow was used alone in the lights of the tree foliage, in light yellow clothes and in many objects to imitate gold, while shadows are obtained with yellow and brown ochre. Bright, intense red clothes are based on vermillion, shadowed with red lake. A good quality coccid-derived red lake was used in many areas, such as the Virgin’s red dress and the outer part of Caspar’s ermine mantle.
Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), Alleged artist. Madonna with the book and baby Jesus. 40x30, oil paint on panel. From wealthy Catania family. "The excellent Flemish Renaissance painter has lived in Italy, where he got to appreciate the art of his contemporaries Italian painters. It was a great Raphael estimator, which are often exhales, such as this painting, while substantially stayed within his own stylistic and developments. He made an important contribution to the body of the great Renaissance art in Flanders. Designer, painter and publisher of architectural treatises was disputed by the most famous people of his time, Charles V, King Francis I of France, Henry VIII of England, Cosimo I de 'Medici. In this work is evident influence of the Italian Renaissance style. He starts in the Netherlands the transition and the transition from late Gothic to Renaissance conception. The writings and treatises of Sebastiano Serlio were the sample. This painting, simple, probably for a private commission is inspired in some way to Our Lady of Constable by Raffaelo. In fact, the representation of the Madonna and child is rendered in a real and fluid, giving naturalness to the scene. He abolishes the background landscape and figuration focuses on two characters thus giving more strength to the spiritual meaning. Shines and is palpable harmony sad and melancholic at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy of the death of Jesus, with gentle resignation that the child enjoins the reading pointing with his finger. The forms are well-balanced is the child's gestures indicating and Mary, who holds him to life protectively, rlateono happy and redundant scene of harmony. A light that appears to be from a window centered characters and illuminates the painted clothes in a soft and fluid. It was an example for all those olandesi- Mannerist painters of the second half of the book 500."STUDIO ASOR
Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), Alleged artist. Madonna with the book and baby Jesus. 40x30, oil paint on panel. From wealthy Catania family. "The excellent Flemish Renaissance painter has lived in Italy, where he got to appreciate the art of his contemporaries Italian painters. It was a great Raphael estimator, which are often exhales, such as this painting, while substantially stayed within his own stylistic and developments. He made an important contribution to the body of the great Renaissance art in Flanders. Designer, painter and publisher of architectural treatises was disputed by the most famous people of his time, Charles V, King Francis I of France, Henry VIII of England, Cosimo I de 'Medici. In this work is evident influence of the Italian Renaissance style. He starts in the Netherlands the transition and the transition from late Gothic to Renaissance conception. The writings and treatises of Sebastiano Serlio were the sample. This painting, simple, probably for a private commission is inspired in some way to Our Lady of Constable by Raffaelo. In fact, the representation of the Madonna and child is rendered in a real and fluid, giving naturalness to the scene. He abolishes the background landscape and figuration focuses on two characters thus giving more strength to the spiritual meaning. Shines and is palpable harmony sad and melancholic at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy of the death of Jesus, with gentle resignation that the child enjoins the reading pointing with his finger. The forms are well-balanced is the child's gestures indicating and Mary, who holds him to life protectively, rlateono happy and redundant scene of harmony. A light that appears to be from a window centered characters and illuminates the painted clothes in a soft and fluid. It was an example for all those olandesi- Mannerist painters of the second half of the book 500."STUDIO ASOR
Pieter van Aelst or Coecke Pieter van Aelst (1502-1550 Aalst Brussels), attrib. Madonna with the book. The excellent Flemish Renaissance painter has lived in Italy, where he got to appreciate the art of his contemporaries Italian painters. It was a great Raphael estimator, which are often exhales, such as this painting, while substantially rimanlateo within his own stylistic and developments. He made an important contribution to the body of the great Renaissance art in Flanders. Designer, painter and publisher of architectural treatises was disputed by the most famous people of his time, Charles V, King Francis I of France, Henry VIII of England, Cosimo I de 'Medici. In this work is evident influence of the Italian Renaissance style. He starts in the Netherlands the transition and the transition from late Gothic to Renaissance conception. The writings and treatises of Sebastiano Serlio were the sample. This painting, simple, probably for a private commission is inspired in some way to Our Lady of Constable by Raffaelo. In fact, the representation of the Madonna and child is rendered in a real and fluid, giving naturalness to the scene. He abolishes the background landscape and figuration focuses on two characters thus giving more strength to the spiritual meaning. Shines and is palpable harmony sad and melancholic at the same time a serenity transmitted by the characters, especially in the gaze of Mary, who reads the prophecy of the death of Jesus, with gentle resignation that the child enjoins the reading pointing with his finger. The forms are well-balanced is the child's gestures indicating and Mary, who holds him to life protectively, rlateono happy and redundant scene of harmony. A light that appears to be from a window centered characters and illuminates the painted clothes in a soft and fluid. It was an example for all those olandesi- Mannerist painters of the second half of the book 500. Madonna and baby Jesus. 40x30, oil on panel. Provenance: illustrates Catania family.
CIRCLE OF PIETERCOECKE VAN AELST (AALST 1502 - BRUSSELS 1550), AFTER JAN GOSSAERT CALLED MABUSE Madonna and child playing with the veil, with the flight into Egypt beyond oil on panel 96.5 x 74 cm (38 x 29 in) Provenance: Sale: Cornette de Saint-Cyr, Paris, 5th March 1993, lot 24 Private Collection, Spain There are many period copies (with variations) known after the now-lost composition by Jan Gossaert from 1520 (see: Friedlander, Early Netherlandish Paintings , vol. 8, Leyden, 1972, pl. 36 a/b)
